Design and Branding Q&A
Y: Yasmin Merican, Author
K: Kamil Yunus, Design Director, Freeform Design Sdn Bhd
Y: Yasmin Merican, Author
K: Kamil Yunus, Design Director, Freeform Design Sdn Bhd
1. Design And Branding
Y In this book, we suggest that brand “form” or what people see is the first important step in the development of a brand relationship. However, many companies in Malaysia tend to overlook this critical area of brand building where investments continue to be made in brand personality or brand “character” development through advertising and communications, brand delivery at customer touch points, but not always in the prerequisites of brand “form”. Why do you think this happens when good design actually starts the ball rolling in the building of a powerful brand?
K In most cases, companies have started to place brand identity design as part of their overall business strategy to define their proprietary uniqueness. However, the link between effective identity design and a sound brand strategy to create the desired brand values is still weak. Too many times, there is no brand strategy to start from; and business or marketing strategies fail to provide adequate direction for an effective identity design response. Without connection to the brand strategy, the design process would be an after-thought, a shallow exercise that does not positively contribute to the building of the brand. In worst-case situations, design would be used superficially to create brand value, cosmetically covering up product or delivery flaws. Over the long term, sensational advertising or beautiful packaging on a badly designed product will not contribute to brand trust. The benefits of effective identity design to branding are only apparent when it is consistently telling a unique, yet truthful, story about the brand through effective strategy and the success of the branding also depends on the quality of the product or service and the level of commitment by brand owners.
2. Value Of Design
Y So, what you are saying is that when branding is not part of the strategic thinking of an organisation, design too is affected as a process where brand identity design comes in as “one-off” projects or too late to be of real value to the company? How can companies avoid wastage in their design investments or how can design be better assessed on its strategic or commercial impact?
K Yes. Without effective brand identity design, the market would be more chaotic and the world would be aesthetically less pleasant. The success of identity design however depends on numerous factors. These include the knowledge or sophistication of the design buyer, how design is used and valued as a strategic tool in an organisation, the level of commitment to make design the key competitive differentiator, the drive to make design successful for the long term, what the design process entails, how much to pay for the process, and finally how design contributes towards the definition of the company’s brand. Companies who understand the design process seem to value the extent of knowledge, experience and effort, which goes into the development of good design. They view the design outcome in the correct perspective and judge results within the correct context.
However, when companies devalue or are misinformed about the design process, they judge the design solution subjectively either liking it or hating it and end up making irrelevant changes to the design. Although the design process is not “rocket science”, effective design is a fine balance between art and science. Processes are guided by scientific principles while the intuitive drives creativity. If design is not creative, it will not stimulate. If it is not scientific, it will not be functional. Design assessments should therefore be guided by how design is understood, how it is valued, and how its impact is measured. If you know how to use, value and evaluate it, then design becomes a powerful tool, commercially or otherwise.
3. Design Knowledge
Y Perhaps like branding, design suffers from its wider definition. When you think of design, you think of many different categories of designers: from the architect who designs buildings, to the product designer who designs to innovate, to interior designers who develop sensory design, and graphic designers who delivers on logos, product packaging and image or typography-based design. What we are talking about in this interview is graphic design, which would appear to be at the bottom of the food chain except when you are involved in identity development. What are the dots connecting the work of all these designers in the building of brand identity? How can all the different design elements be integrated behind a common brand identity?
K When you talk about design in the generic sense, you actually cover every aspect of design. Everyone in this market is familiar with the design outputs of architects, interior, product and fashion designers. But not many understand how the design of a brand identity system by trained graphic designers contributes to a brand’s visual presence and how it cost-effectively aids in building brand perception. There is a general tendency to say that the logo is the identity, which of course is not the case, as it is only one of the visual signifiers for a brand.
Graphic design shapes visual information whether it is the text you read through its typographic form, the signs that direct you, the symbols that you understand as representing an idea, the images you see that accompanies the content of your magazines, or the identity you associate with a brand. Well-executed graphic design improves the quality of life and in its commercial applications distinguishes brands in the market. To sift out visual clutter, design is no longer a luxury but a necessity today. Think about the problems you have when you cannot read information, let alone understand it or you cannot find your way due to poor signage, or when you cannot locate the airline counter at a busy airport when you are already late. It helps that the information has been visually processed through the visual acuity of a trained graphic designer to make it easier for you. Like industrial, textile or fashion design; graphic design is an applied art, something you can “apply” with social and commercial value. To your question as to how the different design elements can be integrated behind a common brand identity, a lot would depend on the importance of branding and brand identity development as a strategic tool. A well-thought out identity designed by a trained graphic designer encapsulates and regulates other visual elements as well – from the logo to the colours, typography, imagery, graphic elements, visual tone and style etc. The system on how to use and apply these elements on varied applications (from signage to advertisements to uniforms and even gifts) in a brand identity manual acts as a cost-effective tool in managing brand perception and building brand value. Without the intervention of a cohesive identity manual, design elements from its marketing, communication to the architecture and interior, product and service design will remain fragmented.
Y In this book, we suggest that brand “form” or what people see is the first important step in the development of a brand relationship. However, many companies in Malaysia tend to overlook this critical area of brand building where investments continue to be made in brand personality or brand “character” development through advertising and communications, brand delivery at customer touch points, but not always in the prerequisites of brand “form”. Why do you think this happens when good design actually starts the ball rolling in the building of a powerful brand?
K In most cases, companies have started to place brand identity design as part of their overall business strategy to define their proprietary uniqueness. However, the link between effective identity design and a sound brand strategy to create the desired brand values is still weak. Too many times, there is no brand strategy to start from; and business or marketing strategies fail to provide adequate direction for an effective identity design response. Without connection to the brand strategy, the design process would be an after-thought, a shallow exercise that does not positively contribute to the building of the brand. In worst-case situations, design would be used superficially to create brand value, cosmetically covering up product or delivery flaws. Over the long term, sensational advertising or beautiful packaging on a badly designed product will not contribute to brand trust. The benefits of effective identity design to branding are only apparent when it is consistently telling a unique, yet truthful, story about the brand through effective strategy and the success of the branding also depends on the quality of the product or service and the level of commitment by brand owners.
2. Value Of Design
Y So, what you are saying is that when branding is not part of the strategic thinking of an organisation, design too is affected as a process where brand identity design comes in as “one-off” projects or too late to be of real value to the company? How can companies avoid wastage in their design investments or how can design be better assessed on its strategic or commercial impact?
K Yes. Without effective brand identity design, the market would be more chaotic and the world would be aesthetically less pleasant. The success of identity design however depends on numerous factors. These include the knowledge or sophistication of the design buyer, how design is used and valued as a strategic tool in an organisation, the level of commitment to make design the key competitive differentiator, the drive to make design successful for the long term, what the design process entails, how much to pay for the process, and finally how design contributes towards the definition of the company’s brand. Companies who understand the design process seem to value the extent of knowledge, experience and effort, which goes into the development of good design. They view the design outcome in the correct perspective and judge results within the correct context.
However, when companies devalue or are misinformed about the design process, they judge the design solution subjectively either liking it or hating it and end up making irrelevant changes to the design. Although the design process is not “rocket science”, effective design is a fine balance between art and science. Processes are guided by scientific principles while the intuitive drives creativity. If design is not creative, it will not stimulate. If it is not scientific, it will not be functional. Design assessments should therefore be guided by how design is understood, how it is valued, and how its impact is measured. If you know how to use, value and evaluate it, then design becomes a powerful tool, commercially or otherwise.
3. Design Knowledge
Y Perhaps like branding, design suffers from its wider definition. When you think of design, you think of many different categories of designers: from the architect who designs buildings, to the product designer who designs to innovate, to interior designers who develop sensory design, and graphic designers who delivers on logos, product packaging and image or typography-based design. What we are talking about in this interview is graphic design, which would appear to be at the bottom of the food chain except when you are involved in identity development. What are the dots connecting the work of all these designers in the building of brand identity? How can all the different design elements be integrated behind a common brand identity?
K When you talk about design in the generic sense, you actually cover every aspect of design. Everyone in this market is familiar with the design outputs of architects, interior, product and fashion designers. But not many understand how the design of a brand identity system by trained graphic designers contributes to a brand’s visual presence and how it cost-effectively aids in building brand perception. There is a general tendency to say that the logo is the identity, which of course is not the case, as it is only one of the visual signifiers for a brand.
Graphic design shapes visual information whether it is the text you read through its typographic form, the signs that direct you, the symbols that you understand as representing an idea, the images you see that accompanies the content of your magazines, or the identity you associate with a brand. Well-executed graphic design improves the quality of life and in its commercial applications distinguishes brands in the market. To sift out visual clutter, design is no longer a luxury but a necessity today. Think about the problems you have when you cannot read information, let alone understand it or you cannot find your way due to poor signage, or when you cannot locate the airline counter at a busy airport when you are already late. It helps that the information has been visually processed through the visual acuity of a trained graphic designer to make it easier for you. Like industrial, textile or fashion design; graphic design is an applied art, something you can “apply” with social and commercial value. To your question as to how the different design elements can be integrated behind a common brand identity, a lot would depend on the importance of branding and brand identity development as a strategic tool. A well-thought out identity designed by a trained graphic designer encapsulates and regulates other visual elements as well – from the logo to the colours, typography, imagery, graphic elements, visual tone and style etc. The system on how to use and apply these elements on varied applications (from signage to advertisements to uniforms and even gifts) in a brand identity manual acts as a cost-effective tool in managing brand perception and building brand value. Without the intervention of a cohesive identity manual, design elements from its marketing, communication to the architecture and interior, product and service design will remain fragmented.
"The benefits of effective identity design to branding are only apparent when it is consistently telling a unique, yet truthful, story about the brand through effective strategy and the success of the branding also depends on the quality of the product or service and the level of commitment by brand owners."
4. Design Credibility
Y How do you get around these barriers to improve design development in this country?
K What I try to do as much as possible is to inculcate the knowledge that graphic design must be used as a strategic tool to create brand advantage from the start. Although not many, there are clients who understand that design work is a collaborative effort and that the success of the work we undertake for them ultimately revolves around our positive relationships. What we offer through design occasionally spurs ideas for the brand’s evolution and the strategic relationship enables us to frame a bigger picture for the future, to reinvent when necessary, and to help them move to where they want to go brand-wise.
5. Design Purchase
Y Typically, who would buy graphic design in a Malaysian organisation? What types of companies are willing to invest in design and what companies do not? Has the problem been one where design has been placed in the hands of functions not yet design-oriented?
K Design purchase is not “holistic” but more adhoc depending on who buys and who holds the budget within the organisation. The work therefore varies. Our design work can be anything from greeting cards to the more strategic corporate identity work. The depth of design knowledge and value differs from one company to the next. Some have very well written briefs on what they expect from business strategy through to brand parameters.
6. Design Practices
Y As the founder and CEO of a design firm and as a design professional, you have worked on the design directions of companies both in Malaysia and elsewhere. What are the main differences in the way Malaysian companies use design relative to your experiences with companies in the more developed economies.
K In Malaysia, the evolution of design as a profession is relatively new as the discipline grew in tandem with the country’s economic progress. As such, the understanding of design as a profession with the capacity to contribute to the economic and social wellbeing of the nation is still in a state of flux. It ranges from the misperception that design is purely decorative, to how to evaluate design excellence, and remunerate the design process.
Within some of the more developed economies, design is generally understood commercially and culturally as a value-creating and value-adding profession. Design history and education from which to evolve contemporary design practice is relatively deeper where companies too are generally well versed about the function of design and what it delivers. To elevate the standards of design excellence through a shared and acceptable criteria, the bond between design education and practice in certain countries is a continuous process, where they are able to export their design innovations to the global market. As a designer working in such an environment, you feel like a small fish swimming in a deep pond, where design is constantly evolving and revolving and peers are always pushing the boundaries of design excellence.
Of course Malaysia has invested in stronger design capabilities at the national level, especially with the focus on technology and innovation. But there is still insufficient knowledge on the value of design and consequently what a stronger design industry could deliver.
Within some of the more developed economies, design is generally understood commercially and culturally as a value-creating and value-adding profession. Design history and education from which to evolve contemporary design practice is relatively deeper where companies too are generally well versed about the function of design and what it delivers. To elevate the standards of design excellence through a shared and acceptable criteria, the bond between design education and practice in certain countries is a continuous process, where they are able to export their design innovations to the global market. As a designer working in such an environment, you feel like a small fish swimming in a deep pond, where design is constantly evolving and revolving and peers are always pushing the boundaries of design excellence.
Of course Malaysia has invested in stronger design capabilities at the national level, especially with the focus on technology and innovation. But there is still insufficient knowledge on the value of design and consequently what a stronger design industry could deliver.
7. Design Education
Y Curiously, the thought that product names and logos could be sourced from anyone from employees to customers have in a way negated the value of design to business competitiveness. There is also the tendency to relate design only to product development but not to service experiences. Has this perception been caused by the lack of good designers in the market or has this been the result of something else?
K With today’s digital media, the study and practice in graphic design has revolutionised. But there are pros and cons to this revolution from the design perspective, as the use of technology sometimes tends to surpass the whole creative process. What I mean by this is that access to designs offered on the Internet promotes a “cut and paste” culture where short-cuts towards design delivery without understanding whole creative process can undermine the value and effectiveness of the design solution. This goes back to the question on how graphic designers are educated and trained for careers in design. Would young people choose to participate in an industry where there is insufficient market respect or value for what they do?
Design is still looked upon as a craft, where graphic designers once they graduate either join the advertising, printing or publishing industries. Or they open their own design shops. The danger is that when design education is not linked with the study of business or the humanities, then design ends up being just the arrangement of visual elements in an uninformed manner. This is where design becomes decorative, with no meaning and no future. While there are many talented graphic designers with the potential to create useful designs in this country, there is the need for greater exposure, education and experience on how design fits into the whole socioeconomic context. Good designers can make a real difference to people’s lives when their solutions are not only commercially, but also socially relevant. It takes at least 4 years of solid design education to become a good graphic designer. I am aware from the many young designers I have recruited through the years that the majority pursue a career in design without knowing enough about design and their career prospects, a reason why many become entrepreneurs and start their own design shops on graduation. But the experience you get in working on strategic design projects with large enterprises is different from just churning out wedding invitations and leaflets. A lot of what is happening to the design profession, at least with the younger designers, is the market reluctance to pay for good design. One reason causing the perception that “design is cheap” is the ability to easily download designs from Internet sources and the unfortunate misuse of proprietary design without intellectual property protection. This is a serious issue when designers are not able to protect their proprietary designs. So it is not just the practitioners who need to copyright their designs once created, but buyers of design services should similarly subscribe to the professional ethics of design usage.
The intent to pursue excellence in any discipline is universal but the definition of excellence differs according to the context of education, skills, the development of a profession, as well as the level of appreciation on what design can or cannot do. With any profession, the route to excellence is not just education but also experience. Critical thinking therefore needs to be ingrained from design education to professional practice.
Design is still looked upon as a craft, where graphic designers once they graduate either join the advertising, printing or publishing industries. Or they open their own design shops. The danger is that when design education is not linked with the study of business or the humanities, then design ends up being just the arrangement of visual elements in an uninformed manner. This is where design becomes decorative, with no meaning and no future. While there are many talented graphic designers with the potential to create useful designs in this country, there is the need for greater exposure, education and experience on how design fits into the whole socioeconomic context. Good designers can make a real difference to people’s lives when their solutions are not only commercially, but also socially relevant. It takes at least 4 years of solid design education to become a good graphic designer. I am aware from the many young designers I have recruited through the years that the majority pursue a career in design without knowing enough about design and their career prospects, a reason why many become entrepreneurs and start their own design shops on graduation. But the experience you get in working on strategic design projects with large enterprises is different from just churning out wedding invitations and leaflets. A lot of what is happening to the design profession, at least with the younger designers, is the market reluctance to pay for good design. One reason causing the perception that “design is cheap” is the ability to easily download designs from Internet sources and the unfortunate misuse of proprietary design without intellectual property protection. This is a serious issue when designers are not able to protect their proprietary designs. So it is not just the practitioners who need to copyright their designs once created, but buyers of design services should similarly subscribe to the professional ethics of design usage.
The intent to pursue excellence in any discipline is universal but the definition of excellence differs according to the context of education, skills, the development of a profession, as well as the level of appreciation on what design can or cannot do. With any profession, the route to excellence is not just education but also experience. Critical thinking therefore needs to be ingrained from design education to professional practice.
"Within some of the more developed economies, design is generally understood commercially and culturally as a value-creating and value-adding profession. Design history and education from which to evolve contemporary design practice is relatively deeper where companies too are generally well versed about the function of design and what it delivers."
8. Design Sponsorship
Y The value of design apparently requires similar endorsement as the branding process by credible sponsors. Who is currently championing the value of design in the country? Is the collective intent sufficiently strong to provide the necessary design momentum?
K At the national level, the Malaysia Design Council was formed in 1993 specifically to upgrade design to international standards. It was developed to promote the importance of design management to industries producing local products for global markets. The Council also assists in the development of local design capabilities as well as generate greater public awareness on the quality of design. However, the focus of the Council seems to be about product design and hardware quality.
With the exception of brand consultants and the strategic planning units of advertising agencies, there is really no strong champion for brand identity design, which in my opinion is the important “glue” which will pull together the different design elements within an organisation. For example, without identity development, a car company would not know what type of cars to produce, much less to design if even if there are product designers. If the focus is only on product design, then a well-designed car might sell but it does not contribute to the strengthening of the corporate brand of the company without a clear identity. From my experience in the market, stronger brand knowledge ensures better design decisions not just in identity development, but across all aspects of the business.
Currently brand excellence awards are judged by differing metrics from public voting of brand popularity to business organisations voting for brand recognition. Seldom are awards given for brand identity design excellence.
With the exception of brand consultants and the strategic planning units of advertising agencies, there is really no strong champion for brand identity design, which in my opinion is the important “glue” which will pull together the different design elements within an organisation. For example, without identity development, a car company would not know what type of cars to produce, much less to design if even if there are product designers. If the focus is only on product design, then a well-designed car might sell but it does not contribute to the strengthening of the corporate brand of the company without a clear identity. From my experience in the market, stronger brand knowledge ensures better design decisions not just in identity development, but across all aspects of the business.
Currently brand excellence awards are judged by differing metrics from public voting of brand popularity to business organisations voting for brand recognition. Seldom are awards given for brand identity design excellence.
9. Independent vs Integrated Design Capabilities
Y What are the differences in the design delivery between design “purists” like your firm and those operating as a department or function within integrated communications firms?
K Our focus as a design “purist” as you call it, is only on brand “form”. Therefore we are specialists in brand identity design and our work experience is more extensive in this facet of branding relative to the design departments or units of integrated communications agencies who may not have similar focus. In practice, the scope of design work depends on where a brand or design project is activated within an organisation. Frequently, design is part of the advertising budget, therefore it usually responds at this lower level and not strategically.
10. The Future Of Design
Y At the country level, there is active government and industry promotion on the importance of design especially on product and technology development. If brand form is such as important aspect of branding and therefore market competitiveness, what steps should be made to enhance the credibility and the value of design not only at product, but also at corporate and service levels of businesses in Malaysia?
K The design momentum must accelerate because everything we produce or hope to offer competitively requires the design complement. In the development of human capital, the strategy should not just be the pursuit of skills in technology and the sciences but also in design, the arts and humanities. There is the danger that design is being cut out almost entirely due to the lack of design considerations in business thinking and investments. To ensure that design evolves into a more strategic process in the future for Malaysia, the following are some suggestions:
1. Pursue design excellence through the regulation and improvement of design education.
2. Promote design as a worthy and fulfilling career choice.
3. Educate and provide information on the value of design to business competitiveness.
4. Encourage development of local design talent through greater opportunity for more strategic design work with local companies.
5. Stronger intellectual property education and protection.
1. Pursue design excellence through the regulation and improvement of design education.
2. Promote design as a worthy and fulfilling career choice.
3. Educate and provide information on the value of design to business competitiveness.
4. Encourage development of local design talent through greater opportunity for more strategic design work with local companies.
5. Stronger intellectual property education and protection.