Motion Identity Design Is Having a Moment — How Kinetic Brands Are Replacing Static Logos
Motion identity design is the new frontier of branding. How studios like Collins, Trollbäck, and DIA build kinetic-first brand systems replacing static logos.
Picture two brand intros. The first: a wordmark fades in on a flat colour field, holds for two seconds, fades out. The second: a geometric form rotates into frame, pauses on an axis of tension, and resolves — with a single, confident motion — into a logomark. You've already forgotten the first. The second is living somewhere in your visual memory, attached to a feeling you couldn't quite name.
That difference is motion identity design — the discipline of defining how a brand moves, not just how it looks — and it is rapidly becoming the dividing line between brands that register and brands that disappear.
The New First Impression
For decades, the static logo was the primary handshake between a brand and its audience. A mark on a letterhead, a sign above a door, a stamp on a product. The logo existed in stillness, and the brand guidelines that governed it were principally concerned with clear space, minimum sizes, and colour fidelity.
That world is over — or at least, it is no longer the whole world. The first encounter with most brands now happens on a screen, and screens move. Social video, app loading states, digital out-of-home, streaming intros, even the micro-animations inside a checkout flow — these are the touchpoints where identity is formed. When the medium is motion, a static mark is a missed opportunity.
Studios like Collins, Trollbäck+Company, and DIA have been building around this reality for years. Trollbäck+Company — founded in 1999 by Swedish designer Jakob Trollbäck — cut its teeth on broadcast motion branding for networks like FOX, AMC, FX, and Sesame Street, winning Primetime Emmys along the way. What was once a specialism of broadcast design has now become a universal requirement: every brand needs to know how it moves.
Collins has taken a different but parallel path. Their rebrand of Spotify in 2015 introduced the signature duotone visual system — bold, high-contrast colour pairs that practically vibrate — and the work was conceived from the start to live in motion across playlists, campaigns, and app interfaces. Their projects for Dropbox, Twitch, and CNET followed a similar logic: brand identity as a system that moves, not a mark that merely appears. (For more on how studios like Collins and Pentagram are reshaping brand language, see our studio spotlight series.)
Brand Behaviour Over Brand Look: The Core of Motion Identity Design
The most interesting shift in motion identity is not aesthetic. It is conceptual.
Traditional brand guidelines define how a brand looks — its colours, typography, spatial relationships, photographic style. Motion guidelines define how a brand behaves. What are its easing curves? Does it move with the momentum of something heavy, or the lightness of something airborne? Is its rhythm staccato or legato? Does it enter a space with confidence or arrive tentatively?
These are questions of personality, not decoration. And the best motion systems answer them with the same rigour that a typographic system answers questions about hierarchy and tone.
IBM's Carbon Design System is one of the most detailed public examples. It defines two distinct motion styles: "Productive" — fast, efficient, subtle — and "Expressive" — enthusiastic, vibrant, highly visible. Each has specified easing curves, duration rules, and explicit anti-patterns: no bounce, no stretch, no sudden stops. The system is rigorous enough to ship as an npm package. It treats motion not as a creative flourish but as a design token, as fundamental as colour or spacing.
DIA's work on Mailchimp's motion identity, completed in 2020 under creative director Mitch Paone, took a different approach to the same problem. Collins had designed Mailchimp's 2018 visual rebrand — purposeful, playful, surreal — but the illustration system required bespoke art direction for every execution. DIA's motion layer unified everything. The easing curves, the transitions, the rhythm of movement all derive from a single source: Freddie the chimp's wink. The brand's motion behaviour is, quite literally, an extension of its mascot's personality. As Paone has written: "Identity is behaviour" — motion becomes strategic, not decorative, when it defines how a brand behaves, not just how it looks. The system won at The One Show in the Motion Identity category.
Three Systems Worth Studying
<!-- IMAGE: Side-by-side stills from the Max/HBO Max motion mnemonic — the bold form pulling back through the logo. Source reference: DixonBaxi Max case study. -->
Max (and the identity that won't sit still). When Warner Bros. Discovery rebranded HBO Max to simply "Max" in May 2023, London agency DixonBaxi designed a motion mnemonic built around a single, deliberate gesture: a bold form pulls back through the logo, suggesting that the entire viewing experience is contained within the brand. A custom typeface, Max Sans — developed with type foundry F37 — uses pure geometric forms that reference the logo's curves, while a sonic identity by Zelig layers anticipatory beats, audience whispers, and a clapperboard into three seconds of audio. The logo has since shifted from its original blue to a black-and-white palette, leaning into HBO's premium heritage. By July 2025, the service reverted to "HBO Max" — but the motion system DixonBaxi built remains a masterclass in kinetic brand expression.
<!-- IMAGE: Decathlon's L'Orbit identity in motion — the orbital gesture animating across type and layout. Source reference: Wolff Olins Decathlon case study. -->
Decathlon's Orbit. When Wolff Olins led Decathlon's global rebrand in March 2024, they introduced "L'Orbit" — a dynamic logo expressing movement and circularity. The motion system extends the orbital gesture across animated logo design, typography, imagery, layouts, and cinematography, creating a signature movement language that connects every touchpoint. Paired with a custom typeface, Decathlon Sans, the identity is conceived for motion first and works backwards to static applications. It is one of the clearest recent examples of motion as the organising principle of a brand system.
<!-- IMAGE: Notion's AI Assistant character — minimal facial expressions (eyes, brows, nose) conveying thought and attention. Source reference: BUCK Notion case study. -->
Notion's quiet intelligence. BUCK, under creative director Simon Chong, designed Notion's AI Assistant character with a minimal palette of motion — eyes, brows, nose — that communicates thought, attention, and response. It is proof that motion identity need not be loud. Sometimes the most effective brand motion is a raised eyebrow.
The Technical Democratisation
What makes this moment different from, say, the broadcast branding boom of the early 2000s is accessibility. Motion identity is no longer the province of studios with six-figure After Effects pipelines.
Lottie — born as a hackathon project at Airbnb in 2017 — solved the handoff problem. Using Bodymovin, an After Effects plugin created by Hernan Torrisi, designers could export compositions as lightweight JSON files that render natively on iOS, Android, and the web. For the first time, a brand's motion guidelines could ship as code, not as a reference video that a developer would approximate.
<!-- IMAGE: Infographic comparing Lottie vs. Rive — file size (JSON vs. binary), interactivity model, and workflow diagram. Data sources: Rive blog benchmarks, Callstack comparison study. -->
Rive, founded in 2019 by twin brothers Guido and Luigi Rosso, pushed further. Its State Machine allows designers to create interactive, state-driven animations — animations that respond to user input in real time — without writing code. According to Rive's own benchmarks, files are typically ten to fifteen times smaller than equivalent Lottie exports when rebuilt using Rive's rigging system. The company reports four times faster production compared to workflows built on After Effects, Figma, and CSS — figures that reflect Rive's optimised binary format and integrated design-to-code pipeline. Rive's client list — Spotify, Duolingo, Disney, Google — speaks to the growing demand for runtime-efficient brand motion guidelines.
The implication is significant. When motion identity is cheap and lightweight to produce, it ceases to be a luxury line item and becomes a standard deliverable. Agencies now ship source files and motion toolkits alongside their static brand guidelines. The floor has risen.
The Risk: Brand Drift Through Motion
There is a danger in all of this, and it is the same danger that afflicts any expressive system: incoherence.
When every touchpoint moves — the app, the social content, the digital signage, the website transitions — and each is produced by a different team on a different timeline, motion becomes a vector for brand drift. The landing page breathes slowly; the social ad snaps aggressively; the app onboarding bounces cheerfully. The brand starts to feel like three different personalities sharing a wardrobe.
The best motion systems address this with the same constraint and specificity as a type system. Defined easing curves. Specified durations. Clear hierarchies of motion intensity. Anti-patterns documented as rigorously as the patterns themselves. Motion guidelines that say "we don't bounce" are as important as guidelines that say "we move with confidence."
The brands getting this right treat motion not as an enhancement layer applied after the identity is designed, but as a foundational decision made alongside colour, typography, and spatial logic. Motion is not the last slide in the brand deck. It is on page one.
What This Means
The static logo is not dead — it will always have a role in print, signage, and contexts where stillness is the medium. (The anti-logo movement shows that even static identity is being reimagined.) But a static mark is no longer sufficient as the primary expression of a brand's identity.
The studios and brands leading this shift understand something fundamental: in a media environment defined by movement, a brand that doesn't move is a brand that doesn't exist in the spaces where attention lives. Motion identity is not a trend. It is a structural response to the fact that every screen is a stage, and audiences expect a performance.
The question for identity designers is no longer whether a brand needs motion guidelines. It is whether the motion guidelines are as considered, as constrained, and as expressive as the visual system they accompany.
The best ones are. And you can feel the difference in the first three seconds.
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