Branding

This week we will be looking at the use of colour in branding. Below we discuss 4 topics from reproduction to finishes. First up, owning a brand colour..

1. Owning a brand colour

Using colour as a visual shortcut to brand recognition is one of the most powerful tools in your arsenal. If I was to say name me a ‘red’ or ‘purple’ brand, the chances are you could answer pretty quickly.

If you have a large amount of SKUs or a broad portfolio, a consistent brand colour is a great way to own the shelf.

Whilst it’s difficult to own a colour outright, it’s a lot easier to own a colour within a particular sector. Take for example Colgate and Coca-Cola.

Both use a similar hue of red but because they operate in different sectors that clash becomes less apparent.

If you want to stand out however it’s difficult to be associated with a particular colour that is intrinsically linked to another brand. In these instances it’s useful to look at linking colour combinations that are distinct when used together.

A great example here is IKEA. These brand assets are managed so that the proportions of one colour versus the other are always used consistently so re-enforcing brand recognition.

These colours could either harmonise or as in the case of IKEA, create a stark contrast for increased standout. 

There are many different hues of each base colour. Darker hues of blue for example are used to convey trust where brighter and more vivid shades convey optimism and refreshment.

There are no fixed and fast rules however. It may be that the choice brand colour is used to flex a different aspect of your brand values. All banks for example, want to convey trust but clearly they can’t all borrow from a dark blue pallete as that would create confusion.

2. Colour reproduction at print

It’s always rewarding seeing your pack printed in beautiful vivid colours.

Sometimes however it’s not always possible to replicate the design as it was intended because of how it is going to be printed. 

I’ve noticed recently that some clients are preferring to move from traditional six station print jobs (using Pantones) to cheaper CMYK runs. Especially on pack outers or secondary packs. The benefit of price is obvious (especially in the current climate) but there is also invariably a sacrifice of quality.

Some Pantone colours are easy to replicate in CMYK where others are more difficult. Greens and oranges can be tricky as their equivalents tend to go quite muted and dirty.

Not ideal if this is your brand colour!

The reason that this print method is cheaper is not just because there are fewer printing stations but also, printers can double up or piggyback runs with other jobs on similar substrates.

This piggybacking can create other headaches. If colours need to be tweaked to benefit one part of the job, they will invariably affect other parts.

3. Finishes and effects

So, we have looked at owning a brand colour and how we ensure this is replicated consistently at print.

The other aspect to cover is what this is being printed on and the effect that can have overall. 

Printing onto a matte white substrate will create a completely different feel then printing the same colour on a shiny metallic surface.

You can see in the image below. A print test we did using a flavour colour at different tints with different backings of white on metallic substrate.

Similarly, printing onto a plastic pouch is going to have a different look and feel to printing on cartonboard.

This can cause issues of consistency on brands and products with large portfolios that span different packaging formats.

This is especially true when printing in CMYK as discussed earlier..

Getting the printer to supply a proof or creating a target proof for the printer to match to, is hugely important in these instances so that runs can be tweaked before the big green button is pressed!

That said, always expect a little variation based on the end canvas you are printing on.

4. Help! I’ve run out of colours!

Often, and this is especially true of large portfolios of products. You simply run out of available colours on which to differentiate the flavours!

Whilst there are hundreds of different hues of each colour, our ability to differentiate between these is not as broad and expensive as the wealth of options we have available in a Pantone book!

Say you have one flavour that strawberry and one raspberry, clearly both of these require the use of red. It is important to make sure these colours hues are clearly differentiated and far enough apart so as to not cause confusion. 

Keeping these hues distinct means none of the colours between these two hues can be utilised elsewhere in the portfolio. Without some further differentiation on pack or through the product.

There may be instances where the entire portfolio uses a white out logo. Furthermore white out copy from a darker colour background. This is great because you get lots of punch at fixture.

When those deeper colours run out and you only have lighter colours left it can be difficult to maintain the same consistency . Furthermore the legibility by using white out logos on top of these lighter colours, without changing or challenging this consistency slightly.

If you are looking for some advice on your brand colour system, or think that you could benefit from a quick brand health check, then get in touch for an informal chat.

If you ask a design agency to pitch creative ideas for free, are you approaching the project in the right way and are you going to get the best agency work back?

To free pitch or not, is something each design agency needs to decide based on the return for their initial creative investment.

If the win for the agency is a continued relationship and more paid work with a client over a bigger portfolio of products, then obviously the initial free pitch may be well worth it. The same may not be true, however, for a free pitch on a ‘one-off’ project.

Below are some of the key points that you need to consider before asking your agency to pitch for free…

1. You may not end up with the best agency fit for your project.

Free pitching creative work is part and parcel of the big budget advertising world. However, in this arena budgets are huge and investment of studio time can see rewards in excess of 20 times the initial investment of agency time. There is a huge incentive for agencies to throw their top talent against this free pitch.

Outside this world of ‘super-massive’ budgets, lets take branding and packaging design, agencies are asked to pitch for potential projects with much lower budgets.

The advantage to the client is free creative work, however, if this work is also based around defining a new brand positioning, then a sizeable piece of work needs to be undertaken by the agency well in advance of producing any actual creative or realised ideas.

The fact is, that the best agency to work on your project may ultimately not want to, as they do not want to give ideas away for free.

2. You may not get the best people working on it.

In some design studios, the work on a free pitch often tends to be squeezed in around paying projects and not given as much time as a paid project.

The other factor to look at, is that you may not get the core team on a project, only whoever is available at that point to work on it. Especially if there is a tight deadline and the right people are tied up on paid work.

So realistically, are you getting the full set of deliverables and design breadth of thinking that you would normally get from a paid first creative stage?

3. You will not own the IP of the work.

If you don’t pay for the creative work then put simply, you don’t own what is presented. The IP is retained by the agency that created the work.

We were recently in a situation where we presented work on a paid pitch. We won the pitch and one of the other ideas that we presented was saved for a project further down the line. From the clients point of view that’s a win-win they own everything that was presented including an additional design for a future rollout.

Introducing a pitch fee is one way round this. Therefore, the agency gets paid a reasonable rate for the work that they have produced and the client maintains intellectual property of everything presented at that stage.

So how should you choose an agency?

We always encourage clients to select agencies based on the three C’s: Chemistry, Case studies and Credentials.

Let’s start with Chemistry. A quick phone call for a chat or an online meeting is a great way to dig around and find out – Do I want to work with these people? Don’t forget, that question works both ways!

Secondly, Case studies. The reason that you are talking to the agency in the first place is that you have seen their work and concluded that they are able to do a great job based on previous examples.

Ask yourself, do they need to prove to me that they can do an equally good job on my snack brand, or does the wealth of experience shown in their case studies and design thinking give me enough confidence?

Lastly are agency Credentials. Don’t forget, an agency is also a brand. They have to differentiate themselves and explain why they stand out from the competition and why they are right for you.

Here in the UK, we have a fantastically talented design industry. We are lucky to attract the interest of clients from all over the world. So it’s not just about design ability in an industry filled with talented individuals. Ask your agency what makes them special? What makes them stand out from the crowd? What makes them different?

You can see some of our work here.

We’ve all heard the stories of agencies and designers being briefed on the back of a fag packet or post-it notes. Briefings take many shapes and forms. Some are very thorough, others are very top line and need a lot of digging around work out the objectives.

You can only do a great piece of work if you get a great brief. By a great brief, what I mean is a very detailed explanation of what your key aims are along with any mandatories.

Now, whether you are designing a flavour extension to a product, or repositioning an entire range of FMCG products, the core principles of briefing remain the same. In order to make sure that you are happy with the deliverables, you need to pull together a ‘bobby-dazzler’ of a brief!

So, how do you go about doing this?

You can see what a great brief produces here.