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Archive for the ‘design’ Category

Mar 9th, 2010 by Piers Guilar

The dark side of brands


In the future, will we see the emergence of brands with a darker side? Brands that succeed by making people feel uncomfortable; are mysterious yet exciting; are uncompromising in their convictions and don’t try to be nice to everyone.

Historically, 99% of successful brands have built relationships with customers through positive, warm and engaging communications and experiences. This is all very well but it doesn’t reflect the full spectrum of emotions humans feel or want to experience.

For example, within the world of entertainment we pay more to experience films that engage a broader range of emotions, the positive and the negative, the lighter side and the darker side of ourselves. We don’t pay as much to see the simply positive, warm and light-hearted films. The worldwide top ten grossing films of all time include Avatar, The Dark Knight, Lord of the Rings, The Phantom Menace and the Harry Potter franchise. Not one romantic comedy to be seen (Mamma Mia comes in at no 49). A similar argument could be made for books. Whilst Barbara Cartland’s romances have sold well, Dan Brown’s psychological thrillers of good and evil have combined sales second only to The Bible. And what of TV shows and music? The list would go on.

Humans thrive on feeling a full spectrum of emotions, experienced through life’s relationships, work, current affairs and entertainment. So why are we not also experiencing a broader range of emotions through the brands we engage with and the products and services we buy? Why do we only engage with brands within positive emotional parameters?

Will we see brands engaging our broader range of emotions and feelings in future? Is there an opportunity for some brands to be dark and mysterious, to be ruthless and unforgiving? Or are we still not ready for these experiences to be delivered by brands? We’ll have to wait and see. In the meantime I’d like to leave you with one example of a brand I believe does have a darker side.

The McLaren brand. Employees whisper in the secret, state-of-the-art headquarters hidden within the countryside of Surrey, England. It’s like something out of a Bond movie. The corporate mantra is to be the best at whatever they decide to do. The culture is to kill the competition, where ‘second place’ is viewed as first place for losers.



Their uncompromising and unforgiving approach to whatever they set out to do is legendary, be it Formula 1, composite technology or supercar manufacturing. McLaren acts more like a movement than a brand. You are either in or you are not, there is no in-between. It is a brand with a dark side that doesn’t set out to engage the masses, yet the masses engage with McLaren because of its brand.

If you have experienced any other brands that truly engage our broader spectrum of emotions, the positive and the negative, the light and the dark, I’d be pleased to hear from you.

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Dec 15th, 2009 by Dona Wong

“Great presentation. You are a rock star!”

That’s what you want to hear after you step down from the podium.

Getting to that point can be painful for many professionals though. Most people create presentations by trial and error, often co-mingling clear and concise copy with complex graphics that yield no benefit to the audience. As in creating any communications piece, attention to clear mechanics, simple style and artistry is key to designing good information graphics. Yet 99 percent of presenters make charts and graphics on the fly, right before show time.

As a result, many presenters lose their audiences in slide after slide of complex charts and graphs that muddy the message they’re trying to deliver.

Working at Siegel+Gale, a brand consultancy and pioneer in simplified communications, I’ve combined my training in information design with simplified communications techniques to help an array of audiences communicate their messages clearly. Whether it’s reporting financial information, creating a client presentation, interactive communication, or customer document, understanding how to design information graphics that complement the message is key to business success.

In my new book, The Wall Street Journal Guide to Information Graphics, I begin with the basics – the data content – that drives all graphics. You will learn to make the right choices about filtering and displaying your data. For example, plotting a stock index in actual values versus plotting the percentage change will yield two different pictures. By charting the same data in a different framework, you provide a new reference point for your audience. When you supply the reference point, you control the message.

The book goes on to cover how to use colors to your advantage, how to manage costs and resources through the use of graphics, and many other practical applications through numerous dos and don’ts.

The great feedback that I’ve gotten from reviewers shows that graphics sensibility is an essential ingredient of effective business communications today. After reading the examples from the book, you will never look at any communications piece the same way.

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May 5th, 2008 by Siegel Gale

Fortune Magazine’s First Ever F-500 Corporate Identity Competition

May 5th- Fortune Magazine’s Annual Fortune 500 Issue Presents First Ever Company Logo Smackdown

For the first time ever, Fortune Magazine decided to conduct a logo competition among the most powerful Fortune 500 brands. Siegel+Gale identity experts Howard Belk and Sven Seger were called upon by Fortune to judge which of the many logos were deemed worthy of the #1 spot! The following S+G decision criteria were used to carefully screen from the many logo candidates:

fortune magazine\'s  F-500

1. Name: A logo’s name is very important. You should be able to name a logo in two to three words. If you can’t do that, it is not a good logo. If it has a name, it has an idea. If you can’t name it, it most likely doesn’t have an idea because ideas don’t exist without a name. BP’s logo is called The Helios Mark. Great name, great idea, great logo.

2. Personality: Companies have personalities, and depending on how you render an image, ranging from serious, to friendly, the image’s style can represent the personality of the company. Depending on how it is drawn, a flower can be elegant, exclusive, and sophisticated, or approachable, warm and genuine. When we know the personality of a brand, we can express it through color and shape.
Good examples are Yahoo (enthusiastic) and Deutsche Bank (rational).

3. Metaphor: Linking an already understood association of an object to a brand in the form of a relevant metaphor can be very powerful.
Good examples are Unilever (Garden of Eden), Merrill Lynch (Bull) and BP (Flower)

4. New Combinations: Merging different forms into a singular image such that they can be read from multiple perspectives allows for the creation of a very proprietary logo. The Time Warner Cable logo is a wonderful example of this. The ear and an eye are combined to form a singular image that represents the multi-sensory aspect of the brand’s products. Bank of America is another great example. The combination of the American flag and a landscape makes it a “flagscape,” the people’s bank from coast to coast in America.

5. Strategic Purpose: A logo’s design is stronger when it can be connected to the strategic intent of the brand. This connection may be direct or indirect, explicit or learned, but nonetheless, present in the design of the mark. By utilizing an image of the flower, the BP logo represents the company’s concern for environmental sustainability.

6. Touchpoint: A logo’s design should take advantage of the touchpoint on which it is most often found. “Touchpoint relevant” design means forming a triangular relationship between the brand, it’s primary touchpoints, and the logo.
UPS does this well. Taking advantage of the 750,000 package trucks operating in the US alone, the design of its logo, a beveled shield, looks like it belongs on the truck. Apple does this well too. The current design of the apple reflects the “liquid” User Interface, the most proprietary aspect of the brand.

7. Reduction: Purity. Simplicity. Essence. All words used to describe the beauty of reduced form. It is no different with logo design. If we reduce something to its most simple level, it will represent an idea, rather than depict something literal. A well crafted logo has a certain level of reduction so that it’s form may communicate the idea.

Of the top F-500 logo contenders, Target took the prize! Simple, distinct, and clear, this “to-the-point” logo turns the brand into an event. From advertising to co-branding to alliance marketing effectiveness, the “Design for all” tag-line, is engaging, demonstrative and effective.

Bullseye!

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