Brand Design Strategy - DM7918
1.0 Introduction
This project charts the development of brand design and strategy in relation to a proposed business idea (Fig.1). The ideation is based on a brand concept of sustainable Scandinavian style furniture for home offices in the UK (Fig.2). The initial focus of the project consists of evaluation through a design cycle relating to desirability, viability and feasibility, a tenet of design thinking called the Three Lenses of Human Centred Design (IDEO,2009) (Fig.3). Design thinking can transform the way a company develops its offering by addressing what is desirable to an audience, and whether it is economically viable and technologically feasible (Brown, 2018). This concept ideally resonates with its target audience through the brand and its elements such as visual identity, messaging, tone of voice, values and position. The relationship between a brand and its consumers are of intrinsic importance, as a brand and its identity has been cited as being in the perception of its consumers (Aaker, 1997; Neumeier, 2019). Thus, the consumer needs to be cognisant of what the brand represents, so the consumer can clarify its position in relation to their needs and values. The project is a reflective study and integrates Kolb’s Reflective Learning Cycle (1984) of planning, doing, reflection and conceptualisation with the purpose to gain insights and conclusions during the process, which may be found here: https://designerdigital.uk/branding-design-dm7918-reflective-journal
The project also considers Sustainable Development Goal 17, Partnerships for Goals (United Nations, 2023) (Fig. 4) through the development of a sustainable brand and the use of existing technologies. The next section outlines the research process that underpins the brand identity concept investigating the home office furniture market industry, culture, competitors and audience.
2.0 Research
Research may be described as the systemic process of collating facts and information with a defined intention to analyse and interpret findings (Saunders et al, 2019). Researching the existing market to analyse and interpret findings, validates IDEO’s Three Lenses of Design Thinking (2009) not only for concept rationality but to clarify optimal position and branding strategy. This is achieved by researching the industry (2.1), culture (2.2), competitors (2.3) and audience (2.4) with a research summary (2.5).
2.1 Industry
The online furniture market worldwide has been growing steadily since 2019. It is expected that online sales will reach a quarter of furniture purchases indicating that selling furniture products online is a growing trend (Statista, 2022, Fig.5). The UK is the second largest furniture market after Germany, providing 17% of Western European demand. In 2020, the UK purchased £14.4b on furniture and furnishings and is set for an Compound Annual Growth Rate (CAGR) of more than 3.2% by 2028 (Mordor, 2023).
2.2 Culture
The culture of working from home has accelerated in the UK especially since the Covid-19 pandemic (ACAS, 2022), when only necessary workers were allowed to work at their place of employment. Since the restrictions have lifted, hybrid workers – people working at home as well as their place of employment, has risen from 13% in February 2022 to 24% in May 2022 (ONS, 2022 – Fig 6). There also appears to be a correlation between earnings and hybrid working, with those who earn £30,000 upwards are more likely to have hybrid working arrangements.
The survey also reveals that the most likely group by age to work in a hybrid arrangement are between 30 and 49 years of age and are more likely to be in a professional career such as financial management, a directorship or a programmer (ONS, 2022 – Fig.7).
Another significant finding was the improvement in the work life balance of those working in a hybrid arrangement such as fewer distractions, being able to complete work quicker and improved well-being. Thus, the data indicates a cultural shift in working patterns of the population, which is less likely to change over time. This is due not only to the recognised benefits for employees but for employers and the environment. These can include reduced real estate costs, improved productivity and staff retention rates, larger talent pool, reduced pollution, higher employment and a healthier society (Mawson, 2021).
2.3 Competitor Insights
This section investigates the existing marketplace and competition by analysing two companies that sell similar types of furniture but not exclusively home office furniture – Sklum (Figs. 8 & 9) and The Cotswold Company (Figs. 10 & 11). They were selected from Search Engine Results Pages (SERPS) on the first page of Google with Scandinavian desks as a search term. The research was executed by comparing logo marks, colour palettes, fonts, descriptive words, imagery, social media presentation and target audiences. They were also checked for review scores on Trustpilot.com – an open use, digital platform used for leaving comments about products and services, which will inform the advertising campaign later in the assignment.
2.3.1 Sklum
Sklum is an online, pan european company with fun, feminine and playful branding depicted by a heart logomark, a palette of pink and pistachio green and youthful social media marketing. The imagery reflects a young, female audience aimed at people who love design. They target their audience by marketing flash promotions on Instagram. Their Trustpilot score was 3.3 with consistent complaints of poor customer service and delivery issues (Trustpilot, 2023).
2.3.2 The Cotswold Company
The Cotswold Company have an online site and physical stores, that display sophisticated and elegant branding depicted by a wordmark text logo, earthy colour palettes of stone grey and dark green combined with English country cottage charm, which reflects their tagline – in our name, in our nature. The imagery features older women but its focus mainly references tasteful shots of their furniture products. Their Instagram uses a house logo and is used to create scenes for sophisticated lifestyle marketing. The Trustpilot reviews reveal that The Cotswold Company fare better with customer satisfaction with a score of 4.4 (Trustpilot, 2023) with complaints over quality expectations, however they regularly score five stars indicating a higher level of customer satisfaction than its competitor.
2.4 Audience
To discover the Scandi Home Office audience, it is essential that the offering and brand elements align with potential buyers. It is ascertained that between 70 – 80% of women make all of purchases worldwide (Unerman, 2017) and make 43% of purchases at home compared to 26% of men and with 31% made jointly (Pew Research Centre, 2008), which has been reflected by the target groups from the competitor insights.
According to Unerman (2017) marketing to women by age alone does not reflect the multiplicity of roles that women undertake. One example is parenthood that can occur from teens to post 40 years of age or that a woman can be a professional at work and still have a family. It is suggested that marketing through psychographic data such as lifestyle, interests and behaviour is a more concise route to the female audience.
Values and trends are another aspect to be considered in the target audience. Bhonagiri (2023) suggest that affordability, sustainability and transparency are growing consumer trends. There is increasing focus on environmental, social and governance issues and brand responsibility, which can help differentiate a brand by its values and messaging. Social commerce is increasing with customers researching and purchasing products online with greater trust in brand online interaction. There is also growing confidence in zero party data, to sign up with a brand directly affords greater transparency and control since the demise of 3rd party cookies, providing a route to potential brand trust.
However, demographics are still applicable to our audience. The UK has the smallest home by floor area in Europe (Gallent et al. 2010), which can lead to feeling of claustrophobia and stress due to lack of appropriate segregation of household activities (Morgan and Cruickshank, 2014). The rise of home working has reflected in the growing desire to convert sheds, garages and spare rooms into home office spaces (Magnus, 2021). A Google search was undertaken (Fig. 12) to ascertain some key search terms and volume by month.
The screenshot reveals that the search for home office is high at 10K -100K more than home furniture at 1K – 10K. Scandi and home furniture received 1K – 10K but desks received 100k – 1M. The screenshot also revealed that the year on year change did not waiver indicating a consistent demand, however this also made the competition high.
2.5 Research Summary
The research has revealed that the desirability and viability for a sustainable home office furniture brand has potential in regard to the Three Lenses of Human Centred Design (IDEO, 2009) (Fig. 13). The technology is readily available to produce websites and social media campaigns, so this not a consideration in this project. The research also provides a valuable source for the audience persona (2.5.1), design elements and marketing sections.
2.5.1 Audience Persona
The target audience has been collated through the research (Fig.14). The data has indicated that the main persona should be female due to making 70 – 80% purchases in the home (Unerman, 2017. Most hybrid employees are between 30 – 49 years of age, professional and are likely to work more productively from home (ONS, 2022). Millenials are also concerned with sustainability, transparency, affordability and look for a brand they trust (Bhonagiri, 2023). The psychographic data are based on UK hobbies and activities statistics (Statista, 2023). The next section (3.0) considers the aspects that formulate the brand as it translates to the business.
3.0 The Marketing Mix
The marketing mix informs the strategy and position of the brand (Fig. 15). The product offering is Scandanavian style office furniture and is specially designed for the home office market, therefore it is more niche than its competitors. This will be reflected in the pricing strategy, which will be value based, rather than competitively based on mass produced products. The place will be an online website and compete in the same furniture category through similar channels as its competitors. The Scandi Home Office audience will be an older demographic than that of Sklum and closer to that of The Cotswold Company but without a bricks and mortar presence. The promotional message will need to resonate with the millenial audience by displaying values of transparency, trust and social awareness as well as resonating with the home worker. The marketing mix indicates that the branding should be sophisticated and promote trust through the awareness of its origins and supply chain, thus promoting a better life for people and the environment through its design and branding.
4.0 Brand Personality
Aaker (1997) states that brand personality is a ‘set of human characteristics associated with a brand’ (p.347) as associations reside in the minds of the consumers, not in the brands themselves. Brands are often described as having a character (Geyrhalter, 2016) that have values, personality, mission, vision and a position that invoke a human quality. Belk (1988) hypothesised that possessions were part of the extended self and that they held meaning to people beyond utilitarian value (Fournier, 2014). Therefore, the consumer has to resonate with the brand for it to appeal to their needs, values and emotions, to become part of their usage and sometimes identity. This section considers the Scandi Home Office brand in alignment with that of its business position and audience persona to create associations in the consumer mindset through its values, statements and personality.
A vision informs the customer and stakeholders of the brands long term goals (Fig.16) with the affirmation that using natural materials brings nature into our homes to bring balance into sometimes chaotic environments. A mission statement reflects the daily aims of the company (Fig.17) to reduce waste by using sustainable materials and produce well designed furniture that will last a long time. This appeals to consumers to think about consumption and to invest in well thought out products that will provide style and longevity.
Shared values (Fig.18) are part of the emotional connection to the target audience by appealing to their concerns (Section 2.4). The tagline (Fig.19) enhances the brand identity with a short catchphrase to build a memorable link to the Scandi Home Office brand, which aids brand equity through consumer brand recall.
Brand voice (Fig.20) is the way the company interacts with their customers. The Nielsen Norman Group (2016) identified four types of brand tone of voice – humour, formality, respectfulness and enthusiasm. Trust and credibility are critical in consumer perceptions, which dimishes the more friendly the tone. Therefore the Scandi Home Office tone of voice will demonstate sincerity by caring of the planet and people, respect the customer journey in the purchase of high value items and be proficient in service and design. The brand positioning statement (Fig.21) considers the target market, the offering and why the company believes it can fulfil a need in the marketplace (Moore, 2006). The statement keeps the company in its focus to deliver its vision and mission.
5.0 Brand Elements
The visual identity of the Scandi Home Office Brand has to appeal to a largely millenial female audience of professional workers that are looking to spend a higher than average price for beautifully designed office furniture. It has to be sophisticated, trustworthy and reflect the Scandi minimalist feel. A further mood board was created to hone the style and colours to formulate the Scandi style brand (Fig.22).
Fig.22 – Scandi Home Office Mood Board & Colour Palette (Heugh, 2023)
The mood board and colour palette reflect the colours of nature. There is a light touch of a more upmarket feel with glass shades, neutral colours, textiles and compliments of brass fittings. It illustrates comfort but not overtly sumptuous, simplicity but not basic with a feel of utility for comfortable living, thus appealing to the Nordic lifestyle of Hygge and appealing to the customer who wishes to live the concept in their home.
5.1 Brand As A Symbol
Brands are often recognisable through a logo, that represents and embodies a brand. Symbolism is important in brand identity as it plays a role in brand recognition that builds brand recall and equity. Semiology or semiotics was introduced by Ferdinand de Saussure (1857-1913) and Charles Peirce (1839-1914) who maintained that thought could be communicated by signs, either intentionally or unintentionally. According to Peirce, the basic elements of meaning are the sign, the interpretant and the object. The elements are interactive, which could conceivably produce multiple interpretations depending on the receiver and therefore emphasises the need for clear brand identity and messaging. Sketching was used to create some inital concepts, which may be viewed in the reflective journal available at: https://designerdigital.uk/branding-design-dm7918-reflective-journal
5.2 Logo Design
Sagi Haviv (The Futur, 20129a) states that three rules of good logo design consist of the mark being :
- Appropriate in its feeling
- Memorable or distinctive – someone should be able to draw it easily
- Simple – reproducible in any size
The logo design commenced with some rough hand drawn sketches that were inspired by Scandinavian culture. The brand symbol represents a leaf with the venation pattern in the image of a Scandanavian tall fir tree (Figs.23 – 25). This symbolises the Scandi culture, the natural materials used in the home office products and the calming forest vibe, which embodies the brand and its personality. The olive and grey colours of the image complement the natural outdoor landscape. The logo was drawn in Adobe Illustrator with the pen tool. Alternative concepts are available at: https://designerdigital.uk/branding-design-dm7918-reflective-journal
5.3 Typography
The Scandinavian style in typography (excluding folklore) is usually clean and minimalist and therefore resorts to a sans-serif style. Poppins and Open Sans typefaces work well together (Figs.27 – 30). These fonts are both sans serif and appear similar. However Poppins may be classed as a 20th century, geometric modernist font with more circular bowls than Open Sans. It offers a cheaper and sustainable version of a specialised Scandi style font such as Bjorn (Fig.2) although it does not have the sharp edges. The tracking on the font was extended to give a feeling of space and minimalism (Fig.26). It is favourable to combine styles that not only work well together but can be used in the Adobe programmes and render well on search engines. If this does not occur, substitutes are made that can alter the overall design and feel of a project.
5.4 Imagery
A study by Hall et al, (2010) found that people did not always understand why an image was attractive to them. Their neuroscience study into Implicit Responses found that:
- Participants paid more attention to the left visual field than the right where people tend to see more elements.
- The more a person sees something, the more they tend to like it.
- We find things attractive if it is considered the average benchmark.
- We make our mind up in one second if we like it.
The Scandi Home Office website will use the standard, top left area of the site for the logo and introduce repetition of elements throughout the site to familiarise the viewer. The images (Fig.31) will focus mainly on furniture imagery like The Cotswold Company but will introduce more images representing the target audience especially on social media as they tend to achieve more likes (38%) and more comments (32%) when human faces are featured (Seiter, 2016). The position of these elements will be considered in the next section in Website Design (6.0).
Fig.31 – A Collection of Website Lifestyle Images (Adobe Stock, 2023)
6.0 Website Design
This section translates the research findings, brand personality and elements into a workable design through wireframes, prototypes and mock ups. According to bin Uzayr (2022), they offer different perspectives to user interface (UI) and user experience (UX) designers in the testing and feasibility stages of design construction. The stages may be classified by levels of development depending on their complexity and purpose. Each level offers a progression in the stages of designing. The most basic type is low fidelity wireframing, which is discussed in section (6.1), mid fidelity in section (6.2) and high fidelity in section (6.3). The main advantages in wireframing are the ability to estimate the work and scope of a project, providing a demonstration for clients and as a medium for user testing and design layout.
6.1 Low Fidelity Wireframing
The initial concept for the Scandi Home Office website is drawn as a rough sketch, sometimes called a skeleton. The sketch focuses on the user flow addressing form, function, headings and content in raw format, without structure (bin Uzayr, 2022). The sketches are available here: https://designerdigital.uk/branding-design-dm7918-reflective-journal
6.1.1 Sitemap
The rough sketches formulate the navigation, structure and content hierarchy, which is shown in the sitemap (Fig.32). This shows the interaction with the other linked content including email, landing pages and social media. A visual sitemap was also constructed to determine structure, navigation and content hierarchy. It is often formulated into Hyper Test Mark Up Language (HTML) and stored in the root directory of the website by code developers. It is used to inform site engines about the information architecture to aid search engine optimisation (SEO) (Dominykas & Brian, 2023).
6.2 Mid Fidelity Wireframing
The next stage of website development provides a more accurate portrayal of the design and was completed on Adobe XD wireframe and prototype application. It involved the use of artboards that represent screen sizes, grids and scale to help position elements on the screen. Mid fidelity is still low key, with little colour added but takes the sketch into a simulated environment and defines the content and layout but with no graphical or design elements (Fig.33). The mid fidelity mock up is available in app here (please paste code in browser): https://xd.adobe.com/view/0d6dfa0d-0f47-4297-b8e1-cf5a65cba603-583e/
Fig.33 – Mid Fidelity Wireframe (Heugh, 2023)
6.3 High Fidelity Wireframing
High fidelity wireframing provides a visual mock up for the website and a prototype providing a level of interaction. This was also designed in Adobe XD and included the colour palette, typography, logo, images and style elements. The layers of interaction and visual additions help the website to take shape and look realistic. The high fidelity mock up (Fig.34) is available in app as a prototype – (please paste code in browser): https://xd.adobe.com/view/efcbbdc6-762d-4e96-b568-4afdb20a45d0-ba98/
Fig.34 – High Fidelity Wireframe (Heugh, 2023)
6.4 Responsive Design
Responsive design is an approach that ensures web pages render well on all screen sizes and resolutions (Mozilla, 2023). Thus, the design should respond to different width viewports, while maintaining user integrity. This was achieved by gradually minimising the Adobe XD artboards at each breakpoint, when the content was no longer viable for good usability. This does affect the design layout, with the stacking order changing the visual impact depending on the screen size. It was implemented manually as Adobe XD does not support responsive development code and is a mock up application (Envato Tuts, 2019), however the exercise gave an appreciation of the design changes. The responsive view of the Home Page can be viewed here (please past code in browser): https://xd.adobe.com/view/15452bdc-3c0f-4499-8ce9-16d446e314a5-4016/
7.0 Campaign Marketing
Miller (2017, p.7) suggests that the brand marketing message aims at survive and thrive drivers linking to Maslow’s Hierarchy of Needs (1954), therefore reaching the audience on a physical, emotional, relational or spiritual level. In Section 2.5.1, brand messaging indicated the need to address pain points of the target audience and take into consideration the current trends such as sustainability. Another way to gain leverage is to emphasise how the brand is competent in areas where the competition is failing such as customer service and delivery issues (Section 2.3). This knowledge can be channelled into the marketing assets. Brand stories are a useful way of connecting to the audience making the brand more relatable (Miller, 2017) by creating emotional bonds as mentioned in Section 3. A series of 10 Instagram posts were designed to follow a basic marketing funnel AIDA (Fig. 35). In this example an extra layer will added to factor in loyalty or repeat purchase. The posts (Figs. 36 – 40) show two versions taking A/B testing into consideration.
7.1 Awareness
Fig.36 – Awareness Instagram Posts (Heugh, 2023)
The awareness stage involves getting the attention of the customer and making them interested in the products and services. Lifestyle shots are popular and links to an ideal that some customers want to achieve, indicating success or status. Another way is to appeal to the situation the customer resonates with, such as stressed out woman trying to work from home to pique interest in product solutions.
7.2 Interest
Fig.37 – Interest Instagram Posts (Heugh, 2023)
The interest stage lets the customer know you understand them and can solve their pain points. This may be acheived by showing a woman trying to sort out an office from home but feeling too tired to cope. It indicates that the company can solve this issue for you. An alternative post uses the tagline – designed to work better, again showing another version that the company knows how to get it right and solve home working design issues.
7.3 Desire
The desire stage means the customer is interested in the products and service but have to know that this is the right move for them. Removing any residual ojections can help this stage by focusing on issues raised in section 2.5.1. Consumers are more concerned about sustainability and showing that the company takes this seriously can help attract the sale. Alternatively, it was discovered in the Trustpilot comments that delivery was an issue for a competitor. A post with the tagline and picturing a smooth delivery service can sway a customer who has experienced negative delivery issues in the past.
Fig.38 – Desire Instagram Posts (Heugh, 2023)
7.4 Action
The action stage incentivises the customer to close the sale. The Scandi Home Office brand can do this by using a case study. Case studies appeal as they focus people of the target audience and take them through the customer journey. Knowing that others have successfully used the company can induce confidence to take action. An alternative is to offer something that will ensure a guarantee. A measuring service provides confidence that the onus of providing the correct measurements will be taken by the company. The customer cannot get this wrong and insures their purchase will correct.
Fig.39 – Action Instagram Posts (Heugh, 2023)
7.5 Loyalty
Fig.40 – Loyalty Instagram Posts (Heugh, 2023
The loyalty stage involves getting the customer to repurchase. This maybe achieved by an invitation to join a loyalty club. Regular contact with offers and incentives are likely to build brand trust, especially if a customer has purchased before and was satisfied with the offering.
7.6 Landing Pages
Landing pages are standalone web pages that are used to drive conversions. They are different from standard web pages as they focus on one aspect of customer interaction such as a sign up to a newsletter, downloading an asset or directing them to a particular offer. They help drive customers through the sales funnel and are used on websites and social media. Three have been created for the Scandi Home Office campaign – a design guide to inform customers of products and services available. This is useful where there is interest in the offering and persuades them to take action through further enquiry or direct purchase. A sales landing page that incentivises the customer that it is the right time to buy and a newsletter to keep customers informed of recent developments to encourage loyalty and further interaction, which relate to the funnel stages in Fig.35.
Fig.41 – High Fidelity Mock Up (Heugh, 2023)
7.7 Presentation Board
The presentation board shows a way of presentation to clients and stakeholders (Fig.42). It also aids the designer in considering the cohesive and overall look and feel of the design work.
8.0 Project Management
The project was completed over the semester and mainly consisted of research, learning and practical work. The project was mainly linear in its execution with periods of agile development in the logo and website design stages. The SMART goals and personal reflection may be found here: https://designerdigital.uk/branding-design-dm7918-reflective-journal
Fig.43 – Gantt Chart (Heugh, 2023
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The Futur Academy (2020), Quick Tips for Selecting Color Combinations Using Harmonies. Available at: Quick Tips for Selecting Color Combinations Using Harmonies – YouTube Accessed: 16.03.23.
The Futur Academy (2020), How to Balance Your Color Palette – The 60-30-10 Rule. Available at: How To Balance Your Color Palette – The 60-30-10 Rule – YouTube Accessed: 16.03.2023.
Unerman, S (2017), How to Market Effectively to Women. Available at: How to market effectively to women | WARC Accessed: 12.05.2023.
United Nations (2023), Goal 17, Strengthen the Means of Implementation and Revitalize the Global Partnership for Sustainable Development. Available: https://sdgs.un.org/goals/goal17 Accessed: 21.05.2023.
Bibliography
Landa, R (2022), Advertising by Design: Generating and Designing Creative Ideas Across Media, Fourth Edition. Wiley, Hobeken, New Jersey 2022.
Miller, D (2017), Building A Brand Story. Harper Collins Leadership.
Neumeier, M (2020), Metaskills: Five Talents for the Future of Work. Level C Media.
Videography
AJ & Smart (2018), What’s A Design Sprint and Why Does It Matter? Available at: What’s a Design Sprint and Why Does it Matter? – YouTube Accessed: 30.03.2023.
Dansky (2022), 12 Logo Design Tools You Need to Know in Illustrator. Available at: 12 Logo Design Tools YOU NEED TO KNOW in Illustrator – YouTube Accessed: 28.02.2023.
Hunt, T (2023), Social Media Marketing, Revealing Insight: Social Consumer. Available at: DMI 3i Principles – Social Media Marketing (digitalmarketinginstitute.com) Accessed: 08.02.2023.
The Futur (2019), What is Branding? A Deep Dive with Marty Neumeier. Available at: https://www.youtube.com/watch?v=dpZfNNYUZEc&t=0s Accessed 08.02.2023.
The Futur (2019), How to Become a Brand Strategist. Available at: https://www.youtube.com/watch?v=jo5THshRG60 Accessed 08.02.2023.
The Futur (2019), UX Design Process: How to Sketch Wireframes – Web Design Pt.1. Available at: UX Design Process: How To Sketch Wireframes—Web Design Pt 1 – YouTube Accessed: 15.04.2023.
Swift, C (2018), The LAB Color Space: by the numbers. Available at: The LAB Color Space: by the numbers – YouTube Accessed: 06.03.2023.
Articles
Adobe (2022), Understand Spot and Process Colors. Available at: Use spot and process colors in InDesign (adobe.com) Accessed: 12.03.2023.
Butler, N (2016), The Ultimate Guide to Create a Brand Identity. Available at: The Ultimate Guide to Create a Brand Identity [FREE TOOLKIT] (columnfivemedia.com) Accessed: 14.03.2023.