Visual Branding

Available outlines

  1. Rationale of Visual Branding
  2. Creating a Brand Personality
  3. Company types: Originals & Professionals
  4. Company types: Wanters & Dreamers
  5. Fighting fragmentation
  6. The comprehensive idea of Visual Branding
  7. Business professionals and designers
  8. Visual Branding & business

Outline 2

Creating a Brand Personality

Creating a brand personality

At the turn of the century, corporate communication professionals experienced their finest hour: in the world of branding the concept of ‘identity’ was the centre of attention. For many years corporate communication had been regarded as the department in charge of ‘very important things’ - but without direct relevance to profit & loss results. The strategic reputation based long-term focus of the corporate communication professional entered the core of modern marketing-theories. The concept of identity connected the ‘inside-out’ way of thinking of corporate communication to the ‘outside-in’ of marketing for years the predominant principle in business.

The strategic shift towards identity was not surprising. The traditional marketing approach had lost its effect. Marketing professionals had become a bit too much mechanical, executing the accepted rules and processes of brand building, marketing communication and product innovation.

Marketing itself became a mass produced product, a commodity lacking spirit and authenticity.

And the consumers at the receiving end grew tired of the traditional approach of push marketing. They literally didn’t buy it anymore. We all know the effects: declining brand loyalty, declining market share for well-known brands, more room for out-of-the-box ideas, no-brand products. This gave rise to new techniques like guerrilla marketing, pull marketing, experience marketing, niche marketing.

Identity prism

Thought provoking was the Identity Prism of academic Jean-Nol Kapferer in his bestselling book STRATEGIC BRAND MANAGEMENT (1995). His theory had a profound impact on how companies viewed the very nature of brand building. Of course the French professor didnt create the shift to identity single-handedly, but he can be seen as one of the visionaries who ignited the process. Companies soon acknowledged that identity was one of the essential keys for building successful brands. The focus in companies shifted away from the stereotype marketing mantra: doing and communicating whatever the consumer wants according to research. Business and marketing professionals started to pay attention to their own, inner values as a company, as a brand.

You can observe this shift in thinking from a historical perspective. Over the past fifty years the mentality/approach of companies has progressively evolved in several stages:

  • product based
  • sales based
  • market based
  • marketing based
  • (brand)identity based

Brand personality

Just like people, all brands have a personality. Whether it is shallow and instrumental or deep, emotionally charged and carefully managed.
This personality is crucial. Why? To put it boldly: personality is a key issue in our society. Look at politics: the popularity of politicians and government leaders is personality based. It is not about their identity, it is not about their views, which are elements of the overall concept that matter most: their personality. Was Tony Blair so successful because of his identity, his views, or his overall personality?

In my view, the situation for brands is no different. It is all about personality. Personality is the concept to give life to a brand, to manage ‘identity and image’, to create likeability.

Identity <-> Personality

So what is the main difference between identity and personality? Lets set the record straight: of course they are not complete opposites, like Mars and Venus. It has to do with a fundamentally different approach. Identity as a term refers to background and facts in most languages. Your identity is about characteristics you share with others, like the country and culture you come from, your race, your religion, and facts, like the place where you live.

In communication it mostly refers to your true inner self - as a company or a brand. To quote Kapferer: “Having an identity means being who you are, following your own, determined, but individual path”. Be who you are. This is the paradigm of identity.

The concept of brand personality combines inside-out and outside-in; identity and image. A personality has it’s roots in the identity but is strongly externally focused. It is not ‘be who your are’. Personality is: Become who you should be.

In the words of Carl Jung: “Personality is the supreme realisation of the innate idiosyncrasy of a living being. It is an act of courage flung in the face of life, the absolute affirmation of all that constitutes the individual, the most successful adaptation to the universal conditions of existence, coupled with the greatest possible freedom of self-determination.”
[C.G. Jung, 1875-1961]

In psychology, three elements are defined as a part of personality:
-private personality (thoughts, feelings, fantasies, ambitions, talents)
-public personality (how you want others to see you)
-attributed personality (how others see you)

The private personality overlaps identity; the public and attributed personalities indicate the external aim and nature of personality.

Identity -> Personality

In historic perspective, the shift from identity to personality was organic and logical. Identity-based thinking was a logical reaction to marketing-based thinking. Forgive me for dropping names, but in many dynamic processes, I use the theory of dialectic development of the German philosopher Georg Hegels to explain the developments that took place: thesis -> antithesis -> synthesis. It also applies in this matter: the thesis is marketing (outside-in), the antithesis is identity (inside-out), the synthesis is personality.

This is an ongoing process that, fortunately, never stops. I am curious to see what will come next.

The use of brand personality

OK, now we have established the logic behind the concept of brand personality: what should we do with it? We use brand personality to bring brand strategy to life. Don’t forget, consumers demand a brand of flesh and blood. The consumer will treat your brand like you treat the consumer. If your brand has no personality and no warmth, the consumer will treat it likewise: zero loyalty, high price sensitivity.

The fact of the matter is that brand-strategy models are extremely important to modern business. But they are an intellectual piece of work, not necessarily a practical one. They are vital in telling what a brand should be all about and why; but less useful in helping professionals finding out how they should manage to achieve, follow and contribute to this strategy in the day-to-day business environment.

The brand personality should be clearly defined; like you would describe the personality of a real person. Obviously this does not apply to every brand. You can choose other verbal concepts to express the brand personality. It is most important to define a brand personality without using any professional lingo.

Use peoples language, simple words, create a lively picture of a personality that is absolutely clear to anyone. It will be a big contribution to what I call the internal governance of your brand. It brings you beyond the strategic words that are too abstract to manage a brand in daily business and beyond the strict guidelines that are too inflexible.

The power of paradox

One essential thing I would like to add to this outline about personality is the power of paradox. The point is that organisations are not one-dimensional, markets are not one-dimensional, people and personalities are not one-dimensional. So.....: why should a brand strategy be worded in one-dimensional keywords? Why is it that three or four keywords should stand for the eternal truth about the brand? Life isn’t as simple as that. And you limit yourself from a commercial perspective. Unless, maybe, you are talking about a very simple fast-moving consumer product. Any brand with more richness and complexity (and therefore: power) in its personality can achieve more by crossing the line of one-dimensional key words.

Right now I am involved in the strategic development of a European brand. One of the keywords of the brand strategy is ‘innovative’. This word is meaningful and meaningless at the same time. After reading and talking about the project we defined the paradox ‘innovative - mainstream’ to replace the singleminded ‘innovative’. And then you feel energy: a brand that should be innovative and mainstream. That is much more like real life, much more exiting, much more strength and power. And: much easier to conduct creative reviews in developing the brand and to organise internal governance once the brand is on the market. I can tell you from experience.

If you determine and define precisely the two or three fields of paradox that are crucial to your brand; you will have a unique and strong compass to build and conduct it.

Note to all readers:
Apart from your opinion, I am interested in interesting examples of what I am writing about articles or remote literature that I should know of (please be specific, up to the page)

Comments

Koos Ris - HIGH VALUE 18 July 2007

Hi Tom, good to read about brand identity. As brand strategists we also experience and know the clarity which is added to brand strategy documents (mostly words anyway) when a clear brand identity is added. It is like the words come alive. Or the other way around: without a clear identity brands are just words, and as a result the people in organizations will not know (can not know) how to communicate. Hence the brand is diffuse beyond recognition. As you know, HIGHvalue has developed a process to define brand identity based on (originally Jung’s) archetypes.

What we know instinctively (your own answer to your own question why personality is important is intuitive) we at HIGHvalue have researched: we found that strong brands have clear brand identities.

I believe you already know about Michel Jansen’s book “BrandPrototyping” which is about building strong brands with a clear brand identity based on archetypes.  You might try “Building Extraordinary Brands Through the Power of Archetypes” by Margaret Pearson (coauthor Margaret Mark).

Your point about paradoxes in brand personality is interesting. While we all know that brands which solve paradoxes are strong (Jumbo, H&M, Ikea) I wonder if their personality includes a paradox. Is it not so that they solve a paradox from a very consistent identity? I hope other commenters might add to this discussion.

Marcel Blijlevens 19 July 2007
Marcel Blijlevens 19 July 2007

Dear Tom,

Maybe this hyperlink can help you. It is a bit academic, but maybe the 5 personality dimensions of Jennifer Aaker (no relative of David wink ) can be useful for you.

http://www.ethesis.net/auto/auto_literatuurstudie.htm#Merkpersoonlijkheid

Cheers,

Marcel

Joe Wang 23 July 2007

Tom’s thoughts on brand personality are on the money. The relationship between brand identiy and brand personality is well defined. The importance and richness of brand personality are also rightly emphasized. I like the input(roots)-output(expression) diagram of brand personality.

It is impressive that Tom applied the brilliant dialectics of Hegel in branding area: markeing as thesis, identity as antithesis, and personality as synthesis. Tom said that this is an ongoing process. Regarding the brand personality-building process, I would like divide it into four steps (4Is): 1. Insights - The decisons about brand personality should come from consumer insights,not the brand owners’ or the agents’ whims. 2. Intent - Brand personality is a funtion of the strategic intent of the brand builder. It takes professionalism to get the right intent, which is critical in brand personality design. 3. Implementation - The importance of effective and efficient implementation of brand personality-building program could not be over-emphasized. Design could only lift the brand to certain extent. It is like the writing of a great book, which can go only so far. It is the publishing and marketing of the book that can make the great book a best-seller. 4. Impact. - The impact of the brand personality-building initiatives should be measured and feedbacked to the re-designing of the brand personality elements and programs. This will make the process a closed loop.

Wish that my 4-step process apprach to brand personality could of value to Tom’s writing. Look forward to reading Tom’s new thoughts.

Max van Lingen 31 July 2007

I completely agree with the importance of personality.
The purpose of branding is to build longevity relationships with consumers and employees in order to benefit from each other (emotional, functional, psychological, social, economical, political, ...).
Why would people want to bond with a brand?
Important is to develop understanding about what defines personalities (of brands, consumers, employees and other stakeholders): their values & drivers, needs & desires, likes & dislikes, .....
and WHY (means-end).
Question is, what role and meaning can/should (visual) design play in this (semiotics & aesthetics, ...), how to implement it and to find out how specific brand expressions are perceived (feedback).
It starts with developing insights and understanding WHY (meaning & relevance) people would like to bond/engage with specific brand personalities, its statements, its points-of-view and its expressions.

Ed Roach - The Branding Experts 1 August 2007

There’s good reading there. The only thing I don’t like about the term Visual Branding is that it implies that it could possibly stand alone as a strategy instead of together with all of the other touch points that make up a brand. From my perspective your visual component should be strategic - so visual like personal branding aims to present a uniqueness or something that differentiates you as a strategy. I think I too will jump into the frey at that link.

Have a great day,

Ed

Jelmer van der Meulen - Mercurius Marketing 8 August 2007
Jeroen van Erp 12 August 2007

Hi Tom,

In many ways talking about brands and the effects is a semantic discussion. In comparison to the Birkigt & Stadler model (Birkigt, K. and Stadler, M. 1986 Corporate Identity, Grundlagen, Funktionen, Fallspielen), you replace ‘meaning’ by ‘visual’. That makes me wonder what we do with ‘meaning’. I’ve no problem of making ‘meaning’ a feature which is ‘all over the place’. But at the same time you can do the same with ‘visual’ to. Nevertheless I believe it’s interesting to do it like this, and I’m looking forward to the next chapters.
As for your remark about ‘innovative-mainstream’: Raymond Loewy came up with the insight of innovation versus acceptation known as ‘most advanced yet acceptable’. Paul Hekkert, professor theory of forms in Delft did an interesting research on this topic. It’s maybe the answer you’re looking for. It was published in the British Journal of Psychology, 04, 111-124Hekkert, P., Snelders, H.M.J.J., & van Wieringen, P.C.W. (2003). Most advanced, yet acceptable: Typicality and novelty as joint predictors of aesthetic preference. Herewith also the abstract.

all the best, Jeroen

abstract
Typicality and novelty have often been shown to be related to aesthetic preference of human artefacts. Since a typical product is rarely new and, conversely, a novel product will not often be designated as typical, the positive effects of both features seem incompatible. In three studies it was shown that typicality (operationalized as ‘goodness of example’wink and novelty are jointly and equally effective in explaining the aesthetic preference of consumer products, but that they suppress each other’s effect. Direct correlations between both variables and aesthetic preference were not significant, but each relationship became highly significant when the influence of the other variable was partialed out. In Study 2, it was furthermore demonstrated that the expertise level of observers did not affect the relative contribution of novelty and typicality. It was finally shown (Study 3) that a more ‘objective’ measure of typicality, central tendency - operationalized as an exemplar’s average similarity to all other members of the category - yielded the same effect of typicality on aesthetic preference. In sum, all three studies showed that people prefer novel designs as long as the novelty does not affect typicality, or, phrased differently, they prefer typicality given that this is not to the detriment of novelty. Preferred are products with an optimal combination of both aspects.

Kanthi 3 January 2008

Hello
Is there any further description of the diagram on the concept of brand personality

mahak 4 March 2008

dear Tom,

was great going through your piece. iam a hotel mgt student and doing a research on brand personality. the end result will be a dessitation. i enjoyed reading the “personality paradox”. i would be greatful to you, if you may through some more light on this topic adn mail me some more recent research work that will help me understand this toic. my email address is - mahak27ihm@gmailcom

mailing you in anticipation,

warm regards,
mahak IHM-A
INDIA

Jose Ferreira Pinto 17 February 2009

Dear Author, I am writing my thesis on celebrity endorsement effectiveness and your article gave me an inspiration to the model I am proposing to assess and compare quantitatively brand personalities. Thanks. How would like me to cite your article? rgds, JFP

Laurence Menoud 16 March 2009

Dear Tom,

Thank you a lot for those inspirations and thoughts! I’m reading your outlines right now and can only agree with you! Thank you for the share!!!

Warm Regards,
Laurence Menoud
http://www.lauriedesign.com
Geneva / Switzerland

sandeep karyakarte 13 March 2010

Very well put up, I like your explanantion of difference between identity and personality

Add a comment

Commenting is closed for this outline.

Downloads

Place comment

Mailing list