(Est. 1912) “Marvin is a fourth-generation, family-owned and operated business, headquartered in Warroad, Minn., with approximately 5,500 employees across 15 cities throughout North America. Marvin’s product portfolio includes the Signature, Elevate and Essential Product Collections which offer an extensive selection of made-to-order window and door solutions, as well as Infinity Replacement Windows, providing homeowners with a premier line of replacement windows sold and installed by local professionals. The company’s portfolio also includes TruStile Doors, the leading manufacturer of made-to-order architectural interior doors and SIW Windows & Doors, a leading manufacturer of impact-resistant windows and doors for residential and commercial construction. Since the company’s inception, Marvin has earned a reputation as an innovator and industry thought leader. Today, the company is driven by a purpose to imagine and create better ways of living.”
In creating the new logo, the team began by digging deep into Marvin’s historic roots of expression, examining decades of company communications. The team needed to respect the legacy without getting lost in it. There were crucial elements that had to be honored—like the symbol of the rose and optimistic yellow brand color. While these elements are foundational to the company, there was license to evolve them for a modern new identity.
The new identity maintains a familiar strong stance but is lighter with a refined design-forwardness. The all-caps wordmark evokes confidence and pride in the family name while details such as the letterform’s undulating weight and the subtle curve in the letter R leg suggest an air of sophistication and attention to detail. The new modern rose reflects the company’s optimism and warmth. And it was crafted with the needs of today’s multi-channel environments in mind—making it more versatile in applications from print and environmental to digital, motion and dimensional environments.
Images (opinion after)
One of the great things about Brand New, for me, is learning about all these large companies I never knew existed, like this 5,500-employee door and window manufacturer, which I had not heard of before and, coincidentally, once I knew about it I spotted one of its trucks on the road, which I would have ignored otherwise, especially with that old logo that looked like a flower shop and a mechanic shop had a logo baby. We will have to assume that the yellow rose was non-negotiable and that it’s meaning is relevant to the owners and not the product* as it remains the core identifier. The old rose was way too literal and hard to use while the new one is a nicely abstracted rendition using rough, organic shapes — I can picture this easily being a mono width, Dribbble-esque drawing to follow trends, so it’s nice to see something less crisp. The gradient seems very unnecessary. The wordmark is alright but maybe starts to look to default-ish and I think a slimmer version of the old one would have worked well. Not much in terms of applications where I think this could flourish. Pun. Overall, the change makes the company look like a 5,500-employee, 15-location company whereas before it wasn’t even close to exuding that kind of presence.
*I stand semi-corrected: “The yellow rose was first used by Marvin in 1968 and is an instantly identifiable icon for the company. It was introduced to represent products ‘built for Northern winters and Southern hospitality,’ supported by the idea that a rose can’t flourish indoors without the ideal environment that windows and doors provide. It is also said to have been the favorite flower of Margaret Marvin, whose husband Bill Marvin is credited with evolving the company’s focus from lumber to windows and doors.”