The essay
What is the importance and place of typography in generating brand loyalty?
There are so many brands to choose from what makes them appeal to the consumers and stand out. The utilisation of typography within branding can help create brand loyalty. Brand loyalty is when a consumer continues to purchase from the same brand rather than exploring other options. this type of consumer is ideal for a brand as they are loyal and are likely to stick with the brand trough issues they might have. Rogener, Pool and Packhauser argue that consistent use of typography can become an integral part of the branding. Easily recognisable typography can make consumers choose a brand over another. The visual 3 out of 5 would not use a company if it looked terrible even if the product is said to be good (Eldred, 2020).
The brand does, however, have to have a personality as consumers tend to be belief-driven consumers.
TRA
Theory of reasoned action
The theory of reasoned action suggests that consumers consistently evaluate the consequences of alternative behaviour, and therefore choose the one that leads to the most favourable outcome one. The theory of reasoned action is behaviour, intention to behave, an attitude towards the action and the subjective norm. (figure 1) The subjective norm reflects the social pressures the individual might feel towards the behaviour (Sethna and Blythe, 2019). In a graphic design context, it can be viewed as how the subjective norm pressure places on the individual to buy from a brand, this might be based on the brand being socially acceptable and what people will think of them if they do buy something. The individual's beliefs about the behaviour and the evaluation of the possible main consequences of the behaviour are merged and create the overall attitude towards the action and this combined with the subjective norm will showcase the likelihood of a behaviour being executed. TRA (figure 1) is based on the logical evaluation of the decisions making procedure for the individual. Logically attitude should precede behaviour but, in some cases, behaviour supersedes the attitude and they rather form an attitude after they have acted (Fishbein, 1972). So if a person gets a test of a product and likes it they are more likely to buy it again, but it is dependent on if it is socially acceptable.
Brand loyalty
Marketing techniques often encourage us to try the product first. Then form attitudes you see this with free tests, test drives, demonstrations, and trying on items. These allow the consumer to form a bond with the brand a positive experience that can likely lead to a purchase. Attitudes formed without a trial experience will be weaker as you have no bond to it. In a consumer context, this can be showcased in the Pepsi challenge where regular people blind taste test one cup filled with Pepsi and another with Coca Cola. Upon tasting the colas, drinkers are asked which they prefer. This is a great marketing scheme for Pepsi as they have a smaller audience than Coca-cola and when people compared them they found that many people prefer Pepsi, as a lot of the loyalty lies in the packaging, not the product.
Loyalty
Four main consumer styles transcend national boundaries, price-sensitive consumers, they are after the best deal and will look for them. The variety of consumers that like to mix up what they try they are likely to try something new. information seekers, they will talk to people and get information before making a purchase and then there are the brand-loyal consumers, they will buy from a brand they know and believe in and are less likely to check other shops. (Sethna and Blythe, 2019) the most profitable for a brand is the brand-loyal consumers.
If you take a brand like Lush where you can collect your tubs and return it for a facemask this tactic leads to more purchases and it makes the consumer feel good as they get something. The theory of ecologically and socially sound products that Rokka and Uusitalo (2008) claimed that even the most environmentally conscious consumers will not always choose the green product they are influenced by the evaluation of the brand service and product. Since Lush’s ethos is as strong as it is the consumer knows that the pots will come to use. The belief in the brand will likely lead to continued purchasing and therefore creating brand loyalty. Their target audience cares about the sustainability and quality of products, as long as they keep it up and innovate, they will likely stay around for a long time. Their innovation of naked products without packaging is appealing to their target audience. The product is also a thing that many people get as gifts as it is unique in its presentation. The typography is consistent and recognisable, they have not used the approach of sans serif and elegance as many soap companies such as Yorkshire Soap company or the Body Shop. They have a typeface referencing handwritten work along with simple sans serif type. Their logo has changed once from a green and yellow with warped text to a simple straight forward typeface. Their use of type suggests a transparent approach to marketing that is appreciated from their consumers.
The construct of brand loyalty is quite closely linked to TRA as it is based on behavioural biases, expected outcomes and expected response over time. (Kim, Morris and Swait, 2008). Brand loyalty is the tendency that consumers have to repeatedly choose a particular brand's product over another. The consumers’ behavioural patterns demonstrate a brands ability to create a trusting relationship (Stewart, 2019). If one were to measure brand loyalty they have to take into account all facets of it because if not you are not measuring the brand loyalty of the actual consistent purchase the measurement would be of either the behavioural bias, their expected outcomes or the expected result not their brand loyalty. The main reason to pay attention to evolving it is to evolve the target audience, because if a brand starts paying attention to societal issues and creates an inclusive environment. The Edelman Earned Brand study states as many as 67% of the participants said they would try something new if they showcased their stance on a societal issue. (Bersoff, 2018) The consumer knows that the product or service is constant after testing it from hearing a good stance on it, and the overall brand resonates with them. They will likely stick with it as long as the product or service is of ok quality. If there is a slight wobble in the quality or branding the loyal customer will not be bothered, but a lack of personality or failing attitude towards the issue they are supporting, and withering quality can make them change to another brand.
Consumer behaviour
Start of brands
Historically branding of products was not much more than a signature on the corner of the packaging. So why has it changed that much today it's a massive business with designing logos and trademarks, in 1876 in America as the trademark registration act came into effect. Many brands created a trademark on their brands to make sure that people didn't steal their signature, which has led to a lot of focus on what brand looks like, the idea of a brand is just as important as the actual product for most people. A lot has changed: the only references to the previous names of companies, all the script typefaces in logos such as Coca Cola, Boots and Ford, everything else is pretty much changed (Johnson, 2016). The idea of having the product be all that is sold is outdated and not how it works today.
Start of modern marketing
The most notable use of typography in the manipulation of audiences in propaganda, in that especially Nazi propaganda, see figure 2. but also propaganda and persuasive posters like figure 3, where the reader is requested to join the army. This is a very easy way to showcase the bad side of typography’s effect. If you were to look at the posters from a subjective standpoint they are well designed, the typography is clear with simple messaging and bold colours, even if they are unethical and overly persuasive (Strachan, 2019). The simple and manipulating messaging is part of the reason for the support of the mindset.
The same strategies are applied to marketing and branding. This is sourced back to Edward L. Bernays nephew of Sigmund Freud started his career by raising awareness to venereal disease, he later applied Freud’s idea that irrational forces drive human behaviour (Held, 2009). Bernays thought that by understanding the collective group mind it would be possible to manipulate the behaviour without them being aware. He tested this hypothesis by launching a public relations campaign for women to smoke in public, which was taboo in the 1920s. (Elliot, 2001). Bernays consulted a psychoanalyst and it wasn’t the last time he researched what cigarettes meant to women thought the approach of Freud along with the psychoanalyst. They found out that cigarettes were a symbol of male power. And used that to promote cigarettes and alter the viewpoint of women smoking in public. He made a campaign challenging male power, he made Lucky Stripes advertisement “Torches of freedom” see figure 4. This way he altered the way of marketing for the western world. The comparison of visual language is uncanny and there are clear similarities in the tone of voice and the general use of visual language. (Rakhi Chakraborty, 2014) The change in focus of Lucky stripe doubled the audience as prior it was only focused on the male population. This new style of branding where a lifestyle is sold in addition to the product changed marketing. the concept of
Belief driven consumers
Edelman Earned Brand survey
The quality of the brand product or service is not as important as it once was. The main reason for that is the fact that contemporary consumers are not interested in only the best value for the price. but rather the whole package if the product is good but the ethos is not it will not appeal to the contemporary consumer as much as it once did. (Neumeier, 2003) There are so many different products to choose from, the purpose of the brand is to stand out. Make people feel part of the brand and at home this way, and it creates brand loyalty. Modern consumers are belief-driven, the company or brands stance on different topics determine their likelihood of a purchase from the consumer. Two out of three are belief-driven consumers (Bersoff, 2018) and they will choose, switch, avoid or boycott a brand based on its stand on societal issues. 67% of the participants have bought from a new brand because of their stance on something according to the 2018 Edelman Earned Brand survey. (Bersoff, 2018) According to that study, consumers are equally as likely to purchase something after seeing an advert focused on the stance of a brand as a product-focused one. With that logic reminding consumers of the brand’s stand is crucial according to the same Edelman Earned Brand survey 60% say brands should make it easier to see its values and its position on important issues at the point of sale as well as in advertising and packaging. (Bersoff, 2018)
Nike
A brand needs to showcase its beliefs as a brand to establish its stance. if a brand stopped showing their standpoints of issues such as sustainability that would break their ethos as a brand. The way to create loyalty via social issues is an approach that Nike has embraced many times, most notably with Colin Kaepernick's campaign. This way Nike showcased support for the black lives matter movement.
The campaign that they did was simple, just a closeup black and white photo with the caption “Believe in something. Even if it means sacrificing everything.”. It made big waves with people burning and cutting up their items from Nike and the brands’ shares dropped with 2% as a repercussion. That is not lower than what they sink around that time otherwise so it is not a loss for them in the end. The simple use of serif typeface without doing too much with it makes the advertisement seem sincere and come across as trustworthy, see figure 4, according to Errol Morris (2016) and Childers and Jass (2002) surveys sans serif typefaces are more believable in serious matters. If they were to choose a big and bold type the campaign and Nike would lose some of the ethos, instead they chose to focus on the individual and the story and the type is in the background in a way as the eyes are more than likely what you go to first.
When they announced the campaign the vice-president of Nike, Gino Fisanotti said “We believe Colin is one of the most inspirational athletes of this generation, who has leveraged the power of sport to help move the world forward. We wanted to energise its meaning and introduce ‘Just Do It’ to a new generation of athletes.” (Rovell, 2018). The usual sans serif typeface aligned with their contemporary, it is modern and sleek that related to their products, and new thinking brand generally but when it comes to such a serious issue the use of serif typeface may have saved the campaign.
Errol Morris
To show that the stance is not just publicity stunt when a company supports a societal issue the information must be relayed in a believable and trustworthy way, using type is pivotal for the brands’ ability to convey their intended messages in a trustworthy manner. What is the best way of doing that, is it a bold typeface that states the fact or maybe a script typeface that makes it seem more personal? Errol Morris set a quiz in the New York Times in 2016 where he asked people to choose whether they agreed to a statement when it was set in the different typefaces. The consensus was that it was most trustworthy of the typefaces that were tested and ended up being Baskerville (Snap Agency, 2016). But being believable isn’t the only aspect of a typeface, the legibility and what the purpose of the text to have is all factors to take into account if misused the consumer will most likely misinterpret it as something else. As well, what platform the type is to be used.
Rick Sobiesiak and Alessio Laiso
Rick Sobiesiak and Alessio Laiso was inspired by the experiment of Errol Morris but found it limited as there are so many different messages that and Morris experiment only showcased one sentence in one newspaper with a limited audience. They set up an experiment using four fonts a transitional serif (Baskerville), a humanist sans (Fira Sans), a grotesque sans (Helvetica), and a slab serif (Roboto Slab) on four different websites, a bank, news site, fitness app and a clothes shop. They got the 73 international participants to rank them by trustworthy, easy to use and appealing for each of the categories.
As Morris study stated the most trustworthy overall was Baskerville, the average of ease of use was Helvetica and Fira won the appealing vote. If we take a look at the clothing site results, see figure 6. The overall winner is the grotesque sans Helvetica. Laiso states that this doesn’t mean that Helvetica is the end all be all in typography for clothing sites and the study didn’t take engagement into account. What the study does tell us that the typography makes a big difference in the perception of the designed products but also the typography influences them differently. The aim of the product is the most important: there is no set answer to what to use in the different circumstances but it would lead you on a path to what is the most applicable (Laiso, 2017).
CEO attitude of issues and their brand
It is suggested that two out of three consumers are belief-driven (Bersoff, 2018) the use of socially aware campaigns or standpoints is more likely to have a positive outcome for the brand than negative. Research done by Accenture 62% of consumers wants companies to stand up for the issues about which they are passionate about (Accenture, 2018). Even though many studies show that consumers want to see the brands position on different causes. According to a survey of 210 CEOs by Chief Executive and USC 60% of the CEOs said that they were unlikely to speak up about a social issue. From a different survey, 80% of CEOs did not believe it was appropriate to take a politically charged position (Deloitte, 2019). So what makes them uncertain, whilst it can alienate some that disagree they will get a stronger bond with the ones that support the cause. Richard Edelman stated that “It is a new relationship between the company and consumer, where a purchase is premised on the brand’s willingness to live its values, act with purpose, and if necessary, make the leap into activism.” From taking a stance they will get PR which might lead to more sales as that was the main issue for the CEOs in the Accenture survey. But also if the issue might not resonate with all of the current consumers but it will likely create a sense of belonging and belief in the company for the majority of them.
Creating a personality
Magazines
According to Erik Spiekerman (2014) magazines are the best way to differentiate the current styles of typography. they are usually redesigned frequently, and they have to appeal to a contemporary audience to survive. even though magazines are more or less not relevant anymore unless it is a niche one the ones that have survived showcases the current style. There are still a fair few magazines and you can differentiate the readership based on the design. if you take a look at Hjemmet and Det Nye. Hjemmet (figure 3) is focused on older people and will give you inspiration for your garden, knitting food and personal stories, there is a lot of information that you could get from that which is showcased in the mix of typefaces and the slightly older looking layout. There is a focus on the outcome of each article and it can seem a bit messy to the new reader. Most of the people in that age group that they are aiming to hit will be used to this layout and typographic use. Det nye (figure 4) on the other hand uses one colour for the type and one typeface as to streamline it. The inspiration for the décor is taken from the image and it is just a simple border and an arrow. They have also used the type in quite a standard way as they’ve used size contrast, what could be interesting is to use another weight of type as to balance it more and create more interest. They are aiming at two different audiences and it seems to be working well as it is two of the most popular women’s magazines in Norway. (Møglestue, 2019)
What a personality entails
What happens when a brand is fighting for the same audience as another shop and cannot stand out? Some brands tend to get lost behind bigger companies, you can see that with Coca-Cola and Pepsi but what Pepsi does well here is engaging the consumers in taste tests during summer and gives out freebies and comparing tests on the street. Another one is Mango and Zara but whereas Zara is obvious in their tactics of excessive style changes with new collections every 13 days and a hectic shopping floor to get people to buy items. They are current and very much so fast-fashion. Mango did that tactic for a little while but it hasn’t hit off as well as it could have; they are usually compared to Zara. Their visual identities do not stand out from each other. The idea of customisation and tailoring to the audience seems lost on Mango. The one thing that surged their sales was when they went public with their mission to become 100% sustainable in 2025 and 50% sustainable in 2022. They made the statement in late 2017 and they Mangos to jump up in terms of sales value. The current typographic profile is weak from mango. The relation of the army font is not relevant for the consumer as they have taken a step away from fast fashion but nothing else has changed to showcase that regularly. It is important to reiterate that as often as possible to one keep them accountable and to remind people that they are supporting a movement. If not be in their best interest over time. Creating a recognisable logo would also help whatever company that is struggling to stand out create an identity that is purely theirs. Pepsi struggled to find their footing as they had logos that resembled Coca-Cola up until 1962 the ownership of having something that is yours when you are the weaker party is vital so that your advertisements are recognisable and you stand out on the shelf in Pepsi and Coca-Cola’s case. According to Grohmann, Giese and Parkman’s 2012 study.
Type in the fashion industry
Monotype is a type foundry and they give out awards for food use of typography, they gave one award to a fast fashion brand that showcased good use of typography. They said that & Other Stories showcased A brand image that reflects a world full of creative energy and possibility. This is talking about more than just the type but the brand as a whole. Looking at their website you will see that it is easy to manoeuvre and understand. They have used one for heading and one for body text and one for subheadings, all three are distinctive and could not be confused as the others. In terms of their advertisement, it is simple and honest.
Award winners across a varied set of criteria so innovation and use of type global brand consistency future-proofing the brand it's really about the celebration of typography in a brand. A refreshing paired back and honest approach to fast fashion. In the announcement of the monotype winner, they said that & other stories have: “A brand image that reflects a world full of creative energy and possibility.” (Monotype, 2019). The adverts aren’t over the top and the simple and clean typography and the use of white space makes it seem welcoming if you have seen the brand before you can place it with the website without any problem.
Consumer perception of typography
A typeface can add a new level of meaning or emphasis to the intended message. Conscientious attention to type can make a brand connect to its users and set the tone for a brand (Brown, 2016). It is rarely a thing that consumers notice as it is a subconscious notion that informs of the brand as a whole. A more controversial way of doing subconscious advertisement is the blip adverts from the 1980s. Which was one second long and people rarely registered it but it gets stuck in their minds, it would be something like “drink Coke” and it would be stuck in your head and make you want to drink coke. Vincent H. Gaddis explains the idea of a magician's skill with sleight of hand. It's about misdirecting it and paying attention to something else. His theory around this is based around the distractions in a magic trick, in a graphic design the whole show would be graphic design, but the destruction would be the typeface that drives the full belief in the show. He says that magic tricks and typefaces both take place right in front of your eyes but somehow, they can seem invisible, it can be described as procedural blindness explaining that we don't perceive what we don't attend to. This way typography can be used to manipulate or at least influence an audience.
Persuasive branding
The issue with persuasive branding is that it may portray the product in a better light so that the consumer does not get what they expect. According to Gatignon: “Furthermore, the notion of consumers making cognitive and purely rational decisions is a myth at best.“ (Gatignon, 2016) To be ethical about the marketing process, it’s important to not create an illusion about what a brand is as consumers will more than likely believe it. There are many textbooks where typefaces are overlooked or just mentioned in passing, as it is not a thing they think is important to focus on.
Rogener, Pool and Packhauser, for example, argue that the consistent use of a unique typeface is a critical element of the branding as it can become internationally recognisable. A brand like Nivea has an easily recognisable typeface and is easy to pick out on a shelf. According to a study done by Vistaprint, 3 out of 5 would not use a company if it looked terrible even if the product is said to be good (Eldred, 2020). The typeface sells the brand as a whole without the typeface it can all seem lost as it can seem that it is lacking a direction. There is no way to know exactly how a consumer will react but with the right branding and staying consistent it will become recognizable for them. Like the blip adverts in the 1980s, they were short one-second advertisements that put the logo in consumer heads, this style of advertising was banned. but good recognisable typography and overall branding can have a similar effect without breaking the law. They need to stand out a bit to do this so if the aim is to be recognisable Helvetica might not be the best option as it is so widely used a brand needs a personality. Something Helvetica is widely criticised and praised for as it can be used for most things, but it can be a bit boring and lacking personality. Erik Spiekermann stated that it is a default, it is air it is just there, you have to breathe so you have to use Helvetica. Just altering something so that it is reflecting the brand is necessary to portray the intended personality.
Type connotations
It has become normal in the design and communications industry, to suggest that different arrangements of type and variations of type all have different connotations. It is suggested that old-style fonts have a warm friendly feel to them whilst modern typefaces are business centred and professional (Thangaraj, 2004). Type is an embedded part of the text in a book it is not just about the advertisement. The story gets a tone of voice with the typography and it can hint at how the story is. Like the Errol Morris test, there are many more studies looking at the link between consumer and perception of typography. Bartram’s 1982s study showcased that consumers have a limited amount of in-depth cross associations to typefaces. It was limited to things like elegance or strictness. According to research was done by Grohmann, Giese and Parkman, (2012) the relation between the style of typography and the product is key to a consumer. If the product is light and airy the brands’ typography needs to reflect that. This way the consumers will be able to pick out the logo for what it is in any setting. The main idea is to stand apart a bit but still be relevant for the target audience. It is partly about the instinct of every participant, your pre-perceived notion about what a brand is, not even noticing the logo possibly, but getting the idea from the things surrounding the brand which typography is a large part of. The part where companies invest hundreds and thousands in their brand identity might speak more for it, as brands rarely like to waste money where they are not going to get anything in return. It might be less about the graphic designers’ instinct and knowledge and more of the market's unknowing vote in the matter that is the main key in the issue. There is nothing concrete about why consumers like certain things and not.
Visual language
It can be difficult for a brand to create a clear visual language and have the same tone of voice across different platforms and applications. As companies grow and they expand their platform it is easy for it to become messy and people get lost. Design can solve that problem using type and colours it can be fairly easy to expand. The consumers might not understand why it is clearer, but the memorability of logos and ease of use are key elements in a brand. One optional solution for that is variable type as it can transform across different languages and print, digital, AR, VR, and IRL. As it allows for many formats. Monotype also predicted that geometric sans serif typefaces are going to be around for a while as they are neutral and can go with most designs. They also stated that there is no wrong path as you can rebrand and tweak the logo and other parts of the brand. A full rebrand is too much of an undertaking regularly and it can also lead to the consumer becoming confused and lose faith in the brand, as it constant rebrands can make it seem like the brand has lost itself. “Instead, branding has had to adjust to a state of constant flux, which maintains a company’s identity but allows it to expand into new markets or adapt to new technology or trends.” Stated monotype (Drumm, 2019).
Semantic associations
Childers and Jass (2002) study found that semantic associations linked to typefaces used in print advertisements are transferred to the brand. Consumers considered a brand as more luxurious when a more extravagant, formal typeface such as a high contrast serif typeface was featured, while the use of a more practical, casual type font like a sans serif resulted in more casual brand perceptions (Grohmann, Giese and Parkman, 2012). To understand the perceptions and effect of typography Henderson et al (2004) did a study where the participants were randomly assigned 10 fictional brands in one of four fonts, the design was black on white in the same pint size. They were asked to evaluate the brands’ personality facets such as sincerity, excitement, competence, sophistication and ruggedness on five-point scales. The study was done with a hundred and twenty-three undergraduate North American students. The study was computer-based and they used Stonehenge, Paintbrush, Verdana and Times New Roman. Stonehenge scored the highest across the board. In terms of relating the categories set of the typefaces pre results the high natural / low harmony type fonts, only Stonehenge significantly increased excitement compared with low natural/high harmony type fonts such as Verdana and Times New Roman. Contrary to the preconceived notions of the study the low natural/high harmony type fonts did not result in higher levels of sincerity perceptions. (Grohmann, Giese and Parkman, 2012).
There is the argument of target audiences and contest as the participants also one could argue that they did have a questionable selection of typefaces as times new roman is overused in essays so participants might have a strained relationship with it. Verdana is a slightly exhausted web font. It has a high x-height which makes it difficult to differentiate the glyphs when it is in smaller point size. There is also an uneven spacing of the glyphs so the words get additional spaces which can confuse the reader (Wilson, 2019). So the overall idea to use Verdana for online small text there are other options, such as Helvetica even though it is said to be boring it is easily legible as it is such a stable typeface. The use of paintbrush fonts in branding is rare, but one company that has used it to its potential is Lush. Taking their sustainable approach into account they have used it sparingly and it makes their product names recognisable as it stands out on the packaging. The brush typeface isn’t the whole brand they let the product be in focus and showcase the good things they do this has over the years created a personality, most people could be able to pick out a lush product in a line up as it stands out from their competitors with their black packaging or naked packaging compared to the plastic bottles and over the top branding of others like the Bodyshop or any supermarket brand. Their branding goes further than the design their staff showcases an including atmosphere to the shops and people now what to expect from them. They have a different approach to production to other companies which has led to strong loyalty. Their advertisements are easily recognisable because of their typeface and image choices and tone of voice.
CONCLUSION
The idea that there is one answer to creating brand loyalty is not possible as there are so many factors to keep in mind. typography can help and further trust in a brand. The consistency and thought out use of typography to generate a personality that can in return make a consumer become brand loyal. The idea that if a brand is acceptable in your society theory of reasoned action explains how a consumer can go from never having actually purchased anything from them to become brand loyal as long as the societal factors are in the brands’ favour. The support of contemporary societal issues will help a brand get a tone of voice and create a personality with a standpoint. In order to get their desired attitude towards the issue across it is important that the typography reflects the issue and it is consistent with the brand as a whole. there is no one answer to what type to use as a brand, it needs to be legible and fit with the brands’ tone of voice this way the consumers will be comfortable and trust in a brand that way a brand can create brand loyalty. A brand needs an USP which a brand like lush has with thir sustainable approach , but whe a brand is loosing that h
There is no set answer to what to use, the key part of typography in marketing is that it has to convey the purpose of the brand so each brand has to find their voice and try to be a bit different and create a USP this way the brand will be believable if this is by using the Nike strategy of supporting societal cases and being brave with their stances or Pepsi’s way of comparing themselves to a bigger brand and convincing individuals that they are better than their competitor. A key to a good brand is a prepose with unique branding.
What is the importance and place of typography in generating brand loyalty?
get There are so many brands to choose from what makes them appeal to the consumers and stand out. The utilisation of typography within branding can help create brand loyalty. Brand loyalty is when a consumer continues to purchase from the same brand rather than exploring other options. this type of consumer is ideal for a brand as they are loyal and are likely to stick with the brand trough issues they might have. Rogener, Pool and Packhauser argue that consistent use of typography can become an integral part of the branding. Easily recognisable typography can make consumers choose a brand over another. The visual 3 out of 5 would not use a company if it looked terrible even if the product is said to be good (Eldred, 2020).
The brand does, however, have to have a personality as consumers have a tendency to be belief-driven consumers.
The appeal of typography and general design in combination with the brand service creates an atmosphere that will make you want to go back. this is how lush has created their personality and how they are sustaining themselves as a brand in a crowded market. They have a unique selling point that not many shops have. Their typography insinuates that it is a smaller company when it is not. They have a similar strategy as & Other Stories in that they use few but powerful typefaces to stand out. There is no set answer to what to use, the key part of typography in marketing is that it has to convey the purpose of the brand so each brand has to find their voice and try to be a bit different and create a USP this way the brand will be believable if this is by using the Nike strategy of supporting societal cases and being brave with their stances or Pepsi’s way of comparing themselves to a bigger brand and convincing individuals that they are better than their competitor. A key to a good brand is a prepose with unique branding. There are some safer ways about creating a brand using studies such as Childers and Jass (2002) study, Errol Morris (2016) or Rick Sobiesak and Alessio Laiso (2017) there is no sure way of creating a brand purely based on the typographical approach it needs to be holistic and clear and also resonate there is no way about it. the consumers are the key to branding as they make it what it is, no single person is in charge of a brands personality. The only thing is that without thought out typography there is little to no personality, as most information is portrayed with writing, whether it is a slogan or description on the packaging, it is necessary to create the brand as a whole.
What Pete suggested to do and I’ll do my best to go through all of them
Make Paragraphs
Write a better intro
Explain the question
What the essay is talking about
Hypothesis
Introduce the key chapters
Figure numbers
Proof read
Do a proper case study
Re order conclusion
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