Exploring Publicis Toronto’s New Visual Identity

Within adland, the work of artists and designers can be a truly remarkable thing. Creating memorable, striking and breakthrough visuals for brands of assorted varieties is not a simple affair by any means, and add to that the challenge of capturing ethos, legacy and in-market expectations – there’s so much that goes into it. However, pressure makes diamonds, as they say, and those who do this day-in and day-out are some of the most passionate and talented people in the business.

But what happens when these skills get focused internally, onto an agency’s own visual identity? It’s one thing to do the job for others, but when it’s your own company? Slightly more complex, to say the least.

This is something that Publicis Toronto found itself exploring the ins and outs of over the past year and a half, having realised it was time to do just that. Seeking to embody the company philosophy of leading change – all in stylish fashion, fit for the modern day – the agency knew it needed to walk the line, blending Publicis’ storied history with top-tier craft to create something distinct.

Drawing inspiration from Marcel Bleustein-Blanchet, the very man who created the original Publicis logo, what resulted was an impressive typeface revealed to the market last month – an act of creation which will characterise the Toronto shop for years to come.

With that in mind, LBB’s Jordan Won Neufeldt wanted to dive into what the craft process was like, and so she sat down with Publicis Toronto’s head of art, Victor Yves, as well as chief strategy officer Mary Chambers for a chat.

LBB> Congratulations on the launch of your new visual identity! What made now the right time to change things up?

Mary> From the day it opened in 1926, Publicis has been a leader of change. However, what we’ve now intensified, and really put new ambition behind in Canada, is our determination to lead change through creativity. That is manifest in our creative output, but also in how we show up. We want to celebrate what we stand for – our heritage and our ethos of change – and rally our people and clients around the potential of leading that.

Expressing that through a reimagined visual ID was the most logical and exciting place to start. Also, the merger with Leo Burnett to form the Leo constellation, along with being one of the few markets to keep the Publicis Worldwide creative brand name, were key reasons for starting this transformation.

LBB> Specifically, you looked to Marcel Bleustein-Blanchet for inspiration. How did his style influence your approach, and why was it so important for the brand to pay homage to his work?

Victor> The first Publicis logo was created by Marcel in 1926, drawn by hand on the door of the first Publicis office. So, the inspiration was the person himself, but also the craft behind the creation of this brand.

Every shape was carefully constructed with dedication to preserving intricate details, including ink traps that pay tribute to traditional media. At the same time, we embraced bold choices and unexpected avenues in the design process. We want the typeface to be a reminder that change guides us, and something that allows us to keep leading in that regard.

With that in mind, from day one, our goal was to create a typeface that embodies the legacy of Marcel and Publicis. This was one of the challenges that our CCO, Vini Dalvi, gave us. He asked, ‘how can we be unmistakably Publicis, honouring its heritage while demonstrating that we are leading the change?’. Then the team, which I led, started the research and design.

In the end, we designed a typography that carries the Publicis legacy while remaining modern and distinct.

LBB> Let’s talk more about this – how does the new typeface represent Publicis leading the charge into a new era?

Mary> What Marcel did in 1926 was bold and beautiful. Accepting the challenge of keeping the ethos and elements of that original move, as well as interpreting for today in an equally beautiful and bold way, is, in itself, an expression of leading change into a new era.

LBB> Notably, you went out of your way to engage the entire team in the project. How did you go about this, ensuring everyone had the chance to contribute equally?

Victor> Taking inspiration from Marcel’s original, handmade Publicis logo, we developed a typography system rooted in its geometry and strokes. But the innovation came in its evolution – specifically, every member of Publicis Toronto contributed their own handwritten letterforms, merging past and present into a single unified expression.

To do this, we organised a workshop where we could go through the Publicis legacy. Then, together, we studied each characteristic from the first shapes made by Marcel, before every employee was asked to draw a letter. Finally, the design team, in partnership with Canadian typographer Jamie Chang (Manic Type) designed the full alphabet.

LBB> On a technical level, what did it take to blend that which the Publicis team created with Marcel’s original work? And are there any aspects of the new typeface you’re especially fond of?

Victor> The dynamic proportions, sweeping curves, and expressive hand movement became key influences in our typography. The intricate glyphs that are integrated into our text embrace our diversity and emphasise our ambition to stay innovative and bold, while also respecting our past. And, like the motion of the stroke in the original logo, we continue to create change and leave our mark.

In terms of what I’m fond of, so many things! I love how we translated the exaggerated ascenders and descenders, inspired by flourishes in the original logo. Since the beginning, we knew this was something that needed to be integrated. It is a striking aesthetic.

I also love the decision that we made about the ink traps. We really wanted to respect the legacy of the traditional media.

LBB> What were the biggest challenges you faced during this project, and what lessons did you learn in the process?

Victor> The biggest challenge was finding a balance between modernity and heritage. The drawing made by Marcel is different – almost exotic. That’s a bit of a challenge when you must design a typography, especially while respecting the basics. Good typography is legible, readable, and communicates the intended message. It should also be visually balanced and establish a hierarchy.

As for lessons, I learned that it’s absolutely possible to connect a brand’s tradition and legacy with a contemporary approach and progressive look. Truly, I’m impressed by how the end result strikes the balance between modern and maintaining a sense of tradition. Plus, there’s nothing better when (re)introducing a positioning than having many hands live it through the project itself.

LBB> Finally, what did the chance to be involved in this project mean to you?

Victor> If someone had told me that one day I would design something inspired by what Marcel Bleustein-Blanchet drew 100 years ago, I would never have believed it. Yet here we are. Building something new while honouring the rich and beautiful legacy of Publicis and Marcel has been a privilege. I’m grateful that our leadership trusted me to lead this project.

Mary> Make no mistake, this work is the magic of Victor and his team. But from the start, he took us on his journey. Being part of this has been such an inspiration – not watching, not waiting, not trying to understand, but truly being included in the experience of leading change in real time.