Interviews met Ruud Winder

Actually, I've been rebranding since I was 6 years old. On my birthday I made it clear to everyone that from that moment on I would no longer be called Rudy but Ruud, everyone adapted to this and my first rebranding was history. As a child I already collected work from Total Design, saved stamps from certain designers from whom I later took lessons at the Rietveld Academy. There I discovered my conceptual side and fell completely in love with the profession of Graphic Design. After completing my studies, I immediately started bureau gras, together with my colleagues Bart Keuzenkamp (text / copy) and Marius Hettema (programmer). The agency grew quickly, too quickly in my opinion, and in 2007 I changed the business model to a fully networked agency. This made the quality and speed of work much better, and not unimportantly, the pleasure in the work returned completely. I have now been working for more than 15 years with my loyal and wonderful network of independent experts. In 2018, we rebranded bureau gras to Rebrandt, as a remotely organized organization with a full focus on burning and rebranding.

Inspired by the work of Total Design, Grapus and Anton Beeke, I fell more and more in love with the Graphic Design profession. Making posters, good advertising, cool books, that's what I dreamed of. But when the internet came up as a gift during my graduation, I grabbed this opportunity with both hands. A new medium to play with as a designer. The pioneering of technology had begun, resulting in a series of apps, interactive campaigns and hundreds of sites.

I've always said that as a designer I didn't want to have a 'style'. Just like an actor that plays a role in a movie, the designer should play the right role for the specific client, regardless of my preference for a design language. A nice statement, and when I look back I also recognize a breadth, but certainly also a 'style', or rather a way of working. And well, an actor also interprets the role in his own specific way. Objectivity is not something for designers, leave that to AI *;-), how wonderful it is that as a designer you can give your own personal interpretation to an assignment that makes what you make special.

During my design process, after I have completely cleaned up everything around me, I sink into a kind of trance; sketching, associating, looking for images, making tests, everything with an almost manic focus until the sublime concept is written down on paper. And don't let me drive a car after this, my body feels completely drunk afterwards.

I was never able to perform well in primary and secondary school, I managed, but I had many difficulty getting my diplomas. At the age of 13 I felt more or less 'rejected'. A very bad feeling and it's painfull to see that this is still felt today by many advantaged young people, purely by measuring a very selective number of skills within the current school system. However, it eventually brought me to where I am today. Been "rejected" brought me autonomy, self-reliance and the 'F#ck it' mentality that has brought me a lot in my career as a designer. I am always open to comments, but as a designer you must also be able to stand up for your own ideas and believe in them. And that is not always easy in a world where everyone thinks they know everything. Fighting until it finally becomes what I really support as a designer. I therefore believe in the power of the individual, innovation, optimization, it is in ourselves, we just have to want to listen to it and go for it.

After hundreds of rebrandings, I can still warm to beautiful passionate organizations, large or small. An organization or brand can grow strongly through rebranding, which is always nice to see how entrepreneurs flourish when they are surrounded by the right communication tools and branding. For a rebranding, no matter how complicated, you can always call me awake at night.

Do not make designs that you do not support yourself.

Determine the quality level yourself and do not let it be influenced by the sometimes lower level of the client.

I never really start very early, build up slowly, arrange practical actions first and then switch to 1 project, which I spend my full time on, through brainstorming sessions with colleagues, or sketches, detached from the world outside. No mobile phone nearby, always full focus on the problem.

I don't. I live, read, see and experience and pick those things from life that inspire me, regardless of whether this is hot or not. I don't like hypes, then you can be sure that you are not making anything new.

A design is successful when it achieves what was intended. And since we already get so many stimuli around us, it is nice if the design is consistent and fitting in all its expressions and forms.

The moment when I decide, yes this is it, I almost leave it until the next morning. I then judge with a fresh look whether it is good. In most cases I then continue to refine it, and in the end there is a presentable model, which after presentation still withstands some fine tuning, even though it was approved. Until the same moment will come the next morning.

I am proud of many designs. Some were created in headwinds, others during enjoyable collaborations, and sometimes a design falls out of the blue and it feels like you didn't do much about it. I experience the latter as the most magical. And if you ask me which were these, the first METIS_NL booklet, with the flipped cover that made it a bag instead of a book (Red Dot Award 2015). PrimaveraQuint's house style remains one of my favorites, but unfortunately this fantastic company no longer exists and is nowhere to be seen. And more recently the house style of Koopmans, SYNQ, Roger That and the Letizia Battaglia book production still give me a warm feeling.

What my favorite designers are... I mentioned them earlier, my inspiration started at: Anton Beeke, Frank Beekers (Wild Plakken), GRAPUS (Paris) and the old Total Design.

I do not live a conscious lifestyle or according to a certain culture, I live consciously, look critically at the world and at myself, make choices, ask myself every time whether the decisions taken were okay and that is how I develop myself in my life. A lifestyle or culture is not a starting point, but a consequence, a consequence of the choices you make.

With the reorganization in 2007 from a classic agency model with staff and management to a 100% creative independent network, was one of the best decisions of my life. In the end, it's about under what conditions you can do the job well and keep it up. The way our team works together, I could happily continue it past 90.

Our team helps cultural and socially relevant organizations with strong branding, for which they would normally never have had the budget. We spend about 1 project per year on a good cause, usually free of charge.

It is nice to also make contacts outside the Netherlands with organizations for which you can also work remotely. Borders are fading, with our NL time (CET) we can serve many countries between 8:00 AM and 10:00 PM. And when this is more convenient, we travel to the client, it's a small world afterall. *;-)

Visualising the diversity of Woonwaard's tenants.

Our goal was an identity that would be embraced by all tenants, but which would also be well applicable at a more corporate level. Both have been successfully achieved.

Woonwaard has had a number of components further developed by us. Such as the BI environment, statistics, etc. This makes the corporate identity even more complete.

The contract was awarded to Rebrandt after careful agency selection.

Woonwaard is the only one allowed to continue using this design.

The search for a unique identity that fully corresponds to the character of the organization.

The Rebrand team.

Tenants, relations and employees

It is daring to express the diversity and respect for the tenants so exuberantly, resulting in a colorful and colorful design.

The name WOONWAARD already belonged to the client, it was not developed by us.

Sketchbooks, Pantone color stuff, Pinterest, Adobe software and more.

The colorful and unique combination of the circle parts. Each application in the identity is given a unique set of circles.

Designer | Design and Brand Architecture: Ruud Winder

Brand Storyteller - Corporate Story of Woonwaard: Vincent Jeitler

Brand Stylist - Brand-Identification-Program + Styling: Nikkie Wester

Junior Designer - Graphic Design: Simone Winder

Animator - Animation and Graphics: Peter Puntman

Client: Woonwaard - Anniek van Belle, Nina Beute

There is a complex grid under the design that is built in Adobe illustrator.

A lot of research has been done to arrive at the unique design that conveys the diversity well.

The concept of giving each part its own unique combination of circles turned out to be extremely time consuming.

We love to share our pride with the world.

We noticed once again that our Rebrandt program forms the basis for a successful rebranding.

I studied graphic/communication design at the Gerrit Rietveld Academy in Amsterdam. My journey has always been about blending creativity with strategy wich lead me to more branding and brand activation. Over the years, I’ve had the opportunity to work with my team on a variety of projects that pushed me to continuously evolve.

What motivates me is to give any entity a unique visual character. Everybody is unique! Realizing and embracing one’s uniqueness is the cornerstone of creativity and authenticity. Having the courage to express your individuality not only enriches your own journey but also contributes to a world filled with diverse perspectives and ideas.

In high school, there weren’t really other subjects I excelled at, but choosing design has always felt like the most natural thing to me.

Brand identities. Companies, products. ICT related or with positive human impact, all future proof companies are welcome at Rebrandt®. See examples of brand identities at: www.rebrandt.com

Design Legend is a title you’ve placed on me, and while I appreciate the compliment, I can’t justify why I would deserve it—that’s for others to decide. If you rephrase the question and ask how I became the designer I am today, the answer is quite simple: staying consistently critical of my own work and creating a lot—truly, a lot. That’s what helps a designer grow. And most importantly, don’t be afraid of external criticism—it’s free advice. Ideally, you should already be far more critical of your work than anyone else could ever be.

A good designer fulfills the brief effectively, delivering solutions that are functional and visually appealing. A great designer goes beyond the brief, creating work that is timeless, emotionally resonant, and redefines the problem itself.

When it feels logic, simple and natural.

Good design connects ideas with people by turning purpose into meaningful experiences. It creates value by making things clear, engaging, and lasting.

My team and I make time for any branding/design challenge.

I have worked on many complex branding projects over the past 25 years, and I can confidently say that I thoroughly enjoy tackling large, seemingly impossible branding challenges. For which organization? As long as they are future-proof—not part of the old economy—but companies with their hearts in the right place and a clear vision for growth in the right direction.

Deep research, effective communication with the client, a strong concept, and the ability to separate the core message from the average ones are key. Dare to make bold choices, spend days—not just hours—designing the best option, and, in the end, invest enough time perfecting every detail.

Anton Beeke, Pierre Bernard, Paul Gaultier, Wim Crouwel, Dick Bruna

I’m a big fan of Grapus, Paul Gaultier, and Anton Beeke—designers known for their strong conceptual work and organic aesthetics that perfectly align with the emotions you want to experience.

Not easy to choose, the catalogue series of Metis_NL, the Woonwaard ID, Koopmans ID and SYNQ ID are one of my favorites, but you know, the best design still has to come...

Dare to make mistakes and follow your heart, and letting your reasoning guide you at set times.

I'm afraid I would have been unemployed *;-) and started as an entrepreneur out of desperation.

Being able to communicate the right way visually, with care, passion, honesty, and craftsmanship.

My wife, my family and my colleagues.

My education. Gerrit Rietveld Academy 1990-1995.

Getting the business rolling while maintaining my focus on creating the best possible designs.

With their hart and with passion, they must fully stand behind the presented design. Never show three options—only one — the best one your really believe in. If it doesn’t fit the assignment, present another one two weeks later.

Me and my team are working on the city branding of the Dutch city of Alkmaar. This will be released in March 2025. And besides this project we are working on several branding projects; Verdi Groep, ChillBase Zoetermeer and more...

Create as much as possible good branding designs.

That the new work will be better.

I don’t know exactly ‘how’ to achieve a better society through design. However, society would certainly be easier and more pleasant to live in if we were surrounded by good design.

Starting with the branding of a new book release for Vincent Jeitler.

DearBytes. The first project where we truly handled every aspect of the rebranding, from strategy to naming, visual identity, and the entire launch campaign. Multiple awarded and such a great design result and a market leadership in 1 year.

Less standards, more space for uniqueness.

From a gloomy time now to an enlightening time ahead, with more diversity, greater awareness of social issues and an increased focus on sustainability and quality.

Depends on the speed at the client side. Rebranding projects to create new brandnames and visual identities will take just 3 months.

I bombard the client with questions: What and who is this client/product, what is the problem and why do we have to make something? What is the goal? And more questions that will give me a sharp view of the case.

Dare to be unique!

I believe trends are mostly overrated and often used as an excuse to avoid creating unique designs — what is way more difficult. I care about good and unique designs, they are timeless.

Broadening, inspiring, but above all, supportive of the concept.

Adobe Suite (all applications)

They are essential elements in the emotional and functional experience of a brand.

Why does it look like this?

When I'm drawing in my sketchbook, I see how worthless or valuable my ideas are. In my head the always shine and look nice, but once you sketch it on paper, mostly it's disappointing and hours of sketching start, to come to something less worthless. And if you go further and further, the diamond will get glance.

I absolutely believe in co-design, we do this every day with my team: Karin ter Laak, Nikkie Wester, Chris Mannuputy, Peter Puntman, Kaz van Wel and more.

My team; Karin ter Laak, Nikkie Wester, Peter Puntman, Robert Blaauboer, Frans Jacobs, Kaz van Wel and more.

Oh so many, doesn't fit in this article.

To be highly productive

Hahaha, I will survive. *;-)

No standard favorites, depends day by day.

One of my designs is used without my permission in 1.350.000 products of one of the biggest football clubs in the world. Not real funny, but quit a case this moment. To be continued...

Being productive!

I think so, always drawing, sketching...

I can't look forward thousands years from now, but I am very positive about the near future. More design, more progress, more innovation leaving the negative years behind.

Don't hesitate to contact me and my team, we would love to create your (re)branding.

I studied graphic/communication design at the Gerrit Rietveld Academy in Amsterdam. My journey has always been about blending creativity with strategy wich lead me to more branding and brand activation. Over the years, I’ve had the opportunity to work with my team on a variety of projects that pushed me to continuously evolve.

After more than 25 years I rebranded my company BUREAU GRAS to REBRANDT®. We rebranded more than 100 companies and products over the decades. Now we also got a name that works! Just like we allways create for our clients!

The alternative form solution that is not driven by what is customary, but by its purpose.

Complete identities, from brandstory to logos and building the basics of the new brand. And the more complex the assignment is, the better.

I do not have one specific favorite design. But Woonwaard, DearBytes and Youall have a special place in my heart, just like the designs we're making at this moment. The exiting thrill of working on the 'not yet' born brand, is my favorite part.

Thats' a long time ago, I think brochures we're the first, but soon followed by websites, and many corporate identities.

I'm allways exited by new and unexpected use of technics and materials. The most unexpected, but retrospective the most logic choice of material or technic is what I search for.

Not in the morning (till 10:00). Rest of the day is perfect even at night.

Searching for the exclusive and unique design that fits the brand.

Mostly a flow, Thrill, excitement, doubts and happiness.

A little bit anxious, it is nevertheless the launch of a thought that has to come true at that moment. You think you know how the brand will be picked up, but you only know when the time has come. Fortunately, so far it has always worked out as predicted.

1. When the soul of the company can be represented by the visual identity.

2. When the visual identity is used consequent and in line with the guidelines.

What was the assignment, the goal that was ment tot achieve?

1. Don't lie. Like we say in Dutch: "Don't sell sell apples as lemons".

2. And know what the impact can be of your design, allways ask yourself, do I stand for this product and company.

In a society that is slightly moving backwards, become more conservative, the designfield should be jumping the other direction of innovate, experiment. I see designers jump in this direction, but many don't. You need balls to be successful in the future.

As a brand designer I don't expose the work as artworks. It's not what it is.

Travelling (recently though Spain and Austria), reading and visiting art expositions like Bienalle Venice.

In my search I always look for the ultimate unique image that tells the story in a split second, accessible and simple. No superfluous shapes or frills. Always looking for a clear, fresh form that dares to stand for the content. In my early days I thought I shouldn't have a style. That's still my goal. After all, it is my job to design the appropriate identity for the client in question. But despite the aspiration to have no style, it was visible, looking back over a range of successful rebrandings. All different, but with its own way of interpreting, the humor and the clear form language.

At the Rietveld Academy in Amsterdam I started to develop as a designer. The obvious fact that there must be a good concept behind everything you make and an elaboration with the aim to keep it clear and dry can be called typically Dutch and can certainly be found in my own work.

I developed a complete system to be able to get all necessary information for the design process. The last 10 years we also develop the brand story. That's a part that definitely should be at the designers side. Otherwise you're working on the interpretation of others, then you can't feel the soul of the brand.

Check the work first. But above all, invite the designer for a video call or (if possible) for a drink. Get to know him/her. The process of a rebranding is intense.

I will publish my system in 2022 so more designers will be able to get a clear view on the DNA of the company. Finding the unique character and discribe it. And don't try to force the brand into one of the limited pre-baked archetypes. This removes the special qualities that make a brand so special. The Rembrandt method is based on a psychological treatment when Schizophrenia is diagnosed.

1. A poster by Anton Beeke — exhibition for Kazimir Malevich

2. A poster by Bas Oudt — Rietveld exposition

3. A poster of the Tate Gallery, by tube

4. Citrus press by Philippe Starck - Alessi

5. Chairs of Stark

Starting in the morning at 9:00 / 9:30. Organizing, preparing, planning, calling and mailing till 11:00 and then grabbing the project that is planned and jump into it. Talk with collegues and clients for feedback and go all the way till it's really good.

Dare to outline a clear division of tasks for you and the client. The customer must feed the designer with good information, the visual translation is the domain of the designer, the client may not interfere with this. If the client is not satisfied, check in a pragmatic way where the difference may have arisen between the DNA description / brand story and the final elaboration, take the entire design back and come back after 2 weeks with a much better design.

And one more tip. Work towards only 1 design to present.

'Creating' gives a lot of satisfaction. Nothing comes without some rainfall, but you know what rises after...

I have to able to stand for it. Feel responsible for it.

Brains & Eyes.

My black sketchbook is allways in my reach. Just like by bookshelfs with a big amount of inspiring books. Digitally I like to work with Pinterest and Adobe Illustrator.

Work through in the evening. And more importantly, don't mind that.

From brandstory till the first design presentation 1 months.

1. Brandstory — 1 month

2. New name developement – 1 month

3. Registration proces — 3-6 months

4. Designproces logo + basic elements — 1 month

5. Finalizing the design basics — 1 month

How do you get there?

Never ever worked at an other company, started my own company straight from school. As a result, I was not polluted by "that's the way it goes" and other habits and I had to look for my own way of working.

Education & Research — Eindhoven schools combination | Dutch Courses Amsterdam | Delfland Water Authority | Kanhetanders.nl | Kenniscentrum | Mediacollege Amsterdam | sQuare — Healthcare & Social Services — Day of the Dialogue | National Disaster Fund | IJsterk | Omring | Roger That Foundation | Sociaal.nl | UNHCR | Trimbos Research institute | Woonwaard — Government & Semi-Government — G4 | Dutch Public Prosecutor | Dutch Ministry of Economic Affairs | Development agenda Safety first | Province South-Holland | VNG risk management — IT & Cybersecurity — Attic | C∂n | Cyber Central | Dearbytes | KPN | ING | PayU | Sm^rt Principles | Solvinity | Zolder — Travel & hospitality — Australian Backpackers | Australian Holidays | Balinova | Dream Resort | Else Globe | PeasePro | Puur Nieuw Zeeland | Scandinavian | Schiphol — Retail — Biga Brix | MecMedic | Theo Groothuizen | Verdonk Keukens | Youall — Media & Culture — GAA | Hellen van Meene | Het Nederlands BACH Consort | Jurjaanz | Metis_NL | Mondriaan fonds | Monika Auch | Art Library Foundation | Stimuleringsfonds | The Box music television — B2B — BK Group | Koopmans | Primavera | PrimaveraQuint | Saturday Socials | Weconnect

(Re)brandings. Each brand I design can't be pushed back, it exists and will never be forgotten, They are all, as it were, my children.

More (re)brandings, more international (easy now with the videocall-habit), companies but also products... You can call me anytime +316 22841710

My company REBRANDT is a network of 100& independant creatives in all kinds of disciplines; programmers, stylists, photographers, copywriters, all aspects covered with the best for the (re)branding proces.

Sorry our clients doesn't allow me to talk about this at this moment. But if you go to www.rebrandt.com you'll see the latest projects.

1. By phone: +31 622841710

2. By mail: ruud@rebrandt.com

3. By visiting: You can visit us in The Hague, Amsterdam, Rotterdam or Alkmaar

4. And don't forget to check our website: www.rebrandt.com

If you want an Awardwinning (re-)branding call us! REBRANDT | Dutch Masters in Rebranding.

Housing is about people, not about bricks and buildings. We therefore avoided creating an identity that would classify or stereotype a particular family structure. Instead, we developed a flexible visual language based on circles that can be combined in countless ways. Each composition represents the household composition of a tenant.When creating the mood boards during the strategic phase of the project, we deliberately collected many joyful and optimistic images. In the Netherlands, where there is an extreme shortage of affordable housing, being offered a home by Woonwaard is one of the greatest gifts a person or family can receive. We wanted the identity to reflect that feeling of happiness and optimism.At the same time, the system is deliberately structured. The geometry, typography and restrained layout provide the consistency, reliability, warmth and professionalism that a housing corporation should represent.

Today, the vast majority of tenants no longer live in the traditional family setting of a father, mother, son and daughter. Households are far more diverse and include blended families, single-parent families, same-sex couples, same-sex couples with children, single-person households, elderly people living alone, and many other forms of living together. Each circle represents a different household composition, while together their colourful diversity becomes the visual expression of Woonwaard's inclusive community.

Communication became increasingly digital, while all printed materials were produced using FSC-certified paper. We also deliberately communicated as clearly and concisely as possible, using only the space that was truly needed. Clear and compact communication not only improves readability, but also reduces paper consumption and unnecessary material use.

Every design process at Rebrandt is preceded by an intensive strategic phase in which we define the organisation's proposition as clearly and specifically as possible. The resulting character profile and strategic requirements become the benchmarks against which every design decision is tested.The design process itself is one of refining and searching for the right balance between colours, typography and proportions until their combination communicates the organisation's proposition.

We were not specifically looking for modernism or serenity as design objectives. The visual identity did not start with aesthetic preferences, but with Woonwaard's proposition.During the strategic phase, we translated that proposition into a series of mood boards that explored the desired character and personality of the organisation. These mood boards formed the bridge between strategy and design. From there, the design process became one of refining colours, typography, proportions and composition until the visual identity accurately expressed the proposition. Modernity and serenity are therefore not goals in themselves, but qualities that naturally emerged from the process.Modernity and serenity were therefore not design objectives in themselves, but qualities that naturally emerged from the organisation's proposition.

The Rebrandt Program is essential to the development of award-winning brand identities. Without first defining an organisation's objectives, character and proposition, it is impossible to create a visual identity that truly reflects them.

Throughout the project, we worked closely with IT specialists, web developers and production partners. We continuously tested the identity across both digital and printed applications and provided ongoing art direction to ensure that every implementation remained faithful to the original design principles.

Our agency is not organised as a traditional agency with employees. Instead, Rebrandt operates 100% with independent professionals. Each specialist brings deep expertise in their own discipline, allowing us to assemble the right team for every project. Because our collaborators are experienced professionals, communication is efficient and decision-making can go fast. All our experts are willing to go for the extra extra mile, including working beyond regular office hours to meet important deadlines without compromising quality.

Before the design process began, we conducted in-depth interviews with both employees and tenants. This was an integral part of the Rebrandt Program and provided the strategic foundation for the development of the new visual identity.

Rebrandt has provided Woonwaard with everything needed to develop the visual identity over the long term. This includes comprehensive brand guidelines, the transfer of all open-source design files, and training sessions for the organisation's staff.

The widely shared metaphor of the red cross for the medical sector is not perfect, the missing piece is filled in by the circle, symbolizing the contribution that EMplus makes with its courses and coaching in the field of Emergency Medicines.

The colors were specifically chosen for this sector, the red cross as it broadly stands for medical. The aqua color is derived from the material that is often used during work in the Emergency Medicine department.

Not only for this assignment, typical for branding, you start with a lot of values ​​and content that you want to share with the viewer in a split second. The complexity lies in translating the multiplicity as universally as possible into clear simple visual forms.

The shapes are shown animatedly in specific trainings and coaching programs, and applied as symbols on program covers. Through these applications, the symbols are loaded with the content.

Devil is in the detail. Once you draw the concept on the paper, it's just the beginning. We wanted to achieve a calmness, intellectual feeling. Before we managed to visualized that, we were weeks further.

During a rebranding process, it is always good to keep in mind that the knowledge of the sector, the products and the target group lies with the client. It is up to the brand architect to bring this information clearly to the surface. Ultimately, we are completely dependent on the knowledge of the client's sector in the provision of information. EMplus consists of experts with decades of experience and were able to provide our team with the necessary insights.

I don't see the identity system adapting to future changes in the emergency care training. The system has been expanded. Besides the cirkels, squares and other shapes, new forms have been added to the ID series.

In the logo, the circle is placed in the cross on the missing piece. And in the illustrations, the same story is repeated in a different way, but within a similar design language. These different representations reinforce each other's story.

Definitely. Choosing to use clichés carries the risk that the distinctiveness may be lacking. Fortunately, the simple visual intervention provides sufficient individuality and conveys the whole story at a glance.

Above all, don't look too much at what others are doing. Search from your own content for the most representative design language. And dare to take paths that don't seem logical at first. From these 'illogical' turns, crucial concepts often emerge.

In rebranding Florist Wim Van Assem, we aimed to create a harmonious balance between contemporary design elements and the building’s classical facade. Our approach started with a deep respect for the building's historic character, ensuring that any modern additions would complement rather than overshadow its architectural heritage.We achieved this balance by carefully selecting materials, color palettes, and design motifs that resonate with both eras. For example, sleek, minimalist signage and lighting were introduced to convey a modern aesthetic, while their proportions and finishes were inspired by the building’s original details. Inside, we incorporated clean lines and open spaces to reflect contemporary sensibilities while retaining traditional touches like moldings and woodwork to preserve its timeless charm.The result is a design that bridges the past and the present, inviting a fresh, modern identity to flourish while still honoring the building’s storied history.

The dynamic ribbons were inspired by the flowing, organic nature of floral arrangements and the creative energy inherent in floral artistry. They symbolize movement, growth, and transformation—qualities that reflect the essence of forty years of progressive floral design at Wim Van Assem. Each ribbon represents the fluidity and vibrancy of flowers in motion, capturing the way they bring life and beauty to any space.This visual metaphor also pays homage to the artistry and craftsmanship that have been central to the florist’s legacy. Over the decades, the brand has continually evolved, pushing the boundaries of floral design while staying rooted in its dedication to creativity and quality. The ribbons embody this spirit, weaving together tradition and innovation into a seamless narrative that honors the past while looking forward to the future.

Winning the Bronze A' Design Award was a humbling recognition of our approach to rebranding Florist Wim Van Assem, especially in the context of its significant anniversary. Our research into integrating modern design within historical settings was pivotal to our creative process. We delved into the building's architectural heritage, the florist's four-decade legacy, and the evolving narrative of floral artistry to create a design that felt authentic and timeless.This research influenced every decision, from material selection to the visual identity. For instance, we employed contemporary design elements like clean typography and dynamic visual metaphors to represent growth and creativity while ensuring they were in harmony with the historical facade. The project became a dialogue between past and present, celebrating the brand’s evolution and solidifying its place in the future. This balance between honoring history and embracing modernity was at the core of the rebranding, making it a true reflection of Wim Van Assem’s journey over forty years.

The window lettering was manually applied to large glass panes measuring 3x2 meters, requiring meticulous attention to detail to ensure that the lines aligned seamlessly across the panels. This ambitious installation was executed by GCA, whose expertise ensured precision and fidelity to the original design. The process demanded careful planning, including accurate scaling and positioning, to achieve a cohesive visual flow that enhanced the overall aesthetic of the rebranding.

We translated the client's uninhibited and energetic approach to floral arranging into a cohesive visual language by focusing on elements that convey movement, vibrancy, and creativity. The dynamic ribbon motif became central, symbolizing the fluidity and artistry of floral design. Bold yet elegant typography, paired with a vivid color palette, further reinforced this sense of energy and passion.The design was crafted to appeal to both existing clients, who value the florist's legacy, and passersby, who are drawn to its modern and striking aesthetic. By balancing contemporary design with timeless elements, we created a brand identity that reflects the client’s unique style and invites everyone to experience the artistry of their floral creations.

The substantial dimensions of the window displays allowed us to create an immersive visual experience, making the dynamic ribbon design and large-scale typography impactful even from a distance. These dimensions also emphasized the fluidity and energy of the brand's visual language, ensuring that the design captured attention and communicated the essence of the client's floral artistry in a bold and striking way.

The collaboration between the brand architect, designer and signing team (CGA) was integral to achieving a seamless and high-quality result. Each team brought unique expertise: the brand architect ensured cohesion in the visual identity, the motion graphics specialist added depth and vibrancy to the dynamic elements, and the signing team translated these concepts into tangible, precise applications. This synergy ensured that every detail was executed to align with the vision, from concept to realization.

The dynamic ribbons and bold, organic typography are central to expressing the joy and free expression of the client's floral artistry. These elements capture the movement and creativity of floral arranging, while the vivid color palette reinforces a sense of vibrancy and celebration. Together, they embody the uninhibited energy that defines the client's approach.

One unexpected breakthrough was realizing how the interplay between the historic facade and the contemporary design elements could create a unique narrative. Rather than competing, these contrasting aspects enhanced each other, leading to a design that felt both modern and timeless. Additionally, the large-scale window lettering revealed how bold simplicity could amplify the visual impact, making the brand identity truly stand out.

The local community has embraced the rebranding with enthusiasm, appreciating how it honors the florist’s legacy while bringing a fresh, contemporary energy to the area. The visual transformation has revitalized the historical Fnidsen streetscape, drawing attention to the florist as a vibrant focal point and inspiring a sense of pride and excitement in the neighborhood.