(Est. 1841) “AGL is one of Australia’s leading integrated energy companies. It is taking action to responsibly reduce its greenhouse gas emissions while providing secure and affordable energy to its customers. Drawing on 180 years of experience, AGL serves its customers throughout eastern Australia with meeting their energy requirements, including gas, electricity, solar PV and related products and services. AGL has a diverse power generation portfolio including base, peaking and intermediate generation plants, spread across traditional thermal generation as well as renewable sources including hydro, wind, solar, landfill gas and biomass.”
We evolved the rays of the AGL logo to suggest the diverse forms of energy that the organisation offers. Inspired by an outstretched hand, the new logo brings a human touch to the brand, and is designed to animate and come to life in digital channels. The signature blue, which commands high recognition and differentiation, was retained and re-energised. It is optimistic and approachable, without sacrificing a sense of expertise and authority. We also crafted a distinctive new voice for the brand, that’s conversational yet straightforward, funny when it’s appropriate, with a touch of Aussie charm.
Images (opinion after)
The old logo could have been fine, or maybe it was fine at some point when it was only the icon and the type but at some point they added the holding shape that makes it so extra very heavy. The old icon had an almost cool old-school vibe and the wordmark attempted to do something interesting with the “G”. The new logo retains the diagonals of the old icon but reinterprets them as a hand and is meant to emulate blue flames. A decent concept but unfortunately the execution looks like unwashed frozen fingers that double as exclamation marks. It’s an odd composition. The move to lowercase is probably meant to make the company appear more friendly but the sharp, thin typography is too harsh and cold. The animation kind of saves it but, since you can’t animate utility paper bills, then that’s a tough break. The complementary typeface and gradient color application is something we’ve seen over and over and in this particular case, while decently done, doesn’t stand out or differentiate the company in any way (other than perhaps against its previous self). Overall, it’s fine — better than before mostly because this looks designed in the 2010s — but it’s a little clunky.
Thanks to Brady Hancock for the tip.