The Brand Relationship Spectrum

When looking at the sources of a journal by F Guzman I discovered the book on the brand relationship spectrum which discusses four key aspects of a theory used by multi-brand houses. 

Source: http://www.brandchannel.com/images/papers/257_a_brand_building_literature_review.pdf

D Aaker, E Joachimsthaler.
Source:
http://www.iuc-edu.eu/group/sem1_L3/2013%20DNPBM/Lecture%2012%20Brand%20Relationship%20Spectrum.pdf

Dogfish Head Chica: Saliva.

In the dissertation I tough on the use of honesty as highlighted by Michal Johnson in Problem solved, The Hans Briter Hotel branding highlights perfectly how honesty can be a great selling point for a small business. Relating this to the beer industry is needed however and as I use Dogfish head several times in the dissertation i feel that using the human saliva in a beer that they produced is a great example and platform for linking brand honesty in other sectors to the beer industry.



Process of making Chicha


Source: http://www.dogfish.com/brews-spirits/the-brews/brewpub-exclusives/chicha.htm
Video source: http://www.youtube.com/watch?v=QSXpLjewfMo

Omnipollo: Label inspiration

For my bottle design I have been directly inspired by the outcomes of my investigation into graphic design. Upon my many shopping lists of beer I came across Omnipolo that act as a guest brewer in a lot of cases but most importantly they have sourced a contemporary artist for each unique brew Except in the case of the "Weekday" brew Karl Grandin is used on each project.

The Omnipollo Brygd creation uses a label, created by Grandin that has the recipe on the bottle, this was released to support a book on homebrewing. This use of using a beer to promote a book led me to the conclusion that I can create a homebrew bottle label that uses a design that is informed by the quality and creativity of its contents.

The questionnaire results have concluded that the quality of the beer is the main focus of people buying the beer, therefore the label should support the beer and communicate to the consumer exactly what is in the bottle including style, which was another main reason to buy a certain beer.

Artwork by the nano brewery themselves



Following Artwork is by K.Grandin
(Karl Grandin)

(Created with Martin Justesen)

 The production of my label will not include any colour, any colour present on the label will come from the pen in which the brewer uses. I am aiming to inform my consumer through clear communication of style and contents. Many of the labels produced by Grandin have no information on and rely on the target audience having a prior knowledge of the production of the beer, this audience will be informed by online communications via Twitter etc.

Odell Booklet

To go with the other two booklets, this is the Odell work that I have looked at along with the Q&A. The difference in art direction between Mikkeller and To Ol are minor, however Odell has a different aesthetic and brand image. Each brewery has a set theme or focus with it's art direction, however Odell which caters to a much larger market in the U.S. seems to be focussing towards a recognisable label. I argue in my essay that this brand image is similar to Mikkller's themes, but it is clear to see that there is a continuity across every new release. 



Link if embed broken (here)

Mikkeller Booklet

As part of my research into art direction of breweries, I have compiled some imagery and the Q&A I had with Jacob of Mikkeller. 
If the document does not load, this is the URL to the ISSU.(here)

To Ol booklet

As part of my research into art direction of breweries, I have compiled some imagery and the Q&A I had with To Ol from Denmark. 
If the document does not load, this is the URL to the ISSU. (here)

Pekka Tuominen

Managing Brand Equity by PEKKA TUOMINEN

Original PDF source (here)

A few key points to consider from the article

A brand is a name, term, sign, symbol, or design, or a combination of them intended to identifythe goods or services of one seller from among a group of sellers and to differentiate themfrom those of the competitors.

Recently, there has been considerable growth in private labelbrands, whereby channel members such as retailers are able to sell products using their ownbrand name or label.

A successful brand is an identifiable product (consumer or industrial), service, person orplace, augmented in such a way that the buyer or user perceives relevant and unique addedvalues, which match their needs closely.A brand can be seen consisting of generic or core, expected, augmented and potentiallevels.

Brand awareness and Acceptance

Source: http://www.palgrave-journals.com/bm/pdf/Rossiter.pdf

Revisiting Petra Loffler

I first discovered Loffller and her theory on distraction in September with an interview (original blog post here), however I have now found that several months ago, at the start of 2013, Loffler talked at a conference.

I decided to revisit the theory and see if it can be applied to aesthetics again as I once attempted originally. 


When discussing a Robit's views on attention, Loffler concludes quite literally that attention is an abnormal state of mind. Although Löffler talks about modern mass media such as cinema I can relate the gawker theory that she discusses in terms of  applied graphics in packaging design. There is a lot of brain science and academic thought in Loffler's theories, much of it irrelevant to my investigations into craft beer sales, however I feel that there is much to be said about how the brain can process "several streams of attention".
It is possible that when looking at several pieces of design in context such as a crowded bar, something which distracts the mind towards it can become the focus of a spontaneous decision to purchase a product, such as a bottle of beer. If Loffler interprets Robit's ideas of attention to be abnormal states of consciousness then perhaps macro produced products are bought because they are always bought. They are mass produced, and therefore by nature consumed en-mass. Something that is produced at a smaller scale which more care and consideration can be harder to sell to the wider public because they simply do not see it. 

I have Harvard referenced this video below, for the purpose of using it in the dissertation.






Unlike Us #3 - Petra Löffler: A History of Distraction From a Media-Archaeological Perspective from network cultures on Vimeo.

Still image of video

Original video link (here)

Harvard Reference

Network Cultures. (2013). Unlike Us #3 - Petra Löffler: A History of Distraction From a Media-Archaeological Perspective. [Online Video]. 22 March. Available from: http://vimeo.com/64056087. [Accessed: 31 December 2013].

Helen Armstrong

After reading through this book by Helen Armstrong, I started to see her name crop up in other books and articles on the web. I never fathomed how influential she is in the world of graphic design theory. 

Website link (here)

About ArmstrongFrom the About Page (Link)

"Helen Armstrong may be the only practicing designer and design educator with a B.A., M.A., and Ph.D coursework in English literature. Throughout her academic and professional life, she has moved seamlessly between the written word and the graphic image. She has taught literary theory and graphic design theory. She is as comfortable discussing the identity politics of Eudora Welty’s novels as she is discussing the Bauhaus Vorkurs.After Ph.D. coursework in English literature, she gravitated to the world of art and design. She earned an M.A. in Publications Design from the University of Baltimore and launched a career as a graphic designer. Her design work—for such clients as Sage College of Albany, USInternetworking, and New College of Florida—has won regional and international awards. Her work has been included in numerous publications in the US and the UK, including the How International Design Annual, The Complete Typographer, The Typography Workbookand Design Elements.After ten years as a graphic designer, she returned to her passion for theory and teaching. At the Maryland Institute College of Art she earned her M.F.A. in Graphic Design while teaching in the Department of Art History, Theory and Criticism. Currently, Helen is an assistant professor of graphic design and a faculty affiliate of the Armstrong Institute for Interactive Media Studies at Miami University in Oxford, Ohio.

David A Aaker

http://www.eurib.org/fileadmin/user_upload/Documenten/PDF/Merkmeerwaarde_ENGELS/s_-_Brand_equity_model_by_Aaker_EN_.pdf

http://www.amazon.com/Managing-Brand-Equity-David-Aaker/dp/0029001013

The opposite of what I want

When creating a collection of visual references for this project I feel that I should point out what I would like to avoid. Although these pieces of design have satisfied their clients and no doubt fit the audience for the exhibitions, the decisions made are contradictory to what I want from my outcomes. This form of printed design would not reflect my exhibtion well and would not suit my project, having large amounts of colour and print production techniques could distract from the actual artwork on show. 

 

A very busy layout would not be reflective of the small space and laid back feel to the event/showcase of art in North Bar. Small point size in the booklet would also be a bad decision as the bar environment tends to be dark, therefore larger point size on a white or light grey stock would be better. 

Created by Nicole Nicolaus www.nicolenicolaus.com

The print production in this catalogue would be wasted in my final resolution, it serves no purpose other than to add a flash of bold colour. The artwork that I will have on show will add colour and speak for itself and therefore I feel that I should keep the invites stripped back but well informed in it's purpose to only relay information about the artwork. 

Created by Anymade www.anymadestudio.com

2x Elliott exhibition

Two Times Elliott held an exhibition in London to celebrate their 5 years in business, the following images of the event has given me some clues as to how I would like to display the work. 

I originally had the idea of hanging the prints by bulldog clip as this best suits many locations. Having seen this done here, I can feel more confident that this is the best choice, rather than framing the pieces which would cost a considerable amount. 

Politely disregarding the two people in the photo, I like the idea of having a clear list of those featured in the exhibit and further details of the pieces can be followed up in the publication. These can then be given in tote bags, shown above or simply placed on tables. North bar has a shelf for flyers, so this could be a better place to store them. 

Tote bags can be bought and screenprinted cheaply by myself, this can go well with a corporate invite to the local businesses as I discussed in the previous blog post.  

Exhibition design research Focussed

My secondary research is beginning to focus and lead me towards the following ideas of having two sets of invites, for industry professionals and the general public. I will need to also consider window graphics and supporting ephemera. North Bar has a large glass front onto a busy street therefore perfect for advertising an exhibition.

Window graphics with vinyl could be very good to explore for the North Bar venue in July. North bar have a lot of vinyl in the window and use a chalk sandwich board also. 

Badges are a good piece of design which allows a piece of the event to be taken away wioth each visiter. Having a pack of goods such as information pack on the exhibition could include items like this. 

Designed by Mothership www.studiomothership.com

Weber has adapted the poster for the event into the booklet that supports the event. This transition of design for promotion to design for information becomes seamless and gives a great sense of continuity. I would be very conscious when seeing how I can develop the promotional elements into the practical elements of the event. 

The layout of the publication is a lot bigger than I need however having visual references to the wall pieces is essential. Perhaps I can explore using sections of the artwork instead of giving the whole image in the booklet. this almost guarantees that the user has to interact with the images on the wall. 

Designed by Christian Weber http://www.graphicfruit.com

These invites were issued on beer mats, because I want to invite at least 15 local design studios and more local brewers to the events, this can be a perfect corporate invite for industry professionals.

Designed by Dash, Melbourne. www.dashcreative.com.au

Wierd Beard Co research

My secondary research of beer bottles drew me to Weird Beard Co, putting together a secondary research document of Weird Beard Co specifically made me want to look at Weird Beard Co in better more detailed light. They feature as a brewery that I use to discuss craft beer branding in my dissertation.

By looking at their "about page", the brewery gives a a sense of their brand's tone of voice, it is tongue in cheek and off colour with no attempt at being corporate. This language appeals to a certain type of audience within the beer community that enjoy something that fights the larger macro brew and appeals to those outside of the craft beer world that enjoy punk and rock culture.


About (Link Here)

Weird Beard Brew Co are two award-winning homebrewers wanting to take their passion for drinking and creating great hand-crafted beers out of the kitchen and beyond the garage.
After winning prizes in homebrew competitions at both the local and national level, coupled with great feedback from fellow beer geeks, Gregg and Bryan made the decision to take this passion to the next level and go pro.
No gimmicks, no crap and never knowingly under hopped. Just great hand-crafted beer brewed in West London with the best ingredients, knowledge, and respect for process, and a little insanity.
But why stop there? We don’t believe in being stereotyped. We love upfront in-your-face hop focused beers, but are we only going to brew these? Hell no! We love beer, and we will brew whatever we want, whenever it suits us.
At Weird Beard we aim to continue making experimental, no-holds-barred beers that we feel excited about and we want to drink.
Inspired by the American and burgeoning British craft beer movement, along with great music, exquisite food, epic beards, and the outstanding beer community in our hometown of London, Weird Beard Brew Co will not compromise on anything to bring the best flavours to the beer, whether it is the roasted specialty grains in a stout or the newest hops in an IPA. We create beers that push the boundaries of style, forcing the consumer to stop and think about the drink in front of them, to confront the misconceptions of what ale and beer should or can be, and who drinks it?
And before you ask, yes, Gregg and Bryan do sport some very impressive facial hair. Here at Weird Beard Brew Co we are all about the beards, but not so much the sandals. We are passionate about good beer, no matter where it comes from or how it is dispensed. You will find us in bottle shops, on cask in real ale pubs and in the best London beer bars on keg.
Weird Beard Brew Co is a full on, no compromise brewery, brewing great tasting and genre-busting beers...hold on to your taste buds and come along for the ride!

Image to use in dissertation

Doodlebank. 2014. Weird Beard Brewing Co. [ONLINE] Available from: http://doodlebank.com/weird-beard-brewing-co/ [Accessed: 10 Jan 2014].

The artwork is created by Chris Walker of Doodle Bank. 

Website

Primary Research






Secondary research