Mokokoma Mokhonoana || Graphic designer » Book reviews

A Guide to the Business of Creativity [free eBook download]

Mokokoma Mokhonoana — Mon, 23 Nov 2009 07:41:19 +0000

As I promised, I’d love to share a book that covers the issues that I discussed in the prior post. I strongly believe that this book will be an invaluable read not just to graphic designers but anybody in the creative industry.

The book is authored by David Parrish and it’s titled T-shirts and Suits, A guide to the business of creativity. I must admit the name sounds a bit ridiculous at first but there’s a logical reason behind the title — T-shirts being a symbolism of creativity while suits symbolizes the business side (of creativity).

The author covers issues like creating financial security, intellectual property, management and leadership, marketing to name a few that are crucial to creating and sustaining a profiable creative business.

I think this is a must read for all creatives, my favourite section being, the part that we as creatives seem to overlook — creating financial security through protection and usage of intellectual property. This is a stream of income that will still flow even when you’re asleep, as it is not dependent on continuous labour.

Download Free eBook [1.9mb, pdf] or Buy a hardcopy of the book.

Further more, David Parrish runs a blog that contains new information, ideas and examples for creative people who want to make their businesses and organisations even more successful.

Please do me one favour, share this with any creatives that you know — knowledge grows when it is shared.

The more knowledgeable creatives are, the better for the creative industry and clients that we serve, so do share.

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Packaging protects your product; Great packaging protects your brand

Mokokoma Mokhonoana — Thu, 12 Feb 2009 12:44:06 +0000

Packaging is an important component on the marketing of a brand. Certainly, it provides important functional benefits to the product. It keeps the product safe, protects it, provides a means for displaying it and is a communication vehicle.

But, stop there, and packaging is not providing its potential value. Great packaging contributes to the success of the brand.

The was a poster ad that said: “Quick, Name a Soft Drink.” On it was a picture of a Coca-Cola bottle. What was missing was the name Coca-Cola. This is power of great packaging. Coca-Cola does not even need to place its actual brand name on the bottle; everybody recognises the brand by its packaging. Consider Pringles.

Pringles differentiated itself from the myraid of crisp brands through the uniform shape of each crisp in a distinctive package cylinder in a category where every other brand comes in a bag.

Not only does the packaging visually distinguish Pringles from its competitors, but, importantly, it also reinforces the brand’s unique distinction of uniform shape. The strong connection between the brand’s name, the packaging and a key product attribute remains one of the greatest lessons in the power of packaging to drive the brand.

The heartburn remedy Nexium is known in the US as “the purple pill”. Encased in a purple gel cap, Nexium has established the colour of the package as a powerful equity.

Similarly, Viagra has become known as the little blue pill. Again, both the colour (blue) and shape (diamond) have become important packaging equities for this pharmaceutical brand.

Tiffany operates in a competitive luxury jewellery market. And, its trademark blue box provides a recognisable point of distinction sure to bring a smile to the gift recipient.

Packaging engages with the customer – and can increase or decrease the customer’s satisfaction with the product experience.

Americans love Oreo cookies but become maddeningly frustrated with the packaging. They try to open the package carefully – but the inevitable long tear down the plastic hampers keeping them fresh. There is no good way to reseal the package. People fold over the plastic and stack soup cans on top. Or wrap up the whole package in clingfilm…and then have to fiddle with film everytime they return for few cookies.

They have finally said “forget it”. The package has failed the brand.

Simple packaging ideas enhace the customer’s experience, such as grated cheese that comes in an easy-to-open, resealable bag. Tide laundry detergent includes a measuring scoop inside the box.

There was a little-known US brand called Glacier beer. The bottom of the bottle had a cutout in the shape of a twist-off bottle opener – you could simply use the bottom of the bottle to open the other. The issue of opening the last one aside, what a delightful package idea for enhancing the customer’s ease of use!

Your package is an intimate connection with your customer. Make it a connection that facilitates, not frustrates, the use of your brand.

Packaging can laso serve to enhance and reinforce brand image.

A US company called Pinnacle Natural Brilliance makes Souveran, an expensive car wax – a rich, buttery, 100% carnuba. Pinnacle Natural Brilliance has invested in packaging that reinforces Souveran’s high-end image. The box for Souveran is a rich black with labels in primarily red and gold. Opening the box reveals a nice “thank you” note from the company.

A gold pouch inside the box contains the jar of wax. The jar is in the same black, red and gold colours. A wax applicator (gold) and a microfibre towel (royal blue with a gold wrapper) are also included for removing the wax. Much thought has gone into creating a package that reinforces the brand’s image (and high price!).

Tea Embassy, a specially tea house in the US, sells a variety of quality loose teas. The family who runs the business is extremly knowledgeable about tea. Purchased tea is scooped into resealable protective pouches. Then a label is affixed to the pouch. The label indicates, of course, the type of tea.

Importantly, thought, the label also specifies exact directions for getting the maximum drinking enjoyment. (“Steep one tablespoon per cup for two minutes in below boiling water about 180 degrees F.”) Tea Embassy also uses the label to provide information about the tea. Natela’s Gold says, “Lifelong Georgian tea artisan, Natela, prepared this special batch of black tea near the Black Sea.” The simple tea package reinforces Tea Embassy’s expertise.

Yes, your packaging has to protect your product. Yes, it has to communicate information. Yes, your package needs to provide a means for displaying your product.

But, most importantly, your package must reinforce your brand’s distinction.

Does your package have a unique shape (like Coca-Cola) or a unique colour (like Tiffany)? Does your package communicate your brand’s differentiation (like Pringles)? Does your package contribute to the image of your brand (like Souveran or Tea Embassy)?

The package is the last opportunity to communicate the brand before it is purchased.

Is your packaging simply doing its job, or is it great?

~•~

This chapter is part of Truth about brands review thus copyrighted to its authors.

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Is your brand different? If not, why will someone buy it?

Mokokoma Mokhonoana — Thu, 05 Feb 2009 08:14:25 +0000

A brand has a special meaning when it is unique. By being unique, a brand is differentiated from others and is, therefore, more memorable. Consumers use the brand to assist them in distinguishing products and services. As such, if your brand does not communicate the difference you provide, the consumer will see little reason other than price to purchase it.

Many marketers tend to look at competitors and try to mimic the success a competitor has. When a brand is not differentiated, it does not own a unique position in the consumer’s mind. As such, it becomes difficult for a copy cat brand to earn the respect and a sale from the consumer.

It is not just copying a competitor that leads to lack of differentiation. Not clearly understanding the benefits that make your brand a better choice also leads to problems.

Clear differentiation is a primary reason that consumers choose a brand.

US retailer Sears has long struggled with this issue. Sales have suffered because consumers have been unable to determine why they should shop at Sears. Sears was, for many years, heralded as the company to go to for just about everything. However, with the proliferation of mass merchandisers, combined with the increased popularity of speciality stores, the capability to carry a number of products was no longer unique. Sears could not explain to customers why it was different, or why they should buy at Sears. So many consumers didn’t.

The world is filled with brands that have died because they were not different enough, not unique enough.

Izod, 7-Up and IBM personal computers are all brands that, over time, gave the consumer no reason to purchase them. Hush Puppies is a shoe brand that fell into the non-differentiated abyss in the US. It made products for everyone – men, women and children alike. It tried to claim a bit of comfort, but that was no different from any other shoe brand out there. There was no unique design. The was no flashy ornamentation. On the whole, it wasn’t “special”; they were not differentiated shoes. As such, its stateside sales were lacklustre.

For the many failures, there is an equal number of success stories.

Enterprise Rent-a-Car understands why it is unique. Whereas all other rental car companies base their business in airports, Enterprise scatters its locations through the community; focusing on customer service… “we pick you up”. Consumers understands this uniqueness, see value in this and have recognised it by renting from them.

An interesting category to consider is that of bottled water. The marketers try desperately to differentiate their bottled water from other bottled waters.

Importantly, they also differentiate their bottled water from tap water.

Consider Fiji Water, which is bottled at the Fiji Islands and is full of minerals. Compare that with Evian, which is natural spring water from the French Alps. The list goes on, and for each type of bottled water, there are small points of difference that are being made. Each seeks a relevant distinction to generate long-term sales and profits.

The video game machine market has been highly competitive, with Nintendo, Microsoft and Sony jostling for the affections of gamers. Sony has been highly successful with its PlaySation franchise (PlayStation, PlayStation 2 and PlayStation 3). Microsoft has put a lot of resources into its Xbox 360. Technological advances have led to increasingly involved and realistic gaming experiences. But those advances also brought games that were complicated for casual gamers to master.

Nintendo’s Wii became a big hit by moving in the opposite direction. Nintendo developed a simple, intuitive controller and easy-to-play games that attracted legions of consumers who would not normally be interested in video games.

Nintendo differentiated its Wii in a way that was highly appealing to an audience not well-served by Sony or Microsoft.

Have you ever walked with a child past a display of sweets? Talk about differentiation! Any four- or five-year-old can clearly explain to you why they love a Picnic but not Snickers. Why Cadbury’s Buttons are always their choice over Haribo. The benefits of a Flake over a Kit-Kat. There is no denying that these are all chocolate products. But the industry is famous for creating a unique difference in each of its brands, making that product special for its consumers, and seeing consistent growth as a result.

Identifying a point of differentiation is fundamental to building a brand, but it is difficult. Resist the urge to copy your competitor.

Instead, look for opportunities to be unique. What is the one, salient point that makes your brand unique? Can any of your competitors try to claim this point? Are you communicating this difference to your consumers? If your brand does not stand for something special, why should someone buy it?

~•~

This chapter is part of Truth about brands review thus copyrighted to its authors.

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The retail experience is the brand experience

Mokokoma Mokhonoana — Thu, 29 Jan 2009 09:06:30 +0000

Even with all the money spent in managing the communications around a brand, so much of a consumer’s sense of a brand comes through the brand experience. This is particularly true in a retail environment where ensuring brand consistency can be more challenging than with the manufacturing of products.

The Apple store is a great example of a retail experience that is consistent with and enhances the brand. With a clean, light layout, the computers are spaced for easy use by potential customers. The store atmosphere has a clean, minimal feel. Employees are friendly, knowledgeable and accessible. The entire sense of the store reinforces the brand’s image of friendly, easy-to-use and stylish computer. Small decisions, such as naming the help desk something like “Genius Bar”, reinforces Apple’s brand image.

Although the size of the Apple Stores varies – for example, the main Chicago one is on two stories, whereas the St Louis stores are smaller and in shopping centres – each location creates a similar brand feel.

Successful brands strive to maintain a consistency in presentation.

Retail brands, with operations sometimes flung worldwide, require extra vigilance.

Porsche, with showrooms across the globe, has been moving towards dealerships that carry only its brand (as opposed to dealerships that feature a number of marques).

Porsche has created a uniform look for dealerships in countries as diverse as the US, Mexico, Great Britain, Singapore and its home country of Germany. The design specifications were set back by Porsche and create an exclusive and distinct look. Steel and aluminum exterior, metal used in the interior and black walls and floors create a consistent visual feel designed to highlight its cars and reinforce a contemporary, technological advanced image.

Since 2000, Porsche has opened more than 500 of these “Porsche Centres” around the world. An international network of architects, known as “brand guardians”, help coordinate the design and development of the individual dealerships – each of which requires an avarage investment of £2.1 million.

Although the individual delearships vary in repect to size and physical configuartion, they all are adapted to the brand look first created in Stuttgart. Although Porsche sells its cars in markets than vary widely with respect to ecomnomic, social and political influences, Porsche recognises the value in a unified global look.

Similarly, BMW has worked with its motorcycle dealers to upgrade and standardise its retail look and feel. Motorcycle dealerships can have a casual, gritty flavour. BMW wants dealerships that have a more contemporary, upmarket sense that reflects more closely its desire for the brand.

Sometimes the retail experience can run counter to the general direction of the brand.

Wolfgang Puck is a culinary luminary in the US. His resturants are widely acclaimned, and his brand has an upmarket feel to it. Chicago’s O’Hare airport had a retail kiosk called Wolfgang Puck Express. Selling soft drinks, sweets and odds and ends, this retail venture, while no doubt making a profit from a captive audience, risks cheapening the Wolfgang Puck image. Such a disconnect between an elite culinary brand and a mini-mart probably does little to add to the exclusive image Wolfgang Puck has created with his restuarants.

Inventory assortment is part of the brand experience and should be managed to reinforce the brand’s key focus. The selections that customers encounter in the shop create an impression of what that retail brand represents. Keep your inventory consistent with your brand.

A passport Luggage shop in the US will have the expected displays of luggage. Also sold there are ancillary items such as briefcases, backpacks and Swiss Army knives – all items, although not technically luggage, that are related to travel. The name “Passport Luggage” creates an image around travel and adventure.

The name creates expectations about the brand experience and the kinds of items to be found there.

One shop also had a nice display cabinet of Waterford Crystal. Hmmm… now that’s interesting! Probably somewhere along the line, someone found some research that people who travel are more likely than average to buy fine crystal. So, being logical business people, it only made sense that Passport Luggage would add Waterford to the store invetory.

The problem with this logic is that it seems highly unlikely that someone shopping for luggage would make an impulse purchase of expensive crystal. And it seems equally unlikely that when actively in store. Much later, sensibility prevailed and the display was removed. Displaying and selling Waterford Crystal simply wasn’t part of the brand design for Passport Luggage.

Creating a powerful retail experience begins with a commitment to consistency.

It begins with an understanding of what the brand is intended to mean. It begins with an appreciation for how the brand meaning should shape the retail experience.

It begins with the realization that for retail brands, the retail experience is very much the brand experience.

~•~

This chapter is part of Truth about brands review thus copyrighted to its authors.

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Price is the communication of the value of your brand

Mokokoma Mokhonoana — Thu, 15 Jan 2009 09:03:40 +0000

Your brand possesses an assortment of attributes and meanings. Your brand connects with your consumers in both rational and emotional ways. Your brand also provides financial value for the company. Your brand is the source of your company’s profits. Your brand’s attributes, meanings and rational and emotional connections are sold, via the marketplace, to your customer.

When a family goes to Disney World, they are buying the park, the exhibits, the rides, the food and the employees who ensure everything is running smoothly. They are buying entertainment. They are buying memories. They are buying an icon of childhood. They are buying being a good parent. All of this represents value to the customer – value worth paying for. Disney creates this total experience in part because it reflects who it is as a business, and in part because this experience is desired by a segment of the market. Disney is investing in a brand experience that people find desirable. The price of Disney adventure should be commensurate with the value it has created.

Price is the cost of the bundle of attributes and meanings called “your brand”. The price you charge reflects the value of your brand – whether you intend it to. The greater the perceived value, the greater the price your brand commands.

The more you have distinguished yourself from competitors, the less vulnerable your brand is to their pricing strategies.

When you price low to gain market share, you say to potential customers, “My brand is not worth much.”

When you discount your service to meet short-term sales goals, you declare, “My brand is usually priced too high.”

When you regularly offer coupons on your product to attract price-sensitive consumers, you fail to appreciate the value the brand represents for loyal customer base.

Price represents more than just money from a sale. Price is more than just cost plus 25% markup. Price represents the value of your brand’s attributes, associations and meaning.

Often, companies feel competitive pressure to reduce the price of their brand (either directly by lowering selling price or indirectly by raising discounts). A mistaken emphasis on market share sales volume (rather than profits) drives this pressure. A desire to expand the appeal of the brand also leads management to reduce the price of the brand. But these actions communicate directly the value of the brand - and will have long-term consequences.

Izod Lacoste drove itself to the brink of extinction through price reductions. Created as moderately upmarket brand of clothing, General Mills bought the brand in the ’80s. Intent on capitalising on the positive image of the brand and maximizing sales, General Mills lowered the quality of the clothes, expanded distribution and reduced price.

In short run, this worked as the brand became more accessible to a larger market and sales increased.

However, this move planted the seed of the brand’s demise. Izod’s reduced exclusivity and lower quality made the brand less appealing to its traditional constituency. And, as the brand held less value to its more affluent market, it because less appealing to the masses – whose original attraction to the brand was a status symbol. The lower the price, the less valuable the brand.

Reducing the price of your brand seems appealing in the short run – having potential for increased sales, and being more appealing to a larger market. But caution is in order. In the long run, as your price erodes, your brands erodes.

What is your brand known for? What key associations, emotional or rational, have you developed around your brand? Developing satisfying answers to those two questions is the essence of strong brand management. In developing your brand meaning and attributes, focus on those things that your target consumers values so much that they are willing to pay for them.

Starbucks has created a brand experience in the US that commands four dollars for a cup of speciality mocha.

One goal of marketing is to give consumers a reason (or reasons) other than price to choose your brand.

Your brand’s meaning is one of these reasons. Callaway‘s innovative over-sized drivers give some golfers a reason to prefer its brand (and pay a significant price premium).

Pricing decisions are not simple. There are a number of factors to be considered. Are your competitors moving up or down with prices? What is projected for your labour and material costs? Do you have a sense of price elasticity? (are consumers relatively sensitive or insensitive to price?) for your brand? Are there industry watchdogs influencing price? Are achieving your profit objective?

One important factor is the signal your price communicates regarding the value your brand provides.

The better your brand connects with your customers, the more indispensable your brand becomes as part of their life. The more emotionally connected your customers become to your brand the better your brand meets the needs your customers have, the more pricing flexibly you will have.

~•~

This chapter is part of Truth about brands review thus copyrighted to its authors.

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Quality is not an effective branding message

Mokokoma Mokhonoana — Thu, 08 Jan 2009 07:41:59 +0000

Quality is a great statement to make about your brand. It is even better when your costumers make that statement about your brand for you. Yet, having a quality product or service is not the end of branding efforts, but only the beginning. Quality just gets you in the game and brings your brand into consideration. Brands that are not delivering a quality product or service consistent with their price will disappear (think of the Yugo!).

Attention to quality is fine. Marketing managers get into trouble, though, when they believe that quality is the basis on which their brand competes in the marketplace. Brand managers too focused on a quality message send their brand adrift without much meaning.

“Our brand is the quality leader,” they might say. Or “our customers buy our product because of its quality”, you may sometimes hear.

All of this may be true. But what business openly proclaims to have a shoddy product or mediocre services? Sure, Boeing builds quality planes… but then so does Airbus. Anheuser-Busch is definitely an excellent brewery… but so is SABMilller. This abstract notion of quality doesn’t go far in differentiating brands. It can be difficult for brand managers to see clearly that their competitors’ offerings are often of quality similar to their own.

If you and your competitor both offer a quality product (as likely the case), why should someone choose your brand rather than your competitor’s? What meaningful point of difference do you offer? What emotional connection have you made? What unique imagery have you built around your brand?

Heinz is not the only company to make quality ketchup. Heinz, however, has created a point of difference with “thick”.

Quality means a different things to different people. For some, a quality watch may mean “rugged”; for others, it may mean “accurate”; and for still others , it may mean “high status”.

Quality is an abstract concept referring to many different dimensions of a brand’s performance.

An effective positioning is tangible, clear and concrete. Concepts such as “fast”, “reliable”, “fun”, “youthful” and “safe” vividly portray the benefit delivered by a brand.

Quality is expected in a brand. Although the level of quality expectations varies by price (you expect a £400 DVD player to be of a higher quality than a £100 DVD player), consumers fundamentally expect a quality product. Most companies are operating consistently with basic consumer expectations around quality. (if not, they aren’t in business for long!)

Quality doesn’t differentiate brands.

The Nissan Navara, Mini Cooper, Honda Civic and Lexus LS460 are all “quality” cars. But simply noting they are all quality cars does nothing to reflect the different experiences each provides. The Honda Civic delivers on basic reliable transportation. The Mini Cooper represents a fun small car. The Lexus LS range promises a “high performance saloon”. Each of these brands has its distinctiveness and is aimed at different people. “Quality” does nothing to reflect the differences and distinguish these brands from each other.

Why be so vigilant about avoiding quality as a branding message? Because it is so easy to fall back on. Positioning your brand’s key message is a critical branding decision. Choosing an effective positioning requires making a tough choice from among several good alternatives. Should a bank position on low rates? Should a bank position on individualized personal service? What about accessible ATMs? Or perhaps simplified e-banking?

Each on of those positioning alternatives will have its detractors. It is bad to compete on price.

Personalized service will be too expensive to deliver and isn’t key decision criterion for 55% of bank customers.

Accessible ATMs as a position seems so 1990s. Positioning on e-banking doesn’t create the right emotional bond with customers… and on and on. Inevitably someone will suggest positioning the bank on quality. How can anyone object that? It sounds great and fits perfectly with the bank’s mission and vision statements. But what does it really mean?

Quality in manufacturing is important. Quality in customer service is important. Having customers view your brand as providing good quality for money is important. Quality is a way to be. It is not a branding message.

Your branding message should communicate your brand’s uniqueness.

People need some reason to nudge their choice towards your brand. Quality is necessary for your brand to be considered, but it is not sufficient to warrant a purchase.

~•~

This chapter is part of Truth about brands review thus copyrighted to its authors.

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Book review: The truth about brands

Mokokoma Mokhonoana — Thu, 08 Jan 2009 07:40:57 +0000

I would like to share The truth about brands one of the books that kept me busy during my festive holidays, which is by far one of my best buys. The book is made of 51 “truths” each chapter incorporates a technique and a real brand case study backing the “truth”.

The chapters are kept short and straight to the point, which makes the book quite an “easy” read. The book is A5 sized with an average of two pages per chapter (which is equivalent to one A4 page covering the entire chapter).

The authors covered a lot of myths on branding that most marketing managers often practice. Reading this book will also help you in avoiding common branding mistakes that could easily have a permanent damage to your brand or those of your clients. You’ll learn how to use all the key elements, including packaging, advertising and pricing, to ensure your brand survives and thrives.

Since it takes a broad range of expertise to build and maintain a brand; marketing, graphic design, art direction, advertising etc. I’m confident that this book will appeal to a wide range of professionals.

I’m so impressed by the book that I decided to take a different approach as to how I review it. Instead of me telling you a lot about the book I think that the best way for you to have an idea of how great this book is, is for me to allow you to read few extracts from it.

As a result I’ll post one full “truth” every Thursday for the next 6 weeks starting from today.

The other 45 truths will only be available to those of you who will buy the book.

The chapters will be published in the following sequence:

Quality is not an effective branding message

Price is the communication of the value of your brand

Beware of the discounting minefield

The retail experience is the brand experience

Is your brand different? If not, why will someone buy it?

Packaging protects your product; Great packaging protects your brand

All chapters are obviously copyrighted to the authors; Brian Till and Donna Heckler. I’m only publishing the few chapters to share, educate and offer you a “test drive” and hopefully you’ll consider investing in this book.

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Book review: Logo design workbook

Mokokoma Mokhonoana — Mon, 01 Dec 2008 05:19:30 +0000

I’m a firm believer that education is a journey that has no destination, as there’s always something new that one can add to their already acquired knowledge or skills. A while back I shared my 10 tips to greater logo design and now I’d love to share a book titled Logo design workbook: A hands-on guide to creating logos, this is by far the best book on logo and corporate identity development that I’ve ever laid my hands on. The book:

• Breaks down the process of creating a logo into methodical steps.
• Provides advice and tips that explain what makes a logo work and why.
• Offers ideas and inspiration from leading designers from around the world.

In the first half of the book, authors Sean Adams and Noreen Morioka walks readers step-by-step through the entire logo development process. Covered topics include developing a concept that communicates the right message and is appropriate for both the client and the market; defining how long term goals of the client might affect the look and needs of the mark; choosing thoughtful colours and typefaces; avoiding common mistakes; and deciphering why some logos are successful, while others are not.

The authors then take the design process one step further with an extensive exploration of the process of developing a graphic standards manual. By setting the range of flexibility, a logo is defined in terms of colour, typography, placement, and additional elements. With the standards set, designers can feel confident that their work will maintain the original intent and strength through the mark’s life.

The second portion of the book is composed of in-depth case studies on logos designed for a variety of industries. Each case study explores the design brief, the relationship with the client, time frame, and the results.

The cases studies include development of brand identities for:

Museum of Sex

Anthony {Skin-care Products}

AIGA {American Institute of Graphic Arts}

Metropolitan Market {Urban boutique grocery stores}

CalARTS {California Institute of Arts}

MORE THAN {UK based Insurance Company}

JAL {Japan Airlines}

Motorola, Chase Manhattan Bank, Yellowbox Studios, Moteor, Barnes & Noble, Umbra, Pottery Barn Kids, Design Within Reach, H&R Block and seventeen other brands.

In the first chapter the book list 10 rules to good logo design, and what’s more interesting is that you’re given real brand identities to illustrate and support each of the stated rules.

The authors provide excellent examples of brand strategies being incorporated into brand identities.

The book brilliantly covers crucial brand identity elements such as typography, colour, iconography, shape etc.

You’ll also learn a lot from section titled Anatomy of a Standard Manual which includes the development of standard manual for Metropolitan Market.

Standard briefing questions are also raised and explained into detail.

This book is a good investment to any brand identity designer.

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