Launched mid-last year and rolling out approximately 50 stations since across Turkey, GO is a new brand of gas stations operated by Ipragaz, the second largest subsidiary of global company SHV Energy. Because Ipragaz has been specialized in liquefied petroleum gas since 1961 — which is a consumer product as common as water cooler jugs in some countries — its name would have proved difficult to enter the auto gas market. With the help of Saffron, who named the brand and designed the identity, they introduced GO.
Saffron created the name —GO—, the core concept, the visual style and the eventual design of the new stations: a place to escape the rigours of the road and possibly even enjoy filling up. To build the service station Saffron partnered with Malka+Portús. Together we designed a unique experience covering every aspect of people’s interaction with GO — from the sign on the highway to the one on the restroom, and everything in between.
The first thing I like about this wordmark is that it is not geometrically perfect. It would have been easy to just draw the stroke in Illustrator, fatten it, and let it handle the curves. Instead, the corners have been adjusted slightly to give it a more organic flow and avoided the heavy ink coverage that happens with straight-up Illustrator curved corners. The triangle on the outside is also well considered — while it bottom-aligns with the top curl of the “G”, it dips slightly below to compensate visually. These are seemingly small moves but they help convert what would be an otherwise generic wordmark into something with more personality and visual presence, specially in such a simple identity system.
Using a relatively simple palette of elements — bright green and pitch black color palette, triangles, and sometimes the GOGOGOGO repetition — the identity and presence feels rich and elaborate. And, well, those gas stations look absolutely bad-ass and straight out of a science fiction movie. I love the balance of the use of green — usually an attempt to appear environmentally conscious — and the use of black — usually a sign of evil corporations and oil spills. Here, the stereotypes magically cancel each other out to deliver a color palette that simply looks great, regardless of entrenched associations.