Tuesday

The Makings Of A Great Logo

Six questions to ask yourself when designing a brand


Your company's logo is the foundation of your business branding. It is probably the first interaction that you will have with your customers. An effective logo can establish the right tone and set the proper ethos. After years of crafting logos for different projects, I've come up with a set of questions that I always ask myself before delivering a new logo.

Above all design guidelines, the most important criterion is whether the logo reflects the character of the company. The emotions that the logo evokes should be appropriate to the company values. For example, the Disney logo evokes a sense of happiness and optimism. The curvy, fun typeface is appropriate for a company that has been making cartoons and animated pictures for kids. However, a similar logo style on a sales platform would not be appropriate.
BEHIND EVERY GREAT LOGO IS A STORY.

Designers should understand the psychology of colors and the effect that typeface has on the design of a great logo. For example, green promotes relaxation and usually reflects growth, health, and the environment. Red, on the other hand, may evoke danger and passionate emotions. Similarly for typefaces, Garamond, Helvetica, and Comic Sans all elicit very different sentiments. Serif fonts like Garamond promote the idea of respect and tradition, and are hence more suitable for an environment that demands integrity such as a university or a news publisher. Sans Serif fonts like Helvetica are clean and modern, and are well suited for high-tech businesses. Casual script fonts like Comic Sans are probably best left for fun companies such as toy companies. A good understanding of the psychology of colors, typefaces, and shapes is an important part of making a great logo.











The styling of the Disney logo is appropriate for a company that aims to be fun, but such a style would not be appropriate for a sales platform company.

2. WHAT'S THE MEANING BEHIND THE LOGO?
Behind every great logo is a story. A great logo is not about slapping your business name on a generic shape, which is why choosing from ready-made logos is a poor idea. A logo has to have a meaningful story. A good designer first understands the culture of the company, the tone of the product, and the vision of the business, much before embarking on ideas for the logo. The end result of a quality logo is reflective of the philosophy and values of the company.







The arrow in the logo represents that Amazon sells everything from A to Z and the smile on the customer's face when they buy a product.

3. WILL THE LOGO STAND THE TEST OF TIME?
How will the logo look in two, 10, 20 years? Designers should avoid getting sucked into flavor-of the-month trends. Trends like ultra-thin fonts and flat shadows are design styles that will probably not stand the test of time. Simple is far better than complex. A simple yet memorable logo can be used in 20 years without looking dated.
A good way to test the logo is to let it sit with you for a while before releasing it. Some logos grow with you--the more you look at it, the more you like it. Some logos start to feel nauseating after a while--the more you look at it, the more you hate it. If after a couple of weeks with the logo you find it boring, the logo is probably not strong or timeless enough.











The simplistic outline and shape of the Apple Inc. logo allows it to endure the test of time. The first prototype of the logo would definitely not be suitable today.

4. IS IT UNIQUE? CAN IT BE INSTANTLY RECOGNIZABLE?
A great logo is distinctive, memorable, and recognizable. Even if you have only seen it once, you should still be able to remember what it looks like after a period of time. A good way to test this is to show your logo to a friend, then cover it up and have your friend describe the logo in a week. A fresh pair of eyes can be very effective in figuring out the most memorable components of a logo.
In addition, if the logo reminds you of others you have seen, it is not distinct enough.










The logos of Path and Pinterest are very similar.

When I begin designing a logo, I always start in black and white. Designing with this limitation first forces you to make sure that the logo is recognizable purely by its shape and outline, and not by its color. A strong logo is one that is still memorable just by its contours.
A one-color logo also provides the benefit of using your brand easily in multiple mediums with different backgrounds and textures.











It is much harder to recognize the National Geographic symbol once we remove its signature yellow color.

6. IS IT CLEAR AND DISTINCT IN SMALL DIMENSIONS?
Another way to make sure logos are simple and recognizable is to scale it down dramatically. Even at tiny resolutions, a strong logo should still be recognizable at a glance. This is also a good test to make sure that the logo is not complicated with unnecessary design flourishes. Here, you see that the Nike, McDonalds, Twitter, and WWF logos are still very distinct at small sizes. The GE and Starbucks logos are far more cluttered, and less recognizable when they are small.



These are not hard-and-fast rules, just guidelines for making an effective logo. It is still possible to make a strong, complicated logo, but understand the trade-offs.


http://www.fastcodesign.com/3031328/the-makings-of-a-great-logo

Great Branding Is Invisible












THE THUMPF OF A BMW'S DOOR CLOSING, THE MUTED CLICK OF CALCULATOR BUTTONS, A HUMAN ON THE PHONE. IT HOOKS YOU IN.
 “The devil is in the detail” is a cliché that happens to be true, but let’s turn it around: The magic is in the detail. What constitutes quality in a product, besides the raw materials you choose? The attention paid to detail.
Look at a knock-off Gucci handbag and consider its original counterpart: The difference, besides the “leather” chosen, is in the stitching, the inside lining, the zippers, and so on. In short, quality resides in the hidden details that aren't obvious to most--until you touch the product and look at it up close. It's craftsmanship that gives luxury fashion brands longevity and which lets them weather trends.
Brands are no different from the products and services that they represent. Frantically searching for the one “Unique Positioning Statement (UPS)” or logo design that is going to simultaneously sum up precisely what your company stands for and differentiate it from the rest of the pack is in some ways a meaningless battle. Taglines may be catchy, but they don't, in the end, make people buy products. What determines whether a woman buys Chanel No. 5 or Issey Miyake's L'Eau d'Issey Florale? Not taglines but how either smells on her skin.
What makes you so special?
What makes your brand unique and better than the competition is the compounded totality of many little things. That means you can’t just consider the attention given to producing an outstanding service or product--you also have to think about how the sales force and support team treats its customers and how the receptionist answers the phone.




















TAGLINES MAY BE CATCHY, BUT THEY DON'T MAKE PEOPLE BUY PRODUCTS.

The Jawbone UP24 fitness tracking device is a good example. After diligently tracking my sleep, workout regime, and diet, I became properly addicted to the wristband and to its accompanying iOS app. When the band suddenly stopped working, after three months, I flew into a minor panic. All my data (and exercise momentum) would be lost, I worried. But Jawbone turned out to have an excellent support system. They troubleshot the problem with me seamlessly, on email and over the phone. They used human beings, not robots. I followed the progress of my issue via a concise thread on their support ticketing system. After they quickly exhausted all possible solutions and saw that the device was still malfunctioning, they shipped me a replacement band immediately. I became loyal to the brand thanks to the humane and efficient treatment I received. The extra attention taken by Jawbone to make sure that their staff was professional and courteous--while making sure that I never got lost in a maze of telephone drones or automated emails--made a huge difference.
Keep the details invisible.
It’s the combination of myriad details that shapes brand image in the minds of customers. These details may be transmitted subconsciously. Not everyone recognizes that hand stitching makes a serious difference. Expertly executed details, imperceptible to most, should create a sense of magic and wonder. Think of an up-market German car, such as an Audi, BMW or Mercedes. When you are at the BMW showroom and you step into, say, a 5 Series model, the satisfyingly clean thumpf sound that the door makes as you shut it signifies quality. There’s no rattling, no sound of sheet metal being slammed, just that confidence-inspiring, compact sound. It’s the sound of outside noise and discomfort being sealed off while you enter a safe, comfortable place. Behind the steering wheel are carefully wrought details, too: the smell, the way the seat feels, the feel of your hands on the steering wheel, the way the dashboard buttons have a certain resistance, and so on.






For those who remember, think about the perfect resistance and muted click of the Hewlett-Packard scientific calculator buttons, compared to their competitors Casio and Texas Instruments. The latter two companies clearly hadn’t spent a lot of energy thinking about what it would feel like to press down the keys. And it made a difference.
Advertising and branding should be thought of in the same way. Yes, the big idea is important, but success hinges on its execution, consistency, and attention to each and every word. Do define the brand with succinct messaging, but also trust that consumers will recognize the collective positive attributes of the brand rather than just its tagline. Make sure your communications are well crafted and recognizable. All touch points need to be carefully considered, down to every HTML email campaign.









Apple and Crate & Barrel stand out as excellent examples of how to design the perfect email. Google’s emails, on the other hand, lack consistency and seem rather haphazardly generated. Emails from Apple and Crate & Barrel are advantageously laid out, with beautiful imagery that's logically arranged and information that's easy to digest (if not concise). They're not afraid to make us scroll; they don't cram content above the fold.
All these details, you may think, aren't invisible at all. What's really invisible is the brand's aptitude to carefully organize every detail, whether we see it or not. It all adds up, and that's a lot.

 http://www.fastcodesign.com/3028947/great-branding-is-invisible?partner=newsletter

When Branding Is Too Good: A Cautionary Tale from New York's Citi Bike











WOULD ANY OTHER COMPANY WANT TO JOIN CITI AS A SPONSOR?

New Yorkers have racked up more than 7 million trips on Citi Bike, New York City’s bike-share system, since it launched late last May. More than 100,000 people hold annual memberships. Yet financially, Citi Bike needs help. According to the New York Times, Citi Bike is seeking somewhere in the range of $20 million to be able to maintain and expand the program. As the city’s transportation commissioner, Polly Trottenberg, has admitted, Citi Bike has faced "significant financial and operational issues.”
The company's financial turmoil may be due, in part, to the structure of its main sponsorship with Citi Bank. The New York City Department of Transportation provides oversight for Citi Bike, but the program--which is the largest in the country--receives no public money, differentiating it from bike shares in other cities. The New York system is operated by NYC Bike Share, a subsidiary of the Portland-based Alta Bike Share, which also operates systems in Chicago, Boston, and Washington, D.C., among others. In a deal brokered by the Bloomberg administration, Citigroup is paying $41 million over the bike share’s first five years to be the title sponsor. MasterCard, the only other sponsor, paid $6.5 million.








The problem is that it can be hard to decipher where Citi Bike ends and Citibank begins, making it difficult to entice additional sponsors to join. When you allow one company to brand your service so completely, there’s little benefit left to offer other potential funding partners. According to the Wall:
Alta was always expected to seek sponsorship, in addition to Citigroup Inc., which paid for the naming rights. Goldman Sachs Group Inc. lent the money up front to pay for start-up costs. Finding additional sponsors has proved challenging because the program has become so closely associated with its eponymous supporter, according to a person familiar with the matter.
Citi made a smart investment by inextricably linking itself with the popular bike share for a mere $41 million. Thousands of New Yorkers are riding moving Citi billboards around the city each day. For the bike share, the benefits of the partnership are less clear. By not securing enough Citi money to keep itself afloat from the outset without other sponsors, Citi Bike may have hobbled itself.
Scott Galloway, a marketing professor at New York University’s Stern School of Business, says that it’s not shocking that Citi Bike would have difficulties finding additional sponsorship. “When the first member on your team is A-Rod, it doesn’t leave a lot of opportunity or budget to other players,” he says. “When your first sponsor is Citi and its called Citi Bike, there’s not a lot of value for other advertisers. They should have known upfront they were selling one sponsorship, and should have planned accordingly.” (According to Bloomberg Businessweek, Bloomberg administration officials initially asked Citigroup for more, but were negotiated down.)
WHEN YOUR FIRST SPONSOR IS CITI AND IT’S CALLED CITI BIKE, THERE’S NOT A LOT OF VALUE FOR OTHER ADVERTISERS.
Citi has branded the bike-sharing service in New York so fantastically that trying to separate the bikes from their sponsor can be confusing. “It’s the visual and the verbal,” explains Kevin Lane Keller, a marketing professor at Dartmouth’s Tuck School of Business. First, Citi Bike and Citibank sound so similar that in announcing the partnership, then-Mayor Michael Bloomberg got them mixed up.
Then there's the physical branding: In addition to the Citi logo, the bike-share network is plastered with the bank's distinct shade of cobalt blue (a hue screenwriter Delia Ephron decried as having “distorted every view” in the city). website looks just similar enough to Citi the bank’s actual site (again, that blue!), to make me briefly question whether I was looking at a Citi-owned product. I’m not the only one who gets confused. Vandals have smashed Citi Bike docking stations in protest of Citigroup. Some “people don’t realize that Citi is just a sponsor and it’s Alta that operates all of this,” Keller says. “They assume this is all Citi’s.”
That confusion is compounded here: When asked about Citi Bike’s difficulties finding other sponsors, a media representative from NYC Bike Share directed all queries to Citi’s director of public affairs (who as of publication time has not provided a response.)











Of course, becoming the primary sponsor for an unproven bike-sharing system was a risk on Citigroup’s part. Had the bike share been wildly loathed, the company would have been entwined with the controversy. “The meanings of Citi the brand are now forever connected to this bike thing, for five years,” says Susan, a professor of marketing at the Boston University School of Management. “In the evolutionary plane of this [Citi Bike] brand, five years is going to be a long time.” These first few years are when people’s perceptions of the bike share are being formed.
Some branding opportunities are, by nature, parties of one, like naming rights to a stadium. You can’t call a baseball stadium US Cellular/Staples Field. By not branding the system with a lead sponsor's name, other bike-share programs, like D.C.’s Capitol Bike Share, have left themselves open to dozens of sponsors, like their sponsorship program, for example, that nets $18,000 per 19-dock station. In Citi Bike's case, “there’ll be other ancillary opportunities, but everything is going to play second fiddle to Citi,” Galloway says.
So far, connection with the popular service has been good for Citi.Celebrities Citi Bike. Brides Citi Bike. In a recent interview with Advertising Age magazine, Citibank marketing executive Elyssa Gray said the bike-share sponsorship has netted $4.4 million dollars in earned media (free advertising, largely from social media).
Meanwhile, Citi Bike's own earned revenue isn't what the bike-share organizers had hoped. Part of the blame for Citi Bike’s financial woes has been placed on its lack of popularity with casual riders. The bike share has so far attracted far more annual riders, who pay only $95 a year for unlimited rides up to 45 minutes, compared to daily passers, who pay $9.95 for 24-hours of unlimited 30 minute trips. The bike share has also faced other unforeseen challenges: damage to bikes by Hurricane Sandy, an especially rough, and the bankruptcy of Bixi, the company providing the bike share's technology.
If Citi Bike hopes to bring in new sponsors to make up for its budget gaps, it’ll have to figure out a way to provide some sort of value for them, whether that’s giving them a portion of signage on the bikes or stations or something else entirely. It’ll certainly be a tough sell. Citi Bike frames may be clunky, but they’re not quite big enough to support more than the five Citi logos already embedded in the Citi Bike frame.

Monday

New Logo and Identity for the Academy of Motion Picture Arts and Sciences

New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA



















Established in 1927 by 36 industry members, the Academy of Motion Picture Arts and Sciences(AMPAS) is an honorary membership organization dedicated to the advancement of the arts and sciences of motion pictures that now includes over 6,000 members. Mostly known as this ephemeral entity in celebrity acceptance speeches during the Oscars — “I want to thank the Academy, God, my dog, mom and dad, etc.…” — AMPAS engages in numerous education, outreach, preservation and research activities while also managing a library, archive, council, and, set to open in 2017, a museum. Yesterday, the Academy introduced a new identity to unify all of its endeavors, designed by Los Angeles, CA-based 180LA.

New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA

The new logo spotlights the Oscar from above — creating a triangular shape and uniting the “A” of the Academy with our iconic statuette. This design gives the Academy a presence in its own logo for the first time and underscores our efforts to support creative arts and sciences year-round.

the academy logo launch mini site


Shifting the light source on the old and new logos.

Since the Oscars introduce a new variation of its logo with every annual event and the Academy doesn't have a significant visual presence in terms of organizational identity, there isn't a logo you can pinpoint as being the official-not-be-messed-with one. Even the official logo that this one replaces looks like it’s cobbled together from pieces of other events, ready to change at any moment.
Establishing a clear logo, one that doesn't just try to ride the coattails of the Oscars but one that integrates the renown event with the Academy, is a much welcome step. In essence, the new logo is the same as before: the Oscar statue in a holding shape. Now, of course, it’s inside a triangle, which looks like an “A” for “Academy”. Simple and smart. The concept that it was a change of the light source makes it quite clever too. The typography, set in a lot of Futura, with an exaggerated “M” is nice enough.

New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA
Logo as “A”. This might get out of hand.
New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA
Logo for The Oscars.
New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA
Envelope and note card.
New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA
Prototype covers for the Academy’s magazine.
New Logo and Identity for the Academy of Motion Picture Arts and Sciences by 180LA
Cover for what appears to be a presentation book — on the launch website you can click through some of the clippings to see some spreads.
In application, there isn't a lot to see but there is potential in the patterning seen on the envelopes and the “A”-interpretation device seen in the magazine prototypes looks like it could be plenty of fun for all kinds of communications. It reminds me of the Art Paul-era Playboy covers where the bunny was interpreted freely. Overall, a solid redesign with smart thinking behind it.

http://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_the_academy_of_motion_picture_arts_and_sciences_by_180la.php#.UxQ1wPmSxek

Tuesday

Brand Copywriting: What is Your Brand’s Voice?













Copywriting is your brand’s way of speaking to your customer. Think of your organization’s copy as a verbal version of a logo or color palette. Just like these visual elements, the text you use in your touchpoints needs to have a consistent feel, underpinned by a clear strategy. It doesn't make sense to print all of your key collateral with different logos, or in completely different colors, if you’re trying to focus consumer attention on one consistent brand image. For the same reason, your copy needs to consistently embody your brand strategy across all of your touchpoints.
This post outlines some ways you can keep an eye out for brand copywriting pitfalls; so that your copy can be a voice heard loud and clear, and not just words on a page.
Common Brand Copywriting Pitfalls
§  Copy has no discernible tone of voice
§  Copy is purely about features with nothing emotional that hooks into the audience’s need
§  Copy is laid out in a way that is visually dense
§  Copy uses needlessly complex language
§  Copy lacks key messaging
Good copy verbalizes your ability to resolve your audience’s need in a way they can’t get anywhere else. Think about the following things before launching into a copywriting project, or while evaluating your current brand copywriting.
Does Your Brand Copywriting Adhere to a Clear Brand Strategy?
Your copywriting should be the best friend of your logo, color palette and graphic design. And just like these visual devices, your text should communicate your brand promise and position in the style of your brand personality. Without a clear brand promise or position, your copy may lack strategic talking points. And without an authentic and compelling brand personality, your copy could be perceived as lacking a voice — its tone might even conflict with what your design elements are communicating.
Do You Know What Messaging You’re Leading With?
Is your copy driven by your brand promise, or your position against the competition? What is the most important thing to lead with given your audience need? Your verbal messaging will risk being passed over if you are not telling a story that hits close to home with your audience.
Do You Have a Basic Editorial Style Guide?
It’s critical to define — even in basic terms — how your brand copywriting will consistently embody your brand personality. Think about it: is your personality regal and sophisticated, kitschy and ironic, ingenious and savvy? Depending on what it is, you will have to define how your brand copywriting will use things like headings, italics, lists, and bullets so there is a consistent format to the text. As well, consider if your brand needs separate style guides for different contexts; will your white papers have the same style-musts as blog posts, or brochures? If not, why?
Does Your Brand Copywriting Work if Scaled to Different Media?
If you had to describe your company in a one-sentence tweet, could you do it as well as you could in 200 words? Your copy should always feel like the same person is speaking it, with key messaging that can be summed up in one sentence, or unpacked with quantifiable “reasons to believe” for more text-heavy touchpoints.
Remember: Your Copy Should Always Be On-Brand
Compelling brand copywriting is a crucial component of any organization’s brand marketing. It lets you speak directly to your customer’s need, in their language, through marketing collateral or digital media. If your copy isn't underpinned by a clear, audience-centric strategy, it runs the risk of being passed over, and this leaves the door wide open for the competition to speak more directly to your customer’s need.


http://distility.com/branding-evaluation/brand-copywriting-what-is-your-brands-voice/