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s p e c i a l c o ll e c t i o n
HOWs Guide
to Branding
HOW covers the world
of branding from how
designers have started
creating their own brands
to how you can help your
clients brands flourish in
a crowded market.
The End of Trend
What is the role of branding in our visually saturated world? Find out.
Re-Re-Rebranding
by Tiffany Myers
Cult of Personality
If you dream of running a design business, meet the partners from LOGOSBRANDS. Three designers purchased an
existing firm, donned their business hats
and took the company global. They share
what theyve discovered about balancing
design and management.
by Tom Zeit
by John Parham
(Re)making a Name
for Themselves
Is your Brand an
Expert?
by Bryn Mooth
Staffers at branding firm CBX rely on their training as actors to create brand stories and sell them
to clients. Learn how to tap into your theatrical
talents.
by Lisa Baggerman Hazen
by John Parham
Is Your Brand
Typecast?
The Connection
Between Brand
and Archetypes
Brand archetypes can reveal how a brand
shows up in the world, how it is motivated and what triggers it. Archetypes can
facilitate the understanding of a brand
and why it attracts certain customers.
by Margaret Hartwell
by Michelle Taute
Theatrics at Work
Color in Brand
Identity Design
by Matt Mattus
Brands in Perfect
Harmony
by John Parham
7 Steps to Build a
Better Brand
Youre great at developing brands for your
clients. But how effective is your own?
A business expert shares his tips.
by Tim Williams
by John Parham
How to Start
Mastering One
of the Most
Misunderstood
Techniques in
Branding
Winning brand extensions are built on
strategy, and you cant create a solid
strategy without knowing the three basic
building blocks of brand extensions.
by John Parham
CHAPTER
THE END OF
TREND
or the past twenty years, I have held a
number of creative positions at Hasbro,
the toy giant and maker of Transformers,
G.I. Joe, My Little Pony, Monopoly, Scrabble,
Trivial Pursuit, Playskool, and Mr. Potato
Head, to name a fewbasically, most of the
classic toys and games we all grew up with.
My career path was pretty typical: I matured
from packaging designer to design manager
to creative director, until I moved into a new
group formed to take on the larger challenges of Hasbros emerging entertainment and
IP development.
Left: Optimus Prime, a character from Hasbros Transformers brand. Right, from top to bottom: Transformers movie poster. Design
concept for tween girl fashion magazine designed by the author. Blythe doll licensing guide, designed by the author. Megatron, another
Transformers robot. Special effects still from the Dreamworks feature film Transformers.
TIBET
YEMEN
SHANGHAI
Left: It seems that there is no escaping the branding of the world. Here, Tibetan wine is marketed in western China and Tibet. Center:
The Pepsi generations graphics translate well even deep in the Republic of Yemen. Right: If you think a Starbucks on every corner
completes the American experience, try Shanghai, China, or even Milan. As global brands grow, so does world sameness.
SHANGHAI
ISTANBUL
HONG KONG
Left: Chinese workers practice Tai Chi in front of posters for Disneys The Lion King, in Shanghai, China. Center: Even if you flunked your
last Turkish language class, you will hardly die of thirst in Istanbul. Right: In 2007, fans around the planet shared their excitement surrounding the premiere of Transformers. Here, a poster adds to the excitement in Hong Kong.
RIYADH
Global Sameness
Brand identity can be expressed simply in form (and two colors). The IKEA experience still delivers to consumers in Riyadh, Saudi Arabia.
Top left: A Star Wars Stormtrooper guards over Londons Trafalgar Square during a promotion for the films debut. Photo by Bryan Allison.
Top right: Subway sandwich shop in Dubai. Bottom: A Gap store in Tokyos youth-trendy Harajuku section.
LONDON
TOKYO
DUBAI
AUSTRIA
With that, I realized a larger and more important trend in design: that true, innovative work
was being done by few and noticed by even
fewer; that those who could break frame were
relegated to the side streets and back alleys of
culture. This gigantic influence of big business
on our culture today was, in fact, arresting the
very culture it was trying to market to. That
phrases like global efficiencies could actually
be culture killers. Business isnt interested in
moving the human experience forward but,
Top: MPreis is redefining the food shopping experience in the Tyrolean Alps.The progressive Austrian food market chain
challenges various architects to make grocery shopping more of an experience than a chore. Bottom: Cappellini lamp by designer Marcel
Wanders at the Milan Furniture Fair. Furniture collection called Dream by Marcel Wanders at the Milan Furniture Fair.
Catalyst Studios Target animation for Times Square brings the Target experience to life, thirty stories
high. >> Brazilian illustrator Adhemas Batistas work for South American mobile phone giant Claro modernizes collage and helps it resonate with the youthful consumer the brand intends to reach.
Technology has become a complicating factor to the challenge of design in several ways.
>> A colorful and stylized composition by Adhemas Batista, created for the Sensorama Exhibition in Berlin, Germany. >> Australian firm
Elenberg Fraser reinvents the idea of ski lodge. This award-winning firm designed a world-class apartment hotel that brings the city to
the slopes. This pink, lavender and chrome playset for the rich is located at Mt. Buller ski resort, a three hour drive from Melbourne.
>> Left: The power of design is best demonstrated by the principles behind Martha Stewart, Martha Stewart Living and MSLO brands.
Martha Stewart is actually less of a domestic diva and more of an ambassador to design excellence. Right: A Home Depot store, North
Americas answer to do-it-yourself home repair. >> A Michaels craft store aisle.
The availability of technology doesnt automatically transform someone into a designer. Its
not as simple as walking into an Apple Store
and buying a software program on design.
The tools of design available today are awesome, and may make it easier and more accessible for most anyone to attempt true design
creation, but a certain amount of talent, skill,
and education must also be present. Design
is a practice, but today it has also become a
pastime and a hobby. There is nothing wrong
with design as a hobby; in fact, I fully endorse
it as a mind-growing exercise, but there is a
risk emerging in our field, because there is
>> Snap Wrap wrapping paper by Catalyst Studios of Minneapolis, Minnesota. >> Silk screen illustrations by Pasadena, California, artist
Steven Harrington, 2008.
>> Silk screen illustrations by Pasadena artist Steven Harrington, 2008. >> Illustration for The Coke Side of Life
campaign by Non-Format.
>> Non-Formats 2006 exhibition Make A Fuss at Vallery, Barcelona, Spain. >> Center: Music packaging for Anoice Remmings, Important
Records. Bottom: Carhartt might mean wholesome work wear in America, but the brand also has become successful as an alternative
expression to urban street culture in many parts of Northern Europe. Budapest designer Karoly Kiralyfalvi is one of many artists hired
by the brand to customize their stores, each one unique and irresistable to the skaters, skallies and fashionistas who are hungry for an
alternative statement of authenticity.
CA ST O F T H O U S A N D S
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same. Today all those style guides come from one unied creative department.
They also put a lot of thought into how Sesame
Streets core assets can be deployed across a variety
of media. A shoot for the television show may include
extra takes that could end up in an interactive game
with the same theme as the episode. Even pictures
of the shows set might end up as assets for marketing
materials or products. And since everything ows from
the TV show, Sesame Street creates one integrated
message across the entire brand. When they start
writing scripts for Sesame Street, theyre thinking
about how those scripts can be used in interactive
media, Broadwater says. Theyre thinking about how
those scripts are going to translate into potential books,
how thats going to translate into home video.
Right now the company is making an effort to
keep the big picture on track. Theyre partnering with
San-Francisco-based Ofce to re-evaluate the brands
place in the market and create an overall brand book.
Its an exercise the company hasnt done for 10 years,
and theres no shortage of material to draw from. The
contents of the show are rich and deep and wide,
Fitzgerald says. Its a show that works on humor. It
has celebrities. It has parodies. It uses all kinds of
cultural inuences and pop culture. And so as we try
to unify our branding at Sesame Street, it should be a
creative lter that helps anchor us in the world, but
actually frees up the designers to do new things.
GUITAR HERO: PLAYING A SOLD-OUT SHOW
Before revamping Guitar Heros online presence,
parent company Activision followed a model similar
to that of a lot of game publishers: They launched
another micro site every time a new title came out. You
could visit sites for Guitar Hero World Tour, Guitar
Hero Smash Hits and, for the headbangers, Guitar
Hero Metallica. Even ad campaigns for the game
merited separate micro sites, and the user community
lived on a different site, too. A simple landing page
served as Guitar Heros main online home and sent
you off to all these individual destinations. You ended
up with a very fragmented brand presence, says Ken
Martin, chief creative ofcer at BLITZ, an agency in
Santa Monica hired by Activision. When we entered
in, it was just a lot of stuff all over the place.
So in late 2009, the digital agency worked with
Activision to create one powerful online hub for Guitar
Hero, a single place for fans to rock out and interact
with the brand. Previously, the games online community site primarily appealed to hardcore gamers, so a
big goal for the new site was mass appeal. It needed to
keep traditional gamers interested without intimidating what Martin calls the Wii moms, shorthand for
casual gamers. In order to do that, we really needed
to make it very simple and effortless for you to kind of
connect the community activities with the actual game
play, he says. Our mantra through the build was that
theres no community section of this new site. The site
is the community.
The new site focuses on a shared love for music
and an online social interaction thats reminiscent of
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M Y G U I TA R H E RO
After linking your console to the Guitar Hero site, you can see
the songs you just played, learn how you stacked up against
other people and even join tour groups.
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MASS APPEAL
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O N L I N E S WA G
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P I C K A P LAT FO R M
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CREAT I V IT Y
THEATRICS AT WORK
At branding rm CBX, theyre not just selling a logo, theyre
selling a story. Talents gleaned from the dramatic arts help
sharpen this staff s presentation and branding skills.
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4 WAYS TO CHANNEL
THEATER THINKING
By Dustin Longstreth, CBX strategy director
1) EMPATHY A theater professional uses empathy to see the
world from a range of different viewpoints. Similarly, the branding professional must have the ability to understand a range
of different perspectives in order to tap into the emotions and
insights that make a brand experience honest, relevant and compelling to the target consumer.
2) ENTREPRENEURIALISM Theater and branding are both
fueled by self-starters with a passion to create new forms of
expression. Theater and brand professionals are not afraid to
fail in their pursuit of new. You can only progress by creating,
testing, failing and improving.
3) STORYTELLING The next time you tell a story or give a presentation, have a point. This is simple and obvious, yet so many
professionals fail to grasp this basic concept. Those with theater
training understand the power of a compelling narrative.
4) COLLABORATION Brandslike playsare not created in isolation. There are a range of talents and creative points of view
needed in order to create an authentic, unique and compelling
experience, not least of which is the audience itself. Similarly,
a logo or product isnt a brand without the participation of
consumers.
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S N A P P L E FA C E L I F T
When the 90s favorite Snapple was left in the dust by avored waters, the beverage giant turned to CBX for a facelift.
Through a full brand redesign, recommended healthier ingredients, and the creation of better avor choices and innovative
new products, CBX helped make Snapple snappy again.
9/7/10 2:00:11 PM
S K U W I T H ST Y L E
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A B O L D E R LO O K FO R
F E M I N I N E CA R E
DESIGNING HOPE
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BIRD S
EYE
VIEW
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A STAR IS BORN
It may seem that Hatch came a long way in a surprisingly short period of time, but the startup spirit was in
the companys blood.
In 1998, Templin founded Templin Brink Design
(T.B.D.) with Gaby Brink, his former colleague from
the internal design group at the San Francisco ofce
of ad agency Foote, Cone and Belding. During the
next nine years, the rm launched successful brands
and ad campaigns for companies across various sectors
and industriesfrom tech giants Oracle and Cisco to
retailer Target to the Bay Area-based boutique Charles
Chocolates. In 2004 Templin Brink was named one
of the 100 fastest-growing companies in the Bay Area
by the San Francisco Business Times. The same year,
Templin and Brink were recognized among the Best
and Brightest Designers by Graphic Design USA.
But all good things, as the saying goes, must eventually come to an end. In March 2007, T.B.D. screeched
to a sudden halt. My old business partner and I
decided that wed had a good run, but that we had different views, so we decided to go our separate ways,
Templin says. The partners wasted no time: Only days
after theyd made their decision at the end of March,
they began the process of shutting down the rm. We
waited until April 2 to tell the staff so they wouldnt
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B I R D M O B I L E P RO M OT I O N
WWWIGN.COM
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H O W 49
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E A ST E R S E L F - P RO M OT I O N
B U S I N E S S CA R D S
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setting everyone up. Our rst meeting was in my living room, and everyone networked to a printer at my
house, Templin says.
FLYING THE COOP
Templin and Jain didnt have to sit around waiting for
the phone to ring. Almost as soon as the word got out
about the new company, clients began calling them.
But the partners also wanted to take some time
to gure out the Hatch brand and to build a balance
that would extend beyond client work. We went into
it thinking wed split it up, 80% on client work and
20% on our own brand and projects, Jain says. We
originally planned to set aside one day a week to let
designers play and explore.
But the team quickly discovered that such a structured divide wouldnt work. The creative process is so
tough to control that way, Jain says.
Nevertheless, each member of the team set aside
time to seed and envision the new design rms brand.
The rst hurdle was determining the name for the new
endeavor. Templin and Jain put freelance writers and
naming experts on the case when they rst conceived
the idea for the company, but the Hatch name came to
Jain when she was in the shower one morning.
It ended up being the perfect name, she says. Not
only had a brand-new life emerged for the creative
agency, but the new company was founded with the
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JA Q K C E L LA RS W I N E
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S A N I TA S S K I N CA R E
CO CA - CO LA CA N S
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C U I S I N E ST Y L E I D E N T I T Y
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P E A C E C E R E A L PA C KA G I N G
Exquisite ornamentation
applied to a plain brown box
lends a distinctive quality to
this new line of cereals.
S P E C I A LT Y S B A K E RY
Stacey King Gordon is a freelance writer and editor based in the San Francisco Bay Area. She is
the author of Magazine Design That Works and
Packaging Makeovers: Graphic Redesign for Market
Change. www.night-writer.com
H ATC H D E S I G N S A N F RA N C I S CO www.hatchsf.com
9/16/08 11:41:36 AM
T R I O O F PA RT N E RS
Everyone knows good designers dont make good businesspeople, right? Thats why so many creative rms
have two leaders: the design partner and the business
partner. So the idea of three creatives coming together
to run an agency seems like a recipe for disaster. But
for Torontos LOGOSBRANDS, that mix works well.
I hate the term client service, admits John
Miziolek, president and CEO of Torontos LOGOSBRANDS (pronounced low-gahs). I dont mean that
serving clients isnt importantits just that it suggests
that were a service-based company, and thats not a fair
assessment. Any design company should be creatively
driven, and should be about the work thats coming out
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S P I R I TS PA C KA G I N G
M A LTA R E B RA N D
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T I M OT H Y S CO F F E E I D
LOGOSBRANDS went
beyond its package-design
experience in creating the
identity, packaging and
related items for Timothys
Coffees of the World, a 100store chain in Canada.
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BIG IDEAS
Not surprisingly, given their youth and enthusiasm, the
trio had some big ideas for the rm when they took it
over. LOGOSBRANDS had existed since 1979 and
focused primarily on package design, but former owner
Brian Smith had semi-retired and the company was
sort of on auto-pilot, DiNardo says. The new owners
saw that condition as representative of the industry,
particularly in the Toronto area, but across North
America, as well. What they wanted was innovation.
There wereand still area lot of things happening in the industry that may be good for business, but
theyre not really moving design forward, Miziolek
explains. For example, if you ask fairly established
design companies what their focus is, some of them
will probably tell you that its the client relationship. I
think thats become more important to some of these
companies than the actual creative theyre generating.
In fact, Id argue that, with maybe a couple of exceptions, North America as a whole has become used to
watered-down design and really great service. Thats
the thing we absolutely wanted to change.
Another goal was to expand the companys reach.
That came both by diversifying the work (now about
70% packaging design, vs. 95% previously) and by
seeking more global opportunities. In particular, that
meant not just acquiring international clients, but also
developing global brandswines or clothing labels, for
examplerather than regional ones. Recently acquired
clients include the food giant General Mills, the alcoholic beverage conglomerate Diageo and the Liquor
Control Board of Ontario.
The partners also looked abroad for inspiration.
Theres a cultural diversity that already exists in
Europe and parts of Asia, a sense of being non-exclusive, that I dont think weve caught up to yet over
here, Alexiou says. Were still young, culturally speak-
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WHATS IN A NAME?
Look to the rms name for its mission. The Greek word
logos has an extraordinary range of meanings, all having
to do with the formulation of ideas, the expression of those
ideas through language, and the attribution of meaning and
the faculty of reason that make this possible. Brands, of
course, are promises, identifying and authenticating products or services for customers and associating them with
certain qualities. Put them together in the work of a design
rm, and youll get creative work thats also purposeful.
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because the partners are concerned about the prevalence of young designers coming out of school so
handcuffed to the computer that they have no sketching and illustration skills. That, Alexiou suggests, is a
primary cause of uninspired, formulaic design work,
and the rms beliefyou may call it a gambleis that
clients are looking for designs that are fresh, not trendor template-driven.
SURPRISE, SURPRISE
As the three partners settled on their global focus, they
found some challenges with the business transition
closer to home. Namely, among the staff.
I guess it was a learning curve for us, Miziolek
says, but we made an incorrect assumption that the
people we had on board before the deal was done
would be the same people we had on board after the
deal was done.
In fact, the rm now has about 20 staff members,
roughly the same total as before, but only four of them
are the same people. Youve heard the analogy about
getting the right people on the bus, but Alexiou prefers
another metaphor.
A bus cant take you far enough, he says. Where
we needed to be to compete on a global level was on
a plane, and there were some people in the company
who were just afraid to y. There was nothing wrong
with them, but you have to be forward-thinking, looking not in your own backyard but at what trends and
ideas are coming from Asia or Africa or Australia.
That standard required both a high turnover for
LOGOSBRANDS and the implementation of more
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PA C KA G I N G CO N C E PT
9/16/08 3:55:59 PM
BY BRYN MOOTH
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But with the words design, creative and communication in previous iterations of his companys name,
Morris felt the rms work was outpacing its identity.
It facilitates transition. When a designer launches a
creative business, the default is to choose an eponymous identity. But having your own name on the door
raises two challenges: First, clients assume theyll be
working directly with you, and not the amazing team
youve gathered. And second, when youre ready to
step out of the rm, selling it to new owners is much
more difcult.
Mindful of the challenges and payoffs, Schisla and
Morris took the plunge and introduced new identities
for their rms this year. Lets look at how each of them
did it.
8/30/12 4:58 PM
and referrals. SDS built some strong and lasting relationships, which helped the rm hang in there through
economic ups and downs. Senior designer Bruce Sachs
joined the rm in 2006; Suzanne Duval dAdrian came
on board in 2009 to handle ofce support.
In 2007, SDS ran into a big hurdle thats common
for design rms: They lost a major client when their
key contact left the company. After not having spent
much energy on marketing, the rm was challenged
to bring in new work. At that point, Schisla realized
she had a positioning problem because they were too
similar to other rms with a horizontal market focus.
Our steadiness was an obstacle to growth, she says.
We felt good about the quality of our work and the
thinking behind it, but we couldnt articulate a unique
position for ourselves.
Schisla followed many of her fellow design agency
principals by hiring a salesperson in 2008 to drum
up new business. While the rep did drum up some
leads and network on the rms behalf, there were
a couple of downsides. The salesperson didnt have
deep enough expertise to talk strategy and possibilities
with a prospect, and the lengthy sales cycle meant
there wasnt a quick return on the cost of the salary
and commission. Schisla was looking for a better solution when a friend connected her with Peleg Top, a
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ENRICH
Rebranding isnt cheap, particularly when you consider studio time (which
you must). For Enrich, expenses included retaining a consultant and a
trademark attorney to register the name, hiring a web programmer and
printing for their business papers. Creative director Kory Waschick says
that during the height of the project, she and senior designer Bruce Sachs
spent 50% of their time on the rebranding. The team had a goal to average 20% to 30% of their time on the project, which jibes with their normal
marketing activity.
A new website was the rst visual expression of the Enrich brand. Sachs did
extensive work on the wireframe structure, Waschick focused on developing the design and Schisla concentrated on messaging. A new Enrichment
section, with articles and resources, proved the most time-consuming part
of the site.
The Enrich brand lends itself to a color palette of earth tones mixed with
soft gray and eggplant. Throughout the website and identity, photos and
vintage botanical illustrations are combined to convey a deeper meaning.
Says principal Gretchen Schisla of the Enrich rebranding: Its been so
much funit feels so natural to us because were doing something we
really believe in. I can see the relevancy to what were doing in so many
ways, and its going to continue to unfold. I dont know where all the pieces
will t, but it feels really good.
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T H O U G H T L E A D E RS H I P
8/30/12 4:58 PM
MTH
Steven Morris pursued two different directions in developing a new brand
for his rm before landing on the name Mth. A play on the phrase Nth
Degree, it reects the rms willingness to go above and beyond in developing new ideas for clients. And its part of the teams DNA: Mth was
the name they established in 2007 for their program of pro-bono work for
nonprot clients.
Morris sat on the new brand concept for four years, waiting until he felt
the rm was ready for a big change. He shared the idea condentially
with a few outsiders, some of whom told him that changing the rms
name was a risky idea. Not all business decisions are going to be black
and white, he says, but if youre a good business leader, you go with
your gut and your heart as much as you go with the information thats
in front of you.
A B O L D A P P RO A C H
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CA S E I N P O I N T
REBRANDING.indd 56
Morris had been chewing on the idea of rebranding for several years, seeking a new name that would
better capture the rms current expertise. He notes
that agency names tend to fall into one of two camps:
1) the principals rst and/or last name, or 2) a clever
garage-band kind of name, like Green T-shirt or
Screaming Lizard. Morris wanted an identity that fell
into a third category, one thats unique and interesting, yet descriptive of the rms vision. Morris fully
explored one option before shifting focus toward a
moniker that was more distinguishing, one that his
rm could truly own.
That name, Mth, a play on the term Nth degree,
emerged from the teams efforts to go above and
beyond on behalf of their clients. And it was born out
of an internal pro-bono program of the same name that
Morris Creative had developed in 2007 to formalize
their process of serving nonprot clients. This year,
under the Mth program, the rm launched a new
name, identity and communication suite for a San
Diego autism-advocacy agency called Include Autism.
As part of the rebranding process, Morris shared
his thinking and invited other ideas from the team.
When he pitched the Mth name, he says, some of
the team embraced it right away, and others gave it
a, Huh. Thats interesting response. When Morris
crafted a new positioning message that tied the name
into the rms mission, Mth became the top choice.
Morris says the name leaves room for interpretation;
it allows the team to riff on what the letter M means.
8/30/12 4:59 PM
b y terr y lee s to n e
Color in Brand
Identity Design
Ultimately, its the designers job to clearly communicate
with clients and colleagues, and to facilitate a common
understanding about colorand its role in a brands visual
expression.
Color is one of the most highly subjective aspects
of design. The human eye can distinguish the light
waves of varying wavelengths vibrating at different
speeds that produce the sensation of color in our
brains. But who knows if what one person sees is
exactly what another does? Sure, its in the ballpark;
blue will look blue to most of usbut do we all
perceive precisely the same blue?
Talking about color in identity design will always
be a challenge. (It is one of the most requested topics at the HOW Design Conference.) Beyond the
physiological issues of color perception, colors have
associations with emotional states, symbolism, and
cultural meanings. Add to these factors the whole
aspect of aesthetic preference. Color is a loaded subject, deeply personal and experientially specific to the
viewer. Yet color universally accepted as a critically
important aspect of any design. Why? Because color
attracts and holds attention, conveys information on
conscious and subconscious levels, and assists in mnemonics (or memorability).
Ultimately, its the designers job to clearly communicate with clients and colleagues, and to facilitate a
by margaret hartwell
by tim williams
7 steps to build
a better brand
Youre great at developing brands for your clients. But how
effective is your own? A business expert shares his tips.
Youre standing in the elevator with a prospective client who turns to you and says, Ive heard of you guys.
Tell me about your agency. Heres your chance to
describe what makes your firm interesting, compelling and different. Instead, what comes from your
lips is something like, Were a full-service integrated
marketing communications firm serving a wide variety
of clients.
Alas, youve just missed an opportunity.
Unless youve made the effort to define your agencys position in the market and to describe it in interesting, engaging language, youre likely to miss one
opportunity after another.
Heres another way to look at it: Can you describe
your agency positioning in a sentence, in a paragraph
and in a page? Youll need a version in each length to
use in applications like your website, your online brochure and your listings in agency directories. Follow
these steps to build your brand.
D E C I D I N G W H AT YO U R E N OT
G O I N G B E YO N D AWA R E N E S S
D I S COV E R I N G YO U R B RA N D
CO N N E C T I N G VA LU E & AU D I E N C E
VA L I D AT I N G YO U R P O S I T I O N
M ATC H I N G P O S I T I O N W I T H P RA C T I C E S
T U R N I N G T H E M I R RO R A RO U N D
Branding puts meat on the bones of simple awareness. Once a prospective client knows the answer to
the question, Who are those guys? the next question
he has is, What are those guys all about? Just like any
other product category, clients like to buy brands, not
generic products.
DISCOVERING YOUR BRAND
You dont define your brand as much as you
discover it. Its already there, deep inside
the companys soul, in the form of natural
strengths and core competencies. As a starting point,
consider what has made your firm successful up to this
point. Consider these questions:
Your product
Your people
Your promotion
Your process
Your place of business
Socrates said, The way to gain a good reputation
is to endeavor to be what you desire to appear. Said
another way, to be successful, we must align our practices with our position. When it comes down to it, the
real difference between truly outstanding agencies and
everybody else is that they not only talk the talk, they
actually walk the walk. They have a strong alignment
between what they say and what they do, between
their brands and their practices.
TURNING THE MIRROR AROUND
Finding a brilliant positioning strategy for
your own company is one of the most
important and rewarding experiences
a design-firm executive can have. Youve spent your
entire career working on other peoples brands. Now
heres a chance to work on your own.
As one agency executive remarked after leading his
firm through this positioning process, Why try to be
something to everybody when you can be everything
to somebody?
by tiffany myers
re-re-rebranding
Crafting your firms identity is a massive, often painful,
project. This digital design studio reinvents its I.D. every
150 days. Are they crazy? Try strategic.
While a typical company might hold its breath and
launch a rebrand once or twice in its lifetimethen
live with the results for better or worseMinneapolis
interactive firm space150 undergoes identity overhauls
with unprecedented speed, devising an entirely new
logo, website, business cards and bevy of self-promotional swag every 150 days. At first blush, it seems the
off-the-wall hijinks of a free-spending startup without
a business plan. But space150 is not your typical
company, nor is its CEO/creative director, William
Jurewicz, a man without a plan.
In early 1999, Jurewiczcomputer whiz, astronomy junkie and entrepreneurbought a home. It
wasnt a nesting impulse. Rather, with a mortgage to
borrow $20,000 against, he launched space150 in
March 2000 just as the dot-com crash slammed into
the fragile bubble of the U.S. economy. Those were
the freaky-sweaty times, Jurewicz says. [I thought,]
I have nowhere to go now. Open a window, and
lets jump.
Jurewicz, whose father distributed video games
and electronics in the early 1980s, had grown up
on a steady diet of computers. By the late 90s, as a
copywriter at Minneapolis Fallon, Jurewicz saw the
potential of digital marketing when others dismissed
by john parham
cult of personality
What lifestyle does your brand represent?
Theres a bit of a mythical aura around the term
lifestyle brand. Its something everyone seems to be
reaching for, but what does it mean, exactly? And how
can lifestyle status help your brand grow?
A true lifestyle brand is all about personality. It
helps consumers define who they are and how they
want to liveto themselves and others. And when
your brand represents a lifestyle, you often own a
distinct visual style that you can apply to products in a
wide range of categories.
This desirable look and feel represents a way of life,
and it might hint at everything from values and interests to a distinct culture. So what lifestyle does your
brand represent? It might be almost anything. Heres
what some successful lifestyle brands embody:
Southern Hospitality
Last Spring, Southern Living magazine partnered
with Ballard Designs to launch the Southern Living
Collection. It features dishes, glasses, napkins, silverware and other tabletop accessoriesall the stylish
things youd need to host a party that lives up the photos
and ideas shown in the magazine. Its a perfect extension for a brand that represents Southern style, charm
and entertaining.
Love of Learning
The Discovery Channel helps the intellectually curious discover new things. My agency helped them
leverage this learning lifestyle with brand extensions
that ranged from toys to digital voice recorders. Each
one helps consumers explore their world.
Luxury Experience
Originally built by George Vanderbilt, The Biltmore
estate in Asheville, NC, represents a lavish lifestyle.
This sprawling historic home and estate lends its name
to a range of luxury products through licensing: wine,
gourmet food, landscaping, lighting and many others.
Rugged Work Ethic
Many brands represent the tradition of hard work.
Caterpillar, for instance, makes heavy construction
equipment, but theyve expanded into shoes, clothing, outdoor equipment and even toys. The Discovery
Channel licensed the name of its Dirty Jobs TV
show, where host Mike Rowe tries out the dirtiest jobs
around, for a line of cleaning products. These brand
extensions appeal to everyone from construction workers to weekend outdoorsmen.
Outdoor Lifestyle
Jeep represents the freedom of driving off-road, and to
capitalize on this perception, the brand has licensed its
name for a range of products: clothing, knives, tents,
bicycles, baby strollers and more.
Sports Fitness
Nikes founders observation, If you have a body,
you are an athlete, has set the tone and direction
for the brand. Originally a line of running shoes,
Nike-branded products now include athletic footwear,
apparel, equipment and accessories for a wide variety
of sports and fitness activities.
Does your brand represent one of these lifestyles?
Or a different one completely? It might be the best
way to extend your brand. And develop a cult-like
following among consumers who want to live your
brands lifestyle.
by john parham
by john parham
by john parham
by john parham
by john parham