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Belgrade: Case study of the new visual identity

After the launchin of capaing for the new visual identity of Serbia, designer Vladan Pavlovic continued with re-branding of cities. First is Belgrade, the Serbian Capital. In the following lines you may find his case study.

Today, it has become regular to redesign obsolete identities of cities, municipalities, regions and states, as this helps to better connect citizens with identities, state authorities and administrations, and understand the symbolism of the marks, with a more simple and better defined design. Currently, the coats of arms in Serbia have too many elements and details, kitsch, missed and unsuitable symbols and images. It is necessary to redefine the coats of arms to be in line with the modern age.

Belgrade’s 16th century Coat of Arms is a simpler design, with clearly defined symbols. The capital of Serbia is famous for its symbols such as the Belgrade fortress Kalemegdan and the two rivers Sava and the Danube. Holding traditional heraldic symbols, Belgrade’s new coat of arms gets a modern and recognizable design.

The coat of arms of Belgrade is the official symbol of the City of Belgrade and it exists in three forms – Basic or Small, Middle and Great coats of arms. There is no need for so many coats of arms and symbols, as this leads to poor communication with the identity of the city.

The coat of arms of Belgrade is the official symbol of the City of Belgrade and it exists in three forms – Basic or Small, Middle and Great Coats of Arms. There is no need for so many Coats of Arms and symbols, as this leads to poor communication with the identity of the city.

The current smaller Coat of Arms has too many details, contours and loud colors, which makes it complicated for usage. The illustration of the boat is very bad, and unnecessary, because the fortress and two rivers are the most important symbols. Bloody color of the river is too negative association.

The typography doesn’t belong to the style of the current coat of arms of Belgrade, and has unnecessary elements such as the red line and the white contour. The new font contains the spirit of the old era, with rough slab serifs that associate with the walls of the fortress.

This grand city seems to have always been like this: torn and split, as if it never exists but is perpetually being created, built upon and recovered. On one side it waxes and grows, on the other it wanes and deteriorates. Ever in motion and rustle, never calm and never knowing tranquility or quiet. The city upon two rivers, on the grand clearing, bound by the winds. — (Quote) Ivo Andrić, Nobel prize awardee in Literature 1961

Evaluation of Marketing Centre:

Positive:
  • Connection of history and modern design;
  • Open and positive symbol
  • Minimalism, color combination
Negative:
  • None. (We weren’t able to find anything negative in this project)

Design: 2017 © Vladan Pavlović.

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