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Reimagining the Audi Brand for the Future

The automotive world recently witnessed a significant shift in Audi’s visual identity. According to a report from The Verge, the luxury car manufacturer unveiled a fresh, simplified logo design tailored to the Chinese market, representing a strategic move toward a more flexible, forward-thinking image.

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This Audi new logo sheds excess detail in favour of clean lines and subtle refinement. The company is aligning its branding strategy with evolving market demands, making its look more adaptable to screens, digital interfaces, and the ever-changing preferences of a younger, tech-savvy audience. The timing is crucial as Audi ramps up its e-mobility lineup, highlighting the importance of sleek, modern visual elements that resonate not only on physical vehicles but throughout digital ecosystems.

For businesses worldwide, Audi’s rebrand sends a clear message: adapting one’s visual language can be a powerful way to remain relevant, innovative, and appealing to new generations of consumers. This move illustrates that thoughtful, intentional branding can help position a company for long-term success in rapidly evolving global markets.

Questions / Enquires - hello@RadkaAdvertising.com

tags: branding, automotive
categories: branding, advertising
Friday 12.13.24
Posted by Bart Radka
 

Making the Switch from Activity to Strategy

Instead of just doing a lot of things, I wanted to discuss why we should shift to a more strategic operational framework. Sure, being extremely active can lead to quick wins, but it frequently lacks direction and will not last in the long term.

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To make this switch, take the following steps:

1. Examine Current Activities: Consider what we are doing now and how it aligns with our goals.

2. Set Clear Goals: Define some measurable targets that match our vision, so everyone knows their part in hitting these goals.

3. Resource Allocation: Focus our resources on the projects that can make the biggest impact instead of spreading ourselves too thin.

4. Monitor and Evaluate: Set up a way to regularly check our progress against our goals, so we can tweak things as needed.

5. Promote a Strategic Mindset: Encourage the team to consider how their work fits into the big picture.

By using this strategic approach, we can increase our effectiveness and make sure our efforts lead to the actual growth and success.

Questions / Enquires - hello@RadkaAdvertising.com

tags: business, strategy
categories: branding
Sunday 11.17.24
Posted by Bart Radka
 

Attract Premium Customers with Branding Strategies

Many business owners need to realise the immense power of strategic branding. But branding lays the foundation for marketing success by attracting your ideal clients.

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Branding is more than just a logo or visual identity. It is expressing what makes your business uniquely valuable. Branding shapes perceptions of your expertise and why clients should choose you.

With clarity on what you stand for, branding enables you to connect emotionally with those you seek to serve. You build relationships with clients who share your values and respond to messaging tailored just for them.

Powerful branding conveys the distinctive value you offer high-end clients. It elevates you above competitors by speaking directly to the aspirations and needs of your niche.

From visuals to tone of voice, branding cues prestige and exclusivity. Strategic positioning attracts premium clients by reflecting their preferences back at them.

Yet many businesses need to dedicate time and investment to intentional branding. This leaves significant ROI untapped, from boosted sales to improved customer loyalty.

When your branding strategy resonates with those you strive to serve, you become the obvious choice for those high-value clients. Brand clarity is the key to unlocking growth.

Make sure to pick this low-hanging fruit. Partner with pros to build branding that makes an impact and sustains real competitive advantage. Dominate your niche by showing ideal clients you understand them like no one else.

Questions / Enquires - hello@RadkaAdvertising.com

tags: branding, advertising
categories: branding
Wednesday 10.09.24
Posted by Bart Radka
 

The Fluid Brand: Flexibility Is Key in a Changing World

Brands need to remain flexible in order to grow and adapt in the fast-paced global economy of today. Your brand strategy must be continuously improved, repurposed, and redesigned in order to achieve this.

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One of the most important partners when it comes to making the required turns is an advertising agency. The expectations and values of consumers change quickly.

Business models are instantly disrupted by tech trends. Brands must be flexible in order to connect in ever-changing contexts.

To adapt messaging, experiences, and designs to new needs, collaborate closely with your agency. Work together to develop innovations that convey enduring brand values and realign with audiences.

Adopt an attitude of brand agility. Continue to move forward by regularly refreshing your brand with innovative ideas and consumer insights.

The specialised knowledge of an agency makes necessary brand pivots easier. Even when the definition of success evolves, their strategic, creative, and analytical skills aid in achieving brand goals and objectives.

If you want to know when and how to improve your brand, trust the experience of your agency. They find growth prospects through purpose-driven messaging or new market opportunities.

Maintain a balance between change and continuity in your partnership. Rethink brand expressions while keeping true to your roots. Meet today's needs without losing sight of tomorrow.

Brands need to stay flexible because consumer behaviour is changing so quickly. Working with an agency gives you the insight, experience, and flexibility to strategically innovate your brand.

Questions / Enquires - hello@RadkaAdvertising.com

tags: branding, advertising
categories: branding
Tuesday 08.13.24
Posted by Bart Radka
 

3 Branding Lessons From Culinary Superstars

Call it the curse of celebrity: When your personal brand rises so high, it overshadows your creations. This isn’t a problem for some of the world’s biggest entrepreneurial chefs.

Speaking at an Advertising Week panel discussion the other day called “Chefs as Brands,” Mario Batali, Dominique Ansel and Daniel Boulud didn’t spend time complaining about their name recognition. Instead, the culinary superstars--accompanied by moderator Adam Sachs of the Tasting Table--praised the notoriety as an opportunity.

“The brand should be an extension of yourself,” says Ansel, owner of the eponymous New York City-based bakery and the creator of the famed cronut. “It should be completely your personality and what you believe in.”

For Boulud, the owner of various restaurants across the country including Café Boulud in New York and Bar Boulud in Boston, entwining your personal brand with your business can pay dividends. “It’s an advantage to have your name give you business.” He adds that every aspect of a restaurant and brand is personal--and it should be. “We’re each our own personal entity. Our brand should reflect who we are and what we believe in.”

Still, growing a restaurant into a food empire requires more than a larger-than-life personality in the kitchen. Here are their top growth tips:

Know when to say ‘no.’ A chef can’t be in more than one kitchen at once. “I don’t go to every meeting or worry about every little thing,” says Boulud. “But I am in constant contact with the chef all the time.”

Hire well and delegate. For Batali, every employee has something to bring to the team, and he wants to harness that. “With 2,400 employees comes an incredible wealth of talent looking to get involved,” says the cookbook author and restaurateur. “It means I don’t have to be the smartest person in the room all the time.”

Seek efficiencies. This doesn’t mean that he talks to every single one at the same time, though. “I like meetings of three or four people,” says Batali. “That’s where I do my best work.”

But let’s be real here: If the food wasn’t any good, any amount of branding--be it personal or otherwise--wouldn’t help much. Food is what truly sells a restaurant. “Regardless of trend or fashion,” says Batali. “What transcends everything else is the cuisine.”

Questions / Enquires - hello@RadkaAdvertising.com

tags: branding, design
categories: branding
Thursday 12.22.22
Posted by Bart Radka
 

When Information Design is a Matter of Life or Death

In 2008, Lloyds Pharmacy conducted 20-minute interviews with 1,961 UK adults. Almost one in five people admitted to having taken prescription medicines incorrectly; more than eight million adults have either misread medicine labels or misunderstood the instructions, resulting in them taking the wrong dose or taking medication at the wrong time of day. In addition, the overall problem seemed to be more acute among older patients.

Almost one in five people admitted to having taken prescription medicines incorrectly; more than eight million adults have either misread medicine labels or misunderstood the instructions.

Medicine or patient information leaflets refer to the document included inside medicine packaging and are typically printed on thin paper (see figures 1.1–1.4). They are essential for the safe use of medicines and help answer people’s questions when taking the medicine.

If the leaflet works well, it can lead to people taking the medicine correctly, hopefully improving their health and wellness. If it works poorly, it can lead to adverse side effects, harm, or even death. Subsequently, leaflets are heavily regulated in the way they need to be designed, written, and produced. European and individual national legislation sets out the information to be provided, in a specific order, within a medicine information leaflet.

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Adding to the design challenge is the fact that the guidelines for how medicine information leaflets are designed to change from country to country, and the guidelines are often vague.

One of the changes in the 2004 European Commission directive was to ensure that all medical information leaflets ‘reflect the results of consultations with target patient groups.’ In other words, when producing a leaflet, user testing (or ‘readability testing’ as it is also known) must be done. A satisfactory test outcome is when the information requested within the package leaflet can be found by 90% of test participants, of whom 90% can show that they understand it.

The diagnostic testing method for medicine information leaflets also raises a unique challenge when designing leaflets and is more rigorous than the level of user testing most designers are used to.

Additionally, medicine information leaflets are required to be reviewed and approved by a competent authority, which varies from country to country, before being included in the packaging with the medicine.

Possible Design Improvements

How can these materials be designed so that people end up taking the medicine as directed?

One issue with medicine information leaflets seems to be that most people do not read the document from start to finish, although it contains important information. Reasons for not reading or only skimming the leaflet from start to finish could be due to the amount of information or the leaflet design.

Competing sources of information introduce additional confusion. Sometimes the pharmacist will attach to the packaging a sticker with dosage instructions. That sticker can cover the dosage instructions printed on the packaging itself.

There are now potentially three sources of dosage information: the sticker, the packaging, and the leaflet, all with different densities of information. This creates an assumption on the part of the patient that everything they will need to know will be on the sticker–a dangerous assumption because patients do not read through the whole of the medicine information leaflet.

Medicine information leaflets are usually long and contain a wealth of information and complex terminology. An option would be to provide the document written to different educational levels.

Sometimes leaflets do not make the most of headings and sectioning, which keeps people from finding quickly the information they need. Medicine information leaflets are usually minimally treated, featuring only plain text with headings in bold.

Could a more designed and illustrated appearance lead to people taking the medicine in the prescribed manner? A study suggests this is the case: Layouts that reduce text density, use purposeful sectioning, highlight key messages, and use a logical type of hierarchy helped people to find the right information more quickly.

The example shown in figure 1.5 is a step in the right direction; the different types of information have been given a diversity of treatments to provide emphasis.

Layouts that reduce text density, use purposeful sectioning, highlight key messages, and use a logical type hierarchy helped people to find the right information more quickly.

In a similar vein, the United States Food and Drug Administration (FDA) recently proposed a redesign of nutrition labels on food packaging. Among the changes were putting calorie counts in large type, adjusting portion sizes to reflect how much Americans actually eat, and additional information about sugars in food.

The Lloyd’s Pharmacy research stated that older people make the most mistakes when using medicine information due to either misreading medicine labels or misunderstanding the instructions. Clearer written instructions would solve the comprehension issue; a more ‘large print’ design would enable both older and a wider variety of people to better use the leaflet.

Medicine information leaflets are often printed on thin paper and folded many times to fit into the medicine package. There is a lot of show-through from the information printed on the back of the leaflet, which decreases readability. When the leaflet is unfolded, the paper crease marks affect the readability of the text (see figures 1.3 and 1.4). A possible improvement would be to print the leaflet on a thicker paper. 

Article 63(2) of the European Commission, 2004, states that:

‘The package leaflet must be written and designed to be clear and understandable, enabling the users to act appropriately, when necessary with the help of health professionals.’

Diagnostic testing is examining an existing design to find out how it performs against the agreed performance requirements set at the scoping stage; for example, a satisfactory test outcome is when the information requested within the package leaflet can be found by 90% of test participants, of whom 90% can show that they understand it. Diagnostic testing takes the actions of people using the document as symptoms of the document’s health and is concerned with finding out what is wrong with a design. Diagnostic testing should be used iteratively—that is, repeated until its performance reaches the agreed benchmark. Diagnostic test questions are designed to see whether a consumer can find information quickly and easily and perform actions appropriately.

Conclusion

Earlier research from Lloyds Pharmacy1 and Dickinson et al. demonstrates that design and writing has the potential to make a real difference in regard to medical errors and that design, writing, and production of a medicine information leaflet can have a real positive effect on people’s health.

The design of medicine information leaflets provides some interesting challenges because they might not be seen as a typical creative graphic design job. Just because they do not contain overly designed text or graphics, however, does not mean creativity is not needed, in fact creativity is usually lacking in leaflets typically produced.

Furthermore, creativity when designing medicine information leaflets usually comes in the form of clear writing, clear layout, and user testing—more of an information design challenge rather than graphic design.

The designer’s job is to clearly communicate the desired message. The designer also has to follow guidelines—in this case, not corporate identity guidelines but guidelines laid out in legislation and vetted by a regulatory body.

Effective design can make the difference between a person deciding to read a leaflet or not, or getting the information they need about the medicine they are taking or not. And that difference can be a matter of life or death. The not so typical design challenge of medicine information leaflets shows the importance effective design can have.

Questions / Enquires - hello@RadkaAdvertising.com

tags: design, advertising, ads, creativity
categories: branding, advertising
Tuesday 11.01.22
Posted by Bart Radka
 

What allows the Brand to grow?

Brand growth - boost your business

Every brand needs constant growth for a few reasons. One of them is obviously higher profit. Whatever is your main reason to seek opportunities for your business, you still need to know what encourages brand growth. The knowledge will help you focus on actions and operations that are crucial and profitable. Here's what makes the brand grow.

Brand differentiation and distinctiveness 

There is a rule in marketing that is repeated over and over again like a mantra. If you want to have a successful brand, you need to make it different, or even better, distinct. What does it mean? A brand, in order to grow, has to stand out from the crowd of others. It has to be recognisable, needs to offer something unique and spring to the customers’ minds the minute they need to buy a product or service. Only distinctiveness and differentiation (or one or the other) support brand growth.

Brand availability

The brand grows when the products are sold to more and more customers every month or year. To make sure it will happen (and your audience will expand), you need to secure the brand’s availability and visibility. What good does it do to you when your brand is well-strategized, and you have put the effort in its creation, promotion and introduction on the new markets, but you have forgotten to make it available? The customers will buy those products they can find without any effort. No one will spend hours searching for a brand they heard of once or twice. If it’s not in front of my eyes, I’m not looking for it - that is the customers’ approach.

Brand growth and advertisement

If you want your brand to grow, you need to make it available and well-known to your customers. That’s when a good advertisement takes up the reins. Properly created ads will pump up your business and bring you profit. The advertisement gives some useful tools if you don’t know, e.g., how to measure brand growth.

Those who live and breathe the brand

More or less, every brand that is not entirely new on the market has its own zealots - the biggest fans who buy products, support the brand and advocate for its actions. Those are the people that can bring you, new customers, by means of word-of-mouth marketing or simply by increasing your reach online. Find those enthusiasts, those regular customers, and take good care of them. It will undoubtedly pay off in the form of a growing and thriving brand. 

Questions / Enquires - hello@RadkaAdvertising.com

tags: advertising, branding
categories: advertising, branding
Monday 10.31.22
Posted by Bart Radka
 

The Only UX Reading List Ever

This recommended reading list is for anyone who wants to learn or deepen their knowledge in the disciplines of User Research, Usability, Information Architecture, User-Interface Design, Interaction Design, and Content Strategy experience Strategy.

The list is broad and includes books that exemplify design thinking, processes, methods, principles and best practices. Many of the books on this list are over 20 years old and yet they are still relevant more than ever.

Each book has influenced my perspective, made an impression and helped us to advance our craft. They have shaped the designers we are today and inspired the designer we will be tomorrow.

There’s not a day when we don’t find ourselves thinking and applying the ideas from these books. We hope that you too can extract the same value. 

Our Top Ten

  1. The Design of Everyday Things, Donald Norman

  2. About Face: The Essentials of Interaction Design, Alan Cooper

  3. The Elements of User Experience: User-Centered Design for the Web and Beyond, Jesse James Garrett

  4. Subject To Change: Creating Great Products & Services for an Uncertain World, Peter Merholz, Todd Wilkens, Brandon Schauer, David Verba

  5. A Practical Guide to Information Architecture, Donna Spencer

  6. Communicating Design: Developing Web Site Documentation for Design and Planning, Dan M. Brown

  7. Designing Together: The collaboration and conflict management handbook for creative professionals, Dan M. Brown

  8. Seductive Interaction Design: Creating Playful, Fun, and Effective User Experiences, Stephen Anderson

  9. 100 Things Every Designer Needs to Know About People, Susan Weinschenk

  10. The Shape of Design, Frank Chimero

50 More Must-Reads On Thinking, Methods, Principles and Best Practices

We find it helpful to choose what to read based on what’s relevant at the time. Applying what you’re reading, as you’re thinking and making is a great way to solidify concepts, reflect and learn.

Some old, some new. All important reading, in no particular order.

  • Designing Web Interfaces: Principles and Patterns for Rich Interactions, Bill Scott, Theresa Neil

  • The Laws of Simplicity (Simplicity: Design, Technology, Business, Life), John Maeda

  • Information Architecture for the World Wide Web: Designing for the Web and Beyond, Peter Morville, Louis Rosenfeld, Jorge Arango

  • Sketching User Experiences: Getting the Design Right and the Right Design, Bill Buxton

  • Well Designed: How to Use Empathy to Create Products People Love, Jon Kolko

  • Thoughts on Interaction Design by Jon Kolko

  • Manage Your Day-to-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind, Jocelyn K. Glei, 99u

  • Linchpin: Are You Indispensable?, Seth Godin

  • Don’t Make Me Think AND Rocket Surgery Made Easy, Steve Krug

  • Designing Interfaces, Jennifer Tidwell

  • Handbook of Usability Testing: How to Plan, Design, and Conduct Effective Tests, Jeffrey Rubin, Dana Chisnell

  • Designing Interactions, Bill Moggridge

  • The Visual Display of Quantitative Information AND Envisioning Information, Edward R. Tufte

  • A Project Guide to UX Design: For user experience designers in the field or in the making, Russ Unger & Carolyn Chandler

  • Gamestorming: A Playbook for Innovators, Rulebreakers, and Changemakers, Dave Gray, Sunni Brown, James Macanufo

  • Mental Models: Aligning Design Strategy with Human Behavior, Indi Young

  • Practical Empathy: For Collaboration and Creativity in Your Work, Indi Young

  • Interviewing Users: How to Uncover Compelling Insights, Steve Portigal

  • The Mobile Frontier: A Guide for Designing Mobile Experiences, Rachel Hinman

  • Design Is the Problem: The Future of Design Must be Sustainable, Nathan Shedroff

  • The User Experience Team of One: A Research and Design Survival Guide, Leah Buley

  • Prototyping: A Practitioner’s Guide, Todd Zaki Warfel

  • Making Meaning: How Successful Businesses Deliver Meaningful Customer Experiences, Steve Diller, Nathan Shedroff, Darrel Rhea

  • Content Strategy for the Web, by Kristina Halvorson, Melissa Rach

  • Responsive Web Design, Ethan Marcotte

  • Just Enough Research, Erika Hall

  • Design Is A Job, Mike Monteiro

  • Designing for Emotion, Aaron Walter

  • Measuring the User Experience: Collecting, Analyzing, and Presenting Usability Metrics, by William Albert, Thomas Tullis

  • Creative Workshop: 80 Challenges to Sharpen Your Design Skills, David Sherwin

  • Letting Go of The Words: Writing Web Content that Works, Janice (Ginny) Redish

  • Designing the Obvious: A Common Sense Approach to Web Application Design, Robert Hoekman Jr

  • Designing the Moment: Web Interface Design Concepts in Action, Robert Hoekman Jr

  • Designing for the Social Web, Joshua Porter

  • Undercover User Experience Design, Cennydd Bowles, James Box

  • Product Design for the Web: Principles of Designing and Releasing Web Products, Randy Hunt

  • Designing the User Interface: Strategies for Effective Human-Computer Interaction, by Ben Shneiderman, Catherine Plaisant, Maxine Cohen, Steven Jacobs

  • This is Service Design Thinking: Basics, Tools, Cases, Marc Stickdorn, Jakob Schneider

  • Resonate: Present Visual Stories That Transform Audiences, Nancy Duarte

  • Metaskills: 5 Talents for the Robotic Age, Marty Neumeier

  • The Brand Gap: How to Bridge the Distance Between Business Strategy and Design, Marty Neumeier

  • Getting Real AND Rework, 37 Signals, Jason Fried, David Heinemeier Hansson

  • Glut: Mastering Information through the Ages, Alex Wright

  • The Humane Interface: New Directions for Designing Interactive Systems, Jef Raskin

  • Designing with Web Standards, Jeffrey Zeldman, Ethan Marcotte

  • Simple and Usable Web, Mobile, and Interaction Design, Giles Colborne

  • Search Patterns: Design for Discovery, Peter Morville, Jeffery Callender

  • Emotional Design: Why We Love (or Hate) Everyday Things, Don Norman

  • Neuro Web Design: What Makes Them Click? Susan Weinschenk

  • Designing for the Digital Age: How to Create Human-Centered Products and Services, Kim Goodwin

  • A Web For Everyone, Sarah Horton, Whitney Quesenbery

Questions / Enquires - hello@RadkaAdvertising.com

tags: design, business
categories: branding
Friday 03.18.22
Posted by Bart Radka
 

Design Without Design

One of the most fascinating aspects about building a design history (especially graphic design history) is finding and tracing an artifact from the past to present. So many large and small companies and firms that practiced in some way or another design, typography and printing no longer exist, while others have surprisingly bridged generations and survived shifts in technology and demographics. When I found the catalog below for Kaeser & Blair, suppliers of all manner of business paper and graphics, I was taken by its demonstrative un-designed design. The material is quaint in a nostalgic sense but historically significant as a marker in that the design is routine, conventional yet visually tied to its context in the 1930s. As an artifact of its time, the catalog (and pages shown here) tells a story.

What makes the story even more interesting is that Kaeser & Blair are still functioning as a programmatic service that helps “companies generate brand awareness through creative advertising and promotional products and services.” Not too far from what you see below, but nonetheless strategically different models.

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The Company was founded in 1894 as the Cincinnati Printing and Paper Products Co., in Cincinnati, Ohio. In 1923, Dutch Kaeser and Bill Blair purchased Cincinnati Printing and Paper Products Co. and incorporated the Company into what is now known as Kaeser & Blair, Inc.

Kaeser & Blair revolutionized the industry by selling advertising, branding and promotional products that were marketed through independent sales professionals. This new approach produced an exclusive national network of independent sales professionals and Kaeser & Blair experienced significant growth prospering through The Great Depression. The Company eventually expanded its offerings to include more than just paper products; adding items such as imprinted pencils, matchbooks, calendars and more.

In 1951, Bill Blair retired and Dutch Kaeser forged an agreement with his entrepreneurial sons Dick Kaeser and John Kaeser to merge and acquire their successful printing business, Kaeser Incorporated. Together, the Kaesers continued to build their business through solid strategy, purposeful leadership and sound business practices focused on marketing through independent sales professionals.

Dutch Kaeser passed away in 1970 and Dick and John Kaeser each held a term as President of the Company between 1966 and 1983. During this time together, the brothers continued to grow Kaeser and Blair, Inc. and built upon the success and legacy of their father. This continued growth and success eventually lead the Kaesers to pursue advertising and marketing products that were not manufactured in Kaeser & Blair’s manufacturing facilities. These products were called “advertising specialties” and provided Kaeser and Blair’s independent network of sales professionals access to thousands of new products and opportunities from leading brands.

Questions / Enquires - hello@RadkaAdvertising.com

tags: design, advertising
categories: advertising, branding
Wednesday 03.16.22
Posted by Bart Radka
 

What is Skeuomorphic Design?

In the early 1900s, electricity was scary.

The lack of understanding surrounding this new technology contributed to a great deal of public fear.

The sign pictured below, from a turn of the century hotel, offers us a glimpse of what it must have been like for guests to make sense of the confusing installations of metal, glass, and wire they found lurking in their rooms.

When it comes to emerging technologies, the stakes for design are high. One misstep and a promising new product can become yesterday’s news. To be effective, designers must set their sights well beyond easy-to-use. We need to convey more than "how". We need to convey "what" as well. We need to be interpreters, to contextualise new products and concisely convey their identity, purpose, and value.

One approach, commonly called design metaphor applies a known concept to a new context to help people make sense of new products. As in literature, repurposing known concepts is a shortcut for accessing shared cultural memory—tapping into the past to make sense of the present.

Skeuomorphs and Affordances

Since the introduction of iOS 7, the blogosphere has been alive with debate on Apple’s departure from skeuomorphism—the yellow lined legal pad of Notes, the leather-bound folio of Calendar. We are now deeply mired in a flat vs. skeuomorphic debate that reduces skeuomorphism to coddling kitsch and equates flat design with high-modernism. Both sides have missed the point.

Skeuomorphs in design aren’t useless decoration, but contextual clues. Like design metaphors, they are the visual equivalent of figurative language—enabling designers to quickly tap into shared cultural understandings and convey complex meanings in a straightforward way. They work as a new kind of affordance, one that communicates not function but identity.

“We shouldn’t abandon cultural affordances like skeuomorphs because some find them tacky or overused.”

Affordances, a concept originated by James Gibson, are an object’s inherent possibilities for action. Donald Norman evolved this definition to encompass the act of communicating possibilities for action through design. These perceived affordances are lingua franca for product designers. Every day we shape things to emphasise their utility, to show how this device operates or to illustrate how to use that application. Until now, this approach has been primarily focused on utility and operation.

A designed affordance: The classic example of a rotating door handle [flickr: sk8geek]

The design of a rotating door handle, for example, suggests how to use it, but does not give us context for what it is or why we should use it. Smartphone or lawnmower, before we figure out how something works, we usually ask what kind of a thing it is and why we should use it in the first place.

Reconsidering Skeuomorphs as Cultural Affordances

Skeuomorphs are stories of utility frozen in time. A new kind of affordance—a cultural affordance—provides the context we need to understand the possibilities for action. They don’t work because they coddle or educate the user—digital wood grain shelves and page-flips didn’t teach people how to read ebooks—they work because they leverage a user’s past experience and apply that understanding to something new.

Take this electric kettle for example. Though thousands of variations exist, we still understand the basic shape as a vessel for heating water. Designers have used a variety of cultural affordances to communicate this purpose. The tapering shape—originally larger on the bottom to maximize contact with the heat source—is no longer a requirement, but remains a key feature. The exaggerated, arching handle amplifies the kettle-ness of the object. Even the electric plug plays a role. Expanded to the scale of a stovetop heating element, it indicates where to put the kettle for use, though this modern version transmits electricity, not heat.

The kettle retains the basic shape of its ancestors and through that shape conveys its purpose. Its form is no longer tied to its literal function, but rather to functional analogues of the past. In the digital realm, where there are fewer precedents for utility, figurative design has long played a critical role in helping people make sense of new products.

The tabbed folders and icons in the Xerox Alto interface

Xerox Alto, the first commercially available graphical user interface (GUI), laid the groundwork for design metaphors like representational icons, tabs, and "spatial" organisation. But there are many more ways to guide users through an interface beyond the ubiquitous tabbed folder metaphor introduced by the Alto. Other metaphor-like conventions like visual synecdoche, where a part can stand for the whole—a letter icon for the inbox—or even playful visual puns, where multiple meanings can be attributed to one object, can also help people make sense of unfamiliar digital territory.

From tabs and folders to the digital "click" on today’s cameras, many cultural affordances have become standard patterns that are used by UI designers without a second thought. But as the hotel sign at the beginning of this article attests, emerging technologies without the necessary cultural affordances leave us wondering. What is it for? How will it be used? It can also leave us even a little afraid of the possibilities.

The Untapped Power of Cultural Affordances

In the last 10 years, over a billion people have started using iPhones. At least a few of those users made the mental leap between the yellow legal pad motif—the one that makes digital designerati stomachs churn—and the idea of a place to quickly jot things down. With the potential to communicate not just functionality, but identity and purpose on that scale, we shouldn’t abandon cultural affordances like skeuomorphs simply because some find them tacky or overused.

Faced with the ever-increasing digitisation of formerly physical products, we should not retreat to the functional, literal design of the past for shortsighted aesthetic reasons. We need to expand the conversation about what design can do through cultural affordances—not simply to address ease of use, but to communicate context, identity, purpose, and value. If we don’t, we may find our users just as wary and confused as the hotel patrons who first encountered Edison’s innovative new electric lights.

tags: design, advertising, ux
categories: branding
Tuesday 01.11.22
Posted by Bart Radka
 

Brand Awareness - why your Brand should be a celebrity?

The general notion of brand awareness is actually simple, and there is nothing twisted about it. To explain it as plainly as possible - it refers to the consumers’ familiarity with a given brand. It describes who, and how, remembers and associates this particular brand and, as a result, what are the chances (if any) that a consumer will become a customer.

Recognising and recalling - what is brand awareness?

Brand awareness is often interchangeably used with brand recognition and brand recall. These two notions are not the same, as they are narrower terms than the idea of awareness itself. Brand recognition is related to the so-called aided awareness, which means that a consumer can name a brand on the top of their head when asked about an example. Brand recall refers to the situation when a person has recognised a brand, but only when shown on the list.

Make yourself known

Building brand awareness is crucial when entering a new market but, sorry to disappoint, the effort never ends. Even if your business thrives for some time, you need to take care of increasing awareness. Why? The answer is the same as always - more customers, higher profit, expanding business. The more people recognise you, the more of them trust you and buy from you. 

Brand awareness can be, and is, built entirely from scratch. Here are some key elements that will help you understand, how to increase brand awareness:

  • Your brand is their friend - people tend to trust and choose those brands that they find appealing. How to make it attractive? It’s best to give it a face, present the brand as something more than just a money-making machine. There are many ways to do that. Be active in social media, comment, post, intrigue. Make sure that your content is not only about products or services, but also informs, gives advice, or entertain. Engage people to interact with your brand, and they will be more willing to stay.

  • A story behind everything - everyone, and everything, has a story to tell, and people generally like to hear some good narrative. Don’t be coy and share the history of your success, the anecdote or the tale. The choice is yours, but storytelling is an invaluable marketing tool.

  • Be associated - the well-remembered brands are the brands associated with something. If you want to be recognisable, engage in sponsorship, social actions, or other events. Find something that corresponds with the message and idea behind your brand and stamp it with your logo, so the participants of the event will keep the brand in mind.

Is it fame yet?

How can brand awareness be measured? It is a tough task, but not impossible. The easiest ways are traditional surveys (although in a modern, online form), in which you can ask respondents if they recognise your brand among others. You can also ask them which brand comes to their minds when they think about a given product or service (so-called aided brand awareness). Other tools might be helpful, like site traffic statistics or social engagement notifications. 


Questions / Enquires - hello@radkaadvertising.com

tags: advertising, ads, marketing, branding
categories: branding
Saturday 08.28.21
Posted by Bart Radka
 

Plan the future — benefits of a strategy session

Planning ahead and foreseeing the future of a company might be a challenge. Even if the leadership meets every week to strategise and plan, more often than not, they meet the dead end. What’s the reason and how to change that once and for all? The answer is nothing else but a right strategy session.

We meet and then what?

What is a strategy session, and why should you decide to hold it? Generally, it’s a meeting of the company’s leadership with a competent strategist. The session aims to plan future actions for the business, improve (or create from the scratch) a successful brand and make it stand out from the crowd. The process might last a few hours up to a few days, depending on the state of the business and its goals.

A well-conducted strategy session consists of two parts. It starts with getting to know each other, or, rather, getting to know the brand. The brand strategist gets an insight into the company. It’s no sense to play hide-and-seek at this point, as the session is for your own good. The strategist will want to know about the industry, the business itself and its operations, but also a tad bit about the leadership, the core values of the brand, its competition and the target audience. The second part of the session is planning on the basis of the gathered information.

What does a strategy session give you?

A well-conducted planning session is like giving you a helping hand in a time of crisis. It might really work wonders. The strategist is an experienced specialist, and that in itself is a great advantage. Innovative ideas, unbiased opinion and knowledge are what the strategist brings to the table. The person from the outside, not involved personally in the company’s operations, is an opportunity to see the potential where the leadership couldn’t. The strategist has all that's essential to make it work — to make the business work. What’s more, the vast knowledge helps bring the brand closer to the audience and distinguish it from the competition. The strategy session makes the business float when it was on the verge of sinking.  

To book your strategy session visit - https://bit.ly/3c6uxrS

tags: website, advertising, branding
categories: branding, advertising
Saturday 08.07.21
Posted by Bart Radka
 

Find your place — Brand Positioning

Even the ideally-planned brand is not profitable if it is not well-positioned. The process of brand positioning is probably the most crucial element of the whole business strategy. The potential buyers will not choose your product or service if they don’t associate the brand with any positive values. The right image in their minds is what really sells your offer.

Distinguish yourself

The goal of brand positioning is to make the company and its offer visible among other businesses operating in the same field. The market is fierce, as is the competition. If you want the audience to see and remember you, you need to work on that. That is when the brand positioning steps in. Its main aim is to place your service or product in the mind of the audience, so when a person needs to buy what you offer, they instantly remember the right brand — your brand. 

You can’t force them to bear in mind that your business exists, and they should choose it from the vast possibilities of the market. The audience needs to believe and engage with your idea. The whole brand strategy works on putting this idea in the mind of the audience. If the message is simple, clear, and identifiable it will intertwine with the brand, and in the moment of buying, will spring to the customer’s mind.

Brand positioning requires creativity

The process of brand positioning is not an easy one. It demands thorough research of the market, a creative approach and deep thinking. Before you start expanding and promoting the idea and the brand itself, you need to find the right gap, a niche for your operations. It requires three steps:

  • Understanding of the audience — create an audience persona, an average consumer, and try to follow their way of thinking. Get to know them intimately to determine what they really need.

  • Understanding of the competition — take a closer look at those brands that proved to be successful. Find the feature that distinguishes them. Then don’t repeat that feature.

  • Creative process — when you know what your audience expects and what your competition offers, fill the gap between these two.

Think definitely outside the box and find something that will distinguish you from other brands. Fulfill the needs and desires that are yet to be satisfied. That is your niche and idea that will position the brand.  


Questions / Enquires - hello@radkaadvertising.com

tags: branding, design, marketing
categories: branding, advertising
Saturday 07.03.21
Posted by Bart Radka
 

Key elements of a successful brand

You have an eye-catching logo, a memorable slogan, and the right combination of colors. Does it mean you have a strong, successful brand? Not exactly, as the brand is much more than just these components. Your logo and graphic layout are just a surface of an ocean. What are the core, essential elements that constitute a brand, distinguishes it, and ensures constant trust and interest of the customers?

Make a statement, give a promise

When you’ve already established the vital elements of your business, including its purpose, logo, target audience, and all that, it’s time to make a promise. Make a statement, be heard, believed, and trusted. A successful brand needs to encourage its potential customers by simply explaining what they can gain and how would they benefit. Simple as that. What can you offer them that no one else can? Think it through and express it as straightforward as possible. Making a statement, presenting the brand’s values, and what you and your employees stand for is also noteworthy. Advocate for something, and the right audience will come to you.

How can you help?

Make your customers believe that the promises your brand makes will be kept. Tell them, or even better, instead of telling them, show it. That’s where the brand’s image plays a vital role. The right logo, slogans, website — they all convey a message; is your brand a first-class, premium service or a second-rate at best? Establishing a coherent image and making sure that every element supports the claim you made is a way to differentiate the brand from the dozens of others.

A successful brand keeps its promise

You made a promise, made a customer believe you, so now what? Keep that promise, live up to that statement. The reputation of your brand depends on the customer’s experience at every stage of the purchase. Browsing your website, visiting a store, buying and paying must be pleasant at least, if not memorable. A top-class brand brings the best possible experience. It pays off, as the customers return to you, give their recommendations, and mention your services to others. Word-of-mouth marketing is worth its weight in gold. 

Questions / Enquires - hello@radkaadvertising.com

tags: branding, business, design
categories: branding
Monday 06.21.21
Posted by Bart Radka
 

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