IDEA TO IDENTITY: THE DESIGN OF BRAND

1. IDEA IDENTITY TO S U D I O S U D A R S A N T H E D E S I G N O F A B R A N D

2. CONVERTING IDEA TO IDENTITY IS BRAND PINNACLE

3. IT’S THIS PORTRAIT CONSUMERS PURCHASE

4. THIS VISUAL PRESENTATION AIMS TO EXPLICATE HOW DESIGN OF A BRAND HELPS ACCOMPLISH THIS TRANSCENDENCE: FROM IDEA TO IDENTITY.

5. architectural design automotive design biological design brand design communication design conﬁguration design engineering design experience design fashion design game design graphic design information design industrial design instructional design interaction design interior design landscape design lighting design modular design motion graphic design organization design product design process design service design software design sound design spatial design strategic design systems design systems modeling urban design user experience design visual design web design WHAT IS DESIGN?

6. BRANDING IS CREATING RIGHT PERCEPTIONS.

7. DESIGN IS CREATING RIGHT SENSATIONS.

8. DESIGN CREATES A SET OF MULTI- SENSORY ELEMENTS THAT MARKETERS EMPLOY FOR CONSUMERS TO PERCEIVE THE BRAND.

9. DESIGN USES FIVE SENSES TO SEDUCE. OLFACTION VISION GUSTATION TACTITION AUDITION

10. Publications Publicity and Media Ambience Employee Kiosks ShowroomSalesPitch SignagePoster Dispensers Product/Service Nam e cards Ephemera Banner Booth Graphics Brochures Voice/Tone Representative Capability Document Video Prom o C ontests Print Television RadioO utdoor Curation Events Design Material Copy Texture LaunchesPressKit App UX/UI Rank Website Inserts Banners Civic Marketing Community Affairs Call Center Surveys Loyalty Program Service Center Presentations Earnings Release High Platform Address Internal Com m unication Investor Relations A nnualR eports Service RepRecruitingFieldForceTraining Policies Accounts Sales Coverage BRAND TOUCHPOINTS

11. LOGO NAME ARCHETYPE TYPOGRAPHY COLOR VOICE IDENTITY CORE The identity core is the sun; along with its design planets form the brand identity system 3 TAGLINE4 7 5 1 2 6

12. YOU’LL DISCOVER THE IMPORTANCE OF GOING FORWARD ONCE YOU’VE TAKEN THE FIRST STEP.

13. ARCHETYPE NAME LOGO TAGLINE COLOR TYPOGRAPHY VOICE

14. KNOW THYSELF

15. A symbol, theme, setting, or character-type that recurs in different times and places in myth, literature, folklore, dreams, and rituals so frequently or prominently as to suggest that it embodies elements of universal human experiences.

16. UNIVERSAL CHARACTER OF BRAND IS DISCOVERED WITH BRAND PURPOSE AND VALUE MATRIX.

17. UNDERLYING ASSUMPTIONS ESPOUSED VALUES ARTIFACTS Unconscious Taken-for-granted Source for values Strategies Goals Philosophies Organizational structures and processes SCHEIN LEVELS OF CULTURE

18. As the poetic basis of mind, archetypes in branding provide the rocket fuel to imagine creative possibilities.

19. Sample archetype framework is provided Toss a note at erica@iSudio.com for full-length archetypal discovery

20. CREATIVE JESTER CAREGIVER MATCHMAKER HEALER SOLDIER VISIONARY CHAMPION REBEL STRATEGIST EMPEROR ADVOCATE

21. EXPLORATORY GROUP IMPRINTING SESSION AGNOSTIC OFIDENTITY KICKOFF THEMESETTING DISCOVERYMEETING DIVERGENCE CONVERGENCE VERIFICATION VALIDATING SESSION ARCHETYPE ACTIONPLAN TEAMMEETING Exploratory group phase is non-directive; participants lead and take us where they want to go. Structure is overlooked to repeal biases or preconceptions. Imprinting sessions are referred as patterning sessions, where structures, themes, repetitions are discovered to understand emotional dispositions. Structure of mental tendencies that arise out of deep connections which organize behavioral hot buttons are detected. I use hypnotic or neuromarketing tools to aid this session.

23. GREAT BRAN NAMES ARE GREAT STORIES D

24. A good brand name is both emotional and functional: it can evoke a sound, a feeling, a story, but also act as a pathﬁnder for people to choose the brand.

25. Analysis of Rivals Analysis of Substitutes Protect Name Legally Organize Name Options

26. TM TM TM TM TM TM TM TM TM TM TM TM TM TM TM

27. Beyond the challenge of ﬁnding names that are likable and memorable, they need to be legally defensible, transferable, and protectable. You should be able to easily ﬁnd domain names. Most importantly, eschew linguistic and cultural howlers. There are no shortcuts to brand naming. Following slides discuss naming options..

28. ACRONYM Brand names formed via abbreviating the initial letters of other words or names. Abbreviated names require higher investment for brand awareness and recognition.

29. ACRONYM 3M AFLAC BMW IBM UPS

30. DESCRIPTIVE Names that literally describe: product or service offering company’s strengths or purpose brand promise

31. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest Southwest Airlines

32. FABRICATED A newly coined word in a linguistic system; owing to its uniqueness, inventive names have potential to become very effective. Easier to ﬁnd website domains; usually available for trademark protection.

33. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED Exxon Kodak Sony Wii Xerox

34. METAMORPHICAL Since metaphors are ﬁgures of speech that express an idea through another object, metaphorical brand names are often boiled down to one strong name that expresses an entire idea.

35. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED METAMORPHICAL Amazon Brocade Jaguar Shell Target Exxon Kodak Sony Wii Xerox

36. MIMETICS Use of alternative spelling to name ﬁrms and products is increasingly popular owing to scarcity of domain names or the descriptive name choice does not cause much intrigue.

37. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED METAMORPHICAL Amazon Brocade Jaguar Shell Target MIMETIC Chvrches  Flickr Kleenex Krispy Kreme Tumblr Exxon Kodak Sony Wii Xerox

38. ONOMASTIC Whether for reasons for heritage or hubris, an owner’s or any proper name serves as the basis for a business name as long the name garners neutral or positive brand recognition or legacy; that is, Tim Cook Computers would work than Bill Cosby Pharmacy.

39. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED ONOMASTIC Burt’s Bees Cisco Hewlett-Packard Silicon Valley Bank Toyota MIMETIC METAMORPHICAL Amazon Brocade Jaguar Shell Target Chvrches  Flickr Kleenex Krispy Kreme Tumblr Exxon Kodak Sony Wii Xerox

40. PORTMANTEAU The resulting brand name from the blending of two or more sounds, words, or meanings. For instance, Vodafone is the combination of the words: voice, data, and phone.

41. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED ONOMASTIC Burt’s Bees Cisco Hewlett-Packard Silicon Valley Bank Toyota MIMETIC PORTMANTEAU Cemex Comcast Microsoft Skype Verizon METAMORPHICAL Amazon Brocade Jaguar Shell Target Chvrches  Flickr Kleenex Krispy Kreme Tumblr Exxon Kodak Sony Wii Xerox

42. Arbitrarily termed brand names, which can sometimes be playfully quaint, fanciful, or amusing, whimsical brand names are among the most legally defensible. People will make meaning of the name and the offering of the brand. WHIMSICAL

43. ACRONYM 3M AFLAC BMW IBM UPS DESCRIPTIVE BestBuy Citibank PayPal Reader’s Digest salesforce.com FABRICATED Exxon Kodak Sony Wii Xerox ONOMASTIC Burt’s Bees Cisco Hewlett-Packard Silicon Valley Bank Toyota MIMETIC PORTMANTEAU Cemex Comcast Microsoft Skype Verizon METAMORPHICAL Amazon Brocade Jaguar Shell Target Chvrches  Flickr Kleenex Krispy Kreme Tumblr WHIMSICAL Java Lotus Orange Starbucks Virgin THE EIGHT NAMING STYLES

44. Key elements to keep in mind while naming a brand or business are:

45. distinctive name with an appeal from primary consumer segment; strategic in terms of future expansion or brand development; legal availability in geographies of interest and consumer adoption intuitive to spell and pronounce among non native English speakers absence of negative meaning and/ or association need for exact domain name www.iSudio.com

46. To know how to market-test names, jump to page 121 of this slide deck.

48. Logo is the busy ambassador of the brand’s identity system.

49. AIRBNB LOGO DESIGN

50. PEOPLE LOCATIONS LOVE AIRBNB MOMENTS LOGO=++++

51. LIVE LIKE A LOCAL

52. INTRIGUING DESIGNS WHEEDLE OTHERS TO RENDER VARIANTS

53. ARE BAD RENDITIONS GOOD PUBLICITY?

54. TAXONOMY OF BRAND LOGO Amalgam Emblem Mascot Pictorial Wordmark Abstract Glyph Monogram

55. ABSTRACT LOGO Instead of a recognizable image, an otherwise pictorial logo assumes a notional form. Brand: Pepsi Cola; Designer: Arnell

56. AMALGAM Wordmark and pictograph laid out together to create image. WWF; Peter Scott

57. EMBLEMATIC LOGO Symbol represented as distinctive badge or symbolic object Harley Davidson; Harley Davidson

58. GLYPH Logo illustrated as a hieroglyphic character or a small graphic symbol World Trade Center; Landor Associates

59. MASCOT Illustrated character—sometimes a cartoon or caricature—represents the brand; interpreted as the spokesperson. Kentucky Fried Chicken; Tesser

60. WORDMARK Instead of a recognizable image, an otherwise pictorial logo assumes a notional form. London Underground; Edward Johnston

61. PICTORIAL MARK The visual shortcut is only an icon, because the brand it represents is well established. Target; designer undisclosed

62. MONOGRAM A monogram is essentially a typography-based logo, composing of initials or name. Stussy; Shawn Stussy and Christian Anicete

63. BRAND LOGO TRENDS

64. USE OF LINES IN THE MAKING OF A BRAND SYMBOL

65. USE OF CONTOURS IN THE MAKING OF A BRAND SYMBOL

66. USE OF GEOMETRIC SHAPES IN THE MAKING OF A SYMBOL

67. ICONIZATION IN THE MAKING OF A SYMBOL

68. ACTIVATING THE DESIGN TO CREATE BRAND PERCEPTIONS

69. BRAND LOGO

70. NAME CARDS

71. JERSEY

72. CLOTHING

73. MERCHANDISE

74. BROCHURE

75. WEBSITE

76. The positive effects of logos on customer commitment and brand performance derive not from enabling brand identiﬁcation, but essentially from facilitating customer self- identity, representing a brand's emotional beneﬁts, and offering aesthetic appeal.

77. BRAND BOOK SUDIO SUDARSAN Sometimes referred as “brand guidelines” or “style guide,” brand book is essentially a rule book that explains how brand is activated. It contains business vision, brand values, archetype, and logo setup speciﬁcations—including tagline usage. Chosen color palette, type style, logo variants, and correct logo treatments are also delineated. Brand Book is the bible; it helps to ensure that all promotional channels are aligned—no matter who develops them prospectively.

79. Taglines give brands a boost; produces an explosive effect, and sets the brand on the right trajectory.

80. Strapline gets rid of everything inessential to making a point.

81. IT’S YOUR BRAND ON THE LINE After all,

82. IMPERATIVE The subtle assertiveness can bring about an attitude to the brand, which by the way, may or may not be beneﬁcial to brand identity. The verb in the strapline commands users to take speciﬁc action relevant to brand’s promise.

83. DESCRIPTIVE Descriptive slogans are direct and straightforward; they provide a succinct description of the brand’s promise (TED) or their core consumer behavior (Castlemaine Brewing Company).

84. IDEAS WORTH SPREADING

85. AUSSIES WOULDN’T GIVE A XXXX FOR ANYTHING ELSE

86. SUPERLATIVE Remember your graduating class voted to select “outstanding leader” or “best student?” Brands boast of such superlative taglines, positioning itself as the top of the crop. Budweiser calls itself, “the king of beers.” Instead of being outrightly pretentious, tagline could call for superlatives of the category.

87. PROVOCATIVE This class of taglines arouse interest, especially deliberately, and thereby cause a strong reaction. One of the more iconic slogans was used by a company to promote a product most would consider the antithesis of exciting!

88. SPECIFIC Speciﬁcity subtly divulges the brand’s category in an ingenious manner, and thereby gains memorability or recognition. Volkswagen, a brand notorious in the advertising world for use of deadpan, o -the- wall humor, stays true to their brand’s ethos while ﬂipping the script with their slogan, “Driver’s wanted.”

89. But, here are the elements of a great tagline..

90. Let me broach upon the subject of design process and market testing brand elements..

91. 1 2 3 9 8 7 6 5 4 Brief Concept Development Work Session Research Reﬁne Test 1 Concept Selection Test 2 Final Art PROCESS

92. The design is only as good as the brief.

93. Designers begin to create concepts per the brief

94. Even though these are design artifacts of your brand, customers need to vote. Customer perception is brand reality.

95. Ranking even a dozen design concepts is implausible.

96. What would you do to the two designs that score the same on likert scale? DESIGNS

97. Conjoint Analysis, a measurement technique to estimate consumer preferences based on how respondents make trade-offs within a controlled environment, is invariably used to remove the chaff from the wheat.

98. Research participants make selections between stimuli Regression modeling estimates utilities Marketer determines and factors, levels, stimuli Market research is an organized effort to gather information about customer’s preferences on chosen brand elements for validation; trying to corroborate the design that appeals to people’s perception. Conjoint Analysis offers a more efﬁcient and accurate approach to gain fact-based insight quantitatively, and correspondingly to drive strategic decision that can better guide brand activation efforts. Our proprietary conjoint analytic tool offers simpler web-based approach for multi- attribute preference measurement that has higher statistical conﬁdence.

99. Howeffective? Whyused? What methods?

100. If market validation is critical or the client has required funds to measure emotion, motivation, and other non-conscious processing, then use of neural metrics, biometrics, implicit measures and self- report data cast better light on the customer’s preferences of design elements. Cognitive load or complexity of design concept, arousal or emotional intensity can be measured by the electrical activity using electroencephalogram method.

101. In this way, we get the market not only to play a role in selecting the brand element, but also validate design.

103. A strong color palette in a visual system is one of designer’s most emotionally resonant tools. The right color creates the right response.

104. In a physical sense, there are no colors; just lightwaves of different wavelengths.

105. As rays of light vibrate at different speeds, the human eye is able to distinguish among wavelengths to see the world in color.

106. Little light causes little color. Strong light produces intense color.

107. Colors are the mother tongue of the subliminal sensation.

108. R+G+B=WHITE RED GREEN BLUE B+G=CYANR+B=PINK

109. Colortheory is a setof guiding principles thatcan be used to create color com binations Color wheel is a good tool to visualize color relationships.

110. The CMYK four-color model is subtractive, used in color printing, and is also used to describe the printing process itself.

111. Human eyes have three types of color receptor cells or cones: red, green, and blue. As a result, all incoming light is reduced to these three colors. All perceived colors are generated by a mixture of these colors. Colors do not carry meanings. Our brain experiences them emotionally because of cultural conditioning. Owing to cultural agreement, color symbolism can be varied; often conﬂicting.

112. COLOR INDEX

113. + - * Blood Ebullience Energy Enthusiasm Heat Love Passion Power Sex Accident Aggression Anger Battle Cruelty Immorality Revolution War Africa: Death (Ivory Coast); Mourning (South Africa) Asia: Marriage, prosperity; Soldier (India); sports (Korea) Europe: Masculinity (France)

114. + - * Idealism Intellect Happiness Joy Optimism Positivity Radiance Wisdom Caution Cowardice Deceit Jealousy Africa: Death (Egypt) Asia: Mourning (Myanmar); Courage (Japan)

115. + - * Coolness Contemplation Justice Intelligence Knowledge Loyalty Masculinity Peace Apathy Depression Detachment Frigidity Unappetizing Asia: Mourning (Iran); Girls (China); eum or yin feminine energy (Korea) N.A.: Boys (USA)

116. + - * Fertility Growth Harmony Healing Honesty Money Nature Success Youth Corrosion Envy Greed Inexperience Islamophobia Nausea Posion Asia: Paradise (all Islamic countries) Europe: Fertility (Ireland) N.A.: Volition (Native Indian Cultures)

117. + - * Creativity Imagination Inspiration Luxury Mysticism Nobility Rank Sophistication Wisdom Cruelty Exaggeration Excess Madness Asia: Mourning (Thailand); ceremony, enlightenment (Japan) S.A.: Death

118. + - * Activity Creativity Energy Invigoration Health Stimulation Uniqueness Whimsy Crassness Loudness Asia: Sacred; renoncement (India) Europe: Protestant movement (Ireland); Dutch N.A.: Learning (Native Indian)

119. + - * Cleanliness Innocence Lightness Perfection Simplicity Softness Truth Virtue Fragility Isolation Asia: Commonly used color (Korea, rural India); afterlife (China, Korea, India); funeral (Japan) Europe: Purity N.A.: Purity (USA, Canada) Worldwide: Peace

120. + - * Authority Dignity Elegance Formality Mystery Power Seriousness Solitude Sophistication Stylishness Weight Emptiness Fear Heaviness Negativity Remorse Secrecy Submission Asia: Boys (China); career (various); evil (India) N.A.: Rebellion (USA)

121. + - * Balance Brain power Classicism High intellectual capacity (high IQ) Maturity Modesty Perception Reliability Security Wisdom Bad weather Boredom Cloudiness Indecision Moodiness Old age Sadness Uncertainty Asia: Helpful, travel N.A.: Honor, friendship (Native Indian); industry (USA) Worldwide: Money, silver

122. SOME RULES CONCERNING COLOR

123. 1. Attract and hold attention

124. 2. Create color harmony

125. 3. Convey information via color

126. 4. Assist in mnemonic value

127. 5. Context is everything

129. I N T E G R A L E L E M E NT Y P 0 G R A P H Y I S A N T

130. Good typography is not a matter of opinion, but a matter of taste.

131. Terminology

132. TerminologySTEM SERIF BAR FOOT STROKE TERMINAL TITTLE SHOULDER BOWL ASCENDER COUNTER EAR DESCENDER TAIL APERTURE KERNING

133. Let’s discuss elements of typographical design in this section.

134. SPACE S A B B I T HA S U DARSN S U O I D L E V O F K C U Space is the area in which the other elements act. It is like the air around us. It begins as a void and becomes a design element, taking on form, and acquiring dimension as other elements are added to it. A S E K XI YL E C N E M R A U P N R I I EB E A N

135. The true power of space lies in its hidden strength. Linespace Word space Letter space Counter space

136. B D A K E R N I N G C A N N O T B E JUSTIFIED

137. Recreated advertisements: 1. “Population Day” (United Nations); 2. “Don’t text and drive” (by students at the Parsons School of Design, New York)

138. DON’T TEXT AND DRIVE Hi Stefanie, I have to say the little black dress is amazing! LOVE YA! Oh boy, how much I miss! OK Oh OMGProud of you Listening to Sonic Youth sure See you Friday Holiday Tennis for Kids Give me a break OMG When? How come Really? Must go Goodbye Let’s try then Around 10 a.m. See you for dinner See you around Tell me about it WootWoot Where are you Billy? IDKOK OK OK Must go See ya XOXO BBQ? Come on man Don’t tell me!!! Insane!!! IMO YES ALRIGHT NO WAY WTF WTF Really? NO HF LOL LOL AAMOF Later WTF Unreal TQ TIA FYI POV POV OT WTF FYI SLAP ICYMI Have fun :)

139. LINE Line is an energy force that can divide, penetrate, enclose, or otherwise deﬁne a space. Lines convey shape, movement, stability, action, and direction. C

140. SERIF SANS SERIF

141. SOLIDITY The degree of power generated by a letter relates directly to the typographic mass. Z ZZ Z

142. PLANE Though typography is a two-dimensional art form, the designer, like the painter, can create the illusion of different planes and three dimensions by setting up a perspective, a visual depth of ﬁeld.

143. Imposible que salga de tu boca.

144. What are your pictures worth?

145. CONTEXT Each work of art establishes a theme, to which all the elements within that composition must relate. The principles of typography, like that of design, also rely on building and working with elements of relationship, transition, priority, and position.

146. Il1 Il1 Il1 Il1 Il1 Il1 Il1 Il1 Il1 Il1 THE IL1 TEST

147. VISUAL HIERARCHY COLOR LAYOUT S I Z E LAYOUT LAYOUT LAYOUT LAYOUT S P A C E CONTRAST GR OU PI NG GR OU PI NG U N T Y ISTYLE S Mii iLAR TY

149. Let’s look at a man who has hurled insults at 425 people, places, and things on Twitter.

150. Brand voice genuinely divulges personality.

151. T-Mobile CEO John Legere has ﬁlled his closet racks with magenta-colored shirts, shoes, ties, scarves, pants, and jackets. Indisputably, he lives the T-Mobile brand.

152. WHAT DOES THAT SAY ABOUT BRAND VOICE?

153. Do want a quirky voice?

154. Or a sophisticated one?

155. Brandvoicedependsonchoiceofarchetype.

156. IN C LO SIN G ..

157. GREAT DESIGN IS ANTITHETICAL TO BAD DESIGN; THERE IS NO SUCH THING AS NO DESIGN.

158. WITHOUT CREATIVITYISAMERE

159. DESIGN IS ELEMENTAL PART OF BRAND BUILDING.

160. DESIGN CAN ALTER PERCEPTIONS.

161. DESIGN GIVES THAT EMOTIONAL BONUS

162. SUDIO COSMETICS DESIGN MOVES BRANDS FROM AN EXISTING CONDITION TO A PREFERRED ONE.

163. Good design is like a refrigerator. Nobody gives a damn when it works. But when it doesn’t, it stinks.

164. ss@iSudio.com @iSudio www.iSudio.com Have an awesome business idea? Let’s wrap that with an awesome identity.

165. DESIGN IS BRAND MADE SEDUCTIVE

IDEA TO IDENTITY: THE DESIGN OF BRAND

Sudio Sudarsan

IDEA TO IDENTITY: THE DESIGN OF BRAND