ralph stuyver (2006) interactive brand identity design
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The thesis (2006) analyses existing design processes for online (interactive) brand identity design, and shows that none of them is apt to meet the new demands of the interactive Age. A new process is clearly needed, and here proposed and evaluated at several main Dutch Design agencies. This new design process will be applicable for both corporate brands and product brands, and is specifically aimed at the field of interactive brand design, such as website design.TRANSCRIPT
Master Dissertation
Interactive Brand Identity Design Towards a Cross-functional Design Process for Digital Brand Dialogues
Ralph Stuyver
May 2006
Master of Design Management
Nyenrode Business Universiteit/ INHOLLAND Graduate School
© 2006, Ralph Stuyver, Amsterdam, the Netherlands. All rights of this publication, including copyrights
and database rights, are reserved to the author. No part of this publication may be reproduced by any
means, or transmitted, or saved into a automated database, or translated into machine language, without
the prior written permission of the author, who can be contacted at: [email protected]
TOWARDS A PROCESS FOR INTERACTIVE BRAND IDENTITY DESIGN
© Ralph Stuyver 3
« propaganda ends where dialogue begins » McLuhan, M., Fiore, Q. and Agel, J. (1967).
The Medium is the Massage: An Inventory of Effects.
New York: Bantam Books, p.142.
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CONTENTS
FIGURES AND TABLES .............................................................................................................................................6 PREFACE ..................................................................................................................................................................7 SUMMARY................................................................................................................................................................8 STATEMENT OF ORIGINAL AUTHORSHIP................................................................................................................9 ACKNOWLEDGEMENTS..........................................................................................................................................10 1. INTRODUCTION ...........................................................................................................................................11
1.1 Problem Field...................................................................................................................................11 1.2 Problem Statement..........................................................................................................................12 1.3 Research Approach .........................................................................................................................12
1.3.1 Research Questions ..............................................................................................................13 1.3.2 Literature Review ..................................................................................................................13 1.3.3 Primary Research ..................................................................................................................13
1.4 Purpose, Objectives and Delimitations ..........................................................................................14 1.5 Thesis Outline .................................................................................................................................14 1.6 Definitions .......................................................................................................................................15 1.7 Conclusions.....................................................................................................................................15
2. THEORETICAL BACKGROUND......................................................................................................................16 2.1 Trends and Changes .......................................................................................................................16
2.1.1 Globalisation, market saturation and product commoditisation .......................................16 2.1.2 Monologue & dialogue communication...............................................................................16 2.1.3 Active, informed and networked users................................................................................17 2.1.4 Individualisation, customisation and personalisation.........................................................17 2.1.5 Multi-channeling users .........................................................................................................18 2.1.6 User-centric brand experiences ...........................................................................................18 2.1.7 Co-creation of values............................................................................................................19 2.1.8 The future of brands ............................................................................................................19 2.1.9 Trends: Conclusions .............................................................................................................19
2.2 Offline Brand Identity Expression...................................................................................................21 2.2.1 Identity Schools.....................................................................................................................21 2.2.2 Identity structures ................................................................................................................22 2.2.3 Identity, Image and Reputation............................................................................................24 2.2.4 Touchpoints ..........................................................................................................................25 2.2.5 Offline BIE: Conclusions .......................................................................................................27
2.3 Online Brand Identity Expression ...................................................................................................28 2.3.1 Communication.....................................................................................................................28 2.3.2 Interaction.............................................................................................................................29 2.3.3 Three Levels of Value Interaction.........................................................................................31 2.3.4 Key Brand Interaction aspects, work definition...................................................................31 2.3.5 Online BIE: Conclusions........................................................................................................33
2.4 Brand Design Processes..................................................................................................................34 2.4.1 Birkigt and Stadler (1986) ....................................................................................................34 2.4.2 Aaker (1996) .........................................................................................................................35 2.4.3 Stuart (1999) .........................................................................................................................36 2.4.4 Balmer & Grey (2003) ...........................................................................................................37 2.4.5 Van Erp (2004a) ....................................................................................................................38 2.4.6 Andrews (2004).....................................................................................................................39 2.4.7 Manning (2005).....................................................................................................................40 2.4.8 Existing brand design processes: Conclusions...................................................................41
2.5 Design Management .......................................................................................................................42 2.5.1 Design process as strategic resource ..................................................................................42 2.5.2 Managing the webdesign process........................................................................................43 2.5.3 User experience webdesign .................................................................................................45 2.5.4 Design management: Conclusions ......................................................................................47
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2.6 Literature review: Conclusions .......................................................................................................48 3. FRAMEWORK: THE IBID PROCESS ................................................................................................................50
3.1 IBID: Goals and Delimitation...........................................................................................................50 3.2 IBID Process: Explained...................................................................................................................51
3.2.1 Brand Identity phase - explained .........................................................................................53 3.2.2 Brand Identity Manifestations phase – explained................................................................57 3.2.3 Interactionpoints phase – explained....................................................................................60 3.2.4 Quadrants II, III and IV – explained......................................................................................61 3.2.5 Three Cycles of Value Interaction ........................................................................................63
3.3 IBID Process: Conclusions...............................................................................................................64 4. RESEARCH METHODOLOGY.........................................................................................................................65
4.1 Problem Definition & Research Questions .....................................................................................65 4.2 Research Approach .........................................................................................................................66 4.3 Data collection procedures.............................................................................................................66
4.3.1 Participants ...........................................................................................................................66 4.3.2 Materials................................................................................................................................69 4.3.3 Procedure ..............................................................................................................................69
4.4 Data Analysis Procedures ...............................................................................................................70 4.4.1 Processing the data ..............................................................................................................70
4.5 Research Methodology: Conclusions .............................................................................................71 5. PRIMARY RESEARCH: ANALYSIS AND RESULTS ...........................................................................................72
5.1 Quantitative Research .....................................................................................................................72 5.1.1 Topic 1: The IBID process in general ...................................................................................72 5.1.2 Topic 2: Reactions on Statements........................................................................................73 5.1.3 Topic 3: IBID relevance for brand Types..............................................................................74 5.1.4 Topic 4: IBID relevance for brand Phases and Stakeholders...............................................75 5.1.5 Topic 5: IBID relevance for business Functions and Groups ..............................................75
5.2 Qualitative Research .......................................................................................................................76 5.2.1 Extra Topics ..........................................................................................................................76
5.3 Quantitative & Qualitative combined .............................................................................................77 5.4 Primary Research: Conclusions ......................................................................................................79
6. THESIS CONCLUSIONS .................................................................................................................................81 6.1 Introduction.....................................................................................................................................81 6.2 Conclusions.....................................................................................................................................81
6.2.1 Conclusions from the literature review ...............................................................................81 6.2.2 Conclusions from the proposed IBID process .....................................................................82 6.2.3 Conclusions from the Primary Research..............................................................................82
6.3 General discussion..........................................................................................................................83 6.3.1 Limitations & improvements ................................................................................................83 6.3.2 Theoretical Implications .......................................................................................................83 6.3.3 Practical Implications............................................................................................................83
6.4 Further research..............................................................................................................................84 7. REFERENCES .................................................................................................................................................85 8. APPENDICES .................................................................................................................................................90
8.1 Referenced Brand identity design processes .................................................................................90 8.1.1 Boer (2003) ...........................................................................................................................90 8.1.2 Corporate Identity Framework (Brandt et all., 2003) ..........................................................91 8.1.3 Brand Identity Prism and Pyramid (Kapferer, 1995)............................................................91
8.2 Primary Research.............................................................................................................................92 8.2.1 Questionnaire........................................................................................................................92 8.2.2 Quantitative research variables..........................................................................................102 8.2.3 Descriptive statistics...........................................................................................................103 8.2.4 Questionnaire Explanation-sheet .......................................................................................104 8.2.5 Open Interview FAQ-sheet ..................................................................................................105
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FIGURES AND TABLES
Figure 1. Conceptual Research Model .................................................................................................................12 Figure 2. Thesis outline and Chapters ................................................................................................................14 Figure 3. Multi channel user paths ......................................................................................................................18 Figure 4. Towards user-centric experiences .......................................................................................................19 Figure 5. Monolithic identity structure (after van den Bosch, 2005) .................................................................22 Figure 6. Two different Endorsed identity structures (after van den Bosch, 2005) ..........................................23 Figure 7. Branded identity structure (after van den Bosch, 2005) .....................................................................23 Figure 8. Framework for brand identity structures.............................................................................................23 Figure 9. Stakeholders weights for corporate/product brands..........................................................................24 Figure 10. Image, Reputation and Interaction ....................................................................................................25 Figure 11. Brand Touchpoint Wheel ....................................................................................................................26 Figure 12. Points of Interaction: Company-think vs. Consumer-think...............................................................27 Figure 13. Monologue communication................................................................................................................28 Figure 14. Dialogue communication ...................................................................................................................28 Figure 15. Websites as dynamic centers of brand building ...............................................................................30 Figure 16. Three Levels of Value Interaction.......................................................................................................31 Figure 17. Corporate Identity and Image ............................................................................................................34 Figure 18. Brand Identity Planning Model (Aaker, 1996)....................................................................................35 Figure 19. Corporate Identity Management process (Stuart, 1999) ..................................................................36 Figure 20. Corporate Identity & Communication (Balmer & Grey, 2003) ..........................................................37 Figure 21. Firm personality based products .......................................................................................................38 Figure 22. Product-User personality match.........................................................................................................38 Figure 23. User Experience (Andrews, 2004)......................................................................................................39 Figure 24. Consumer Web Brand Experience (based on Manning, 2005) .........................................................40 Figure 25. Business Concept Innovation .............................................................................................................42 Figure 26. User experience webdesign process .................................................................................................43 Figure 27. Business functions concerned with the brand ..................................................................................44 Figure 28. Progression of Economic Value..........................................................................................................46 Figure 29. Conceptual Research Model...............................................................................................................48 Figure 30. Interactive Brand Identity Design (IBID) process ...............................................................................51 Figure 31. Brand Identity phase...........................................................................................................................53 Figure 32. Brand Identity Manifestations phase .................................................................................................57 Figure 33. Brand Identity Interactionpoints phase..............................................................................................60 Figure 34 User Identity phase..............................................................................................................................61 Figure 35. Three Cycles of Brand Value Interaction............................................................................................63 Figure 36. Means and StdErr of general IBID characteristics..............................................................................72 Figure 37. Means and Std Err. of reactions on Statements ................................................................................73 Figure 38. Analysis of relevance for brand Types...............................................................................................74 Figure 39. Analysis of brand Stakeholders..........................................................................................................75 Figure 40. Analysis of branding Phases ..............................................................................................................75 Figure 41. Analysis of brand Groups...................................................................................................................76 Figure 42. Analysis of brand business Functions ...............................................................................................76 Figure 43. IBID Implications & further research..................................................................................................84 Figure 44. Possible causal interactions between interaction aspects................................................................84 Figure 45. Brand Design Process (Boer, 2003)....................................................................................................90 Figure 46. Corporate Identity Strategic Framework (based on Brandt et all., 2003) ........................................91 Table 1. Online channels and phases..................................................................................................................18 Table 2. Eight Key Changes .................................................................................................................................20 Table 3. Naming issues: Corporate Brand and Product Brand ...........................................................................24 Table 4. Eight Key Changes .................................................................................................................................49 Table 5. Key Interactive Brand aspects................................................................................................................49 Table 6. Existing Brand Design Processes...........................................................................................................49 Table 7. Eighteen Questions on five Topics, and 46 variables ........................................................................102 Table 8. Additional information (57 variables in total).....................................................................................102 Table 9. Descriptive Statistics............................................................................................................................103
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PREFACE
This thesis forms the final assignment for the Master of Design Management (MDM) at Nyenrode Business
Universiteit/INHOLLAND Graduate School, the Netherlands. The MDM programme focuses on the power of
design in the business management context, from strategic design to tactic design and operational design.
A brand is a strong contributor to business performance and 96 percent of all senior executives rate brand
building as vital to their firms future success (Davis & Dunn, 2002). Successful brand performance also
depends upon the critical interactions stakeholders have with the brand values (Davis & Dunn, 2002).
Design affects all aspects of brand performance, since “design penetrates all of the assets that make brand
value: mission, promise, positioning, expression, notoriety and quality” (Borja de Mozota, 2003, p.113).
Design also creates “differentiation through brand identity development, building brand equity and brand
architecture”(ibid.). Furthermore, design is “the only business discipline that has the process of idea
development at the core of its education program and practise” (Powell, 1998).
This thesis analyses existing design processes for online brand identity design, and shows that none of
them is apt to meet the new demands of the interactive Age. A new process is clearly needed, and here
proposed and evaluated. This new design process will be applicable for both corporate brands and product
brands, and is specifically aimed at the field of interactive brand design, such as website design.
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SUMMARY
The brand is a key asset for most contemporary companies, and the process of designing, communicating
and managing the brand identity is important for a strong brand image and reputation. Most companies
have strong offline brand communication, but when it comes to online brand communication, e.g. through
their websites, they often loose sight (Letts, 2003). A recent Forrester report (Manning, 2005) found only 15
percent of all researched top US companies successfully delivering an online brand experience, yet most
decision makers rated ‘building the brand’ of near critical importance for their websites.
This thesis therefor focuses on why this big gap might exist between aim and reality of interactive brand
expression, and it researches and suggest design management solutions for improvement. Just like human
relationships, the brand-user relationship can be complex, subtle and highly individual. Two-way
communication (true personal dialogue) is an important aspect of interactive brand communication. The
process of interactive brand identity design was identified as an potential area of improvement within the
field of strategic design management (Cooper & Press, 1995).
Theoretical backgrounds were explored in the literature in order to gain insight in the process of interactive
brand identity design. Models for offline and online brand identity expression, brand design processes,
specific characteristics of interactive media, and main future trends were explored.
On the basis of this literature research, a new process is proposed that facilitates an open brand-user
dialogue, facilitates cross-functional communication, and allows for multiple levels of interactive brand
experience.
The here proposed Interactive Brand Identity Design process (IBID process) is then evaluated by means of a
quantitative research (questionnaire, Lickert scale scoring, statistical analysis) and qualitative research
method (open-ended expert interviews). The experts opinions about the IBID process were analysed about
the relevance for different brand types, phases, stakeholders, brand groups and business functions.
The results of this mixed-method research suggests that the proposed IBID process is clear and detailed,
and that it can be most relevant for customer driven, corporate or product/service brands, especially in the
retainment phase, where customers and brands share a personal dialogue trough their websites. This new
IBID process seems furthermore most relevant for brand designers and brand owners especially in
marketing, branding, communication and design functions.
It is therefor concluded that the IBID process could in principle help brand designers to narrow the gap
between offline and online brand expression, and improve the interactive brand identity experience. Future
research can focus on exact implementation of the proposed IBID process, e.g. guidelines and
implementations for specific interactive brand identity design practises.
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STATEMENT OF ORIGINAL AUTHORSHIP
I hereby certify that this thesis is my original work, created specifically for the purpose of obtaining a
Masters of Design Management title. At no times this thesis has been reproduced from any person or legal
entity without the proper acknowledgements, nor have I committed plagiarism to my knowledge. I further
state that I have personally carried out the research and investigations and finally achieved at what you are
about to read. However, if any of the referenced authors feel that they have been incorrectly paraphrased or
interpreted, please contact me at the below mentioned address.
All figures and tables have been created specifically for this thesis, with the exception of the cover image,
for which a written permission is granted by the owner: materialise-mgx.com, Belgium.
Furthermore I want to state that most authors mentioned here are included for their specific line of thought,
and at no place I want to restrict those authors to only one singular place in my IBID process. In fact, most
of the authors have significant contributions to many different areas in my field of interest.
Amsterdam, 25 June 2006
Ralph Stuyver,
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ACKNOWLEDGEMENTS
This thesis could not have been written without all of the help and support of many friends, colleges,
experts and other dear people. I like to thank Marco Bevolo, design director at Philips Design and my thesis
supervisor. Marco critically challenged my ideas, thoughts and findings, and gave access to relevant people
and information. But above all he supported me in his own personal style, and I hope we can continue our
lively (lunch)discussions about brands, cultures, innovations, inventions, interactions and the good food.
Thanks to Nyenrode Business Universiteit and all of the people (previously) working for INHOLLAND
Graduate School. A very special thanks goes out to Jos van der Zwaal, Rik Riezenbosch, Schelte Beltman and
Aart Goud for setting up, providing high quality content, coordinating and trying to manage this dynamic
MDM programme. A special thanks also goes to the inspirational main lectors Ralf Beuker, Marco Bevolo,
Frans Joziasse, Rob van Gullik and Jos van der Zwaal. And a very warm thank you goes to Marije Duijf and
Barbara Vlot for providing and solving the many important daily MDM issues.
A big thanks also goes to all the people I spoke to, interviewed, had lively discussions with, that provided
me information, visions, experiences, business cases, helped me, motivated me, challenged me and truly
inspired me: Jurgen Baart (Clockwork), Eugene Bay (VBAT), Joke van Beek (University of Utrecht), Gert Hans
Berghuis (Fabrique), Edo van Dijk (Eden), Jeroen van Erp (Fabrique), Eileen van Essen (Identitydoctor), Tirso
Frances (dietwee), Monique Fransen (Eden), Paul Gardien (Philips Design), Marlon Heckman (Clockwork), Rik
Heijmen (Satama/Oer), Willem Kars (Metrostation), Dingeman Kuilman (Premsela), Michiel Lammertink
(dietwee), Sophia Lancia (Lancia Automobili), Joost van Liemt (.bone), John Lippinkhof (Design Platform
Eindhoven), Erwin van Lun (Mensmerk), Monique Mulder (Mattmo), Frederik Nijsingh (Mattmo), Paul van
Ravestein (Mattmo), Rik Riezenbosch (BrandGenetics), Mitch Roedoe (Qi), Matthijs Tammes (Mattmo), Koen
Verhagen (.bone), Piet Westendorp (Delft University of Technology), Elma Wolschrijn (Eden), Jos van der
Zwaal (TakePart); my Master of Design Management cohort 3 colleagues and soul-mates: Erik Roscam
Abbing, Verena Baumhögger, Marc van Bokhoven, Katja Claessens, Barbera Evers, Kees de Vos, Madeline
Maingay, and my other dear MDM colleges: Alfred Jansen, Ada van Dijk, Joris Funcke, Rob Mulder and Edwin
Rooseman. And above all, I want to thank Ilse Verstijnen, just, for everything.
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1. INTRODUCTION
Today, the critical first contact users have with a brand is usually via it’s website. Their positive online
experience affects their brand image and attitude in every context, including those offline (Bradford, 2004).
Moreover, competitive brands are only one mouseclick away, even for loyal customers. Meanwhile there is a
clear shift in media strategy and budgets from above-the-line mass communication towards integrated
online dialogues. So, how will brands embrace this new reality, and what will be the added value of
interactive brand design?
Brand- and trend analysts see that future users want much more interactivity with the brand, across
different channels, at times they desire. Future users demand a shorter, quicker and more direct brand
interaction. Business decision makers regard ‘the way firms interact with customers’ as the area of greatest
change between now and 2010 (Franklin, 2005). This greatly impacts their business strategy and brand-,
communication- and design- strategies. While most traditional media were designed for the specific aim of
one-way mass communication (monologue media) and hence provided poor means for feedback, the
internet and other digital media were intentionally designed for two-way communication (dialogue media)
and interaction.
So the question is: how can today’s companies better express their brand identity online? What aspects will
enhance the online brand identity, how to integrate it with the offline brand identity, and how to cross-
functionally design it? Does the process of interactive brand development fundamentally differ from offline
brand development, or is online ‘just another brand channel’? And what can be the design implications for
brand identity owners and brand design agencies in creating, expressing and managing interactive brands?
While ample literature shows the contribution of design to offline brand identity expression, there is little
written about its specific contribution to interactive brand identity expression. Early research indicates that
creating an effective interactive brand expression “is far more complex than the application of line-
extension methods” and “what is needed is a new interactive brand development process” (Mauro, 2001).
This thesis tries to find answers to the above questions, and the main problem appears to be that most
firms have an articulated offline brand identity, but most of them under-express their brand identity online.
A theoretical framework for Interactive Brand Identity Design (IBID) will be developed, based on the
literature review combined with ideas of main brand identity practitioners and researchers. This framework
will then be tested on a number of Dutch offline and online brand identity design practitioners by means of
questionnaires and interviews, and its usefulness for online brand identity designers will be evaluated.
1.1 PROBLEM FIELD
Current research shows that today most brands have an articulated offline brand identity expression, yet
most firms under-articulate their brand identity online (Letts, 2003). Forrester recently reported that only 15
percent of the researched US global brands scored good on online brand expression, yet most decision
makers rated ‘building the brand’ of near critical importance for their websites (Manning, 2005).
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Research also shows that the way consumers experience the online brand strongly influences their brand
image and purchasing behaviour (Bradford, 2004). While trend research shows that online channels will gain
importance (as compared to TV and radio); the way future firms interact and create value with customers
will be crucial (Prahalad & Ramaswamy, 2004; Franklin, 2005); design will play a strong role in the
differentiation of brands and products; and the way firms handle ICT is critical for their future success (van
Dijk, 2004; Franklin, 2005). If design can positively affect interactive brand expression, then why is there
still such a big gap between the aim and the reality of interactive brand identity expression?
1.2 PROBLEM STATEMENT
To summarise the above described problems, one could state that firms have an articulated offline brand
identity expression (C, see Figure 1), yet most of them under-articulate their brand identity online (D), while
most consumers today interact with the online brand on a near daily basis. Or, more compactly written:
“There is an unwanted gap between the offline and the online brand identity expression”
1.3 RESEARCH APPROACH
This research aims to narrow this gap between offline and online brand identity expression, by researching
why it exists, what the difference is between offline and online brand identity expression (BàC ∩ BàD in
Figure 1), how online brand identity could be designed (B), what strategic design resources (A) possibly
hamper an articulated online brand identity expression (D), and what the result could be for the users (E).
Figure 1. Conceptual Research Model
Based on Hamel’s (2002) business model, internal design factors will be researched, i.e. design processes
as strategic resources (AB, in Figure 1), as well as external factors, e.g. changes in user behaviour (E), the
environment, media, communication and technologies (F). The research specifically focuses on online brand
identity expression through websites (D), with brand identity designers (agencies) as primary stakeholders.
ON
LIN
E
User Experience
ONLINE BIE
aspects
OFFLINE BIE
aspects DESIGN
PROCESS
B C
D
E
PHASES
CH
AN
NEL
S
BRAND IDENTITY EXPRESSION (BIE)
Firm Strategy
Design Assets
Design Competencies
Strategic Resources
BRAND IDENTITY DESIGN FACTORS
A
OFF
LIN
E
BRAND IDENTITY EXPERIENCE
ENVRONMENTAL FACTORS (F)
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1.3.1 Research Questions
Based on the above described problem statement and research approach, a first set of research questions
were formulated about Brand Identity Expression (BIE):
RQ1: “Why is there a big gap between online and offline brand identity expression?”
RQ2: “How can this gap be reduced?”
The literature review indicated that possible answers on the first two research questions could be found in a
new process for Interactive Brand Identity Design (IBID), since most existing identity design processes were
still mainly one-way communication processes, based on monologue, mass-media channels. Therefor, this
thesis will propose a new process, which could reduce the gap between online and offline brand identity
expression. The primary research will specifically focus on the following research questions:
RQ3: Is the proposed IBID process clear and detailed enough? (content)
RQ4: Is the proposed IBID process relevant for brands, users and brand phases? (context)
RQ5: Is the proposed IBID process relevant for brand identity designers? (target group)
RQ6: Does the proposed IBID process enable cross-functional communication (function)
RQ7: Can the proposed IBID process be used in practice? (applicability)
1.3.2 Literature Review
In order to find possible answers to the first two research questions, the literature review will focus on:
• External changes in consumer behaviour, the business environment, technological, sociological trends
and changes in media characteristics (subsection 2.1)
• Offline brand identity properties, where main identity principles are described (subsection 2.2)
• Online brand identity properties, where unique website characteristics are described (subsection 2.3)
• Existing brand identity processes, where processes and ideas for brand identity design by main authors
will be compared and evaluated (subsection 2.4)
• Design factors, where mainly design processes as strategic resources are reviewed (subsection 2.5)
The literature review will focus on brand identity expression through websites, and how processes for brand
identity expression could contribute specifically to interactive brand identity design. The conclusions of the
literature review lead to the proposal of a new design process, which is the focus of the primary research.
1.3.3 Primary Research
Since the literature review reveals that there is a lack of apt design processes for interactive brand identity
design, this thesis proposes a new interactive brand identity design (IBID) process, which will be the focus of
the primary research. This IBID process will be evaluated by a structured questionnaire (quantitative) and
open interviews (qualitative) with brand identity design experts from Dutch design agencies. Research
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questions 3, 4 and 5 will be answered by the IBID process and its evaluation in the primary research.
1.4 PURPOSE, OBJECTIVES AND DELIMITATIONS
The research aims to find answers as to why companies under-articulate themselves through online media
(websites) while usually fully expressing their brand identity offline, and to find better ways to express a
brand identity through interactive media. In order to achieve these objectives, a new IBID process is
proposed and evaluated by experts: brand identity design agencies. The primary research focuses on brand
identity design agencies, so the proposed IBID process is not intended for direct use beyond this scope.
The research also tries to apply the theoretical (from literature) and practical (from interviews) knowledge to
the practise of interactive brand identity design for webdesign agencies. The IBID process is specifically
researched with respect to it usefulness in daily brand identity design practise. The reader is referred to
Chapter 5 for comments and restrictions regarding this issue as provided by the interviewees.
1.5 THESIS OUTLINE
This first Chapter introduced the thesis, and described the problem field, the problem statement, the
research approach and research questions. It also provided the objectives and delimitations (see Figure 2).
Figure 2. Thesis outline and Chapters
The second Chapter contains a literature review based on the first two research questions, and concludes
that a new design process might answer the first two research questions. In the third Chapter such a design
process will be described, which will form the main subject of the primary research. In the fourth Chapter
the research methodology is described for finding answers on research questions 3 until 7. In Chapter five,
the results are analysed and presented. In final Chapter six, the conclusions for the research on questions 3
until 7are provided, in combination with research questions 1 and 2, and recommendations are given.
RESEARCH CONTEXT
PROBLEM DEFINITION & RESEARCH QUESTIONS
LITERATURE REVIEW PRIMARY RESEARCH
ANALYSIS & RESULTS
THESIS CONCLUSIONS
THESIS RECOMMENDATIONS
FRAMEWORK: IBID PROCESS
RQ 1 RQ 2 RQ 3 RQ 4 RQ 5
METHODOLOGY RQ 6 RQ 7
CHAPTER 1
CHAPTER 6
CHAPTER 6
CHAPTER 1
2
2
3
5
5
4
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1.6 DEFINITIONS
Most definitions of terms will be given in the following chapters. However, some general terms need to be
defined beforehand, because these terms are not explicitly explained in the thesis:
• Firm: the organisation as the origin and responsible for creation and/or delivery of products and values.
• Products: all of the physical and digital objects, environments and services, the firm offers to the users.
• Users: any legal entity, group or individual that can affect or is affected by the firm
• Values: all of the firms principles and qualities that are manifest to the users, and all of the users
principles and qualities that are manifest to the firm.
The choice for the term ‘user’ instead of e.g. ‘stakeholder’ is made in order to underline the active role that
most of today’s stakeholders have with the firm.
1.7 CONCLUSIONS
In this first chapter an introduction was given about the thesis research, the problem field, problem
statement, research questions and research approach. It described the scope of the research, its aims, the
structure of this thesis, and it provided key definitions that are not given elsewhere in the thesis.
Next chapter two will present a literature research of the first two research questions: RQ1 “Why is there a
big gap between online and offline brand identity expression?” and RQ2 “How can this gap be reduced?”.
Chapter 2 will also give a theoretical background and work definitions of the main elements of the research.
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2. THEORETICAL BACKGROUND
This Chapter will describe the most relevant literature and authors for this thesis, regarding:
• Trends and changes (external factors; section 2.1)
• Offline brand identity aspects (section 2.2)
• Online brand identity aspects (section 2.3)
• Existing brand design processes (section2.4)
• Design management & processes (section 2.5)
The theoretical background forms the basis for this thesis, and Chapter 2 will summarise and conclude on
the findings in section 2.6. Based on these conclusions, a new process for Interactive Brand Identity Design
(IBID) will be proposed in the next Chapter 3, which forms the subject of the primary research.
2.1 TRENDS AND CHANGES
2.1.1 Globalisation, market saturation and product commoditisation
Because of the globalisation, the number of newly entering brands in combination with the already high
number of locally existing brands, has lead to an overcrowded market of products and services (Kapferer,
2001). However, this has not lead to an increased quality (Prahalad & Ramaswamy, 2004). Furthermore,
traditional product features and attributes are no longer sufficient to differentiate the firm or meet the new
needs (Andrews, 2004).The blurring of national boundaries therefor has fuelled product commoditisation,
and market saturation (Rijkenberg, 2005).
Competition between brands has changed too. Especially recently in Europe a global opening of boundaries
of people, goods and labour increased the rivalry between brands (Fombrun & van Riel, 2003) and new
competitors come from complete different market segments or even industries (Buschman & Schavemaker,
2004). The media are also changing. Most western consumers have been overloaded by TV, radio and
printed ads (Fombrun & van Riel, 2003). As a result, some media became less effective and “advertising has
hit a brick wall” (Lindstrom, 2005, p.16). Kapferer concludes “Today we have 1001 product variations within
one product range, 1001 media channels and 1001 different types of consumers” (Adformatie 52, 2004).
2.1.2 Monologue & dialogue communication
The direction of communication has changed too. Modern communication facilities such as the internet and
mobile phones, made consumers no longer passive recipients of one-way targetting from companies.
Instead, monologue communication is supplemented by two-way communication. Or, as Prahalad &
Ramaswamy (2004, p.13) put it: “communication once flowed almost entirely from companies to
consumers. Now consumer feedback is beginning to overwhelm the voice of the company“. In their opinion
firms are not prepared for this feedback that needs a totally different kind of communication infrastructure.
Brandt (2003) contents that two-way communication will become the essence. He also stresses that this two-
way communication should be considered as a natural ongoing dialogue that is “characterised by equality
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and acceptation” of which “the expressions are authentic and recognisable from a shared value pattern”
(ibid., p.20). It is clear that monologue communication will grow towards a dialogue with people, which was
even underlined by the worldwide advertising agency Wieden + Kennedy (Vincent, 2002).
2.1.3 Active, informed and networked users
The content of the dialogue not just concerns feedback on existing products as stated above. From the end
of the 20th century, design agencies suddenly found people knocking on their doors asking to design new
products for them “telling them what they wanted and how much they wanted to pay for it” (van Erp, 2004).
And it is not just two-way communication between customers and companies. Customers communicate with
other customers too. Prahalad & Ramaswamy (2004, p.2) see a shift “in the role of the consumer –from
isolated to connected, from unaware to informed, from passive to active”. The internet has created a class
of almost perfectly informed citizens (Hamel, 2002). The drawback of unlimited information access is that it
makes it more difficult for them to distinguish between different firms qualities (Fombrun & van Riel, 2003).
In the Netherlands, most citizens have an internet connection at home (75%) or at work (91%), mostly via
broadband, and most citizens (92%) have one or more mobile phones (CBS, 2004). These connected,
informed and active citizens put high pressure on firms to be transparent and truthful towards their
stakeholders. "In an Internet-connected, media-saturated world, developing high negative visibility can
happen overnight -witness the Enron-Worldcom executive scandals" (Fombrun & van Riel, 2003, p.107).
Most brands were born during the era of incomplete and imperfect information and they used to be in
control of the mass media. But due to the internet, the power balance will shift from the brand to the
consumers, leading to the rise of consumer power in their transactions and relationships with brand on the
Web (Kapferer, 2001). The connected, informed and active users therefor increasingly control the dialogue.
2.1.4 Individualisation, customisation and personalisation
The western world consumer individualises and is in search for brands and products that can support his
own identity (Rijkenberg, 2005). Consumers increasingly dislike predefined lifestyles, and want to create
their own world by combining all sorts of styles and brands. Mass consumption will change from one
product for many towards one individual chooses from a plenitude of experiences (ibid.).
Three levels of personalisation were found. On a first level, users can individualise products and services by
selecting from a number of firm-defined options (e.g. choosing between different coloured products or
combinations). On a second level, customisation can take place as a support for an individual experience.
But often, this kind of customisation suits the firms supply chain rather than the users unique desires and
preferences (Prahalad & Ramaswamy, 2004) thereby regarding the user more as a 1:1 ‘marketing target’.
The third level will allow personalisation of interactions. Here, the user can engage in a meaningful brand
experience and create relevant personal brand values and stories together with the firm (co-creation).
Experience environments such as (flagship) stores, theme parks but certainly also websites, allow for such
personalisation. These environments allow individual users to interact with the environment, and support
individual users to change in relation to time and events (Prahalad & Ramaswamy, 2004). Designing such an
experience environment in which a multitude of different users can enjoy a truly personalised experience
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becomes therefor a complex, but important task. Personalisation is key to individual experiences, and it will
put the user at the heart of the value creation process, as will be explained further below.
2.1.5 Multi-channeling users
Users make increasingly use of multiple channels. Research shows that 80% of all Dutch consumers orient
across different channels before they buy, and 50% of all Dutch consumers are fully multi-channelled in
both the orientation- as well as the buying-process (MarketResponse, 2005). They use these multiple
channels to interact with the brand, and most Dutch citizens are connected to the internet. Some individual
multi-channel paths for orientation, buying and using, across offline and online channels and phases, are
shown in Figure 3, below:
Figure 3. Multi channel user paths
based on de Wilde (2004)
The relative importance of interactive media therefor will grow, which will put more emphasis on delivering
relevant brand experiences across a multitude of channels. Online channels can support all of the different
brand phases in many ways, as is shows in Table 1. Some online channels are more suitable for the earlier
phases, but websites in general can suit all phases of the branding process.
Table 1. Online channels and phases
based on Kars (2003)
2.1.6 User-centric brand experiences
The active, informed, networked and multi-channeled users that require personalised value interactions,
• • • • •• • • •
• •• • • •
• •• • • • •
online channelsE-mail marketing
Database marketingOnline advertisingMobile marketing
Search engin. optimalis.Website(s)
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have their effects on how companies express their brands. The firm’s focus will need to shift from firm-
centric supply/demand, towards user-centric experiences: “the experience is the brand” (Prahalad &
Ramaswamy, 2004, p. 132). Future brands will evolve through personalised experiences and new user-firm
interactions, as is shown in Figure 4.
Figure 4. Towards user-centric experiences
Based on Prahalad & Ramaswamy (2004, p.97)
2.1.7 Co-creation of values
Prahalad & Ramaswamy (2004) see the firm-user interaction as the locus of value creation, and individual
co-creation experience as the basis for value. Multiple channels will be the gateways to experiences, and the
firms infrastructure must support heterogeneous experience co-creation. Finally, according to Prahalad &
Ramaswamy, the firms core competence will be based on experience networks including user communities.
There has to be a clear focus on the co-creation of values of the firm with the user (Prahalad & Ramaswamy
2004; Bevolo, 2005). Value can be defined as a co-created experience for a specific user, at a specific point
in time, in a specific location, and in the context of a specific event. Increasingly complex patterns of firm-
user interactions will emerge at every point in the firm-user network (ibid.), as is summarised in Figure 4.
2.1.8 The future of brands
In the future, firms will allow the brand to be transformed by users, while brands transform users lives too
(de los Reyes, 2002). Identities will move in a more dynamic direction, towards constant evolution and away
from the five-year cycle (Kraft; in: Cheston, 2001). Brands will emphasise individual fulfilment of personal
values and aspirations (Bevolo & Brand, 2003). Firms will build brands through personalised experiences
and new interactions together with user communities, instead of the firm-centric staging (Prahalad &
Ramaswamy, 2004) or pre-packaged user-experiences (Andrews, 2004). Future brands will evolve to
complex interactions between the firm, people, culture and technology (Bevolo & Brand, 2003).
2.1.9 Trends: Conclusions
The business context of most western firms shows high levels of instability and change. Due to the
globalisation, modern communication means and other factors, there will be 1001 product variations within
one category resulting in a market saturation and product commoditisation; there will be 1001 media
Suppliers Firm
ERP, CRM, SCM
FROM FIRM-CENTRIC SUPPLY/DEMAND
Channels
Consumer segments
Nodal Firm
TOWARDS USER-CENTRIC EXPERIENCES
IndividualUser
EXPERIENCE ENVIRONMENT USER COMMUNITIES
Nodal Firm
Nodal Firm
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channels resulting in media saturation and lowered effectiveness; and there will be 1001 different types of
consumers (Kapferer, in: Adformatie 52, 2004).
Monologue communication (from firm to consumers) will be enhanced by dialogue communication (between
firms and users), across multiple channels. Users changed from isolated to connected, from unaware to
informed and from passive to active, putting high pressure on firms to be transparent and truthful. The
internet created a class of almost perfectly informed citizens and the power balance shifts from the brand to
the user. Rijkenberg (2005, p.112) concludes “the consumer = the brand = the firm”; and Prahalad &
Ramaswamy 2004, p.135) conclude the “firm = competitor = partner = collaborator = investor = consumer”,
and Brandt et all. (2003, p.19) state that in a future approach “the sender will not be central, but the values
shared with consumers and relations”.
As western society individualises (level 1) and mass consumption moves towards individual choice of many
experiences, customisation (level 2) will support the individual brand experiences. But to allow users to
engage in a meaningful brand experience, the next level (3) will be the personalisation of interactions with
the experience environment. The firms focus will have to shift from firm-centric supply/demand towards
consistent user-centered experiences. The firm-user interaction will be the locus of the value creation
process, and individual experiences will be the basis for value. Future brands will evolve from interactions
between the firm, people, culture and technology, across multiple places in the firm-user network.
All of the above information can be summarised in Eight Key Changes, see Table 2. In the next section we
will specifically focus on offline brand identity expression.
Table 2. Eight Key Changes THE ENVIRONMENT CHANGES (F) 1. Globalisation, Market saturation and Product Commoditisation 2. Monologue and Dialogue Communication THE USERS CHANGE (E) 3. Active, Informed and Networked users 4. Power-balance shifts from brand to user 5. Individualisation, Customisation and Personalisation 6. Multi-channeling users 7. User-centered Experiences 8. Value Co-creation
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2.2 OFFLINE BRAND IDENTITY EXPRESSION
There are many definitions of a brand. From very compact definitions as “an idea people live by” (Grant,
2002) or “a product/service + aura” (Ellwood, 2000, p.11), to the more elaborate:
“incorporation of a combination of promises made to customers, based on the multiple experiences
over time, delivered with a consistently high level of quality and value, that are perceived to be
unparalleled relative to the competition, ultimately resulting in deep, trust-based relationships,
which garners great amounts of loyalty and profits over time” (Davis & Dunn, 2002, p.15).
Kotler (2000, p. 396) defined a brand as: “the name, associated with one or more items in the product line,
that is used to identify the source of origin or character of the item(s)”. The American Marketing Association
defines a brand as: “a name, term, sign, symbol or design, or a combination of them, intended to identify
the goods and services (Guzmán, 2005, p. 404).
Many authors describe their process of brand identity design. The most relevant ones for this thesis will be
discussed in section 2.4. Most of these processes share some elements, but many differ on parts too, also
depending on the authors view or ‘school’. At least three main schools were identified, which all have
different definitions of a brand and brand identity. These will be described in subsection 2.2.1. Brands cover
a wide spectrum from brand identity structures, through corporate brands and product brand, to brand
width and depth, for a wide group of stakeholders. These are described in subsection 2.2.2. The perceived
brand identity by stakeholders – the image and reputation – are described in subsection 2.2.3. Brand
identity is experienced at the touchpoints, as will be described in subsection 2.2.4. Final conclusions about
the key aspects of offline brand identity expression (Offline BIE) will be given in subsection 2.2.5.
2.2.1 Identity Schools
Three main identity visions or ‘schools’ exist, mostly independent of each other (van Riel, 2003; van den
Bosch 2005; Borja de Mozota, 2003), emphasising different aspects of corporate identity: 1) the design
school, 2) the organisational school and 3) the communication school. These will be outlined below.
1. The design school has the longest tradition in corporate identity, and mainly concerns authors and
practitioners in the field of design. One of the earliest was Ollins (1978), who defined corporate identity as
“the totality of the way the organisation presents itself”, expressed in “the names, symbols, logos, colours
and rites of passage which the organisation uses to distinguish itself, its brands and its constituent
companies”. Authors of this school usually emphasised the visual expression and the symbolic qualities of
the corporate identity. They also developed strategic choices for an identity structure (see section 2.2.2)..
2. The organisational school emphasises the organisational culture and changes the firm undergoes, and its
implications on the corporate identity. Practitioners of this school are typically found internally in the firms
organisation management functions and externally in change management and organisation consultancies.
A widely used definition of corporate identity from the organisational school can be found by Birkigt and
Stadler (1986; in: van Riel, 2003, p.42): “the planned and operational self-expression of a company, both
internal and external, based on an agreed company philosophy”. This school added four new insights to the
earlier design school (van Riel, 2003, p. 37):
• Corporate identity involves more than visual and symbolic qualities alone. Birkigt & Stadler (1986) gave a
corporate-identity mix of symbolic, communicative and behavioural aspects, with a central personality.
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• Corporate identity can be seen in many different ways dependant on the value (dimensions) that have
been chosen to be most typical for the organisations identity.
• There are five types of identity: the actual-, communicated-, conceived-, ideal- and desired corporate
identity. This school added strategies for bridging the gap between the actual-, desired- and conceived.
• Research methods for quantitative measurements of the corporate identity, next to –or in addition to –
the already existing qualitative research methods.
3. The communication school
This school was usually propagated by communication consultants and marketing- or advertising experts,
emphasising the communication needed to express the chosen identity towards all internal- and external
stakeholders. In the firm, this expertise is usually found in the PR-, marketing-communication and
corporate-communication functions. A typical definition from the communication school can be found in
Franzen & van der Berg (2001, in: Boer, 2003, p. 27): “Brand identity is the unique set of physical, social and
mental components of a brand, being authentic, differentiating, central, sustainable and salient”.
According to van Riel (2002, p. 38) the communication school developed and implemented a ‘sustainable
corporate story’ and other ‘content driven messages’, and its contribution to the above schools is:
• A clear process of execution of the corporate identity programme.
• The translation of the chosen corporate identity aspects into paid publicity (advertisements) and unpaid
publicity (public relations and public affairs).
• A focus on the ‘red thread’ in the overall approach to the identity programme, integrating the symbolic,
communicative and behaviour identity aspects, trying to bridge personnel activities and communication.
In current research and practise, these three ‘schools’ somewhat overlap or flow into each other, and actual
‘schools’ are not found in reality either, they are spread over many business functions within the firm and
its external agencies. But it is to the firms interest that all functions work together towards one integrated
brand identity design, expression and experience. The take home message from this section is that a
shared identity design process should be appreciated by design, organisation and communication schools.
2.2.2 Identity structures
A brand identity is usually closely related to the way the firm is structured in a parent company, daughter
companies and different units (or companies) active in different industries, categories or segments.
According to Ollins (1989; 2002) the identity of most companies can be divided into three main identity
structures: 1. monolithic identity, 2. endorsed identity, and 3. branded identity structures:
• Monolithic identity: Everything the firm does has one name, one style and character, each subsidiary
supports the other. People primary think of the firm, and secondary of its products or services (Figure 5).
Figure 5. Monolithic identity structure (after van den Bosch, 2005)
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• Endorsed identity: Several activities take place under a common name, and the parent company allows
subsidiaries to operate under their own names. The parent endorses its subsidiaries with the corporate
visual style (Figure 6, left example) or only by an added corporate name (Figure 6, right example).
Figure 6. Two different Endorsed identity structures (after van den Bosch, 2005)
• Branded identity: The parent company works with several ‘child’ identities, visually unrelated to each
other and to the parent. Some companies separate their corporate identity from the brand identities they
own. Those brands have names, identities, reputations and personalities of their own (Figure 7).
Figure 7. Branded identity structure (after van den Bosch, 2005)
Boer (2003, p.102) added two extra levels in between (see Figure 8):
• Semi-monolithic identity: Restricted uniformity with the parent identity, like Canon or Philips.
• Multi-branded identity: Combination of two (or more) parent identities, like Sony-Ericsson.
Figure 8. Framework for brand identity structures
Based on Boer (2003, p.103)
The width of a brand is defined by the number of product categories the brand is connected to. The depth
of a brand defines the amount of variants within one category (Boer, 2003, p. 98). Some brands are very
wide, but not very deep. Other brands can be very small, yet deep. Kapferer (1992) differentiates between
range-brands (width) and line-brands (depth).
The above framework for brand identity structures (Figure 8) facilitates comparing different brand identities.
Its two extremes, the corporate brand on the left and the product brand on the right, interact with their
stakeholders in different ways (Kapferer, 1995). Usually corporate brands address a broader audience (more
Sony-Ericsson
Multi-branded
Hi,by KPNEndorsed
Philips
Semi-monolithic
Siemens
Monolithic
Motorola
Single-branded
BROWNSEngineering
SMITHSChemicals
JONESaerospace
CLARKSplastics
BLOGGO
BROWNSEngineering
SMITHSChemicals
BLOGGO
JONESAerospace
CLARKSPlastics part of BLOGGO
BROWNSEngineering
part of BLOGGO
SMITHSChemicals
part of BLOGGO
JONESaerospace
part of BLOGGO
CLARKSplastics
BLOGGO
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stakeholders) than product brands (Cheston, 2001). Kapferer (1995) made an stakeholder analysis for the
corporate brand ICI and its product brand Tactel of the relative weights for all stakeholders, see Figure 9:
Figure 9. Stakeholders weights for corporate/product brands
Based on Kapferer (1995, p.222)
There appears to be some confusion between Dutch authors about naming both extremes of the brand
identity structures, and some terms for both extremes are listed in Table 3. Many Dutch authors name
‘corporate identity’ and ‘brand’ as two opposing extremes. This can lead to confusion. The division in
‘corporate identity’ and ‘brand’ could originate from different views between different schools (Bos, 2002).
But today, the peaceful co-existence between the two schools is perceived to be to the benefit of the client
(Bos, 2002). For clarity reasons, this thesis uses ‘corporate brand’ to indicate the left side of the brand
identity framework of Figure 8, and ‘product brand’ at the right side. And when the brand identity is
concerned, the thesis uses ‘corporate brand identity’ (left side) and ‘product brand identity” (right side).
Table 3. Naming issues: Corporate Brand and Product Brand
Corporate Brand is also called: Product Brand is also called: THE IDENTITY THE BRAND Corporate Identity Brand Identity Corporate brand Product brand Organisation Identity Brand
2.2.3 Identity, Image and Reputation
Where Identity describes the authentic constituents of the brand that make it identifiable, unique and
coherent, the image could be described as the way users imagine a certain product, brand, political figure
or country. Image results from users decoding all signals that the brand sends through its products,
services and communications (Kapferer, 1996). Image was historically based on communicating the product
brand image, and was later also used for the corporate brand image (van Riel, 2003).
Users can have different images of different elements of the brand: the product, the business (unit), the
corporation (company), branch or country of origin (see Figure 10). The image is formed by all individual
associations as received over time, primarily based on 1) the users direct personal experiences with the
brands touchpoints (van Riel, 2003). However, people generally do not experience all different brand
touchpoints, and people are personally involved with a limited number of touchpoints only. Therefor, the
information received stems also from 2) friends and colleagues, and 3) paid information (advertising) and
unpaid information (PR). These strongly influence the users image too. But today, product associations are
more strongly influenced by other information than product advertising (van Riel, 2003).
share-holders
financialmarket
gouvernment
schools localcommunity
interestgroups
press/media
suppliers personnel partnerscustomers
CORPORATE BRANDCORPORATE BRAND
PRODUCT BRAND
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Figure 10. Image, Reputation and Interaction
Based on van Riel (2003, p.90, p.111) and Kapferer (2002)
Reputation, according to van Riel (2003), is the users overall evaluation of all of the different images and
perceptions as compared to competitors. Reputation results from all interactions between the
characteristics of the brand, and the characteristics of the individual user (van Riel, 2003). This reputation
can be measured e.g. by the Reputation Quotient (Harris Interactive/RI), that measures how users see the:
• Social image – How socially en environmentally responsible is the brand?
• Emotional Image – How does the brand appeal to users, makes them feel? Do users admire it?
• Product Image – High quality, innovative, value for money products and services
• Leadership Image – What is the brands vision of the future, market opportunities and leadership?
• Financial Image – What is the brands financial performance? What is its growth?
• Workplace Image – Does the firm supply a well-managed, good place to work ?
The image/reputation can be adjusted in two ways: either by changing its constituents (product-, business-,
corporate, etc.) or by changing the user communication, in order to change the users beliefs, ideas, feelings
and impressions (van Riel, 2003, p.111). Furthermore, image consists of two distinct parts (Kapferer, 1992):
• Reflection – Not the target buyer, but how users can use the brand to convey their own identity
• Self Image – The users own internal mirror, the users inner relationship with the brand
Based on the above, in combination with the conclusion that the power balance shifts from the brand to the
user (see subsection 2.1.3), we conclude that both images contain how the brand sees itself and its users,
and how the users see themselves and their brands. We envision four image types:
1) Brand SelfImage: how the brand sees itself
2) Users Reflection: how users like to see the brand and identify with it
3) Users SelfImage: how users like to see themselves,
4) Brand Reflection: how the brand likes to see the users and identify with them.
2.2.4 Touchpoints
Davis & Longoria (2003) state that every brand has between 30 and 100 touchpoints, which can be defined
as “all of the different ways the brand interacts with, and makes impressions on, customers, employees and
all other stakeholders” (Davis & Dunn, 2002, p.58). Every time a stakeholder interacts with the brand, an
impression of the brand will result, whether the firm wants it or not (ibid.). Actively influencing the design
of each brand touchpoint can strengthen the brand, give a higher degree of customer satisfaction, higher
loyalty, better reputation, higher levels of profitability and a firmer grip of the brands destiny.
PRODUCT
INGREDIENT
INDIVIDUALUSERS
INTERACTION
REPUTATION AS INTERACTION BETWEEN BRAND - USER CHARCTERISTICS
BUSINESS
CORPORATE
BRANCH
COUNTRY OF ORIGIN
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Figure 11. Brand Touchpoint Wheel
Based on Davis & Longoria (2003) and Davis & Dunn (2002)
Based on Davis & Dunn (2002), above Figure 11 shows some offline touchpoints (in blue), and we added a
number of online touchpoints (in white). We envision that from the outer side towards the inner side, the
relevance of the experience increases as the level of personalisation and interactions increases. This will be
explained in more detail in subsection 2.5.3, on page 45. Davis & Dunn (2002) name two phases ‘pre-
purchase experience ’ and ‘post-purchase experience’. We prefer a more user centered approach so we’d
rather name these the ‘pre-use experience’ and ‘use-experience’ phases.
Determining the relative importance of each touchpoint is usually a task for a strategic- and brand/
marketing manager of the firm rather than for a webdesign manager. However, since webdesign managers –
within a firm or in an external webdesign agency –are most familiar with the existence and possibilities of
these new interactive touchpoints, the choice of touchpoints and the incorporation of the brand vision,
positioning, identity, design, development, testing and tracking, should preferable be a joint effort.
Prahalad & Ramaswamy (2004, pp. 37-40) urge firms to understand the difference between ‘company think’
and ‘consumer think’ in order to be successful in the 21st century, see Figure 12. Many firms were misled by
company think and cluttered the market with feature rich but experience poor products. This mismatch
between company think and consumer think specifically arises at the touchpoints, or ‘Points of Interaction’ ,
“where choice is exercised and the consumer interacts with the firm to co-create an experience” (ibid.).
It is crucial for firms to deliver consistent and professional interactions with all stakeholders at all times,
across all points of interaction (Davis & Dunn, 2002), and to deliver a constant quality of experiences
(Prahalad & Ramaswamy, 2004). Success in operationalising the brand strongly depends on controlling
these critical interactions that brands have with all stakeholders (Davis & Dunn, 2002).
iAdvertising
SearchEO
eLetter
eMailFAQ
Manuals
Peer rating
Profile matching
Chat
liveWebcam
eShop
SelfService
MyShop
Quick3DPano360
ProductConfiguration
Sponsored Content
MyPrice
UserBlogs
My Pages eGamesBlogs
DownloadsMyCoupons
Salesperson
P-O-PDisplays
PurchaseEnvironment
Product/Service
Use
CustomerService
Newsletter& Billing
LoyaltyPrograms
AdvertisingViral mkt
DirectMailPR
Coupons&Incentives
Product/Service
Assortment
Deals &Promotions
MyAccount
Communities
Updates
P R E - USE EXP
ER
IEN
CE
PURCHASE EXPERIENCE
US
E E
XP
ER I EN C E
VoIPMessager
SMS
PERSONALBRAND
EXPERIENCE
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Figure 12. Points of Interaction: Company-think vs. Consumer-think.
Prahalad & Ramaswamy (2004, p. 38).
2.2.5 Offline BIE: Conclusions
There are many definitions of a brand, strongly depending on the ‘school’ or view towards the brand. Three
main schools were identified: the design school, the organisational school and the communication school.
In order to overcome an apparently Dutch confusion of terms, we prefer to use the terms ‘corporate brand’
and ‘product brand’, as the two extremes of the brand identity structures.
Although the design process for corporate brands or product brands is quite different (Cheston, 2001), and
the diversity of stakeholders with which the two brand structures communicate differs too (Kapferer, 1999;
Ind, 1997), all brand structures do have in common that they interact with various stakeholders. Websites,
and other forms of interactive communication, can be regarded interactive touchpoints or interactionpoints.
Choosing and optimising the different offline and online brand touchpoints should be an integrated effort
of the firms strategic- and brand/marketing manager and the (web) design manager. For successful brands
of the future, in order to maintain a consistent quality of experiences, it is crucial to design, deliver and
manage consistent interactions with all stakeholders at all times, across all points of interaction. Success in
expressing the brand identity depends on controlling these critical interactionpoints.
Next section 2.3 focuses on online brand identity expression (online BIE), where interaction plays a key role.
Points of Interaction
Company Think Consumer Think
Channels Channels
Call centers
Sales
Customer service
Distribution
CRM
Marketing
ERP
Logistics
R&D
Engineering
Manufacturing
Procurement
Systems integration
Technology platforms
Word-of-mouth
Socialisation
Life stage
Desires
Hopes
Lifestyle
Privacy
Aspirations
Workstyle
Education
Family
Expectations
Communities
Needs
The co-creation of value exposes the disconnect between company-think and consumer-think at points of consumer- company interaction
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2.3 ONLINE BRAND IDENTITY EXPRESSION
It is remarkable to see how many books are written on brand, identity and communication, yet very few
handle the specific subject of interactive brand identity for websites. Brand identity as a communication
process will be described in sub-section 2.3.1. In sub-section 2.3.2 interactivity will be described, along with
other unique properties of interactive brand identity. Three levels of interaction were found and described in
subsection 2.3.3. The results of both subsections 2.3.2 and 2.3.3 were then combined into five key
interactive brand identity aspects in subsection 2.3.4, and a preliminary definition of interaction is given.
Subsection 2.3.5 concludes with the main findings about online brand identity aspects (online BIE).
2.3.1 Communication
Communication can be divided into monologue communication (mainly one-way, see Figure 13) and
dialogue communication (mainly two-way, see Figure 14).
Figure 13. Monologue communication
Most mass media today, like TV, radio and print, were not designed for feedback between the sender and
the receiver (van Lun, 2005, p. 21). This lack of feedback was regarded unfortunate, but inevitable (ibid.).
Later attempts used some feedback means, like teletext, telephone or SMS, were still very poor in quality.
Furthermore, the receivers identity was usually unknown (TV, radio) and feedback was cumbersome.
Together with an increasing number of communication channels and advertisements, this resulted in an
overflow of one-way communication (Lindstrom, 2005), media clutter (Cristol & Sealey, 2002), making most
consumers anonymous. TV ads became dramatically less effective (Levi, 2005; Lindstrom, 2005; Ritson,
2003) and the viewed time per channel decimated (Booz, 2003; Forrester, 2005). In short: the monologue
mass media were less and less effective in reaching people and triggering their attention (Bevolo, 2005).
Figure 14. Dialogue communication
Interactive media like the internet however, were intentionally designed for a dialogue (see Figure 14).
Furthermore, internet is the only mass-communication medium that allows full interactivity (Ries & Ries,
SENDER (firm)
RECEIVER (user)
no/poor feedback
message
chan
nels
chan
nels
SENDER
ID = known
Message history
RECEIVER
RECEIVER
ID = known
Message history
SENDER Rich, pers. feedback
chan
nels
Rich, pers. message
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2000). The antique model of Sender à Message à Receiver failed to recognise that the real-world
communication is a dialogue, and today firms can no longer afford to close their eyes, catapult messages,
cross their fingers, and hope that it hits target (Neumeier, 2003).
Today, the consumer feedback is beginning to overwhelm the firms voice (Prahalad & Ramaswamy, 2004).
Most brands today however, are not very strong in allowing feedback (van Lun, 2005) as they also evolved
together with the mass-media one-way communication (Roberts, 2004). In the future, firms should listen as
well as talk (Roberts, 2004; van Lun 2005). This implies a two-way communication between two equal
problem solvers, based on a deep mutual engagement and interaction (Prahalad & Ramaswamy, 2004). In
the next subsection 2.3.2, interaction as a key element of brand identity communication will be analysed,
specifically within the context of websites.
2.3.2 Interaction
Interaction is defined as “a mutual or reciprocal action or influence”(Merriam-Webster (2005). Both parts are
essential in our opinion: interaction is bi-directional and it enables action/influence. Tremayne (2005) found
two emerging concepts of interaction: functional interactivity (as a medium characteristic) and perceptual
interactivity (as a user experience). Functional interactivity is "the extent to which users can participate in
modifying the form and content of a mediated environment in real time" (Steuer, 1992; in: Tremayne, 2005).
Perceptual interaction concerns “actions the participant is capable of observing trough one or more senses,
over whatever channels exist, to connect the participant to the experience" (Heeter, 2000).
In researching the unique properties of interactive communication, literature suggests that it can:
• stimulate an engaging and responsive brand dialogue (Locke & Levine, 2000; Keller, 2002; Andrews,
2004; Buschman & Schavemaker, 2004; Prahalad & Ramaswamy, 2004)
• build a truly personal brand relationship (van Beek, 1999; Aaker & Joachimsthaler, 2000; Ellwood, 2002;
Keller 2002; McNealy & Speak, 2002; Buschman & Schavemaker, 2004)
• especially when customisation and interactivity are involved (Pine & Gilmore, 1999; Keller, 2002;
Prahalad & Ramaswamy, 2004).
• stimulate brand resonance (Keller, 2002)
• support in achieving a lasting competitive advantage (Urde, 1999)
In short, interactive communication has the unique strength to create new opportunities for the brand.
Furthermore, literature suggests that specifically online brand interaction can:
• improve the perception of the brand value (Ellwood, 2002)
• improve the brand quality (Ghose & Dou, 1998; in: Tremayne, 2005),
• improve the brand personality (Wheeler, 2003),
• improve the brands standing (Bradford, 2004), in an influential way (Bradford, 2004),
• effect the users brand attitude offline too (Letts, 2003).
• convert interested consumers into active ones (Berthon et al.,1996),
• modify purchasing behaviour (Bradford, 2004).
But most of all, literature suggests that specifically online brand interaction can:
• give a rich brand experience (Pine & Gilmore, 1999; Aaker & Joachimsthaler, 2000; Ellwood, 2002;
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Wheeler, 2003; Buschman & Schavemaker, 2004)
• create a strong brand identity (Upshaw, 1995; van Beek, 1999; Brandt et all., 2003).
In short, online brand interaction has a major impact on almost all constituents of the brand identity.
Brands on the web can build a more powerful personal brand experience In contrast to traditional media
(Aaker & Joachimsthaler, 2000). But the art and science of designing web brand experiences “requires new
perspectives and skills and a willingness to understand the unique properties of the web” (Aaker &
Joachimsthaler, 2000, p.233). Therefor, strong brands of the digital Age will be those that best utilise the
web as a brand building tool.
Mass media will hardly be the lead player in future brand-building programs. In contrast, a website is
potentially the main driving media vehicle, or centrepiece of brand building efforts (Moon, 1999; Aaker &
Joachimsthaler, 2000), see Figure 15. Website based communication will insert a whole new dimension into
integrated communication (Aaker & Joachimsthaler, 2000). Hence, traditional media will increasingly serve
as pointers to websites and other participation enabling digital platforms (Ries & Ries, 2000; Bevolo, 2005).
Figure 15. Websites as dynamic centers of brand building
Based on Moon (1999)
Websites let users interact directly with the brand message (Ries & Ries, 2000), and can uniquely create
greater brand involvement between the brand and its greater brand community (Upshaw, 2001). As a result,
users are more actively engaged, and the impact will be more intense than with conventional media (Aaker &
Joachimsthaler, 2000). Websites can furthermore enhance user community interactions to provide greater
brand potential to stay relevant in users lives (Keller, 2002; Prahalad & Ramaswamy, 2004).
If a website contains rich user values (e.g. the users identity, characteristics and interests), and at the same
time communicates rich information about the brand identity (values, heritage, symbols), then a closer and
deeper relationship could result than with any other medium (Aaker & Joachimsthaler, 2000). The purchase
experience has been quite disassociated from brand building when monologue mass-media left the
MONOLOGUE MASS MEDIA
PERSONAL DIALOGUE MEDIA
Personalised1:1 brochures1:1 webpages
PostcardsDM, Posters
Display adsInserts
RDBS dataSpotsSpots
Program taglinesInscript sponsoring
Feature filmsProduct placementsTheme parks
E-mailCommunitiesBlogs
ShowcaseDocument distribution
Tradeshows,VideoconferencingEvents
Live TSRE-mailFax on demand
Sales force automationHelpdesk
RADIOTV
BROADCAST
PHYSICAL
INTERACTIVE
PRINTBRANDED
PROGRAMS
PRINTPUBS
PRINTCOLLA-TERAL
SHOWS&
EVENTSCD-ROMS
LIVETELECENTER
CUSTOMERRELATIONSHIP
ENTERPRISEDATA WAREH
PERSONALPRINT
Product dataCustomer data
Clickstream data
BRANDEDWEBSITE
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purchase over to the other channels. The web however can integrate the purchase experience again within
one web environment (Aaker & Joachimsthaler, 2000). Brand information and brand transaction can both be
present in websites, giving it an unique position in a multi-channel brand experience (see Figure 3).
The website can deliver actual and personalised information of almost infinite depth that cannot be found
anywhere else (Ries & Ries, 2000; Keller, 2002). Websites can uniquely personalise the brand experience,
and the brand can even have different positions and different identities for different users (Aaker &
Joachimsthaler, 2000; Prahalad & Ramaswamy, 2004; Andrews, 2004).
2.3.3 Three Levels of Value Interaction
Three levels of Value Interaction were found (Kuilman, 1999; Moon, 1999; Ries & Ries, 2000; Upshaw,
2001; Neumeier, 2003; Prahalad & Ramaswamy, 2004; Andrews, 2005). These levels are: 1) interaction
between the user and the firm, 2) interaction between the firm and user communities (networks), and 3)
interaction between the firms communities (networks) and user communities (networks). At each higher
level, the complexity of the interaction increases along with the personal value experience, see Figure 16.
Figure 16. Three Levels of Value Interaction
based on Prahalad & Ramaswamy (2004)
Upshaw (2001, p.35) calls the wider brand-community interaction the “Law of Mutually Beneficial
Interaction” where “the value of future brands will be a direct function of the mutually beneficial
interaction”. Dell’s website for instance allows users to build their PC specifically to their personal needs.
But Dell also allows partners to engage in the value creation process, through their extranet website
‘valuechain.dell.com’. Here, access to Dell’s assets and workforce is facilitated, supplier reports are shown,
feedback to Dell’s operational processes is encouraged, and best practises are shared. Dell’s websites on
internet, extranet and intranet, help building its brand identity as ‘accepting nothing but the best’.
2.3.4 Key Brand Interaction aspects, work definition
The above described aspects of brand identity of subsections 2.3.2 and 2.3.3 we then combined into five
key Brand Interaction aspects: 1) Dialogue, 2) Access, 3) Trust, 4) Relationship and 5) Value Personalisation.
1. Dialogue – is defined as “a communication based on a deep engagement between two equal problem
INCREASING VALUE EXPERIENCE
INC
REA
SIN
G I
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ERA
CT
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CO
MPL
EXIT
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FIRM - USER COMMUNITIES(one to many)
MULTIPLE FIRMS - MULTIPLE USER COMMUNITIES(many to many)
FIRM - USER(one to one)
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solvers and a propensity to act on both sides” (based on Prahalad & Ramaswamy, 2004). Dialogue allows for
a two-way communication and availability of a rich messages history from both sides (van Lun, 2005).
Feedback is an essential element of a dialogue, and it needs a context (channel, forum, platform) for the
dialogue to appear, requiring some rules of engagement (code) to make an orderly, productive interaction.
A recent survey (Wreden, 2005) that interviewed 8000 US shoppers and 75 firms, showed that 75 percent of
all consumers are willing to provide feedback on websites, and more than 50 percent are willing to provide
their product preferences too. But only 38 percent of consumer goods firm actually provide this feedback.
Recognising the importance of dialogue, Procter & Gamble redesigned its website to enhance feedback, it
even encourages complaints about corporate products or activities (Wreden, 2005). And Cisco even reports
all product bugs on its public web pages, thereby helping customers and providing employee initiatives.
2. Access – can be described as “the allowance to desirable products, services or values, at any time, place,
context, language and style”. Access does not equal ownership, and can be allowed to data, lifestyle, digital
services and analogue services (e.g. holiday time-share). Access can create new business opportunities in
emerging markets and can transform individual self expression. Internet enhances direct access, it flattens
organisations, replaces intermediates and allows to reach once unreachable people (Kapferer, 2001).
3. Trust – has two main components: risk assessment and transparency. In combination they influence
trust between the users and the firm (Kapferer, 2001; Ind, 2004; Fombrun & van Riel, 2003). Trust can also
benefit from mutual identification between sender and receiver (van Lun, 2005).
Risk assessment – refers to “the communication of the expected probabilities of harm as compared to the
expected advantages”. Risk disclosure is emerging as a major bone of contention between users and firms
(Prahalad & Ramaswamy, 2004). A main function of a brand is to reduce the perceived risk (Kapferer, 2001),
and as users become more active and informed, they’ll demand more information about potential risks, but
they may also bear more responsibility (Kapferer, 2001; Prahalad & Ramaswamy, 2004).
Transparency – can be defined as “information disclosure about the firms values and beliefs, products and
services, financial performance, vision and leadership, social responsibility and workplace environment, in a
timely and responsible way” (definition based on Fombrun & van Riel, 2003; Prahalad & Ramaswamy, 2004).
Transparency in communication is important to reduce perceived risk and to build trust (Kapferer, 2001).
Two other components could also be part to the Trust aspect: Authenticity (integrity, credibility, sincerity)
and Privacy, but those have not been explored further for this thesis.
4. Relationship – refers to “the firms dynamic ability to permanently speak, listen and learn from all internal
and external stakeholders, being responsive to their needs, and respecting their uniqueness as individuals
or communities” (based on Kapferer, 2001). In essence, brands are interactive relationships and not static
statements (McNally & Speak, 2002); brand building is comparable to relationship building and “without
interaction there can not be a relation” (van Beek, 1999, p.54). Hamel (2002) concludes that relationship
dynamics (the emotional and transactional interactions) form the basis for a strong business differentiation.
Brand relationships should be formed on customer terms, not on company terms (Buschman, 2004;
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Prahalad & Ramaswamy, 2004). A nice example is the snowboard brand Burton, where the founder stated
that Burton customers “practically felt they owned the brand, and they expected a different kind of
relationship. They didn’t want to have it done for them, but rather with them” (Kapferer, 2001, p.130).
Websites enable to deal individually with consumers, by means of extensive databases. These databases are
rich assets for building intimate relationships, to increase loyalty, to keep users informed and to share the
brand values (Kapferer, 2001; van Lun, 2005). Amazon.com for instance, deepens its relationship every time
a user visits the website, looks for a new book and reads reviews of other users. Every time a user interacts
with the brand, the more he teaches the brand what he wants, the lower the his sacrifice becomes, and the
deeper and smarter the relationship gets. Pine & Gilmore (1999) call this learning relationships.
5. Personalisation of values
The above four aspects of interaction are inter-related. In combination they enable the personalisation of
values. Firms today must allow users to actively participate in the value creation process, as internet created
a culture of participation, and consumers today want to participate in the “production or ‘servuction’
process” (Kapferer, 2001, p. 83). Personalisation is key to individual experiences (Pine & Gilmore, 1999).
An example of personalisation is MTV’s future plan. The Senior vice president stated that MTV “will turn
passive TV viewers into active users” and “brands must become buddies” (Adformatie (44), p. 20). He found
that youngsters today watch less and less TV, and create more and more content themselves, like self-shot
video’s with their favourite music, video’s, avatars, etc. TV will still lead until 2010, but then the internet
and mobile will lead. With South-Korean youngsters today, webblogs are very popular with personal mini-
blogs for mobiles. It will be a global trend to personalise mobiles. MTV will offer interactive platforms where
they can play with their own uploaded and customised content. MTV facilitates these communities in Japan
with Flux.com, where digital video’s and music are exchanged between mobiles, computers and youngsters.
Work definition of Brand Interaction, for the purpose of this thesis, is:
“A mutual influence between users and firms, enabling direct access to products, services, values and
experiences, at any given time, place or touchpoint, facilitated by a transparent and trusted dialogue
between two equal parties, enhancing the personalisation of meaningful and relevant experiences, and
leading to an empathic relationship that respects the emotional, social, and cultural context of both.”
2.3.5 Online BIE: Conclusions
It became clear that internet differs fundamentally from all other media because of its inherent possibility
for brand interaction, allowing a rich dialogue and personalisation. Future communication models will have
to be based on dialogue communication, allowing for feedback and interaction. Online brand
communication proofed to be entirely different than offline (Mauro, 2001), and expressing an authentic
online brand identity is still a new frontier that designers and communication architects are beginning to
conquer (Wheeler, 2003). Firms should strive for consistent and professional user interactions at all times,
regardless of how and where the interaction takes place (Davis & Dunn, 2002, p. 256).
Five key Brand Interaction aspects were selected: Dialogue, Access, Trust, Relationship and Personalisation,
three Levels of Value Interactions were identified, and a work definition of Brand Interaction was given. The
creation of an effective online brand is considered far more complex than simply applying ‘offline-
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extension’ methods (Mauro, 2001). What will be needed “is a new brand development process model that is
based on the concept of ‘interactive’ brand development” (Mauro, 2001). Such a new design process will be
proposed in chapter 3. But first, the next section 2.4 will evaluate existing brand design processes.
2.4 BRAND DESIGN PROCESSES
This section describes existing brand identity design processes from literature. The here presented
processes are not qualitatively better or worse than the others, and have been selected as examples during
a time period ranging from 1986 until 2005. The purpose of this review is to see what design process might
be most applicable for the research questions 1 and 2. Since our focuses is on interactivity, each process
will be evaluated on interactivity, and feedback, along with other criteria. This section will conclude with the
main findings about the existing brand identity processes.
2.4.1 Birkigt and Stadler (1986)
Figure 17. Corporate Identity and Image
Birkigt & Stadler (1986)
Description – Birkigt & Stadler’s model is widely used across different schools. It is a relatively simple model
with a corporate identity-mix of: Symbolics, Behaviour and Communication, and a central Personality.
Symbolics convey implicitly where the organisation stands for. Behaviour holds all of the organisational
actions. Communication entails all organisational messages (verbal or visual). Personality is the manifested
organisational self impression. Personality, Symbolics, Behaviour and Communication give the firm a way of
expressing its Identity. The whole identity-mix is projected to the stakeholders: the Corporate Image.
View on identity (school) – Birkigt & Stadlers view could be placed in the organisation school, but their basic
model is widely accepted across other schools as well (communication and design school).
Critique – Although the model gives a quick insight of corporate identity, there are also some drawbacks:
• A corporate image is more than the perceived identity alone. It is also influenced by a great number of
environmental forces, like behaviour of competitors, what friends or peers of stakeholders say (e.g. in
weblogs), socio-demographic changes, etc. (Maathuis, 1993; van Riel, 200;).
• Symbols and Behaviour could both be seen as Communication too, yet non-verbal.
• It seems hard to distinct Symbolics, Behaviour and Communication for these aspects usually appear
simultaneously in most manifestations. Therefor, we like to describe it as ‘what a firm says’
(Communications), ‘what it does’ (Behaviours), ‘what it shows’ (Symbolics) and “who it is” (Personality).
CORPORATE IDENTITY
PERSONALITY
CORPORATE IMAGE
SYMBOLICS
BEHAVIOUR
COMMUNICATION
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• From a corporate point of view, the corporate image is not the end-goal. Building a good image or
reputation instead is the means to an organisational end: good corporate performance (van Riel, 2003).
Interaction & Feedback – Birkigt and Stadlers model is essentially a one-way communication model, from the
left side projecting to the right side. There is no feedback from the Image back to Identity, nor is there any
feedback from the Symbols, Behaviours and Communications to the Personality (van Riel, 2003). Hence, the
model does not display any signs of interactivity or feedback.
2.4.2 Aaker (1996)
Figure 18. Brand Identity Planning Model (Aaker, 1996)
Description – Aaker (1996, p.68) defines brand identity as: “the unique set of brand associations the brand
strategist aspires to create or maintain. These associations represent what the brand stands for and imply a
promise to the customers from the organisation members”. Aaker’s brand identity process is organised
around four brand perspectives (dimensions): the brand as Product, the brand as Organisation, the brand as
a Person, and the brand as a Symbol. The brand identity exists of a Core and Extended identity (and in 2000
Aaker added brand Essence, indicated here with an asterisk). There are three brand identity phases:
strategic brand Analysis, brand Identity system, and brand Implementation.
BRAND-CUSTOMER RELATIONSHIP
STRATEGIC BRAND ANALYSIS
- Trends - Motivation- Unmet needs - Segmentation
- Brand image/identity - Strengths, strategies- Vulnerabilities * Positioning
- Existing brand image - Brand heritage- Strengths, capabilities - Organis. values
Customer Analysis Competitor Analysis Self Analysis
BRAND IDENTITY SYSTEM
VALUE PROPOSITION CREDIBILITY- Support other brands
The part of the brand identity and value proposition that is to be actively communicated to the target audience, providing competitive advantage
- Acessing multiple media - Achieving briliance - Integrating communication - Measuring results
- Brand Identoty Priorization - Identity-Supporting Programs Audit- Identity Role Models - Visual Metaphors
- Functional - Emotional - Self-expressive benefits benefits benefits
*Brand EssenceCore
Extended
7. Organisation attributes 8. Local vs global
9. Personality10. Relationship brand- customer
11. Visual imagery and metaphors12. Brand heritage
1. Product scope 2. Product attr.3. Quality/Value 4. Country5. Uses 6. Users
Brand as Product Brand as Organisation Brand as Person Brand as Symbol
BRAND IDENTITY IMPLEMENTATION SYSTEM
*BRAND IDENTITY ELABORATION
BRAND POSITION
*BRAND BUILDING PROGRAMS
TRACKING
BRAND IDENTITY
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View on identity (school) – Aaker’s process could be placed in the (marketing)communication school.
Critique– Aaker gives a very elaborate brand identity development process, with enough detail for brands to
differentiate and express themselves. However, the process is basically linear, from the top Brand Strategy
towards Brand Implementation and Tracking. Feedback is described in a some sub-sections of Aaker’s book
as a relational aspect of the ‘brand-customer relationship’, e.g. “a brand-customer relationship will have an
active partner at each end, the brand as well as the customer” (Aaker, 1995, p. 161). This reciprocal
relationship is however treated with low importance as compared to the whole identity process. It should be
noted though that Aaker & Joachimsthaler (2000) have updated their process with some new internet and
interactivity insights, but even in 2000 the process remains mainly one-directional: from firm to consumer.
Interaction & Feedback – The absence of any feedback and lack of important interaction makes the Aaker
(1995) identity process a predominant one-way, inside-out, monologue process. This can be due to the fact
that it evolved alongside with the monologue and mass oriented media of the 90’s.
2.4.3 Stuart (1999)
Figure 19. Corporate Identity Management process (Stuart, 1999)
Description – Stuart (1999) describes a corporate identity management process, where the Organisational
Culture consists of three dimensions: Corporate Personality, Corporate Strategy and Corporate Identity,
which then are communicated through an Identity Image Interface to the Stakeholders, leading to a
Corporate Image and finally resulting in a Corporate Reputation that eventually influences the Business
Survival. All the different types of communication are placed in the process (management-, organisational-,
interpersonal- and marketing-communication). The process starts at the top-left Corporate Philosophy and
finally ends in the bottom-right Business Survival, with a few dotted feedback lines back to the Corporate
Identity, Corporate Strategy and Corporate Personality.
View on identity (school) – This process could be placed in the organisation school, as it tends to be more
CORPORATEPERSONALITY
CORPORATESTRATEGY
IDEN
TIT
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CO
RPO
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TE
IMA
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Stak
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s
Mam
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tC
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Man
agem
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Co
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isat
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InterpersonalCommunication
MarketingCommunication
MarketingCommunication
INT
ERFA
CE
CORPORATEIDENTITY
CorporatePhilosophy
Core Values
CorporateMission
CORPORATEREPUTATION
OrganisationalPerformance
BusinessSurvival
ManagementEmployees
Behaviour
Symbolism
Communicat.
Environmental Forces
feedback feedback feedback
Products/Services
TopManagement
Vision
Organisational Culture
Organisational Culture
OrganisationalStructure
CorporateIdentity
Structure
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inside-out, especially when managing corporate brand identity, as is the case here.
Critique – Although Stuart’s detailed process is still dominantly a linear process from top-left to bottom-
right, the first signs of feedback loops appear (indicated as a dotted line by Stuart). Birkigt & Stadler’s
Behaviour, Symbolism and Communication are present at the Corporate Identity dimension, and Personality
is part of Stuart’s Corporate Personality dimension. Environmental Forces appear and effect most
dimensions, except the Corporate Image and Corporate Reputation, which seems strange. The Identity
Image Interface is situated outside of the Organisational Culture, which seems strange too.
Interaction & Feedback – There are first indications of feedback loops between the Corporate Reputation,
Corporate Image and the Identity Image Interface. The Identity Image Interface then feeds back to the
Corporate Identity, then back to Corporate Strategy, and finally back to Corporate Personality. The feedback
loops are present in this process, yet they seem less important. All in all, this corporate identity process
does reveal the first signs of feedback loops. All forms of communication are present in the whole process,
from Corporate Personality through the Identity Image Interface, (still) finally pointing at the Stakeholders.
2.4.4 Balmer & Grey (2003)
Figure 20. Corporate Identity & Communication (Balmer & Grey, 2003)
Description – The process by Balmer & Grey (2003) shows the Corporate Identity directly influencing the
Primary and Secondary Communication. The Environmental Forces are dominantly present at all levels of
the process. The Primary and Secondary communications have an inter-communication effect, and influence
the Stakeholders, mediated by Tertiary Communication (word of mouth, media spin and interpretation,
etc.), creating the Corporate Image and Corporate Reputation, which then feeds back to the Tertiary
Communication. Between Corporate Image/Reputation, there is a clear feedback to the Primary and
Secondary Communication, as well as to the Corporate Identity.
CORPORATE
IDENTITY
POLITICAL ECONOMIC ETHICAL SOCIAL & CULTURAL ENVIRONMENTAL FORCES
CORPORATE IMAGEAND
CORPORATE REPUTATION
COMPETITIVEADVANTAGE
STAKEHOLDERS
STAKEHOLDERS
PrimaryCommunication
Primary communication:- Product & services- Market behaviour- Behaviour towards employees- Employee behaviour to stakeh.- Non-market behaviour
Tertiary communication:- Word of mouth- Media interpretation & spin- Competitors - communiation & spin
Corporate reputation:Evolves over time as a result ofconsistent performance re-inforced by the three types ofcommunication shown above
Corporate identity:- Values & purposes- Corp. strategy- Org. culture- Org. structure
Secundary communication:- Formal, corporate & communications (advertising, PR, graphic, SP, etc.)- Visual identification systems
Corporate image:The immediate mental picturethat individuals or groups haveof an organisation
Exogenous factors:- country of origin, image and reputation- industry image & reputation- images & regulations of alliances and partnerships etc.
Evironmental factors:The five categorieshave an impact onall parts of theprocess
creates
can lead
to
Exogenous Factors
creates
through
feedbackfeedback
SecundaryCommunication
TertiaryCommunication
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View on identity (school) –The corporate identity design process of Balmer & Grey (2003) could be placed in
the organisation school, focussing on communicating the Corporate Identity.
Critique– All Behaviours are treated only as a Primary Communication (towards employees, the market, non-
market, and employees towards stakeholders), which might be logical from a communication school point
of view. Visual Identification Systems (e.g. Symbols, see: Birkigt & Stadlers) are only part of the Secondary
Communication, where one could expect it to be also part of the Primary Communication. Personality and
‘Brand as a Symbol’ (Aaker. 1996) are not mentioned as such, and most ‘strategic brand analysis’ elements,
e.g. Positioning (Aaker, 1996), are not mentioned either, or were implicitly included in Corporate Identity.
Interaction & Feedback – The feedback loops are clearly present in this recent process (2003). Feedback is
clearly present from the Corporate Image/Reputation to the Primary and Secondary Communications, and to
the Corporate Identity. Still, this process is an inside-out corporate communication to stakeholders, with
some feedback loops, where the balance between corporate sending and receiving is not very equal.
2.4.5 Van Erp (2004a)
Figure 21. Firm personality based products Figure 22. Product-User personality match
based on van Erp (2004a)
based on van Erp (2004a)
Description – Van Erp (2004a) describes the company Personality as the basis for design (see Figure 21).
Each product contains the basic company Personality ingredients of Behaviour, Communication and
Symbols, in varying degrees. Consumers, on the other hand, have individual concerns (see Figure 22) here
defined as: Goals, Standards and Attitudes, which are context-dependant. The role of the designer is to
create the Match, between the personality of the consumer and the personality of the product. Van Erp aims
with his process a.o. to facilitate the dialogue between the (product) designers and a team of other
consumer-centered specialists. Designers also have a strong role in determining the company personality
values to be expressed in the products. Although primarily used for the design of products and
environments, van Erp found his process to be applicable to interactive communication (websites) too.
In a second publication, Van Erp (2004b) maps Birkigt & Stadlers corporate identity elements on a
webdesign process by Garrett (2002), see Figure 26. Behaviour mainly influences Garrett’s lower planes (site
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Strategy and Scope),. and is strongly geared towards interaction. Symbolics mainly influences the higher
planes (Skeleton and Surface), and conveys the firms deeper and more abstract values. Communication is
almost omnipresent in Garrets design process, and strongly geared towards emotion, according to van Erp.
View on Identity (school) – Birkigt & Stadlers (1986) identity model is dominantly present in van Erp’s
process on the company and product side, and e.g. the Positioning dimension (Aaker, 1996) is absent. This
could place van Erp’s process more in the design school than the communication or organisation school.
Critique – This is one of the first processes to show a match (equal weight) between the firm identity and
user identity. The identity dimensions of the brand consist of Birkigt & Stadlers Symbols, Behaviour,
Communication and Personality, yet the identity of the Consumer shows interestingly three other
dimensions: Goals, Standards and Attitudes. Other brand identity dimensions e.g. ‘Brand as an
Organisation’, brand Positioning and brand-customer Relationship (Aaker, 1996) are absent in this model.
Interaction & Feedback – The process could be seen to be based on an interaction (match) between the
Company- and the Consumers identity, and all products, websites, etc., should enable a two-way match of
both identities. Van Erp is a main author describing a design process based on reciprocal identification.
2.4.6 Andrews (2004)
Figure 23. User Experience (Andrews, 2004)
Description – The User Experience model by Andrews (2004a) from Philips Design, shows a process of
customer-brand interaction. Customer value, meaning, etc. can result from the interaction with the brand
trough digital multi-channel touchpoints (Points of Contact). The touchpoints will allow feedback, response,
and the co-creation of solutions in the Zone of Potential, expectedly leading to long-term relationships. The
process challenges the paradigm of brand building through mass media by expanding the classic definition
of ‘positioning’ into a Zone of Potential (Bevolo, 2005). The left side (Brand Expression) shows six layers,
based on Ollins’ (1989) corporate identity elements. The right side (Customer Perception) shows four layers.
All brand-customer messages travel around in cycles, through the digital Points of Contact. Andrews also
described tools to apply the process, in internal publications (Andrews, 2004b; Bevolo, 2005).
Critique & Interaction – This a very relevant processes for the thesis. It elegantly shows the equality between
the brand and the customer, and an interactive dialogue through multiple touchpoints. Value, however, is
Serv
ices
Prod
ucts
Env
ironm
ents
Com
munication
Beha
viour
Brand
CustomerPerception
ExpressionPoints of Contact
Zone of Potential
Sensation
Idea
ActionMeaning
Value
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shown only on the customer side of the model, yet value co-creation in our opinion should equally involve
the brand (left) side. One point of critique on this process is that the dimensions on the brand side –mainly
brand Expression and manifestations– and the dimension on the customer side –mainly brand Perception
and experiences– seem different and hard to match. Furthermore, customers also Express and manifest
themselves towards the brand, and reciprocally, brands perceive and experience customers too. This
reciprocity is essential in all brand-user interaction processes of the digital Age, and is not clearly present in
the process. Finally, the three Levels of Value Interaction (see section 2.3.3) are important, but are not
present in the process. But overall, this is an elegant and very relevant process for the thesis.
2.4.7 Manning (2005)
Figure 24. Consumer Web Brand Experience (based on Manning, 2005)
Description – This last process reviewed is by Forrester Research analyst Manning (2005). Most decision
makers found ‘building brand’ to be a top online business goal, and the website brand experience:
1) Flows from the business Strategy: its Mission, Vision, Values and a powerful sense of corporate purpose,
2) Is shaped by a Positioning statement: including the brand Benefits, Personality and expected Behaviour,
3) Manifests through every Touchpoint: consistent delivery of the positioning statement, across channels.
According to Manning, touchpoints have two roles in support of the positioning: 1) communicating the
image that it specifies –the brand Image, and 2) delivering the value that it promises –the brand Action.
Brand Image comes from customers impressions of seeing and hearing all of the brand messages. Brand
Action is derived from every interaction customers have with a product or its maker, giving tangible proof of
the real value the brand delivers. The sum of all impressions and interactions is the web brand experience.
A website is uniquely for 50 percent a communication medium that conveys the brand Image, as well as for
BUSINESS STRATEGY: The overall plan to achieve company goals
- What we do - What we aspire - What we believeMission Vision Values
- How we interact with customersBehaviour
BRAND POSITIONING STATEMENT: How the company wants customers to percieve the brand
TOUCHPOINTS: Where customers experience the brand and form their actual perceptions
WEB BRAND EXPERIENCE
COMMUNICATE IMAGE DELIVER VALUE
TVad
Radioad
printad
Papermail
Email Website
50% 50%
Store Kiosk IVR Callcenter
Product
- Make the brand promise- Bring emotional & experiential brand aspects to life- Convey a brand image
- Fulfill the brand promise- Provide tangible brand benefits
- Let customers take action
- The value we offer (*promise)Benefits
eg Saves time, Saves money- Human characteristics of the brandPersonality
eg Sincere, Competent eg Conduct, Performance
BRAND IMAGE*BRAND IMAGE*( impress ions*)( impress ions*)
*BRAND ACTION(* in teract ions)50%
50%
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50 percent a delivery channel that enables brand Action. Aspects of both Image and Action are described.
Manning (2005) then rated sixteen main US brands on the two main dimensions brand Image and brand
action. Brand Image was measured by how well the website supports the Positioning (on 6 criteria), and
Brand Action was measured by how well the site supports relevant customer Goals (on 8 criteria). The brand
Image criteria focus on emotional and experiental aspects, the brand Action focus on transactional and
usability aspects. As a result from the research, only two out of sixteen US global brands passed both tests.
View on identity – Mainly views brand identity from a (marketing)communication point of view, especially for
product brands with website transactions, since the process is mainly Proposition and Positioning based.
Critique – This is also an important brand identity research found so far, that touches the heart of this
thesis: interactive brand expression through for websites. Although Manning (2005, p.2) mentions the
“potentially endless depth and two-way communication” as inherent strengths of the web, his process
however could still be regarded as mainly one-way (inside-out,) because it predominantly communicates the
image to customers and delivers the value to customers, through the website as delivery channel.
Interaction & Feedback – Although (inter)action is a part of this process, there is hardly any description of
consumer feedback, rendering it a more monologue process on a dialogue medium (website). This process
could be usable for the level 1 and possibly level 2 web user experiences, but probably not for level 3 and 4
web user experiences (see section 2.3.2, page 31). Finally, the process does not handle interaction between
firm-user communities, or multiple firms-user communities, placing it on level 1 of Social Value Interaction.
2.4.8 Existing brand design processes: Conclusions
This section 2.4 described existing brand identity design processes to see if any of these processes might
reveal answers to research questions 1 and 2. The described processes of the 80’s show dominantly one-
way, top-down, left-to-right processes, where brand identity is defined, then communicated to consumers,
resulting in a brand image/reputation. There are no signs of feedback or interaction. These processes can
be easy to understand or quite complex, and provide granularity for a rich brand expression. Rarely some
feedback is touched upon in the books, but no interaction is (clearly) present at any of the 80’s processes.
From the 90’s, identity design processes started to show some first signs of feedback. First they appear as a
dotted lines, and later as clear and multiple feedback lines. At the same time, the environmental forces on
image/reputation also became more dominantly present, at many places in the identity process.
After the year 2000, brand identity processes slowly changed towards allowing more feedback, eventually to
be clearly included in the dialogue based identity process by Andrews (2004), where interaction,
participation and dialogue are described in the publication. We like to conclude that there is a tendency
from mainly monologue processes in the 80’s towards clear dialogue identity processes after 2000.
Although the above described brand identity design processes are selected from main authors in the field,
they can not be extrapolated to all brand identity processes in general, during the past twenty years. But
our main conclusion is that, considering the important trends and changes of section 2.1, none of the above
described processes seem fully fit for the digital Age.
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2.5 DESIGN MANAGEMENT
This last section of the literature review describes the contribution of design processes to the firms
core strategy and competitive advantage (subsection 2.5.1), and the specific role of webdesign
management and processes (subsection 2.5.2). Subsection 2.5.3 describes user experience design and
research, followed by a conclusion on design management for interactive brand identity design (2.5.4).
2.5.1 Design process as strategic resource
Design could be defined as ‘values made visible’ (Cooper & Press, 1995, p.75) and ‘value’ is a key word
in all discussions about brand identity. At the birth of a firm, these values are initially carried by its
products or services (Kapferer, 2001; Boer, 2003) which Kapferer names the ‘physical’ or ‘tangible’
values of a brand. Others call this ‘intrinsic values’ or ‘product attributes’. As the firm grows, the value
is enhanced by aspects beyond the physical: it’s personality, image and other ‘intangible values’. These
intangible brand values enhance the tangible values but they never replace them (Kapferer, 2001).
‘Values made visible’ could fuel a misconception that design is only about visual perception. Although
visual perception is often dominant over other human senses (van Riel, 2003), design does influence
all human perceptual channels (Lindstrom, 2005): auditory (hear), visual (see), tactile (touch), gustatory
(taste) and olfactory (smell), and uses these to influence associations and experience of values. Instead
of visible we prefer ‘manifest’ defined as “readily perceived by all senses and especially by sight” or
“easily understood or recognised by the mind” (Merriam-Webster, 2005). Manifestations are “forms in
which an individual is manifested” (ibid.). Design could then be redefined as ’values made manifest’.
In the organisation, design can have many functions. One distinction can be made between design as
an outcome and design as a process (Hargadon, 2005; Cooper & Press, 1995; Borja de Mozota, 2003).
This distinction could also be described as ‘the outcome of values made manifest’ versus ‘the process
of making values manifest’. The Japanese Ministry of International Trade nicely summarised this in:
“Design is more than shape, color and dimensions of products. Design is the decision making
process that deals with the manifestations of objects with consideration to economy and
technical function and in answer to various consumer demands” (Cooper & Press, 1995, p.36).
Figure 25. Business Concept Innovation
Based on Hamel (2002)
core strategy
strategic resources
value network customer interface
4. Core Competencies5. Strategic Assets6. Core Processes
1. Business Mission2. Product/Market scope3. Basis for Differentiation
7. Fulfilment & Support 8. Information & Insight 9. Relationship Dynamics10. Pricing Structure
11. Suppliers12. Partners13. Coalitions
configuration
company �boundaries
customer �benefits
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Ollins (1995) stated that design is a significant management resource. And above all, design is the only
business profession that has the process of idea development at the core of its education and practise
(Powell, 1998). Business processes, including design processes, can be regarded Strategic Resources of
the firm, especially for design agencies, which are the focus of this thesis. Hamel (2002) describes a
business model) where Core Processes contribute to the firms Core Strategy (see Hamel, Figure 25).
Core processes are “activities used in translating competencies, assets and other inputs into customer
value” (Hamel, 2002, p.80). If a firm wants to exploit design as a strategic resource then it must have
the competency of managing the design process (Powell, 1998). It is clear that the design process as a
strategic resource is an important function of design management (see Hamel, Figure 25). Next, we will
specifically focus on managing the webdesign process in the context of brand identity design.
2.5.2 Managing the webdesign process
Garrett (2002) gives an insightful process for designing user web experiences, see Figure 26. It shows
five different planes, from the Strategy plane where the firms values, brand identity and goals are
defined, as well as the users needs, through the Scope, Structure and Skeleton planes, finally coming
together in the Surface plane as the firm-user interface, where the brand values can be experienced.
Figure 26. User experience webdesign process
based on Garrett (2002)
At the bottom of Figure 26, we added three different levels of webdesign management: Strategic,
Tactical and Operational (based on Cooper & Press, 1999; Joziasse, 2000; Borja de Mozota , 2003).
At the strategic level of webdesign, it is crucial to align the webdesign strategy with the brand-,
marketing-, innovation- and communication strategies and overall business strategy. More often than
not a solid webdesign strategy influences the firms Core Strategy, its Customer Interface and its Value
Network (see Hamel, Figure 25). A good example of a value network is the Apple iPod. The industrial
design and easy-to-use interface of the iPod is truly elegant. But it is the design of the entire network
sitestrategy
users
sitestructure siteskeleton
interface designnavigation designinformation design
interaction designinformation arch.usability design
functional specscontent specstechnical. specs
IN
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t b
OUT
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visual designsound designvideo/ani. design
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<< strategic design management >
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operational design management
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which really differentiates the iPod (Hargadon, 2005). IPod’s value network connects the hardware
(iPod), software (iTunes), websites (Music Store), artists and users in a way no competitor yet matched.
The iTunes software and websites have a central role in connecting the different network partners.
New products/services add value to the firm from the networks they bring together (Hargadon, 2005).
Therefor, (web)design management includes not only managing ‘the outcome of values made manifest’
and managing ‘the processes of making values manifest’ but also increasingly managing the value
design brings to each network partner. Today, designers should get used to this, as Tim Brown, CEO
from IDEO stated: “If designers can get comfortable with the idea that they are ‘designing business’ on
different levels, then they will do a better job of bringing value to businesses” (Hargadon, 2005, p.35).
At the tactical level of webdesign, managing a consistent and meaningful brand identity experience
through websites involves a lot of external design disciplines spread over one or more design agencies.
For the brand owner (firm) this implies that the selection, organisation and management of these
external agencies can be crucial. Design agencies responsible for creating online brand identity range
from IT-companies, advertising agencies, management consultants, TV producers, new media design
agencies, communication design agencies, graphic design agencies, and others (van Erp, 2004b).
But also within the firm (brand owner) many other business functions are also involved with brand
identity development, such as communication, visual design, information design, IT, marketing and
supply management (Brandt et all., 2003). These internal business functions can be spread over
design, behavioral, and communication groups (see Figure 26). In the digital publishing processes for
instance, the success of a firms integrated communication campaign relies on extensive co-operation
and efficient communication between marketing, design and IT (van Dijk, 2004).
Figure 27. Business functions concerned with the brand
BRAND IMAGE & REPUTATION Clients/users Society General public
BRAND IDENTITY Brand Design Brand Communication Brand Behaviour
Product Design
Comm. Design
Environment Design
Organis. Comm.
Managemnt Comm.
Marketing Comm.
Organisation Develop.
Personal Develop.
Innov. Culture
based on Moeller (2004) and van Riel (2003)
Although a close co-operation between functions is to the benefit of the brand, each function regards
itself as the most important ‘owner of the brand’, as Ms. Asenio stated (Borja de Mozota, 2003, p. 97):
“the marketing people will tell you they own the brand, the advertising people think they own the
brand, and designers claim their stake too. But like quality, the brand is everyone’s business”.
Eventually however, some authors state that it is not the firm who owns the brand, but that people are
the real owners. Since brands live in the minds of people, it is not what the firm says the brand is, but
what people say it is (Neumeier, 2003). At the same time, a brand can not follow every user wish, and
the management and development of brand identity must have a strong vision as a guiding principle.
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Finally, at the operational level of webdesign, a diverse group of design specialists teams together,
such as interaction-, information-, interface-, usability-, graphic-, video-, sound-, 3D- and animation
designers (see Garrett, Figure 26). Furthermore, other specialist can be part of the web project team
too, e.g. web copy writers, media strategists, e-business strategists, e-marketers, front-end and back-
end integrators, etc. And above all, the web project team should partner with the firms other internal
disciplines such as brand design, brand communication, and brand behaviour specialist, IT, etc. This
makes the team for serious webdesign projects very large, divers and complex to manage.
On this level, an important function of design management is the coordination all of these different
design specialists. A shared design process could facilitate the communication between all participants
(van Erp, 2004a). Design is crucial to achieving coherence (Borja de Mozota, 2003). But at the same
time design should ensure flexibility (Cooper & Press, 1995), allow for the personalisation (Prahalad &
Ramaswamy, 2004) and be flexible in loading the brand associations (Kootstra, 2003). “Variety is the
spice of life, and variety in the brand system does not necessarily mean incoherence” (Kapferer, 2001).
On all levels of design management, the design process plays a significant role as a strategic resource
of the firm (Hamel, Figure 25), especially for webdesign agencies. But ultimately “design should be
driven by the values of those who adopt and use them” (Hargadon, 2005, p. 38). Therefor, design
manifestations, processes and networks should be user-centered, especially for web users who are
quick to click away. The last section focuses on user experience webdesign and user centered research.
2.5.3 User experience webdesign
Design in the third millennium will increasingly be a process of creating meaningful experiences (Press
& Cooper, 2003). Creating a satisfactory online experience is a combined marketing, design and
management issue (Schmitt, 2000). Rhea (1992) already found that change in products, technologies,
cultures and peoples lives is the only constant factor in today’s saturated markets, and he stated that
designers should increasingly create customer experiences instead of designing end-products.
Designing meaningful user experiences needs a deep understanding of the users, appreciating how
they live, satisfying their psychological and emotional needs and expectations. This emphasises the
need for innovative user-centered research (Press & Cooper, 2003). Pine & Gillmore (1999) suggest
empathic design research by observing users in their own environments. Hence designers should
increasingly: 1) create personal experiences, based on 2) new ways of user-centered research.
Pine & Gilmore (1999) stated that due to the increasing prosperity and due to the market saturation of
goods and services, firms must seek new ways to create customer value. Experiences will be the next
value that fulfil the new user needs, according to them (see Figure 28). If a firm delivers experiences
relevant to user needs, this will result in a differentiated position, and allow for a premium price. They
define experiences as “events that engage individuals in a personal and memorable way” (ibid., p.18).
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Figure 28. Progression of Economic Value
Based on Pine & Gilmore (1999); Prahalad & Ramaswamy (2004)
In order to avoid the ‘commoditization trap’ (ibid.), i.e. falling back to ‘lower’ levels of competition,
firms increasingly need to customise and personalise the values that fulfil the users needs. By
increasing the number of firm-customer interactions, the more the customer teaches the firm, the
lower the ‘customer sacrifice’ will be, the better the firm can provide exactly what the customer wants,
and the more difficult it will be for competitors to lure the customer away (Pine & Gilmore, 1999, pp.
84-85). Personalisation therefor can be seen a key factor in creating meaningful user experiences, and
personalisation is the natural result of interactivity (Aaker & Joachimsthaler, 2002; Ellwood, 2002). As
was shown in section 2.3.4, websites in particular are perfectly fit for interaction and personalisation.
Therefor, websites can support the brand in at least two ways: 1) they can be rich research tools to
discover, store and update the unique user values, and 2) they can personalise the user experience by
increasing the amount and quality of interactions. Brands in the digital Age increasingly have to show
they permanently hear the users, are quick to react, and open to true dialogue (Kapferer, 2001). As a
result, brands “must be a permanent learner: surveying, auditing, profiling its customer base and
updating its knowledge for an adaptive and updated response to consumers’ expectations” (Kapferer,
2001, p.85). Some implications for the design of personal web experiences will be described next.
On a tactic level of experience webdesign, key management issues are the integration of the interactive
user experience in the business process, and the consistency of the user experience across channels
(Moore, 2003). If the user experience is integrated in the firm, this will give a stronger personification
with the brand values, making it more difficult for competitors to duplicate, and keeping loyal
customers longer (ibid.). Four levels of experience websites were found (Moore, 2003; Moon, 1999):
• web level 1: (mainly) monologue communication on the web, no (or little) interaction, and the main
online business goal is to have a web presence.
• web level 2: first possibilities for personal interaction and dialogue, online business goal is to
explore the web to support its activities, with maybe a simple form of content management system.
ExtractCommodities
Market
Customisation
Personalisation
Mentalisation
Commoditisation
Commoditisation
Commoditisation
PremiumPRICING
NEE
DS
OF
CU
STO
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FacilitateTransformations
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• web level 3: rich experience, online transactions, CRM and content management systems, online
business goal is save money and drive revenues, website fully integrated in the business processes.
• web level 4: deep personalisation, value co-creation, rich and consistent user experience leading to
transformations, cross-channel integration, and a business culture of constant change.
On a operational level of experience webdesign, the personal character of the experience and the
stimulation of all senses, all greatly impact the story the user co-creates. Authentic stories, created
around a theme that connects the brand to the user, have the character of being retold. By focusing on
the shared values between the brand and the user, and translating them into experience concepts, the
most powerful experiences can be designed. According to Buschman & Schavemaker (2005), brand
experiences on the web, should be: attractive, relevant, interactive, engaging, impressive, sticky, and
most of all storyable, where storyability is the extent to which the personal experience can be retold.
2.5.4 Design management: Conclusions
Design – affects all aspects of brand performance and “design penetrates all of the assets that make
brand value” (Borja de Mozota, 2003, p.113). Design also “creates differentiation through brand
identity development, building brand equity and brand architecture” (ibid.). A distinction can be made
between ‘design as an outcome’ and ‘design as a process’. The design process can be regarded as a
strategic resource of the firm, and the firm thus must have the competency of managing the design
process. An important aspect of design management therefor is managing the design process.
Design management – can take place on three levels: strategic-, tactical- and operational design
management, and on all levels the design process has a significant contribution.
At the strategic level of design, the design strategy should be aligned with the marketing-, innovation-
and communication strategies and the overall corporate strategy. At this level, a new interactive brand
design process could change the corporate vision about interaction as an integral part of the brand
identity in the digital Age, and affect the corporate position in the industry. A new design process
could also influence the corporate strategy, its value network and its customer interface.
At the tactic level of design, management is crucial to plan and organise a consistent brand identity
across all business functions, manifestations, touchpoints and time. This involves many specialists
across several business functions, and design agencies in the value network. Here, a shared interactive
design process could endorse the quality of the process and of the outcome, by communicating
between all specialists at the brand owner and the (design) firms. Design management is crucial to
achieve coordination and coherence of the interactive brand expressions, yet at the same time it should
stimulate innovation, flexibility, variation and personalisation of the interactive brand expressions.
At the operational level, design management concerns the creation and organisation of all brand
identity manifestations, in order to differentiate the brand identity and to create brand resonance with
users (relevant and meaningful brand values and relationships). One important aspect of design
management concerns the coordination of all design specialists in the project team. Here too, a
commonly shared interactive design process can play an important role to allow all design specialist to
communicate and to contribute to the common goal.
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Webdesign – in the digital Age will increasingly be a process of creating user experiences. For any user
experience to be relevant, an empathic understanding of the users is needed, appreciating how they
live, their psychological and emotional needs, expectations and contexts. This also underlines the need
for constant and innovative user-centered research.
Interaction and personalisation have shown to be crucial factors for any relevant and meaningful user
experience. Websites in particular are perfectly fit for this as they can support in at least two ways: 1)
by personalising the brand experience (increasing the amount & quality of interactions), and 2) by
providing a rich research tool to discover, store and update unique user values. A website “dedicated to
the brand is potentially the most powerful brand-building tool” (Aaker & Joachimsthaler, 2002, p. 237).
Webdesign managers – can coordinate the design of consistent personal user web experience. Key
management issues include the integration of the interactive user experience in the business process,
the consistency of user experience across all channels, and the coordination of all of the different
webdesign specialists. A shared interactive webdesign process on all levels of webdesign management
can contribute to the firms core strategy, its customer interface and its value network.
2.6 LITERATURE REVIEW: CONCLUSIONS
The literature research revealed a big gap between offline and online brand identity expression and
experience. To find possible solutions we first looked at environmental factors (F in Figure 29) and user
factors (E) that could be of influence, and we included future brand and cultural trends (F and E).
Figure 29. Conceptual Research Model
We concluded that users (E) changed from isolated to connected, from unaware to informed, and from
passive to active; that monologue communication will be strongly enhanced by dialogue; that the
power balance will shift from brand to users, and that future brands will co-create value by individual
user-experiences. We then condensed all of these findings into Eight Key Changes, see Table 4.
User Experience
ONLINE BIE
aspects
OFFLINE BIE
aspects DESIGN
PROCESS
B C
D
E
BRAND IDENTITY EXPRESSION (BIE)
Firm Strategy
Strategic Resources
BRAND IDENTITY DESIGN FACTORS
A
BRAND IDENTITY EXPERIENCE
ENVRONMENTAL FACTORS (F)
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Table 4. Eight Key Changes THE ENVIRONMENT CHANGES (F) 1. Globalisation, Market saturation and Product Commoditisation 2. Monologue and Dialogue Communication THE USERS CHANGE (E) 3. Active, Informed and Networked users 4. Power-balance shifts from brand to users 5. Individualisation, Customisation and Personalisation 6. Multi-channeling users 7. User-centered Experiences 8. Value Co-creation
Next, both offline (C) and online (D) brand identity aspects were researched, and online brand
expression proofed entirely different from offline. We concluded that online brand expression impacts
all parts of the brand identity, and that strong future brands will use the internet as a brand-building
tool. The unique aspects of online brand identity were then filtered through the above Key Changes,
resulting in five Key Interactive Brand aspects (Table 5) and three Levels of Value Interaction.
Table 5. Key Interactive Brand aspects 1. Dialogue (feedback, two-way, equality, act) 2. Access (to products, services, values, experiences) 3. Trust (risk assessment, transparency, authenticity, privacy) 4. Relationship (user-centered, dynamic, contextual, memory) 5. Personalisation (individual, experience, participation)
The goal of the literature research was to find answers to the first two research questions. On our first
research question (RQ1): “why is there a big gap between online and offline brand identity expression”
some authors suggested that it may be caused by inadequate existing offline brand design process
(BàC). Hence we researched ten existing brand design processes by main authors (Table 6). We
evaluated the seven most relevant processes on: Key Interactive Brand aspects and the levels of Social
Value Interaction. The other three existing brand identity processes were used as a reference.
Table 6. Existing Brand Design Processes EVALUATED (BààC) or (B ààD) REFERENCED
1. Birkigt & Stadler (1987) 8. Boer (2003) 2. Aaker (1996), Aaker & Joachimsthaler (2000) 9. Brandt et all (2003) 3. Stuart (1999) 10. Kapferer (1996) 4. Balmer & Grey (2003)
5. Van Erp (2004a; 2004b)
6. Andrews (2004)
7. Manning (2005)
We concluded that none of the existing offline design processes (BàC) seemed fully fit for online brand
identity expression (BàD) since they lacked or hardly supported many Key Interactive Brand aspects.
For our second research question (RQ2): “how can this gap be reduced”, we researched within the field
of design management to gain more insight into design processes. Main authors indicate that design
processes are strategic resources of a firm, and that design penetrates all assets that make brand
value. Since none of the existing brand processes seemed fully fit, we concluded that a new interactive
brand design process might indeed reduce this gap, indicated in RQ2. Such a new Interactive Brand
Identity Design process (IBID) will be proposed and described in the next Chapter 3.
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3. FRAMEWORK: THE IBID PROCESS
In this Chapter, a new Interactive Brand Identity Design (IBID) process is proposed, which forms the
core of this thesis. Section 3.1 gives general goals and delimitation of the process. Section 3.2 explains
the overall IBID process and three phases in particular: the identity, the manifestations and the
interactionpoints phases. Finally, section 3.3 provides general conclusions about the proposed IBID
process and how the it will be researched in the primary research.
3.1 IBID: GOALS AND DELIMITATION
IBID does not try to accurately describe all of the brand identity aspects and dimensions of all main
identity authors of the last thirty years, as this would simply be impossible. The goal of the IBID
process is to place the most important and commonly used identity dimensions in an new interactive
process that fits the digital Age. Hopefully the new IBID process can reduce the gap between offline and
online brand identity expression. The IBID process is evaluated on this aspect and other aspects as
described in the next Chapter 4.
Based on the outcome of the literature review: the eight Key Changes, the five Key Interactive Brand
aspects and the three Social Value Interactions, the IBID process aims to add a new tool for brand
identity designers in order to:
• Deepen the insight of brand identity value interactions (through interactive touchpoints)
• Enhance online brand expressions and user-experiences (with a focus on websites)
• Enhance cross-functional communication (between brand owner functions and design agencies)
• Be applicable for design agencies (focus on interactive communication designers)
• Improve the quality of the interactive brand identity design process (and the design outcomes)
• Narrow the gap between offline and online brand identity expression and experience
The following sections will explain the proposed IBID process and will provide some examples.
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3.2 IBID PROCESS: EXPLAINED
Figure 30. Interactive Brand Identity Design (IBID) process
The IBID process as shown in Figure 30 above, displays the brand (firm) on the left side, and the user
(stakeholder) on the right, thereby stressing the equality of the brand and the user. Each side of IBID is
divided in two quadrants, one for receiving and one for sending. The IBID process contains several
phases, shown as blue pointed boxes. Brands have multiple interactionpoints (number 3, in Figure 30),
where values travel around and are exchanged between the brand and the user, in continue cycles.
QUADRANT I – BRAND SENDING
Let’s start at the brand identity phase (1, in Figure 30). When defining and communicating the brand
values, the brand identity is a key element. Simply said, the brand identity contains: who the brand is
and what it’s most important values are.
The next phase contains the brand manifestation values (2, Figure 30). Simply said, the brand-
manifestations make tangible how the brand shows its values, behaves and communicates its values.
This can be manifested through it’s name, logo, use of colours, stationary, annual reports, websites,
advertising campaigns, physical or software products or services, how brand representatives behave,
etc. In short: brand manifestations are all the possible ways the brand values can become manifest.
The next phase concerns the actual interactionpoints (3). In this phase the brand values and user
values meet each other in time and space through various interactionpoints. This is where and when
values are expressed and experienced by both. Think of a retail- or website-experience when buying a
product, seeing a TV ad, an online ad, or visiting a website. But also think of the rich experience when
using a product, reading service-pages on the web or reading (writing) weblogs about the brand.
Quadrant I (BRAND SENDING) is the quadrant where all of the brands intentions are defined and
eventually communicated. Naturally, the process does not start with the brand-identity (1) as this is
also based upon the brand- and corporate strategies etc. But let’s leave those alone for a minute.
1
. BRAND SENDING (code & validate)
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QUADRANT II – USER RECEIVING
The bottom-right Quadrant II, USER-RECEIVING, shows the user receiving and ‘researching’ all of the
brands intentional values, as received through the interaction points (3). All of the ways the brand
speaks, shows and behaves its values (4) can be decoded by the user, and the identity of the brand (5)
too. Maybe the firms goals and parent behind the brand (6) are also decoded by the user, and the value
network the brand is connected to (7). All of these received values can lead to the users image of the
brand identity. Users actively orient themselves across different brands (research), increasingly by
using the internet to visit different brand sites and make e.g. price/attribute/design comparisons.
Now, whether the brand values hold any meaning or relevance to the user, depends upon the
resonance of the users individual needs, goals, values, identity, tribe and social network, as shown in
Quadrant III (USER SENDING). This resonance between USER RECEIVING (Quadrant II) and USER SENDING
(Quadrant III) is where the meaning and relevance of the brand values are validated by the user.
QUADRANT III – USER SENDING
The users personal identity (8) contains in principal the same identity dimensions as the first (1) phase,
but then based on needs as well as expressions. The user has needs for certain values and also
manifests her/his individual values (9) towards the brand and the outer world. At the same time, a user
may be part of a ‘tribe’ (family, work group, religion, culture, or any group of people sharing certain
values) or a ‘network’, and the user is influenced by the outer world (USER CONTEXT). All of these
aspects can influence the users brand image, leading to a brand reputation. Finally, how well the brand
listens to the users expressions, needs, wishes and values, is part of Quadrant IV: BRAND RECEIVING.
QUADRANT IV – BRAND RECEIVING
Now here too, the relevance of the user values for the brand, depends upon the resonance between the
brands identity (Quadrant I), and the received user identity (Quadrant IV). This fourth quadrant strongly
depends upon the brands research capabilities, and how well it adjust its brands values again in
Quadrant I. It does not really matter at what point of the process you start, but it is essential is that the
value interaction cycles are completed, and as often as possible.
The so far described IBID process might appear somewhat linear or sequential. But in reality of course,
many different brand values interactions happen in parallel across many different manifestations,
touchpoints and places. In the next subsections, three phases will be described in some more detail:
the brand identity phase (1), the brand manifestations phase (2) and the interactionpoints phase (3).
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3.2.1 Brand Identity phase - explained
Figure 31. Brand Identity phase
In Figure 31, the dimensions of the brand identity are shown (as red dots). All dimensions contain values
(choices, meanings, intent) that can trigger associations (resonate) with users. All dimensions together can
form an unique and memorable brand identity, allowing direction and structure for the organisation, and
making it recognisable, relevant and meaningful for all key users. This example has nine identity
dimensions, and two are newly proposed: the experience and the interaction dimension.
Not all firms use all of these dimensions and some have other dimensions too. But the above shown
dimensions are commonly used. The firms choice of the identity dimensions, especially the values and
weights of its most important dimensions, can differentiate the brands identity. If the firm changes one of
its main dimensions drastically, than this will likely result in a different brand identity in the eyes of most
users. All dimensions combined, represent who the brand Is and what its main values are.
The DNA dimension – forms the central core (Boer, 2003) and the fundamental idea behind an identity
programme (Jones, 2001; Ollins, 2002), containing the soul (Boer, 2004; Moyen, 2004), the essence
(Kapferer, 1995; Aaker, 1996), the philosophy (Birkigt & Stadler, 1986) and the core values (Ellwood, 2002).
Like human DNA, a small replica should be present in all identity manifestations. DNA stays mainly
unchanged for years, but as users, technologies and markets change, and the firm e.g. merges, the DNA
can change a little. DNA consists of (based on Kapferer, 1995; Boer, 2003):
• Core Values – What are the brands core values, its main philosophy, soul? What is the ‘big idea’?
• Vision – What is the brands vision on products, users or worldview? What is its strategic direction?
• Mission – What changes does the brand want to bring in peoples lives? Why does the brand need to
exist? What is its core proposition? How can it realise its vision?
• Standpoint – From where does the brand speak? What is its (prototypical product or service) history,
parent values, parent narrative?
• Territory – Where can the brand legitimate achieve its mission? For what needs, categories?
• Style and language – What core style, language and behaviours are typical of the brand?
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The identity DNA dimension can be summarised in a ‘brand foundation’ document including a ‘brand
narrative’ or rich corporate story. Identity DNA can further be made tangible (e.g. for employees or network
partners) through identity DNA books, online identity manuals and identity video’s with music, or even
online identity quizzes (games). The identity DNA contains the firms core values and its ‘scope of
credibility’, and within this scope all other identity dimensions should be positioned.
Positioning – could be regarded as ‘strategic placing’ of all other identity dimensions: Culture, Product,
Image, Symbols, Personality, Experience and Interaction. Corporate brands positioned all identity
dimensions more related to the firms internal wishes and external market possibilities. Product brands
positioned the identity dimensions more in the mind of the user, compared to competitors, by adding
‘unique emotional value’ and ‘personality’. Positioning was introduced by Ries & Trout (1982) because firms
in the 80’s found their intrinsic product values (see section 2.5.1) not differentiating enough to hold or win
the consumers preference (Rijkenberg, 2005). The Positioning dimension can be comprised in a positioning
statement and it can contain (based on Kapferer, 1992):
• Why, or for what? - What is the specific user benefit? What motivates them?
• For whom? – Who are the key users of the brand? What is the scope of the market?
• When? – What is the occasion to use the product (e.g. night and day coffee).
• Against whom? – Points to the main competition, makes the identity specific and differentiated.
• Know-how – What is the brands specific know-how? What is it exceptionally good in?
A good interactive positioning example is the Dutch
slim cheese brand ‘Slankie’. Since the 70’s, Slankie
acquired a leading position in the Dutch ‘slim cheese’
segment, but recently serious competitors occurred. In
2006, their cross-media campaign included a major
online effort to reposition Slankie as ‘partner in
weight control’, aimed to be the authority in weight
control. The repositioning was intensely enhanced by
its new website, and users were informed of its
existence by TV commercials, on-pack communication,
printed and online ads (banners) and ‘guerrilla
marketing’, all pointing to the main website. On the website, users are emerged in ‘the world of Slankie’
where a food specialist gives free personal advice, fitness video’s can be viewed, and where a personal
training scheme and recipes can be co-created. The website attracted 100,000 unique users in the first
month alone, and it will remain a permanent platform for user-brand experiences.
The Organisational Culture dimension – holds the fundamental cultural values of the organisation. These
cultural values usually grow over time and can be very hard to change fundamentally. The organisational
culture can be a very influential dimension of a brand identity, especially for service brands where the
organisation behind the brand is prominently visible. Organisational values and their associations can be
very powerful because they are difficult to compete against. This dimension can consist of the following
aspects (Kapferer, 1995; Aaker, 1996):
• Characteristics – Organisational values, e.g. innovation, consumer concern, trustworthiness.
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• Origin – The country of origin of the brand
• Globalisation – Localisation and globalisation choices
The Product & Services dimension – represents the main basis of any brand identity (Kapferer, 1992;
Aaker & Joachimsthaler, 2000; Boer, 2002). This dimension is increasingly enhanced by intangible values,
especially experiental values since the mid 90’s. The product and services dimension can contain (based on
Rhea, 1992; Kapferer, 1995; Aaker, 1996):
• Scope – The current and new product and services innovations
• Anchoring products – What typical acts, products or services best convey the brand identity?
• Attributes – Specific product or service attributes (tangible, intrinsic values)
• Price – The pricing scheme and range for the different products and services
• Quality – The intended, expected and observed quality levels of the product or service
• Experiences – Overall user-experiences, Cycles of user-experiences
The Personality dimension – holds a set of human characteristics associated with the brand identity
(Aaker, 1997), giving the brand human values, feelings and emotions in order to differentiate it from
competition. The strong focus on building a brand identity around its personality evolved in the 70’s and
80’s (Kapferer, 1992). The personality dimension can create differentiation (Aaker & Joachimsthaler, 2000)
by making it interesting and memorable, stimulating energy, and suggest brand-user relationships (e.g.
friend, party-companion, advisor). A distinction can be made between how users perceive the brand
personality, and how they use it for self expression purposes, e.g. by wearing products of a certain brand.
Five described personality dimensions are (Aaker, 1997):
• Sincerity – Down-to-earth, honest, wholesome, cheerful (e.g. Coca-Cola, Hallmark, Ford)
• Excitement – Daring, spirited, imaginative, up-to-date (e.g. Yahoo!, Virgin, MTV)
• Competence – Reliable, intelligent, successful
• Sophistication – Upper class, charming
• Ruggedness – Outdoorsy, tough
The Image dimension – describes how users might see the values of certain product, brand, firm, political
figure or country, based on all manifestations decoded by the user (Kapferer, 1996). Users can have
different images of different aspects of the brand identity values (van Riel, 2003):
• Social image – How socially en environmentally responsible is the brand?
• Emotional Image – How does the brand appeal to users, makes them feel? Do users admire it?
• Product Image – High quality, innovative, value for money products and services
• Leadership Image – What is the brands future vision, market opportunities and leadership?
• Financial Image – What is the brands financial performance? What is its growth?
• Workplace Image – Does the firm supply a well-managed, good place to work ?
Reputation can be seen as the evaluation users make of all of these images, combined with their acquired
information from the brand, information from friends, colleagues, advertising, pr, etc. Image/reputation is
based on brand-user interaction (van Riel, 2002) and can be adjusted in two ways: either by changing its
constituents (product-, business-, corporate identity, etc., see subsection 2.2.3), or by changing the
communication in order to influence the others beliefs, ideas, feelings and impressions (van Riel, 2003).
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Brands and users both have an image about themselves and about the other, resulting in four types of
images (see subsection 2.2.3):
• Brand SelfImage – How the brand sees itself (Quadrant I)
• Users Reflection – How users like to see the brand and identify with it (Quadrant II)
• Users SelfImage – How users see themselves (Quadrant III)
• Brand Reflection – How the brand likes to see the users and identify with them (Quadrant IV)
The Symbolic dimension – also plays an important role for the brand identity. The symbolic dimension
defines what values will be made manifest. Symbols have an internal and external function, which should
closely be aligned. Internal: enhancing identification between the organisation and its employees, and
external: enhancing recognition of the brand identity. The symbolic values can become manifest (in the next
phase) in many ways: the CEO, a logo, color, sound, smell, etc. The symbolic dimension also defines which
values should stay constant and which could be varied over time. Strong symbols can give the brand identity
(Aaker & Joachimsthaler, 2000):
• Attention – To make it easier to recognise the brands identity values
• Cohesion – Of the used symbols. Variance (a family of symbols) is also essential.
• Structure – To the brands internal organisation, and across different manifestations
• Recognition & Recall – To make it easier to recognise and recall
The Interaction dimension – is newly proposed by this thesis, and it forms the core of the thesis. As the
literature research showed (subsection 2.5.3), by increasing the number of firm-user interactions, the more
the user teaches the firm, the lower the users ‘sacrifice’ will be, the better the firm can provide exactly what
the user wants, and the stronger the firm-user relationship will be. A definition of brand interaction was
given on page 33. For creating meaningful experiences, personalisation is key, and personalisation is the
natural result of interactivity. The interaction dimension can therefor be regarded a gateway to meaningful
brand experiences, and it can contain (see subsection 2.3.4):
• Dialogue – Feedback, Two-way, Equality, Empathy.
• Access – To values, products, services, experiences
• Trust – Risk assessment, Transparency, Authenticity, Privacy
• Relationship – User-centered, Dynamic, Contextual, Memory
• Personalisation – Individual value co-creation, active participation
The Experience dimension – is also newly proposed by this thesis. Recent literature and business practises
from mid 90’s increasingly mention this dimension of the brand identity. The experience dimension can
contain the following aspects (see subsection 2.5.3):
• Centrality – What experiences are central to the brand identity and can be shared with individual users?
What identity values will individual users identify with and be connected to?
• Narrative – What individual story can be experienced? How is it embedded in the corporate story?
• Storyability – What personalised story will the user remember? And how easy can it be retold?
• Pleasure – Which sensory, ideological, cultural or psychological pleasures are key to the identity?
• Transformations – What constant flow of events will facilitate a user to become a happier self?
Summary – All of the above brand identity dimensions can be seen as the creative tools with which the
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brand identity will be painted, coloured and textured and brought to life through its manifestations (next
phase). In this brand identity phase, the intention is decided upon what values are essential and why, in line
with e.g. the communication-, marketing- , innovation and business strategies (previous phase). Each firm
will weight each dimension differently and will decide upon the authentic set of values across all
dimensions, thereby defining its uniquely identifiable brand identity.
3.2.2 Brand Identity Manifestations phase – explained
Figure 32. Brand Identity Manifestations phase
In this next phase, the brand identity will be manifested i.e. will become tangible for users. Manifestations
can be: a tagline (Intel inside), a character (Michelin man), a logo, a color (KPN green), a movement (Yellow
Pages fingers walking), a sound (Nokia ringtone), a smell (Singapore Airlines), a shape (Coca-Cola bottle), a
prototypical product (iPod), a program (Ronald McDonald charities), a rite of passage (Harley Davidson), etc.
The manifestations can not be disconnected from the identity, as the essence is shown in the form of the
message (Kapferer, 1995). Based on Birkigt & Stadler (1987), the brand identity can become manifest
through three aspects: what the brand Does, what it Shows, and what it Tells. All manifestations contain all
three aspects to a certain degree, and all three stem from the central brand identity values (see Figure 32).
The Identity Values & Benefits dimension – holds the set of unique and differentiating brand identity
values from the previous phase. These drive the user benefits, containing all rational, emotional and self
expressive benefits of the brand (Aaker, 1996). Also included are the relational benefits: the desired brand-
user (inter)actions and criteria for accessing and co-creating the benefits (Ellwood, 2002). This combined
dimension consist of (based on Aaker, 1996; Ellwood, 2002):
• Promise – Initial proposition to the users, clearly stated and summarised, specific and actionable.
• Relevance – Brand salience, differentiated from competition, based on needs and expectations.
• Benefits – Rational, emotional, self-expressive and relational benefits.
• Believability – Authenticity, expected & delivered proof of promise, originating from one identity
• Opportunities – Ways to enjoy (experience) the promise, solve the needs of both user and brand
• Criteria – For accessing and co-creating values and benefits
user goal
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For product brands, this dimension historically held the value proposition (promise, benefits). For corporate
brands this dimension contained core corporate values to be communicated. When value communication
changes to a dialogue and people become connected and informed (section 2.1), then value co-creation
becomes more prevalent. This dimension could then more aptly be named ‘value interaction’, providing a
constant flow of mutual value propositions, expressions and experiences.
Brand Identity Manifestations – In our opinion, Birkigt & Stadlers division in behaviour, communication
and symbols might not be very clear, since symbols as well as behaviour are communication too, yet non-
verbal, and behaviour can have symbolic meaning too. Therefor, we propose to use Do, Show and Tell
instead. The brand identity can become manifest through three aspects:
• Do: All of the ways the brand behaves, to all of its users (non-verbal)
• Show: All sensory ways to show the brand and its value symbols (non-verbal)
• Tell: All verbal, narrative and textual ways the brand communicates
Most of the times all three manifestation aspects are simultaneously present, in some higher or lower
degree.
What the brand Does is usually the field of the business management, HRM and organisational functions
(see Figure 27). What the brand Shows is usually the field of the design business functions. What the brand
Tells is usually the field of the marketing and communication functions. All identity manifestations usually
appear under one overarching theme, style and language (also a visual language), giving coherency to the
brand identity and making it more recognisable and memorable for all users of the brand.
DO – These non-verbal aspects define for example the way the firm handles it’s current and future
employees, how it behaves towards external customers, clients and allies, etc. In short, this aspect concerns
how the firm acts (and how it re-acts, in QUADRANT IV of the IBID process). With the emergence of interactive
media such a the internet, the way the firm behaves (acts) and responds (reacts) to its stakeholders is highly
accelerated. This is supported by a recent Forrester study (Manning, 2005) showing brand action as one of
the two main elements of interactive brand identity.
An example of interactive brand behaviour is the Axe Touch campaign (Buschman and Schavemaker, 2004).
Unilever tried to create a buzz around it’s deodorant brand Axe, by opening a weblog at Lycos where a
supposedly illegal pre-release of the new Axe tv commercial was posted. Unilever tried to keep secret that it
was in fact Unilever itself revealing this pre-release. When this became known to the Dutch weblog GeenStijl,
they revealed that this was a misleading commercial campaign by Unilever itself. As a result a huge negative
discussion about the trust of the Unilever brand appeared on the internet, and Unilever supposedly removed
the fake weblog as quickly as possible. This example shows that on the web, a brand should be quick to
react on actions of external stakeholders, in order to maintain trust in the brand identity and its reputation.
Rijkenberg (2005) found consistent brand behaviour ultimately defining the brand-user resonance, through
all brand manifestations. According to him, it is not only what the brand does, but explicitly also what the
brand does not do. The brand image will in time acquire its value through all of the brands behaviours.
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SHOW – These aspects are also non-verbal, and influence all five perceptual aspects of brand identity: visual
(see), tactile (touch), auditory (hear), gustatory (taste) and olfactory (smell). In short, this aspect concerns
how the brand shows it’s identity, usually by means of a logo, typefaces, colours, images, smells, textures,
materials. It can also contain symbols, metaphors and analogies.
A visual identity is an important aspect of any brand identity (van den Bosch et all., 2004), and a logo is
usually an important means to express the brands identity. But a logo is not the same as the brand. Instead
it represents some of the brands meanings, core values or brand DNA, and it contains the basic material for
e.g. the personality of the brand that makes it distinct from the competition.
Two-dimensional logo’s are by some authors regarded as typical results of the printing press and
monologue mass-media era (Neumeier, 2003). In the future, logo’s are expected to be replaced by avatars,
especially on the internet and all other interactive channels such as mobiles, ip-TV, LCD panels on streets, in
shops, stations, busses, cabs, etc. Neumeier (2003, p.86) defines avatars as icons “that can move, morph or
otherwise behave freely as the brand’s alter ego”, and avatars can be regarded the symbolic actor in an
continuing brand story. Logo’s and trademarks will go from two dimensions to three and four dimensions.
A nice example of a dynamic manifestation is the visual identity of Carat, a
worldwide media network. Here, a sphere animates between different colours and
shapes, giving associations of ‘global, ‘electricity’, ‘inspiration’ and
‘magic’. This animated visual identity does not react to a user
action, nor does it change as a result of the users context, time or
environment. But it does nicely resonate with and express Carat’s
core brand values.
The example of Google goes even further. Here, the google logo changes according to
time, birthdays and other special days, season, location (Dutch google looks different
than Finnish google) and language. Google’s brand values are even expressed by the number of results: the
more results, the bigger the logo. All of these aspects are
used to enhance the online brand identity expression.
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TELL – These verbal manifestation aspects are concerned with how and what the firm tells about its identity
(content of the message) and how it tells it (tone-of-voice, narrative). In QUANDRANT IV this aspect is concerned
with how the brand listens to its users and receives their verbal messages. Literature describes that these
communicative aspects are the most flexible of all manifestations, and can be adapted depending on the
context or reactions. The boundaries of the verbal communication are not so much in the medium, but
more in the relevance, authenticity and trustworthiness. The brand should speak from one central source
and should deliver what is tells to stand for.
One overarching Theme & Style – A brand theme is the conceptual driver that all brand manifestations can
be connected to (Ellwood, 2002). Successful brands create one theme that aligns all of the brands
manifestations and interactionpoints. A well chosen theme triggers the imagination of the brands main
users and is close to the brand essence (Buschman & Schavemaker, 2004). The manifestation style should
enhance and support the chosen theme. In a way, the brands theme and styles could be regarded the glue
that ties all of the brand identity manifestation aspects together and relates them to the core brand identity.
3.2.3 Interactionpoints phase – explained
Figure 33. Brand Identity Interactionpoints phase
In the next phase, all brand manifestations and user manifestations come together at the interactionpoints.
These interactionpoints are all of the different media, places and channels where monologue and dialogue
communication appears over time. Think of TV ads, retail environments, a personal talk with a sales
representative or call centers. But certainly also think of corporate websites, self service websites, theme
and campaign websites, where users can experience the brand values and exchange rich information.
As brought forward in Chapter 2, people make increasingly use of multiple channels to interact with brands,
and websites will increasingly serve as the centrepiece of integrated brand communications. Furthermore,
monologue communication from brand to users will be enhanced by dialogue communication between
brands and users. Therefor, the monologue interactionpoints will increasingly be connected with –and
pointing to– the more personal digital dialogue interactionpoints, as is shown in Figure 33 above.
user goal
brand strat
brand strat
user goal
tribegoal
corp strat
corp strat
tribegoal
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INTERACTION POINTS
TV
Store
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iAdviGameEvent
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BRAND-USER EXPERIENCE
attr
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A nice example of a digital interactionpoint is BMW’s
“the Hire”. Here, BMW found a new way to interact with
her busy BMW prospects, who spent minimal time on
TV, and who were otherwise hard to reach. BMW placed
five short online movies including a BMW car chase and
directed by renowned directors on her website. About
1,5 million people viewed the online movies and these
were actively discussed and send around by millions of
people, creating a ‘viral effect’. Davis & Dunn (2002, pp.
103-104) assessed BMW’s interactive touchpoint, and
found it to score maximally on most brand metrics:
consistency with the brand promise, delivery of the brand positioning, support of the brand identity,
enforcement of the brand image, consistency with the brand personality, perception shift as related to other
brands, driving inclination to buy BMW, new leads generation and addressing desirable target segments.
3.2.4 Quadrants II, III and IV – explained
Brand identity at the firms side is often described in terms of human characteristics. Brands in a more
general way, could be seen as living organisms that have their own personality and culture, that speak,
listen, act and react on environmental changes, just like humans do. Now, on the user side, as shown in
QUADRANT II and QUADRANT III of Figure 34, IBID proposes to use the same identity elements as is used on the
brand side, but then seen from the user point of view. Firstly, QUADRANT III will be explained further.
QUADRANT III – In this quadrant the user sends its values that can resonate with the brand. The user identity
phase (number 8) contains principally the same identity dimensions of: DNA, positioning, personality,
product, culture, experience, symbols, image and interaction. Most identity dimensions seem quite obvious.
Yet two dimensions need to be explained in some more detail: positioning and product.
Figure 34 User Identity phase
user goal
brand strat
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89
3user manif
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brand userUSER IDENTITY DIMENSIONS
EXPERIENCE
INTERACTION
PERSONALITY
;-);-)
!!IMAGE CULTURE
CC
XSYMBOL
WHO AM I?
PRODUCT POSITIONING DNA
USER SENDING (code & validate)
QUADRANT III
QUADRANT II
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Positioning – Many people have some idea about their own identity, and their identity in relation to other
people and brands. The positioning dimension therefor contains a set of user needs, wishes, knowledge and
capabilities that places the other user identity dimensions in relation to other brands and people. This
positioning can take place consciously and most likely partly unconsciously too. This could further be
researched in the field of psychology and social & cultural sciences.
Product – As for the users product dimension, people can have a need for some product or service, and they
can also use products and services to express or enhance their own identity. From the users point of view
this dimension therefor contains the needs, wishes, self expressive use and experience of products and
services. Nike shoes for instance are also used by people to express that they belong to the Nike
community.
In the next User Manifestation phase (number 9, in above Figure 34), users manifest themselves too by what
they Do, Show and Tell. Then, in the Interactionpoints phase (number 3), all user and brand values can
come together again through different media, places, channels and time. Traditionally, the touchpoints for
sending brand values and receiving users values (research) have been separated. Unique of the internet is
that both value expression and value research can occur through the same interactionpoints.
QUADRANT II – As described in the first section of this Chapter, QUADRANT II show the user receiving and
researching the brands values. The user research is based on what the user himself directly receives from
the brand; what media, newspapers and e-zines write about it; but all from a users point of view, and within
the user context of trusted friends, groups (tribes) and user networks, like consumer organisations.
QUADRANT IV – As part of what Hamel (2002) names the ‘customer interface’, this quadrant IV contains
important user information and insight, defined as information “that is collected from and utilised on behalf
of the customers” as well as ”the ability of a company to extract insights from this information” (ibid., p.86).
In this quadrant the brand receives and decodes all main user values. On a manifestation level, this concerns
the ability of the brand to React (vs. Do), the brands ability to Observe the users values (vs. Show), and its
ability to Hear (vs. Tell) the users verbal communication. In this quadrant IV all user information is received
by the brand and decoded in the brand’s context. This is where the resonance between quadrant I and
quadrant IV appears on the different levels. According to Fombrun & van Riel (2003, p.176):
"Listening involves attentive interacting with stakeholders that enables the company to understand
the standards against which their actions will be evaluated. Through listening, the company can also
assemble a cognitive map of the worldviews espoused by its stakeholders and use the map as a
guide in selecting its strategic positioning."
Any brand should take the input from this receiving quadrant IV to heart, and relate the user insight to the
core of its business activities, identity and aspirations for the future (Fombrun & van Riel, 2003), as this
“feedback, i.e. audience research, can inspire and validate innovation” (Neumeier, 2003., p. 154).
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3.2.5 Three Cycles of Value Interaction
As the literature research revealed (see subsection 2.3.3, p.31), at least three levels of social value
interaction were found. When applied to the IBID process, these levels appear as the three Cycles of Brand
Value Interaction, as is shown in Figure 35 below.
Figure 35. Three Cycles of Brand Value Interaction
Shared values travel around in the IBID process, creating resonance between the user and the brand in at
least three ways: the Manifestation, the Identity, and the Network Cycles. As each cycle gets more towards
the identity and culture of the user and the brand, this will bring them more closer together. When applying
the Cycles of Brand Value Interaction, the proposed IBID process will facilitate expansion of the user-brand
experience, hopefully building deeper value dialogues. Examples of different cycles will be given below.
The Dutch brand Postbank has a good example of a Manifestation
Cycle. This bank allowed its credit cards to be almost fully customised
by letting users upload their favourite photos through an online
service. Almost fully, because the company logo, and some other data
must remain on the card. In this way, the users are able to change the
card to fully match to their personally preferred manifestation. By
allowing this, the Postbank literally placed one of its core brand values
in the hands of its users: “always personal”.
An example of an Identity Cycle is MSN Messenger. The use of Messenger in the Netherlands, with about 4
million registered users, ranks amongst the worlds highest. The number of Dutch Messenger users even
equals all printed Dutch newspapers together. Why is Messenger so popular in the Netherlands? According
to a Microsoft design anthropologist (Emerce online, 18.11.2005) “a lot of internet users use it to design
their identity” in the Netherlands and “exchanging emotional messages” (ibid.). This is in contrast with Italy
for instance, where “it is socially not accepted because everything there is about face-to-face contact” (ibid.),
A nice example of the Network Value Cycle is the earlier described Apple iPod. The industrial design and
easy-to-use interface of the iPod is truly elegant. But it is the design of the entire network which really
WHY WHY
WHAT WHAT
HOW HOW
WHEREWHEN
FROM WHERE FROM WHERE
usergoal
brand strategy
usergoal
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tribegoal
corp. strategy
tribegoal
corp.strategy
brandnetwork
usernetwork
usernetwork
brandnetwork
user identity
brand identity
user identity
brand identity
user manifest.
brand manifest.
user manifest.
brand manifest.
manifest.cycle
manifest.cycle
identitycycle
identitycycle
networkcycle
networkcycle
interactionpoints
E X P A N D I N G T H E B R A N D E X P E R I E N C E
WITH WHOM
WITH WHOM
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differentiates the iPod (Hargadon, 2005). IPod’s value network connects the hardware (iPod), software
(iTunes), websites (Music Store), artists and user networks in a way no competitor yet matched. The iTunes
software and websites have a central role in connecting the different network partners.
3.3 IBID PROCESS: CONCLUSIONS
The purpose of the new IBID process was to propose a process that could narrow the gap between offline
and online brand identity expression, and the resulting brand experience. The IBID process tries to create
an interactive brand identity approach, while keeping most existing brand identity constructs mainly intact,
and placing them in the digital Age. IBID integrates in an iterative and interactive process, all of the relevant
issues that were brought forward by the literature research. A general description of the proposed IBID
process was given, and some specific parts of the process were described.
Some logical big questions remain to be answered: 1) could the proposed IBID process indeed narrow the
gap, 2) could interactive brand designers really apply IBID, and 3) could IBID actually enhance cross
functional brand identity design? The research analysis and results of Chapter 5 should provide answers to
these questions. But first, the next Chapter 4 will describe the research method used in order to generate
answers to these questions.
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4. RESEARCH METHODOLOGY
This chapter describes the methodology for the primary research. In the first section we will restate the
problem definition and research questions (section 4.1). Then we will show how we operationalised the
theoretical constructs into measurable variables (section 4.2). Next, a description is given what procedures
were used for data collection (section 4.3) and data analysis (section 4.4), followed by a methodology
conclusion (section 4.5). The next Chapter 5 will supply the data analysis and primary research results.
4.1 PROBLEM DEFINITION & RESEARCH QUESTIONS
As was stated in Chapter 1, firms today have an articulated offline brand identity expression, yet most of
them under-articulate their brand identity online. At the same time, most users today interact with the
online brand on a near daily basis. The main problem statement of the research is:
PS: “There is an unwanted gap between offline and online brand identity expression”
Subsequently, seven research questions were formulated about brand identity expression (BIE):
RQ1: Why is there a big gap between online and offline brand identity expression?
RQ2: How can this gap be reduced?
The literature review (Chapter 2) indicated that possible answers on these first two research questions (RQ1
and RQ2) could be found in defining a new design process specifically created for interactive brand identity
design. This has led to the new tentative IBID process as was described in Chapter 3 which incorporates all
necessary aspects that the literature review revealed (i.e. Eight Key Changes, Five Interactive Brand Identity
aspects and Three Levels of Value Interaction). In order for any new process to be successful, it should be
comprehensible and applicable. Naturally this also applies to the IBID process. We formulated five criteria:
RQ3: Is the process clear and detailed enough? (content)
RQ4: Is the process relevant for brands, users and brand phases? (context)
RQ5: Is the process relevant for brand identity designers? (target group)
RQ6: Does the process enable cross-functional communication (function)
RQ7: Can the process be used in practice? (applicability)
The rationale for these criteria is that if a new process is hard to understand or too general, chances are
that the process will not be used (RQ3). If the new process holds little relevance for brands, users or
branding phases than it might still be a valid new process, but probably not in the desired context (RQ4).
Next, if the new process seems clear, detailed and relevant in its context, then the target group should
consider the process relevant (RQ5) and should be able to use it (RQ7). Finally, the process should enable
cross-functional communication (RQ6) as was indicated by the literature research. The goal of this primary
research was to find answers on these research questions RQ3 - RQ7.
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4.2 RESEARCH APPROACH
In order to investigate the proposed IBID process, two approaches present themselves. A quantitative
approach is generally a good approach to test a concept or theory (Creswell, 2003). The numerical data
collected can be attitude data, and can be statistically analysed. With this approach, all variables within and
between participants can be accurately measured and compared. A qualitative approach (open-ended
interviews) is also a valuable approach, as it is usually applied for exploration and generally yields new
roads to venture and deeper insights. The primary research as applied here contained a mixed method
approach: a combination of quantitative (structured questionnaire with Lickert-scale scoring) and a
qualitative methods (open interview questions on the same subject). Such a mixed method approach is
found to be applicable for pragmatic knowledge claims (Creswell, 2003) as is the case in our research.
4.3 DATA COLLECTION PROCEDURES
4.3.1 Participants
Thirteen participants were sampled from the intended user group of the IBID process. Some main
characteristics of the individual participants and the companies they work for will be described below.
The first participant (male, 42 years) was a partner of a medium size design agency. The agencies main
design disciplines are print, interaction, motion and environment. It holds more than ten years of
experience in new media design and provides integrated communication and design solutions for corporate
visual identities, annual reports, brochures, websites, intranet sites, CD-roms, printed advertising, posters,
commercials, documentaries, company movies, presentations, exhibitions, etc. The agency works for
various types of brands, phases and stakeholders, and its R&D department focuses on visual notations,
intuitive navigation, content management systems and narrative structures in interactive environments. The
first participant had not indicated any type of education and held a board level function (director and
partner). He regarded his function to concern mainly the strategic level of design, to a lesser extent the
tactical level, and absent of the operational level of design.
The second participant (male, 35 years) was an art director at the same design agency as participant one.
He was educated in graphical design at HBO level and regarded his function to concern mainly the tactical
and operational levels of design, and to a lesser extent the strategic level of design.
The sixth participant (male, 36 years) was responsible for new brand identity business at the same design
agency as participants one and two. He studied law at HBO level and considered his function to concern
equally the strategic and tactical levels of design, but not the operational level of design.
The third participant (male, 44 years) was managing director of the Dutch foundation that promotes the
development of Dutch design. This foundation aims to initiate, cultivate and enhance public-oriented
economic, social, international, regional, and cultural design-as well as the infrastructure of the design field.
It tries to shape new attitudes for Dutch design towards culture, economics and society. The foundation can
be regarded the Dutch pendant of the British Design Council. This third participant was educated in
graphical design at HBO level and held a rich theoretical and practical experience in identity design for a
wide range of brands, phases and stakeholders. He judged his design function to concern mainly the
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strategic level, to a lesser extent the tactical level and to be absent of the operational level of design.
The fourth participant (female, 35 years) was an usability designer at one of the six largest Dutch offline
and online design and communication agencies. This agency creates brand identities and campaigns, and
specialises in website and tools development, adding an imaginative touch to brands, communication and
interaction. It holds more than 75 employees and its clients cover all types of brands (central and local
authorities, government bodies, non-profit, business sector and service providers) and stakeholders. The
agency is active in both offline-BID and online-BID. This fourth participant was educated in industrial design
engineering at University level. She judged her design function to embody mainly the operational level of
design, to a lesser extent the tactical level, and absent of the strategic level of design.
Participant number seven (male, 42 years) was design director at the same design agency as participant
four. This participant held a board function as partner of the identity design agency. He studied industrial
design engineering at University level and considered his design function to concern the strategic, to a
lesser extent the tactical, and absent of the operational level of design.
The fifth participant (female, 46 years) was consultant for a small identity consultancy. This agency
specialises in strategic management advice, corporate design management, interactive branding and gives
brand identity lectures. Its clients range from the financial sector to local authorities and government
bodies. The agency advises both offline and online identity design agencies and brand owners, for all types
of brands and stakeholders. The participant studied art at HBO and pedagogy at University level. She found
her function to concern exclusively the strategic level of design, and not the tactical or operational levels.
Participant eight (male, 45 years) was managing director of another of the six largest Dutch offline and
online design and communication agencies. This agency designs a total experience through graphic design,
new media design, industrial design and environmental design, where brand identity design forms the core
of all of its design disciplines and expressions. The agency holds more than 70 employees and its clients
range from service companies, consumer brands and the entertainment industry to local and national
government, educational institutes and cultural bodies. It designs for all types of brands, phases and
stakeholders. This participant studied industrial design engineering at University level and considered his
function to embody mainly the strategic, somewhat tactic and absent of the operational levels of design.
Participant number twelve (male, 34 years) was art and design director new media at the same design
agency as above participant eight. He studied industrial design engineering at University level and held a
board position as partner of the agency. He regarded his design function equally balanced over the
strategic, tactical and operational levels of design.
Participant number nine (male, 46 years) was creative director of a medium size interactive advertising
design agency. This agency aims to design and stimulate meaningful relationships between brands and
people by means of interactive communication. It works closely together with offline communication
agencies in order to achieve an optimally integrated communication mix. This participant studied graphic
design at HBO level and regarded his design function to be exclusively at the strategic level of design, and
not at the tactical or operational levels.
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Participant number ten (male, 35 years) was creative director at a third of the six largest Dutch offline and
online design agencies. This design agency with 150 employees believes that brands increasingly value
effective interaction with their clients, who will interact at moments they desire. This agency aims at
designing and delivering integrated interactive multi-channel solutions that are meaningful and relevant for
clients, through new media as internet, mobile, callcenters and narrowcasting. It creates the form and
content for the strategic, creative, technical and organisational levels of the new digital relationships. Its
clients range from corporate to product brands, across all branding phases and channels, for all types of
stakeholders. This participant studied communication at University level, held a board position, and found
his design function to primarily embody the strategic level, secondary the tactic level, and absent of the
operational level of design.
Participant eleven (male, 44 years) was creative director of a small identity design agency. This agency
designs corporate identity, product and company brochures, point of sale, advertising and direct mailing
campaigns, stationary design, annual reports, packaging design, website and intranet design and mobile
presentation systems. It works for business to business brands, non-profit and consumer brands, for most
types of stakeholders. The participant studied design management at HBO level, was partner of the design
agency, and regarded his design function primarily to concern the tactical level and secondary the
operational level of design, and absent of the strategic level of design.
The thirteenth and last participant (female, 52 years) was an University professor at a school of business
and organisational science, researching identity design and management, and author of a book on
organisation identity and design. Specific questions in the interview about the participant’s identity design
group or profession were answered for her identity design research group or profession. This participant
studied social science and communication design at University level, and her design research function was
considered primarily to cover the strategic level of identity design, secondary the tactical level, and not at
the operational level of identity design.
In conclusion, about half of the group was educated at University level (n=6) or at HBO level (n=6) and one
participant had no indicated type of education. The type of education ranged from industrial design
engineering (n=4), graphic design (n=3), communication design (n=1), social science (n=1), general art
(n=1), design management (n=1) and law (n=1). Most firms the participants worked for (or were active in)
covered both offline-BID as well as online-BID (n=12), the remaining participant was an University professor.
Most participants held a board level function (n=8), other levels were management (n=3) or operational (2).
Half of the group considered their design function to cover the strategic level of design (50%), a smaller part
for the tactical level of design (34%) and the smallest part (16%) for the operational level of design.
Most participants were brand identity design experts, working at both online as well as offline brand identity
design agencies. Two subjects did not fully meet these criteria because they were either a brand identity
researcher or responsible for new brand identity business. In total, 13 participants were interviewed, ten
male and three female and their mean age was 41 years (StD. = 5.7). These participants were selected
because they form a cross section of the Dutch offline and online brand identity design and research, along
the different levels of design, and they represent the target audience for the proposed IBID process.
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4.3.2 Materials
For the primary research interviews, the following materials were used:
• Instruction: one introduction page for the interview (see Appendix 8.2.1). This half A4-page of text
contained a welcome and explained the two parts of the interview: a description part and a
questionnaire. The instruction clarified the background, goal and use of the research, the confidential
handling and anonymous processing of the personal data, and it encouraged participants to freely give
their opinions by underlining or annotating the description pages.
• Description: six describing pages of the overall IBID process with in-text coloured images (see Appendix
8.2.1). Specifically the brand identity phase, the manifestations phase, the interactionpoints, and the
three Levels of Value Interaction were described in more detail. This description was a condensed version
of the above described IBID process of Chapter 3.
• Questionnaire: a three page questionnaire (see Appendix 8.2.1). This questionnaire contained 46
questions with five point Lickert-scales, and two related open ended optional questions. These questions
were organised following five topics (based on the research questions): the general IBID process,
reactions on statements, relevance for brand types, relevance for phases and stakeholders, relevance for
functions and groups (see Appendix 8.2.2, p. 102). Furthermore participants were asked to provide
some personal information (name, age, sex, education, field of design, firm and function), and they
could write down some remarks at the end of the questionnaire if they felt the need to do so.
• Explanation & FAQ-sheet: this sheet contained two parts: an explanation sheet (see Appendix 8.2.4) and
an three page FAQ-sheet (see Appendix 8.2.5).
The explanation sheet was not handed to the participants, it was used by the interviewer to answer
specific questions participants could have about the questionnaire. Only questions that arose concerning
the questionnaire were answered through this sheet, in order to have these questions answered as
uniformly as possible. For other questions about the IBID process that arose during the questionnaire,
the participants were kindly referred to the open interview part that followed the questionnaire.
The FAQ-sheet (frequently-asked-questions sheet) contained topics and images to be used during the
open interviews and was created to show the participants whenever they asked some in-dept question
concerning a particular aspect of the IBID process.
4.3.3 Procedure
An appointment was made with the participants at their natural working environment explaining the
interviewers’ general wish to interview Dutch brand identity experts for the purpose of a graduation project.
No other specific information was conveyed before the interview. The participant was asked to schedule
about one hour for the total interview.
Prior to the interview, on the time of arrival, the participant(s) met the interviewer, who introduced himself
and general information was exchanged. The participants were then asked to select a quiet room and
environment, where no mobile, telephone or office colleagues could interfere with the interview. The
participants were then handed out the instruction, description and questionnaire.
After the instruction page was read by the participant, the interviewer asked if the set up was clear and
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agreed upon, and communicated that the participants could use as much time as needed, reading and
filling in the questionnaire at their own pace. If something was unclear, some parts of the instruction were
clarified in a global way, but participants hardly had questions at this point.
The participants then started to read the first page of the IBID description. While the participant was reading
these pages, the interviewer was quietly present reading a magazine, to signal that the participants could
take their time. If participants had questions while reading the description pages, no specific extra
information was given other than appeared on the explanation sheet, and the participant was informed that
any clarification could take place after the questionnaire was filled in. This was done to have the same
information to every participant prior to filling in the questionnaire.
When the participant was ready reading the IBID description pages, they typically asked if they should next
fill in the questionnaire. The interviewer confirmed and continued reading the magazine. In some cases,
when filling in the questionnaire, participants needed some explanation, which was only given from the
explanation-sheet, page 1 (see Appendix 8.2.4). In two instances there were two participants and one
interviewer present. In these cases, the interviewer explained the same procedure, emphasising the two
participants to not discuss with each other during the reading and filling in the questionnaire.
After finishing the questionnaire, the open interview started. Prior to the open interview, the participants
were asked if it was agreed that the interview was recorded, and none of the participants objected. During
this interview the participants were asked for their general impression of the IBID process, whether they
found the process applicable for them, and whether the participants design function was more strategic,
tactical or operational. Other topics of the open interview were spontaneously provided by the participants,
and more detailed information and thoughts were exchanged and discussed around the presented subject.
If applicable, the FAQ-sheet pages (see Appendix 8.2.5) could help the interviewer explaining some parts. In
the two instances where two participants were present, they both partook in the interview. Under these
conditions the interviewer tried as much as possible to get their independent views on the topics that arose.
Typically, after about one hour in total, the interview was rounded off, participants were thanked for their
kind corporation, and they were promised to receive the research results when they were finished and ready
to be published. The participants and interviewer then finished the interview.
4.4 DATA ANALYSIS PROCEDURES
4.4.1 Processing the data
The questionnaire (see Appendix 8.2.1) contained 46 questions (variables), covering 5 topics (see Table 7,
Appendix 8.2.2). The optional questions 15b, 15c and 17 were not analysed because they were not filled in
by most participants. The additional personal information held 11 different variables (see Table 8, Appendix
8.2.2), resulting in a sum total of 57 variables for the experiment.
The data processing of the first 46 variables (quantitative data) was done in a two step process:
1. A general linear model analysis (GLM: repeated measures), was applied to calculate the estimated
means, standard deviations and standard errors (see Table 9, Appendix 8.2.3). Such an GLM
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analysis calculates the means (m) and standard deviations (StD.) for further (Post-Hoc) analyses.
Furthermore, when the GLM is found to be significant, this means that the 46 questions
systematically differ in their answering pattern, indicating that the participants took their job
seriously since they did not fill in the questionnaire randomly.
2. Next, post-hoc analyses (T-Test analyses) were performed on the calculated means from step 1.
The T-Test analysis was used to check whether the scores (i.e. the answers) of all respondents (the
whole group) were positive, instead of ‘only’ a positive mean score, as the T-Test needs the Mean
and the Standard Deviation, and only when it shows up significantly, the group as a whole answered
positive. It in fact compares the group mean with the neutral score (0) of an infinite group with no
variation (m=0, StD=0). We’ll refer to this post-hoc T-Test analysis as the “>0 analysis”.
4.5 RESEARCH METHODOLOGY: CONCLUSIONS
The primary research methodology is based on a mixed-method approach combining both quantitative
(mainly questions with five point Lickert-scales) and qualitative approach (open-ended interviews). Thirteen
subjects were selected on the basis of forming a cross section of the Dutch offline and online brand identity
design and research, and representing the target audience for the IBID process. The research materials
included one instruction page, six description pages of the IDIB process with printed text and coloured
images, a three page questionnaire, one additional explanation sheet and two FAQ sheets. The research
procedure involved an interview of about one hour at the natural working environment of the subjects, with
the researcher present. The data analysis included a GLM model analysis followed by post-hoc analyses. The
results of the primary research will be described next.
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5. PRIMARY RESEARCH: ANALYSIS AND RESULTS
Based on the methodology as described in Chapter 4, the analysis and the results of the primary research
are given in this chapter. Firstly, an analysis is made of the quantitative data (questionnaire) in section 5.1.
Secondly, an analysis of the qualitative data (interviews) is provided, where new topics are described and
existing topics are deepened (section 5.2). The combined quantitative and qualitative data, in relation to the
research questions, are then given in section 5.3. Finally, the research conclusions are drawn in section 5.4.
5.1 QUANTITATIVE RESEARCH
A total number of 13 participants were questioned. The answers of the participants were submitted to a
repeated measures analysis (GLM) with one factor of 46 levels. This analysis proofed to be significant
(F(1,45)=2.472; p<.001). The means that resulted from this analysis (fully described in Appendix 8.2.3)
were each compared to zero, and further researched according to five Topics:
• IBID process in general (subsection 5.1.1)
• Reactions on statements (subsection 5.1.2)
• IBID relevance for brand types (subsection 5.1.3)
• IBID relevance for stakeholders and phases (subsection 5.1.4)
• IBID relevance for business functions and groups (subsection 5.1.5)
5.1.1 Topic 1: The IBID process in general
The participants found the overall IBID process to be clear (m=0.769), detailed (m=0.692), complex
(m=0.769), and most of all relevant for them personally (m=1.00) see Figure 36 below. These means were
all significantly larger than zero, indicating they all fell well above neutral. Although ‘relevance for their
design group’ scored positive (m=0.539) it did not significantly deviate from zero (p=.103).
Figure 36. Means and StdErr of general IBID characteristics
Q1-Q4 The presented IBID system is:
-2
-1
0
1
2verypositive
neutraldetailed relevant
for mepersonally
relevant for my design
group
complexclear
verynegative
* ****
**
Q1 Q2a Q2b Q3 Q4
** p < .01; * p < .05; n=13
‘Relevance for my design group’ (Q4) proofed not to deviate significantly from zero, hence there seems to
be some difference between ‘personal relevance’ (Q3) and ‘relevance for my design group (Q4). A Tukey
post-hoc analysis however showed no such difference between these means (p>.05). Moreover Q3 and Q4
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correlated positively (r=.548, p=.058 near significant), indicating the more positive answering on Q3 the
more positive answering on Q4. A closer look at the data revealed why the scoring on Q4 did not deviate
from zero; two participants stood out with highly negative scores. We come back on this in discussing Q6.
Data interpretation – Overall, the main interpretation of this first topic is that the IBID process scores
significantly high on ‘personal relevance’ for brand identity designers, and that the IBID process is clear,
detailed and quite complex. This is very important because two research questions (RQ3 and RQ5)
concerned the understanding and relevance of IBID for the main stakeholders (brand identity designers).
5.1.2 Topic 2: Reactions on Statements
The second cluster of questions presented seven statements that underpinned the proposed IBID process.
As the analysis shows (see Figure 37 below) all statements were highly agreed upon, and all were highly
positive (p<.001) too.
Figure 37. Means and Std Err. of reactions on Statements
Q5-Q11 What do you think of these statements?
-2 -1 0 1 2
Q5
Q6
Q7
Q8
Q9
Q10
Q11
agreeneutral
neutral agreedon't agree
Having a personal dialogue with (key) stakeholdersis important for brand owners
Designing a personal dialogue is importantfor my design group
One-way communication will shift towards atrue personal dialogue
Interactive media pressed for the need for an adjusted brand identity process
The proposed Interaction dimension isan essential brand identity dimension
The proposed Experience dimension isan essential brand identity dimension
Websites will become more importantfor personal brand interactions
***
***
***
***
***
**
**
*** p < .001; ** p < .01; n=13
Referring back to the two participants who answered negatively on Q4; these two participants answered
surprisingly positive on Q6 ‘designing a personal dialogue is important for my design group’. Furthermore,
the recordings from the qualitative interviews for these two participants held no indication as to why
‘relevance for my design group’ was answered this low by them, hence this remains puzzling.
Data interpretation – The importance of designing and conducting a personal dialogue (Q5, Q6) is strongly
agreed upon. This is an important outcome because the IBID process is based on dialogue communication.
Any reason as to why question 7 (Q7) was answered somewhat lower than the other questions is brought
forward in the open interview subsection 5.2.1.
The ‘need for an adjusted brand identity process’ (Q8), asked for one of the main pillars of the research.
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Most respondents again clearly agreed to this statement (m=1.077) and its significance was high (p<.01).
The next two questions (Q9, Q10) asked for some of the proposed IBID process main additions to the
existing brand identity knowledge. The ‘interaction dimension’ (Q9) was amongst the three most agreed
upon statements (m=1.385) and even somewhat more agreed upon than the ‘experience dimension’ (Q10;
m=1.308). Both proposed identity dimensions were furthermore highly significant (p<.001). These two
variables suggest that this part of the IBID process might add to the existing body of identity knowledge.
Question 11, asking about the future role of websites, scored amongst one of the highest too, both in terms
of weighted means (m=1.462), as well as significance (p<.000). This might suggest a stronger future role
for websites in personal brand interactions, and might support the InteractionPoints part of the proposed
IBID process, as was described in more detail in subsection 3.2.3.
5.1.3 Topic 3: IBID relevance for brand Types
The next topic concerned the relevance of the proposed IBID process for several types of brands. Question
13 (see Figure 38 below), asked the relevance of the IBID process across different brand identity structures,
based on Ollins (1989) and Boer (2003), see subsection 2.2.2. On average, the IBID relevance scored
relatively high for all brand structures, but mostly for monolithical (m=1.230) and product/service
structures (m=1.000). These two extremes were (very) significant too (respectively p<.001 and p<.005).
Figure 38. Analysis of relevance for brand Types
Q13 Relevance for Type of brands (1)
-2
-1
0
1
2
mono semi-mo endorse co-brand prod/serv
veryrelevant
neutral
not relevant
***
*** *****
*
Q13a Relevance for Type of brands (2)
-2 -1 0 1 2
i
t
f
ag reeneutrdon't ag ree
low involvement brands
high inv. brands
transactional brands
relationalbrands
functional brands
expressivebrands
**
**
*
*** p < .001; ** p < .01; * p < .05; n=13
Secondly, the IBID relevance for another brand classification was scored (Q13a), based on van Kralingen
(1999) for the high-low involvement and functional-expressive bipolar scales; and a transactional-relational
bipolar scale, based on own research.
Data interpretation – In general, the proposed IBID process is regarded relevant for all types of brands. The
highest relevance was found for ‘monolithic’ and ‘product’ brand structures, and ‘high involvement’ brands.
The research therefor suggests that the IBID process can be relevant for all brand contexts (RQ4). The data
clearly indicates higher relevance for the high-involvement and expressive brands, tending towards what van
Kralingen (1999) named ‘mythical brands’, which is the combination of high involvement and expressive
brands. The transactional – relational scale scored accordingly, yet a bit more significant (p<.01) than the
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functional – expressive scale (p<.05).
5.1.4 Topic 4: IBID relevance for brand Phases and Stakeholders
Two questions focused on the relevance of the proposed IBID process for main Stakeholders (Q14) and
Phases (Q12). The relevance of the IBID process for shareholders, financial market, government and local
community (see Figure 39 below) was quite low (0.077<m<0.564) and no significance was found for these
stakeholders (.107<p<.422). However, for the other stakeholders the relevance of the IBID process was
considered higher, especially for customers was scored as very relevant (m =1.615; p<.001). For almost all
branding phases (Q12) the IBID process was considered relevant (.001<p<.01), except for the Attraction
phase, where the IBID process was not found relevant (m=0.538;p=.103), see Figure 40 below.
Figure 39. Analysis of brand Stakeholders Figure 40. Analysis of branding Phases
Q14 Most relevant for Stakeholders
-2
-1
0
1
2
sha fin gov lco p&m sup per par cus
very relevant
notrelevant
neutral
**
**
** ***
***
*** p < .001; ** p < .01; n=13
Q12 Most relevant Phases
-2
-1
0
1
2
attract engage convert retain
veryrelevant
neutral
not relevant
*****
***
*** p < .001; ** p < .01; n=13
Data interpretation – The quantitative research data suggests that the proposed IBID process is highly
relevant for Customers and also for Press & Media (m=0.923), Personnel (m=0.846), Partners (m=0.846) and
Suppliers (m=0.614). IBID’s relevance for Shareholders, the Financial world, Local Communities and
Government was considered much lower. This might also be due to inadequate examples of these
stakeholders in the descriptive text. However, this was not verified in the research. The Attraction phase
scored the lowest, and a reason as to why this might be the case is brought forward in the open interview
subsection 5.2.1, and will be discussed in the combined section 5.3.
Overall, The proposed IBID process showed high levels of relevance and significance for some main
stakeholders of the brand, across the different phases, especially for the Retainment phase (m=1.308;
p=.000). These findings, combined with the findings of the above third topic, might positively answer RQ4
about IBID’s relevance for the brand context.
5.1.5 Topic 5: IBID relevance for business Functions and Groups
This last topic scored the relevance of the IBID process for the main target audience of the research:
business Functions (Q15) and Groups involved with the owning, selling, designing and using the brand
(Q15a). The analysis shows that IBID’s relevance was generally high, especially for brand Owners (m=1.615;
p<.001) and brand Designers (m=1.461; p<.001), see Figure 41. On asking for the most relevant business
functions (Q15), high relevance was found for the Branding (m=1.692; p<.001), Marketing (m=1.615;
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p<.001), Communication (m=1.538; p<.001) and the Design functions (m=1.154; p<.001), see Figure 42.
Most respondents attributed low relevance to ICT (m=.3071; p=.227). Sales & Service has high scores for
relevance too (m=1.077; p<.001).
Figure 41. Analysis of brand Groups Figure 42. Analysis of brand business Functions
Q15a Most relevant Groups
-2
-1
0
1
2
own sel des use
very relevant
notrelevant
neutral
*** ***
*** p < .001; n=13
Q15 Most relevant for business Functions
-2
-1
0
1
2
mkt bra des com mgt npd hrm s&s ict
very relevant
notrelevant
neutra
*** ******
***
** **
*
***
*** p < .001; ** p < .01; * p < .05; n=13
Data interpretation – The analysis (Q15a) shows extremely high relevance for brand Owners and Designers,
and again for Designers in Q15. This might support the research question (RQ5) about the relevance for
brand identity designers, in combination with above questions 4 and 5. The ICT function scored the lowest,
and a reason as to why this might be the case is brought forward in subsection 5.2.1, and will be discussed
in the combined section 5.3.
The research question about IBID’s possible cross-functional applicability (RQ6) might be answered in part
by question 15 (Q15), where brand identity designers scored IBID’s high on relevance for their own Design
function, and even higher for the Marketing, Branding and Communication functions. This could mean that
brand identity designers see a cross functional purpose for the proposed IBID process.
5.2 QUALITATIVE RESEARCH
This section describes some extra topics derived from the open interviews that were not analysed in the
quantitative research. These topics can give deeper insight in the respondents scoring motivation in the
quantitative research and they can trigger new lines research. Typically, topics that were touched upon in
the descriptive part of the quantitative research were used by participants for lively discussions in the open
interviews. The main topics that appeared during most open interviews are described below.
5.2.1 Extra Topics
ET1. General reactions on IBID – On average, most participants (n=12) were very enthusiast about the
content and possibilities of the proposed IBID process. The quality of the IBID process for design was found
on a strategic level (n=5) and also in structuring communication thoughts and processes (n=5).
ET2. Practical applicability of IBID – Some respondents (n=6) wished the IBID process to be made somewhat
more operational for their specific design function, e.g. for brand identity management. Other respondents
(n=3) could already see direct practical use of the proposed IBID process in their daily design practise.
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ET3. Designing with IBID vs. using IBID– Some respondents (n=5) regarded ICT as primarily facilitating the
identity process, and found ICT therefor not directly influential in designing brand identity. ICT as a function
will not make use of the IBID process, according to these respondents. As a result, they rated IBID’s
relevance for ICT the lowest in the quantitative research (Q15). The same holds true for Users who are also
not involved in using the IBID process.
ET4. The term ‘websites’ – Many respondents (n=7) preferred the term ‘online communication’ or
‘interactive systems’ instead of the term ‘websites’ as was used in the quantitative research. They found
‘websites’ too limiting or not accurately enough describing all main forms of interactive communication.
ET5. Interaction as a brand identity dimension – The majority of the respondents (n=8) found this part of
the IBID process generally strong. How firms react to users, and how they engage in a dialogue with them,
was generally regarded an essential brand identity element of today’s firms. Lively discussions about this
topic appeared in most interviews. Some respondents (n=4) agreed that if the board of a brand realises that
‘interaction is a key dimension of any brand identity, just like personality or culture are key identity
dimensions too’ then this would have a great strategic impact on the brands behaviour in the digital Age.
ET6. Supposed linearity of IBID – Some respondents reported (n=4) the IBID process to be somewhat linear,
while in the daily reality of brand identity design many processes occur in parallel. Although the descriptive
part of the research showed three parallel loops of value interaction and experience (see Appendix 8.2.1),
the overall IBID process was sometimes regarded quite linear by some respondents (n=4).
ET7. Three Loops diagram – Three parallel loops of value interaction were described in the questionnaire
that have the result of ‘expanding the interactive experience’ (Appendix 8.2.1). Generally, the descriptive
text and the accompanying diagram were regarded as interesting by most participants (n=12), yet they had
some questions about parts of the diagram. An adjusted diagram was then shown (see Appendix 8.2.5),
explaining in more detail the intended working of the ‘three loops’. As a result, most participants then
grasped the intention and meaning of the ‘three loops’, and were enthusiastic about it (n=10).
ET8. Monologue media shift – Many respondents (n=6) reported orally or written (in the questionnaire) that
they found ‘one-way communication’ not to be completely replaced by a ‘true personal dialogue’ (or/or), but
to be co-existent (and/and). They therefor scored question 7 (Q7) more towards the neutral position (see
Figure 37).
ET9. Extra branding phase – One respondent mentioned a possible new phase: a Recovery phase. Especially
in the digital domain this (latent) phase might be of interest for the IBID process. This could be an
interesting area of further exploration in future research.
5.3 QUANTITATIVE & QUALITATIVE COMBINED
Brand identity design processes can be quite complex (see subsection 2.4), since brand identity is quite a
complex phenomenon. For any newly proposed design process to be successful, a first criterion is that the
content should be clear and detailed enough to understand. This was addressed by research question 3:
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RQ3: Is the IBID process clear and detailed enough? (content)
The quantitative data shows that the IBID process is indeed clear to understand (Q1), quite complex (Q2b)
and with a reasonable level of detail (Q2a). The qualitative data shows that most participants are
enthusiastic about the content of the proposed IBID process in general (ET1). A first conclusion therefor can
be that the content of the IBID process on average is clear and detailed enough to understand. Next, it
would be interesting to know what relevance IBID might hold for the selected target group of brand identity
designers. This was addressed by research question 5:
RQ5: Is the IBID process relevant for brand identity designers? (target group)
Based on the quantitative data, IBID is indeed considered very relevant for brand identity designers
personally (Q3). However, IBID’s relevance for their design group (Q4) on average is less positive, but these
answers vary largely. This was due to two participants who answered maximally negative on this Q4.
IBID is furthermore regarded very relevant for brand identity designers (Q15a) and design as a business
function (Q15). The qualitative data shows that for some participants, IBID is very relevant for strategic
design and for structuring communication (n=5, ET1) and many participants like IBID to be more operational
(n=6, ET2). Finally, IBID should support parallel brand communication (n=4, ET6) and explain the different
levels of interaction (n=12, ET7).
In conclusion, IBID’s relevance for brand identity designers personally is very high, and its relevance for
brand identity designers in general and design as a business function is high too. Suggestions are given to
enhance its relevance by making it more operational and explaining parallel brand processes and levels.
RQ4: Is the IBID process relevant for brands, stakeholders and brand phases? (context)
Next, IBID’s relevance for specific types of brands, users and phases was addressed by research question 4.
Based on the quantitative data, it is clear that IBID is considered highly relevant for all types of brands in
general, with its highest relevance for monolithical and product/service brand architectures (Q13). On
another type of classification, IBID is considered most relevant for mythical brands (Q13a) which is an
combination of high-involvement and expressive brands.
As for the specific kind of stakeholders, IBID is regarded extremely relevant for customers and press &
media (Q14). IBID is also highly relevant for partners, personnel and suppliers. Its relevance for financial
markets, shareholders, local communities and especially the government is generally much lower, yet these
answers largely vary. In conclusion, IBID holds high relevance for some main stakeholders of the brand.
Regarding the specific brand phases, the qualitative data shows IBID to be relevant for most phases (Q12).
The highest relevance is found for the retainment phase, but IBID also proofs relevant for the conversion
phase and engagement phase. IBID’s relevance for the attraction phase however is relatively lower (Q12).
The qualitative data shows that that one-way communication (ET8) will not be completely replaced
by a true personal dialogue, but that it will be more co-existent. This is confirmed by the
quantitative data of Q7. Because most respondents found interactive communication (ET5) to gain
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importance for personal brand interactions (Q11), it could be logical that they find IBID’s relevance
for the attraction phase relatively lower (Q12) and find a relatively higher relevance for one-way
communication in the attraction phase.
The above leads to the conclusion that IBID is considered very relevant for most brands, most phases and
main stakeholders. The research question (RQ4) about IBID’s context relevance can in general be positively
answered, especially for more customer focused, monolithical or product/service brands, in the retainment
and engagement phases. Furthermore, one extra phase might be relevant for IBID: a recovery phase (ET9).
RQ6: Does the IBID process enable cross-functional communication (function)
Next, IBID’s specific contribution across different brand identity functions was researched (RQ6). The
quantitative data shows that brand identity designers find IBID personally very relevant (Q3), most relevant
in general for brand owners and brand designers (Q15a) and quite relevant for their own design function
(Q15). Surprisingly, the researched brand identity designers indicate that IBID is even more relevant for
marketing, branding and communication functions (Q15). This could lead to the conclusion that brand
identity designers indeed indicate a cross functional purpose for IBID. It would be interesting to further
research the other functions to discover if IBID could indeed be of equal relevance for their functions too.
RQ7: Can the IBID process be used in practice? (applicability)
This last research question focuses on the practical applicability of the IBID process. The quantitative data
shows that the researched brand identity designers underline today’s need for an adjusted brand identity
process (Q8), that IBID is clear to understand (Q1), personally relevant for them (Q4), relevant for their
design group in general (Q15a) and relevant for design as a business function (Q15). A first conclusion
could be that the need for a new process like IBID is confirmed, and that the content, context and working
of IBID is clear and relevant for these brand identity designers in general. The qualitative data however
shows (ET2) that many respondents (n=6) indicate that IBID could be made more operational, especially for
their specific design function, yet some respondents (n=3) see a direct practical use in their daily practise. A
final conclusion could be that IBID can already be usable on a strategic level of design. To make it usable for
the other two levels of design, it could be improved on the operational level of design.
5.4 PRIMARY RESEARCH: CONCLUSIONS
The overall aim of this research was to evaluate the IBID process on issues considering its content (RQ3),
context (RQ4), target group (RQ5), function (RQ6) and applicability (RQ7).
Content – The IBID process is clear to understand, quite complex, and that it contains ample level of detail.
Context – The IBID process is found most relevant for customer driven, corporate or product/service brands,
especially in the engagement and retainment phase, where users and brands have a personal dialogue.
Target group – Brand identity designers strongly agree that designing and conducting a personal dialogue is
very important, and interactive communication (websites) become increasingly important for personal brand
interactions. The here proposed interaction dimension comprising of dialogue, access, trust, relationship
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and personalisation, is convincingly seen as an essential element of any brand identity of the digital Age.
Function – The proposed IBID process is very relevant for offline and online brand identity designers, and
especially relevant for the marketing, branding, communication and design functions.
Applicability – It is suggested that the proposed IBID process might become even more relevant by
enhancing its operational use and clarifying its parallel brand communication applicability. The researched
brand identity designers might see a cross-functional purpose for the IBID process, and future research
could clarify its cross-functional use.
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6. THESIS CONCLUSIONS
6.1 INTRODUCTION
This final Chapter wraps up the conclusions drawn in this thesis, and proposes further research. It will start
with the conclusions from the literature research in subsection 6.2.1, then summarises the proposed
tentative framework in subsection 6.2.2. This framework describes a new design process for interactive
brand identity design (IBID). The primary research in subsection 6.2.3 then tested this IBID process on brand
identity design experts. The main findings are discussed in the general discussions of section 6.3, followed
by the theoretical and practical implications of the research in section 6.3.2. Future research and new roads
to venture are then discussed in section 6.4. Finally, the overall end conclusions are drawn in section Fout!
Verwijzingsbron niet gevonden..
6.2 CONCLUSIONS
6.2.1 Conclusions from the literature review
The literature indicated that most companies have a strong offline brand identity expression, yet many
under-express their brand identity online. This results in a unwanted gap between online and offline brand
identity expression. The literature review focused on the questions why this gap might exist (RQ1) and how
it could be reduced (RQ2), and explored key trends and changes, the properties of offline brand identity
expression, and the unique properties of online brand identity.
We concluded that users changed from isolated to connected, from unaware to informed, and from passive
to active. Furthermore, monologue communication will be strongly enhanced by a dialogue communication,
the power-balance will shift from the brand to multi-channelling users, and future brands will co-create
value by personalising the user-experiences. All of these trends were summarised in ‘Eight Key Changes’.
Online brand expression was found to impact all parts of the brand identity, and strong future brands must
use the internet as a brand building tool. Offline brand expression proved entirely different from online, and
we summarised the unique online properties in five ‘Key Interactive Brand Aspects’ and three ‘Levels of
Value Interaction’.
On our research question why this big gap might exist (RQ1), some authors suggested that this might be
caused by inadequate existing brand identity processes. Hence we researched ten existing identity
processes by main authors in the field, which we evaluated on the ‘Eight Key Changes”, five ‘Key Interactive
Brand Aspects’ and three ‘Levels of Value Interaction’. We concluded that indeed none of the existing
identity processes seemed fully fit for online brand identity expression.
For our research question how this gap might be reduced (RQ2) we explored the discipline of design
management and reviewed interactive (web)design processes and experience. We concluded that design
influences all assets that make brand value, and that design processes can be regarded as strategic
resources of a firm. Since none of the existing identity processes proved fully fit, we concluded that the
observed gap might indeed be reduced by a new identity design process based on interaction. Such an
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Interactive Brand Identity Design process (IBID) was then proposed.
6.2.2 Conclusions from the proposed IBID process
The tentative IBID process includes the offline brand identity aspects combined with all necessary online
aspects that the literature review revealed: as summarised in ‘the Eight Key Changes’, ‘Five Interactive Brand
Identity’ aspects and three ‘Levels of Value Interaction’. The IBID process consists of a number of unique
characteristics that could be described as:
• Brand and User are Equal (used to be more one-way monologue, now also user driven dialogue)
• Symmetrical, two-way communication (send & receive, firm & user, reciprocal feedback)
• Interaction as Identity Dimension (5 aspects of interaction dimension, the strategic impact)
• Resonance: many complete and iterative Cycles (relevance, meaning, personalisation)
• Simultaneous Points of Interaction (different values, cross-channel and time)
• Mass Monologue Media and Personal Dialogue Media (shift in weight)
• Three parallel levels of Value Interaction (manifestation cycles, identity cycles and network cycles)
• Cross-functional integration (marketing, design, communication and management)
• Applicable to most manifestations (in this case: focus on online communications)
In order for any new process to be successful, its necessity should be acknowledged by the target users,
and it should both be comprehensible and applicable.
6.2.3 Conclusions from the Primary Research
In order to evaluate the IBID process, it was researched by a questionnaire and an open interview with Dutch
brand identity design experts in both online and offline identity design. They agreed on the necessity of a
new design process especially fit for interactive brand identity design.
The experts found the IBID process clear to understand, to embrace the complexity of the field, and to
contain the necessary level of detail (RQ3-content). The IBID process was regarded most relevant for
customer driven, corporate or product/service brands, especially in the engagement and retainment phase,
where personal users-brand dialogues appear (RQ4-context). The experts strongly agreed that designing
and conducting a personal dialogue is crucial for brands, and that interactive communication (websites) will
become increasingly important for personal brand interactions. The proposed interaction dimension was
convincingly seen as an essential element of any brand identity of the digital Age (RQ5-target group).
The proposed IBID process was considered to be very relevant for both offline and online brand identity
designers, and especially relevant for the marketing, branding, communication and design functions. (RQ6-
function). It was suggested that the proposed IBID process might become even more relevant by enhancing
its operational use and clarifying its parallel brand communication applicability. Although brand identity
designers not always saw a direct implementation of the process in their own company, the majority
acknowledged the relevance for companies and brand identity designers in general. Finally, the experts saw
some cross-functional purpose for the IBID process (RQ7-applicability).
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6.3 GENERAL DISCUSSION
This thesis is based on the observation most companies have a strong offline brand expression, but online,
they often under express the brand. The aim of this thesis was to find out why this is the case and to find
out if elimination of this omission is desirable, and if so, how this omission could be reduced. It was
concluded that a main reason for the existence of this omission stems from inappropriate brand identity
design processes. Hence, the need for a new process was identified, and a new process was proposed,
containing all of the aspects that existing brand identity processes lack. This new process was then showed
to the target group of brand identity designers. These experts shared the impression that such a new
process is necessary and they found the IBID process to be clear to understand and very relevant for them.
6.3.1 Limitations & improvements
The 13 brand identity design experts that were tested in the primary research were remarkably consistent in
answering most of the research questions. But it should be kept in mind that 13 people is in fact a small
number, moreover all 13 people were in some more or less remote way connected to the main researcher.
These are both potential threads to the generalisability of the results. It is therefore advisable to test the
IBID process on a larger group of experts and preferably with other functions than brand identity designers,
such as marketing, brand and communication. Such a research could then also test the cross-functional
applicability.
The primary research focused on external brand identity design agencies. Therefor, the proposed IBID
process is not intended for direct use beyond this scope. The IBID process is not at its final stage as it is still
evolving, and some dimensions and phases are likely to change to some extent if the IBID process will be
used in the daily practice. Furthermore, the IBID process should not be used in a strict way as most brand
identity designers have their own way of working. Whether the IBID process eventually will reduce (or even
close) the gap between offline and online brand identity expression, will depend upon the use and
incorporation of the IBID process in the design function and other business functions.
6.3.2 Theoretical Implications
Existing theoretical brand identity design processes as known from the literature, do not prepare brands for
the user interaction that results from the digital Age. Through such an interaction users can communicate
their values to the brand and vice versa. The IBID process as proposed here tackles the main issues that
result from such an interaction. Furthermore, the here proposed interaction dimension –comprising of
dialogue, access, trust, relationship and personalisation – is regarded an essential element of any brand
identity of the digital Age, just as e.g. personality and culture are. A major theoretical implication is that any
new brand identity design processes will have to include all the new aspects that result from this
interaction. The IBDI process proposes such an theoretical addition to the existing body of knowledge.
6.3.3 Practical Implications
For the strategic level of design, a new interactive brand design process could change the corporate vision
about interaction as an integral part of the brand identity in the digital Age, and affect the corporate
position in the industry. A new interactive design process will also influence the corporate strategy, its value
network and its customer interface. At the tactic and operational levels of design, a shared interactive
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design process that facilitates cross-functional communication will endorse the quality of the design
process and of the design outcome. Webdesign in the digital Age will increasingly be a process of creating
user experiences. Personalisation and interaction are key in building relevant and meaningful user
experiences, and this should be supported by an interactive design process and implementation of such a
process in the webdesign company.
6.4 FURTHER RESEARCH
It would be interesting to research how other functions (branding, sales & service, communication) score
IBID’s relevance for their own and the other functions, in order to get a clear multiple view on the cross-
functional applicability of the process.
It would also be interesting to research how the IBID process can be made operational for different design
functions, see Figure 43 below.
Figure 43. IBID Implications & further research
The here proposed interaction dimension contains five aspects. It would be interesting to see how these
aspects interact: for example, it seems logical to expect users to have trust in the brand first before
engaging in a dialogue. Experience may not be a brand identity dimension, but a end-result of e.g.
personalisation. Pine & Gillmore (1999) state that personalisation is a key factor in creating meaningful user
experiences, and Aaker & Joachimsthaler (2002) state that personalisation is the natural result of
interactivity. In the light of the IBID process and in the light of the literature, research can be done into the
interaction between these different aspects, see Figure 44 below.
Figure 44. Possible causal interactions between interaction aspects
1. Strategic Design * Creating board mentality * Interaction as identity dimension
2. Tactic Design * Integral acceptance * Cross-functional process integration * Cross-function design groups
3. Operational Design * IBID operational for webdesign * IBID operational for other design functions
IBID Process
BRAND OWNERS BRAND AGENCIES
1. Strategic Design * Role of designer in IBID
2. Tactic Design *
3. Operational Design *
Authentic
Identifiable
Visible
Access
Trust
Personalisation
Dialogue
Flexibility
Relevance
Meaning
Experience
Loyalty Transparent
Reputation
INTERACTION DIMENSION FACTORS
Have to be: to get mutual: and facilitate: to build & maintain: with result
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8. APPENDICES
8.1 REFERENCED BRAND IDENTITY DESIGN PROCESSES
8.1.1 Boer (2003)
Figure 45. Brand Design Process (Boer, 2003)
BRAND STAKEHOLDERS
What is our core business?Who do we address? Socio-demographic Personal attributes Behavioural attributes Lifestyles Use attributes
(p.99)
(p.99)
(Ch.6)
(Ch.7)
(Ch.8)
Brand BASICS monolithic semi-monolitic endorsed multi-branded single brandedMental brand identity (DNA&Soul) brand vision (corp. philosophy) brand mission (statement) brand values (ratio, emo, fysi) core concept (brand essence) brand promise desired brand personalityBrand Posistioning
Brand Strategy brand intoduction brand adjustment brand restyling brand repositioning brand extention brand stretch brand extention brand globalising brand switch brand uniformingBrand Image current vs. new image
BRAND BASIS BRAND DEVELOPMENT
BRAND STRATEGY ANALYSIS
MARKETING STRATEGY
BUSINESS STRATEGY
BRAND DESIGN SWOT
Internal brand SWExternal brand OT
Brand Energy spiritual mental physicalBrand Choice objectives human motives means motives moment motives
Product/service carriersCorporate carriersExternal comm. carriersInternal comm. carriers
BRAND ENERGY DESIGN CARRIERS
BRAND IDENTITY ANALYSIS
VISUAL BRAND IDENTITY
DESIGN ASSIGNMENT DESIGN EXPERIENCE
BRAND DESIGN BRIEFING
mbi
vbipr
od br
and
corp
bran
d
ext. comm
int. comm
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8.1.2 Corporate Identity Framework (Brandt et all., 2003)
Figure 46. Corporate Identity Strategic Framework (based on Brandt et all., 2003)
8.1.3 Brand Identity Prism and Pyramid (Kapferer, 1995)
based on Kapferer (1995)
ValuesThemes
Prim. appear: *Structure *Naming *Symbols
*Personality*Behaviour*Symbolics*Comm.
*Desired*Actual
*Competition *Formlannguage *Reputation*Channels *Tone of voice *Extern. forces
NormsMotives
(p.28)
(p.28) (p.28)(p.30)
(p.28) (p.26)
ORGANISATION ENVIRONMENT
PRODUCT STRATEGY
POSTITIONINGIDENTITY IMAGE
COMMUNICATION- & DESIGNPLAN
COMMUNICATION STRATEGY DESIGN STRATEGY
BUSINESS STRATEGY*CORPORATE STORY
Internal StakeholdersExternal Stakeholders
*COMMUNIC. MATRIX
PER
SON
ALI
TY
RELATION
CULTURE
PHY
SIC
SELF-PRO
JECT
.
REF
LEC
TIO
N
BRAND THEME
(MANIFESTATIONS)BRAND STYLE
(DNA)BRAND CORE
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8.2 PRIMARY RESEARCH
8.2.1 Questionnaire
A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN INSTRUCTIONS FOR THE INTERVIEW Welcome to the interview about a ‘system for interactive brand identity design’. The purpose of this interview is to get your reaction on the proposed system. You can freely give your personal thoughts, and how you think the system may be used by your design group or profession. The interview contains two parts: • An explanation of the system (30 minutes) • A questionnaire of the system (20 minutes) You are encouraged to underline, write exclamation marks (!) or question marks (?) when reading the next pages. After the interview, a general discussion can be held, where you can give more personal remarks and suggestions. The results of the interview will be used for the research of Ralph Stuyver, for his Master of Design Management thesis. All of your information, including personal information, will be kept strictly confidential and will be processed anonymously. You are kindly requested to keep all delivered information confidential until the thesis is published by Ralph. Best regards, Ralph Stuyver, November 25th, 2005
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN I - SYSTEM FOR INTERACTIVE BRAND IDENTITY
The above model shows the brand (firm) on the left side, interacting with its user (stakeholder) on the right side. It contains a number of phases, as will explained below. A main basis is that brands have multiple interaction points (in the middle) where values are exchanged in continuos loops, represented by the infinity-shape �. A second basis is that brand-user communication will be a truly symmetrical and balanced dialogue, where the brand and user are equally important. THE SYSTEM EXPLAINED – briefly Let’s start at the ‘brand identity’ (B-ID, in grey) shown in the upper left quadrant. When defining and communicating a brand, it’s brand-identity is a key element. Simply said, the brand identity explains: who is the brand and what are it’s most important values? At this point, the model does not yet differentiate between e.g. internal- or external communication, nor between e.g. corporate-brands (corporate identity) or product-brands. The next phase will define the brand-manifestations (B-M, in grey). Simply said, the brand-manifestations will make tangible how the brand looks, behaves and speaks its values. This can be manifested through it’s logo, colours, stationary, annual reports, websites, advertising campaigns, physical (or software) products and services, etc. In other words: all of the possible ways the brand values can become manifest to the user. Next phase are the points of interaction. In this phase the brand values and user values meet each other in time and space. Simply said, this is where and when values are expressed and experienced by both. Think of a user retail- or website-experience when buying a product, seeing a TV ad, visiting a website, listening to the radio. But also think of the user experience when using a product, calling for service or reading service-pages on the web, or reading (writing) weblogs about a brand or its values The top-left quadrant is called BRAND SENDING. Here, all brand intentions are defined initially, and eventually communicated in some coded form. Naturally, the process does not start with the brand-identity (B-ID), as brand-identity in itself is also based upon the brand-strategy, corporate-strategy and network-strategy. But let’s leave those alone for a minute. The bottom-right quadrant, USER-RECEIVING, shows the user decoding all of the brands intentional values over time and place, as received through the interaction points. The
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4. BRAND RECEIVING (decoding value)
1. BRAND SENDING (coding value)
B-ID
B-M
2. USER RECEIVING (decoding value)
3. USER SENDING (coding value)
brand user
user strat
brand strat
brand strat
user strat
tribe strat
corp strat
corp strat
tribe strat
netw
cult
cult
netw
user ident
brand ident
brand ident
user ident
user manif
brand manif
brandmanif
user manif
interactpoints
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN intended brand values can be decoded. A user may encounter a certain brand advertisement, product, service or website. Then the way the brand behaves or shows it’s identity is decoded, possible leading to a brand image (eventually a reputation) by the user. Finally, the firm behind the brand, or the group-values the brand is connected to, could be decoded too. Now, whether the brand holds any meaning or relevance to the user depends upon the resonance of the users individual values, culture, tribes (networks), her or his personal identity, etc (third quadrant), and the perceived brand values by the user (bottom-right quadrant). The users personal identity is shown in the third quadrant USER SENDING, containing the same basic elements as the first (brand) quadrant. The user has both needs for certain values and expresses her/his individuality towards the outer world. If the brand listens and decodes the individual users expressions of personal identity, needs, wishes and values, then this will lead to the fourth quadrant BRAND RECEIVING. Now here too, the meaning and relevance of the user values depends upon the resonance between the fourth and the first quadrant. It does not really matter at what point of the system you start, but essential is that the whole loop is completed, and as many times as possible. Following, three phases will be described in some more detail: 1) the brand identity phase, 2) the brand manifestations phase and 3) the points-of-interaction phase. 1. PHASE: BRAND IDENTITY – More detailed
Any brand identity comprises of a number of brand dimensions, containing a set of choices, values and meanings that can be grouped together. In this example there are eight brand dimensions: DNA, Culture, Products, Personality, Image, Positioning, Experience and Interaction. All dimensions together define the brand identity, create differentiation from competitors, give an structure for its internal organisation, and make it recognisable and relevant for all stakeholders for the chosen markets and segments. The choice of brand dimensions, and especially the different weights and values associated
to them, will make the brand identity unique and memorable. If you take out one of these brand dimensions, or change it drastically, the result will be a different brand identity in the eyes of most stakeholders. All dimensions together define ‘who the brand is’. THE DNA DIMENSION This forms the central core of the firms identity, the fundamental idea or spirit behind an identity programme, containing its soul, the corporate philosophy, and corporate strategy. DNA also defines the meaning, direction, mutual relationship and common aspects of all current and new products. Like human DNA, a small replica of it should be incorporated into each manifestation, whether it is a retail site or an internal marketing programme. DNA stays largely unchanged over a number of years. But as firms, users and technologies change, sometimes the identity DNA can be modified. Identity DNA contains all emotional and rational benefits towards all of the firms stakeholders across all media types. DNA consists of:
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN • Mission – What changes does the brand want to bring in peoples lives? Why does the brand
need to exist? What would the users be missing if the brand did not exist? • Standpoint – From where does the brand speak? History and parent values. • Values – What are the brands core values? What is its main philosophy? • Territory – Where is the brand legitimate in achieving its mission? In what categories? • Know-how – What is the brands specific know-how? What is it exceptionally good in? • Style and language – What elements of style and language are typical for the brand? The DNA dimension is usually comprised in a document containing the brand foundation. THE CULTURAL DIMENSION This dimension concerns the most fundamental cultural elements of the corporation. The firms or business cultural values usually grows over time, and are very hard to change fundamentally. According to some authors, this is the most influential dimension of a brand identity, especially for corporate brands. It consists of: • Organisation– Aspects like e.g. innovation, consumer concern, trust. • Origin – Country of origin. • Globalisation – Localisation and globalisation choices THE PRODUCT/SERVICES DIMENSION This dimension contains: • Scope – The current and future product and services scope • Attributes – Product or service attributes • Quality – Quality levels • Experiences – Uses, Experiences • Price – Pricing scheme • Anchoring acts/products – What typical acts/products best convey the brand mission,
values? What are the prototypical products the brand is know for (heritage)? THE PERSONALITY DIMENSION The intense focus on building a brand around its ‘personality’, namely, giving the brand values and feelings in order to distinguish it from the next, evolved in the 1970s and 1980s. There has been no earth-shattering changes in our perception of brands in all this time. This dimension contains the brand as a person: • Traits –Personality traits (genuine, energetic, rugged) THE IMAGE DIMENSION This dimension contains • Reflection – Who are we addressing? What image do we want to render? • Imaginary clients – Not the target buyer, but the reflected user THE POSITIONING DIMENSION This dimension contains • Why, or for what? - What is the specific consumer benefit? • For whom? – Who is the target audience? • When? – The occasion to use the product e.g. night and day coffee. • Against whom? – Points to the main competition
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN • Know-how – What is the brands specific know-how? What is it exceptionally good in? The Positioning dimension is usually comprised in a positioning statement. THE EXPERIENCE DIMENSION This dimension is proposed by this research. Recent literature and business practises from mid 90’s till 2005 mention this dimension of a brand identity. The experience dimension contains • Pleasure – Sensory, ideological, social and psychological pleasure. • Environments – • Transformations – THE INTERACTION DIMENSION This dimension is also being proposed, and it forms the core focus of this research. The relationship factor is known already for some time, and especially in the 80’s and 90’s this has become an important aspect of brand identity. Building a brand is developing relations, and without interaction there is no relation Some new aspects have been added however, as a result of the shift from a monologue media society, based on one-way, one-to-many, mass-communication, towards an dialogue media society, where trusted and open brand-user dialogues occur. Communication will evolve from mass communication, to contextual, behavioural, and finally personal communication. The interaction dimension consists of: • Relationship – Act and react. Reciprocal action/influence. • Dialogue – Feedback, message history, quality, engagement, empathy, equality. • Access – Transparency, allowance. • Personalisation – Customisation, co-creation. • Trust – Risk assessment, authenticity, known id of sender All of the above brand identity dimensions can be imagined to form a choice of color-pallets with which the brand identity will be painted, coloured and textured. In this brand identity phase, the strategic choice is made what elements (values) will be used and why. All brands will assemble their own ‘color pallets’ of meanings and values, not necessarily containing all of the above proposed eight dimensions. The above model can also be seen in a more historic (and mechanical) way: the identity ‘gear-box’. First gear is DNA, then the brand identity is brought to speed by the Cultural, Product and Personality dimensions. Next, shifted to Image, Positioning and recently to Experience gears, and finally put into the Interaction overdrive. 2. NEXT PHASE: BRAND IDENTITY MANIFESTATIONS – More detailed
The firms identity can not be disconnected from it’s manifestations: the essence is shown in the form of the message. Manifestation is defined in the Merriam-Webster dictionary as “one of the forms in which an individual is manifested” or “a public demonstration of power and purpose”. Merriam-Webster further defines manifest as “readily perceived by the senses and especially by the sight”, or “easily understood or recognised by the mind: obvious”. The brand identity can be manifested by three aspects 1) Behavioural, 2) Symbolic and 3) Communicative
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN aspects. All messages the firm sends through all manifestations contain all three aspects to a certain degree, and originate from the central corporate identity. All identity manifestations have to be combined in one overarching theme, style and language (also form-language), giving coherency to the brand identity and making more recognisable and memorable. BEHAVIOURAL ASPECTS These non-verbal aspects define e.g. the way the firm handles it’s current and future employees, how it behaves towards all external customers, clients and allies, etc. Behaviours can be summarised in: how the firm acts and re-acts. Interaction, as a two-way dialogue, plays an important role in manifesting this behaviour. With the emergence of interactive media such a the internet, the way the firm behaves and responds to its stakeholders is highly accelerated. This is supported by a recent Forrester study showing behaviour as one of the two main elements of brand web identity. SYMBOLIC ASPECTS Multi-sensorial or symbolic aspects are also non-verbal and comprise all five perceptual aspects of corporate identity: visual (see), tactile (touch), auditory (hear), gustatory (taste) and olfactory (smell). These aspects can be summarised by how the firm shows it’s identity, usually by means of a logo, typefaces, colours, images, smells, textures, materials, etc. Visual design plays an predominant role in manifesting these aspects of the brand identity. Symbolics also contain metaphors, analogies and meanings. COMMUNICATIONAL ASPECTS These verbal aspects are concerned with how and what the firm tells about its identity (tone-of-voice, narrative, verbal style), how it listens to it’s stakeholders and what verbal messages it sends and receives. Communicative aspects are the most flexible of all manifestations; what the firm tells can easily be changed or adapted, depending on the context or reactions. The boundaries of the communication are not so much in the medium, but more in the relevance, authenticity and trustworthiness. The brand should speak from a central source and should deliver what is says to stand for. The division between the three manifestation aspects is not necessarily strict. Most of the times all three aspects are simultaneously present, in some higher or lower degree. For instance, even a simple weblink, has a both communicative aspect (what the actual text of the link says, the tone of voice), a visual aspect (you can see you can interact) and even a behavioural aspect (what actually happens after you clicked the link). 3. NEXT PHASE: POINTS OF INTERACTION – More detailed
In the next phase, all brand manifestations and user manifestations come together in different channels, media and time. Points of interaction, sometimes also called touchpoints, are all the different media, places and manifestations where the brand and the user exchange values. Think of advertising campaigns, retail environments, a personal talk with a sales representative, call centers. But certainly also think of websites and sub-sites, where users can visit the brand, get information, buy certain products or services. Also think of (online) software like iTunes, and logging into a bank account to make financial
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN transactions, or using an online service to compare products, prices and attributes With the emergent importance of the internet, a website can inject a whole new dimension into integrated communications and it has the potential to be, the structure and glue that holds it all together. The web site can even link to other communication efforts as the hub of the wheel thereby acting as the centrepiece of the brand building efforts, reflecting the brand identity in a vivid an tangible way. The branded Web site has the potential of serving as a centralised point of command and control for marketing and branding programs of a Web site. There will be a central role for the websites and sub-sites. The monologue mass-media will more and more be used as pointers towards the richer and more personal dialogue media, such as websites. A global shift in communication budgets, away from TV ads and towards interactive ads, already delineates this shift. This will further empower the multi-channelling users, and will give them the opportunity to really come closer together. EXPANDING THE INTERACTIVE EXPERIENCE
The above figure shows three loops: A Manifestation loop, the Identity loop, and the Cultural loop. As each loop gets more towards the identity and culture of the user and the brand, this will bring them together more strongly, as values will be exchanged on the most individual and personal level. This system of brand identity design will therewith expand the user and brand experience, hopefully building deeper dialogues, and possible giving rise to transformational relationships.
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USER IMAGE & REPUTATION
BRAND IDENTITY INTENT
BRAND IMAGE & REPUTATION
USER IDENTITY INTENT
M
CU
LTU
RES
ALI
GN
EDC
ULT
UR
ES ALIG
NED
IDEN
TIT
IES
ALI
GN
EDID
ENT
ITIES A
LIGN
ED
M
user strategy
brand strategy
user strategy
brand strategy
tribestrategy
corp. strategy
tribestrategy
corp.strategy
network
culture
culture
network
user identity
brand identity
user identity
brand identity
user manifest.
brand manifest.
user manifest.
brand manifest.
experience
FROM WHERE FROM WHERE
WITH WHOM WITH WHOM
WHAT WHAT
HOW HOW
WHERE WHEN
WHY WHY
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN II - QUESTIONAIRE Some questions about the presented system
What do you think about the following statements? PP13081205 © R. STUYVER 2005 8
3. The presented system is relevant for me personally.
not relevant relevant
4. The presented system is relevant for my design group.
low high 2a. The presented systems level of detail is:
not relevant relevant
7. Communication will shift from sending to a wide general audience, towards a true personal dialogue.
don’t agree agree
neutral
5. Having a personal dialogue with (key) stakeholders is important for brand owners.
don’t agree agree 6. Designing a personal dialogue is important for my design group.
don’t agree agree
8. Interactive media have pressed the need for an adjustment of the brand identity process.
don’t agree agree
9. The proposed interaction dimension is an essential dimension of any brand identity.
don’t agree agree
10. The proposed experience dimension is an essential dimension of any brand identity.
don’t agree agree
11. Websites will become more important in the future, for personal brand interactions.
don’t agree agree
low high 2b. The presented systems complexity is:
1. The presented systems is: unclear clear
neutral
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN
The proposed system might be most relevant for: 12. Phases Attract phase: Engage phase: Convert phase: Retain phase: 13. Type of Brands (1) Monolithic brands: Semi-monolithic brands: Endorsed brands: Co-branded brands: Product/service brands: 13a. Type of Brands (2) 14. Stakeholders Shareholders: Financial market: Government: Local community: Press and media: Suppliers: Personnel: Partners: Customers: 15. Business Functions Marketing: Branding: Design: Communication: Business management: New product development: HRM: Sales & Service: ICT: 15a. Brand Parties
Brand Owners: Brand Sellers: Brand Designers: Brand Users:
PP13081205 © R. STUYVER 2005 9
low involvement brands high involvement brands neutral
transactional brands relational brands functional brands expressive brands
not relevant relevant neutral
not relevant relevant not relevant
relevant
not relevant relevant
not relevant relevant neutral
not relevant relevant not relevant relevant not relevant relevant not relevant relevant
not relevant relevant neutral
not relevant relevant not relevant relevant not relevant relevant not relevant relevant
not relevant relevant neutral
not relevant relevant not relevant relevant not relevant relevant not relevant relevant
not relevant relevant neutral
not relevant relevant not relevant relevant not relevant relevant
not relevant relevant not relevant relevant not relevant relevant not relevant relevant
not relevant relevant not relevant relevant not relevant relevant not relevant relevant
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A SYSTEM FOR INTERACTIVE BRAND IDENTITY DESIGN
15b. If the system holds some relevance for Design Functions, then please indicate why: Graphic Design: Web/Interaction Design: Advertising Design: Product Design: Environmental Design: Corporate Identity Design: Retail Design: Other: 15c. If the system holds some relevance for Communication Functions, then please indicate why: Organisational Communication: Marketing Communication: Management Communication: Other: 16. Personal info
Name
Age
Education
Field of Design
Your company
Your function
17. Remarks
PP13081205 © R. STUYVER 2005 10
Why?
Why?
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8.2.2 Quantitative research variables
Table 7. Eighteen Questions on five Topics, and 46 variables
Q Var-name # 1. IBID Process: General opinions Q Var-name # 4. IBID: Phases & Stakeholders
1 VR1CLEA 1 Clearness of IBID 12 VR12ATTR 13 Attract phase
2a VR2ADETA 2 Amount of detail of IBID VR12ENGA 14 Engage phase
2b VR2BCOMP 3 Complexity of IBID VR12CONV 15 Convert phase
3 VR3PREL 4 Personal relevance of IBID VR12RETA 16 Retain phase
4 VR4GREL 5 Relevance for own design group of IBID 14 VR14SHA 25 Shareholders
VR14FIN 26 Financial market
Q Var-name # 2. Reactions on Statements VR14GOV 27 Government
5 VR5HPDIA 6 Importance of having personal dialogue VR14LCO 28 Local Community
6 VR6DPDIA 7 Importance of designing pers. dialogue VR14PRES 29 Press and media
7 VR7SHIFT 8 Comm. will shift to true personal dialogue VR14SUP 30 Suppliers
8 VR8URGE 9 Adjusted brand identity process needed VR14PER 31 Personnel
9 VR9IDIM 10 Interaction is essential identity dimension VR14PAR 32 Partners
10 VR10EDIM 11 Experience is essential identity dimension VR14CUS 33 Customers
11 VR11WEBS 12 Importance of sites grows for 'dialogue'
Q Var-name # 5. Relevant Functions & Groups
Q Var-name # 3. IBID: Relevant brand Types 15 VR15MKT 34 Marketing
13 VR13MONO 17 Monolithic brands VR15BRA 35 Branding
VR13SMON 18 Semi-Monolithic brands VR15DES 36 Design
VR13ENDO 19 Endorsed brands VR15COM 37 Communication
VR13COBR 20 Co-branded brands VR15MGT 38 Business management
VR13PROD 21 Product/Service brands VR15NPD 39 New product development
13a VR13AHIN 22 Hi-involvement vs. Lo-involvement brand VR15HRM 40 HRM
VR13ATRA 23 Transactional versus relational brands VR15SS 41 Sales & service
VR13AFUN 24 Functional versus Expressive brands VR15ICT 42 ICT
15a VR15AOWN 43 Brand Owners
VR15ASEL 44 Brand Sellers
VR15ADES 45 Brand Designers
VR15AUSE 46 Brand Users
Table 8. Additional information (57 variables in total)
Var-name # Extra respondent characteristics
AGE 47 Age of respondent
SEX 48 Sex of respondent
EDUC1 49 Primary education Type
LEVEL 50 Primary education Level
FIRM 51 Name of respondents Firm
FUNCTION 52 Function of respondent in firm
S 53 Function is more Strategic
T 54 Function is more Tactic
O 55 Function is more Operational
READ 56 Reading-time of the introduction
WRITE 57 Answering-time of the questions
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8.2.3 Descriptive statistics
Table 9. Descriptive Statistics
Q Var-name # Mean StdDev StdErr -95,00% +95,00% p
1 VR1CLEA 1 0,7692 1,0127 0,2809 0,1572385 1,381223 0,0090
2a VR2ADETA 2 0,6923 1,0316 0,2861 0,0689462 1,3156692 0,0162
2b VR2BCOMP 3 0,7692 0,8321 0,2308 0,2664278 1,2720337 0,0030
3 VR3PREL 4 1,0000 1,1547 0,3203 0,3022214 1,6977786 0,0044
4 VR4GREL 5 0,5385 1,4500 0,4022 -0,337778 1,4147011 0,1027
5 VR5HPDIA 6 1,6923 0,4804 0,1332 1,4020143 1,9826011 0,0000
6 VR6DPDIA 7 1,3077 0,7511 0,2083 0,8538267 1,7615579 0,0000
7 VR7SHIFT 8 0,7692 0,9268 0,2571 0,2091659 1,3292957 0,0056
8 VR8URGE 9 1,0769 1,1152 0,3093 0,4030365 1,7508097 0,0023
9 VR9IDIM 10 1,3846 0,6504 0,1804 0,9915562 1,7776745 0,0000
10 VR10EDIM 11 1,3077 0,7511 0,2083 0,8538267 1,7615579 0,0000
11 VR11WEBS 12 1,4615 1,0500 0,2912 0,8270114 2,0960656 0,0001
12 VR12ATTR 13 0,5385 1,4500 0,4022 -0,337778 1,4147011 0,1027
VR12ENGA 14 1,0000 0,9129 0,2532 0,4483576 1,5516424 0,0010
VR12CONV 15 0,8462 0,9871 0,2738 0,2496576 1,4426501 0,0047
VR12RETA 16 1,3077 0,9473 0,2627 0,735226 1,8801587 0,0002
13 VR13MONO 17 1,2308 0,9268 0,2571 0,6707043 1,7908341 0,0002
VR13SMON 18 0,8462 0,8006 0,2221 0,3623315 1,3299762 0,0012
VR13ENDO 19 0,7692 0,7250 0,2011 0,331111 1,2073506 0,0012
VR13COBR 20 0,5385 1,0500 0,2912 -0,0960656 1,1729886 0,0446
VR13PROD 21 1,0000 1,1547 0,3203 0,3022214 1,6977786 0,0044
13a VR13AHIN 22 1,1538 0,8006 0,2221 0,6700238 1,6376685 0,0001
VR13ATRA 23 0,7692 0,9268 0,2571 0,2091659 1,3292957 0,0056
VR13AFUN 24 0,6923 1,1821 0,3279 -0,0220475 1,4066629 0,0282
14 VR14SHA 25 0,4615 1,3301 0,3689 -0,3422476 1,2653246 0,1174
VR14FIN 26 0,3077 1,1821 0,3279 -0,4066629 1,0220475 0,1832
VR14GOV 27 0,0769 1,3821 0,3833 -0,7582838 0,91213 0,4222
VR14LCO 28 0,4615 1,2659 0,3511 -0,3034519 1,2265288 0,1066
VR14PRES 29 0,9231 1,1152 0,3093 0,2491903 1,5969635 0,0057
VR14SUP 30 0,6154 0,8697 0,2412 0,089819 1,1409502 0,0127
VR14PER 31 0,8462 1,1435 0,3172 0,1551173 1,5371904 0,0102
VR14PAR 32 0,8462 0,8006 0,2221 0,3623315 1,3299762 0,0012
VR14CUS 33 1,6154 0,6504 0,1804 1,2223255 2,0084438 0,0000
15 VR15MKT 34 1,6154 0,6504 0,1804 1,2223255 2,0084438 0,0000
VR15BRA 35 1,6923 0,6304 0,1748 1,3113456 2,0732698 0,0000
VR15DES 36 1,1538 0,9871 0,2738 0,5573499 1,7503424 0,0006
VR15COM 37 1,5385 0,6602 0,1831 1,1394914 1,9374317 0,0000
VR15MGT 38 0,9231 1,0377 0,2878 0,2959715 1,5501824 0,0038
VR15NPD 39 0,9231 1,1152 0,3093 0,2491903 1,5969635 0,0057
VR15HRM 40 0,6154 0,8697 0,2412 0,089819 1,1409502 0,0127
VR15SS 41 1,0769 0,9541 0,2646 0,5003822 1,653464 0,0008
VR15ICT 42 0,3077 1,4367 0,3985 -0,5604959 1,1758805 0,2275
15a VR15AOWN 43 1,6154 0,6504 0,1804 1,2223255 2,0084438 0,0000
VR15ASEL 44 0,5385 1,1983 0,3323 -0,1856575 1,2625806 0,0656
VR15ADES 45 1,4615 0,7763 0,2153 0,9924553 1,9306217 0,0000
VR15AUSE 46 0,6923 1,4367 0,3985 -0,1758805 1,5604959 0,0539
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8.2.4 Questionnaire Explanation-sheet
EXPLENATION-SHEET
1. EXPLANATIONS – ONLY TO BE USED ON REQUEST 12. Brand Phases – Explained Attract phase – Awareness, being attended about the brands prod/serv Engage phase – Information, getting information about the brands prod/serv Convert phase – Buying product/serv, or some other action (receiving a brochure): Retain phase – Owning and using the prod/serv, loyalty to the brand, upgrading. 13. Type of Brands – Explained Monolithic brands: the corporate brand is the same as the prod/serv brand Semi-monolithic brands: the corp. brand is shown more importantly than the prod/serv brand Endorsed brands: Both corporate. brand and prod/serv brand are equally important Co-branded brands: Two (or more) corporate brands are equally shown Product/service brands: Only the prod/service brand is shown, no relation with corp. brand 15a. Brand Parties – Explained Brand Owners – Firms, commercial companies, governments, cities, etc. Brand Sellers – Retailers, distributors, chains of shops, shops Brand Designers – All internal or external design (groups) involved with manifestations of a brand Brand Users – Consumers, buyers, users, prospects, critics, all stakeholders of the brand High Involvement Brand – Low Involvement Brand High involvement brands are brands that you are personally highly involved with. Think of products or services that have a high financial or social risk, like a Rolex-watch, or think of products or services with a high information need, like insurances or banking services. Transactional Brand – Relational Brand Transactional brands are brands where the transaction is most important, and the relation with the brand after the product was bought or used is usually low. Relational brands are the other way around Functional Brand – Expressive Brand Functional brands could be commodities, like toilet paper, bread and matches. Price and primary Intrinsic function are the main characteristics. These brands or products score low on personal expression or design. Expressive brands are the other way around.
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8.2.5 Open Interview FAQ-sheet
FAQ-SHEET
2. EXTRA QUESTIONS – ONLY WHEN TIME PERMITS YOUR FUNCTION IS MOSTLY:
Strategic: 2 / 1 / 0 Tactic 2 / 1 / 0 Operational 2 / 1 / 0 3. EXTRA INFORMATION – ONLY ON REQUEST 3A. WHAT’S NEW ABOUT THIS MODEL:
1. Firm and User are Equal (used to be more one-way, now also user need driven) 2. Symmetrical, two-way communication (send & receive, firm & user, feedback loop) 3. Interaction as Identity Dimension (strategic impact) 4. Many complete Value Cycles (relevance, meaning, personalisation) 5. Simultaneous Points of Interaction (different values through different channels) 6. Mass Monologue Media and Personal Dialogue Media (change in weight) 7. Three parallel Value Cycles (manifestation, identity and cultural cycles) 8. Harmonisation of functions (marketing, design, communication, management) 9. Applicable to most manifestations (in this case: all online communications)
3B. THREE PARALLEL VALUE CYCLES:
3C. EXPANDING THE EXPERIENCE:
user strategy
brand strategy
user strategy
brand strategy
usertribe
corp. strategy
usertribe
corp.strategy
firmnetwork
usernetwork
usernetwork
firmnetwork
user identity
brand identity
user identity
brand identity
user manifest.
brand manifest.
user manifest.
brand manifest.
manifest.cycle
manifest.cycle
identitycycle
identitycycle
networkcycle
networklcycle
points ofinteraction
E X P A N D I N G T H E B R A N D E X P E R I E N C E
MANIFEST
ATION C
YCLE
IDEN
TITY C
YCLE
CULTURAL
CYCLE
LEVEL OF DIALOGUE
LEV
EL O
F EX
PER
IEN
CE
12
3
45
12
3
45
12
3
45
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FAQ-SHEET
1. Take it or leave it. This is what I think is best for you. 2. Configuration (You could choose between options A and B) 3. Customisation (These are my prefs. Is a new C possible? Can I do that myself?) 4. Personalisation (If there would be a new á combined with C then that leads to È) 5. Transformation (A transformed È gives us both a new level of meaning)
3D. DIFFERENT WEIGHTS OF BRAND IDENTITY DIMENSIONS:
3E. DIFFERENT CONFIGURATIONS:
3F. OPERATIONALISING THE MODEL:
BRAND IDENTITY DIMENSIONSe.g. AMAZON
BRAND IDENTITY DIMENSIONSe.g. APPLE
;-);-)
!!CC
X ;-);-)
!!
CC
X
MULTINAT: FMCGIMAGE DRIVEN, LOW INVOLVEMENT,
YOUNG FIRM: NEW MOBILE DEVICEPRODUCT DRIVEN, INNOVATIVE, PERSONAL, SOCIAL