segunda-feira, maio 19, 2008

Logo Trends 2008 - Logolounge

By Bill Gardner

Trend-watching, until recently, has largely been an exercise in watching connections form between direct associations. Photoshop releases a new filter, and voila — entire raft of logos take on that effect. A particular illustration style is featured in a successful advertising campaign or movie, and in what seems like minutes, the flavor of that art starts to enhance corporate identities.

Periodically, something truly surprising and unexpected pops up. Finding those little treasures are one of the great perks of categorizing 27,000 logos, as LogoLounge and a talented panel of judges just did in preparation for our fourth book. But there's always that natural undercurrent of influence that touches this design and that, a drift of scent, a faint change in air temperature. It's there, but almost not.

This year, however, it seems as though there has been a change in the nature of trends themselves. Instead of a hub-to-spoke relationship in which trends fan out from a central source, prevailing tendencies in logo design now seem to send out long underground runners that poke through the dirt in unrelated, unexpected places, anywhere in the world. It's harder and harder to trace the rhizomatous spread of ideas anymore — which truly is a good thing.

What follows are 15 trends that have indeed popped up all over the world. Overcasting them all are prevailing winds that are worth noting first:

  • We saw less emphasis on sustainability or general "greenness" in logo design. There's plenty of natural imagery, but being "green" doesn't seem all that unique anymore.

  • Colors are becoming more vivid. Desaturation has drained away, and the chroma factor pumped up.

  • There's an overall move toward cleanliness — in type, in line, in color — as if ideas are getting more and more succinct. It may be an indication of the degree of seriousness with which branding is now regarded.

  • Less is more common: less calligraphy, less Photoshop tricks, less artificial highlights.

  • Found pattern and illustration hang on and on and on. With a bottomless treasure chest of visual history constantly at the ready through retail collections and over the internet, it's a direction that's not likely to run its course soon, if ever.

And now, the trends. Please remember that they are gathered here to chart long-term movement or change, not to offer design suggestions. It's a living history. The key is to study the trends, then evolve forward – as far forward as you can leap – from them.


Imagine what astrophysicists would label a supernova or the eruption and attendant explosion of a star. In a light show reminiscent of the jump to hyperdrive in the original Star Wars, these logos attack the challenge of motion head on. For years we've seen marks that have created the impression of motion from a profile perspective using streaks or blurs to signify speed.

These examples drive a field of elements toward or away from the viewer using a variety of methods. The LodgeNet logo (by Jerry Kuyper) advertises the company's in-room movie service by flying a picture at you with a smart explosive technique. This blast is simple in construction and void of halftone — particularly interesting considering the product is an online commodity that could easily have justified overboard solutions replete with RGB trickery.

1. Jerry Kuyper for LodgeNet 2. Gabi Toth for Halo Consulting 3. Crave Inc. for IQ Beverage Group 4. Mirko Ilic Corp. for Dr. Zoran Djindjic Fund

Fine Line

Consistency of line weight is one of the tenants of good logo design. It builds rhythm and ensures legibility at first glance. Forget this rule for this category. Turn your line weight down to hairline and start drawing. Most of these logos live on two levels: first glance, and then second glance, with reader glasses. Typically, a heavier image with message one serves as a background field. The more profound message two is generally encrypted over the top of or knocked out of the heavier image.

Fine strokes weights may read as no more than pattern initially, but they can also carry the dichotomy of a counter message. A variation on this is the use of linear art en masse to create enough weight to define a message as in the PULSE logo. This yin yang process tends to captivate the viewer and lends a sense of intelligence to a mark that doesn't require a hammer to impart a subtle message.

1. Louis Fili for The Mermaid Inn 2. Hula + Hula for Cartoon Network Lainamerica 3. Unit for Artists for Peace 4. Point Blank Collection for Pulse


Imagine being asked to design a logo with a long strip of paper as your only tool. These quasi origami style solutions craft out a sense of dimensionality despite staying relatively flat. The material from which these are created range from (but are not limited to) transparent film, metal, and paper. There seems to be a message of cleverness and economy of stroke in many of these.

Sometimes the simplicity of the folds takes on additional meaning when the substrates demonstrate unique properties. Note how the opposite side of the material changes to a different color at every fold in the TURN logo. Or see how transparency enforces the visual overlap of material. In some ways, this technique creates a bit of a puzzle effect. It engages the viewer as it tempts them into tracing out the path of the mark or trying to determine if the folds could really occur as offered.

1. PMKFA for Yes King 2. Gardner Design for Liberty Capital 3. A3 Design for Urban Architectural Group 4. Addis Creson for Turn

Global Expansion

What a refreshing outlook this trend presents. Time was that any company involved in international commerce gave some passing consideration to a globe as their logo. It's a solution that has become terribly challenging to address with an original perspective. These logos at least have the honesty to step back and say, "Hey, we may not be fully global yet, but give us time." All of these marks rely on a centric pattern that diminishes at the edge and then warps out to wrap the sphere in symbolic expansion.

Cato Purnell Partner's diverse group of solutions for Dubai Airport succinctly communicates a key message. Commerce, travel, and tourism have made Dubai a true crossroad for international travelers, and this world-class logo has found a unique way to express the point. Using the Islamic sacred symbol of an octagram, or eight-pointed star, the logo starts to envelope the global sphere with its spreading tile mosaic. The dissemination of a culture is no accidental message in this mark.

1. Lippincott for XOHM 2. Cato Purnell Partners for Dubai International 3. Futurebrand BC&H for Transpiratininga 4. FIRON for Novatel


Continuous bands, yes, but not all of these marks have that certain mojo of the Mobius strip. Moving away from the universal sign of infinity, this group of logos seems to celebrate the flow of a closed cycle. No doubt more than a few rubber bands were called into action for their modeling services, but a ribbon-like figure was not mandatory.

There is something personal about the lack of perfect symmetry displayed here. The flexible nature of these logos signifies the ability to transform to meet the needs of the moment. Some appear to be snapshots of motion captured in a millisecond, of an object tense with energy.

The Peugeot 307 loop reflects the profile of that specific car but also seems to hover weightlessly above the ground. The chromed appearance of the mark takes on a surrealistic quality while conveying a certain technical prowess as well.

1. Lippincott for IBM & Freescale 2. Angelini Design for Peugeot International 3. Miriello Grafico, Inc. for Qualcomm 4. Double Brand for Long term car rent


Anyone who's ever torn up his or her mouth grazing on a jawbreaker or Gobstopper can attest to the concentric rainbow displayed on a perfect cross-section of the confection. There is a certain childhood joy associated with the perfect cleaving of these orbs that is akin to discovering hidden treasure. The 70's op-art quality of these marks is accomplished with little regard for a reserved palette. Generally, brilliant color is a must and often cross-sections are as unique as Technicolor snowflakes.

There is a youthfulness to these logos that addresses a certain vitality in the market. You can't help but smile at the visual joy they seem to capture. Influences could include Target's inventive use of its own logo in marketing efforts, although the red and white of their mark seems sedate in comparison to examples shown here.

1. Form for Dazed & Confused/Topshop 2. MacLaren McCann Calgary for Telphonic 3. Volatile for Antidote 4. Volatile for Pod


Animation in the static environment of print is challenging at best, but with some sequential stop-motion images, a solution is at hand. Remember those flip-books that with a riffle played out a short animation? Now, take the images, place them on a single surface, and this is the result. These marks have a slinky-like, fluid nature that lends a graceful aesthetic to their associated companies.

The Nikon logo crafted by Interbrand some years ago may have signaled the introduction of this process with a major brand. Sprint's adoption of Lippincott's logo, a representation of the stop-motion animation of pin dropping, opened the gates for deeper exploration and solutions in a similar vein. Nokia Siemens' new animated logo, created by Moving Brands, successfully plays out the strobe concept when adapted to print.

1. Interbrand for Nikon 2. Moving Brands for Nokia Siemens Networks 3. Lippincott for UMW 4. Lippincott for Sprint


Shield your eyes and pull out the 30 spf sunblock. It's not a sunburn you'll fear, but you may need to protect yourself from overly bright ideas. There is a certain glorification associated with all of these marks. The central core of the image is usually a bright tunnel out of which great light emanates. If this sounds a bit like the parting of clouds and the appearance of deities, you may not be far off.

Dissemination of light or energy by the use of rays is far more than an astral aura. This indicates a central subject or capability and the prospect that it holds the key or the solution to whatever the question is. Light also connotes knowledge and guidance. Even distribution of these spokes ensures a fairness of distribution and equality of access. As a moth will attest, there is an attracting radiance to these logos, regardless of color.

1. Gardner Design for Catalyst 2. Glitschka Studios for Proctor & Gamble 3. Circulodiseño, SC fr New Venturees 4. Chris Herron Design for Marimon Inc. & Kelly Swofford Roy


Over the last several years, designers have taken refuge with a variety of appropriated patterns. Design backgrounds have become shrines for wallpaper swatches, Victorian patterns, organic flora, faux wood grains and any other rococo-retro surface that is not nailed down or otherwise copyrighted.

Houndstooth and herringbone aside, designers on more boutique projects are dipping into their grandmothers' baskets of sundries and notions. This is often not as much about textile patterns as it is about the elements that hold a garment together. Zig zag, whip, and cross-stitch are a few of the strokes in the sewing arsenal. Bric-a-brac, fishnet, fringe, and tassels are also working their way into these solutions. This common language of mundane elements takes on a refreshing, often feminine beauty when layered together with great taste. Just remember that the difference between a tablecloth and a haute couture gown is not the material, but knowing what to do with it.

1. The Woodbine Agency for Lamp 2. tenn_do_ten for chico 3. The Pink Pear Design Company for Rummage 4. Hammerpress for Natasha's Mulberry & Mott


Sometimes clusters of a logo technique surface with little if any rationale. For this bracket, it's as if National Geographic just reported the recent unearthing of a series of Ishihara color plates for color blind testing. The influence is obvious but the timing is unexplained. You have to admire the chutzpah of a client willing to adopt a logo that 7% of the male population and 0.4% of women won't be able to understand.

Maybe this is exactly the point. These marks represent a quirkiness associated with entities that only a certain percent of the population will be able to really appreciate. Even for individuals without color blindness, these visuals can be a bit challenging to decipher. But that adds to their mystique and helps to build affinity for the logos when the viewer realizes he has passed the test. Either way, there is a joyful, reminiscent charm at work here — either that or this report is entirely wrong and these companies all sell Dippin' Dots ice cream.

1. Colorblind Chameleon - Self Promotion 2. Range for Dennis Murphy 3. Pearpod for Razoo 4. Cricket Design Works for Creme Cafe


These are soft, inflated blobs without any sharp corners to fall and hurt yourself on. Their friendly shapes are generally unstructured and much like an amoeba under the lens of an electron microscope, fluid and in motion. Amoeba comes from the Greek word amoibe, meaning to change, and this trend is about flux. The elements that compose these logos are anything but static. You can imagine a relationship between the parts of a logo as if they have just divided from one another.

This process of morphing and motion give us a clue about the structure and processes of the businesses represented here. Flexibility and an agile nature allow businesses to adapt in mercurial industries. These are entities that embrace the value of evolution. If you're evolving, chances are you're a living organism, and there aren't too many of those with corners.

1. Tactix Creative for DJ Eddie Amador 2. Double Brand for Poza Showroom 3. Mola for EDP 4. Yaroslav Zheleznyakov for Promotion<


Ali Baba and the 40 thieves knew what mattered in a cavern laden with jewel-encrusted treasure. In these precious gems, there is an intrinsic value of which legends are crafted. Whose eyes are not stopped by the alluring refractions of a precious bobble? What a perfect substance from which to carve an identity.

To create the greatest value in a material as base as a stone, one has to first recognize potential worth. With exacting efforts, a trained eye can cut away the precise amount that will best maximize value. All of this is done with the looming specter of complete failure if the action is not correct. With great risk comes great reward.

These logos can also address the multifaceted nature of a business. By arranging these facets in their optimal positions you create the greatest clarity and light. Or maybe it's not that deep and we just like bright and shiny things.

1. Kitsh for Clay Saphire 2. Thomas Manss & Company for VCC Perfect Pictures 3. Gardner Design for Lavish 4. BFive for Solo Company


There is a base honesty to an image that has never been shoved in one side of a computer and back out the other. There is still some soul attached to the mark and even a little sweat and blood from the originator. No attempt is being made to deceive the consumer and certainly there was no upper level management committee to quash the innocence of the humbly crafted logo.

Immediacy is an important justifier for these marks as well. The Rebuild logo, developed after Hurricane Katrina sends the message, these people need your help now. There is no time to finesse a corporate solution to the problem here: We need the help and response of everyone, and we need it now.

Personal messages and a sense of humanity are associated with these marks. It is the assurance the middleman has been cut out, and that this message is between me and you and no one else.

1. Steve's Portfolio for 2. Stubborn Sideburns for Hipposchemes 3. Fifth Letter for Shawn Lynch 4. Studio Oscar for Levi Strauss


Take a piece of relatively unassuming typography, water and fertilize with insane pixie dust, and let it grow. These logos could be relatives of the Flora and Embellish trend identified over the last two years, but they are definitely about type on steroids. Imagine type with hair that has been coiffed for fashion week in a Fellini movie.

Credit the stunning work of Si Scott and the unbridled design of Marian Bantjes as primary influences on this work. Scott specifically has developed a signature look that is being emulated a bit too close for comfort, in some instances.

Decorative flourishes gone wild identify these entities: They give more than you anticipate and are conscious of the frills and excesses necessary to carry you to satisfaction. These designs are exoticand unexpected but with enough whimsy to avoid being overtly feminine.

1. Lucero Design for Project 240 Apparel 2. United* for Bar Carrera NY 3. Team Manila Graphic Design Studio for Neu Media 4. Distrubancy Graphic Treatment for Eclipse Streetwear


Twisting threads travel in tandem or are spun together to form a twine with even greater strength. Or you see the tendrils of a vine traveling outward from a single source. Maybe it's the ebb and flow of a rhythmic group of fine fibers acting in concert to create the illusion of a solid mass. These are just of few of the descriptions that help define this category.

A collective acting in unison to maximize action and create strength in numbers is at the heart of these logos. These are not lines in perfect step with one and other. Unlike the grooves of a record, these elements show a degree of independence and celebrate the diversity of the components as they unite.

Uniting elements for a common good has become a prevalent theme of late. This trend transcends the corporate world and is seen in social efforts as well. Respect of individuality and honor of uniqueness are admirable pursuits.

1. Guillermo Brea & Associates for Argentina 2. Najlon for Town RIJEKA 3. Mattson Creative for The Collective 4. AtomicasStudio for 2 excite

Minor Trends

Some categories emerged this year that did not qualify for their own lanes, but which are still worthy of mention.
  • Animotion: What makes these designs unique is that they are designed to be in motion. They are not static designs that were juiced up later. You can view some excellent examples in action at

  • Braille Words: Imagine words, numbers, or letters formed out of Braille-like dots.

  • Stacks: These logos are like transparent sandwiches that have shape stacked upon shape upon shape.

  • Contact Drop: If a contact lens dropped on top of a logo, you'd have the same effect that these logos have. They are generally lens- or circular in shape with a hard outer edge and a soft inner edge. Think of the Barrack Obama logo.

  • Psyche Type: If you want to know what is going to happen in any kind of design, look back to what was happening 30 years ago. It's a never-ending merry-go-round of style. Witness the groovin' psychedelic type treatments that are so popular today. It's Haight-Ashbury all over again.

  • Pathways: There are also plenty of motion lines to be seen, going up and down, back and forth, or around and around. These are like tracers — sometimes transparent like light, bouncing around or bending in space. The Tennis Australia logo is an excellent example. Where the ball goes, the logo goes.

  • Warped: If you take a gridded piece of paper and start to fold or twist it, the printed grid will begin to conform to whatever motion you're applying. But in this category of logos, the substrate is more pliable, more flexible than paper. There's more give and stretch, so that lines on the x and y axis become contorted.

Finally, it's worth noting that there's a reasonably reliable place to look every day for the very latest in logo design (in addition, to, that is): television promo graphics for any of the major "style" channels — Food Network, Discovery, HGTV, the Travel Channel, and more. Because they have the money and the ability to get work out there quickly, the channels tend to be progressive forecasters and trendsetters. And designers, just like the rest of the unwashed masses, are home on the couch, watching.

Bill Gardner is principal of Gardner Design and creator of, a unique web site where, in real-time, members can post their logo design work; study the work of others; search the database by designer's name, client type, and other attributes; learn from articles and news written expressly for logo designers; and much more. Bill can be contacted at

quarta-feira, maio 14, 2008

Gestão de marca em discussão em São Paulo

'Melhores casos de sucessos em construção e sustentação de marcas no Brasil' foi o tema do evento que aconteceu nesta terça-feira, 13.05.08.

A 3ª edição do Encontro de Gestores de Grandes Marcas, realizado pela Brand Finance, aconteceu nesta terça-feira, 13, no hotel Transamérica, em São Paulo. O evento, cujo tema foi "Melhores casos de sucessos em construção e sustentação de marcas no Brasil", abordou assuntos como ferramentas da gestão da marca, branding, cultura e valores e estratégia e posicionamento da marca.

O primeiro palestrante foi Jerome Cadier, diretor de marketing da Brastemp, que contou como aconteceu o processo de reposicionamento da marca. O executivo destacou a limitação e a obsolescência do conceito "Sem comparação". "A partir de 2005 houve uma mudança no setor de eletrodomésticos e, em um mercado comoditizado, tem comparação sim", disse.

Cadier afirmou que foram em busca de um posicionamento mais flexível, mas com uma "espinha dorsal" claramente definida, e focaram na autenticidade por meio do conceito "descubra seu lado B". Ele citou o caso da lavadora para roupas íntimas, Eggo, lançada no ano passado, como exemplo do novo posicionamento. "O mote 'Perfeita para ficar no banheiro enquanto seu lado B fica no banho', comunicava às pessoas que poderiam ter mais tempo para fazer o que gostam".

Segundo Cadier, a estratégia que contou com peças para mídia impressa e internet, foi tão bem sucedida que a expectativa inicial de venda de 100 peças por mês, foi superada, atingindo as mil peças mensais.

Mauro Multedo, vice-presidente de marketing do McDonald's, Gilmar Nunes, sócio e presidente da Brand Finance do Brasil e Superbrands, Fernando Martins, vice-presidente executivo de estratégia da marca e comunicação corporativa do Banco Real, e Ana Luiza Almeida, diretora do Reputation Institute Brazil, enfatizaram a importância crescente dos ativos intangíveis no cenário atual e a conseqüente valorização de mercado das empresas.

"As marcas estão se transformando em top of mind para os investidores. Empresas com marcas fortes tem melhor desempenho no mercado de ações", afirmou, Martins. O executivo contou também sua visão para o futuro, "a base para a inovação é a informação e isso não se traduz em tecnologia. O importante é inovar em conjunto, que conseguir fazer isso bem feito vai agregar valor à marca", aposta.

Nunes foi o palestrante do painel "A importância das marcas e brand scorecard - gestão do valor gerado pela marca". O executivo comentou que embora ainda não esteja concluído, o ranking que define as marcas mais valiosas de 2008, é liderado pelo Google. Em 2007, a Coca-Cola ocupava a primeira posição, seguida pela Microsoft, Citi, Wal-Mart e IBM.

Já Ana Luiza frisou que empresas com reputações fortes incrementam o valor de suas ações e são menos afetadas por momentos de crise econômica. Ela enumerou ainda as diferenças entre marca e reputação. "A marca envolve as promessas de longo prazo que a empresa faz para seus stakeholders, enquanto a reputação consiste nas percepções e expectativas que os stakeholders têm da empresa. É importante lembrar que não há como gerenciar percepções e expectativas sem entender exatamente quais são", finaliza.

Fonte: Meio e Mensagem

terça-feira, maio 13, 2008

Como erro de grafia pode gerar R$ 385 mil

Recentemente uma internauta de São Paulo digitou num site de buscas a palavra "gravides" - escrita de forma errada, com a letra "s". Uma das primeiras respostas apresentadas fazia referência ao site da construtora Tecnisa. O espaço eletrônico da companhia surgiu no alto da página porque a empresa escolheu "gravides" como uma de suas palavras-chave na ferramenta publicitária chamada de link patrocinado. A internauta entrou em contato com a equipe de atendimento da construtora, que trabalha em tempo real, e bateu o martelo na compra de um apartamento no valor de R$ 385 mil. O valor investido pela Tecnisa na compra da palavra-chave foi de apenas R$ 0,05.

"O resultado obtido com o link patrocinado é espetacular. Esse formato representa 50% dos acessos ao nosso site", afirma Romeo Busarello, diretor de marketing da Tecnisa. Segundo ele, o site da empresa registra 430 mil visitas por mês e uma média de 1,6 imóvel vendido por dia pela internet, cada um a um valor médio de R$ 350 mil. A companhia planeja investir em 2008 mais de R$ 1 milhão em links patrocinados, superior aos R$ 680 mil aplicados em 2007.

(Gazeta Mercantil, 26/02/2008/Caderno C - Pág. 6)(Clayton Melo) - leia a íntegra da matéria aqui

Grandes empresas terão que mensurar valor de ativos intangíveis

Até 2010, todas as companhias brasileiras baseadas em sociedades por ações e de capital fechado com ativos acima de R$ 240 milhões ou receita bruta superior a R$ 300 milhões terão que se adequar à apresentação de suas demonstrações contábeis segundo o padrão internacional baseado nas regras do IFRS (International Financial Reporting Standards). Tais mudanças foram definidas pela Lei 11.638/07, sancionada em dezembro com total envolvimento da CVM (Comissão de Valores Mobiliários).

Entre as adaptações está a medição de ativos intangíveis, que estão relacionados a fatores como governança corporativa, gestão de stakeholders, valor de marca e sustentabilidade, que incorporam três dimensões integradas: econômica, ambiental e social.

Para Daniel Domeneghetti, CEO da consultoria DOM Strategy Partners, até agora as empresas encaravam a gestão de seus ativos intangíveis como algo etéreo e pouco estruturado, portanto, secundário. Como os balanços atuais não discriminam os intangíveis como ativos de valor, os mesmos acabam sendo alocados como despesas ou custos nestes balanços. A partir desta visão, eles são os primeiros itens a sofrerem alta desconfiança e restrições de acionistas e investidores.

“O efeito nefasto disso é que a empresa acaba se tornando refém da gestão de resultados de curto prazo, aniquilando importantes investimentos naqueles projetos ligados a ativos relevantes à sua competitividade de médio e longo prazos, tais como inovação, conhecimento, branding, sustentabilidade, qualidade, treinamento, etc”, argumenta Domeneghetti.

Segundo o executivo, os gestores e acionistas precisam se conscientizar que os intangíveis são ativos de construção de valor, que têm como função central garantir que as empresas continuem sendo capazes de gerar valor consistente ao acionista e demais stakeholders no médio e longo prazos.

Fonte: Revista Fator

segunda-feira, maio 12, 2008

Como reverter? Caso Viral Cia. Atlética

Vídeo “gordos” da DM9 para a Cia. Atlética divide opiniões


O recém-publicado vídeo “Gordos” da DM9 para a Cia Atlética. Fizeram o vídeo com uma sacada criativa relacionada à lei Cidade Limpa, que proíbe a mídia exterior na cidade de São Paulo. Então pelo tamanho, pessoas obesas, com marcas estampadas na camisa poderiam ser consideradas esse tipo de mídia. Gravaram um vídeo, no estilo pegadinha, com dois atores se passando pela fiscalização da prefeitura dando multas para essas pessoas.

O vídeo que estava aqui foi retirado do You Tube no início da tarde de hoje (08/05).
Você pode conferir o vídeo nesta página não-oficial criada contra à ação. (09/05)

Ok, a sacada é muito boa, mas deixou uma margem enorme pra críticas.

A mensagem que o vídeo passa é a seguinte: “Meu filho, tu é um gordo, parece um outdoor, vai pra Cia Atlética resolver teu problema”. Alguns podem levar na esportiva, outros não. Nem todo mundo aceita ser ridicularizado que tirem sarro de suas características físicas. E na internet, não tem espaço para o “nem todo mundo”.

Como você vai explicar pra alguém que acusa o vídeo de ser preconceituoso e desrespeitoso? “Ah, é uma brincadeirinha gente, vamos ter um pouco de bom humor”.

A divisão de opiniões pode ser observada não só no You Tube, mas também no Update or Dienesse outro post aqui. (onde saiu primeiro) e nesse outro post aqui. E no Blogcitário.

Transcrevo aqui um post do site SIM VIRAL, especializado em conteúdo viral e digital.


Levando em conta que a internet é um meio que se assemelha ao brasileiro, pois tem memória fraca, ela se diferencia no quesito registro. Um vez publicada uma matéria acerca de um assunto este fica registrado e possível de ser acessado por qualquer um interessado. Melhor que a memória do brasileiro. (rs)

E neste caso da Atlética, talvez não venha a ter tantas proporções, já que imagino que o tempo de exposição deste viral tenha sido muito curto para haver um burburinho que pudesse afetar e atingir muitos leitores.

No entanto, e aqueles que ficaram sabendo desse viral? Aqueles que viram e se sentiram ofendidos, por terem alguns quilinhos a mais? E pior aqueles que são magros mas que de alguma forma não gostaram a conduta da empresa? Como reverter?

Acredito que como foi um caso quase que 'isolado', onde apenas 'alguns' blogs mencionaram e a repercussão não foi tanta (para o grande público), a atitude por conta da agência desculpando-se pode surtir um efeito mais "do deixa disso", mais amenizadora, não reconcialiarora. Melhor do que se fosse à público aí o efeito seria contrário, provocando curiosidade daqueles que não viram.

Mas o que não me intriga foi a atitude em permitir esse tipo de abordagem justamente com consumidores, mesmo que os 'abordados' não fossem diretamente clientes, mas a imagem elaborada dessa ação saiu pela culatra justamente por eles tentarem vender algo puramente sem conteúdo, apenas pela gozação alheia. Que coisa!?

sexta-feira, maio 09, 2008

Al Ries - Power of the Names

Uma video-aula sobre um tema bem interessante. O processo de Naming, ministrada pelo Al Ries, um famoso guru do marketing. Citando exemplos da: Avis, Victoria Secret´s, Ebay, Suzuki etc.

Aqui vai um link sobre um artigo qu saiu no Webinsider sobre ele ano passado, quando ele esteve aqui dando palestras sobre "O Poder da Segmentação". Aqui.

Coca-Cola, Gol e McDonald's são as marcas mais lembradas na Internet

Coca-Cola, Gol e McDonald's são as marcas mais lembradas na Internet, diz UOL

O UOL divulgou as marcas mais lembradas na internet pelos consumidores brasileiros. As empresas com maior índice de lembrança no prêmio UOL Top of Mind Internet em suas categorias são a Coca-Cola, com 64% dos entrevistados citando a marca na categoria Refrigerante; a Gol, marcando 43% na categoria Companhia Aérea; e McDonald's, com 41% em Lanchonete.

Esta é a segunda edição do prêmio, que contou com duas novas categorias: Assessórios de Informática, onde a HP foi a mais lembrada com 5% de lembrança, e Produtos de Higiene, com a Colgate registrando-se vencedora com 6%. Conheça os vencedores de cada categoria:

Assessórios de Informática: HP (5%) e LG (3%)
Aparelho de TV: LG (20%)
Artigo Esportivo: Nike (20%)
Automóvel: Fiat e Volkswagen (19% cada)
Banco: Itaú (28%)
Câmera Digital: Sony (32%)
Cartão de Crédito: Visa (38%)
Cerveja: Skol (38%)
Companhia Aérea: Gol (43%)
Computador e Notebook: Dell (10%) e LG (9%)
DVD Player: LG (17%) e Sony (15%)
E-commerce: Americanas (18%)
Lanchonete: McDonald's (41%)
Produto de Beleza: Natura (12%)
Produto de Higiene: Colgate (6%) e Dove (3%)
Refrigerador: Brastemp (39%)
Refrigerante: Coca-Cola (64%)
Serviço Público: Receita Federal (5%)
Telefonia Celular – Aparelho: Motorola e Nokia (25% cada)
Telefonia Celular: Operadora: Vivo (25%)
TV por Assinatura: Net (40%)

Fonte: Mundo do Marketing

quinta-feira, maio 01, 2008

Monitorar marca na web é lição de casa nº1

O Marketing de Busca, foi um evento organizado pela INFO, que tinha o propósito de reunir e esclarecer e melhorar a otimização de mecanismos de busca e de marketing de busca, trazendo grandes profissionais gabaritados da área digital, para ajudar aqueles que trabalham ou tem dúvidas em trabalhar com SEO e SEM. (Veja links ao final do post para acesso)

E na era digital a Marca faz parte importante na exposição de marcas, seja em links patrocinados ou em outra forma de exposição. E monitorar ela como, onde e quem está falando sobre sua marca foi um dos pontos que Pedro Cabral da AgênciaClick tocou em sua palestra.

Transcrevo aqui o que saiu na INFO On Line, sobre o que estou dizendo:

O monitoramento constante de sua marca na internet é uma obrigação para qualquer empresa.

A afirmação é de Walter Longo, vice-presidente de estratégia e planejamento da Y&R, e Pedro Cabral, presidente da AgênciaClick.

Em palestras sobre o tema Marketing de Busca e Branding no Seminário INFO Marketing de Busca Para Quem Busca Resultados, ambos reforçaram a importância dos links patrocinados nas ações de marketing das empresas e de identificação do consumidor.

Segundo Longo, até mesmo em situações de gerenciamento de crise de marca os links patrocinados vem sendo utilizados.

Para Cabral, os links patrocinados ganham força extra quando, simultaneamente, empresas também colocam uma campanha na TV. Enquanto a propaganda na TV e o boca a boca cumprem o papel de propagar a marca e/ou o produto, os links patrocinados terão a função de facilitar a tarefa do consumidor para encontrá-la na internet.

Recomendo visitar o site da INFO, para ouvir os podcasts. É uma aula de marketing.

Além de conferir explicações sobre SEO e SEM, aqui e aqui. E principalmente aqui.