Brain-Ding the Strategy

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yright © 2015 Francisco J. Serrano

t: Francisco J. Serrano

eword: Leo Brenninkmeyer

ing: Amaranta Ramírez

nslation: Amaranta Ramírez

ign: 121 USA, LLC

er design: 121 USA, LLC

work: 121 USA, LLCginal Title: BRAIN-DING – The Strategy

t edition, self-published.

N: 978-1-943844-76-0

rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, includin

tocopying, recording, or other electronic or mechanical methods, without the prior written permission of the copyright holder. R

ation can be considered a felony against intellectual property.

images, names, brands and logotypes included in this publication are property of their respective companies and/or copyright ho

are used with illustrative and informational purposes only.

opinions expressed in this publication are those of the author, based on experience and knowledge, and in no way intend to offe

ame or slander any of the authors, publications, persons and/or authorities mentioned in the book.


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ABLE OF CONTENTS

BOUT THE AUTHOR

OREWORD

TR ODUCTION

Why branding?

About this book

ONTENTS

BRAND, BRANDING AND BRAIN-DING

What is it?

What is BRAIN-DING?

When to use BRAIN-DING?

BR AND A ND BRAIN-DING COMPONENTS

Identity

Storytelling

Strategy

Relationship with customers

Diff erentiate, innovate

PROCESS

The team

Research

Design

To consider Design: elements and development

Changes

Resources

Evaluation

NOW AND THE FUTURE

BLIOGRAPHY


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ABOUT THE AUTHOR

ancisco worked as head of the customer service department at Alazraki, one of the le

vertisement agencies in Mexico. He also collaborated in C&A for more than seven years, whe

k over the communication management, new product development and other main tasks fo

ropean company. Francisco has been part of many international brand launches for the Hisrket, such as OxiClean and many Hershey’s products. In the United States he worked to l

ategy campaigns for Lysol and Air Wick.

is also a specialist in brand reengineering, working for the Maryland Hispanic Chamb

mmerce, with the Cadbury brand US packaging design redesign and the Ferrero Rocher Chri

OS strategy.

ancisco is currently the CEO at a branding agency called 121, with offices in Mexico an

ited States, and works through several business units: packaging and POS design, video andvelopment.


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s most recent project, BRAIN-DING The Strategy, is a book that takes you on a journey throug

rld of brands and branding, which Francisco is very passionate about and has plenty of exper

In his words, “Once you know your brand and make it the center of your marketing plan, nurt

o a strong image and position in the customer’s mind, you’re not just branding, you’re BR

NG.”


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OREWORD

is is not just another brand book. This is an insight into the mind of Francisco “Ico” Serrano,

nsider to be one of the leading multi-cultural, high-energy brand perfectionists currently out th

er the last 20 years, Mr. Serrano and I have worked together on nearly 500 large-scale proje

er 100 different global and regional companies in many different countries, as well as in

ferent capacities. During these years, I personally have worked with over 150 different bra

perts from the top 50 branding agencies in the world and have seen a wide variety of appro

d execution when it comes to brand design, implementation and tracking. How is Mr. Se

ferent from the latte-sipping, concept-board-toting, touch-feely-buzzword-spurting main

anding specialists out there? Where some love the branding fluff, Mr. Serrano is all abou

anding punch. He sees branding as a core business driver that is essential for the team t

solutely perfect. Whereas many branding specialists excel in the theory and creative interpre

reof, they rarely have the experience, instinct or skills to engineer the brand to drive salensumer purchasing behavior.

w many visually stunning brand concepts have you seen that didn’t work, or would never w

r. Serrano cares little for creative concepts that do not radically change customer behavior. Ra

ange needs radical commitment; branding experts have to understand what it will take t

nsumers to think differently so they act differently. Mr. Serrano will exhaust his design team

continual challenges and insights into what truly makes a target audience tick. Who are

lly? What are their deepest desires and fears? How do they really use the media? What doe

oduct do to help them? What is going on around them? What is the timing window for imhich graphics grab their attention in their data-saturated world? These and other fundam

nsiderations are in this book.

r over 15 years, Francisco’s clients have been asking him to put his approach on paper, beca

rks. That’s simple. But as usual, Francisco took the challenge and turned it over to deliver

ore. This book jumps completely into branding and answers every possible question; pl

ustrates everything with well-known examples and successful methodology. Approaching

oject in this way was intended to be useful for everyone. So, enjoy this book and I hope it

ur brand deliver the punch it can.


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Leo Brenninkmeyer

Founder: Compass Languages and Blue Ocean International

Growth Partners


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NTRODUCTION

Why branding?

e talk about the importance of branding because we are surrounded by brands. Just take a

ound—how many brands can you see? Maybe an LG TV or an Apple computer would instch our eyes, but you probably won’t recognize half of them. The fact that some brands are eas

ntify is due to branding. Just the other day, my son showed me a game app—really fun, by the

in which one had to guess brands by seeing a part of the logo. That’s how far branding has com

talk about branding is not new. Branding has always been and will always be there. Humans

place labels on everything around them; this label creates an image that can be molded to

tain effects and impacts. This is the exact function of branding, especially now that competit

ts highest.

oking back, I remember what I’ve learned through my years as a professional in matters su

rketing, public relations and advertisement. I have come to the conclusion that what m

anding different is that it is not directly about sales or economic benefits for the company. It’s

ationships with clients and the image perceived by the people. It’s about brand positioning

ting customers to relate to the company and its products, experience and values. The ultimate

oyalty, which has proven to be more effective for brand interests than advertising or marketing

wadays, people don’t acquire products or services. People buy brands. They buy the emotio

tus and the experiences that the brand offers.

anding has been used more and more and on its way to popularity, its real meaning and purpos

en fading away. Today the word branding has grown; it no longer applies to companies

ople, schools, cities, art, and any kind of organization; actually everything can now have or

and. And the job is to develop and manage those brands though different means and channels, w

riety of resources, strategies and methods.

bout this book you already have a brand, this book is for you. If you don’t have a brand but have ideas in m

s book is for you. If you don’t have any idea about brands, this book is for you, too.

is book intends to be a simple window to the vast world of brands and branding, from its me

what is needed to achieve this complex and fundamental work. It’s all about offering a com

erview and showing real-life examples to make it easier to understand. This book is also an

k with me, where I will use my experience and outlook to make sense of the real branding w

t there.


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this publication you will find the basic elements needed for branding and the key activities f

equate development. We expect this book to become an important reference in the understandi

in concepts, while offering execution and implementing ideas and analyzing some specific

ccessful cases in order to illustrate the foundations and actions described in these pages. Of co

could not leave out the context of current market trends, so that we can have clear referenc

dencies and applications of branding.


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BRAND, BRANDING AND BRAIN-DING

What is it?

anding is a concept that is becoming more and more common with all kinds of organizations,

also a complex term, and we can easily get confused by it. One of the main problems while tdefine and understand branding is that it’s often confused with marketing. Marketing and bra

both necessary to launch and commercialize any organization, product or service, but we ne

ferentiate between them.

rands are intangible. They are promises and

magery.t’s think of branding as a step on our way to marketing. Marketing seeks to motivate and ther

l an item. On the other hand, branding reflects the brand essence; it communicates the value

ilosophy and differentiates between products. It’s all about showing what the brand really i

hat it stands for.

arketing attracts people, but branding engages them—it helps generate relationships. Marketin

ke someone buy our products today, but branding keeps them buying only our product for a

me. Branding creates long-term loyalty.

s now clear that branding works, which is why it is important to define it first. The Ame

arketing Association says that brands are:

name, term, design, symbol, or any other feature that identifies one seller’s good or servi

tinct from those of other sellers. The legal term for brand is trademark. A brand may id

e item, a family of items, or all items of that seller. If used for the firm as a whole, the pref

m is trade name.”

tps://www.ama.org , Dec 10th, 2014)

at definition is no longer accurate. We need to think of brands as our ideal product or servic

ything; remember that everything can be or have a brand nowadays). Brands are attrib

omises made to the consumers, and a way to stand out in the competitive market. Brands stay o

ents’ minds as an emotional trigger, integrating every sensation, perception, and experienc

nsumers have with the organization, its products and services. Therefore, companies work ha

ablish long-lasting emotional relations, because the perception of a company will comp

ermine its success.

https://www.ama.org/https://www.ama.org/


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Your brand is not what you say it is, it is what

thers say it is.

om another point of view: A brand is not a product. It is not a logotype or any other graphic sym

s not a slogan, and it is not a name. The brand is the feeling a person gets by purchasing, usin

eracting with a product, service or firm, allowing each individual to create his or her own ima

company. When a large number of individuals have the same positive image, we say thaand not only exists, but the branding was a success.

anding is beyond visual or tangible elements. It includes basic actions, such as the way phone

swered in offices, the way we treat clients at the point of sale, how long it takes to reply

ail, and the way we display our products, etc. It all revolves around a guiding concep

ablishes every action and decision.

anding is a science, an art and a management discipline that unifies in a coherent way every

pect and its position in the market, as well as in our consumers’ everyday lives. It is a systemaocess, from the idea for the brand, to the execution and positioning in the public’s mind, and f

translating that brand’s consciousness into loyalty. Branding is about taking every chance to ex

r attributes in order to attract clients and make them choose us from the vast variety of si

oducts.

t branding doesn’t end there. It also strengthens the idea that purchasing that specific produc

right decision. It allows him or her to identify and engage with the brand on an emotional lev

t’s not forget that brands are intangible, so branding is not about managing products, salenufacturing processes, or double-checking quality. Branding integrates and coordinates

ion in order to deliver emotion.

anding’s reach is huge. It should be in every part of a company’s process. Like we’ve said, i

mplex and wide concept, but one thing is clear: branding work is never over. It has to be con

d parallel to every activity in the company, and it has to be well stated from the very beginning

n flow with market and tendency changes.

wever, you can go beyond “just” branding. You can decide to reach higher than a one-dimense-level relationship that your brand has with customers. You can build a multi-dimens

otional relationship that allows your brand to connect with customers on as many leve

ssible. All brands have the potential to do this. And when you embark on this journey and g

ra mile, giving it your all—that’s when you stop branding and you begin BRAIN-DING.

What is BRAIN-DING?

fore we continue, a clarification is in order—what is the difference between branding and BR


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NG? It’s quite simple, actually. Branding is the art of engaging customers emotionally. So od. BRAIN-DING, on the other hand, is using a well-thought out strategy to maximize and ta

branding efforts to the top and beyond. It’s about analyzing the human factor of the interaction

ur product or service has with the world, both internal and external, and making sure that

portunity is used to create an emotional trigger to connect with customers on every possible

u know you’re BRAIN-DING when you’re considering the nurturing of your brand as the cente

most priority of your marketing plan. This plan does not only include every possible conne

th the customer, but it can also be used as an internal resource to engage employees and mak

and launch, making its day-to-day functioning as effective as possible. In short, a succrketing plan has to include BRAIN-DING as the ultimate strategy.

When to use BRAIN-DING?

e simple answer is always. But even when BRAIN-DING is supposed to always be on, ther

mes when a job needs to be intensified, due to the great impact and reach it can achieve.

e of those moments is when we are about to start a business or launch a brand. In fact, this is omost important moments, requiring arduous BRAIN-DING work in order to create and imple

new brand. Remember, the launch is a one-time opportunity to make a statement and gain m

ritory.

rther in time, it might be inevitable to re-launch or redesign some part or the whole brand.

es not necessarily have to do with the graphic image; it could be a structural redesign or a pr

et. But as an integral business, all these internal changes have to be in the offing to the outer w

s possible that, at some point, we will need to completely redesign the brand; from the name t

y we communicate and interact with our customers, in which case it will be best to develop iw launch.

e commercial strategy can consider associations or fusions with other brands, which can res

creation of new or mixed identities. In another scenario, there can also be brand purcha

hich can produce the disappearance of a brand or its conversion to the purchaser brand. Simi

re can be a separation or sub-brands release, and that requires developing different iden

rived from the mother brand. For example, Hershey’s has its classical Hershey’s chocolate ba

also owns Mr. Goodbar and Krackel.


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l of the above are moments in which the branding team must undergo major changes, but if we

AIN-DING only to those moments, chances for success fall drastically. We need to maintai

age at all times, and any positive action or interaction, no matter how small it may seem, helps

tance, if a client calls and waits a long time for someone to answer, if the product does not

pectations, or if the customer does not understand our concepts, this is terrible branding at wor

e now know that branding has always been around in so many different ways, so it is time to

out the evolution of branding and the way it got where it is today. In order to do so, we need tout brands, so let’s start there.

e word ‘brand’ has its roots in the Germanic word ‘brandr,’ which means, “to burn and le

rk to indicate property.” For example, marking cattle allows us to not only tell who the

ong to, but also to check on their quality. Those who take better care of their animals have a

putation and therefore more sales. In Ancient Greece they also used marks when making

nsils to tell stories and distinguish the manufacturer. Later on in Rome, which had commercia

d a sophisticated trade system, brands became a recognition and reputation matter. In We

rope and the Mediterranean, brand symbols were more personal; we can mention the rombols, such as the French Empire’s fleur de lis.

the seventeenth and eighteenth centuries with new commercial processes: every pottery and t

oduct was labeled in order to know their origins and quality. The first branded goods, as we

m today, were alcoholic beverages. Because of their nonperishable condition the alcohol las

ng time, therefore manufacturers needed better ways to easily identify them.

wever, the real brand explosion came between the nineteenth and twentieth centuries, wit

dustrial Revolution and mass production. By that time, brands were just a logo; a way to pr

oducts to the customers. Over time, manufacturers started launching massive publicity camp

inly with advertisements in newspapers, and the first marketing agencies were born; although

in task was to buy newspaper space. Advertising was all about getting consumers to try or us

w invention. Later on, everyday products such as soap or sugar were given original brand n

rly advertisements introduced the product with their original name, and a vast list of function

alities; these adjectives became the brand personality.

fore the American Civil War, most goods were sold in large grocery shops out of barrels


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es. Nobody knew who the manufacturers or traders were. During the war, soldiers needed ca

od and easy-to-wear clothing. Thus, the ready-to-go goods tendency was born. This was a q

y and hygienic way to consume products (especially perishable items), and it established a

packaging. Companies could be identified through the packages, attracting attention with v

ources and bold design.

the end of World War II, as mass production and market competition was on the rise, consum

erged, as did the now well-known fight for prime spots in stores and in consumers’ minds

otional connection with the customers became one of the pillars in a company’s campaigngos. Little by little, brands developed personality and packaging became more and more impo

e positioning process was all about marketing and advertising. It wasn’t until years late

mpanies began dedicating specific positions to the management and development of their bran

anding is all about the products and services’ process, from its very design and manufacturin

ivery to clients. We should think of brands as just another product that has to be equally desi

ated and delivered to our target. When branding as a science was just popping up, it

onitored the competition, purchasing tendencies, as well as new launches. Years later, str

came more key and more complex, due to new distribution channels—such as billboardsents, and in later years, the Internet.

w, branding is literally a competition that just a few can win. A product can be the fastes

ggest or the most creative, but chances are the winners in the market will be those who did th

AIN-DING job, going over the top and following the ultimate strategy to get the brand t

ghest of levels.

RAIN-DING - the ultimate strategy.


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BRAND AND BRAIN-DING COMPONENTS

ands have several important components that we need to take into consideration in order to

power the brand. These components are brand foundations, and it is possible that, without

brand will suffer.

dentity

st of all, we must have identity, which states who we really are and

w we want to be seen by the consumers. The brand identity is the

ence and tells us how our brand should be distinguished and

ferentiated. In order to create the identity, we need to determine the

tures that we want to be associated to our brand and products. Let’s

e a look at McDonald’s and realize that their identity is family timed fun, not fast food and burgers. That is how the company sees itself

d how it wants other people to see it.

metimes it is easy to get confused about the meaning of identity and

age. Identity is aspirational—what we want our customers to see—and

age is what they really see. But also, when we say that it is what our

ents see, we don’t necessarily mean it literally—we don’t mean the

ual items of the brand. It is more of a perception thing. Someone cannk our brand is boring or energetic, and that doesn’t mean the logo

sign reflects that; it means that somehow and for any reason (behavior

an employee or a spokesperson), customers have associated the

perience with their perception of the company. I remember someone

ling me, “The customer’s perception is reality.” Image is what the

ent perceives, and BRAIN-DING helps us influence that perception.

hen we achieve an excellent BRAIN-DING job, the identity and image

the same.

the brand’s values and personality are concrete and well stipulated, what the brand says, doe

ows will be consistent with how people perceive it.

other main component of the brand is the personality. The personality joins every feature tha

efully selected for the brand. To come up with our brand’s personality, it is common to think o

and as if it were a person. What kind of person would it be? Man, woman, young, mature?

nd of clothes would he or she wear? Where would he or she hang out?

owing the personality is key to creating the identity, we need to be as specific and coheressible, avoiding contradictions so that the message is clear and simple. While developin


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ntity, we need to keep in mind every detail related to our brand, such as the product or se

vironment, clients, competence, company values, future plans and the channels through whic

ll be getting in touch with our clients.

other important thing to consider when establishing our brand personality is the lifestyle our

nds for. Let’s not forget that the identity is aspirational, not only for our brand, but also fo

stomers. That is why it is so important for our identity to meet up with our customers’ value

estyle aspirations.

sed on the idea that actions say more than words, it is also important to

ve our values perfectly identified. But let’s keep in mind that the company

ould not only stipulate its values: they have to be put into practice. When

stomers can see companies “practice what they preach,” it provides

dibility. For instance, we cannot say that our brand is ecological if our

ions show otherwise. One of the most iconic examples is Nike’s Just Do

This is not just one of the greatest and most successful campaigns; it is also Nike’s philosophy

t only visible through their advertisements; everyone involved with the company has to liv

and promise. It is a huge part of their organizational culture. That is why the internal communicmpaigns are also so important—sometimes they can be even more important than external ones

and identity and image will contribute to reputation building, which brings together the b

nagement and representation with client experiences. Trying to change a bad reputation is o

biggest obstacles a brand can face. That’s why we need to influence the way customers re

r messages from the very beginning and never forget that it is a continuous job. It’s not only

ilding a reputation; it’s also about keeping it where we want it.

ce we have the brand foundations, we need to consider how far our brand management can ghat channels we will use to communicate with our customers. We need to know wher

stomers are looking and stand there where we are widely seen. Even still, standing in a s

ce is simply not enough. We need to get involved with the customers from different angle

ough different channels and platforms that our customers know and use on a daily basis. And

must always be looking for new ways to reach out to them so we can encompass as mu

ssible.

tting to a more tangible component, we come across all the visual and graphic elements. One

ndamental part of the image is, obviously, the name. It is so crucial to pay close attention taning, the sound, the writing, the reading, every association that can be made from it

plications in other languages. Today, a short, friendly name that is easy to remember and pron

several languages has more chance of success. There are many ways of picking out a name—

related to the product’s functions, creator or origins. There can be invented names or

erring to the desired image.

The Brand Gap, Marty Neumeier offers some criteria needed to come up with a killer n

evity, differentiation, appropriation, empathy, and simple writing and pronunciation (Neum

05). While picking a name, there are two extreme possible scenarios. The first one is that the ts immemorial in people’s minds. The second one is that


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becomes so popular that it begins to be used as a generic

me. An example of this is Aspirin, a Bayer trademark that

came a common name for the same formula. In that case,

risk losing the name rights simply because a registered

and is used as a generic name for the product by

nsumers and not as a distinctive brand. And generic

mes cannot be registered as brands.

e also have our company’s visual image, including manymponents that may or may not be used. (It depends on our

anding needs.) At this point it is important to talk using the appropriate technical terms. It is r

mmon to hear the word “logo” used for every part of the graphic image. So let’s use the p

minology to avoid any confusion.

e logotype or logo is, as we already stated, one of the most-used and worst-used words. A lo

t a symbol or icon and it is definitely not the brand itself. Etymologically, the word logotype c

m the Greek logos, which means “word.” The brand’s logotype is a graphic element, beca

s a distinctive size, shape and typography. The name, besides being the verbal identifier, canrt of the visual identity.

the other hand, we find the symbol by which clients identify and recognize the brand withourbal explanation.

combination mark is the union of logotype and icon. These are divisible and can be separatede another and work just as well as apart.

ere are also indivisible ones, where logotype and icon are fused and cannot be presparately without losing all meaning.


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l of these graphic elements are very important to the brand identity. These are the most memo

pects of a brand, a visual expression of the brand and what it stands for. The key is for them

mple, elegant, memorable and completely representative of the brand. They have to be differenoid clichés and copyright violation. The graphic components are going to be determined b

and, its concept and its promises. Companies should also consider going for the most ade

tion, as well as which colors, shapes, sizes and typographies match the brand’s meaning.

r brand can also include a brief phrase referring to the brand personality, called a slogan. It u

mes with every other graphic element. The slogan must communicate in a brief, direc

forgettable way, therefore, the brand concept and philosophy must stay in peoples’ minds for a

ng time.

other way to share the company’s promises is through claims, statements about the brand b

and. These are argumentative phrases to convince people of the benefits they acquire along wi

oduct or service. Today, claim minimalism is a tendency, because people believe that the prd brand should speak for itself. Claims are only necessary if they are 100 percent authentic.

hen creating a brand, we need to know that every component is related to the others. They ree another so that image and perception are coherent and fully integrated. Everything should ex

hat the brand means.

hen we have our brand concept, we have to take all these elements and use them in the se

ase of BRAIN-DING.

is second phase is all about positioning, which means placing the brand where we want it i

rket and in consumers’ minds. One of the most important things is trying to stand apart from an

brands. Or if we do position there, we want to stick out so much it will appear as if we arly ones. Our positioning has to be unique, well established, and differentiated from others. In


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achieve that, we have to explore every avenue we can. Let’s talk about some of the most effe

AIN-DING strategies.

torytelling

t as it works in brands and BRAIN-DING , storytelling has always been around, with

ferent purposes. Storytelling for BRAIN-DING purposes is not new either, although in recent

has become common to think that people no longer buy products or services—we buy stperiences and status. As previously stated, an emotional connection is key for BRAIN-DING

ting there requires getting in touch and interacting with the audience through relatable stories.

storytelling we can use archetypes, because we need something consumers can relate to, some

t looks like their ideal. Everybody loves stories, and there are some individuals with a real a

tell them. A great storyteller is capable of developing personal, emotional and long-lasting s

th the public. The whole experience of enjoying a good story can be powerful and draw out

r senses until we actually feel like part of the narrative, thus identifying ourselves with the bra

th all of the above in mind, we get to another very relevant topic: brand experience. No

mpares to living and experiencing any sensation through one’s own skin, and that becomes the

morable thing of purchasing or using something. We all love to feel we belong, that we are a

something; that’s why it is so important that emotional connections are attached to moving s

th situations we’ve all lived (or would like to live).

and experiences come in different packages. For example, when we look for the product, we

e a bad experience because of a product’s lack of webpage or contact information; that nega

pacts the client’s perception. When we finally find the product, we have another typperience, because of the packaging design and the product itself and whether they reflect the b

not. The moment of purchase is crucial, because our customers are actually interacting with p

ated to our brand now. Finally, the un-packaging and use of the product creates other experien

roughout this entire interaction process, from the first approach to a lasting relationship wit

stomer, the branding team must follow the same brand concept all the way to ensure consisten

customer’s experience.

day a common practice is to get the client involved from the very manufacturing or packocess. A rising tendency is to customize products in order to strengthen the relationship by m

purchaser an important part of the product creation in his own way.

trategy

ategy etymologically means “the art of conducting an army,” and like other concepts i

panded to other fields. In BRAIN-DING, strategy means the art of meticulously planning acm different fronts in order to achieve specific brand objectives.


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ategy is one of the BRAIN-DING basis, and on that context it means to work in an intell

oughtful way in disciplines like marketing, advertisement, public relations, graphic de

dustrial design and corporate identity. The strategy is a very concrete idea that unifies every a

a coherent way. It works hand in hand with values and brand philosophy, products and service

rking team, means and channels, etc. The strategy must integrate everything with a defined pur

develop a strategy, we need to design a long-term plan for the brand’s success. Once we hav

ng-term layout all set up, it’s time to break down more specific goals and more determined ac

s important that the first plan is big enough for brands to be sustainable and long-lasting. Whenage a brand, it is inevitable that we face everyday challenges and try to solve them as f

ssible (and with a tight budget), but that is only possible if we have strategic foundations in p

ere is a pretty good reason for brand architecture to exist, and it is literally that. It’s like build

use. It has to have a strong foundation so it can withstand the possibility that someday there m

an earthquake or other natural disasters. Every detail of this house was built thinking about

ys, sun movements, and everything needed for maintenance should be taken into consideratio

ll as the inhabitants’ everyday activities. Aesthetics and having the adequate finish requirem

further construction is also a consideration, so it can be expanded or modified in any w

rks the same with brands: we have to be forward thinkers, considering every possible varianery possible outcome.

st things first. To establish our BRAIN-DING strategy, we need to know what it is that our

eds and wants so we can define our goals from the biggest down to the most specific ones, an

ategy has to respond to that. A branding strategy seeking to launch a new product is going

ry different from the one intending to renew an image. There lies the importance of

pulation.

have a strategy is to have a firm ground to walk on, in any direction we want, but let’s not ft things change: the market, economy, competition, consumers. Everything can change, and we

be prepared and open to change direction if needed. Maybe an unmissable opportunity com

d we need to redirect our plans. We can never know; therefore, we must stay flexible.

ategy is simply an integration of every necessary BRAIN-DING component for the develop

d positioning of a brand so it can respond to the needs and goals.


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elationship with customers

t’s face it, customers are the main motivation for brands and BRAIN-DING, and it is a prior

ntify our clientele. That is the first step into building a relationship. To start, we need to m

ry important distinction: the internal and external customers.

r external customers are the ones for whom our products and services are intended. Theportant because their purchases maintain the company; they are the main income source. Ext

stomer satisfaction creates purchasing recidivism and can also be a way to attract new consu

ough recommendation. Therefore, there must be excellent external customer service, as

perience will directly impact their perception.

r brand managers, it is important to know how to divide their customers. Consumer segmentat

ancient practice, but branding has had to adapt this technique over time, as conventional wa

egorize population change. For BRAIN-DING, it is important to separate the public based on

e, gender, income, etc., but we also need to know their interests, consuming habits, behavioir contexts.

ce we have our target in sight, we need to carefully analyze their features, motivations, aspira

dencies, interests and everything that might be useful for our purposes and make us consequ

ct. Remember that every little detail counts—and with people, every little detail is a reve

ight.

xcellent external customer service depends onxcellent internal customer service.

good relationship with consumers depends on so many different factors, but however we choo

ke an approach, it must be based on trust and empathy. It’s like having a personal relation

lationships are based on trust and communication, and with these foundations, we begin to

mfort and all the subsequent attachment feelings.

e second big customer group we need to take care of is internal clientele. This group comp

ery individual who works for, or has something to do with, the company. It is importa

ognize that workers are also clients, and we need to know their needs and perceptions. The

r brand’s main promoters and users, even if it’s not through purchasing.

early, relationships with customers (internal or external) are fundamental, and we need to wo

ild them and maintain them. Of course, the most effective way is through emotional connectio

nnot talk about experience without bringing up emotion and loyalty. They are all mixed with

other.


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ost brand failures come because we don’t know our customers. Maybe the brand is operated b

assumptions and not real information. It is also important that these relationships includ

stomers’ opinions and perceptions recovered from constant monitoring, research, and

dback. There are many ways in which we can achieve this, from easy opinion reception

oduct satisfaction surveys, to market studies and more complex focus groups.

t’s translate all of the above to a more common situation by comparing brand relationsh

rsonal ones. At the beginning of the relationship, we need to get to know the other person to i

we are compatible and 2) to determine how to start the approach and begin talks that evend to a relationship. Then, when we get to know the person, we can start sharing and offering

or she needs or wants. How do people fall in love? With little details. And that same prin

plies to make customers fall in love with our brand.

e have heard over and over again that communication is the foundation of every succe

ationship. It is true. Most relationships, personal or commercial, will fail because of the la

ective communication from both sides. Either we don’t listen to our customers or we cannot c

mmunicate what we need to say.


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ifferentiate, innovate

seems so obvious, but we need to mention it and keep it in mind. To innovate and differenti

e of the main attractions of our brand, which is usually the hook, to get customers involved. It

w factor—something memorable that sticks in people’s heads.

e need to decide how we want to differentiate ourselves so that our brand succeeds and wnd out.

mpetition is one of the components we need to keep in sight when

claring our differentiator. There is a never-ending list of products,

vices and brands, and there are thousands and thousands of people

lling to consume them. To gain a spot, we need to analyze the strengths

d weakness of our competitors to determine where we can make a

ference. As we already said, there are many ways in which we can

p away from the ordinary; maybe by using unusual techniques. The keybringing out the unexpected. One of the greatest examples is the Hans

nker Budget Hotel in Amsterdam that took advantage out of its

aknesses and positioned itself as the worst hotel in the entire world.

hotel (or any company for that matter) wants to be the worst—they all

ag about their great features—and that’s exactly why the Hans Brinker

nds out. Because it is the only hotel advertising that way, and that

racts.

can also work to launch a product that has always been thought of as being “for” one demogrwards another very different group, or to use formats that break entirely with the establ

terns.

eativity is what makes all of it possible. The simple fact of being creative is an aspiration of m

d integrating that into our campaigns can make a brand very attractive.


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ROCESS


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he team

e working team is the fuel of our brand. In this chapter we are not going to talk about the comp

rsonnel organization. We are going to talk about the team that makes brand creation, manage

d positioning possible. The team configuration can vary depending on our products and serv

r brand size and its aspirations. Here we will just mention some basic roles that can or cann

luded, depending on our specific brand’s needs.

e obviously cannot have the same team for a local chocolate brand as we would for an internat

aning products company. Everyone requires different approaches, means and resources f

mmercial development.

e branding team must be, without a doubt, multidisciplinary. There are so many roles to c

mong them, we find a creative director who is in charge of the strategy, determining the

equate approach for the brand management. There is also the art director, who takes care o

aphic concepts, supervises quality, and leads projects. Then we find the design team that sup

entire branding team by developing the visual images, focusing on logos, printing materia

d in that same visual area, we find the industrial designers in charge of products, packaging,

d shelf design. We can also add illustrators if the brand requires them; they create character

mation or any other purposes. We might also need pre-press as a more technical part—

pervise every file so they are perfectly accurate and can be easily printed.

course we need web designers and programming experts for online resources. There ca

mation and postproduction professionals, photographers, camera operators, copywriters, a

deo, media and technology engineers, etc.

t BRAIN-DING is not only about the creative part. It should also have an administrative depart

ed with account executives in charge of managing projects and working directly with brand n

dget, and timing. Account executives let the design team know what needs to be done and as

oposals. Marketers analyze needs and context and evaluate a campaign’s impact.

e definitely need an administrator who assumes money issues, and a director to supervise

low up with every process. Marketing and advertising experts as consultants provide a wider

support the team.

AIN-DING needs professionals from many fields, with different abilities to cover as mu

ssible. To put together a good team, we need to think about what BRAIN-DING stands fo

ntify the best way of communicating that to customers, and to determine who is the best in

ld to do it.

esearch

the book Positioning: A Battle for Your Mind by Al Ries and Jack Trout (2001), we find a


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rketing process that completes the one that has been so used for many years: product, price, pd promotion. To those principles, the authors add research, segmentation and goals as the

portant information source. Meanwhile, Don Peppers, in his book One-to-One Marketing (1

oposes a new model called the Five I’s. Identification seeks not only to know the custome

o to link every piece of information to every brand aspect. Individualization recognizes that

stomer is different and we need a special way to treat him or her. The next I is interaction, w

have already hit a touchpoint with the customers—we need to keep a record of those interac

we can later analyze them. Then we find integration, which means to respond to the inform

collect from customers so that every action is adequate. And finally, we have integrity— thado with gaining customers’ trust; they should know that they are safe with us, that every ne

ing to be satisfied.

th models present indispensable tactics for the successful managing of a brand, focusing atte

the customer. On this subject we also include other important considerations.

lot of emphasis has been made on the knowledge of the customer and other exterior factors, b

n’t lose sight of the self-knowledge of the company.

e model and business plan have to be very clear, with the absolute knowledge of everyone

rks at the company, especially the CEO and executive staff. This self-knowledge include

undations of the brand and the desired relationship with the customers, the identity of the brand

communication strategy. The offer and value of the company has to be very clear, along wi

ments of differentiation, mission, vision, personality and promise of the brand, because that te

w we’ll be known. In the same way, we have to define the objectives and the actions for desi

strategy of BRAIN-DING that ties with the business model. There is no strategy of b

nagement that could work if the fundamentals of the brand and company are not well establish

terwards, we can define the audiences and understand the customer, the competence, and the e

vironment we plan to integrate in our brand. Let’s remember that there is no need to focus on

mmercial matters; we have to understand completely the context of introduction. Once we

ched that, we can focus on the marketing studies. The ideal scenario is to start with m

earch or use a previously conducted study that’s available for public use, as long as it’s use

objective of the research.

market study seeks to show us a clear panorama about the number of customers who will con

r product or service being offered at a determined time and place—and at the price they are wspend to get it. It will also tell us if the characteristics of our product or service that we offe

ose the customer expects, or if it will be necessary to modify something. Finally, it will reveal

he audience we are trying to reach is really interested in the product.

so, the market study allows us to evaluate if what we are doing works for positioning our

om the design of the logo to the strategy), or if it is necessary to make modifications. It also a

to monitor the efficacy and efficiency of whatever is being developed and implemented, as w

alyze the reasons for any fluctuation in the patterns of sale or perception.

ing research must be a continuous work; information is needed in different moments, wh


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nching a brand, renewing it, growing it, innovating, hosting an event, introducing a new pro

aluating the results of a new action, or any of an endless list of situations. In some case

haustive study is not necessary; it should include implementing methods of analysis, research

dback, done in a smart and functional way for the objectives we have in mind.

ce the necessary information has been gathered, we can proceed to act, with the objecti

sing the understanding of the benefits the brand offers, and to create a positive image accordi

desired standards.

esign

o consider

st of all, we need to clarify that when we talk about design, we don’t refer only to grap

tters. Designing a brand implies working from the aspects of identity and personality to craftin

nch and continuity strategy of the brand. It’s strategic planning of all elements we want to inte

d just as in research, design is needed in many moments to communicate the brand identity, wh

a logo, webpage, mass communication or many other resources that will be utilized. Let’

get that design also needs constant actualization.

start with the design of a brand, we need to realize a series of fundamental considerations—

d already mentioned a few in relation to the name of the brand. But one of the most important h

with cultural context. We have to recognize the customer, not only his habits and consum

havior, but also on his beliefs and principles, his routine, and what gives meaning to his identi

e know that we live in a globalized world in which geographical barriers are no long

pediment to know the world. That makes the task of considerations more complex, but a

plementation of BRAIN-DING pays a lot of attention to cultural differences, to history

erences of the target audience. We have to avoid at all costs working under assumptio

reotypes; it’s indispensable to be well informed about matters that could turn out to be delicate

obal brands, for example, can’t use the same strategy in different places—they have to adapt t

vironment to be understood and well received.

esign: elements and development

hen you have analyzed all the variables of the customer and the context, it’s necessary to deve

ef—a document that contains all the necessary information (previously collected in the res

ase) in an organized and logical way. The brief has to include relevant data for the BRAIN-D

oject, such as background, information regarding the enterprise and its processes, information

the market research and constant monitoring of the behavior within it, modern trending, ass

dget, channels of distribution, and characteristics of the product.


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ce we have made and analyzed the brief, we can proceed to create proposals for specific BR

NG actions. The ideal tactic is to organize the actions in a functional way and to determine

ll be involved in each activity. Having a well-organized task plan is key to high-functi

velopment and implementation of our strategy—you avoid trouble, and everything happens i

ost organized and structured way. It’s also important that actions are scheduled accordin

evance, necessity, or answering to the strategy.

tivities can be focused on different areas, such as graphic design and visual development. O

rts can be dedicated to public relations, administration, web development, audiovisual coocess control, logistics with the customer or the crew, resources management and distrib

annels, etc. Each area has diverse activities that will have to be developed in different momen

ways in constant communication, and merging actions when necessary, so the brand ca

mplete. Let’s think of the brand as a fabric on which each action or professional is a thread

ofessional or a part of the brand’s identity is separated, or is not well knitted, the fabric w

ak—it’ll have blank spaces. The closer and more united they are, the stronger and more lastin

bric.

ce the identity has been stipulated through the product, differentiations and promises of the brad if the strategy of branding has already been designed—you can start the design of the grap

ntity that highlights completely what the enterprise means and represents. This means that w

gin to design the logotype or any visual element that can identify and recognize the brand.

ere are numerous elements to pay attention to

the design of all graphic components:

thetics, colors, typography, sizes, forms and

oportions, etc. All has to go in harmony with the

ncept idealized for the brand. For example, ampany that commercializes bottled water

ows that its product has to be related to

shness and well-being. The most-used colors

blue and green, which inspire serenity and

shness and are related to nature and intellectual

mension. Typically, the graphic image of this

e of packaging includes elements of nature that

emplify the promise of the brand, like

ountains (mineral or spring water) or elements of water, like drops, rain or clouds. The namost products with these characteristics, follows the same pattern, with phonemes that are evoc

words like water, minerals, pure and fresh. (However, there are always brands that deci

ate their own name by starting with other fundaments of the enterprise.)

ter deciding which name suits the principles and concept of the enterprise best, you ha

ermine a typography that suits as well. We have to remember that each detail counts, especia

pography—every curve, space and line of a letter says something, and it’s necessary to pick on

ys exactly what our brand says. Picking typography is a system that has to mesh all the letter

aracters with the concept, products, other graphic elements and the customer.


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s also important to consider that a company will need more

n just one typography for all its resources, including

pography for long texts on the web or e-mail, the logotype,

terhead and data, signatures and printed publicity. The use of

ferent typographies helps to make communication clearer,

aner and neater; it works to differentiate types of text and

nk information. Many corporations have a main typography

at can be the same as what is used in the logo) that is applied to titles or headlines, a

condary typography for subtitles and body text. Both have to work in harmony and be reendly.

addition to the logotype design, it has to be considered whether an isotype is necessary, a sy

t goes completely according to the brand. The integration of all elements is fundamental so th

rception of the brand is given in the most natural and fluid way.

this matter, the use of colors needs to be mentioned. Theory and psychology of color can h

ermine the best colors and characteristics for our brand. We have to consider the

mplements and combinations for the objectives of the brand.

ere are many studies that show the importance of color selection in products as well as pub

d presentation. 84.7 percent of consumers say that color is one of the main reasons for acquir

oduct or service. Evidently, the visual part is the first thing a customer perceives; for most of

the only thing they pay attention to. The customer builds himself an idea of a company, bra

oduct in the first 90 seconds that he is exposed to it, and around 60 percent of his attenti

cused on color.


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t’s remember a factor of success for BRAIN-DING— the emotional connection with the cust

is makes the selection of colors even more important, as we know this has an impact

ychological level—the effects of colors on the subconscious can give an advantage to the b

ght is our most important sense; through it we get the most of experiences and stimulation.

early, colors say things as well, and they have to be coherent with the brand. Just as we previ

d about the bottled water, how would people feel if a bottle of water was yellow or re

finitely doesn’t match the product. Some water brands were innovative about it and changessic blue for green, trying to evoke nature. Others went beyond that and chose a warmer

ing for innocence, calmness and sweetness. Of course, we can be bold and change the establ

make it our differentiator.

ery decision made needs to be written down in the graphic identity manual, which shall includ

s and don’ts and the rules regarding the uses of the logo in every space (like on the webpa

ails, on envelopes), to unify and maintain the company’s visual image.

Changes

remain in our customers’ minds, it is desirable to make simple reminders showing we sti

ound. One of the better ways to do it is through special occasion campaigns to renew the ima

whole brand, or hosting special events.

e most memorable example of this is Coca-Cola and its huge

ristmas campaign. They also tend to launch new products in a

ique way. Coca-Cola is always reminding us of its existence withry emotional campaigns because that’s who they are. Coca-Cola is

t a soda; it is happiness, joy and making the world a better place.

ery action led by this company reflects exactly the image they want

be seen.

esources

AIN-DING is an integral job that involves all people related in any way to the company; there

re are different media and resources that the branding team can use to have the reach and im

sired. Probably, in modern days, the most profitable resources are the ones related to the

cause it’s one of the most accessible platforms. Search engines allow us to find inform

mediately, and the Internet is now one of the first contacts a client has with the company and c

filter for connecting with customers. A wide part of our client’s perception will depend o

perience he had on the company’s website and will determine how far that first contact will

d whether it will or won’t end up in a business relationship.

ere are different purposes that require different online platforms. We can use the w


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mmunicate or inform, to interact with the customer or with other relevant actors. But in r

mes, the use of digital media has been modified in a way where there are more functions to

vantage of. Mostly, it has developed a role as a supermarket or online store.

this matter, we have to contemplate that this change implies that the ways of doing branding (

its aspects) has to change. We have mentioned the importance of using different resourc

sition our brands. And in the packaging department we have to ask ourselves how to adapt thi

thod to online sales. Today there are different brands that emerged from this new modality w

well positioned as they respond to the necessities of immediacy and comfort of the modern cfew examples are Dollar Shave Club, Graze, Barkbox or Trunkclub.

e could also mention the services of some supermarkets that offer

me delivery; even Amazon has a branch especially for groceries:

mazon Fresh. All these examples are characterized by their design

d packaging (or un-packaging) experiences that fit to the media and

ources they use to position their products. There are endless

uTube videos of people sharing their experiences with the brand,

m the unboxing of the iPhone 6 to opening a Barkbox with their s, for example. And for a customer to become so identified, to

ry and promote the brand in such a way reflects the successful

rk of the branding team.

e online buying experience is obviously different from conventional buying. We avoid the con

position, comparing and competition. It is not the same to be on a shelf where people can tak

oducts with their bare hands, check them and compare them with others. We really need to

out the packaging and the experience. That doesn’t mean we have to take our products out o

res. People will always prefer personal attention and remember that we need to stand everywcan.

do BRAIN-DING in this digital era, we need to pay attention to resources such as o

alogues, instructions, contact, payment methods and delivery logistics. It is hard work that req

nning, managing and strategy to achieve the positioning on a digital level, but if it turns out w

n really make things a lot easier because we have total control over request, payments, stock

y notification from the customer. We can check status in real time and save a lot of time and mo

countries such as the United States, the online fever is on the rise. On the other hand, in Mexicl difficult, because people don’t trust online retailers; they are afraid of giving away per

ormation.

cial networks have also changed the way we do BRAIN-DING. A billion people are active us

e or many social networks all around the world. It has become one of the best ways to get t

blic because social networks are part of their everyday lives. Plus, new mobile formats allow

are everything at the exact moment it is happening. Not only that. Social networks have led to c

d easier interactions with customers, and recovering information from those interactions is qu

d of course, brand exhibition is bigger because social networks are designed to publically sery interaction is visible for others, and the domino effect begins. In addition to that, bein


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cial media is just so cheap! The secret to make it on the networks is to manage them; we ne

ow how they work and which ones are more convenient for our needs.

web pages, as well as social networks, audiovisual resources are also one of the most ut

d demanded media, because although the saturation of information has expanded the capac

rception of the people, the period of time dedicated to each piece has diminished. The challen

communicate what you wish in record time. But not only that—formats have been modif

cause reading means an effort and sacrifice of time. What is wanted is to receive information

nimum price possible.


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e fact that this day and age is completely immersed in the digital world, doesn’t diminis

ditional and analog resources, like impression and other more conventional media. Amongst

her resources, we can highlight the importance of packaging and points of sale (POS). The desi

packaging is a hook when it comes to purchasing; we have already mentioned the importan

ual elements, and the product is as important as the wrapping.

s been heard a lot that branding is something you can feel but not touch—packaging is the

posite—it’s the physical and tangible experience of literally holding the brand between your hrely everyone has a certain package that we think is too cute, creative or special to get rid of,

gs of clothing to shoeboxes or electronics.

the same way, POS are another indispensable resource that attracts customers for its visual im

s on the bridge between tangible and intangible, as generally we can see and even touch the o

t can hardly purchase it.

the other side—and we are going to

lude a lot of resources in this part—we

n make use of printed material, like

terheads, standees and billboards.

nted material is an important part of all

mpanies; it’s a valuable resource to

esent a customer with a personalized

der of the company rather than just a plain and simple folder.

other way of doing BRAIN-DING is through events of any type, such as

orts, cultural or family events—any given event that goes according to the

and’s identity. These events promote communication with a large group of

ople in a very close way and, if executed properly, allow you to have

solute control of the environment.

erything has to be unified. In all the resources that will be used you have to

ply the same graphical criteria, the same tone of communication, the same

ssage and the same language. You have to project only one image—it

esn’t matter through which media you are doing BRAIN-DING. If you have

y doubt about it, check the manual of graphic identity—there you shall find

hat you need.

u have to be very conscious that a big part of BRAIN-DING strategy will depend on the sp

eds of what we offer; therefore, it is possible that certain resources are more functional for

oducts than others. While radio and TV can work for some, for others it might not work that

t’s highlight again the importance of research and of knowing all the elements related to the br

ce all the previous points have been determined—from the name and the image to the medi

annels—it’s time for implementing the strategy, thinking about the times and places,

nchings, whatever can go through the mind of the consumer. It wouldn’t be a good idea to


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ent outside in the rainy season or try to compete with an already-established event, like Bryant

ring New York Fashion Week, or the Olympics in its host city … even though you can use

ents as a platform to spread your brand.

valuation

e already know that every BRAIN-DING activity should be active at all times. We’ve already t

out research to discover necessities and determine the most adequate actions, but research dod there. We need to keep revising every action; otherwise, how will we know if we are on the

h and our efforts are paying off?

nce we first have an idea for our graphic identity or for our campaigns, we need to discuss

as with the team (and maybe even with other people) to get a wider perspective and to reall

we are making the right decision. It is always easier to change little actions one by one, rather

plementing a huge campaign, and later finding it doesn’t work.

ght after we start acting, we need to analyze the impact we are reaching and keep it registereure references. First of all we need to ask ourselves if the action fulfilled its purposes and

her info is useful.

r example, when we launch a new product—after the research showed it could be successful,

ckage works better for our audience, and what is the best way to advertise it—we soon ne

eck to see if it was as accepted as we thought it would be, if it’s making money, if our custo

satisfied, and the reasons behind those answers.

s commonly believed that success is determined by money, but now we know that a high salees not necessarily mean a high loyalty or satisfaction rate. There is a relationship between

t all data and its meaning needs to be individually analyzed, and then we can cross informat

ow even more.

metimes, for brain-ding purposes, knowing how many visits, reproductions or sales we got wi

as relevant as knowing what our customers feel, what their perceptions are and how

perience was. We want long-term relationships, not one-time interactions. Evaluation can

cuse to follow up on the first contact with a client while we take every piece of inform

ssible to use as a guide and move forward.


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OW AND THE FUTURE

the last few years, there have been thousands of changes, advances and new discoveries

rld is moving so fast, it has also modified the way branding behaves, mainly because o

hnological changes (new design software, new manufacturing processes, and new channe

ablish communication with customers). One of the main reasons why tendencies—not onAIN-DING, but also in every communication means—are changing is the actual lack of

ople no longer have time to pay attention to brands; of course they want their needs to be sat

soon as possible, but they don’t have any time to listen to new proposals, let alone to read them

e are living in a time where we have less and less time and more and more information. We

ke our decisions based on symbolic aspects and prefer unique things customized to our own n

d desires. Mass production is no longer what produces mass consumerism; today people wa

rsonalize their purchases. This doesn’t mean that mass consumerism is marching backwards

contrary, it is on the rise—but buying decisions are more rationalized.

w ways to communicate have developed a need for fast response when it comes to rece

ormation through social media and mobile devices, and with them we can live faraway realit

l time. It’s no wonder branding tendencies are moving to the digital formats. A saying that c

monstrates this is if something is not on the Internet, it doesn’t exist. Companies cannot affor

ving a webpage or social media accounts—they have to be where their audience is.

e of the avenues with a growing popularity is very short videos with clear, simple and

ormation—remember, people don’t have time to waste on reading long explanations and pro

watching long, boring videos full of unnecessary info. Videos shorter than one minute are o

strongest tools, because they put together all relevant BRAIN-DING aspects: visual im

ormation and brevity, without excluding storytelling and emotional approach. Plus, it

trument that simplifies and/or complements webpages or social networking that supplies

plicative or descriptive texts.

day it is also more common to purchase online, and that implies other changes in the pr

esentation. Now our product does not stand on the physical shelf of every store, and our c

nnot always hold the packaging with their bare hands. To meet those new selling points, we ne

velop new exhibit methods for the online shelves. We need to come up with new ways of prom

r products online. Useful resources are endless; there is 3D animation and augmented reality

ves the products a sense of materiality.

s not necessary to say that most of the branding work is in digital media now and that this tend

growing incredibly fast, leading to the creation of new formats that adapt to multi-tasking, m

eening, little time, and a limited amount of attention from consumers.

line BRAIN-DING does not depend only on formats; content management is fundamental, be

ople no longer believe in paid publicity or purchased positioning. It has more value as a


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t’s won rather than a paid one. What creates value is authenticity.

hatever means we use to establish brand positioning, it should be always updated. It has to res

the latest trends and technologies so it can be compatible and adequate. People who manage

ans should also be constantly trained, and the customers’ impact and competition should alwa

onitored.


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ess is more.

hen it comes to graphic design, what rules today is minimalism in every possible sense

nciple is this: Less is more. To consumers’ eyes, minimalism is a sign of sophistication that i

e of their aspirations. They identify with it and prefer any product, service or information pres

t way. But let’s not forget that everything changes, and at any time this could stop being valiquire us to adapt.

Peter Drucker says, “The best way of predicting the future is to create it.” We need to buil

ure we want for our brand, and we can also try to innovate in ideas, products, processes, reso

d current ways of doing branding in order to establish a new trend and have our own differenti

lking about the customer, we need to know that he expects more and more, and so far, it has

ficult for companies to meet him halfway. In most cases there is still a gap between what is de

d what is received. And really knowing our clients and their expectations can be a

mpetitive advantage.

th these great expectations come also their wish for customizing and personalizing not only

rchases but also their experiences. They wait for close personal attention that looks after

dividual needs, leading to deep meaningful relationships. Don’t forget that now the attenti

cused on meanings. Customers expect to identify themselves with a brand because they

mething in their emotional, intellectual, cultural or spiritual dimension.

ere are more factors influencing each person’s purchasing decisions. We need to use the

ans and channels with the exact message at the exact time for the exact audience to achievpected results.

ust is another one of the most valued features. People are more critical and conscious about

y consume, and they don’t easily believe what they are told. They question everything a brand

out itself, are careful and even notice contradictions and nonsenses in brands’ promises. Th

hy brands should never declare what they don’t possess. It is best to communicate informati

mply and honestly as possible and focus on what they really are and offer. Although the secre

the way we handle it. Maybe what could be considered a weakness, if properly, intelligently

ategically handled could turn out to be the key differentiator for success to pop out from the re

t’s consider the Cadbury chocolates example. They analyzed the

dience and realized that health and nutrition was more and more

portant, so they decided to launch a campaign focused on the

nefits that chocolate and its milk content could offer, but

nsumers didn’t accept it. It is obvious that chocolate, except for

rk chocolate, cannot be seen as healthy, so why advertise it like

t? Chocolate’s strength is that it is a pleasure, something to

oy, and that is the correct way to show it to the world. With a good strategy, the fact that it is


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althy product won’t keep it from selling and having a good positioning.

d talking about the internal function of a company, it is important to say that the gaps bet

partments are smaller now. Integration and good communication have been demonstrat

rease productivity and improve the company’s image. An integrated brand is a strong brand

ore tools and success possibilities.

rough these pages, we have talked about the BRAIN-DING principles, methodologies, exam

d realities, but it all comes down to a very simple idea: communication is the key to succesnds of communication: internal, with customers, between competitors, associates, investors

hat you communicate, the way you communicate it, to whom you communicate it, and through w

ans and channels it is communicated is what makes the difference, and that is what BRAIN-D

all about.


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BIBLIOGRAPHY

inted resources

fton, R. 2010. The Economist: Brands and Branding. Profile Books.

vis, M. 2006. More than a Name: An Introduction to Branding. AVA Publishing.

vis, M. 2009. The Fundamentals of Branding. AVA Publishing.

wards, H., Day, D. 2005. Creating Passionbrands: Getting to the Heart of Branding. Kogan

blisher.

ams, C. 2011. The Ad-Free Brand: Secrets to Building Successful Brands in a Digital World

blishing.

aley, M. 2010. What is Branding? Rockport Publishers.

umeier, M. 2005. The Brand Gap, Revised Edition. Peachpit Press.

ppers, D. 1996. One to One Marketing. Currency Publishing.

es, A., Trout, J. 2001. Positioning: The Battle for Your Mind. McGraw Hill Professional.

eich, J. 2014. Storytelling on Steroids: 10 Stories That Hijacked the Pop Culture ConversaS Publishers.

heeler, A. 2012. Designing Brand Identity: An Essential Guide for the Whole Branding T

hn Wiley & Sons.

eb resources

rnadette, Jiwa. The Story of Telling.

p://thestoryoftelling.com/ (Nov 20th, 2014)

M. Branding Magazine Online.

p://www.brandingmagazine.com/ (Oct 10th, 2014)

andemia. Portal en Castellano de Identidad Corporativa.

p://www.brandemia.org/ (Nov 22nd, 2014)

andingMania.

p://brandingmania.com/ (Oct 9th, 2014)

http://brandingmania.com/http://www.brandemia.org/http://www.brandingmagazine.com/http://thestoryoftelling.com/


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and Stories. New Age Brand Building.

p://www.brandstories.net/ (Dec 13th, 2014)

trepeneur. Online Magazine.

p://www.entrepreneur.com/ (Dec 13th, 2014)

rbes. Business and Entrepreneurs sections.

p://www.forbes.com/ (Dec 6th, 2014)

werful Infographic.

p://powerfulinfographic.com/ (Dec 16th, 2014)

http://powerfulinfographic.com/http://www.forbes.com/http://www.entrepreneur.com/http://www.brandstories.net/


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