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Red Antler’s Emily Heyward explains how to get people obsessed with your brand

If you’re currently building a startup, you know what product you want to build. But do you know if people are actually going to notice you? That’s the question I asked of Red Antler co-founder Emily Heyward during our virtual TechCrunch Early Stage event.

In case you’re not familiar with Red Antler, Heyward’s branding company has worked with some of the most iconic startups of the past decade, such as Casper, Allbirds, Brandless and Prose. She knows her topic so well that she just wrote a book on branding called “Obsessed.”

Let me break down the key takeaways of her presentation and responses to questions from our virtual audience — we’ve embedded a video below with our entire conversation.

Branding matters — anybody can launch a startup

It has never been easier to launch a startup. If it’s a software company, your infrastructure will be managed by a cloud hosting company. If you’re selling consumer goods, you can find manufacturing partners more easily than ever before.

“There are fewer traditional gatekeepers standing in your way. You don’t need to be able to afford a national TV campaign to get people to notice you and to hear about you. It’s a lot easier to get it out there and start selling directly to people,” Heyward said.

The result is that there are many companies competing in the same space, launching around the same time. Casper isn’t the only online mattress company anymore for instance. Brand obsession can set you apart from the rest of the crowd.

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Verified Expert Brand Designer: Studio Rodrigo

Ritik Dholakia worked as a startup product manager before he co-founded Studio Rodrigo, a branding and product design agency based in NYC. Unlike traditional branding firms, Studio Rodrigo is proud of its product design chops, especially when it comes to helping early-stage startups build version one of their product. It’s not an easy balancing act since most companies eventually want to bring their product design talent in-house, but it turns out, Studio Rodrigo can help with that too. Learn more about the studio in our Q&A with founder Ritik Dholakia.

Studio Rodrigo’s unique approach:

“Studio Rodrigo listened to all of our goals and dreams, concerns and uncertainties, and created a brand identity, website, and marketing materials that were true to our vision but better than anything we could have imagined.” Tze Chun, NYC, Founder, Uprise Art

“Basically, we’re a full-stack product design team. We have people who can do brand identity from a pure graphic design and visual communications standpoint, and who can also connect the dots between design and technology, business, and customer needs. We don’t have a traditional agency model with a project and account management overhead. You work directly with our designers.”

On Studio Rodrigo’s ideal client:

“We like working with clients that are solving big, meaty, challenging problems. We’ve got a smart team that likes to wrap their heads around the kinds of technologies that are pushing industries forward. For us, that’s currently technologies like machine learning and artificial intelligence.”

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Below, you’ll find the rest of the founder reviews, the full interview, and more details like pricing and fee structures. This profile is part of our ongoing series covering startup brand designers and agencies with whom founders love to work, based on this survey and our own research. The survey is open indefinitely, so please fill it out if you haven’t already. 


Interview with Studio Rodrigo Co-founder Ritik Dholakia

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Yvonne Leow: First things first, how did you get into brand design and product development?

Ritik Dholakia: I’ve been in digital design and product development for about 20 years now. I actually started my career as a product manager at a startup. I worked for two venture-backed startups as the first product manager. I was part of the Series A team, managing product development, acquiring initial customers, and building market traction.

The first startup was an enterprise software platform for customers doing triple bottom line reporting. The second one was one of the earliest social networking platforms, pre-Facebook, and around the same time as Friendster, LinkedIn, and Spoke.

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Videos lead brand creative growth with 3x increase since 2017

James Winter
Contributor

James Winter is currently the VP of Marketing at Brandfolder, a leading digital asset management solution; prior to joining Brandfolder, James was the Director of Marketing at AspireIQ where he grew the marketing team from zero to seven.

As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.

In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.

With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.

The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.

In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.

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Check out the full Brandfolder Brand Index Report at the end of this article.

Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.

To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they were back to wearing their normal jerseys with the most current logo.

Later in the season, however, the team is wearing pink jerseys for Breast Cancer awareness. This is a prime example of a dynamic brand expressing their creativity while adapting to varying circumstances, events, and audiences. All of this necessitates fluid brand creative.

But what exactly is brand creative? In the broadest sense, it refers to the all-encompassing collection of online and offline creative assets that a business uses to represent its brand. When we refer to brand creative, we refer to assets of all types–like videos, social media posts, product photography, lifestyle imagery, sales materials, logos, fonts, 3d renderings, and much more.

At Brandfolder, we are focused on delivering intelligence about our customer’s brand creative. We house and manage millions of creative assets from companies of all sizes–anyone from small-scale mom-and-pop shops to large-scale Fortune 10 companies.

And within this massive creative data set, our data science team extracts actionable insights through asset scoring algorithms, prediction formulas, collections, classification tools, and uniqueness analysis, to name a few.

Through these analyses mentioned above, our data science team created the Brand Index– a collection of high-level brand creative trends that CMOs, brand managers, agency professionals, and designers should use to guide their strategic campaigns and deliverables. It was built on discoveries from tens of thousands of creative assets stored in our digital asset management platform from more than 6,000 brands between 2016-2019.

Some brands house asset counts as low as 60, while others house as many as 38,000 assets or more. Specific information analyzed within the Brand Index includes amounts of assets, file formats, asset orientation, asset shelf life, event-based interactions with assets, and more. This information was then combined with the customer’s industry and anonymized to remove any identifying and brand-specific information.

In the Brand Index, companies can learn things like why and how brands’ digital footprints are growing exponentially. From 2017-2018, total asset count on a by-brand basis skyrocketed by 81%. And, it’s on track to continue climbing.

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Check out the full Brandfolder Brand Index Report at the end of this article.

A major factor for this digital asset boom could be the increasing demand for rich and personalized media on multiple channels, putting an even greater emphasis on the need for a robust digital asset management platform.

Additionally, as CMOs and design directors are putting more time and effort into their brand creative, the need for understanding which assets perform better, when and where, will continue to rise. Brands are already taking advantage of optimizing their creative content based on rich insights.

Thus, by integrating testing data with a platform that provides asset-specific performance insights, brands will have the competitive edge they need to continue retaining and building equity in the minds of their consumers.

Our findings also show that companies should take note of the shift in file type and how brand creative needs to become increasingly dynamic in order to keep delighting their customers. Rich media files used for engaging and dynamic advertising are on the rise–with video being a key player.

Videos have become the go-to file format supporting a variety of marketing and business goals like sales, retention, upsell opportunities, customer experience, education, thought leadership, and more. JPGs still tend to be a brand favorite, however, gone are the days that these JPGs only live in one place. Asset versatility and responsiveness are critical for the increase of digital channels. Which leads me to my next point: brand identity.

Most brands now have at least four logo orientation and color variations that contribute to consistency and cohesion across their growing portfolio of channels. The brands that are succeeding in the marketplace have animated logos and other engaging asset types that they can switch out on any channel with the snap of a finger.

And as mentioned earlier, if the average shelf life of an asset differs by file type with a current average being 280 days or less, which file formats should brands continue to invest in order to maximize their ROI?

But, what does asset shelf life really mean? Asset shelf life is defined as the number of days between when an asset was created and its latest event date (the last time it was accessed, viewed, downloaded, distributed, etc.). An asset is just like a living, breathing creature. It moves from creation through purpose and finally reaches retirement or its, sometimes timely, archival.

Not all assets are created equal, however. With the creation of AI & ML technologies, brands are getting smarter about their content’s performance. High-performing brands are quicker to remove underperforming content from their arsenal and generate new brand creative to keep things fresh.

And with video on the rise, that also takes a big chunk of change out of marketing and creative budgets. Thankfully, but not ironically, we’re seeing that the asset types that take a larger investment also have longer shelf lives.

Companies should invest in a management solution for more expensive assets to ensure they are generating the maximum reach and profitability throughout their lives.

As brands look to scale their identities and creative asset production, as well as their distribution and delivery strategies, companies should take advantage of the Brandfolder Brand Index in order to ensure they aren’t left behind with the constantly evolving landscape.

Read the full Brandfolder Brand Index below:

 

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Should you hire an in-house designer or a contractor?

Editor’s note: This post is a part of our latest initiative to demystify design and find the best brand designers and agencies in the world who work with early-stage companies — nominate a talented brand designer you’ve worked with.

During a decade as the manager of the in-house design team at open-source technology company Red Hat, Chris Grams learned that brand design is best when informed by a company’s culture and community.

He felt a natural push toward an open, collaborative attitude, distinct from how many companies approached design at that time. It was the early 2000s, and most companies saw their interactions with customers as a one-way street. In open source, it was an intersection.

“You almost break down the company and the community of people who surround the brand,” says Grams, currently head of marketing at Tidelift, an open-source software management firm, and author of The Ad-Free Brand. “Now it feels like pretty standard operating procedure for the best brands that have the best relationship with their communities.”

This shift has a large influence on the question of when you should hire an in-house designer versus a contractor to do your branding design.

Three reasons to go in-house

After leaving Red Hat in 2009, Grams helped start New Kind, a branding agency that provides contract design services mostly to tech companies. This new vantage point allowed him to see drawbacks and advantages for companies in outsourcing design versus bringing it in-house.

One of the key benefits of in-housing is the designer’s intimacy with the deeply held values and culture of the company, which makes their branding work feel more authentic.

“The internal agency’s power really reveals itself when people are deeply part of the mission of the company,” says Grams. “It comes through in the work. You get an amazing work product.”

The second benefit, especially for tech companies, is the depth of understanding in-house designers can develop about the company’s products and services. And the third is that a dedicated in-house designer can be directed as needed to respond to pressing priorities.

“You can have them stop on a dime,” says Grams. “Say a competitor comes out with a big launch and you need to have something out within 24 hours. You can work on it right away.”

These are real benefits, but they may not outweigh the advantages of contracting out your design to a high-quality agency.

The benefits of using an agency

A major benefit of an agency is that you can hire people with a level of expertise and variety of skills that would be out of reach for an in-house team. When Grams was at New Kind, for example, “we had a combined 30 years of experience with open-source branding work,” he says.

An agency can also provide the bandwidth to take on non-priority tasks such as a rebrand or a special series that in-house teams are often too work-strapped to take on.

Hiring an agency also has advantages in terms of flexibility and cost. The ability to customize the timing and amount of design work to your needs can be less expensive over time, even if each working hour is more expensive.

“You can ramp down and ramp up with an agency,” says Grams. “It’s impossible to do that with people… You’re paying that extra margin to have that flexibility.”

There’s a lot to think about, but Grams advises prioritizing the need for your design to be authentic to your culture… or not.

“I think the biggest thing is the power of your culture, frankly,” says Grams. “If you have a company where culture is not an asset, I would not build an in-house design team… But if you’re building a mission-driven organization or an organization where culture is super important, that’s where I would take an extra-long look at building an internal agency.”

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Polish startup Displate raises raises 2 million Euro to decorate your abode

 Noted futurists like Arthur C. Clarke and Carl Sagan got a lot of things right when they predicted things like genetic splicing, transatlantic communications, the Internet. But what these eggheads didn’t predict was the burgeoning market for metallic posters. That’s where the wizards at Displate got it right. Displate is a Polish company with almost $10 million in worldwide sales.… Read More

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Adobe’s Acrobat DC gets better support for digital signatures

acrobatdc_compare_files With its Creative Cloud, Adobe made an early bet on offering its tools for creatives as a subscription service. With its Document Cloud, the company also offers a subscription-based service for its more enterprise-focused document management tools. Acrobat DC, the PDF-centric flagship service of the Document Cloud, is getting an update today that introduces a number of new features that… Read More

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Adobe Updates Creative Cloud With Focus On Improved Workflows And Mobile, Announces New Portfolio Service

5d04c12e7981976d128a7a2292123f73 Adobe is kicking off its annual MAX conference in Los Angeles today. Traditionally, this is where the company announces its latest updates and gives us a glimpse of the new features it’s working on for products like Photoshop, Lightroom, Illustrator and Premiere Pro. This year is no exception. The company is launching a slew of new features for almost all of its Creative Cloud products… Read More

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Australian Graphic Design Startup Canva Raises Additional $3.6M

canva Canva, a site that lets non-designers create graphics using drag-and-drop tools, has nabbed an additional $3.6 million in funding from Founders Fund and Shasta Ventures, as well as existing investors Matrix Partners, Blackbird Ventures, and Square Peg Capital. This brings its total raised so far to $7 million. Read More

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