/author/Asl%C4%B1%20Biricik

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“Signum est enim res praetor speciem quam ingerit sensibus, aliud aliquid ex se faciens in coginatem venire.” (‘A sign is a thing which causes us to think of something beyond the impression the thing itself makes upon the senses’).

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In the 1880s and 1890s, companies such as Procter and Gamble, Borden, Campbell’s and H.J. Heinz were among the first to use this type of visual language in the form of distinctive packaging and branding to “create new habits of consumption” by training the consumer to reach for products bearing familiar logos (Lupton and Miller 1989). In this respect, corporate logos, along with corporate colours and names, “serve the same purpose as religious symbolism, chivalric heraldry or national flags and symbols” in that they encapsulate an entire brand message or set of corporate values into one single visual unit (Olins 1996). Simple symbols, like the swastika, the hammer and sickle, or the American Red Cross logo, can not only trigger instant reactions in the minds of those who perceive them, but also have proven to be powerful tools in motivating people or influencing their beliefs (Selame 1988).

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Smell is almost impossible to describe. We are exposed to thousands of different smells yet we have an extremely limited vocabulary to address them.

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Whenever a person hears the ring tone of a Nokia mobile phone,

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The texture, dimension, hardness, and warmth of the object help them to create an image in their mind.

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In the sequence of visual perception, the brain reads colour after it registers a shape and before it reads content.

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Santa Claus traditionally wore green until Coca-Cola began to promote him heavily in the 1950s.

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Visually, attractive packaging using bright colours and clean designs mesmerises people, captivating them and enhancing their brand relationship. Unmistakable Absolut 14 Vodka, Apple iMac, and Gillette razors are brands that are focused on constantly introducing the fresh shapes and sensory experiences that consumers appreciate. 'Colour is a sensation and not a substance.' (Friedman 1947) And sensation runs within us, unlike products that run without. Products that transform into appealing sensations are the ones that win. Every emotional branding strategy must consider the effect (or the absence) colours will have on the brand. Colour is about conveying crucial information to consumers. “Colours trigger very specific responses in the central nervous system and celebral cortex. Once they affect the celebral cortex, colours can activate thoughts, memories, and particular modes of perception. This arousal prompts an increase in consumers’ ability to process information.” (Gobé 2001) Properly chosen colours obtain a more accurate understanding of the brand and provide consumers a better recall of the brand. The effect of colours arises both from cultural connections and physiology, and these influences are enforced by one another. Colours with long wavelengths are arousing. Red is the most stimulating colour that will attract the eye faster than any other. Colours with short wavelengths are soothing. Blue actually lowers blood pressure, pulse, and respiration rates. Yellow is in the middle of wavelengths detectable by the human eye. Therefore it is the brightest and easily attracts attention. This is the original reason for making the Yellow Pages yellow. Colour often sets the mood of a brand through logos and packaging. Generally, it is desirable to select a colour that is easily associated with the product. For example John Deere uses green for its tractors. Green implies nature. IBM has a solid blue that communicates stability and reliability. However as Al Ries and Jack Trout note in The 22 Immutable Laws of Branding, “it is more important to create a separate brand identity than it is to use the right symbolic colour. Hertz, the first car-rental brand, picked yellow. So Avis, the second brand, picked red. National went with green.” (Ries and Trout 1998) The role colour choice can play in brand identity is not to be underestimated. Colours can demand attention, provoke responses. An orange, translucent, curvaceous iMac screams, “fun” and “different”. Contrast that with a typical, gray, rectangular desktop that communicates a “utilitarian” and “standard” identity. Neither computer is necessarily functionally superior, but the iMac is distinguished. It is an emotional brand.

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Emotional brands are the charismatic brands that people can’t live without. Take a brand away and people will find a replacement. Take an emotional brand away and people protest its absence. These super-evolved brands make deep emotional connections with consumers in new ways. Through mystery, sensuality and intimacy they inspire love. Emotion is the new frontier of marketing. Science has proved we think with our hearts as the more emotional part of the human brain is the right lobe which is more dominant than the rational left one (WEB_4 2006). Emotion is an unlimited resource.

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Today, products and people are living their lives through brands; brands give consumers identity, and enrich their life experiences. Brands have become an aura, an invisible layer of meaning that surrounds the product through emotional connection.

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Brands create aspirational lifestyles based on these consumer relationships. Associating oneself with a brand transfers these lifestyles onto consumers.

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How can you make a consumer—no matter what age or gender—simply fall in love with a brand, unable to resist its allure? The answer is: by turning it into something to identify with, by making it desirable, so that having it will add to who you are! It can be seen in many brands —Gucci clothes and accessories, Ferrari, Mercedes and Audi cars, Nike and Ferragamo shoes, Diesel jeans, Prada bags, Apple’s iPod, the Blackberry or even Starbucks Frappuccinos. By turning the relationship with the brand into a strong form of identification, an emotional relationship that commands loyalty beyond reason can be created.

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