By Nadia Shalaby, Yitzchak Gottlieb, Mike Wawrzoniak, Larry Peterson (auth.), James Sterbenz, Osamu Takada, Christian Tschudin, Bernhard Plattner (eds.)
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The criteria that were eventually defined were: • The new identity had to be indicative of an open organization. • Syspro had to feel approachable, unlike, say, IBM, but it also had to feel like a professional, world-class organization . • The new design had to signal a different way for the company to conduct business-that is, to be more flexible and agile. This signal would not be just for customers but for internal staff as well. • The new identity had to be smart, which Nash defines as dynamic and intelligent.
Uncompromise. with the Addis team throughout the strategic and creative development. "Susan's vision inspired us to break from the category conventions and create a mark that was as significant as the technology they were about to unveil to the world," says John Creson , executive creative director for Addis. "Intel could see that Centrino would be moving personal computing into a whole new space with a truly mobile offering. So, the company wanted to create something that would create a buzz and something they could build on.
Not having the product name was certainly a handicap, says Creson, but it forced the designers to focus on the essentials of the brand, and not specifics such as a single letter or typestyle. In their first set of explorations, the designers created pencil sketches that had a familial tie to the Pentium 4 and other Intel marks: a rectangular enclosure. However, they slanted the rectangle to suggest movement. At the other end of the experimental spectrum , circular designs were suggested. These designs were fluid , opposing the constraints presented by straight-edged shapes.