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The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
The Brand Gap by Marty Neumeier
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The Brand Gap by Marty Neumeier

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THE BRAND GAP is the first book to present a unified theory of brand-building. Whereas most books on branding are weighted toward either a strategic or creative approach, this book shows how both …

THE BRAND GAP is the first book to present a unified theory of brand-building. Whereas most books on branding are weighted toward either a strategic or creative approach, this book shows how both ways of thinking can unite to produce a “charismatic brand”—a brand that customers feel is essential to their lives. In an entertaining two-hour read you’ll learn:

• the new definition of brand
• the five essential disciplines of brand-building
• how branding is changing the dynamics of competition
• the three most powerful questions to ask about any brand
• why collaboration is the key to brand-building
• how design determines a customer’s experience
• how to test brand concepts quickly and cheaply
• the importance of managing brands from the inside

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  • 1. HOW TO BRIDGE THE DISTANCE BETWEENBUSINESS STRATEGY AND DESIGN
  • 2. A VISUAL PRESENTATION BY MARTY NEUMEIER
  • 3. Produced by NEUTRON LLC in partnership with NEW RIDERS PUBLISHINGand THE AMERICAN INSTITUTE OF GRAPHIC ARTSCopyright © 2003 Neutron LLC. For educational use only. No part of this presentation maybe published, sold, or otherwise used for profit without the written permission of the author.
  • 4. WHAT YOU’LL LEARN: 1 A modern definition of brand 2 The five disciplines of brand-building
  • 5. READY?
  • 6. LET’S START BY DISPELLING SOME MYTHS.
  • 7. FIRST A brand is not a logo.
  • 8. SECONDA brand is not an identity.
  • 9. X
  • 10. FINALLY A brand is not a product.
  • 11. So what exactly is a brand?
  • 12. A BRAND IS A PERSON’SGUT FEELING ABOUTA PRODUCT, SERVICE,OR ORGANIZATION.
  • 13. It’s a PERSON’S gut feeling, because brands are definedby individuals, not companies, markets, or publics.It’s a GUT FEELING because peopleare emotional, intuitive beings.
  • 14. In other words…
  • 15. IT’S NOT WHAT YOU SAY IT IS.
  • 16. IT’S WHAT THEY SAY IT IS.
  • 17. WHY IS BRANDING SO HOT? 1 People have too many choices and too little time 2 Most offerings have similar quality and features 3 We tend to base our buying choices on trust
  • 18. THERE ARE 1,349 CAMERAS ON THE MARKET. HOW DO YOU DECIDE WHICH ONE TO BUY?
  • 19. TRUST
  • 20. T=r+d TRUST RELIABILITY DELIGHTTrust comes from meeting and beating customer expectations.
  • 21. $Does a brand have a dollar value?
  • 22. AND HOW.
  • 23. THIS SELECTION FROM INTERBRAND’S TOP 100 LISTSHOWS WHY BRANDS ARE WORTH PROTECTING: 2001 % CHANGE BRAND VALUEBRAND BRAND VALUE BRAND VS. AS % OFNAME ($MM) PREVIOUS YEAR MARKET CAPCOCA-COLA 68,945 -5% 61%MICROSOFT 65,068 -7% 17%IBM 52,752 -1% 27%FORD 30,092 -17% 66%MERCEDES 21,728 +3% 48%HONDA 14,638 -4% 33%BMW 13,858 +7% 62%KODAK 10,801 -9% 82%GAP 8,746 -6% 35%NIKE 7,589 -5% 66%PEPSI 6,214 -6% 9%XEROX 6,019 -38% 93%APPLE 5,464 -17% 66%STARBUCKS 1,757 +32% 21%
  • 24. COKE’S MARKET CAP, INCLUDING BRAND VALUE: $120 BILLIONWITHOUT THE BRAND,COKE’S GLASS WOULD BE HALF EMPTY. COKE’S MARKET CAP, NOT INCLUDING BRAND VALUE: $50 BILLION
  • 25. PREDICTIONBRAND WILL BECOME THE MOST POWERFULSTRATEGIC TOOL SINCE THE SPREADSHEET.
  • 26. PROBLEMIn most companies, STRATEGY is separated from CREATIVITY by a wide gap.
  • 27. On one side of the gap On the other side areare STRATEGIC THINKERS CREATIVE THINKERSANALYTICAL INTUITIVELOGICAL EMOTIONALLINEAR SPATIALNUMERICAL VISUALVERBAL PHYSICAL
  • 28. DOES THE LEFT BRAIN KNOW WHAT THE RIGHT BRAIN IS DOING?
  • 29. When both sides work together, you can build a charismatic brand.
  • 30. A CHARISMATIC BRAND is any product,service, or organization for whichpeople believe there’s no substitute.
  • 31. QUIZ :Which of these brands are charismatic?AMAZON HITACHI OXO GOODGRIPSAPPLE HOME DEPOT PEPSI-COLABURGER KING IKEA PRELLCOLDWATER CREEK KMART RCADASANI KRISPY KREME REEBOKDISNEY LEVI’S RUBBERMAIDDK BOOKS LONGS DRUGS SAFEWAYEVEREADY MACY’S SAMSUNGFORD MINI COOPER SEARSGENERAL ELECTRIC NEWSWEEK SOUTHWEST AIRLINESGOOGLE NISSAN UNITED ARTISTSHANES NORDSTROM VIRGIN
  • 32. QUIZ :Which of these brands are charismatic?AMAZON HITACHI OXO GOODGRIPSAPPLE HOME DEPOT PEPSI-COLABURGER KING IKEA PRELLCOLDWATER CREEK KMART RCADASANI KRISPY KREME REEBOKDISNEY LEVI’S RUBBERMAIDDK BOOKS LONGS DRUGS SAFEWAYEVEREADY MACY’S SAMSUNGFORD MINI COOPER SEARSGENERAL ELECTRIC NEWSWEEK SOUTHWEST AIRLINESGOOGLE NISSAN UNITED ARTISTSHANES NORDSTROM VIRGIN
  • 33. Any brand can be charismatic.
  • 34. EVENYOURS.
  • 35. But first,you have to master the FIVE DISCIPLINES OF BRAND-BUILDING .
  • 36. DISCIPLINE 1: DIFFERENTIATE
  • 37. FACT: Our brains act as filters to protect us from too much information.
  • 38. WE’RE HARDWIRED TO NOTICE ONLY WHAT’S DIFFERENT.
  • 39. SOLUTION:BE DIFFERENT.
  • 40. FEATURES BENEFITS EXPERIENCE IDENTIFICATION“What it is” “What it does” “What you feel” “Who you are” 1900 1925 1950 2000 Marketing today is about creating tribes.
  • 41. People join different tribes for different activities. DRIVING VOLKSWAGEN READING AMAZONCOMPUTING DELL SPORTS NIKE COOKING WILLIAMS-SONOMA BANKING CITIBANK TRAVEL ORBITZ
  • 42. ON SUNDAYS THEY WORSHIP HARLEY,GOD OF THE OPEN ROAD.
  • 43. The three most important words in differentiating your brand:
  • 44. 1 FOCUS
  • 45. 2 FOCUS
  • 46. 3 FOCUS
  • 47. IS THIS HOW YOUR CUSTOMERS SEE YOU?
  • 48. THE FOCUS TEST: 1 Who are you? 2 What do you do? 3 Why does it matter?
  • 49. Unless you have compelling answers to these questions, you need more focus.
  • 50. The most common reason for loss of focusis ILL-CONSIDERED BRAND EXTENSIONS.
  • 51. EXAMPLE: FOCUSED PORSHE = SPORTS CARS UNFOCUSED PORSHE = SPORTS CARS + SUVS
  • 52. BAD BRAND EXTENSIONS are thosethat chase short-term profits at theexpense of long-term brand value. GOOD BRAND EXTENSIONS grow the value of a brand by reinforcing its focus.
  • 53. EXAMPLE:THE GOOD GRIPS BRAND HAS GROWN STRONGER WITH EVERY BRAND EXTENSION.
  • 54. DISCIPLINE 2: COLLABORATE
  • 55. LIKE BUILDING A CATHEDRAL, BUILDING A BRANDIS A COLLABORATIVE PROJECT.
  • 56. It takes a villageto build a brand.
  • 57. THERE ARE THREE BASIC MODELSFOR ORGANIZING BRAND COLLABORATION:
  • 58. The ONE-STOP SHOPcontains the resources C R E AT I V E SERVICES A DV E RT I S I N Gto develop and DIRECT RESPONSEsteward the brand. RESEARCH POP D I S P L AY S EXHIBITS PUBLIC IDENTITY R E L AT I O N S SUPPLIERS EVENTS PRODUCT DESIGN PROMOTIONS P U B L I C AT I O N S BRAND ST R AT E G Y WEB DESIGN NAMING PA C K A G I N G ANNUAL REPORTS C O M PA N Y
  • 59. ONE-STOP SHOP SCORECARDEasy to manage Little choice of teamsPromise of consistency Little ownership of brand
  • 60. The BRAND AGENCY POP D I S P L AY Shires best-of-breed C R E AT I V E SERVICESfirms to help develop IDENTITY RESEARCH DIRECTand steward the brand. RESPONSE A DV E RT I S I N G ANNUAL REPORTS SUPPLIERS EVENTS BRAND AGENCY PROMOTIONS NAMING BRAND S T R AT E G Y PA C K A G I N G P U B L I C AT I O N S PRODUCT WEB DESIGN DESIGN PUBLIC R E L AT I O N S EXHIBITS C O M PA N Y
  • 61. BRAND AGENCY SCORECARDChoice of teams Little ownership of brandPromise of consistency
  • 62. The INTEGRATED MARKETING TEAMis managed internally with opencollaboration among C R E AT I V E S E RV I C E S A DV E RT I S I N Gbest-of-breed specialists. RESEARCH DIRECT RESPONSE ANNUAL IDENTITY REPORTS EVENTS POP D I S P L AY S EXHIBITS C O M PA N Y SUPPLIERS PUBLIC R E L AT I O N S PROMOTIONS WEB DESIGN PA C K A G I N G BRAND P U B L I C AT I O N S S T R AT E G Y NAMING PRODUCT DESIGN
  • 63. INTEGRATED MARKETING TEAM SCORECARDChoice of teams Difficult to managePromise of consistencyOwnership of brand
  • 64. IN REALITY, COLLABORATIVENETWORKS AREN’T THAT SIMPLE.
  • 65. and that’s OK.
  • 66. Collaborative networks are not new.
  • 67. A successful model has existed for years.
  • 68. Like building a cathedral,making a movie takeshundreds of collaborators.
  • 69. JOEL DARTMOUTH Smoocher Boy KELLY MARIN Agent Sims TREVOR CARMICHAEL Agent Townsend JOHN T. LANDON Agent Kruzic SHARON BONDLY Dijon PAUL DERAIN Jean-Michel JACQUES SOUVERAIN Keynes MICHAEL BRAND Corelli STEVEN GOLDSTEIN Johnston TRENT LOCKART Billie JACKSON BARNES Guards JOSEPH AKIO TERENCE BRADLEY MO DERENI ROBERT UNDERHILL KEN SILVER Librarian HILARY PROPRIATO Field Officer MICHAEL O. KELL Bus Driver HECTOR ABONDAS Night Guard NORMAN BRIER Meter Maid STACY BRECKSTEIN First Detective JOE KALEY Second Detective BRIAN BELSEN Beat Cop ABRAHAM LENDER Parking Cop T. T. MCBRIDE Helicopter Pilot VAN DERICKE First Old Man JOHN R. CARLSON Second Old Man VICTOR AMOS Tax Collector SEAN O KENNA Stunt Coordinator JEFFREY ROCKEN Assistant Stunt Coordinator DARREL TOM Stunt DoublesCarlos GEOFF WRIGHT MARK CONTADINA Mariana SUE SKENNIAN Ajax CHARLIE MARQUETTE Sgt. Santos VICTOR BANERAS Carter F. C. CAMERON Smoocher Boy TELLIE PANOPOULIS Agent Sims MARTIN AIRES Agent Townsend STEFAN C. KAISER Dijon BILL MOORE StuntsSTEVE ADRIAN BENJAMIN BARKELEY TONY BEAUJOLAISBOB CARTER GORDON COLERIDGE IVAN DEVERSONMICKEY DISANTIS JILLIAN DRUCKER JOE EVANSMIKE FLANAGAN BILL GEORGE JULIA HARRISONGEOFF IPSWICH MICHAEL KANTER KENNETH KITTRIDGEBARRIE LAWRENCE TERRY LEVINSON TED MARSTENJACKIE MACDOUGAL GREG NEVILSON BOB OSBORNEJAMES PETRICKE PETE POLSON RAY TELSONMARY STAUFFACHER FREDDIE STEEN CAB UPTONCORNELIA THERRIEN JEREMY TRICKETT PETER YOUNGRAUL VALERIA RONALD DEAVER-WEBB ROBERT G. RUNYAN Hong Kong Kung Fu Team YUAN Tiger CHU CHEN Dragon SEN
  • 70. Manners and Modes Supervisor FRANCIE MAS Storyboard Artists CAREN THOMASON MIGUEL TRASERO FRANCES CHU PEDRO BOGANILLO Art Department Researcher NUALA CORIAN Art Department Coordinator TRACY COLLISTON Conceptual Designer SERGIO MOLO Graphics BENJAMIN HIRASUNA Illustrator STEPHANIE RAND Set Designers GERI DEMONDE STELLAN GRETZKE MADELINE BARR LANCE DUNSTABLE MARCO DIPAOLO DEN MCENERY Set Decorators LISA BARHAM DRU LEE MANNING CARRIE DUNE Script Supervisor MARIE BELLEAU Camera Operator PAUL POLITO Steadycam Operator ROCK HANDLER 1st Assistant Camera GORDON ALBRIGHT 2nd Assistant Camera CRIS MORTEN Still Photographer BARRIE M. HORST Sound Recordist JACOB TREIB Boom Operators HORACE STEIN THOM CARRABINE Video Operator ART KELLEHER LUCIANO PROPRIO Props DAVID BELL Property Master ZUZU MANHEIM KAREN CAROLUS J. D. WHEATLY Action Vehicle Coordinators WILLIAM TREVANT Gaffer STU JEFFERSON Best Boy JOSH KNIPPLE Rigged Gaffers COLIN FARRINGDON PETER STANISLOV KIT GOINES BENNIE JAMESON RICK DEMIS STANLEY FREY G. G. NEWMAN Key Grip DAVID WEINBERG Head Grip RICKY MONROE Dolly Grips WILLI STRASBURG STAN BENTON CHARLES CRIVORN NORM LOFGREN VIC DOLAN GIORGIO VIVATO Rigging Grip TEL STEPHENOPOLIS Make-up Artists TRINI GONZALEZ MARCI STEIN BELINDA MCNAIR CARI DUNN MICHELLE TONAS ROBERTO BELLINI
  • 71. Dig Composite Supv TIM CURRIE DONALD VERES Digital Compositors DAVID HUSSEIN BRIDGET QUESTED Background Artists FRANCESCA ROTI GREG STONE CGI Lead Animators WILL SUTTON INGE JOHANSSON CGI Animators DREW CRAIN URSULA BIERSCH VISUAL LOGIC, LLC VFX Supervisor JARED BAGMAN Programmer KAROL CONST System Admin RANDY HARDWICK Production Admin MAL GERICKE Production Aide CASS MONAHAN Producer PATRICE ARNEM Scene Graphics PEDRO CARILLO CGI Artist Coord SANDY PRIESTLY CGI Artists JOHN LANGORF BRENDA CALE CGI Designer MARK THOMAS KYLE M. SULLIVAN Compositors PATRICK MAHONEY STAV PROMIDES MARGRIET BILL TANIA SHAUB BENNET JURIAN I/O Supervisor CHUCK TRALIK Assorted Visual Effects PENNY GARCIA Color Toner GRAYSON TRUE Negative Cutter SLIM DELGADO Titles Designed by BATOUTAHELL, INC Opticals by PACIFIC DREAMS, LLC Soundtrack Album on ARTISTIC RECORDS, INC.Microscopic Cinematography by JAY FLAMMER `The Producers Wish to Thank the Following NASA CITY OF NEW YORK THE MARITIME CENTER OF SYDNEY LOS ANGELES POLICE THE CITY OF BEND, OREGON SULTAN OF BRUNEI Filmed on Location in CAPE KENNEDY NEW YORK CITY SYDNEY, AUSTRALIA LOS ANGELES, CALIFORNIA BEND, OREGON Filmed with OMNIVISON Cameras and Lenses Color by COLORLAB, INC. Prints by VISTACHROME
  • 72. IN THE 1990s,CREATIVE COLLABORATION SPREAD TO BRAND-BUILDING.
  • 73. EXAMPLE:The Netscape brand was builton the Hollywood model.
  • 74. WHY?
  • 75. Because the mathematics of collaborationis nothing less than MAGIC.
  • 76. DISCIPLINE 3: INNOVATE
  • 77. Execution— not strategy—is where the rubber meets the road.
  • 78. CREATIVITY IS WHAT GIVES BRANDS THEIR TRACTION IN THE MARKETPLACE.
  • 79. Why do companies have so much trouble with creativity?Because creativity is right-brained, and strategy is left-brained.
  • 80. V Z D Q CREATIVE THINKING
  • 81. A B C D STRATEGIC THINKING
  • 82. MANTRA FOR INNOVATORS: Zig when others zag.
  • 83. THE REASON THE BEATLES WERE WILDLY SUCCESSFULIS BECAUSE “THEY NEVER DID THE SAME THING ONCE.”
  • 84. QUESTION: How do you know when an idea is innovative?
  • 85. ANSWER: WHEN IT SCARES THE HELL OUT OF EVERYBODY.
  • 86. To begin with,the brand needs a stand-out name.
  • 87. The seven criteria of a stand-out name: 1 DISTINCTIVENESS 2 BREVITY 3 APPROPRIATENESS 4 EASY SPELLING AND PRONUNCIATION 5 LIKABILITY 6 EXTENDABILITY 7 PROTECTABILITY
  • 88. A GREAT NAME deserves GREAT GRAPHICS .
  • 89. NEWS LOGOS ARE DEAD. LONG LIVE ICONS AND AVATARS!FLASH!
  • 90. An ICON is a name and visual symbolthat suggests a market position.
  • 91. EXAMPLE: CBS. The network for “eye-popping” television.
  • 92. An AVATAR is a brand icon thatcan move, change, and operatefreely in various media.
  • 93. EXAMPLE:CINGULAR : The “self-expression” cellular service.
  • 94. For products that sell at retail,the package is often the best and last chance to make a sale.
  • 95. The hardest-working packages followa natural reading sequence. THE SHOPPER : 1 Notices the package 2 Asks “What is it?” 3 Wonders “Why should I care?” 4 Wants to be persuaded 5 Needs proof
  • 96. By presenting informationto match this sequence,a package can sell theproduct more effectively.
  • 97. If you communicate with your customersONLINE , your website needs to followa SIMILAR reading sequence, one thatsupplies users with ONLY the informationthey need, instead of trying to squeezeEVERYTHING onto the home pageLIKE THIS and making your users doALL the work, which will undoubtedlycause them to LEAVE, when all youreally have to do is ask yourself thisSIMPLE QUESTION :
  • 98. Does our website lookfat in this dress?
  • 99. Too many websites are bloated with irrelevant information.
  • 100. WHY?
  • 101. 1 TURFISMO (Every department wants to be on the home page)
  • 102. 2 FEATURITIS (Inexperienced communicators believe more is better)
  • 103. 3 TECHNOPHOBIA (Experienced communicators resist new media)
  • 104. QUIZ:Which of these sites looks easier to use?
  • 105. DISCIPLINE 4: VALIDATE
  • 106. VALIDATION means bringing theaudience into the creative process.
  • 107. SENDER SENDER MESSAGE MESSAGE RECEIVER RECEIVERTHE OLD COMMUNICATION MODEL WAS A MONOLOGUE.
  • 108. SENDER SENDER MESSAGE MESSAGE RECEIVER RECEIVERTHE NEW COMMUNICATION MODEL IS A DIALOGUE.
  • 109. QUESTION: How can you test your most creative ideas BEFORE they get to market?
  • 110. HINT:Not with largequantitative studiesor focus groups.
  • 111. QUANTITATIVE STUDIES BURY THE PROBLEM IN HEAPS OF UNHELPFUL DATA.
  • 112. FOCUS GROUPS WERE INVENTED TO FOCUS THE RESEARCH, NOT BE THE RESEARCH.
  • 113. THE BEST TESTS ARECHEAP, QUICK, AND DIRTY.
  • 114. Better a rough answer to the right questionthan a detailed answer to the wrong question.
  • 115. CHEAP-QUICK-DIRTY TEST 1:The SWAP TEST is a proof for trademarks.
  • 116. If the names and graphics of two trademarks arebetter when swapped, then neither is optimal.
  • 117. EXISTING TRADEMARKS
  • 118. WITH NAMES SWAPPED
  • 119. CHEAP-QUICK-DIRTY TEST 2:The HAND TEST is a proof for a distinctive voice.
  • 120. If you can’t tell who’s talking when the trademarkis covered, then the brand’s voice is not distinctive.
  • 121. CHEAP-QUICK-DIRTY TEST 3:The FIELD TEST is a proof for any concept that can be prototyped.
  • 122. If your audience can’t verbalize your concept,you’ve failed to communicate it.
  • 123. SHOPPERS CHARACTERIZED THE PACKAGE CONCEPTON THE MIDDLE-RIGHT SHELF AS “A FASTER PENCIL.” BINGO.
  • 124. Field tests measure five things: 1 DISTINCTIVENESS 2 RELEVANCE 3 MEMORABILITY 4 EXTENDABILITY 5 DEPTH OF MEANING
  • 125. TESTING MIGHT HAVE SAVED SOME OF THESE COMPANIES FROM THE GREAT SWOOSH EPIDEMIC.
  • 126. HAS THE GLOBE BECOME THE NEW SWOOSH?
  • 127. DISCIPLINE 5: CULTIVATE
  • 128. Business is a process, not an entity.
  • 129. A living brand is a pattern of behavior,not a stylistic veneer.
  • 130. Brands are like people.
  • 131. C. D. E.IF PEOPLE CAN CHANGE THEIR CLOTHES WITHOUT CHANGING THEIR CHARACTERS…
  • 132. WHY CAN’T BRANDS?
  • 133. OLD PARADIGM:Control the LOOK AND FEEL of a brand.
  • 134. NEW PARADIGM: Influence the CHARACTER of a brand.
  • 135. IF A BRAND LOOKS LIKE A DUCK AND SWIMS LIKE A DOG, PEOPLE WILL DISTRUST IT.
  • 136. So let’s say you’ve DIFFERENTIATED, COLLABORATED, INNOVATED, AND VALIDATED.
  • 137. +YOU’VE ADDED THE LEFT BRAIN TO THE RIGHT BRAIN.
  • 138. You’ve ziggedwhen the competition has zagged.
  • 139. + +YOU’VE USED TESTING TO BANISH THE FEAR OF STUPID.
  • 140. Your brand is now NUMBER ONE in it’s category.
  • 141. What’s your next move?
  • 142. PASS OUT THE COMPASSES.
  • 143. What’s a compass?
  • 144. A continuing brand education program.
  • 145. BRAND ORIENTATIONBRAND SEMINARSPOSITIONING WORKSHOPSBRAND AUDITSSTATEGY SUMMITSCREATIVE COUNCILSQUARTERLY CRITIQUESGROUP BRAINSTORMINGTEAMWORK TRAININGINNOVATION CLINICSDESIGN AUDITSBRAND MANUALSBRAND PUBLICATIONS
  • 146. The more D I S T R I B U T E D a brand becomes,the stronger its management needs to be.
  • 147. What your company needs is a CBO,or CHIEF BRANDING OFFICER .
  • 148. THE CBO FORMS A HUMAN BRIDGE BETWEEN LOGIC AND MAGIC, STRATEGY AND DESIGN.
  • 149. C U LT I V AT I O N D I F F E R E N T I AT I O N V A L I D AT I O N C O L L A B O R AT I O N I N N O V AT I O NBY MASTERING THE FIVE DISCIPLINES OF BRANDING, THE COMPANY CREATES A VIRTUOUS CIRCLE.
  • 150. WITH EVERY TURN AROUND THE CIRCLE, THE VALUE OF THE BRAND SPIRALS HIGHER.
  • 151. YOU BUILD
  • 152. A sustainable competitive advantage.
  • 153. ABOUT THE AUTHOR Marty Neumeier is president of a San Francisco-based brand consultancy, Neutron LLC. Neutron supplies the “glue”that holds brands together: brand education programs, seminars, workshops, creative audits, process planning, and more. Visit www.neutronllc.com.
  • 154. Need books for your branding team? Bulk discounts on the THE BRAND GAP areavailable for educational and corporate groups. Contact STEPHANIE.WALL@NEWRIDERS.COM.

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