Practical - Production / Distribution / Reception

Production:

In terms of production methods within the rebrand it is fairly straightforward. 

For the brand guidelines manual, if I was to be printing it a global scale for use within dealerships worldwide the most effective method of printing would be offset lithography. This would be because It costs less at higher runs but still produces high quality printing. The image quality is consistently good, unlike printing methods such as risograph. Although if I was to make it more exclusively printed and more available as a digital PDF, for a short print run of 5000, 
digitally printing would suffice, but it would be more expensive.

In terms of stock for the production of  the guidelines manual, a thicker 260-300gsm stock would be used for the cover to give it more protection and structure, then paired with a thinner 120gsm standard white stock for the inner pages - allowing easier folding and binding and flexibility. 
I would consider glossy stock to give it that more of a professional feel to a manual you would receive in a dealership.

For production of the business cards a few countries may need to adapt the size of the business card to comply with local standards. The graphic elements must always remain the same and the proportion of height to width of the business card must not be altered. With a recommended paper gsm of 160.


There are two versions of the corporate letterhead, one to be used for everyday, electronic use which uses Renault Logotype; and then one which is used for special occasions - this must be printed by offset printing to ensure the necessary bleed is accommodated for upon print, it also features the full logomark top right.
The printed letterhead (using the logomark) MUST NEVER be printed from a computer as this will cause incorrect bleed, proportion of logo and will cut off the red line at the bottom. 

Distribution:

The outcomes such as the business cards, letterheads and manuals would be 
predominantly distributed to Renault dealerships worldwide, but the guidelines manual would be available online for all.
This ensures consistency of the identity for future design by external designers for ads, webdesign, etc. 

From the dealerships they would then use the stationary as necessary when 
interacting with current, new or future clients interested in joining Renault.

The ads would be pasted on billboards worldwide too, allowing broad exposure, whilst digital applications would feature on TV, social media, websites, etc introducing the world to Renault’s new identity and better communicated mission statement. 

Through the use of algorithms based on search results and history the ads would better seek out those who fit the target audience, tailoring ads directly to them.

Reception:
For a reception of the Renault rebrand, I asked a select number of people with interests within automotives. This allowed me to have an understanding of the someone who could fit into my target audience and to see how they conceive the identity design. I asked a number of questions to each individual then followed up with a conversation about the case study as this was beneficial to talk about the design and approach used within my rebrand...

Q. Does the rebrand successfully reflect Renault’s heritage, whilst sitting their priority of a sustainably designed future at its forefront?
A. The logo manages to combine the recognisable diamond of Renault but reflects it in a nostalgic format. The colour and type embody french heritage within the logo but for the other output such as the posters. This is where sustainability shines through and communicates sustainability as one of Renault's main aims.

Q. Does the rebrand effectively reflect past styles, whilst creating something fresh and new which fits into the current, modern market?
A. It combines a number of past logos across different time periods yet comes across striking and contemporary. This is achieved through the the flat design and bold type which I believe can easily stand alone as a logotype. It would not only fit into the modern market but stand out in the car market, as it would be the first major car company to rebrand with a nostalgic twist.

Q. Do you feel like it has successfully developed on from the previous brand identity?
A. The current identity is bland in my opinion, as it uses a strict colour palette which can only be applied to a number of things. The new logo has therefore developed colour and subsequently applied it to a number of options successfully such as the posters, business cards, letterheads and the brand identity book. The new identity has reevaluated the current branding to seek out notable changes such as the typography, with subtle changes such as the ‘U’ making a big difference.