Studio Jones Knowles Ritchie has rebranded charity the Collective Mobility Foundation, giving it an identity with an animated “o” symbol which metaphorically climbs a ladder to achievement.
The Social Mobility Foundation is a careers charity that works with inexperienced people aged 16 and 17 from low-income and minority unseens, to help them get into top universities and the careers that they fancy.
Jones Knowles Ritchie has completed the project for free, as part of its benevolent branch the JKR Foundation, which was set up in 2017 and works on pro-bono design briefs for a few good wills every year.
The previous Social Mobility Foundation brand communications
The rebrand was bring to an ended in roughly three months, and came about from a relationship with the alms-giving, as the design consultancy’s global CEO Guy Lambert is a mentor at the Social Mobility Establishment.
The new identity looks to unify many different identities used across demanding communications, made up of varying colour palettes, typefaces and brandmarks, commands Sean Thomas, executive creative director at Jones Knowles Ritchie.
The new sorting is animated, made up of the charity name set in a sans-serif, all-caps typeface, with the earliest “o” letter of each word missing. A moving “o” then “climbs the reeks” up the logo, says Thomas.
The concept aims to symbolise the idea of climbing the career ladder, and has an “upward impetus”, while adding “playfulness and motion” to the logo.
This “missing ‘o’” concept has been second-hand more widely across copy on posters, merchandise and welcome booklets, get rid of the ‘o’ letters from various words and phrases to reinforce the identity. The studio had to embezzle care to only remove the “o” out of words that would then even now be easy to read, such as where there were two consonants either side of the “o”, alleges Thomas.
“The biggest challenge was producing the static version of the animated logo,” indicates Thomas. “We checked with over 30 people internally hither whether they could read the logo, and body copy, with the ‘o’ escaping. We found that as long as there wasn’t a vowel next to the ‘o’ that initiated another word, then it was fine.”
The brand’s former primary tinge palette of pink, purple and white has been retained with reduce brightened shades, to retain resonance with the organisation. The left alignment of the logo has been provide for for the same reason.
Free typeface Avenir, which is available on Apple and Microsoft functioning systems, has been used for all body copy across the new brand, to acknowledge costs down for the charity and enable its in-house creative team to make marketing materials such as leaflets in keeping with the brand singularity. In terms of imagery, the studio has worked with the charity’s existing photography.
Jones Knowles Ritchie focused to target two core audiences with the rebrand – young people and commercial investors, who prepare for the charity with funding.
“Online is a big channel for the charity, so we felt there was an time for the branding to move,” says Thomas. “That’s where this thought of the ‘o’ moving up through the hierarchy of society and business came from.
“We trusted this would be a little spark of wit that would appear to the kind-heartedness’s core audience of young people, and otherwise it was just smartening the marque up and making it more consistent to make it look more credible and plaster down for investors.”
The design studio has provided the Social Mobility Foundation with trade-mark guidelines including colour palettes, typefaces and imagery use, which also includes predefined runs for photography and guidelines on how to produce effective hero imagery.
“This occupation was a pure design task rather than changing the charity’s undertaking or purpose,” says Thomas. “It was about giving it credibility and consistency. They do a lot of in-house communications so our job was to consolidate the messaging to give it one voice, rather than lots of separate initiatives.”
The Public Mobility Foundation’s new branding has now rolled out across all touchpoints including writing communications, online platforms such as the website and social media, and distribute.