The identity manual
For me, [a manual is] like good architecture; it’s inspiring, has great foundation, is timeless, and will outlive styles, fashion and trends. It’s functional, and works in all weathers, no matter what nature throws at it. — Sean Perkins
(Vignelli & Shaughnessy, 2014, p.42)
Identity manuals have long been the optimum method for communicating and controlling a company or organisations visual identity. They come in all shapes and sizes, from extremely detailed heavy ring bound documents to a simple poster. Their purpose is to communicate the graphical language of a unique visual identity and inspire creativity. More often than not manuals are based on the principles of modernism, ‘the grid-based, hyper-rational layouts and stark use of limited colour palettes were perfectly suited for use in style manuals that had to be understood and then followed by individuals’ (Vignelli & Shaughnessy, 2014, p.25). Manuals will often be used by any number of specialist professionals from communication designers and architects to printers, so a clear, simplified and relevant communication method is essential.
The use of identity manuals by large corporations began in the 1950s, born from the need for corporations to control their identity and increase brand awareness and recognition among competitors. The use of VI systems and the identity manual by large US corporations is owed to pioneering designers like Paul Rand, the designer behind many timeless logos and identity systems including IBM, ABC, and UPS.
‘The purpose of a manual is to teach people a language. When you design an identity for a company you are really creating a language. And that language has to be learned — not re-invented every time it is used’ (Vignelli & Shaughnessy, 2014, p.19). Large corporations can invest millions in the creation and evolution of their visual identity. Manuals are a way of protecting that investment. Despite the importance of these manuals, they can often be viewed as restrictive by the designers who use them, but a good manual should strike a balance between too much detail and not enough. However a certain amount of restriction isn’t necessarily a bad thing. Rand viewed innovative solutions as ‘more the product of restraints than of freedoms.’ (Vignelli & Shaughnessy, 2014, p. 23). Designers often covet the idea of a blank page and an open brief, but arguably without a problem to solve their can be no meaningful design. The most difficult design problems require the most creative solutions.
Pressure internally through continued exposure can result in a corporations communication straying away from a strong and recently new VI system. This is likely due to a failure to view those communications from the perspective of the audience who are exposed to countless other bands on a regular basis. Similarly, departments within larger organisations can often seek out their own identity. If implemented unnecessarily this can also contribute to a dilution of the overall VI. To achieve a level where a corporation’s communication can be identified through its graphic language and without a logo is a major achievement. Great care should be taken when considering to change or move away from a successful and established VI which communicates intended brand values. In this field, evolution is often a better alternative to revolution.
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