(Est. 1933) “Turkish Airlines is the national flag carrier airline of Turkey. As of 2018, it operates scheduled services to 304 destinations in Europe, Asia, Africa, and the Americas, making it the largest carrier in the world by number of passenger destinations (excluding regional brands). It serves more destinations non-stop from a single airport than any other airline in the world. Turkish Airlines flies to 122 countries, more than any other airline. With an operational fleet of 20 cargo aircraft, the airline’s cargo division serves 82 destinations. The airline’s corporate headquarters are at the Turkish Airlines General Management Building on the grounds of Atatürk Airport in Yeşilköy, Bakırköy, Istanbul.” (Wikipedia)
Imagination’s unique approach to this work was to define an innovative “experience identity” called ‘flow’. Inspired by Turkey’s energy, culture and created to represent the Turkish Airlines’ travel philosophy, flow embodies a customer experience that is effortless, seamless, and uplifting. These values have been applied to all of Turkish Airlines’ touch points, from the new logo to the airline’s Istanbul airport lounge, above the line content and in-flight interiors.
The symbol is held in place by 7 flowing lines which representing the seven continents. And alongside the opening of the new Istanbul Airport, the design system was born from the notion of Turkey being the centre of the new aviation world, connecting East and West.
Imagination provided text
Images (opinion after)
In principle, the logo remains the same but, for the most part, has been evolved to be classier and more mature. Removing the cheap highlight, shadow, and bevel effects is an instant benefit, that allows the bird in the icon to show better — its angle has been tilted up a little too. The wordmark is an improvement by being in black but its customization with half round corners, half not, on each letter is so annoying. This trend really needs to stop, it does no letter no favors. Had they left the letters alone, this would have been a straight-up good update. The icon can now also be accompanied by “flow” graphics which work nicely by, literally, flowing through the icon, with the lines converging at its tail and re-emerging from its head. The gradient approach feels a little heavy (like, it’s too much red) but it works, especially as the graphic moves into other applications. Typography-wise and application-wise, everything is pretty straightforward almost to the point of barely registering as an identity. The background flow lines in many of the applications are too subtle and the typography doesn’t have enough of a distinct treatment. Overall, this is fine and the move to a black and red color palette (instead of blue and red) is a big improvement but there isn’t much here to get excited about.