In the Long Run

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Pay less up front, pay more later. Pay more up front, pay less later.

In most cases, provided you’ve done your research, paying more upfront usually means paying little to nothing down the road. The inverse is obvious.

That’s a universal principle hard to swallow for the penny-pinchers who recoil at the mere scent of a high price. But it’s something to remember when making your next purchase.

Foundation of a Feeling

As the differences get smaller, the purely functional reasons for premium goods fade away, and instead they are purchased for the reason we’ve always purchased luxury goods: because of how they make us feel, not because of what they actually do. The fur coat is not warmer than the down jacket, it’s merely harder to acquire.

That’s a snippet from a recent post by Seth Godin.

There’s a lot of truth to this. And it’s for this reason—people purchasing based on feelings rather than for function alone—that brand identity and marketing are such important factors in business. How a brand resonates with its would-be customers is just as important as the goods and services it offers.

Recollecting my two most recent posts about SAAB automobiles, I stated that despite its failures, I still have a great appreciation for SAAB cars. That’s because to me SAAB successfully created a positive impression. In its early years, SAAB also maintained an air of intrigue; a feeling of, “Yeah, other car manufacturers do it this way; we’re going to do it differently.” A lot of head-scratching mechanics can attest to that. Better or not, it was different; and that brings a lot of appeal.

Feelings have to have a foundation. Some foundations are built on how things look; some on how things work; some on how you’re able to live now that you have the item—or a combination of all of these things. People have different criteria that they use to sift through what they buy and don’t buy. You can accomplish about the same with a Windows OS as you can with an Apple OS. You just go about it in a different way. But the difference in experience creates a feeling that customers swear by.

Like Seth said; sure the down parka and the fur coat both keep the wearer warm just the same. But the fur coat offers a solution that the down parka can’t: the richer image associated with scarcity. To some this is unimportant; but to the one wearing the fur coat, it solved a particular problem.

So ultimately it’s the perceived worth of a thing—what it offers in addition to itself—that forms that feeling, bolsters it and drives purchasing decisions. That’s why brands aren’t just selling a product. As Seth accurately states, it’s not just what the thing does. Coffee to some is just burnt water with an energy boost. But take that black liquid and put it in a white mug on a table surrounded by friends and family with a crackling fire in the background—now you’ve got a feeling that connects people to the coffee more than the coffee could ever draw buyers to itself. While a company sells a product or a service, a brand is in the business of selling a feeling, an experience and a lifestyle.

Meaningful Connection: A Brand’s Greatest Strength

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A brand consists of products and services, but it’s also much more.

Brands (the smart ones) thrive because of the meaningful connection they offer their customers. A smart outdoor gear company doesn’t primarily promote the material behind its latest tent technology. To mention things like carbon fiber and nylon appeals to the technically minded—a segment of the company’s target market—but not all. It’s certainly worth it to mention such details, but the real connection lies in the experiences one can have with the product in consideration. If said company were to produce a Super Bowl commercial, likely its best shot at make meaningful connections would be in showing a family sitting around a campfire—smiling, laughing, and roasting marshmallows—with the fire light glinting gently on the surface of the tent in the background. Let me say that again: in the background. A failure on the part of said company would be to employ Guy Ritchie-style camera shots of the tent in front of a white studio backdrop, spending each of the thirty seconds explaining why this is the best tent in the world.

This is because smart brands know the greater selling point lies not in the product or service itself, but in the lifestyles of those who purchase it. It’s not about the tent; it’s about the experiences you can have with the tent.

This methodology in turn amplifies the efficacy of the brand’s visual identity. Although it’s possible to have a mood-inducing logo (and logos should have some effect in this area), as I’ve said before: the logo isn’t the man carrying the backpack—it isn’t meant to do all the work. The emotional connection brought about by the marketing methods of the brand inspires potential customers to search for a visual element they can put on display as a show of support. This is when companies can really take off. People inherently want to put a face to whatever it is that means something to them. If a brand has this connective value, the customer will gladly display that face in whatever medium it’s available for display.

The goal is a synergetic relationship: the brand bolsters the logo, the logo bolsters the brand. That’s why it’s important for brands to have a solid presence in both areas. You can see this everywhere. Like when an emotive commercial comes on, narrated by Jeff Bridges, telling you about firefighters saving lives; and at the end, the Duracell logo fades in. The goal in that case is to quickly connect with a viewer in an impacting way (saving lives) and then declare that this is made possible in part by the brand, Duracell—giving the viewer a visual, the logo, to store in his or her memory bank.

So a brand should communicate in some way (via television commercial, print, etc.) its values and goals, and then follow up with the identity as a means of visual connection. Likewise, the logo should contain a clue of the brand’s values and goals, thus pointing to the core of the brand as exhibited in its marketing campaign.

Another consideration for brands is what mood should be conveyed when appealing to the masses? This is another topic for another day, but…

Here’s a hint.

CBS, America’s most-watched network, recently announced the renewal of eighteen television series for the new season: nine of the eighteen are dramas (five comedies, two reality and two news). Sounds like Duracell got the memo.

One Key Principle of Logo Design

Although showing visual hints is acceptable, never should a logo show exactly what it’s representing; doing this shows ignorance on the part of the designer.  A logo should have a connection to what it’s representing, but not entirely reveal what that thing is; this gives it the quality of being an invitation to discover exactly what’s lying just around the bend.

If the whole brand is being shown in the logo this reveals that a designer is unskilled in visual communication.  If he or she can’t show an impression of something and is only able to portray the thing itself, can’t everyone else do that as well?  Business isn’t about same-ness.  It’s about distinction.

But the biggest failure is the disservice this sort of design does to a brand.  Besides cheapening the whole brand for the reasons mentioned above, it gives the potential customer no incentive to search out the brand more.  If everything is revealed upfront, why look any further than the logo?

The logo isn’t designed to do everything; it’s a visual element that should be created to act as a leading line from point A (introduction to a brand) to point B (becoming acquainted with the brand).