Nuova livrea Lufthansa
- Autore Discussione LH243
- Data d'inizio
Mi sbaglio o mi sembra che ci sia un trend verso livree di questo tipo (colori, font e logo a parte). Francamente spero in uno degli altri disegni inclusi in un link a un post precedente
Sì, questa versione è molto simile a Joon, Iberia, Level, American. Praticamente un eurowhite da ventunesimo secolo. In linea di massima non mi dispiace questo stile, ma in questo caso mi pare un downgrade rispetto all'attuale livrea di Lufthansa che ha una semplicità e un'eleganza senza tempo.
La domanda è: perché?
EDIT: tra l'altro sta male su qualunque macchina più grande di un 320
EDIT: tra l'altro sta male su qualunque macchina più grande di un 320
Ultima modifica:
Se sará questa, non la trovo brutta, ma solo non Lufthansa.
Spero ci sorprenderanno ma temo sia proprio questa. Bisognerá farci l´abitudine.
Mi chiedo se le ali verranno ancora verniciate in bianco sulla superficie superiore e grigio su quella inferiore o se stavolta verranno verniciate completamente in grigio come quasi tutte le altre compagnie.
Spero ci sorprenderanno ma temo sia proprio questa. Bisognerá farci l´abitudine.
Mi chiedo se le ali verranno ancora verniciate in bianco sulla superficie superiore e grigio su quella inferiore o se stavolta verranno verniciate completamente in grigio come quasi tutte le altre compagnie.
Ho trovato in rete questa foto, chiaramente non ufficiale. Però se ho capito bene quello che ha detto il nostro insider, potrebbe essere - a livello di colori/design - una cosa simile a queste...
Personalmente qualcuna si salva secondo me, ma solo dove c'è il blu argento...
Inviato dal mio VTR-L09 utilizzando Tapatalk
"Rispolvero questo post. Fra le livree su 'aviation concepts' ce ne sono di molto migliori di quella postata dai brasiliani
Io dico solo che questa che é uscita é MOLTO simile ad uno dei 3 drafts che ho visto..i colori sono quelli, cambia la grafica, le dimensioni del carattere. Io ho ancora la flebile speranza che il design non sia questo..se no mamma mia.....
Li ho visti anche io quando sono tornato a FRA stamattina, naturalmente con la LH243!
Se e' quella mi consola solo una cosa... ci vorra' un po' di tempo a ridipingere tutti gli aerei!
Condivido, è l'unica consolazione. Direi che si tratta dell'ennesima occasione persa, da parte di una compagnia aerea, di non modificare una livrea che non ne ha proprio bisogno...
E l'hangar che usano è l'ex painting hangar di az.
Inviato dal mio STF-L09 utilizzando Tapatalk
lo si diceva anche di AA, alla fine non ci si ricorda piu' di quella vecchia. e poi, chi lo dice che non deve essere modificata?
Premesso che i primi bozzetti (cmq non ufficiali) non entusiasmano neppure me, credo sia necessario per qualunque azienda rinnovare il proprio brand nel corso degli anni.
Penso sia fisiologico avere difficoltà ad accettare una nuova immagine. Probabilmente quando anni fa è stata presentata l'attuale livrea, in molti avranno esclamato "era meglio quella prima!" e quando verrà nuovamente cambiata fra 20/30 anni si ripeterà la stessa situazione.
Vedremo e speriamo bene
Penso sia fisiologico avere difficoltà ad accettare una nuova immagine. Probabilmente quando anni fa è stata presentata l'attuale livrea, in molti avranno esclamato "era meglio quella prima!" e quando verrà nuovamente cambiata fra 20/30 anni si ripeterà la stessa situazione.
Vedremo e speriamo bene
Premesso che i primi bozzetti (cmq non ufficiali) non entusiasmano neppure me, credo sia necessario per qualunque azienda rinnovare il proprio brand nel corso degli anni.
Penso sia fisiologico avere difficoltà ad accettare una nuova immagine. Probabilmente quando anni fa è stata presentata l'attuale livrea, in molti avranno esclamato "era meglio quella prima!" e quando verrà nuovamente cambiata fra 20/30 anni si ripeterà la stessa situazione.
Vedremo e speriamo bene
Il mio problema non e' "era piu' bella quella di prima", ma "quella di prima si distingueva meglio dalle altre", le bozze che ho visto finora mi sembrano molto, ma veramete molto simili a quelle di tante altre compagnie che hanno cambiato livrea negli ultimi due-tre anni.
Quella attuale è piacevole e si è fortemente fissata. Sicuramente se vedi timone blu + logo giallo è facile pensare subito a LH, ma non trovo che spicchi per originalità. (vd. Ryanair, AirOne, Jet Airways).
Se si è decisio per un restyling avranno fatto le dovute valutazioni, compresa la riconoscibilità del marchio (o almeno lo spero
)Vedremo cosa verrà partorito... e incrociamo le dita
Un piccolo articolo interno sulla storia del design di Lufthansa. Spero faccia piacere leggerlo. Un saluto a tutti.
Chronicle of a crane
Lufthansa? Oh, the ones with the crane in blue and yellow! Less well-known is where Lufthansa got its colors from. And that, originally, the crane wasn’t a crane. Its story begins 100 years ago
Once upon a time, there was a black bird on white paper ... that’s how the story of the Lufthansa crane could begin. Only it’s not a fairy tale at all, but the success story of a distinctive Lufthansa design. One that begins back in the year 1918, when Otto Firle, a graphic designer and architect in Berlin, reached for a pen and paper on behalf of Germany’s first airline.
1918: A fantasy bird is born
When Firle designed a stylized bird as a logo for Lufthansa‘s predecessor Deutsche Luft-Reederei (DLR), by his own admission he had no particular animal in mind. As advertising manager for the air shipping company, he was tasked with translating its entire corporate philosophy into a simple visual image. In doing so, he wanted to express both the flying and the technical aspects. Firle later revealed that he had not had a crane in mind, but “rather a bird of fantasy.” In the year 1919, advertising with the as yet nameless logo took place for the first time as part of a contest.
The first ten years: colors, shape and name
In 1923, DLR was reorganized as Deutscher Aero Lloyd. From that point on, their aircraft tail units were adorned by the anonymous heraldic animal – although mostly without a circle. “I would not lock an ascending corporate symbol in a cage,” its creator Firle is rumored to have once said. On January 6, 1926, Deutscher Aero Lloyd and Junkers Luftverkehr began trading under the name Luft Hansa. The crane once again survived and was now presented in a circle. Luft Hansa also took on Junkers’ corporate colors of yellow and blue.
In July 1927, Luft Hansa had the “bird symbol” registered at the Reichspatentamt (Patent Office of the Reich). In documents from 1928, it was referred to as the “flying crane” for the first time. How this name finally emerged after ten years is not known. It was probably its similarity with the enduring bird combined with the legend of the crane as an alert and clever bringer of good luck and a messenger from heaven.
All change – but the crane remains
World War II put an abrupt end to the successful growth of the airline with the crane. In 1951, by order of the victorious powers, liquidation even followed. It meant a break from flying for the crane. However, even at this stage, Lufthansa registered an entry with the international patent office. In 1953, out of the liquidation assets the “Aktiengesellschaft für Luftverkehrsbedarf” (LUFTAG) was founded. On August 6, 1954, this was renamed “Deutsche Lufthansa AG.” What would happen to the crane and the corporate design was set out by the executive board in January 1955: “With immediate effect, the old Lufthansa colors will be reintroduced. (…) The Lufthansa bird will remain in its previous form.” A new era had begun for the crane.
The parabolic phase
The next design phase at Lufthansa – also known as the parabolic phase – lasted from 1955 to 1962. It now showed the crane without a ring, in a yellow parabola on a blue background. The upbeat curve not only complemented the aesthetic zeitgeist; it also served as a metaphor for the spirit of optimism of the dawning jet age. Travel was taking place at an unprecedented speed and expectations of future developments were at an all-time high.
The image of the crane in a parabola, looking as though it was breaking a sound barrier, perfectly summed this up – on every Lufthansa aircraft. Lettering at this point mostly took the form of capitals and Lufthansa’s appearance in the post-war years remained dominated by blue and yellow, with the parabolic curve standing the test of time. Elsewhere, Lufthansa’s appearance could be described as rather colorful and inconsistent. In 1955, for example, the Deutsche Bundespost even issued different colored Lufthansa stamps featuring two cranes.
This “inconsistent” appearance was becoming less and less in line with the image of an aspiring company. The airline with the crane now wanted not only to show its leading position, but also to represent its country of origin more strongly. The crane needed to play its role in this – standing for organizational reliability, technical dependability and cultural openness. A new, uniform design was required.
The crane comes full circle
At the beginning of the 1960s, Lufthansa got Otl Aicher, co-founder and lecturer at the Ulm School of Design, involved in creating the new design. Together with his team, he developed a new look, as part of which the corporate colors of blue and yellow would remain a distinguishing feature. The yellow would, however, be warmer and sunnier, and the blue darker. A uniform font was introduced in the form of classic Helvetica and the capital letters disappeared. And, according to Aicher, something else would have to go too: the parabola should be replaced by a circle. This met with fierce criticism. The crane caged in a speed-inhibiting circle? At first, it seemed unthinkable.
Otl Aicher and Lufthansa were also at odds when it came to colors. While Aicher favored a yellow tail unit with a blue crane, the executive board wanted it the other way around – so a blue tail unit with a yellow crane. Eventually they came to a compromise: the tail unit would be blue, upon which there would be a yellow circle with a blue crane in a narrow blue circle. Due to the lengthy discussions, the parabola was kept until the year 1967. It was only replaced by the uniform new look in 1968. A Boeing 707 with the given name Hamburg started out as the first aircraft to feature the new livery on January 28, 1968.
1988: A canary takes flight
In the 1980s, the Lufthansa design was back in the spotlight. The aim was now to move away from the elitist image of an airline for business travelers and to increasingly address private travelers with a more emotive appearance. This challenge was taken on by Zurich-based agency Zintzmeyer & Lux. The most noticeable change by the agency was to put the color yellow in the foreground. The livery of the aircraft would have to be adapted accordingly – without any of the traditional Lufthansa blue. From July 25, 1988, the yellow-painted Boeing 737 Wolfsburg flew across Europe for one month to test the new design.
Employees and passengers reacted scathingly. The Süddeutsche Zeitung newspaper dubbed the Boeing the “yellow canary.” Just two weeks after the Wolfsburg’s first flight, the board of fleet commanders summarized that the test paint had met with “no acclaim” because “the light, summer-fresh livery did not correspond with that of a rock solid carrier and would be better suited to a survivalist vacation flier.“ On August 11, 1988, the Lufthanseat went one step further by saying that with this “hornet-cum-banana,” the “Donald Duck airline” was breaking with its tradition. The Wolfsburg therefore remained Lufthansa’s only yellow-painted aircraft.
A turnaround: change, even for the crane
The Wolfsburg experiment nevertheless had its uses, as it set a limit for the new design. Changes did, however, still need to be made. On September 20, 1988, the executive board at Lufthansa finally agreed to a significantly altered design concept from Zintzmeyer & Lux. The well-established blue would once again be clearly visible on the tailplane of all jets. In the name of continuity, the crane would continue to fly in a yellow circle, but again on a blue tail unit. In addition, the Lufthansa logo would be further emphasized by a thicker blue inner circle. The wordmark would remain the verbal identifier of the company and the Helvetica font in upper and lower case would also be kept. The colors silver, white and gray would then underline the technical edge, reliability and quality of the company.
Lufthansa has remained true to this look since 1989. As such, the airline has not only built long-term trust in its brand and company, but also presented a masterpiece of corporate design. For 100 years, the crane – that once nameless bird by Otto Firle – has been at the heart of this. And now, just in time for the unmistakable Lufthansa bird’s centenary and almost 30 years since the last redesign, the tradition-filled airline is set to present a completely new design. The crane will also be staying put this time. As a heavenly messenger and bringer of good luck, it will now accompany another chapter in the company’s history.
Chronicle of a crane
Lufthansa? Oh, the ones with the crane in blue and yellow! Less well-known is where Lufthansa got its colors from. And that, originally, the crane wasn’t a crane. Its story begins 100 years ago
Once upon a time, there was a black bird on white paper ... that’s how the story of the Lufthansa crane could begin. Only it’s not a fairy tale at all, but the success story of a distinctive Lufthansa design. One that begins back in the year 1918, when Otto Firle, a graphic designer and architect in Berlin, reached for a pen and paper on behalf of Germany’s first airline.
1918: A fantasy bird is born
When Firle designed a stylized bird as a logo for Lufthansa‘s predecessor Deutsche Luft-Reederei (DLR), by his own admission he had no particular animal in mind. As advertising manager for the air shipping company, he was tasked with translating its entire corporate philosophy into a simple visual image. In doing so, he wanted to express both the flying and the technical aspects. Firle later revealed that he had not had a crane in mind, but “rather a bird of fantasy.” In the year 1919, advertising with the as yet nameless logo took place for the first time as part of a contest.
The first ten years: colors, shape and name
In 1923, DLR was reorganized as Deutscher Aero Lloyd. From that point on, their aircraft tail units were adorned by the anonymous heraldic animal – although mostly without a circle. “I would not lock an ascending corporate symbol in a cage,” its creator Firle is rumored to have once said. On January 6, 1926, Deutscher Aero Lloyd and Junkers Luftverkehr began trading under the name Luft Hansa. The crane once again survived and was now presented in a circle. Luft Hansa also took on Junkers’ corporate colors of yellow and blue.
In July 1927, Luft Hansa had the “bird symbol” registered at the Reichspatentamt (Patent Office of the Reich). In documents from 1928, it was referred to as the “flying crane” for the first time. How this name finally emerged after ten years is not known. It was probably its similarity with the enduring bird combined with the legend of the crane as an alert and clever bringer of good luck and a messenger from heaven.
All change – but the crane remains
World War II put an abrupt end to the successful growth of the airline with the crane. In 1951, by order of the victorious powers, liquidation even followed. It meant a break from flying for the crane. However, even at this stage, Lufthansa registered an entry with the international patent office. In 1953, out of the liquidation assets the “Aktiengesellschaft für Luftverkehrsbedarf” (LUFTAG) was founded. On August 6, 1954, this was renamed “Deutsche Lufthansa AG.” What would happen to the crane and the corporate design was set out by the executive board in January 1955: “With immediate effect, the old Lufthansa colors will be reintroduced. (…) The Lufthansa bird will remain in its previous form.” A new era had begun for the crane.
The parabolic phase
The next design phase at Lufthansa – also known as the parabolic phase – lasted from 1955 to 1962. It now showed the crane without a ring, in a yellow parabola on a blue background. The upbeat curve not only complemented the aesthetic zeitgeist; it also served as a metaphor for the spirit of optimism of the dawning jet age. Travel was taking place at an unprecedented speed and expectations of future developments were at an all-time high.
The image of the crane in a parabola, looking as though it was breaking a sound barrier, perfectly summed this up – on every Lufthansa aircraft. Lettering at this point mostly took the form of capitals and Lufthansa’s appearance in the post-war years remained dominated by blue and yellow, with the parabolic curve standing the test of time. Elsewhere, Lufthansa’s appearance could be described as rather colorful and inconsistent. In 1955, for example, the Deutsche Bundespost even issued different colored Lufthansa stamps featuring two cranes.
This “inconsistent” appearance was becoming less and less in line with the image of an aspiring company. The airline with the crane now wanted not only to show its leading position, but also to represent its country of origin more strongly. The crane needed to play its role in this – standing for organizational reliability, technical dependability and cultural openness. A new, uniform design was required.
The crane comes full circle
At the beginning of the 1960s, Lufthansa got Otl Aicher, co-founder and lecturer at the Ulm School of Design, involved in creating the new design. Together with his team, he developed a new look, as part of which the corporate colors of blue and yellow would remain a distinguishing feature. The yellow would, however, be warmer and sunnier, and the blue darker. A uniform font was introduced in the form of classic Helvetica and the capital letters disappeared. And, according to Aicher, something else would have to go too: the parabola should be replaced by a circle. This met with fierce criticism. The crane caged in a speed-inhibiting circle? At first, it seemed unthinkable.
Otl Aicher and Lufthansa were also at odds when it came to colors. While Aicher favored a yellow tail unit with a blue crane, the executive board wanted it the other way around – so a blue tail unit with a yellow crane. Eventually they came to a compromise: the tail unit would be blue, upon which there would be a yellow circle with a blue crane in a narrow blue circle. Due to the lengthy discussions, the parabola was kept until the year 1967. It was only replaced by the uniform new look in 1968. A Boeing 707 with the given name Hamburg started out as the first aircraft to feature the new livery on January 28, 1968.
1988: A canary takes flight
In the 1980s, the Lufthansa design was back in the spotlight. The aim was now to move away from the elitist image of an airline for business travelers and to increasingly address private travelers with a more emotive appearance. This challenge was taken on by Zurich-based agency Zintzmeyer & Lux. The most noticeable change by the agency was to put the color yellow in the foreground. The livery of the aircraft would have to be adapted accordingly – without any of the traditional Lufthansa blue. From July 25, 1988, the yellow-painted Boeing 737 Wolfsburg flew across Europe for one month to test the new design.
Employees and passengers reacted scathingly. The Süddeutsche Zeitung newspaper dubbed the Boeing the “yellow canary.” Just two weeks after the Wolfsburg’s first flight, the board of fleet commanders summarized that the test paint had met with “no acclaim” because “the light, summer-fresh livery did not correspond with that of a rock solid carrier and would be better suited to a survivalist vacation flier.“ On August 11, 1988, the Lufthanseat went one step further by saying that with this “hornet-cum-banana,” the “Donald Duck airline” was breaking with its tradition. The Wolfsburg therefore remained Lufthansa’s only yellow-painted aircraft.
A turnaround: change, even for the crane
The Wolfsburg experiment nevertheless had its uses, as it set a limit for the new design. Changes did, however, still need to be made. On September 20, 1988, the executive board at Lufthansa finally agreed to a significantly altered design concept from Zintzmeyer & Lux. The well-established blue would once again be clearly visible on the tailplane of all jets. In the name of continuity, the crane would continue to fly in a yellow circle, but again on a blue tail unit. In addition, the Lufthansa logo would be further emphasized by a thicker blue inner circle. The wordmark would remain the verbal identifier of the company and the Helvetica font in upper and lower case would also be kept. The colors silver, white and gray would then underline the technical edge, reliability and quality of the company.
Lufthansa has remained true to this look since 1989. As such, the airline has not only built long-term trust in its brand and company, but also presented a masterpiece of corporate design. For 100 years, the crane – that once nameless bird by Otto Firle – has been at the heart of this. And now, just in time for the unmistakable Lufthansa bird’s centenary and almost 30 years since the last redesign, the tradition-filled airline is set to present a completely new design. The crane will also be staying put this time. As a heavenly messenger and bringer of good luck, it will now accompany another chapter in the company’s history.
A me la livrea LH ha sempre messo una tristezza allucinante. Piatta, sciapa, triste, brutta su tutti gli aerei. Ma spero non facciano di peggio, perché quel che vedo al momento nei bozzetti mi provoca i conati di vomito.