Words by Darren Richardson
Design acts as a visual trigger that makes us think “ooh, that’s interesting” or “that’s not quite right”. Design will always have an intrinsic aesthetic quality, but it is the element of personal taste which can make it unpredictable (and exciting).
Is it possible to set about measuring the impact of good (or bad) design? This is a tricky one. It’s very difficult to measure the impact of design because we have a personal reaction to it – good or bad design evokes certain emotional feelings in our responses.
Whether it’s a logo, brochure or product packaging, the best design hits a personal aspiration – it pushes a trigger in the viewer or consumer. If it is well considered, well crafted and memorable then it will hit the mark. Think about the iPod – not just the iconic design of the product itself but the packaging it comes in – or Paul Smith perfume, for example. The design is a major contributory factor in its appeal and ultimately its success because it genuinely reflects the personality of the brand. The designs on the packaging of Innocent smoothie drinks are another great example of how design can have impact. At first glance, the smiley face seems quite childlike but it also has attitude, is friendly and sophisticated, all at the same time – perfect for its broad target market.
The impact of design is, of course, measurable – but ultimately its success is more emotional and personal than that. That’s important because brands are about individual relationships between business and consumers, because brands operate on an increasingly emotional level and because design offers a way of connecting with people on this level.
It doesn’t need to be elaborate and it should connect with the individual aspirations of the person viewing it. In my opinion, good design is simplicity itself – and ironically this is something which can be difficult to achieve.
Is it possible to set about measuring the impact of good (or bad) design? This is a tricky one. It’s very difficult to measure the impact of design because we have a personal reaction to it – good or bad design evokes certain emotional feelings in our responses.
Whether it’s a logo, brochure or product packaging, the best design hits a personal aspiration – it pushes a trigger in the viewer or consumer. If it is well considered, well crafted and memorable then it will hit the mark. Think about the iPod – not just the iconic design of the product itself but the packaging it comes in – or Paul Smith perfume, for example. The design is a major contributory factor in its appeal and ultimately its success because it genuinely reflects the personality of the brand. The designs on the packaging of Innocent smoothie drinks are another great example of how design can have impact. At first glance, the smiley face seems quite childlike but it also has attitude, is friendly and sophisticated, all at the same time – perfect for its broad target market.
The impact of design is, of course, measurable – but ultimately its success is more emotional and personal than that. That’s important because brands are about individual relationships between business and consumers, because brands operate on an increasingly emotional level and because design offers a way of connecting with people on this level.
It doesn’t need to be elaborate and it should connect with the individual aspirations of the person viewing it. In my opinion, good design is simplicity itself – and ironically this is something which can be difficult to achieve.
But on a commercial level, there is no doubting the value and importance of design. Just look at Apple or Marks and Spencer – when combined with a quality product there is an inferred value of the design.
Like other forms of communication, design is all about getting the message across, telling a story and grabbing attention – creating stand out. Of course, we can measure the impact of a new brochure and identity as part of a wider marketing campaign – a well designed and targeted brochure can obviously generate increased sales leads and raise brand awareness - but in reality design is much more subtle than that.
It goes without saying that the biggest measure of a product is how it sells – and the way it looks is a huge part of its appeal and a large contributory factor in our buying patterns. When Green & Black’s launched its luxury chocolate, bosses were smart enough to realise that the design of the packaging would be critical to its success. Its elegant, simple design and high quality varnish G&B’s on the packaging was a big hit with focus groups and helped it to become a best-selling brand.
Of course, there is always a certain element of “throwaway design”, as I call it, and that might be appropriate for certain audiences. But whoever it’s aimed at, the single-most important thing is that it must be well considered to have real impact. Take, for example, a modern, trendy chair from IKEA or the infamous handcrafted chair bought by Margaret Thatcher for thousands of pounds – one is built to last, one isn’t, but they are both well considered pieces of furniture design and perfect for their respective purposes.
Like other forms of communication, design is all about getting the message across, telling a story and grabbing attention – creating stand out. Of course, we can measure the impact of a new brochure and identity as part of a wider marketing campaign – a well designed and targeted brochure can obviously generate increased sales leads and raise brand awareness - but in reality design is much more subtle than that.
It goes without saying that the biggest measure of a product is how it sells – and the way it looks is a huge part of its appeal and a large contributory factor in our buying patterns. When Green & Black’s launched its luxury chocolate, bosses were smart enough to realise that the design of the packaging would be critical to its success. Its elegant, simple design and high quality varnish G&B’s on the packaging was a big hit with focus groups and helped it to become a best-selling brand.
Of course, there is always a certain element of “throwaway design”, as I call it, and that might be appropriate for certain audiences. But whoever it’s aimed at, the single-most important thing is that it must be well considered to have real impact. Take, for example, a modern, trendy chair from IKEA or the infamous handcrafted chair bought by Margaret Thatcher for thousands of pounds – one is built to last, one isn’t, but they are both well considered pieces of furniture design and perfect for their respective purposes.
