Friday, October 29, 2010

Six Keys to Being Excellent at Anything - Tony Schwartz - Harvard Business Review

Six Keys to Being Excellent at Anything - Tony Schwartz - Harvard Business Review

I've been playing tennis for nearly five decades. I love the game and I hit the ball well, but I'm far from the player I wish I were.
I've been thinking about this a lot the past couple of weeks, because I've taken the opportunity, for the first time in many years, to play tennis nearly every day. My game has gotten progressively stronger. I've had a number of rapturous moments during which I've played like the player I long to be.
And almost certainly could be, even though I'm 58 years old. Until recently, I never believed that was possible. For most of my adult life, I've accepted the incredibly durable myth that some people are born with special talents and gifts, and that the potential to truly excel in any given pursuit is largely determined by our genetic inheritance.
During the past year, I've read no fewer than five books — and a raft of scientific research — which powerfully challenge that assumption (see below for a list). I've also written one, The Way We're Working Isn't Working, which lays out a guide, grounded in the science of high performance, to systematically building your capacity physically, emotionally, mentally, and spiritually.
We've found, in our work with executives at dozens of organizations, that it's possible to build any given skill or capacity in the same systematic way we do a muscle: push past your comfort zone, and then rest. Aristotle Will Durant*, commenting on Aristotle, pointed out that the philosopher had it exactly right 2000 years ago: "We are what we repeatedly do." By relying on highly specific practices, we've seen our clients dramatically improve skills ranging from empathy, to focus, to creativity, to summoning positive emotions, to deeply relaxing.
Like everyone who studies performance, I'm indebted to the extraordinary Anders Ericsson, arguably the world's leading researcher into high performance. For more than two decades, Ericsson has been making the case that it's not inherited talent which determines how good we become at something, but rather how hard we're willing to work — something he calls "deliberate practice." Numerous researchers now agree that 10,000 hours of such practice as the minimum necessary to achieve expertise in any complex domain.
There is something wonderfully empowering about this. It suggests we have remarkable capacity to influence our own outcomes. But that's also daunting. One of Ericsson's central findings is that practice is not only the most important ingredient in achieving excellence, but also the most difficult and the least intrinsically enjoyable.
If you want to be really good at something, it's going to involve relentlessly pushing past your comfort zone, along with frustration, struggle, setbacks and failures. That's true as long as you want to continue to improve, or even maintain a high level of excellence. The reward is that being really good at something you've earned through your own hard work can be immensely satisfying.
Here, then, are the six keys to achieving excellence we've found are most effective for our clients:
  1. Pursue what you love. Passion is an incredible motivator. It fuels focus, resilience, and perseverance.
  2. Do the hardest work first. We all move instinctively toward pleasure and away from pain. Most great performers, Ericsson and others have found, delay gratification and take on the difficult work of practice in the mornings, before they do anything else. That's when most of us have the most energy and the fewest distractions.
  3. Practice intensely, without interruption for short periods of no longer than 90 minutes and then take a break. Ninety minutes appears to be the maximum amount of time that we can bring the highest level of focus to any given activity. The evidence is equally strong that great performers practice no more than 4 ½ hours a day.
  4. Seek expert feedback, in intermittent doses. The simpler and more precise the feedback, the more equipped you are to make adjustments. Too much feedback, too continuously, however, can create cognitive overload, increase anxiety, and interfere with learning.
  5. Take regular renewal breaks. Relaxing after intense effort not only provides an opportunity to rejuvenate, but also to metabolize and embed learning. It's also during rest that the right hemisphere becomes more dominant, which can lead to creative breakthroughs.
  6. Ritualize practice. Will and discipline are wildly overrated. As the researcher Roy Baumeister has found, none of us have very much of it. The best way to insure you'll take on difficult tasks is to ritualize them — build specific, inviolable times at which you do them, so that over time you do them without having to squander energy thinking about them.

I have practiced tennis deliberately over the years, but never for the several hours a day required to achieve a truly high level of excellence. What's changed is that I don't berate myself any longer for falling short. I know exactly what it would take to get to that level.
I've got too many other higher priorities to give tennis that attention right now. But I find it incredibly exciting to know that I'm still capable of getting far better at tennis — or at anything else — and so are you.

The Eight-Word Mission Statement - Eric Hellweg - Our Editors - Harvard Business Review

The Eight-Word Mission Statement - Eric Hellweg - Our Editors - Harvard Business Review

Thursday, October 28, 2010

Five Beliefs that Inhibit Good Design - Deepa Prahalad - The Conversation - Harvard Business Review

Five Beliefs that Inhibit Good Design - Deepa Prahalad - The Conversation - Harvard Business Review
There are plentiful examples today of companies using design to create value for consumers and shareholders. Despite the growing interest in design across industries, there are also persistent misconceptions that keep many business leaders from realizing its potential in their organizations. Here are the most common ones:
1. Quality is more important than design in my business. Quality is important in every business and always will be. However, quality is the price of entry in many industries and it's rarely enough to win market share and loyal consumers.
There's a persistent belief in a trade-off between style and substance. In reality, design is a way of conveying quality. Data suggest that companies gain the luxury to focus on design when they have mastered quality, distribution, and understand their markets well enough to create a relevant offering. Google, Coca Cola, HP, Procter & Gamble — are just a few examples of firms that are high design and high performance.
What's true in the lives of individuals applies to companies as well — when you're exhausted, overwhelmed or confused about what to do next, you never look your best. Consumers look at a dirty store, picked-over merchandise and bad service and come to the same conclusions. Good design is like putting on a suit for an interview — it shows the other person that you care about the relationship.

2. It is more important for me to offer a great price than a great design. Some great designs and brands do cost more, but there is no absolute correlation between price and design. Great design exists at all price points. Some of the best-known examples are companies such as Target, IKEA and LEGO that offer goods in a budget-conscious segment. The pattern continues with the Top 20 global brands, which include luxury retailers but also accessible goods and services like Coca-Cola, McDonald's, Google and Gillette.
More importantly, some of the most innovative designs today were created with affordability and scarcity in mind. The Tata Nano, the award-winning portable ECG machine from GE and One Laptop per Child were just a few notable efforts that challenged assumptions about price-performance relationships and generated design buzz. The push for sustainability across industries is likely to amplify this trend.
3. I would like to have a great design, but I have to launch on time. Design by definition must include execution. Focusing on design forces an organization to test ideas, synthesize feedback, and generate new concepts at a rapid pace. Historically, designers were brought in at the end of the launch process — and creating concepts under intense pressure is still the norm.
Look at the many of the companies that are strongly associated with design today. Apple, P&G, Target, Amazon, LEGO and others expand their portfolios and launch products more frequently than their peers. Design efforts don't slow down product launches. Indecision does. A widely shared set of decision criteria around design can make the process more efficient.
4. Design and aesthetics are too subjective — I need data to make decisions. Although great design speaks to a consumer's needs and emotions, there is no single aesthetic that companies must drive toward. Consistency between the brand values and the physical design is what creates a superior consumer experience. BMW, Honda and Hyundai have deep consumer loyalty with very different looks and features. Moreover, design priorities are based in actual data. Consumer testing and feedback can be achieved at low cost today with the internet and social media.
5. I will create the product or service; I trust the advertising experts to tell the story. The worlds of brand, advertising and design are rapidly converging. Well-crafted marketing and branding can boost the impact of a great design, but unless the message is reinforced by real-world experience, the effect is usually temporary.
In the best cases, the design itself can become the advertisement. Some familiar success stories — Dyson, FlipCam, the iPod, Method — illustrate this point beautifully. These designs fuel demand and propel brand loyalty. It's no accident that great companies often have great ad campaigns and use social media effectively — they are leveraging the same deep understanding of the consumer.
Business leaders don't need to go to design school to bring great design into their companies. They need to remember bring their own core skills — listening to consumers, asking questions, and openness to new ideas — into the design process. Design doesn't work in a vacuum — it's the alignment with the right business model and service that creates a compelling consumer experience. Getting to great design requires looking at consumers, not competing products, more thoughtfully.

Monday, October 25, 2010

REVEALING CORPORATE DNA

Corporate Communications | IMD
ompanies love talking about their sustainability initiatives and noble corporate purposes. But are these companies really walking the talk? Corporate purpose is often received with mistrust, skepticism and even cynicism. Many perceive the way companies express and communicate their corporate purpose as “window-dressing” or political correctness.
Recent events before and during the global recession have reawakened public scrutiny of a corporation’s purpose. These events have revealed strong differences and opinion about the role of business in society and how it links to the stated purpose of corporations. The current societal flux is also leading corporate decision-makers to revisit the definition of corporate purpose.
To make a solid contribution to this field of research and organizational practice, IMD’s Center for Corporate Sustainability Management entered a partnership with the global public relations firm Burson Marsteller to better understand the inputs and impacts of communicating corporate purpose.
What is the nature of corporate purpose being communicated by leading companies? How is purpose integrated into corporate strategies? How do companies express their sense of purpose in the public arena? What is the impact of corporate purpose in building trust with key stakeholders such as employees, financial analysts, media, NGOs, suppliers and customers? What is the link between impact purpose and financial performance? These were some of the questions we sought to answer.
IMD interviewed managers in 27 companies in a diversity of industries (banking, food & beverage, energy insurance, technology and communications pharmaceutical, transportation equipment and services, retail and heavy manufacturing) to understand their communications inputs. We also scrutinized the purpose outlined on corporate websites and in annual reports. To understand impact, we compiled a rankings of the rankings based on data from 213 top European companies, such as Fortune’s World’s Most Admired Companies, the Reputation Institute’s ranking of the World’s Most Reputable Companies, the Dow Jones Sustainability Index, and so on. Excellence in purpose communication was measured by evaluating the level of trust that companies had actually built with key stakeholders.
In a nutshell, corporations wishing to reflect on whether and how better to communicate corporate purpose more effectively, and – particularly in this day and age – salvage or rebuild tarnished or wrecked reputations through a more purposeful communications strategy need to “better walk the talk while talking the walk.”
The project revealed that these European companies are transitioning from a “just do it” approach to a “talk the walk” approach on communicating corporate purpose. Leading companies that have traditionally taken a low-key, “below the radar screen” approach have recently become much more active in this regard.
Companies articulate and communicate on corporate purpose with the ultimate aim of building and sustaining reputation and trust. Managers have good reason to view this proposition as a double-edged sword. On the one hand, more thoughtful and careful communication of corporate purpose gives the opportunity to build, sustain and increase trust. On the other hand, some managers feel it can open the door to still more stakeholder mistrust and skepticism. Clearly the idea of not only “walking the talk”, but “talking the walk” consistently and coherently is the only way around this conundrum. This is no easy proposition, but the rewards, in terms of reputation and brand benefits, are potentially rich.
In interviews, leading companies stated that they are not positioning financial performance in their communications as an end in itself, but as a means to an end. Interestingly, they also claim that the “lion’s share” of leading companies’ efforts in communicating corporate purpose is dedicated to communicating on issues that help companies to align their corporate interests with those of key internal and external constituencies. Customer-focused messages also take up a good share of efforts. But viewing the literature and discourse around this subject, companies still have to be careful that “talk” matches “walk”. Otherwise, a substantial reputational risk factor enters the equation.
Overall, we found a positive correlation between effective communication of corporate purpose and financial performance. The effect of corporate purpose on financial performance of 108 companies was statistically tested through regression analysis and the results show that communicating purpose in a way that is consistent with corporate action can boost differentiation, strengthen reputation risk management and build additional competitive advantage.
Whilst one can be cynical about this, pointing to the “chicken and egg” conundrum (the view that financially successful companies do most things better anyway), we tried to counter this view by taking time effects into consideration to build a regression model that only measures the effect of purpose on financial performance, but not vice-versa. We tested the impact of purpose impact rankings in 2005 to financial performance over the five following years.
Nokia, Philips, BASF and L’Oreal are the top performers in purpose communication and have been extremely successful in building trust in the market and with key stakeholders, as well as in using it to leverage financial performance. Energy, pharma, technology and communications are the sectors in which companies are thriving in purpose communication, pulled by the excellence of industry leaders such as Nokia, Philips, Siemens, Vodaphone, E.On, StatoilHydro, Total, Roche, Bayer and GlaxoSmithKline.
Companies in the banking, insurance, logistics and automotive sectors have been struggling to communicate purpose in an effective way, with the exception of Swiss Reinsurance, HSBC, Volkswagen and BMW.
The food and beverage sector have the most uneven playfield. Danone and Nestlé excel in purpose communication, followed very closely by Unilever, Inbev, Diageo and Sabmiller, while its competitors are having a very hard time in building and sustaining reputation and trust. Interestingly, food and beverage is the sector in which purpose have the strongest influence on financial performance.
We conclude that clarity on corporate purpose – and in communicating it – enhances not only economy-wide financial performance but also relative financial performance within industries. Communicating purpose is indeed more than just talk.

Make Meetings Work: Fight the PowerPoint - Robert C. Pozen and Justin Fox - The Conversation - Harvard Business Review

Make Meetings Work: Fight the PowerPoint - Robert C. Pozen and Justin Fox - The Conversation - Harvard Business Review
PowerPoint overload! Hundred-twenty-minute snoozefests! Inconclusive conclusions! We all know how meetings can go wrong. In this fifth in a series of posts on personal productivity, Bob Pozen, chairman emeritus of MFS Investment Management and senior lecturer at Harvard Business School, tells HBR's Justin Fox how to structure meetings that don't waste anybody's time.
JF: What are your rules for meetings?

First, almost every meeting can be completed in one hour or at most 90 minutes. At 90 minutes, people turn off — they get tired and they stop paying attention. If you try to extend a meeting beyond 90 minutes, the diminishing returns are staggering.

Second, you should have meeting materials delivered the day before or the night before by email. All materials should have a one-page executive summary, and the assumption should be that everyone has read at least the summary before the meeting starts.

There are so many meetings at which the presenters just slog through 20 or 30 PowerPoint slides. But they've already sent the material in advance to the participants so this is a terrible waste of time. In my view, the presenter should give a five or 10 minute introduction to set the stage and tee up the key questions, and leave the rest of the time for discussion and formulation of an action plan.

JF: If somebody comes with a PowerPoint presentation, do you just say: "Look, you already gave me those slides, so I don't want to see these PowerPoints?"

Usually, I let them go on for a little while to see if this is just an introduction. But if they start to drone on, I would say, "Look, you've already given us this material, which we've all read. And there's some really excellent analysis in this material. So let's see if you can focus us on the key points we need to discuss and decide upon."

JF: What's your strategy in structuring a meeting?

There are two typical styles for leading meetings, both of which are problematic. One is the very open leader who says, "OK, let's have everyone's ideas about what we should do." But that leader has not given any structure to the conversation, so the participants can waste a lot of time. The other sort of leader is authoritarian. He or she says: "This is my view about where this project should head. And here are the steps I believe we need to take." Then the participants are likely to be afraid to say that this whole plan makes no sense.

I take a third approach, which could be called the rebuttable presumption. It is designed to focus the discussion and encourage debate. I might say, "Here is the area where we really need to do something. But it is a difficult area and there are several ways to address the problems. Now this is my tentative view of the path we should take, but I could be wrong. I want you to feel free to disagree and offer alternatives." And then you have to be willing actually to discard or modify your plan if someone comes up with a better one.

If someone comes up with a truly new idea in a meeting, I embrace it enthusiastically. How many times do you hear a totally innovative idea? If you embrace new ideas, you will attract creative people to work for you because they see that you really value innovative contributions.

JF: Do you have a particular way of closing meetings?

At the end of a meeting, I will always ask, "Where are we going to go from here? What are the to-do's and who's going to do them and when will they be delivered?" I want the meeting participants to agree on a set of deliverables and to set their own timetable. Then they will have an ownership interest in the follow up, rather than just going along with my directions. And they often select a more aggressive timetable than I would have the nerve to suggest.

Friday, October 15, 2010

4 Steps to Becoming a Multi-Tasking Master - CBS MoneyWatch.com

4 Steps to Becoming a Multi-Tasking Master - CBS MoneyWatch.com
No doubt you’ve heard the research that “proves” multitasking is counterproductive, but I disagree. There is bad multitasking and there is good multitasking. The trick is to learn how to multitask the right way.
Traditional multitasking doesn’t work because it involves two or more activities competing for the same resources. A typical multi-tasker may try to listen to voicemail while reading a report, talk to a friend while writing an email, read the morning newspaper while talking to their spouse, or play a board game with their kids while watching the evening news. The problem with all of these is that these tasks are competing for the same limited resources.
Fortunately, there is a smarter way to multitask. In psychology, chunking is a strategy for making more efficient use of memory. For example, trying to remember “IMAT TRA CTE DTOF UR RYSH EEP” would take forever and you’d forget it tomorrow. But you could instantly remember “I’m attracted to furry sheep.” Why? Even though the order of letters hasn’t changed, grouping them differently produces a much different result. Psych people call this chunking (the grouping part, not the attraction to sheep).
For our purposes, chunking is a strategy for making more efficient use of your time and schedule. Chunking allows you to get more done by grouping multiple tasks together. So, how does chunking avoid the pitfalls of traditional multitasking? The trick is to choose two tasks that don’t compete for the same resources by combining a mental task with a physical task.

4 Steps to Becoming a Multi-tasking Master

  1. List dead time activities. Dead time is not time when you have nothing planned, but is time spent doing a brainless activity that feels like a waste of time. No matter who you are or how productive you think you might be, we all have some dead time throughout our day. Examples include brushing your teeth, getting dressed, standing in line, sweeping the floor, driving, sitting in waiting rooms, working out, cooking, doing the laundry, jogging, vacuuming, doing the dishes, etc.Think about an average day and list all of the areas of dead time you find. Look for pockets of dead time that are predictable and recurring. Write them down as you think of them.
  2. Brainstorm the positive activities you want to do more often. Step 1 had you list dead time activities, but improving your life is all about doing the things you’re not currently doing but that you want to do. If time weren’t an issue, what activities would you do? Maybe you’d read every John Grisham novel or more articles in your industry’s journal. Maybe you’d hand-write letters to your top clients or to family or call each of your friends once a week. If you’re having trouble coming up with a good list, think of those things you enjoy and/or that will get you closer to reaching your goals.
  3. Determine if the activities require your head or your body? Mark the activities in step 1 and step 2 as either “head” or “body.” In other words, does the activity require you to think (head) or be physical (body)? Head examples include attending church, watching TV, memorizing new vocabulary, reading, listening to an audio program, etc. Body examples include lifting weights, washing a car, cooking, driving, doing laundry, jogging, showering, flying, commuting (i.e., subway, bus), working on the lawn, walking, doing dishes, etc.
  4. Make the connection. Look for opportunities to combine a head activity with a body activity. For example, you could listen to the Portuguese audio program while you stretch, memorize 10 new words by posting them in the shower and near the kitchen sink, walk while calling your friends, listen to The Grapes of Wrath while driving into work, etc.
Unless your father is your mother’s cousin, most people have only one head and one body. For chunking to work, you must combine just one head activity with just one body activity. For example, at my church, you can take a hike on a trail with a preacher while he gives a bible study. A friend makes all of her calls while on a StairMaster. What about you? What can you chunk?

Thursday, October 14, 2010

How to Get the Most Out of a Mentor | BNET

How to Get the Most Out of a Mentor | BNET
Pretty much everyone agrees that finding a good mentor is a key part of career advancement for young workers, but is the simple act of lassoing a more experienced guide to the corporate world enough? No, says Meghna Majmudar, writing on the blog of author Keith Ferrazzi recently. A good mentor-mentee relationship is not solely the responsibility of the more senior member of the pair. The younger member can do a lot to make sure the partnership is fruitful. Majmudar offers three sensible suggestions to get the most out of your mentor:
  • Mentorship starts with generosity…and vulnerability. Yes, there is the gift of time from the mentor, but equally important is being vulnerable and sharing where you really need help.
  • Be specific about the feedback and input you want. Don’t just ask the mentor to “help” you, share the specific questions you are struggling with so that the advice you receive is immediately useful.
  • Stay in touch. Let your mentor know how things are going from time to time. I try to stay in touch every with an e-mail or hand-written card every two to three months -– this way, if you need their help again, you won’t feel awkward or have to catch them up on everything!
Majmudar’s tips are solid, but she’s hardly the first to take up the topic. So, if you’re looking for even more ways to be a better mentee, Jodi Glickman Brown offers several additional tips on the HBR Conversation Starter blog, including:
  • Send “TOUs” or thinking of yous Share articles of interest or relevant news stories. Keep your mentor’s projects and areas of influence on your radar so that you can weigh in periodically on thought-provoking topics. You can even set up Google alerts on her key clients to make sure you’re the first to see breaking news — then pass it along and make sure she’s “in the know” too.
  • Provide insight into the rank and file of your organization Senior leaders often feel out of touch with the cubicle culture and lack meaningful interaction with the front lines of their organization. You may be able to share reactions of your peers to a new corporate policy or change in organizational structure. Giving your mentor feedback or insight into employee morale is a great way to give back.

3 Common Mistakes to Avoid With Your Mentor | BNET

3 Common Mistakes to Avoid With Your Mentor | BNET
Getting ahead in your career isn’t just about memorizing the company manual and mastering your daily tasks. You also need to learn your office’s informal networks, the personality clashes and synergies among your co-workers and the helpful unofficial ‘work hacks’ that make you a more efficient employee. How do you learn these things if they’re not in the papers you’re handed as a new hire? Through mentors, of course. To make the mentoring as painless as possible for office newbies, blog Tough Guide to Work recently offered a post on three common mentoring pitfalls and how to avoid them:
  • Searching for ‘the one’. Obi Wan. Mr Miyagi. Dumbledore. Watching movies and reading fiction gives us the deep impression that we should be seeking some Gandalf-like figure in our professional lives. Instead we end up having coffee with an exhausted executive who it turns out has a couple of good ideas and a bunch of neuroses. We expect one person to embody everything we want to become, advise on all areas of our work and life and then it turns out instead we’ve been paired with a human being instead. How unfair. Instead of seeking one perfect mentor, I strongly advocate getting a “Board of Advisors”. Seek out a selection of mentors who can offer guidance on a specific topic. Want great advice on work-life balance, career goals, navigating politics, professional growth, building a network, influencing senior management? It’s unlikely that you will find one genius that gives you everything.
  • Needing to make it official: Senior executives I have spoken to say that they fear the junior employee who asks them to be their mentor. They worry that they don’t have the time, that it will involve having to go for long dinners in trendy places with loud music. They’d prefer to be playing tennis, or spending time with their friends and family. Some of the best mentoring I have had has been in the backs of taxis, during small talk at the end of work meetings and at friend’s weddings at drinks before the long dinner. The other person probably doesn’t see it as mentoring, just a friendly conversation with a young face. The key here is to remember to ask for informal advice. Try this: “In your experience, what mistakes do you see people like me make?” or how about “What career advice to you have for someone like me?”.
  • Confusing mentors and sponsors. Mentors offer “psychosocial” support for personal and professional development, plus career help that includes advice and coaching. On the other hand, sponsors actively advocate for your advancement. They give proteges exposure to other executives, they make sure their people are considered for promising opportunities and challenging assignments.

RE: 3 Common Mistakes to Avoid With Your Mentor
The most exciting aspect of work is that opportunities to receive mentorship are everywhere. To get the most out of a mentor, don't think of it as a "teacher-student" relationship. Instead, think of it as an ongoing information stream. Sometimes you'll get direct feedback and sometimes you'll learn by observing. I've learned a ton from mentors simply by watching how they act, what they say, how they say it and when. As you learn and apply what you've learned, mentors will take notice and pay more attention to you. The key at the outset is to decide who to pay attention to and then you have to make a point of actively observing.
ZDNet Gravatar
Jesse_Goldman
10/08/2010 08:55 AM

Tuesday, October 12, 2010

The Value Of Brand Guidelines

The Value Of Brand Guidelines
A company’s brand is vital. It explains what your company stands for and defines who you are, what you do and how you do it. A brand establishes ownership, creates unity and provides a set of values to rally around. But, behind every good brand is a comprehensive set of brand guidelines.
Here, fuse8’s award-winning senior designer, Matt McMillan, outlines how specific yet flexible brand guidelines can help create and maintain an effective brand identity that expresses your culture and your character and, in turn, helps play a leading role in establishing your reputation in the minds of your customers.
What’s the point?
Brand guidelines can often seem a little pedantic – pages of detailed company rules about logo specification, colour palettes, typography and tone of voice can, to some, appear trivial. But, there are plenty of reasons for having them and for sticking to them. They create consistency of image in your audience’s mind, build stronger brand value over time, deliver an accurate perception of your identity, improve customer confidence in your business, increase your profile and help enhance your competitive advantage.
So, quite significant really.
Keep it consistent
To grow and maintain a great brand, consistency is by far the most important factor. This ensures that your image is immediately recognisable wherever it is and on whichever medium it’s found.
A logo creates a visual credibility and a perceived quality to your organisation. A logo alone, however, is only part of the story. A logo’s implementation is equally as important, as an effective logo badly applied amounts to a wasted opportunity.
Take some of the most globally recognisable brands, such as Google, Nike, or Coca Cola. The topic of what makes a good brand is a discussion for another day, but what has helped to establish these logos as undeniably iconic symbols is the fact that they have remained consistent on print, clothing, packaging, TV and on the Internet.
Therefore, comprehensive brand guidelines are vital to allow your brand to achieve optimum performance.
Rules not restrictions
From a designer’s point of view, we like following rules. We can’t get enough of them. Grids, colour palettes, point sizes, ‘x’ heights, margins – we love them. What we hate is being restricted. It is important to give designers enough room for interpretation, that’s why brand guidelines should be just that – a guide, not a creative straight jacket.
Guidelines need to be specific enough to uphold the brand values, yet flexible enough not to stifle creative opportunity.
Guidelines mean efficiency
Brand guidelines also play an important role in a designer’s efficiency. In the current climate, where everyone has their eye on time and money, a well-managed visual identity can equal greater creative output. All the hard work has already been done, so it’s just a case of implementation. Therefore, you spend less time worrying about the how it looks and can focus your efforts on generating outstanding ideas.
fuse8 has recently created a brand identity for a client, which has been a great success and has received very strong initial feedback. The original brief for the job was to create a logo and several items of printed material, however, it was essential that we also created some brand guidelines that are integral to the client’s overall brand personality. This ensures that, when the client’s planned online activity begins, it all integrates with the offline presence we have lovingly created for them.
The bottom line
In terms of the bottom line, your brand makes money for your business. A great brand is an assurance of quality on the supply side as well as a revenue source on the demand side, so your brand needs to be fully understood if you are to maximize its value to your business.
On a basic level, comprehensive yet flexible guidelines provide a framework of instruction on how to apply your brand across any material or media. But, they will also help create and maintain a clearly defined brand identity and will contribute to an understanding of your business, motivating both customers and employees to share in your company’s vision and ethos.

Good brand guidelines are a springboard, not a straightjacket. � Saatchi & Saatchi Design

Good brand guidelines are a springboard, not a straightjacket. � Saatchi & Saatchi Design
Today’s smartest companies are led by their brand values and beliefs. A strong brand identity leads and reflects the company’s values and reinforces these qualities through brand guidelines. But guidelines do more than mark out rules and regulations, they tell a brand’s story, focusing everyone together in the same direction.
Brands are becoming more open and expressive. This means guidelines also are becoming more emotional, less rigid and more flexible, enabling brands to adapt their tone and to address multiple audiences. Good guidelines strike a balance between emotional engagement and continuity and avoid drawing the brand too far from its focus.

Old brands, new tricks

In the past guidelines tended to stamp their brand onto the marketplace, believing that presenting a consistent image would eventually lead to becoming a trusted partner of choice. This worked at the time, because consistency became familiarity, familiarity became trust and from trust came acceptance and allegiance. Today consumers and businesses are more brand savvy and need to see the brand living, breathing, and becoming a part of their lives. Engaging staff and customers becomes an invitation to join in and interact, rather than directives on what to and what not to do. A good example of this new flexibility is Coca Cola. In the ‘70s and ‘80s Coca Cola stamped its red and white branding all over the globe; now, as official sponsor of The Championship Football League, Coca Cola has allowed changes to its brand colours to match that of home teams across the country. Perhaps none stranger than those of Norwich City FC!
Coca Cola Colours

Flexible brands are enduring brands

Brand content and message can also become more important than overall look and feel. For example, Vodafone’s ‘Make the most of now’ message is held in a clear red panel, but behind this can go all manner of illustration, photography or moving images. The brand message is consistent but the visual brand is alive, responsive and adaptive to the audience being addressed. Consequently, the visual elements of the brand work that extra bit harder in all forms of media; extending the brand’s longevity and saving on expensive brand overhauls. Flexibility is the key to successful brand guidelines, and companies need to have the confidence to allow the brand to grow and build relationships with different audiences across multiple platforms.
Vodafone Advertisements
However, one bad apple, especially high up the tree, is all that is required to spoil the brand. This is why it is vital that everyone in your company understands, buys into, and is able to articulate the brand in a consistent way. This is no small task, but it will give you a huge advantage to enjoy over more fragmented competitors. Remember: flexibility, the balance between emotional engagement and consistency, will keep your brand vibrant now and into the future.

Royalty Free Vector Graphics | VectorStock�

Royalty Free Vector Graphics | VectorStock�

I Love Social Media - Free Vector Art - Download Free Vector Art Graphics at Vecteezy!

I Love Social Media - Free Vector Art - Download Free Vector Art Graphics at Vecteezy!
I-love-social-media-tbnl

Free Wallpapers, Art and Vector Images | Living Locurto - FREE Printables, recipes, party ideas and crafts.

Free Wallpapers, Art and Vector Images | Living Locurto - FREE Printables, recipes, party ideas and crafts.
Lots of cool free Vector images by Vecteezy

Desktop Patterns

FREE texture stock photos at Grunge Textures and Urban Dirty.
Preview

A Print A Day Archives: Dreamcatcher

A Print A Day Archives: Dreamcatcher
http://farm3.static.flickr.com/2291/2414813997_9a607b04b6.jpg

All sizes | lacy labels | Flickr - Photo Sharing!

All sizes | lacy labels | Flickr - Photo Sharing!

A Print A Day Archives: Bouquet

A Print A Day Archives: Bouquet

A Print A Day Archives: Wings

A Print A Day Archives: Wings

A Print A Day Archives: Weekend Downloads-Doilies

A Print A Day Archives: Weekend Downloads-Doilies
lacy labels large
Large labels: 4 x 3.344"

lacy labels
Small mailing labels: 4"x2"

Fonts For Peas | Best Handwriting Fonts - Part 10

Fonts For Peas | Best Handwriting Fonts - Part 10

Click to Download Cute Free Handwriting Fonts

Click to Download Cute Free Handwriting Fonts

Fonts For Peas | Best Handwriting Fonts - Part 15

Fonts For Peas | Best Handwriting Fonts - Part 15
Click to Download Cute Free Handwriting Fonts

A Print A Day Archives: Moving

A Print A Day Archives: Moving

A Print A Day Archives: Lace Dress 2

A Print A Day Archives: Lace Dress 2

Feed Your Soul: the free art project

Feed Your Soul: the free art project




PARASOL MAG

PARASOL MAG

PARASOL DIGITAL — BRUSH ICON: DOODLES & LACE

PARASOL DIGITAL — BRUSH ICON: DOODLES & LACE

Free Scrapbook Fonts

Free Scrapbook Fonts

Download Free Scrapbook Fonts

Download Free Scrapbook Fonts


Download Free Scrapbook Fonts


Download Free Scrapbook Fonts

A Print A Day Archives

A Print A Day Archives

Free Downloads & Printables | Living Locurto - FREE Printables, recipes, party ideas and crafts.

Free Downloads & Printables | Living Locurto - FREE Printables, recipes, party ideas and crafts.

Friday, October 1, 2010

Daimler Brand & Design Navigator

Daimler Brand & Design Navigator

Basic Elements

Logo Design for Travel and Destination Brands

Logo Design for Travel and Destination Brands

Logo Design For Travel and Destinations

Travel and destination brands operate in a complex environment. Not only do they compete within the world of travel, but also with many other categories that vie for our personal free and leisure time. This includes TV, movies, video, computer games, the comforts of home, recreational and leisure activities, family time, soccer, even shopping.

Before starting an identity project, it is essential that you analyze the competitive set and then determine what gives your brand distinction. Since the competition is so broad, its important that travel and destination brands understand where they fit so they can successfully stand out from all of their competitors.

Distinctive design can give a brand a unique presence and expression.

While a logo is only one component of a brand, it’s purpose can be thought of as a visual ambassador. The right logo will help create desire. It will have a point of view. And set the standard. It should represent a body of core ideas, yet rarely can it perform this task literally. The best logos imply meaning through representation and metaphor. They can take their form as wordmarks, or letterforms, as graphic symbols or a combination of words, letters and symbols. They range from the literal to the illustrative to the abstract.

With so many possibilities, shapes and personalities, how do you choose the right direction for your logo?

In creating a successful travel or destination logo, we start by looking at the competitive environment and then consider three elements - shape, color and content. It is unrealistic to expect a logo to represent every detail of your brand. But having a good ambassador with a unique, authentic expression will serve your destination well for years to come.


The Competitive Logo Review

It’s a wonder that so many travel and destination brands within a competitive set use similar iconography in their logos. Comfort Inn, Holiday Inn Express and Days Inn all have a sun icon. The MGM Grand and Ritz Carlton logos both sport a beautiful lion.
MGM Grand logo Ritz Carlton logo

Many cities utilize a rendering of their skyline. Golf course logos all too often incorporate complex illustrations or clip art of golf clubs. According to logodesign guru, a website where you can buy a logo starting at just $99:

“A golf course logo graphic should be very creative and must highlight the salient features of golf, like clubs, balls, etc.”

In other words — make it look like every other golf course.

A few years back, when we were rebranding Windham Mountain, we collected the marketing materials of 52 competitors, to better understand their competitive set and search for an opportunity to create meaningful differentiation. What we found was nothing short of cliché: 90% of the competition had a mountain in their logo. The mountain iconography ranged from the abstract to the literal, but in the end each of these resorts built an identity around what makes them similar, not what makes them different.

The folks at Windham learned from this exercise that mountain imagery in whatever form was something they needed to stay away from in order to stand out from the crowd. The place to draw inspiration for their identity was their unique brand positioning — that differentiating, relevant, deliverable and ownable mojo that makes Windham Mountain desirable to its customers.

There are actually a handful of ski resorts who have gone so far as to eliminate references to anything to do with skiing and snowboarding in their logos. The ones that have done this are attempting to communicate their brand essence, what’s makes them different. Now one might argue, for example, that a logo like Beaver Creek’s has nothing to do with skiing and therefore doesn’t communicate to skiers, especially if you had never heard of Beaver Creek before.

Beaver Creek logo

Beaver Creek’s logo is about luxury. Its monogram of interlocking ‘B’ and ‘C’ letterforms are reminiscent of Coco Channel’s C’s or Gucci’s G’s. The script typographic wordmark would more likely be found on a bottle of champagne.

While Beaver Creek's logo is effective at differentiating the resort, script type and monograms are not necessarily the best way to communicate luxury in all situations. In fact, scripts and monograms are actually pretty common in the broad category of luxury. However, Beaver Creek was the first to successfully and sustainably position themselves as a luxury ski resort and, as a result, they own it. No competitor can take this position away from them as long as they remain true to the promise.

Avoiding Logo Design Fads

A trap to avoid when contemplating a new logo is the design fad. Design fads not only occur within a specific travel and destination sector like skiing, but can also span across multiple industries. Often we see companies copy a trend regardless of the look having anything to do with the brand’s core message.

A favorite handout in my Graphic Design for Corporate Identity class at RPI is a Graphic Design USA article from the late 1990’s. In it is a page of logos that are all designed with what I call The Swoosh Factor.

After the Nike logo became popular, it seemed that whenever someone designed a logo, no matter for what industry, the trend was for it to have an arc. From health care, to high tech, to active outdoor, to resort branding, the swoosh factor kept showing up whether or not the symbol made any sense at all. It was hard to tell industries apart, no less companies within the same competitive set. You have to wonder if Hyatt considered that their logo symbol is the same as many from the manufacturing or high tech industry.

Swoosh Factor logos still in use today

Swoosh factor logos

It’s difficult to stay away from fads. There's no sin in wanting a destination to be perceived as contemporary. But like the latest contemporary fashion craze, watch out: fads fade fast.

It is also easier to think we want something because we have seen it used successfully elsewhere. But design fads do not help your brand to stand out from the crowd (in a good way) anymore than knocking off the “Got Milk?” campaign does. If someone else has already done it, then you cannot own it. And everyone will know that it is not original.

The Role of Shape In Logo Design

The brain acknowledges and remembers shape first. It has to do with the four regions of the brain known as V1, V2 , V3 and V4. Researchers have been able to show that visual information flows from the eyes to the V1 sector first and then moves toward higher processing areas like V4, where increasingly complex properties of the object are analyzed and encoded. V1 represents very simple properties like orientation, color and direction of motion.

Shape recognition is inherent in the way we learn. Whether it be geometric or something more organic, a distinctive shape is memorable long after it leaves our view. In order to read, one must have an ability to distinguish and recognize the shape of letters and the distance between words. Each letter becomes associated with a meaning and also a sound.

In our research of travel and destination brand identities, we have found that there are actually very few logos that rely on a unique, well-defined shape. Too often, logos in this category rely solely on their name as the main image. The problem is that, while a well-designed wordmark can appear powerful, research shows that a wordmark that has a distinctive shape or is integrated within a distinctive shape is far easier to remember.

See how many of these logo shapes you can recognize

Memorable logo shapes

You will find the answer key here.

Many logos have distinctive shapes that also combine the initial(s) of the brand into the icon. The “W” from the W Hotels is one of our favorites. The styling of the simple “W” is clean, modern and streamlined and has distinctive points that create its shape. The bottom of the“W” and the center top point are razor sharp.

W Hotels logo

You could argue that the W Hotels logo is a word mark as they capitalize on the simplicity of their name, but you wouldn't confuse them with any other hotel that begins with a “W”. Theirs is a powerful use of shape and language, creating a completely ownable logo.

The Emotional Impact of Color Logos

Color is the second most powerful element in creating brand recognition. It is also the most subjective element because it triggers strong emotions. Individuals, as well as cultures, perceive color differently.

We often associate it with a variety of events, rites of passage, and objects. Things we taste, such as a lime or orange, generate color imagery. So does the scent of a pine forest or a bouquet of lilacs. Certain colors are often associated with emotions, such as blue with loyalty, yellow with cowardice, and purple with spirituality.

Some ancient societies believed in the healing power of color: red for energy, blue to reduce allergies. Although modern society is skeptical of such “powers”, consider this: babies born today with jaundice (a yellowing of the skin) are treated by exposure to a blue light which triggers a positive metabolic reaction. 


In western cultures, some wear white to symbolize cleanliness, virtue or chastity. In China, white is associated with grief and mourning. In western culture black has negative associations — the dark side, blacklisted, the Black Plague, black magic and death. Our language uses color in euphemisms — the grass is always greener, don’t be a yellow belly, or his face was red as a beet. In the past few years the color green has taken on newfound meaning while becoming the color and word of the decade. Whether through subjectivity, spirituality or science, colors create meaning in our world.

Research shows that 60% of a decision to buy a product is based on color.

Sometimes that color is not defined in the logo itself, but how it is applied to the overall brand to stimulate recognition. UPS utilizes brown as their signature color on vehicles and uniforms, and even verbally in their campaign slogan “What can Brown do for you?” Tiffany’s is infamous for their little blue box and Target uses red everywhere.

But be careful: similar industries often use similar color palettes. Many beach resorts and coastal destinations use medium soft blues with some soft yellows and/or oranges in their palettes. Ski resorts tend to use a lot of cold blues and white. This is why carefully considering color palette for your destination brand is critical as you move forward with the implementation of your logo and the brand identity grid.

The Use Of Language In Logo Design

Content is third in the sequence of recognition behind shape and color because the brain takes more time to process language. Letterforms can be very powerful in creating content and meaning. The use of initials as an identifying mark has been around for centuries since medieval kingdoms became economic enterprises. Letterforms are often abstracted to create clever symbols which act as metaphor for the core brand positioning. These symbols combine a strong form and shape that influences content.

Logos using language to communicate

Many logos consist of only the name of the destination without any iconic symbol. These wordmarks or logotypes range in complexity from straightforward typesetting of an existing font, to a completely custom typographic mark. The most effective wordmarks have something unique embedded or changed in the typography that create metaphor and imply meaning. It can be a clever graphic inserted into the word, a texture applied to the letters, or the transformation of a letter(s).

Too often travel and destination brands rely on cliches such as script typography to denote luxury, even though it doesn’t necessarily distinguish or get to the heart of the brand. It's not that these logos aren’t nice on the surface, but do they really speak to the core of the brand message? It's hard to understand why so many believe that script type is the only way to attract a luxury customer.

Script logos

If you’ve ever had the pleasure of staying at the Lake Placid Lodge, the script type should confuse you. The Lake Placid Lodge is designed in the Adirondack Great Camp tradition. The script type has little to do with the resort’s heritage and brand position.

Destination Logo Design: Suggested Reading

If you'd like to learn more about logo design and how shape, color and language content are interpreted by the human brain, we recommend these sources:

Designing Brand Identity
by Alina Wheller

John Wiley & Sons, Inc., 2006

'Meggs’, A History of Graphic Design
4th Edition
by Philip B. Meggs and Alston W. Purvis
John Wiley & Sons, 2006

An Osteopathic Approach to Children
by Jane E. Carreiro

Elsevier Health Sciences, 2003

Dual perspectives give science added insight into brain
by Michael Purdy Homewood
The Gazette Online, the newspaper of The Johns Hopkins University 2002

VOL. 32, NO. 2

Wanderlust Travel Marketing Best Practices Assessment

Wanderlust Travel Marketing Best Practices Assessment

Vgrafiks / Branding Agency / Graphic Design Studio / Packaging / Advertising / Website Design / Social Enterprise / Manila / Philippines

Vgrafiks / Branding Agency / Graphic Design Studio / Packaging / Advertising / Website Design / Social Enterprise / Manila / Philippines

Tourism Marketing | Establishing Brand Personality

Tourism Marketing | Establishing Brand Personality

The Mood Board: Establishing Brand Personality

The mood board is a tourism marketing device we use at Wanderlust to help establish the personality and visual identity of travel and tourism brands. The mood board is a combination of photographs, graphics and words on a single panel that reflect the desired brand position (rather than the current position). Together these elements provide an illustrated example of the brand position, imparting the energy, mood and spirit of a destination, resort or attraction.Windham Mood Board

Elements of a brand mood board:

  • Photos that convey a destination’s spirit or energy, and reflect visual content likely to appear in marketing communications.
  • Text that helps express mood and personality: usually limited to 3 to 6 carefully chosen words that define a feeling, a way of behaving, or a characteristic attitude of the destination.
  • Graphic elements, including iconography, color palettes and typography, that foreshadow the brand image and formal brand identity program.

Mood boards are very helpful in defining, explaining and building out a new brand position. First, for getting buy-in and approval of positioning initiatives: If the mood board captures the feel of a place, if it’s a believable representation of what a destination can offer, and above all, if it’s desirable and exciting, then it is likely a successful position.

Secondly, mood boards can help communicate the brand to frontline staff. Presenting with words and images they can relate to and easily remember helps them find ways to express the brand position in their interactions with customers.

And finally, mood boards are excellent decision-support tools, offering a visual measuring stick that can be help up against creative executions. Mood boards are the acid test for whether communications are on-brand or off-brand. Does a new ad or brochure capture the look and feel of the mood board? Does it support the position and promise of value?

In a world of subjective opinions about design and communication, the mood board can provide an objective tool to help you make important decisions.

Travel Advertising | Brand Differentiation

Travel Advertising | Brand Differentiation

Creating Differentiation for Your Travel Brand

Creating a higher level of differentiation means taking the time to learn what makes your resort or attraction unique, and what it has to offer that is relevant and compelling to the travelers wanted as repeat, high value customers. All great positions are rooted in a nugget of truth, or a kernel of insight that helps you stake out an ownable space in the mind of the consumer that is unique, and that no other brand can co-opt, or invade.

Differentiating brand

Our experience shows us that there are four steps to uncovering truths that contribute to a believable, differentiating, relevant, memorable and deliverable promise of value for any destination.

Four steps to define your brand position

  1. Peel back the onion – Examine your destination’s place in the world: where it originated, what value it offers, its past and current market position. What do people say, think and believe about it? View your business from an outsider’s perspective and be honest.
  2. Analyze the competitive idea space – Reverse-engineer your competitors’ advertising and marketing to see how they position their destinations. How is their position different or the same? Is it true? This should give you a sense of where there is saturation and opportunity in the world of ideas.
  3. Identify the true relationship drivers – Create a list of attributes in your category and do a gap analysis to determine which are relationship drivers for the category and for your destination. Are the drivers tangible or intangible? Which do you need just to be considered? Which offer the highest return on investment and which aren’t worth spending time or money on? Don’t be afraid to invest in some consumer research at this stage. Good analysis will support decisions for a decade or more.
  4. Get intimate with the consumer – Among travelers who visit your competitive space, what are their current perceptions of the category, your brand and your competitors? What keeps them up at night? What makes them happy, and what can improve their quality of life? Focusing on the relationship-building drivers, ladder up the list of attributes to the place that resonates with consumers emotionally. What are they willing to believe about your place that is somehow different and more desirable than the competition?

So where does that leave you?

If you do your homework and answer all these questions, you should have a good understanding of what your destination is all about, what it can realistically deliver, and how your brand experience really differentiates it from competitors in the market. This journey of introspection is key to defining your position and establishing your message.

Travel Marketing | Staying On-Brand

Travel Marketing | Staying On-Brand

How to Keep Your Destination On-Brand

In 2010, destinations, resorts and attractions have an unprecedented array of communication channels through which to share their marketing messages.

  • Traditional mass media advertising
  • Niche market channels
  • Online communications
  • Social networks
  • On-site branding
  • Guerilla efforts
  • Word of mouth marketing
  • The list goes on

With so many unique messages going out to consumers and customers, how can marketers stay true to their brand’s promise of value? The answer is: with a well-defined brand position, a clear communication of brand values, and a few simple tools to help direct decision-making and inspire the troops.Tools List

Let’s face it; communications have changed. In response to media fragmentation and changing consumer habits, DMOs, CVBs, resorts and attractions are rethinking media strategies to leverage ‘owned’ media (their websites, social media channels and the destination itself) in addition to paid media. As the media strategy changes, so too must the messaging strategies. No longer is it as easy as having one message for one audience. Now destinations must have one brand position that can be expressed in many ways for a variety of small, diverse audiences.

Today we’re investing in our own channels to deliver richer communications to fewer people, a trend called ‘narrowcasting’. The goal is to engage the consumer in appropriate and desirable formats, when and where the audience seeks information. Compared to mass media messaging, this one-to-one (or one-to-a-few) approach demands all customer-facing employees – your customer service people, sales reps, marketers, managers, even maintenance workers – to be representatives of the destination.

With so many individuals acting as “the voice of the brand,” maintaining a single, consistent brand message is a greater challenge than ever. This issue of the Wanderlust Report will explore the importance of a solid brand position, and provide some tools and tips for keeping your message on-brand.

Tourism Branding Positioning

Tourism Branding Positioning

Brand Positioning For Tourism Marketing

There are too many places to go out there

There are tens of thousands of destinations (from cities to museums to attractions to resorts), all fighting to get the consumer’s attention. What separates the wheat from the chaff in this crowded category is a strong and clearly articulated brand position.

Now, we all know that the words “brand” and “branding” have been completely overused in these times of measurement and metrics. So before your eyes glaze over during yet another mindless effusion, let us cut straight to why those two words are still important to travel marketers:

"Without a position, it is almost impossible to achieve

a meaningful and sustainable point of differentiation."

It’s easy to overlook the power of positioning when there are competitive pressures, market forces or deadlines to deal with:

  • brochures must be distributed on time, or else
  • direct mail campaigns must drop when scheduled
  • banner ads, web content, and deal driven links need to get out there

Any diversion from the plan could impact revenue. Unfortunately, when these tactical efforts don’t follow a carefully crafted position, the destination can end up either looking schizophrenic to the customer, or worse: indistinguishable from competitors. Cover up the logos and it could be marketing from any place.

A unique, ownable position gives a destination gravitas

It has pull. It makes people want to get up off the couch, pack their bags, and go. With their friends, family, even solo. Whether it’s across town, the country, or the ocean, a destination has to make people lust after it. This requires an inspirational promise that holds true to the experience (and value) it can reliably deliver.

Creating this higher level of differentiation means taking the time to learn the truth behind what makes it unique, and what it has to offer that is relevant and compelling to the travelers wanted as repeat, high value customers. All great positions are rooted in a nugget of truth, or a kernel of insight that helps you stake out an ownable space in the mind of the consumer that is unique, and that no other brand can co-opt, or invade.

Once that truth has been uncovered and clearly articulated, every decision that has to be made gets a lot easier moving forward.

Travel Advertising Toolkit: Maintaining Consistency :: Travel Industry Wire

Travel Advertising Toolkit: Maintaining Consistency :: Travel Industry Wire

With an unprecedented number of channels to share their messages, destination, resort and attraction marketers are challenged to stay true to their brand’s promise of value. In a recent issue of the Wanderlust Report, the Wanderlust team describes how a well-defined brand position, a clear communication of brand values, and a few simple tools can help keep your message on-brand.

“These are a few of the tools we use at Wanderlust,” said Mark Shipley, President and Chief Strategic Officer, “to direct decision-making and inspire the troops.”

Brand Toolkit

Like a craftsman’s tool box, the brand toolkit contains resources that marketers or designers can draw upon when creating internal or external communications. “Implementing an integrated, unified brand identity for a destination or resort may require more than an instruction manual,” said Shipley. “That’s why we recommend creating a ‘brand toolkit’ whenever launching or repositioning a travel brand.”

The toolkit is a collection of electronic art files, including logo graphics, web elements, icons, patterns, textures, photographs, maps, or almost any visual elements that have been created in support of the brand identity. Delivered on a CD or DVD along with the brand guidelines, these files help designers execute the identity consistently, and save time by eliminating the need to recreate graphic elements of the brand. Depending on the scope of the identity development, the toolkit may contain just logo art work and related elements or complete design files for corporate identity programs, stationery, ad formats, signage and more.

The Brand Czar

The ‘Brand Czar’ is the keeper of the brand vision, the overseer of all brand communications and identity executions. Whether this is a full-time position or an honorary title assigned to a member of the marketing team, depends on the destination. A large organization with a high-volume communications, multiple locations or disparate operations may require a person dedicated to this position. At a smaller resort or attraction, it may be an informal role assumed by someone close to the branding process. The Brand Czar needs to build awareness of the brand position across the organization, monitor interactions with customers and coach frontline staff on behavior and expectation. “This role is important for the consistency of the brand identity and clarity of the messaging, especially at the initial launch or repositioning of a brand,” said Shipley.

The Brand Czar is responsible for:

Communicating the brand position and promise of value;

Translating the brand personality for expression in any medium;

Enforcing brand guidelines for consistent graphic identity; and

Recognizing anything that’s out of character or off-brand.

Staying on-brand begins and ends with an honest position

“If your brand position is authentic, honest and desirable to travelers, it’s going to be hard to stray off track,” Shipley summarizes. “Your organization will deliver on the promise simply because that’s what it does best. Your customers will come with expectations and get exactly what you promised them. Hopefully, they will share their satisfaction with others, who will come for more of the same, which your organization will gladly deliver – simply because that’s what it does best,” he concludes.

Resort Marketing | 12 Questions To Ask

Resort Marketing | 12 Questions To Ask

As you examine where your brand is now, and where you want to be in the future, consider the position you’re in.

Ask yourself these twelve questions:

  1. Do we follow what our competitors are doing and saying?
  2. Do we talk with our customers to find out what they think?
  3. Do we talk with non-customers to find out why they aren't customers?
  4. Does the look, flavor or tone of our marketing campaigns change frequently?
  5. Do we have a “mood board” and brand statement for our company?
  6. Has everyone that comes into contact with our customers seen it?
  7. Do we have a litmus test to determine if each element of our communications program is “on position?
  8. Do we have a brand standards or graphics standards manual?
  9. Are they followed religiously?
  10. Do we have a designated brand steward to pay close attention to creative, and other applications of the brand?
  11. Do we track ROI for marketing initiatives?
  12. How are our conversion rates?

It's a crowded world we live in, and despite recessions, layoffs, and tumbling revenue projections, people will still make time for getting away. A strong position will help you create emotional, evocative connections with the consumer. Those connections are built on insights grounded in the truth, and will help you find meaningful differentiation in your category.

The process is simple, and makes everything else more effective down the road.

Tourism Brand Guidelines: Setting Boundaries :: Hotel News Resource

Tourism Brand Guidelines: Setting Boundaries :: Hotel News Resource

Destination marketers now have an unprecedented number of channels to share their messages – from mass media to social networks. With so many messages, how can marketers stay true to their brand’s promise of value? A recent issue of the Wanderlust Report suggests that a well-defined brand position, a clear communication of brand values, and a few simple tools can help your message on-brand.

“A solid brand position is key,” said Mark Shipley, President and Chief Strategic Officer of Wanderlust. “Then you need some tools to direct decision-making and inspire the troops. These are a few of the tools we use at Wanderlust.”

Tourism Brand Guidelines

Also known as ‘graphic standards’ or ‘brand standards,’ the brand guidelines document is an instruction manual for creating communications that are aligned with the strategic position and identity.

Successful brand guidelines provide detailed direction and specifics for marketers and designers on choosing layouts, fonts, colors and artwork for internal and external communications. In addition, it may provide a discussion of the intent or rationale for the brand position – a more philosophical review of the brand’s character and flavor – that can be useful for strategic managers, creative directors and writers.

“The guidelines help keep the look and voice of communications the same,” said Shipley, “so every communication comes from a single voice – recognized, trusted and true – no matter who creates a piece.”

Subjects covered by brand guidelines:

• Brand Position: Personality and promise of value
• Tone and Voice: Copy style and language direction
• Logos: Color treatments, scaling and position
• Typography: Approved font families, weights, colors and sizes
• Photography: Image content, reproduction styles, color and placement
• Color: Approved color palettes, tints, sub-brand combinations
• Corporate stationery: letterhead, business cards, labels, envelopes
• Advertising: Ad formats and layout options, typography
• Point of Sale: Signage formats, materials, menus, color and type treatments
• Environmental Graphics: Building signage, interiors, way-finding
• Web Graphics: Direction on page headers, banner adds, navigation and type
• Miscellaneous: Staff uniforms, vehicles, phone systems, email formats, etc.

While the guidelines will give examples of how NOT to do things (improper use of logos, unacceptable colors or fonts, for example), the focus is on the intent of the brand identity, the spirit and mood that communications should express. Shipley adds, “If the guidelines are inspirational and liberating, instead of confining and strict, employees can better understand the expectations and become empowered to live the brand.”

Daimler Brand & Design Navigator

Daimler Brand & Design Navigator

Absolute Hotel Services

Absolute Hotel Services

Identityworks: Tools - Guidelines and standards manuals

Identityworks: Tools - Guidelines and standards manuals