While updating Informing Arts’ website I was reminded, the hard way, of the need to keep digital brand assets current. We stumbled on issues relating to trademark renewals and obsolete digital file formats. Even strategic marketers like me can overlook details like how current are your brand assets — can you still make changes with existing software tools?

While neither issue is life threatening, dealing with brand asset “hygiene” issues has consumed time and money better spent on more productive activities. Although I do confess to having fun with the designer and getting my hands dirty with Adobe Creative Suite 4… Informing Arts’ revised site is not quite ready to “go live,” but it’s imminent.

The Backstory: Informing Arts Brand

A top-notch designer created Informing Arts’ corporate logo and business papers in 1997, and her design strategy has served us well since then. A former Aldus/Adobe designer, she now leads the creative team at PopCap Games. No doubt the quality of her work enabled us to go years without having to update our brand identity, except for minor tweaks to adjust from print to web. We printed reams of business papers, and now that most communications are electronic, we still have lots left in inventory! Only the business cards need refreshing.

Unfortunately, the software tool used to create Informing Arts’ corporate identity, FreeHand, is no longer on the market. Time has marched on, and arch-rival Adobe Illustrator CS4 can no longer open our 10-year-old FreeHand files. During the decade since our design was done, Adobe acquired Macromedia which had acquired FreeHand from Aldus and the original designers of the software. It’s been years since Adobe updated FreeHand, a lingering death, I’d guess…

So I had to hire a designer to recreate the corporate identify files, to fix the consequences of imperfect file conversions. Had we stayed up-to-date with version changes in file formats, some of these costs might have been avoided. Luckily we had some ancient EPS and TIFF files to build upon.

Fast Forward to 2010

Having said that, I chose to take advantage of this file update project to change fonts for Informing Arts’ logotype and business papers (in case we ever need to reprint them!)

The original design specified Berthold Garamond, a typeface which is very elegant, with delicate ascenders and descenders. These details look fabulous on commercially printed materials, or when reproduced on a high-res laser printer.

But all that finesse disappears on most computer screens, let alone mobile devices. We’d struggled for years when we had to insert a small rendition of the logo in an Office doc or a web file. So it was time to switch to a typeface that remained elegant and legible even when displayed on lower res screens and printers. We chose Cronos Pro.

And here are the results: Informing Arts’ revised mark, displaying the company name in Cronos Pro Subhead.

Informing Arts Logo - 2010 version

Lessons Learned

One of the interesting lessons we learned along the way was the reminder about documenting all those last-minute design decisions, like exactly what Pantone color did the printer end up using… Our files called the color swatch “goldenrod.” Not a PMS spec, and not a color that has a consistent meaning across PC and Mac platforms, to say the least. My files did not contain written records of those final decisions, so we were having to make guesses about color choices and color ramp details.

We were also reminded that there were visual effects the commercial printer could achieve (in terms of a very subtle color ramp) that are still out of reach digitally.  Or at least, out of reach digitally for those of us not blessed with Apple-size creative budgets.

Net net: a project we thought would take an hour or two consumed a day of a designer’s time plus half a day of my time. And when you pay by the hour for an experienced designer, the cost is comparable to what you’d spend on a new PC. Not huge in the grand scheme of things, but definitely a reminder to stay current with file formats!

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Apple has earned the reputation as one of the most admired brands — and envied companies — in the world. For the third year in a row Apple ranked as the world’s most admired company, by the highest margin ever. But this didn’t happen overnight, and it’s not just because Steve Jobs is one of the world’s most admired CEOs. There are several factors that account for Apple’s continuing success as a market innovator.

A key element of Apple’s strategic playbook is its relentless pursuit of consumer-delighting innovation:

What makes Apple so admired? Product, product, product. This is the company that changed the way we do everything from buy music to design products to engage with the world around us. Its track record for innovation and fierce consumer loyalty translates into tremendous respect across business’ highest ranks.

As BMW CEO Norbert Reithofer puts it, “The whole world held its breath before the iPad was announced. That’s brand management at its very best.”

Fortune Magazine, March 4, 2010

Apple’s success is not due to some secret sauce that only Steve Jobs can formulate. (Although he is a critical ingredient.)

Shared Strategic Values: Innovation, Excellence, Consumer Delight

Another factor is Apple’s remarkably cohesive corporate culture, one that actively fosters a set of shared values and beliefs among employees and partners. Central to that culture is a common understanding and passionate commitment to what it takes to deliver just the right set of capabilities and experiences to delight consumers.

This is not a corporate culture dominated by bean counters, risk-avoiding lawyers, or design committees whose negotiated compromises inevitably lead to boring products and mediocrity. It’s a culture that’s comfortable with using the words “passion” and “excellence” in everyday conversation.

These values fuel the creative juices and passionate collaborations that deliver award-winning products and services year after year.

A Strategic Commitment to Excellence

Over dinner recently with a fellow Apple alum, we talked about the fact that Apple’s remarkable success did not spring up overnight (even though most of the popular press seems to believe that). Apple’s achievement results from 30 years’ dogged pursuit of excellence, as defined by a design aesthetic that embraces simplicity, the perfect balance of form and function, and an experience strategy that engineers out the “friction points” that cause frustration or hassle in the environments or usage situations where Apple’s products compete.

We told each other stories of encounters between Apple marketers and product engineers, or designers and Steve Jobs — all of which underscored the lengths to which Apple will go to ensure product quality and innovation. Design as strategy… Some of our anecdotes came from our own experience as Apple employees; some were recent stories she’d heard from a cousin who works as an Apple product engineer today.

What struck us was how similar the themes were from our experiences at Apple in the late 1980’s, and the Apple of today. That’s a sign of a consistent, enduring corporate culture.

Apple “Thinks Different”

Apple’s culture offers a startling contrast to that of most public companies, the ones that settle for “just good enough.” Or worse, companies like BP that push cost-cutting to the point of unacceptable societal risk, with long-term deleterious consequences for shareholders and the public alike.

If you’ve been lucky enough to work in a corporate culture like Apple and contribute to products that change the world, worklife afterwards can be an incredibly painful experience — coping with the commonplace world of “just good enough…”

I wish more companies would take steps to emulate what’s best about Apple’s strategy.

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Lessons from 25 Years of Digital Publishing

June 3, 2010

25 years ago Apple and a handful of partners ignited the digital publishing revolution. I was there, a senior member of Apple’s pioneering team, along with visionaries and change agents from Adobe, Aldus, Quark and others. Our work laid the foundations for digital content and publishing, key milestones on the road to the Web, social media, blogging, and other 21st century communications.

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Do You "Drink the Kool-Aid?" If So, Beware

May 27, 2010

Businesses can stumble badly in their financial projections if they over-estimate customer adoption rates. And if you work in product marketing or sales environments where everyone must “drink the Kool-Aid,” you’re potentially at risk, especially in B2B markets.

In consumer markets, where the decision maker and the end-user are often the same person, motivational issues are less likely to affect post-sale adoption rates (unless the product is a “lemon”). Here’s why.

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Who Will Pay for Your Product?

May 26, 2010

Lately I’ve been coaching some entrepreneurs as they prepare their investor pitch to prospective angel investors. One of the recurring challenges with their draft pitch is a lack of clarity on a number of key factors, such as:

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If You Rely on Partners, Don’t Ignore Your Brand

May 20, 2010

Are your partners tarnishing your brand? Do you even know? This story concerns a good brand that risks dilution and negative word-of-mouth, due to poorly trained partners who interact directly with the brand’s consumers. Alaska Airlines: Great Brand, But Partners Need Training Last week I flew home from Boston’s Logan Airport via Alaska Airlines. The [...]

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At Last, A Framework for Social Marketing Analytics

April 29, 2010

Thanks to the Altimeter Group and Web Analytics Demystified, we now have a framework for deciding how to measure progress with social media marketing — a draft model that’s worth talking about. The framework has many merits, but also limitations, especially for start-ups or entities in the early phase of their life cycle, before there’s much conversation about them online.

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How do they find your brand when they’re not looking?

April 2, 2010

Most of the tactics based on SEM and SEO aim at capturing the attention of shoppers engaged in active discovery. Which is cool, if people already know your brand, are aware of your current offers, and generally understand your brand promise or core value proposition. (In this context we’re talking about the buyer’s activities during the earlier phases of the marketing funnel.)

But what do marketers do if people are unaware of or unfamiliar with your brand? Or if you’re confronting damaging misperceptions about your product’s positioning, core benefits, price-to-value equation, etc.? Search alone is not enough.

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Common Sense about Social Media

April 1, 2010

I’ve always loved David Armano’s thoughtful irreverence, his clear infographics, and the ways he helps us think about or reframe core issues in the worlds of marketing, media, community and communications. After stumbling across his wry “wheel of marketing misfortune,” for a recent presentation to a Chicago AMA event, I just had to share it here.

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Is Your Social Graph “Local” or “Cosmopolitan?”

April 1, 2010

People, organizations and civic communities gravitate toward one of two classes: local or cosmopolitan. Mindsets, competencies and connections are what distinguish these two social classes. The implications can be profound for local economies, based on the prevalence and mindsets of locals versus cosmopolitans within their population. What does this imply for social graphs

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