All designers have to balance the need for flexibility with the need for usability, because as one increases the other inevitably decreases. Or in c common parlance, “Jack of all trades, master of none”. Systems that are designed to be more flexible have more functions than more specialised designs but are inevitably less functional as a consequence. Read more »
Proclaimed as “The All New” Don’t Think of an Elephant, George Lakoff’s classic book has been substantially rewritten and updated to reflect contemporary issues in political debate and recent electoral history. The original book was a must read for anyone interested in behavioural science, communication (or politics) and the important lessons from the first book remain, updated and expanded in this even better and more valuable book. Read more »
Readability is the degree to which prose can be understood, determined by word length, word commonality, sentence length, number of clauses in a sentence and the number of syllables in the sentence. It is something that is often overlooked by designers and researchers, who often believe that more complex information requires complex presentation. This, of course, is bunkum. The principle of cognitive fluency teaches us that the easier something is to read the more readily it will be understood and the more likely it will be acted on. I write this as I am preparing for a client workshop on report writing where the number 1 principle is make everything as simple as possible (but no simpler as Einstein famously said). Read more »
Sound is often the most neglected of the senses when it comes to branding, although it is only second to the visual senses in terms of its importance and has a very specific role that helps the brain to create stories from cause and effect.
There is more to using sound in branding than music and song, important as they are. Of course, music and song are particularly powerful in creating links to specific emotions. However, in the esSense® framework outlined in Brand esSense, other aspects of sound can also contribute to building a brand through the senses, symbols and stories.
Cultural probes are the name designers give to exercises, activities and provocations given to participants in a study to provide inspiration and understanding about their lives, thoughts, feelings and behaviours, and the cultural and social context that informs them. In market research, such activities might be associated with longitudinal studies and with pre-work (homework) and follow-up work done in connection with more formal interviews and participant discussions. Read more »
In Copy, Copy, Copy, Mark Earls argue that creativity in marketing (or anywhere else) is essentially about following the success of the theory of evolution outlined by Charles Darwin. Although the title of the book focuses on the copying part, the truth is that his central argument is that the essence of progress is “loose” copying, following the are of an idea but introducing variations into it. As Darwin demonstrates, if you do this enough times then eventually what emerges is superior to what came before.
The beauty of the book, which I highly recommend, is that in arguing the case for copying as a creative strategy, Mark Earls also manages to integrate a lot of behavioural thinking into the strategies and approaches he outlines and gets away from the arguments about which marketing strategies work best. He argues that the first question to ask is “What kind of thing is this?” and from that then find an appropriate strategy to address the specific challenge. Read more »
Uniform connectedness is the principle that elements that are connected by uniform visual properties, the most common being colour, are seen as more related than other elements that do not share a visual property. This is a recent addition to the Gestalt principles of psychology, based on the perception of elements with uniform visual properties as a single group or chunk of information. A single matrix composed of dots is seen as columns where common regions, lines or colours connect the dots vertically, whereas it is send as rows when the common regions, lines or colours connect them horizontally. Read more »
“Music can move us to the heights or depths of emotion. It can persuade us to buy something, or remind us of our first date. It can lift us out of depression when nothing else can. It can get us dancing to its beat. But the power of music goes much, much further. Indeed, music occupies more areas of our brain than language does – humans are a musical species.” – Oliver Sacks
We all know the power of music to move both our bodies and our emotions. So how can you use music to create more immersive brand experiences giving you the commercial edge over your rivals?
It is a key principle of design that elements that are similar are perceived by users to be more closely related than elements that are dissimilar. This principle comes from Gestalt psychology, and while often seeming obvious is important to the way that users interact with objects, helping them simplify and structure the world. A simple matrix with alternative rows of dots and squares, this becomes a set of rows only with the similar elements grouped into holistic lines. In the same way, even complex displays is interpreted as having different areas and groupings depending on the colour, shape or size of different elements and to what degree they appear similar. Read more »
Using Sensory Signature to Build Brand esSense: Bringing experience to the heart of your brand identity
“Unify, simplify, amplify” – Ken Carbone
When asked to define brand identity, many people brand logos and names as well as the history and values of brands. Some even mention the design of a product or experience, but very few immediately mention the role of the senses in creating distinctive and memorable experiences. Many dictionary definitions focus solely on the visual look and feel of brands, but a better definition might be, “the elements of a brand that together identify and distinguish the brand in the consumer’s mind”.
For Keller, Aperia and Georgson, brand identity answers the fundamental question, “Who are you?” However, my favourite definition comes from Alina Wheeler’s Designing Brand Identity. She states that, “Brand identity is tangible and appeals to the senses. You can see it, touch it, hold it, hear it, watch it move. Brand identity fuels recognition, amplifies differentiation, and makes big ideas and meaning accessible. Brand identity takes disparate elements and unifies them into whole systems.” Read more »