We began by dissecting the logo, and recognising weak areas:
Association
The logo didn't bear a clear connection to paper, print or design. Associations to bodycare products or textile could be easily made, which could confuse a potential customer.
Legibility
The infinity loop of the logo created confusion and made it hard to read. One could read Olsin, Olfin, Oolin, etc.
This made it harder for the name to ‘stick’.
Perceived value
The logo didn't feel particularly high-end, especially in comparison to other competitors that are lower in quality or price point. This made it harder to justify a price premium to the customer and it made it less likely customers associate it with high quality.
Tagline
There was a lot of ambiguity in the slogan, so it didn't really trigger anyone to remember Olin. There was no clear benefit to the target customer as the phrase could apply to anyone and to any product.
Typography
The choice of typefaces does did not relate well to the target customer: graphic designers with a keen eye for typography and aesthetics.
Layout
The logo was pushed away from the center of the circle by the slogan. Although it was a detail, it significantly lessened the impact and authority of the name.
A crucial revelation early into this journey, was that the direct target audience were actually designers, rather than the vast array of end customers, such as publishers, corporate identities and companies. They were the key middleman that reached this network.
So the main objective morphed into positioning Olin as the most recognised premium choice for high-quality uncoated papers within the creative community.
The identity needed to speak and appeal to designers and creatives above all.
This allowed us to move on to the next question. What was at the heart of OLIN?
The answer? The relationship between the designer & Olin.
Creativity & paper.
And thus the core Olin ideology and tagline was born, a commitment to the creative community. Aspirational canvases for creatives.
