Classic Logo: Surbank, 1985
Yusaku Kamekura and PAOS’ 1985 logo and corporate identity for Surbank Setagaya.
This post is supported by LogoArchive – The home of historical logos. Discover over 5000 of history’s greatest designs from the world’s finest designers. Updated every single day. Always find the logo inspiration you need for your next logo or branding project. Start here.
A shinkin is a local Japanese trust bank for individuals and families, as well as small to medium-sized companies conducting business in specific areas, and often run and financed cooperatively by its members. When the Japanese banking industry began to be opened up in the 1980s, these shinkin banks (see also: Kawasaki Shinkin Bank) were challenged by new market forces, and many were unable to compete as larger banks expanded and diversified. Making this more challenging was the differences in the corporate identities of these shinkin banks which, in terms of a unified and consistent image, were far removed from the better-funded larger commercial banks. Many had began to appear tired and struggled to keep up with the rapid modernisation that was happening.
Keen to maintain its position was The Sehoshu Shinkin Bank. This was founded in 1925 in the well-off suburban residential area of Tokyo known as Setagaya. In 1985, ahead of its 65th anniversary, and in response to these new market forces, The Setagaya Shinkin Bank embarked on the development of a new corporate identity. The intention was to reposition the bank as a 21st-generation, locally-based financial institution with a ‘pleasant image’ providing advanced information and services in a personable manner through a staff unified by a clear forward-focused message. The target of this new image would be the ‘young suburbanites’ who made up a large part of the Setagaya area.
Initial research indicated that a new image was needed fast. It was ‘family-oriented but had an unrefined aura’, one that was commonly associated with shinkin banks. Further, the new image should give the impression of friendliness and warmth, and have progressive feel, distinguishing it from other suburban banks, whilst also meeting the evolving expectations of customers that had been set in motion by the larger banks. This programme would include a new name, building designs and corporate image.
The old name, Setashin, was discarded in favour of ‘Surbank Setagaya’, the ‘Sur’ being derived from ‘suburban’ and also the Latin sur, meaning ‘above’ or ‘over’, suggesting going beyond expectations.
Driving the design of the new corporate image would design studio PAOS, (ASICS, Kenwood & Daiei) and the guiding notions of ‘friendliness’, ‘warmth’ and modernity, and the suggestion of a unique, leading-edge suburban financial institution. This would be achieved through the design and introduction of a colour palette, typography, store design and logo design. The latter would be outsourced by PAOS to the renowned Japanese designer Yusaku Kamekura (Tokyo ‘64, NTT & Shell).
For the new logo, Yusaku Kamekura, devised two tulips, set within a vertical lozenge shape, both with a single consistent line weight. The familiar image of flowered suburban parks and the geometric formalisation of a natural symbol gave the impression of a modern and friendly institution. The chosen logo was the simpler of the two, which in turn reflected a new architecture for the bank which had round columns and curved entrance doors. Colour amplified the sense of the natural and warm, and the new modern external cladding of the bank’s premises by combining warm red with a bright green and a cool grey. The system later devised by PAOS, was made flexible enough to allow for the addition of subsidiary colours as and when needed.
The logotype took its cues from the Kamekura’s logo, modern architecture and the need to appear welcoming and personable. These emerged through condensed letterforms that shared similar proportions with the logo, its consistent line weight, geometry rounded terminals and the removal of the cross bar from the ‘A’.
Together, logo, colour and type formed the basis for what was described in ‘PAOS Design: Corporate Identity in Japan’ as being ‘extremely lucid’ and giving Surbank Setagaya an image distinct from large commercial banks.
POAS developed a formalised system (which included additional assets such as patterns) for each asset across the diversified contexts of a bank, from stationery to forms, from signage to vehicle liveries. Few other shinkin banks of the time had managed to pull off such a resolved and unified visual image, to the level of the larger commercial banks.
On launch, marketing sent out to customers of the bank exclaimed that the new identity was new, warm and fun, and would help better serve its customers and position it competitively for future growth in a liberalised market place. The bank remains in business today, is celebrating its 100th anniversary and continues to use the tulip logo designed by Kamekura.
Thank you for subscribing to Logo Histories. If you enjoy reading this short you may also enjoy these resources from the same team:
New! Portal – Design-driven jobs board and applicant management.
Brand Archive – Research tool for brand designers.
LogoArchive Website – Searchable modernist logo archive & research tool.
LogoArchive Shop – Vintage design books & LogoArchive Zines.
BP&O – Contemporary design editorial.
Thanks for sharing another logo design. Yusaku Kamekura and PAOS came up with a true gem with this one for Surbank.