ith a native language capability, adeptness and an understanding of Chinese culture, Ti aims to provide a bridge between western companies who want to explore the expansive Chinese market, and Chinese industries who have needs for building global brands.
4
ABOUT TI
5
THE OBSTACLES OF BRANDING ACROSS MULTIPLE CULTURES
6
ABOUT THE TWO SAMPLE PROJECTS
9
KODAK BRANDING PROJECT
31
EPIC 2012 BRAND EXTENSION PROJECT
LANGUAGE Mandarin Chinese English
EDUCATION MA Design Management in Savannah College Art and Design BFA Industrial Design at Donghua University in Shanghai, China
你好,我是赵倜！ Hello, I am Ti Zhao!
EXPERIENCE Brand Design & Identity Team for EPIC 2012 at Savannah, GA Product Manager and Interactive Designer at DVN Digital Video Networks in Shanghai, China 2D Artist at Shanghai North Star Software Co., Ltd. in Shanghai, China
SKILLS Education and work focused on Brand and Strategy
Deep empathic understanding of Chinese Culture
Contextual Research oriented with an ethnographic approach
Fluent in written and spoken Chinese
Managed and coordinated culturally diverse multidisciplinary teams and projects
Familiar with Chinese social media, Chinese customer behavior and Chinese industries including alcohol, apparel, appliances, finance, pharmaceuticals
ĺ“ ç‰Œ
PAST Ti has had a natural passion for design from a very young age. Growing up in China it was a well known fact that imitation is a prevalent practice in transition economies. Having vistited small product firms in southern China, and seeing how their philosophy of imitation and quality production lead to short-sightedness inspired her to want to be a innovative industrial designer. College was the first place her design dream became a serious reality. Since college, from industrial design, visual communication design, to interactive design, she has studied and worked in various design disciplines for more than 10 years. During that maturation time she has had different understanding of the role of designers. When she was in college, she believed designers were people who had various artistic skills to devise functional products, services, buildings, furnitures and many more, but later on as she went to workplaces, she realized collaboration is key in design. Designers in a company should be like a hub to coordinate and help all the departments, be they marketing, product planning, hardware design, software design or interactive design. A product that comes out from a collaborative team should stand out in the market without any words of introduction needed. A successful design is predictable at the beginning if it goes through a valid and rational design process. As her design experience progressed she started to recognize the expanded role of the designer in the larger business picture. While designers or product managers pay attentions to products’ appearance and structure, they also need to focus on how to both establish and preserve brand internally and externally, and how to extend brand into new markets. There are diversified niches in the market, so there is often no right or wrong with the design. Most importantly, the design should fit the brand and company’s positioning as well as the customer’s needs.
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2012 Branding Portfolio
PRESENT Ti is a recent graduate of the Savannah College of Art and Design where she received her MA degree in Design Management in 2012. Now she is looking for opportunities in branding practices such as brand strategy, brand development and brand engagement.
PASSION She always keeps a close eye on Chinese industries and Chinese brands. With a native language skill and an understanding of Chinese culture, Ti will be a connection between western advanced branding service and extensive Chinese markets. She aspires to help western brands skillfully explore Asian markets, and to assist Chinese corporations to build stronger Chinese brands in global markets.
2012 Branding Portfolio
5
THE OBSTACLES OF BRANDING ACROSS MULTIPLE CULTURES When branding performs across different cultures, recasting, redesigning and re-envisioning foreign brands into local markets contains big challenges. Without a deep understanding of local languages, customs, market segments, social status, etc., making any brand decisions could be highly risky. There are two examples of the obstacles that multinational corporations might encounter when they want to extend their brands into the Chinese market. Renaming brands in a foreign market is no straightforward process. As a language and culture loaded with symbolism and imagery, a direct translation might lead to confused or even negative meanings. In addition to linguistic issues, other factors, such as reflecting products’ benefits or brand positioning, links to logo or brand graphics, traditional values, and beliefs and customs also affect the translation and renaming process. People who have a thorough understanding of Chinese culture as well as linguistic skills will help international brands rename and re-cast the brands in local markets and create an effective global-local image with built-in positioning attributes that enhance the brand equity of the original. Online branding plays a significant role in marketing to the Chinese. Online branding involves corporate website, search engine optimization, social media use, and E-commerce solutions. From reestablishing an existing brand internationally to developing an online brand that coordinates with and complements an existing brand, decision makers should consider carefully about the differences of Internet use in other countries. For instance, in China, instead of Google as the leader of search engines in the U.S., Baidu is frequently used by 80% Chinese Internet users. In addition, Long-tail keywords in China are not as effective as in the Western world for websites or product searching; and knowing Chinese encoding, word segmentation, and keyword extraction are the factors leading to a success in a Chinese Search Engine result. While social media are critical tools for marketers to engage with consumers, China has the world’s most fragmented and multi-faceted social media landscape. Facebook is not allowed in China, but Chinese social networking sites like Renren, Kaixin, Qzone, and many more, divide social networking users’ attention. In China, multi-category e-commerce sites also are unfamiliar to western people. Amazon is a well-known e-commerce site in the States, but some Chinese domestic sites like Taobao, 360Buy, Joyo and DangDang dominate Chinese e-commerce market. In brief, without being familiar with characteristics of Internet use in China and an understanding of the behavior of Chinese shoppers, foreign brands will have a hard time engaging Chinese consumers. 6
2012 Branding Portfolio
Two brand projects are included in this branding portfolio. The Kodak branding project was completed by a collaborative team in a graduate level class. The Kodak branding project focused on brand evaluation, brand analysis, brand diagnosis and brand strategy. In this section a lot of surveys and relevant analysis methodologies, such as SWOT and Semantic Differential scales are used for introducing new brand strategy step by step. The EPIC 2012 work was a live branding extension project that we handled from brand identity to brand promotional graphics. Applying the principals and approach of earlier work to the EPIC conference and the diverse set of stakeholders, we received an overwhelmingly positive response by conference organizers and attendees.
2012 Branding Portfolio
7
1884 Eastman Dry Plate Company 2012 Branding Portfolio
FROM
TO prinique by Kodak
INDUSTRY STATUS ASSESSMENT A Brief History of Kodak Customer Market Segments
BRAND ANALYSIS Value-Chain Analysis Value Proposition Brand Attributes Competitive Analysis
BRAND DIAGNOSIS Kodak’s Problems Core Useable Resources
BRAND STRATEGY Insight / Re-frame Business Strategy Brand Key Elements Brand Touchpoints
In this project, we examined Eastman Kodak Company to uncover Kodak’s future market opportunities. We first familiarized ourselves with Eastman Kodak Company about its history, market directions, customer segments, products, services, financial problems, and market issues. We initially believed the fall of Kodak was just a typical case of a disruptive technology taking over an old industry. Then a deeper realization came when we saw that Kodak’s problem wasn’t that they didn’t make a genuine attempt to transform with the digital age. It was that they miscounted the precise time the digital technology suddenly took off. We used several branding methodologies and tools to synthesize and visualize our research data which helped us to create a new brand strategy for Kodak. To show our conclusions were impartial and comprehensive, we included our surveys in Competitive Analysis, Brand Perception, and Judgments with the final deliverables.
2012 Branding Portfolio
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A BRIEF HISTORY OF KODAK FILM AND CAMERAS
1935
10
The first commercial transparent roll film
1891
1898
The company marketed its first daylight loading camera, which meant that the photographer could now reload the camera without using a darkroom
Kodak marketed the folding pocket Kodak Camera
2012 Branding Portfolio
1910’s
1920’s Kodak developed aerial cameras
1936
Motion pictures in color became a reality for amateur cinematographers
First Brownie Camera introduced. The very first time that photography is available to everyone
1921
1889
1880 - 1890’s
1900
1888
With the KODAK camera in 1888, Eastman puts down the foundation for making photography available to everyone.
KODACHROME Film was introduced
First new home movie camera
1930’s
1936
The Pocket Kodak Camera was announced
1928
1895
KODAK BRANDING PROJECT
Kodachrome Film introduced first commercially successful amateur color film
1975 1960’s
The Kodak color film for prints, the world’s first true color negative film
1960’s
1970 - 1980’s
2004
2000’s - present
Kodak Ultima picture paper, with color last technology, was introduced.
2012
1962 1950’s
The company’s U.S. consolidated sales exceeded $1 billion for the first time and worldwide employment passed the 75,000 mark
1980
1959 1942
1937
Kodak high speed EKTACHROME film became the fastest color film on the market
The first slide projector
1940’s
The First Digital Camera
Bankruptcy
2005-2011 Continuously expanded market in different market segments
Kodak celebrated its 100th anniversary
2012 Branding Portfolio
11
KODAK BRANDING PROJECT
A BRIEF HISTORY OF KODAK MORE THAN CAMERAS Kodak marketed film socially coated for motion picture use in 1896.
Printing and Publishing
Motion Picture
By 1929 Marketed first film designed for then- new”sound” motion pictures. Cinesite digitally restored ”Disney’s Snow White” in the early 1990s and has created digital effects for more than 200 movies, TV shows and commercials. The Recordak introduced the first microfilm system for the handling of bank- records in 1928. During World War II Kodak developed the current microfilm technology to create a system for filming letters sent to the soldiers. Kodak entered the copier market in 1975 offering high- speed, high- quality paper copies. Kodak acquired Imation’s medical imaging business in 1998. In 1896 Kodak introduced a photographic paper designed specifically to capture x- ray images. In the mid- 1960s NASA photographed 99% of the moon’s surface.
Space Exploration
Document Imaging
Health Kodak’s Leading Role in a Diverse Range of Industries 12
2012 Branding Portfolio
Kodak’s high- resolution image sensors were the “eyes” of the Sojourner Rover that traveled the surface of Mars in 1997. Kodak provided precision optics for the Chandra X-ray Observatory, which has captured images of deep space phenomena since 1999. Mid 1930s Kodak researchers built the first electronic color separation scanner to prepare images for printing. During the 1950s and 1960s Kodak was the key player in the burst of color in magazines and books by teaching the industry how to perform color separation, masking and correction.
KODAK BRANDING PROJECT
CONSUMER MARKET SEGMENTS
Printing Supplies
Industry
Family
Printers
Supplies
Products
Cameras
Professional
Accessories
Amateur
Online
Software &
Services
Photo Gallery
In Store
Kodak Express
Picture Kiosk
2012 Branding Portfolio
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KODAK BRANDING PROJECT
VALUE-CHAIN ANALYSIS
KODAK’S VALUE-CHAIN PRE-DIGITAL AGE (adapted from Gavetti, Henderson, Giorgi, 2005)
Being a chemical company at the core, Kodak had a long tradition of industrial processes and innovation, and during the better years leading to the 21st century, Kodak patented dozens of new ideas and concepts that were supposed to keep them “future proof.”
STORAGE IMAGE CAPTURE Film camera Video camera
PROCESSING Retailer processing
PRINTING At retail stores Reprints
From image capture, to film processing to its various cascading applications, we see that Kodak was in control of the value-chain its business was built on.
PROJECTION
KODAK’S VALUE-CHAIN POST-DIGITAL AGE (adapted from Gavetti, Henderson, Giorgi, 2005) RETRIEVAL
TRANSMISSION IMAGE CAPTURE Digital camera Film camera Video camera
Online (email, Internet) DIGITISATION Digital camera’s softeware Scanner at home Kiosks at retailers Digital mini-labs Online services
STORAGE Hard disk Floppy disk / CD Removable storage
PRINTING At home: printers inkjet Online (paper) At retail stores MANIPULATION CPU Manipulation PROJECTION
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2012 Branding Portfolio
However, as the second figure shows, the post-digital value-chain ushered in new stages that Kodak had little control over and weakened its core value value-adding asset and historical ballooning revenues, the image capture business: As more and more firms entered the different businesses related to digital photography in the broad sense of the term, Kodak found itself in a position where it wanted to do a little bit of everything without ever committing to anything.
KODAK BRANDING PROJECT
BRAND VALUE PROPOSITION & BRAND ATTRIBUTES
VALUE PROPOSITION Eastman Kodak Company has led the way with an abundance of new products and processes to make photography simpler, more useful and more enjoyable. Its reach increasingly involves the use of technology to combine images and information—creating the potential to profoundly change how people and businesses communicate. Kodak continues to expand the ways images touch people’s daily lives.
BRAND ATTRIBUTES Emotional Brand Attributes
Artful
A brand that allows people to create their meaningful memories through an artistic way.
Sincere
A brand that is honest and cares about its customers.
Rational Brand Attributes
Energetic
A brand that is active and inspires people to be creative.
Motivated
A brand that explores new markets continuously.
Profound
A brand that has a strong culture and expands to a wide rage of market.
Tenacious
A brand that never stops moving forward even during a business downturn.
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KODAK BRANDING PROJECT
COMPETITIVE ANALYSIS BRAND PERCEPTION
Canon has held the highest digital imaging market share for 26 of the last 27 years. Many of the sweeping changes during the “Digital Revolution” in the industry were invented by Canon. In 1979, Canon introduced the first fully automatic auto-focus compact camera, the AF35M. In 1992, Canon also designed the EOS5 as the world’s first camera with eye-controlled auto-focus. Canon has successfully competed with the best camera manufacturers by incorporating leading-edge technologies into its cameras, targeting the whole range from beginner to professional photographers. Fuji started being Kodak‘s traditional major competitor since the film age. Through the 1970s and 1980s, Fujifilm has grabbed about one-third market share in Asia. In 1997, a well-known price war occurred between Kodak and Fuji in the U.S. market. When imaging industry stepped into the digital age, Kodak was gradually losing its core competences while at the same time, Fujifilm adapted to this shift much more successfully. According to above research, we defined Canon and Fujifilm as two of greatest competitors to theaten Kodak. In our brand perception survey, we used semantic differential (see next page) as the tool to evaluate people’s impressions and views about Kodak and its competitors. The closer people’s selection is to a word on the scale the stronger they feel the brand is associated with the word and definition. To get the most impartial survey result we evaluted all the aspects including logos, interior, exterior, and products because all the factors would inflence people’s brand impression.
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2012 Branding Portfolio
BRAND COMPARISION Brand Perceotion - Logos
Brand Perceotion - Interior
Brand Perceotion - Exterior
Brand Perceotion - Products
VISUALIZING DATA After conducting surveys, we collected, analyzed and visualized out data to help us compare Kodak, Canon and Fujifilm.
Semantic Differential Scales: Kodak vs. Canon vs. Fujifilm Apparent
Off Brand
On Brand
Negligible
Canon ‘s core competencies meets all brand positive attitudes we set for Kodak. From the survey result, people view Canon as a brand they can trust and a brand that is always reliable. Although Kodak is mostly on brand and meets its attributes, compared with Canon, Kodak’s advantages are not strongly differentiated enough. Kodak seems uncertain of what they want to do with its future. Fuji-film did not meet the brand positive attributes of Kodak. Additionally, this research shows that people think that Fuji-film is not a profound brand and is aimless, yielding, and inert. However, people did feel Fuji-film is somewhat artful and sincere.
2012 Branding Portfolio
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KODAK BRANDING PROJECT
COMPETITIVE ANALYSIS SWOT CHART ANALYSIS
Strengths
S
Strong distribution channels
Opportunities
O
Positive
18
2012 Branding Portfolio
Inability to translate innovation into marketable products Operational inefficiencies Inability to integrate acquisitions Lack of digital culture and expertise Core rigidities ingrained in the company
Threats
T
Industry saturating with new entrants and incumbents Product substitution from film to digital More experienced competition in the digital field Consumers’ progressive abandon of analog photographic solutions Negative
External factors
Restructuring initiatives Emerging markets are ripe for Kodak’s existing product portfolio High growth in digital imaging demand
W Internal factors
Comprehensive offerings Patent portfolio Century-long experience in the traditional films business Strong brand equity International presence
Weaknesses
KODAK BRANDING PROJECT
COMPETITIVE ANALYSIS SWOT CHART ANALYSIS
Weaknesses
O
Threats
Broad product portfolio Strong bottom line performance Cheaper price compared with other similar products in the market International presence Developing in-house expertise in the new businesses
Opportunities
Expansion into New geographies Strategic initiatives New strategic partner will release funding pressure
Positive
W
Legal proceedings Declining in revenues
T
Rapid technological changes Turmoil in Japanese economy Increasing counterfeit goods Existing experienced competition in the digital field
Negative
Strengths
S
Weaknesses
O
Threats
Diversified portfolio Increased operational efficiency Digital market leading position Strong manufacturing at low cost Robust research & development Strong top-line performance Financial capacity
Opportunities
Entry into new market Partnering with cell phone companies Strategic acquisitions Looking at export opportunities Structural changes in the industry
Positive
W
Over pricing Over-dependence on Hewlett Packard Not enough online presence
T
Economic depression Rising counterfeit goods market Competitors’ patents Increased competition from overseas Price wars between competitor
External factors
External factors
S
Internal factors
Internal factors
Strengths
Negative
2012 Branding Portfolio
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KODAK BRANDING PROJECT
KODAK’S PROBLEMS
E
ch
no
lo
gy
strea
Main
va
st
Kodak used to be in total control of its value chain and did everything internally. They even raised their own cattle to get the bone to make photographic gelatin. When they realized that most of the competences needed to run a successful post-digital age imaging business were lacking, it was too late: most of the value-chain was already in the hands of competitors. 20
2012 Branding Portfolio
TIME
Figure 1. Disruptive innovation (Christensen, 1997)
MARKET SHARE
COMPETITORS TOOK OVER THE DIGITAL MARKET
he c
Nic
s
eed
er n
m usto
In
As figure 2 shows innovation diffuses following an S-Curve, and this causes problems. Kodak was fully aware of the potential of digital photography. It wasn’t that they ignored it. The problem was that they thought it would grow in a slow, straight line, like Curve B; However, new innovations take longer than we expect to become dominant, but when they finally take off, they move fast. At the end of time X, digital technology suddenly dominated the imaging markets and left Kodak behind.
eds
er ne
stom m cu
ive
Figure 1 shows that how disruptive technology creates great havoc to well-run and profitable companies. Kodak has over-believed their brand power and monopolistic industry position. Kodak thought the digital photographic era would came after decades, however, once the invasive technology happened it went faster, and it was obviously performing much better than its predecessor.
ed
lish
b sta
y
log
no
h tec
te
THREAT OF SUBSTITUTE
PRODUCT PERFORMANCE
From the late 1800s to the 1980s, Kodak dominated the consumer photography market—an innovative and admirable icon of American industry. Kodak even knew all about the impending disruption of digital technology. As many have noted, they own the primary patents on digital photography and built one of the world’s first digital cameras in 1975. However, stubbornness allied with condescension produced a deleterious corporate climate. When the stage shifted from film to digital imaging, Kodak started losing its monopolized business. From previous research and analysis, we uncover Kodak’s major problems: from external factors that were about the threat of substitute and strong competitors, and from internal factors, it was mismanagement and inappropriate responses.
Innovation diffuse reality A X
ction ’s proje Kodak igital era d about B TIME
Figure 2. Kodak technology projection vs. actual adoption
KODAK BRANDING PROJECT
CORE USEABLE RESOURCES
KODAK’S CORE USEABLE RESOURCES
10%
Color management capability 10% 70%
20%
Prior to the 1990s Kodak had invested hugely in R&D. Moreover, its century of innovation and development of photographic images gave Kodak tremendous depth of understanding of recording and image processing. In digitizing color and transferring digital images to paper, Kodak possessed a powerful set of complementary technologies in sensing, color management and thermal printing.
Brand equity 70%
Patents 20%
After almost a century of global leadership in the photographic industry, Kodak possessed brand recognition and worldwide distribution. Kodak could bring new products to consumer’s attention and support these products with one of the world’s best known and most widely respected brand names as a huge advantage in the market.
Kodak is selling its traditional off-the-shelf print-film business and several other businesses to raise additional cash as an auction of its digital patents slogs on. As a photography pioneer who has created more than thousands imaging patents during its best times, getting financial support from these patents might be the only choice.
2012 Branding Portfolio
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KODAK BRANDING PROJECT
INSIGHT / FRAME
Kodak’s value proposition is to create enjoyable moments and provide a closer relationship and communication among people. As a latecomer into the digital imaging world, Kodak has no obvious advantages in quality or price to compete with their stronger rivals, but to help create new opportunities for Kodak we still could attract customers at an emotional level as Kodak has done before. The company‘s latest campaign, It’s Time to Smile, emerged from the consumer insight that today‘s work-life balance and economic situation have negatively affected relationships. However, Kodak failed to deliver a clear and differentiating promise that resonates with a meaningful number of consumers with this campaign, but in some level, Kodak was on a right track to retrieve their customers with invisible emotional connection needs. Also, to save Kodak from its deepest slump, we should not ignore Kodak’s power of its brand equity. As a well-known historic brand with a positive reputation, we wanted to take the power of Kodak’s reputation to help a renewed brand standing out in the highly competitive digital imaging market. In this way, it would reduce the risk and pressure for a new born brand getting into the marketplace and also attract its old advocates to support this new brand. Due to Kodak’s advantages in color management, we decided to step back to the market of offering printing services. Once we rebuilt people’s confidence in the new brand we would consider developing more digital imaging business. Thus, when we composed a new brand strategy for Kodak, we wanted to develop a new identity, but with Kodak’s century-long brand equity to build people’s trust and recognition at the beginning. We would also target our customers who care about relationship (friends & family), who are interest in capturing images of life and sharing those images in digital or printed form.
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2012 Branding Portfolio
KODAK BRANDING PROJECT
BUSINESS STRATEGY
FROM EXTENSION BRAND TO STAND ALONE BRAND We wished to change people’s perception about Kodak by creating an Extension brand that had a fresh and new feeling with clear market direction. However, we understood that when a brand is first launched into the market, it would be hard to get customers’ attention and convince people to buy their products and services, so as a first step, we wanted to launch our brand into the market by having the new brand name followed by the master brand name. In this way when people looked at us, they would know that our brand was from a well known company. Rent locations for the art class. Family Activities, such as making album/scrapbook together. Children’s art class: take pictures, print it, make it. Everything will be Kodak’s products and provided for the art class (cameras, printers, printing paper, etc..) Kodak will rebuild the brand image by allowing customers to try different Kodak products through class. The new brand get familiarize as a family, friendly and sociable brand.
Stand-Alone Brand
Art Class STAGE 1 prinique by Kodak
Extension Sub-brand Master Brand as Endorser
When the brand becomes more established, it will stand alone apart from Kodak.
STAGE 2
STAGE 3
Printing stores Open printing service stores. Continue with art class to allow public familiar with the brand. Offer production line printing services and products showing the Prinique logo with the Kodak logo as endorser.
prinique
Extension Stand- Alone Brand
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KODAK BRANDING PROJECT
BRAND KEY ELEMENTS
LOGO
BRAND ATTRIBUTES
Horizontal
prinique
Vertical
Sincerely
prinique
by Kodak
Sociable
Vibrant
Progressive
Unique
by Kodak
TAG LINE
Unique
Family
Friends Pleasurable
LOGO CORRECT AND INCORRECT USAGE
prinique
prinique by Kodak
by Kodak
prinique by Kodak
prinique
prinique
by Kodak
by Kodak
prinique by Kodak
prinique
prinique
by Kodak
by Kodak
prinique by Kodak
prinique by Kodak
prinique by Kodak
CORPORATE COLORS A palette of primary colors has been developed, which comprise the “One Voice” color scheme. Consistent use of these colors will contribute to a cohesive and harmonious look of the Prinique brand identity across all relevant media.
C:75 M:100 Y:0 K:0 PANTONE® 2602C
C:70 M:15 Y:0 K:0 PANTONE® PROCESS CYAN
C:0 M:100 Y:0 K:0 PANTONE® 213M
C:0 M:35 Y:85 K:0 PANTONE® 1365C
C:0 M:0 Y:0 K:60 PANTONE® COOL GREY 9C
SPECIALTY MARKET COLORS
CONSISTENT USE IMAGES
We have also selected 15 colors for market promoting and communicating use. Staying with these color standards will produce an overall look of sincerely, progressive, unique pleasurable, vibrant, sociable.
Continually use these images in all materials, whether printed or Online will give people a consistent look and feel.
CORPORATE TYPOGRAPHY
Arial
Myriad
Arial is a widely available sans-serif typeface and computer font packaged with Microsoft Windows, other Microsoft software applications, Apple Mac OS X, and many PostScript computer printers. It should be used for all our internally produced communications.
Myriad is used for items where the design is commissioned from external agencies i.e., the University Annual Report, undergraduate and graduate prospectus, exhibition stands, advertising,magazines, etc.
KODAK BRANDING PROJECT
THE BRAND TOUCHTOUCH POINTS OVER TIME THE BRAND POINTS
THE BRAND TOUCH POINTS OVER TIME
SE A H
PR E-
CUSTOMER EXPERIENCE TOUCH POINTS
F PURC INT O H A PO SE 26
2012 Branding Portfolio
Commercials Website Facebook Twitter Art Classes Free Graphic gifts
SE HA RC PU
POS T-P UR C
Website Surveys Facebook Twitter
Self-Printing Machines Printing Center Packaging Professional Employee
Sincerely
Sociable
PRE-PURCHASE
Art Classes
Commercials
Website
POINT OF PURCHASE
Packaging
Self-Printing Machines
Print Store Exterior
Professional Employee
POST-PURCHASE
Facebook 2012 Branding Portfolio
Website
Survey 2012 Branding Portfolio
PROMTIONAL GRAPHIC DESIGN
prinique
prinique by Kodak Unique
Family
by Kodak
Friends
Unique
CD Cover
Family
Friends
Card Design
Unique Family
prinique
prinique
Friends
by Kodak
Family
Friends
We care about our people
Unique
Unique
Family
prinique by Kodak prinique
by Kodak
Unique
Disc Cover 1
2012 Branding Portfolio 2012 Branding Portfolio
Bookmark
Family
Friends
Poster
by Kodak
Friends
2012 Branding Portfolio
Lucas Theatre, Savannah, GA 2012 Branding Portfolio
INTRODUCTION In EPIC 2012 Brand extension project, our goal was creating a clear and powerful brand identity instruction for overall design works of the conference and building a strong brand awareness and a memorable impression between conference and attendees. We took a visual look and feel of EPIC 2012 website, extracted the key brand elements and incorporated them into a brand identity book. With the brand book guideline, we also developed a set of EPIC 2012 conference promotional materials.
WHAT IS EPIC?
WHAT DOES “RENEWAL� MEAN?
EPIC is the premier international gathering on the current and future practice of ethnography in the business world.
The theme of EPIC 2012 Conference, the 8th annual gathering, is Renewal. In the current period of economic, political and social turmoil, EPIC people felt it important to take time to reflect on the context that they are working in, and ask how that context may (or ought?) to shape their work. Are they agents of renewal? Are they themselves renewed?
WHO WE WORKING WITH? John Payne, Principal at Moment, EPIC Committee. Tommy Hardy, Founder of Verbal-Visual Framework Dr. Christine Miller Ph.D, SCAD Design Management, EPIC Committee. Joel Wittkamp, professor of SCAD Industrial Design.
WHO ARE WE? Pei-Jung Lee and Ti Zhao are students from SCAD Design management program. We took charge of Brand Design & Identity design for the EPIC 2012.
WHERE IS EPIC? Spread across the downtown of Savannah Georgia 2012 Branding Portfolio
31
VISION
AUDIENCE
The EPIC 2012 hopes this context of renewal will encourage attendees to reflect on their own contribution to the field of applied ethnography and on the role of EPIC in pushing the community forward.
International participants come from academia, small businesses, corporations, and governmental and non-governmental organizations.
OFFERINGS
VALUE
With sections such as Workshops, Local Pursuits, Paper reviews and discussions, EPIC 2012 promotes the integration of r i g o r ous m et h o ds and theory from multiple disciplines into business practices.
The EPIC Conference promotes the use of ethnographic investigations and principles in the study of human behavior as they are applied in business settings.
PERSONALITY
MISSION
Vibrant, Receptive, Argumentative,Exclusive, Informative, Annual, Committed, Independent, Exploratory, Theory + practice, Interdisciplinary
The EPIC 2012 aims to exemplify the dynamic and sometimes uneasy relationship between change, stability and stasis in the context about current period of economic, political and social turmoil.
The core EPIC Conference attributes have been researched and identified by EPIC Advisory Council Branding Workshop.
HERITAGE
2005 - 2012 Annual Conference Multiple Locations in the world with different themes 32
2012 Branding Portfolio
KEY ELEMENTS IN EPIC 2012 BRAND BOOK LOGO VERSIONS
BRAND COLORS
A. Standard full-color logo. B. Full-color logo with trailer. A.
B.
C:51 M:24 Y:100 K:4 R:137 G:156 B:59
C:0 M:56 Y:100 K:2 R:240 G:134 B:30
C:0 M:0 Y:0 K:70 R:109 G:110 B:113
CLEAR SPACE The minimum 15 mm wide size shown below should accommodate most applications and reproduction techniques.
MINIMUM SIZE
xx
Clear space is the area surrounding the signature that must be kept free of other graphic elements. The minimum required clear space is defined by the measurement ”X” as shown below.
x
x
2x x
x xx xx
15mm
0.6x
x
x
x
x xx
0.6x
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ACCEPTABLE LOGO ON NEUTRAL BACKGROUNDS
ACCEPTABLE LOGO ON COLORED BACKGROUNDS
The full-color logo versions can be used when the background falls outside this gray range—lighter than 20% gray. When your background is darker than 20% gray, it is recommended that you use logo with white EPIC 2012 and trailer.
As with neutral backgrounds, EPIC colors should have suitable contrast when placed on colored backgrounds. It is important that good judgment be used to maximize legibility.
100% gray
80% gray
60% gray
40% gray
20% gray
10% gray
UNACCEPTABLE LOGO USE A. Do not create low contrast condition B. Do not change the typography of the logo C. Do not stretch the logo D. Do not apply conflicting background E. Do not italicize the logo F. Do not add line between heading and logo
0% gray A.
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2012 Branding Portfolio
B.
E.
EPIC 2012
Renewal
C.
F.
TYPOGRAPHY Myriad Pro is used for items where the design is commissioned from external agencies in the EPIC conference design teams, conference promotional materials, etc. It is available in a variety of weights, three of which are used in the EPIC conference suite of materials: Regular, Semi-bold and Bold.
BRAND VISUAL METAPHOR STYLE Spanish moss as a unique local symbol represents this city. Lucas Theatre was one of the conference venues. We picked these two pictures as important design elements to stand for Savannah and represent EPIC 2012.
PLANT METAPHOR
ARCHITECTURAL METAPHOR
Spontaneous and organic. Related to the wave metaphor. Speaks to diversity. Unique to Savannah: Spanish Moss.
Blend of the old and the new; History and Renew. It’s about diversity and openness. Unique to Savannah: 18th and 19th century architecture: Lucas Theatre.
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ATTENDEES EXPERIENCE TOUCH POINTS DIGITAL TOUCHPOINTS
Website Website
Survey
Registration Online
PRE-CONFERENCE TOUCH POINTS
Direct E-Mail
IN-CONFERENCE TOUCH POINTS
POST-CONFERENCE TOUCH POINTS
Conference Environment Design Conference Promotional Materials Print
Viral Email Word of Mouth
Giveaways Registration In person
PHYSICAL TOUCHPOINTS
Managed Touchpoint 36
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Unmanaged Touchpoint
VISUALIZED TOUCH POINTS DROP CARDS / BIG
DROP CARDS / SMALL
http://epiconference.com/2012
Front
Front
Back
http://epiconference.com/2012
Back
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CONFERENCE SCHEDULE AND MAP
CONFERENCE TRI-FOLDED BADGE
3 8 1
5
2
6 7
4
Front
Back
Inside
Inside
Inside Inside
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2012 Branding Portfolio
CONFERENCE BAG
EPIC PROGRAM BROCHURE
Hosted by
Front
Cover
First Page
VOLUNTEER T- SHIRT
Back Volunteer
Front
Back
Hosted by
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EVIROMENT DESIGN IDEAS / INDORR SIGNAGES
EPIC 2012 Program icons
Registration Desk Restroom
Signages on the Walls 40
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Floor Signages
EPIC 2012 CONFERENCE PICTURES
Attendees wearing the conference badges
EPIC 2012 website
Registration desk and printed schedule
EPIC Conference Facebook page
EPIC program brochure
EPIC Conference Twitter page
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Conference Bag, brochure and badge
Conference Badge
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Schedule in EPIC Conference Badge
Conference Badge
Conference Program Brochure
Conference Program Brochure
Registration Desk
EPIC Conference Video page
Volunteer with Volunteer T-Shirt
EPIC 2012 Attendee
Lucas Theatre inside
Conference Podium
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THANKS FOR YOUR TIME!
2012 Branding Portfolio