King’s English has redesigned its corporate identity. Our previous logo served us for nearly 12 years. It gave us a graphical name that coupled a somewhat modern icon—one that could stand alone—and a literate logotype with just enough serifs to say, “we can write.” That logo’s design coincided with our move to 335 South Davie.


Our newest update coincides with a comeback, as well as a decade of rapid change, a la that now quaint tome, Future Shock. King’s English will soon fly a new flag on Davie, but it’s a flag with a family.

Like a wardrobe, we’ve given it the option to sport different colors…but, all in one palette.

It’s not the first time we took this approach. A decade ago, we designed the identity for the Weatherspoon Art Museum with a “corporate palette” approach. The museum staff was encouraged to pick their favorite color for their calling cards.

The financial crisis of 2008 socked King’s English (we felt the effects most in 2009) more than the aftermath of September 11, 2001. But we’re seeing positive signs in new business, our legacy clients are reviving their campaigns and our leaner approach paid off. What better way to shake off a recession than a new “outfit”?
More important, however, was the need to address the changing eyes and perceptions of our audience.
Google blew the roof off stodgy logo conventions by showing the world how a strong graphic can change for the occasion with their amazing calendar-conscious and event-driven logo treatments. As a company staffed by musicians, we especially appreciated Google’s Les Paul salute. (If you missed the interactive version, be sure to try it out here.)

Their whimsical and slightly self-effacing tributes to the subjects you might be Googling suggest that Google doesn’t take itself more seriously than its users. They also demonstrate a timeliness and keen sense of current events that’s pretty amazing to us mortals. How do they come up with so much good stuff so fast?
Thus, we see that a memorable graphic can withstand some alteration, so long as its “logo-ness” is not altered. Maybe human eyes, now trained to take in millions of graphic images and text messages, are better able to grasp logos that aren’t as corporate and inert as those that we were taught to design 20 years ago.
There’s something energizing about updating a wardrobe, painting your favorite room or getting a new haircut. For a business, product or organization, a fresh new take on graphic identity is an exercise in intentionality, vitality and shelf appeal.