Tagged: Brands

First Things First Manifesto 2000. Via Emigre

Various authors

This manifesto was first published in 1999 in Emigre 51.
We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
Jonathan Barnbrook
Nick Bell
Andrew Blauvelt
Hans Bockting
Irma Boom
Sheila Levrant de Bretteville
Max Bruinsma
Sian Cook
Linda van Deursen
Chris Dixon
William Drenttel
Gert Dumbar
Simon Esterson
Vince Frost
Ken Garland
Milton Glaser
Jessica Helfand
Steven Heller
Andrew Howard
Tibor Kalman
Jeffery Keedy
Zuzana Licko
Ellen Lupton
Katherine McCoy
Armand Mevis
J. Abbott Miller
Rick Poynor
Lucienne Roberts
Erik Spiekermann
Jan van Toorn
Teal Triggs
Rudy VanderLans
Bob Wilkinson

I may add myself to this. Federico Hernandez-Ruiz

Here’s the link to the original post: http://www.emigre.com/Editorial.php?sect=1&id=14

And a copy of the 164 manifesto written by Ken Garland along with 20 other artists.



Is This Startup Ready For Investment? Via: steveblank Blog

ᔥ Posted on  by steveblank

Since 2005 startup accelerators have provided cohorts of startups with mentoring, pitch practice and product focus. However, accelerator Demo Days are a combination of the graduation ceremony and pitch contest, with the uncomfortable feel of a swimsuit competition. Other than “I’ll know it when I see it”, there’s no formal way for an investor attending Demo Day to assess project maturity or quantify risks. Other than measuring engineering progress, there’s no standard language to communicate progress.

Corporations running internal incubators face many of the same selection issues as startup investors, plus they must grapple with the issues of integrating new ideas into existing P&L-driven functions or business units.

What’s been missing for everyone is:

  • a common language for investors to communicate objectives to startups
  • a language corporate innovation groups can use to communicate to business units and finance
  • data that investors, accelerators and incubators can use to inform selection

While it doesn’t eliminate great investor judgment, pattern recognition skills and mentoring, we’ve developed an Investment Readiness Level tool that fills in these missing pieces.


Investment Readiness Level (IRL) for Corporations and Investors
The startups in our Lean LaunchPad classes and the NSF I-Corps incubator use LaunchPad Central to collect a continuous stream of data across all the teams. Over 10 weeks each team gets out of the building talking to 100 customers to test their hypotheses across all 9 boxes in the business model canvas.

We track each team’s progress as they test their business model hypotheses. We collect the complete narrative of what they discovered talking to customers as well as aggregate interviews, hypotheses to test, invalidated hypotheses and mentor and instructor engagements. This data gives innovation managers and investors a feel for the evidence and trajectory of the cohort as a whole and a top-level view of each teams progress. The software rolls all the data into an Investment Readiness Level score.

(Take a quick read of the post on the Investment Readiness Level – it’s short. Or watch the video here.)

The Power of the Investment Readiness Level: Different Metrics for Different Industry Segments
Recently we ran a Lean LaunchPad for Life Sciences class with 26 teams of clinicians and researchers at UCSF.  The teams developed businesses in 4 different areas– therapeutics, diagnostics, medical devices and digital health.  To understand the power of this tool, look at how the VC overseeing each market segment modified the Investment Readiness Level so that it reflected metrics relevant to their particular industry.

Medical Devices
Allan May of Life Science Angels modified the standard Investment Readiness Level to include metrics that were specific for medical device startups. These included; identification of a compelling clinical need, large enough market, intellectual property, regulatory issues, and reimbursement, and whether there was a plausible exit.

In the pictures below, note that all the thermometers are visual proxies for the more detailed evaluation criteria that lie behind them.

Device IRL

Investment Readiness Level for Medical Devices

You can watch the entire presentation here

Karl Handelsman of CMEA Capital modified the standard Investment Readiness Level (IRL) for teams developing therapeutics to include identifying clinical problems, and agreeing on a timeline to pre-clinical and clinical data, cost and value of data points, what quality data to deliver to a company, and building a Key Opinion Leader (KOL) network. The heart of the therapeutics IRL also required “Proof of relevance” – was there a path to revenues fully articulated, an operational plan defined. Finally, did the team understand the key therapeutic liabilities, have data proving on-target activity and evidence of a therapeutic effect.

Therapeutics IRL

You can see the entire presentation here

Digital Health
For teams developing Digital Health solutions, Abhas Gupta of MDV noted that the Investment Readiness Level was closest to the standard web/mobile/cloud model with the addition of reimbursement and technical validation.

Digital Health

Todd Morrill wanted teams developing Diagnostics to have a reimbursement strategy fully documented, the necessary IP in place, regulation and technical validation (clinical trial) regime understood and described and the cost structure and financing needs well documented.

Diagnostics IRL

You can see the entire presentation here

For their final presentations, each team explained how they tested and validated their business model (value proposition, customer segment, channel, customer relationships, revenue, costs, activities, resources and partners.) But they also scored themselves using the Investment Readiness Level criteria for their  market. After the teams reported the results of their self-evaluation, the  VC’s then told them how they actually scored.  We were fascinated to see that the team scores and the VC scores were almost the same.

Lessons Learned

  • The Investment Readiness Level provides a “how are we doing” set of metrics
  • It also creates a common language and metrics that investors, corporate innovation groups and entrepreneurs can share
  • It’s flexible enough to be modified for industry-specific business models
  • It’s part of a much larger suite of tools for those who manage corporate innovation, accelerators and incubators

P.S. if you want to learn more abut the IRL and other tools, we teach a 2-day class for corporate innovation, accelerators and incubators. Info here

Link to Original Steve Blank blog post:

Is This Startup Ready For Investment?.


To Lure Customers, Appeal To All 5 Of Their Senses Via: Stuart Leslie @ fastcodesign


WRITTEN BY Stuart Leslie

We know that consumer purchase decisions are often made quickly and subconsciously, but there are opportunities where it’s possible to influence a consumer’s perception of a brand. People often make buying decisions by using all five of their senses and once product designers discover what each of these sensory influencers are, they can develop packaging that strategically speaks to consumers at each stage of the decision-making process. It’s ultimately about designing a complete experience–one that supports the brand every step of the way.

At my company, we developed the 4sight Sensory Lab, pictured above, to uncover these answers. Here, for example, cold beverage drinkers known to prefer their drinks not simply cold, but chilled to the perfect temperature, are taken through a progression of exercises that mimics the various points of contact that consumers have with a product.

We identify which bottle shape, size, color, material, and texture promises that sense of cold refreshment at first glance. As the test subjects move closer, details such as condensation and frost become evident and when they are handed several bottles, each chilled to the exact same temperature–but made of different materials, textures, shapes and finishes–they provide feedback on which one feels like just the right cold.

In the Sensory Lab, our process helps us ensure that at each stage of interaction with a brand, consumers receive the right information, enabling them to see, feel, hear, smell, and taste the value of the product. Here, we’ve identified the six stages that lead to a first purchase or a repeat purchase:


Image: Pom Wonderful via Flickr user Fruitnet.com

This is the first impression at a distance, seeing the product in someone else’s hand, on the shelf, or across the room. It’s the first visual promise of what a product will do for your senses. For Pom 100% Pomegranate Juice, the distinctive profile of the bottle featuring those fully rounded spheres, allows the distinct dark red color of the juice to catch the attention of a shopper. It promises a bold, robust taste. A new entry into the tequila segment, SX Tequila chose a distinctive, curvaceous bottle with smooth lines and frosted texture to communicate the sense of a smooth-tasting, chilled beverage.


Here, consumers take a closer look and this is where details begin to hint at tactile sensations. Flowing details etched into the structure of the Aquafina water bottle strongly suggest the refreshment that the product provides.

Image: Flickr user Sheep R Us[/caption]

Orangina, meanwhile, promises its fresh orange flavor through a dimpled finish on the bottle that suggests you are consuming straight from an actual orange.


Next, consumers make that first physical contact and combine the visual with the tactile experience. When grasped, the gentle curvature of the Febreze bottle and the angled spray head convey the soft and pleasant aroma that will fill the air. The smooth, diagonal neck on the new Miller Lite Bottle promises a refreshing flow of beer while the bold taper from the neck to the body provides a strong and confident grip for the hand. Adding the texture of the hops etched in the glass provides further engagement.


When the consumer makes a physical step towards consumption or use of the product, there’s another opportunity to solidify your brand’s perception. When the foil cover is peeled off of a can of San Pellegrino, it offers the sensation of actually peeling fruit. It also incorporates a crinkling sound, which adds to the sensory experience at opening.


The point at which the product is consumed or used and here, all five senses can be at play.

A smooth metal tip on Clinique’s Even Better Eyes product provides a refreshing and reviving cold sensation on the skin. For Gerber Good Start, the designated scoop holder on the side of the container provides for a clean usage experience and preserves the product for future consumption, as fingers do not contaminate the powder.


There’s another opportunity to create a pleasant user experience when the product is disposed of or put away for later use. Wrigley 5 Gum incorporates a lock feature and embossed details to convey a secure and clean resealable pack. The Oreo cookie package also utilizes the sense of sight with a resealable film to promise lasting freshness. Once the film is replaced after each usage, it recreates the look of a fresh, unopened package.

In The Sensory Lab, we’ve gleaned significant insight into how the five senses influence consumer decision-making at six pivotal points. Incorporating a similar approach in your design process will help insure your package effectively communicates key brand attributes at each and every point of influence.

[Image: Shopping via Shutterstock]

Here is the link to the original article: http://www.fastcodesign.com/3024657/6-tips-for-making-a-powerful-first-impression?partner=newsletter

Es retirada campaña multimillonaria de Coca-Cola | http://www.elpoderdelconsumidor.org

Es retirada campaña multimillonaria de Coca-Cola

Vía: El poder del consumidor.

“Conocer y reconocer la opinión y puntos de vista nos hace mejores, más críticos, con mayor poder de decisión. FHR”

• La campaña publicitaria “149 calorías” de Coca-Cola es de las más grandes que ha sido retirada y sancionada por autoridad en México.
• Esta campaña también fue retirada por la autoridad británica a raíz de las protestas presentadas por los consumidores.
• El envase del refresco de 600 ml. con el cual se confunde a la población contiene 252 calorías, significativamente más que las 149 calorías contenidas en un envase de 355 ml.
• La ingesta extra de calorías representa un riesgo para el 40% de la población mexicana que estando en su peso ya presenta síndrome metabólico y pone en riesgo aún mayor al 14% de los adultos que sufren diabetes.

22 julio 2013. La campaña de Coca-Cola “149 calorías” presente en miles de espectaculares distribuidos en todo el país, en spots de radio y televisión, en impresos e internet, ha sido retirada y sancionada por Cofepris y Profeco por engañosa y representar un riesgo para la salud.

La empresa Coca-Cola, que tiene sus mayores ventas en el mundo en México, se vio obligada, así, a retirar miles de espectaculares en todo el país, sus spots en los medios electrónicos, sus anuncios en medios impresos y en internet.

El 19 de junio de 2013, El Poder del Consumidor presentó ante la Procuraduría Federal del Consumidor (Profeco) una denuncia contra la campaña de Coca-Cola “149 calorías” por engañosa, a lo que la autoridad respondió que se integraba a un expediente ya abierto contra esa publicidad (PFC.B.B. 13/000039/2013).

Del mismo modo, al día siguiente, El Poder del Consumidor presentó una denuncia contra esa publicidad por representar un riesgo para la salud ante la Comisión Federal para la Protección contra Riesgos Sanitarios (Cofepris).

La campaña multimillonaria de Coca-Cola, extendida por todo el territorio nacional y a través de muy diversos medios, publicitaba su bebida principal con las leyendas “149 calorías de felicidad”, “149 calorías para disfrutar”; acompañada con las frases “disfrutando 22 minutos en bicicleta”, “20 minutos para bailar con los amigos”, “para usar en más actividades felices”.

La denuncia se centró en señalar el riesgo a la salud que significa la promoción de un mayor consumo de calorías gastándola a través de la realización de diversas actividades físicas, considerando que se dirige a una población que en su gran mayoría (70% de los adultos y más de 30% de niños y niñas) presenta ya un consumo excesivo de calorías y un gran déficit de actividad física.

“El consumo de calorías extras significa incrementar los riesgos en salud para la mayoría de la población mexicana, complicar su tratamiento y aumentar el gasto familiar y público en salud. La ingesta extra de calorías agudiza los problemas de sobrepeso u obesidad que afectan a la mayor parte de la población mexicana, representa un riesgo para el 40% de la población que estando en su peso ya presenta síndrome metabólico y pone en riesgo aún mayor al 14% de los adultos que se considera sufren diabetes” señaló Xaviera Cabada, nuestra coordinadora de Salud Alimentaria en El Poder del Consumidor.

Katia García, investigadora en Salud Alimentaria de El Poder del Consumidor declaró que “entre otro de los elementos presentados en la denuncia destaca el análisis de las imágenes y su relación con el mensaje de esta publicidad. La empresa usa un envase de cristal de 355 mililitros muy poco consumido en nuestro país para confundir a los consumidores, por su tamaño, haciéndoles pensar que se trata de un envase de 600 mililitros, el más consumido en México. En letras muy pequeñas establece que dichas calorías aplican para un refresco de 355 mililitros o una lata. El envase del refresco de 600 mililitros con el cual se confunde a la población contiene 252 calorías, significativamente más que las 149 calorías contenidas en un envase de 355 mililitros. Esto se constituye en publicidad engañosa”.

Por su parte, Alejandro Calvillo, nuestro director de El Poder del Consumidor, señaló que “como denunciantes hemos solicitado a Cofepris y a Profeco conocer las resoluciones del caso, pero se nos ha informado que los expedientes todavía no se han cerrado y, por lo tanto, no podemos tener acceso a conocer la resoluciones y cuáles fueron las consideraciones de la autoridad para retirar y multar a Coca-Cola por esta campaña, que representa, sin duda, la campaña publicitaria de mayor inversión que ha sido retirada por la autoridad en la historia del país. México es el mayor consumidor de refrescos en el mundo y de Coca-Cola en particular. El consumo regular de esta bebida está asociado al riesgo de desarrollar obesidad, síndrome metabólico y diabetes”, concluyó.

La campaña de Coca-Cola ha sido también retirada en el Reino Unido por tratarse de una publicidad engañosa que representa un riesgo a la salud. “Es importante lo que está pasando a escala internacional, tenemos la necesidad deponer un alto al engaño de la publicidad, al engaño de las etiquetas que han sumido a los consumidores en la ignorancia y que han llevado a esta epidemia de sobrepeso y obesidad. El caso más extremo lo representa las campañas de Coca-Cola que asocian su consumo a la felicidad, cuando este tipo de productos tienen una responsabilidad en la epidemia global de sobrepeso, obesidad y diabetes”, agregó Calvillo.

El Poder del Consumidor denunció públicamente que Coca-Cola está violando aún la resolución de la autoridad manteniendo esta publicidad en algunos espacios, como en el segundo piso del Periférico en dirección sur-norte, en el entronque con Viaducto, donde aún se encuentra un espectacular con esta campaña.