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I would like my branding to be based around festival travel. I like how vibrant these colours are and also the contrasting and complimentary elements from them. I will experiment with these colours within my project, although I am advised that I need to cut the palette down to 4 colours. I will also need to think about the other elements on the manifesto, for example the eco friendly part of the brand and that I would like advertise that the car share will collect from rural areas too.

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Research looking into those who offer a similar service and trying to discover ways that Whip might offer something different and go above and beyond what the other companies offer at the moment.

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Looking at vibrant festival colour to suit the destination of travel for some of the clientele

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Looking at earthy tones to suit the brand value of being an ecologically friendly travel alternative.

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The mix of green earth tones with the vibrant pink/orange/blue to appeal more to the younger audience

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These colours sit well together bringing the festival and eco pallet together

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I really like that there are a lot of green colours in here but there is also the brighter orange to appeal to the younger audience too

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I feel that the Karen Mullen advert feels more high end in comparison to the Ed Sheeran music advertising. A lot of photography appears to be more higher range budget in my opinion unless it is created in a very free, “fly on the wall” situation. I feel that this would be hard to capture this time of the year due to there being no festivals and that being one of the key elements of my brand audience.

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These adverts contain minimalist illustrations and colour pallets but still are able to captivate a passing audience or become eye catching for the viewer.

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Primary research trip looking at the Leon brand themselves how it is presented to me when purchased and further looking into the brand themselves thinking about how their packaging, colour palette and advertising campaigns further promote the brand ethos

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I like that her illustrations are very vibrant but it is clear what the brand is that she is looking at. The colour palette that she uses is very simplistic and I feel would be more captivating for the younger audience. I also like that the illustrators are simple line drawings which are quite bold and iconic to the Kiehl’s branding. I would like to try something similar for whip that can incorporate travel and the eco nature of the brand too.

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Primary research - shop visit and looking at items I own myself to think about how their colour pallet, packaging, advertising and products suit the brand and further promote the brand enabling them to be around for a long period of time and keep appealing to the new generations too.

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How to Tell a Compelling Brand Story [Guide + Examples]

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I found some really good examples on this blog that assisted me in writing my own brand story for whip. It helped me to see other examples and think about what I might write for my own whilst considering the brand values that I had already been thinking about.

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Your audience is programmed to crave and seek out great stories. They want to know your brand's origin, missions, goals - your entire brand story.

However, since marketers spend a lot of time optimizing content for algorithms, it can be challenging to flex your creative storytelling muscles.

In this post, we've created a guide about the fundamentals of brand stories, including:

When HubSpot started, we noticed traditional, interruptive marketing didn't appeal to consumers anymore. In the digital age, people were in complete control of the information they consumed, and they were sick and tired of receiving direct mail, email blasts, and cold calls. People wanted help, so we created educational content to solve marketing problems.

Today, we've built a passionate community of inbound marketers, expanded our inbound marketing approach to the sales and customer service industries, and strengthened the inbound movement more than ever before.

This is our brand story - a simple, digestible narrative explaining why HubSpot began and how this reason still serves our purpose today.

Why is a brand story important?

A brand story is important because it helps customers understand who you are and why your business exists. When consumers relate to your why, they develop a connection with your brand and may be more likely to purchase your business. Customers who feel connected and enjoy your products are more likely to become loyal customers.

How to Write a Brand Story

1. Highlight your story's conflict.

Check out the following story. Does it resonate with you?

A girl wearing a red-hooded cloak is strolling through the woods to give her sick grandma some much-needed food and TLC. She passes a wolf on the way, and they exchange an awkward soft smile-nod. She makes it to her grandma's house, and they eat lunch and play Clue together. Grandma wins by deducing that Colonel Mustard killed Mr. Boddy in the Billiard Room with the candlestick. The End.

So ... what'd you think? Did this story keep you on the edge of your seat? Or does it feel ... off? For some reason, it doesn't work, right? That's because there's no conflict. Despite the intense game of Clue at the end, there's nothing at stake. There's no tension, and the wolf didn't try to eat the girl. He didn't even go to Grandma's house. He barely acknowledged Little Red Riding Hood.

At their core, stories are about overcoming adversity. A lack of conflict means there's no drama or emotional journey for people to relate to. Without drama or an emotional journey, it won't hold attention, much less resonate and inspire.

Brands might shy away from revealing any adversity or conflict because a blemish-free story about growth seems like the best way to convince people they're the best-in-class solution, free of imperfections. In reality, this is a huge misconception because everything (including companies) has flaws. Plus, people don't expect perfection because they can relate to the experience of adversity, struggling through it, and overcoming it.

Conflict is key to telling compelling stories, so be transparent about the adversity your company has faced and own it. The more honest you are about your shortcomings, the more people will respect you and relate to your brand.

2. Don't forget about your story's status quo and resolution.

A compelling story has two other fundamental elements: the status quo and resolution.

The status quo is the way things are and have always been. A conflict disrupts this and puts something at stake, forcing the protagonist, your brand, to actively find a solution to the problem.

The resolution is how the protagonist solves the problem, giving your audience an emotional payoff.

In sum, your brand's story structure should look like this:

It's as simple as that.

If you need an example to crystalize brand story structure, let's go over the actual Little Red Riding Hood story, followed by brands who are nailing their brand story right now.

Little Red Riding Hood

Status Quo: Little Red Riding Hood walks through the woods to deliver food to her sick grandma.

Conflict: A Big Bad Wolf approaches her, and asks where she's going. She naively tells him where her grandmother's house is, and he suggests she picks some flowers as a present for her. While she's distracted, he breaks into Little Red Riding Hood's grandmother's house, eats her, and puts on her clothes to impersonate her.

When Little Red Riding Hood gets to her grandmother's house, she notices subtle changes in her grandmother appearance but ultimately ignores them. The wolf swallows her whole and falls asleep from a food coma.

Resolution: A hunter hears Little Red Riding Hood's screams, bursts through grandma's door, cuts open the wolf's stomach, and frees Little Red Riding Hood and her grandmother. They then fill the wolf's body with heavy stones, and when he wakes up, he's unable to run away.

Wouldn't you say that was a little more compelling and entertaining than finding out Colonel Mustard can wield a candlestick as a murder weapon? I would, too.

Many brands leverage this same structure to tell their story and generate brand awareness. Read on to learn how they do it.

Patagonia is dedicated to creating hearty and durable products, whether it's workwear clothing or warm socks. It's extremely committed to environmentalism and doing what it can to slow the process of global warming. One of its programs, Worn Wear, is an excellent example of telling a brand story.

Here's a great example of its brand story using the structure outlined above.

Status Quo: Thousands of global brands produce pounds and pounds of clothing items per year that customers buy and add to their clothing collections.

Conflict: Thousands of brands produce clothing items every year that people purchase. Clothing waste is also at an all-time high as people continuously buy new products and get rid of old ones, often in ways that harm the environment.

Resolution: Patagonia's Worn Wear program gives new life to used Patagonia products and refurbishes them to a like-new state at discounted prices. It saves clothing from entering landfills and gives a high-quality option to someone who needs it.

Unthinkable Media produces original, narrative-driven podcasts for B2B brands. Its mission is to create refreshing, entertaining shows for clients that can actually retain people's attention, not just acquire it.

The full story is fleshed out in one of the founder's blog posts

Status Quo: As makers and marketers, we want our audience's attention, and so for years, we focused our efforts on acquiring it.

Conflict: Today, thanks to multiple screens, ubiquitous and instantly accessible content, and endless choice in nearly every competitive niche, the buyer now has total control. They only choose experiences they genuinely enjoy, meaning more is needed to capture attention.

Resolution: The new mandate for makers and marketers is to hold attention. Focus needs to shift from impressions and traffic to subscribers and community. Everything we try to achieve becomes possible and gets easier when audiences spend more time with a business, not seconds. Don't just acquire attention - hold it.

Grado Labs is a third-generation, family-owned headphone and cartridge company. It doesn't believe in advertising, has operated in the same building for over a century, and even makes its headphones by hand. So why does it operate like this when huge brands like Beats by Dre, Sony, and Bose have celebrity endorsers and mass-produce their headphones? Check out our interpretation to find out.

Status Quo: Music is an essential part of the human experience. Without it, life just isn't as colorful and exciting. Quality headphones amplify the pleasant, emotional experience of listening to music.

Conflict: In a market where every headphone brand has an enormous advertising budget, state-of-the-art facilities, and high-tech machines that can churn out as many products as they want, why not conform?

Resolution: Sound comes first. As craft-driven creators, prioritizing producing the best product over generating the most hype is important. By creating a better pair of headphones at the expense of publicity and growth, we can serve customers better and foster a passion for our product.

Drift is a conversational marketing platform that helps businesses connect with prospects through genuine, empathetic conversations and interactions. In 2016, it shocked the content marketing world by scrapping arguably the most reliable lead generator from its website - forms.

Even though it was initially anxious about getting rid of a lead generation machine, it knew ungating content on its website would align with its mission, put customers first, and offer as much value as possible, which would produce better long-term results. Here's our interpretation of its brand story.

Status Quo: The crux of content marketing is treating people like humans. So, we've done what most other companies have done: create content to help and educate our customers. In exchange for adding value to their lives, customers will likely to return the favor with their attention, trust, and action.

Conflict: As much as we preach about putting the customer first, we don't practice it. Instead of offering the most value at a baseline, we request contact information in exchange for what we offer. Are we actually being customer-centric?

Resolution: Getting rid of forms lets us practice what we preach - putting customers first and providing a more human and empathetic marketing experience. We should offer all of our content for free, with no strings attached.

Topical's founder grew up without seeing her skin type represented in mainstream TV commercials and advertisements. This led to thoughts of her skin not being perfect because it wasn't propped up as the "perfect" skin type. The brand was launched from this experience, and below we'll outline an interpretation of its brand story.

Status Quo: Hundreds of brands offer skincare products and create advertisements targeted toward those looking to improve their skin regimen.

Conflict: Millions of people use skincare products that they discover in advertisements, but these advertisements overwhelmingly feature a specific skin type and skin color, which may give audiences unrealistic expectations for their own skin.

Resolution: A line of science-backed products that provide consumers with an excellent skin care option and a focus on mental health to ensure audiences know there is no "ideal" skin type or skin model and that good skin simply means someone is comfortable with their own skin.

Tips for Telling Your Brand Story

Below we'll go over a few quick tips for crafting and telling an excellent brand story. For each tip, we'll include questions to ask yourself that can help you dig deep and uncover what you're looking for.

1. Find Your Why

Finding your why is finding why your brand exists and what it exists for. Questions to ask yourself can be:

Why does your brand exist?

What problem arose that inspired you to search for a solution?

What is your brand's mission, or what do you hope your brand will solve?

What are your brand values?

How do you contribute to the world, or what will you contribute to the world?

2. Know Your Product

Some questions to ask yourself to get to know more about your product and how to talk about it are:

What is your product?

How does your product work?

How does your product relate to your brand's "why"?

How does your product relate to your overall mission and values?

What makes your product different from what's already on the market? What makes it better?

3. Know Your Audience

Knowing your audience and how your product, service, or business relates to them is a key pillar to telling your brand story. To uncover this information, you can ask yourself:

Who is your target market?

What do you know about your target market and their needs and pain points?

How does your target market relate to your "why" based on their needs and pain points?

How does your product relate to your target audience? Or, what is your product's direct relation to your target audience?

Tell your brand's real story, not its highlight reel.

Spitting out a highlight real, which many brands do, doesn't actually resonate with people.

Instead, it's important to tell the truth. What people relate to and get inspired by isn't endless success - it's the rocky journey of finding an idea, getting knocked down, and finding a path to success.

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How to Tell a Compelling Brand Story [Guide + Examples]

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To strengthen your creative muscle and write a compelling brand story, check out the fundamentals of brand story structure.

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Thinking about what Whip is about as a company, the competitors, challenges and what the company hopes to offer its customers to remain great at what they do

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Thinking about the type of people that would be using the Whip service

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Quick sketches of how the book colour be and the order of which I would put things on the pages. I need to further look at grid structure in order to get a true reflection of how the book might look once on InDesign

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I feel like these illustrations appeal to a younger audience and like the work of Baritski like the line drawings with the colour not fitting into the lines themselves. I feel this is another method that I will play around with but it maybe best off on the logo design rather than the brand illustrations.

Artist unknown

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Having looked at many of the paper samples when GF.Smith came into visit, I ordered some examples from them so that I could get a better idea of what paper I would like my final brand book to be printed onto. I decided it would be a good idea for it to be on economic paper that has either been made out of waste or something that is highly biodegradable and come from responsible sources in order to better back up the brand values. I also like the idea of the front/back cover being transparent so that it is a little more eye catching.

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Some quick sketches for logo ideas. I posted out to friends/family to gather there thought on favourites to be able to select the three shortlisted. I will work on these further digitally.

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Potential choice for front/back cover but will depend on how the book is printed and if the page layouts allow

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Both papers have been made using ware materials which I feel represents the brand. It also has a slight natural coloured flick within the paper (both sides) which I feel would further add to the brand book itself and be representative of the fact that Whip offerers the service even in rural areas

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Using the Comfortaa typeface and turning the physical sketches into digital designs. I experimented with weight of the typeface and also capital and lowercase letters to see what worked best. Katy had suggested getting the 'H' to be like road markings similar to the sketches created. These were the ones shortlisted by friends/family votes and tutor suggestions. This was hard to do on a laptop (using photoshop) however, I will move forward with the pin drop as I feel that this worked out best.

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Personal trip to the illustration fair to seek inspiration for the brand book. I found a few things that were of interest, in particular some single line illustrations that I want to try within my work. There was quite a lot of colour within the fair and it was a good way to be able to see what is more eye catching and suitable for a younger audience. Most of the illustrations were created using hand rendered technique which I feel I am really missing from this project as I am a more hands on designer/artist and would like to try and get more of this within my work. I am thinking about attempting the logo/wordmark as a Lino print as I feel that this maybe a different look to what can be created online. I will also look into booking in for trials in the workshops to complete some letter press printing that maybe able to be used in my work too.

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I used the festival colours and mixed them with the wordmark to see how they might look as a branding option. I tried to make the colours contrasting so that the wordmark was more eye catching and in-fitting with the vibrant festival feeling that I want from the branding. I spoke with Sarah about these and she has suggested that I use Illustrator as this will allow me to alter the designs easily and I will be able to save it for further alterations that you are unable to do in photoshop. I am a little nervous about this as illustrator is not a software that I am used to using, however I feel that once I have my iPad it will make the digital drawing process a lot easier and I will be able to change these things easier. Sarah has also suggested that I try to work in a tree to represent the rural manifesto pledge, within the pin drop, again this is something that I would like to try and experiment with further as although I am happy with these designs and the colour way I feel that I need to explore the options further before settling on a final logo/typeface.

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Having worked on the Whip design in the comfortaa type, I decided that this type itself would be better suited to any type that the brand uses due to its clear presentation. The logo incorporates a tree above the “i” rather than it being the drop pin as suggested during critique discussions. I added the circles around the outside to tie in the circles in the Comfortaa typeface, and also the wheels of a car. I also feel that it looks like a festival hand stamp/travel stamp which I will try to create and use as part of the illustration process.
The typeface itself is called “wheel” but I adapted it using adobe illustrator, moving the letters closer together in places, adjusting rh height of the “i” and also removing some of the h and p sections so that it looked less of a script type and better in fitting with the rest of the brand.

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I used the Wheel typeface for the word mark as it felt like it would fit in with my eco theme and worked better with the tree replacing the dot on the 'i' in comparison to the Comfortaa typeface that I originally had intended to use. I was able to alter some of the letter spacing to make them closer together and further apart in places which allows it to be better seen. I also removed some of the lines in the letters so that it was individual and like nothing else. Having completed the letters themselves, I added solid triangle shapes to build up a simple tree design above the 'i' and played around with where this would sit, thinking about if the i should become the trunk of the tree. This did not work as it all felt a little too cramped. I then tried to continue some of the letters to make them feel more joined to the wordmark and further continue the individuality. I then put the circle around the idea to see how this would look and if it would help form a wheel type illustration. Although I do feel this is slightly picked up, I liked the thought of this being like a stamp for travel and kept it in, removing some parts of the circle in order to keep the design clean and feel more representative of that brand that I am trying to get across to the target audience.

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Logo designs overlapping the colour choices and illustration style for the brand

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Playing with the logo on Adobe Fresco to see how it might look in different colours and being placed on different background colour choices

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Using adobe fresco and photography that i had taken of family members cars, i traced around to create simple line illustrations that i will fill with colour digitally to create something suitable for the whip brand, thinking about colour palettes and the clientele that I would like the brand to appeal to.

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I will create three car choices for the brand from different angles that i can then. Ok our digitally for the final designs in keeping with the colour palette and the brand target audience.

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I will create three car choices for the brand from different angles that i can then. Ok our digitally for the final designs in keeping with the colour palette and the brand target audience.

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Primary images taken to use within brand book/illustration process

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Primary images taken to use within brand book/illustration process

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Primary images taken to use within brand book/illustration process

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Playing with the logo on Adobe Fresco to see how it might look in different colours and being placed on different background colour choices

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I thought about how communication/stationary might look and how i wanted it to remain informal and “young”. I decided to layer the logo so it appeared as a stamp with the watercolour wash in the background like i have used on the other logo alternatives

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Re-arranging pages. Spoke with Sarah who stated that I could have an outside cover as additional due to it being transparent and see through. Advised using illustrations of the cars within an app design to fill space if needed which I have done. The blank pages allow for the transparent paper cover with logo on.

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The simple illustrations have been saved as png so that they hold the transparent background and can be placed on top on the water colour wash backgrounds. I added the whip logo to the sides of the cars to keep consistency of the brand throughout.

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Updates version for stationary that would be more subtle and can have a watermark effect rather than the harsh colours from previous

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15 Brand Guidelines Examples to Inspire Your Brand Guide - Looka

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Looking at other brand book examples to better help layout my own

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Brand guidelines, also known as brand style guides, are the rules that help you express your brand consistently. It ensures that everyone who represents your company uses the same colors, spacing, fonts, logos, and voice that make up your brand. But, knowing what to include in brand guidelines can be tricky. To help you form yours, we've highlighted the top brand guideline examples from famous brands.

We'll also dive into what makes these brand guideline examples unique, along with tips and tricks on designing your own.

What to Include in Your Brand Guidelines

Brand guidelines keep your brand consistent and help build trust and authority for your business. From visual aspects like photography styles and logos to the brand voice and tone used when speaking on the company's behalf.

Here's what to include when creating your brand guide:

Logo: Acceptable logo usage, including colors, sizes, and variations

Colors: The brand colors that represent your brand, both the primary and accent colors.

Typography: The brand fonts, along with size guides and how they can be used

Design elements: Shapes, illustrations, and other visual elements that represent your brand.

Photography: The style of photos in marketing materials and where to source them.

Mission statement and values: What your brand is about and why your company exists.

Voice and tone: Words and phrases that should/shouldn't be used when speaking on behalf of the brand, and the brand voice and tone (ie. compassionate, professional, fun).

15 Inspiring brand guidelines examples

We've highlighted 15 incredible brand guidelines examples that creatively use their visual identity to express their product, personality, and purpose.

The Sonos brand guidelines embrace simplicity, quality, and the modern beauty of their products and brand. They outline their modern font in both header and body text, in one of their signature colors. The brand colors are inspired by their southern California office, with the sand, sky, and pine balanced by sunset-themed rust and rose.

The illustrations have crisp lines and a soothing geometry to them - further enhancing their brand and making their guidelines easy to follow.

The Glossier brand guide is concise and simple to follow. As the "cool-girl" beauty brand, their brand guidelines highlight the importance of negative space (white space) and minimalistic use of their minimalist color palette.

The guide itself follows Glossier's brand guidelines, providing employees and other company representatives with a clear example of how advertising and marketing materials should appear.

This brand guide stands out when it comes to detail. It provides specific guidelines for logo sizes and fonts, as well as dos and don'ts for displaying the logo and the brand name on the packaging and the web.

Oatly provides a clear, one-page guideline that includes acceptable fonts, phrases, illustrations, and color combinations. It also includes real examples of brand packaging and t-shirt design uses for their brand.

Oatly highlights its bubbly illustration typography, which is a critical part of its visual brand identity. As an animated brand, it emphasizes display fonts and a pastel color palette to maintain uniform packaging and digital branding.

Airbnb is another company that offers very clear brand guidelines. Its single-page UI Toolkit has examples of the colors and color combinations that brand representatives are permitted to use.

As an app logo, the instantly recognizable "Bélo" logo symbol, is one of its defining features. There are strict mentions of displaying their icons, buttons, and clickable features in the right colors and shapes.

Uber's brand guidelines dive deep into how to use spacing in its logo and fonts. Having ample space is key to maintaining its modern and minimalistic look. The guide covers app guidelines as well as the animations and imagery acceptable for their brand. They keep things simple with a black-and-white color palette and crisp imagery.

Casper's brand guidelines go into great detail about visual design restrictions while providing great visual examples of approved advertising campaigns throughout.

The brand is disruptive in nature, so its brand guidelines are strict with its use of colors, fonts, and original illustrations to maintain its unique vibe. Even the brand voice is bespoke to their personality!

Headspace's guidelines are calming to look at, and highlight imagery and animation as their main form of communication. Their wording is simple and direct, with tons of negative space to create an airy and approachable look. They're exactly what you'd expect from a brand trying to make meditation easy and accessible to everyone!

Instagram uses its brand guidelines to address logo placement in ways that other companies don't. It includes examples of how placement should and shouldn't look, as well as how to group its logo alongside others.

It started the gradient graphic design trend, making it incredibly irresistible as an app, and impactful as a brand.

Mailchimp's brand style guide goes into design elements in a comprehensive way. It explains why the company should be represented in a particular way, as well as how the viewer should feel when encountering Mailchimp marketing.

Mailchimp's brand guidelines are cohesive and focus on expressing their friendly and human brand personality through their brand elements.

When it comes to typography, colors, and graphics, Chobani is among the best brand guidelines examples. It provides samples and color codes for all brand colors, and specific illustrations to be used. They display their multitude of brand colors in an effectively by enlarging the main colors and minimizing the accents.

As a disruptive brand, it differentiates itself through its visual identity (and products). Their distinct serif font and colorful brand photography are all aligned to their aesthetic and maintained through their unshakable brand guidelines.

When you visualize YouTube, chances are you picture a lot of negative space around the brand's logo. It's not by accident, the brand uses space deliberately to create more impact!

The company puts a lot of care into ensuring its logo is represented clearly and without clutter surrounding it. It also offers concise guidelines on what not to do with its logo.

Snapchat's brand guidelines offer the dos and don'ts of using its branding. As a predominantly mobile company, it focuses on logo usage, main colors, and font use. It's straightforward but clear, with detailed use cases.

Salesforce's brand guidelines are displayed in a way that's incredibly user-friendly. The online guide is easy to sift through, with voice, colors, typography, and logo guide split into sections and explained in intense detail.

They use animation and imagery to illustrate their brand guidelines and offer downloadable guides for each section.

Dropbox brand guidelines go beyond providing the standard logo, color, and typography guide. The brand includes information about acceptable shapes, and how an on-brand customer journey should look for dropbox.

What's unique about dropbox is its intense detail in how to use its brand in various layouts and compositions. It also divides product and marketing visuals by using illustrations within the product interface, and photography for marketing materials.

Spotify's brand guidelines make it easy for designers to access the information they need to create marketing materials for the brand. It covers how branding can be used within external platforms and apps, and when its content is shared.

It includes RGB color codes, acceptable font uses, and examples of how to use their branding in partnerships.

Brand guidelines keep your brand together

Your brand guidelines play an important role in keeping your brand consistent. If you don't use guidelines, your brand will look inconsistent in the eyes of your viewers.

Use these brand guidelines examples as the scaffolding for your brand guide, and make it easy to express your beautiful brand everywhere.

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15 Brand Guidelines Examples to Inspire Your Brand Guide - Looka

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Brand guidelines, also known as brand style guides, are the rules that help you express your brand consistently. It ensures that everyone who represents your company uses the same colors, spacing, fonts, logos, and voice that make up your brand. But, knowing what to include in brand guidelines can be tricky.

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17 Inspiring Brand Manifestos | The Agency Arsenal

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I had a look at what other companies use within their manifest thinking about the audience that I wish to capture and the language that I would use within my own in order to suit and engage my target audience/clientele.

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Mission statements are dead. Those dull paragraphs, filled with vague aspirations of "to help people and businesses throughout the world realize their full potential"* are a way of the past. Today's customers simply do not have the time or will to care about lofty and overly general objectives. We don't have the attention to focus on some innocuous mission statement; however it is the brand's job to make us care, to inspire us, to challenge us, and even to offend us if necessary, as long as you get our attention.

Mission statements are engineered to be general yet comprehensive, a statement that essentially stands for everything, which in reality, stands for nothing. Brands that want to set themselves apart will draw a line in the sand. Thankfully, there are those out there who are drawing these lines, and in doing so are creating more specific, transparent, and emotional stories to tell their customers why they exist, what they're passionate about, and therefore why the customer should care.

Enter the brand manifesto, a clear and public declaration of purpose and intent. When done right, a manifesto not only inspires customers, but inspires employees and attracts future talent. This authenticity is no longer negotiable for brands that want to cut through the clutter of their competition. It's no longer enough to be "different" because customers are inundated with messages from brands trying to be "different." Apple owns "Think Different" and may have ruined it for everyone else. But that's ok, turn inwards and be authentic, strip away the marketing speak and bare who you are, even call out the chinks in your armor if necessary, that's what authenticity is about.
Check out our list of the top marketing agencies for manufacturers. Check out our list of the top higher ed marketing agencies for universities.
The following brand manifestos are taking a step in the right direction:
Chrome Bags Brains on Fire Simple Shoes
Ready2Spark
Poseidon Dive Equipment Really want to build a brand story? Check out Seth Godin's new book: This is Marketing - You Can't Be Seen Until You Learn to See.
Grind - A workspace for free range humans.

Moz (also check out their Content Marketing Manifesto)
The Art Directors Club The North Face
[vimeo http://vimeo.com/14305326]

The Bureau Group
Frog Design
Bruce Mau Design: Incomplete Manifesto for Growth

Abby Kerr and The Voice Bureau

The Soap Group knows every revolution needs a manifesto.

The graphic design and visual nature of the manifesto plays an important role in how each is understood. With the continued growth of image sharing social platforms like Pinterest, the graphic presentation of the manifesto can be half as important as its content. We've seen the Holstee manifesto go viral, and quite possibly make Holstee more well known for their manifesto than for the clothing line they originally started with.
Nike Brene Brown The Fixer's Manifesto WorkIsNotAJob The Expert Enough Manifesto Really want to build a brand story? Check out Seth Godin's new book: This is Marketing - You Can't Be Seen Until You Learn to See.
Other notable manifestos (while not necessarily brand manifestos) include:

*Yep. That's Microsoft. Who knew?

This post was originally published on February 6, 2013. It was updated on October 30, 2018.

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17 Inspiring Brand Manifestos | The Agency Arsenal

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Mission statements are dead. Those dull paragraphs, filled with vague aspirations of "to help people and businesses throughout the world realize their full potential"* are a way of the past. Today's customers simply do not have the time or will to care about lofty and overly general objectives.

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Water colour wash using the colour palette, keeping the festival bright colours but also feeling earthy to fit in with the economically friendly brand ethics

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Took paper the the printers to ensure that it would gro through their printers and be ok. Guy advised that I would need my paper to be bigger than A3 to allow the bleed. Also stated that my bleed will only need to be 3mm. I would also need an allowance so the side/edge of the pages do not fan out and they can have a clean finish. Hadn’t thought about that part. Also worried that the paper that I ordered is a3 so won’t be suitable. Need to check.
I also need to export the document as a PDF before sending it to him and it will need to be on saved as individual pages. Will need to practice this in advance as this was not how I completed the test print.

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I found the visit from GF Smith very inspiring, not just for the amount of papers that they have on offer but how they are able to advise which papers should be used for which project depending on what you are using it for, printing, painting, letter press, embossing etc. The company had many samples about how the papers have been used for other brands which was great to see as it made me think about my own brand book for the first time and the type of paper that I might use. The company have many eco friendly papers available to order and they also offer 10 free sheets for students. I will look at the paper book that they supply and use this to order papers that I feel might be suitable for my brand book and proceed with the right options once I have spoken to the printers.

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After conversation with the printers I checked the paper sizing and it is ok to be printed on and will have plenty of room for cut size, just need to reduce my bleed to 3mm on my current in design document and get somebody to proof read for me before exporting for the printers.

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Much like the wordmark/logo, I wanted to experiments with adding colour to the illustrations that I created using the colours that I have picked out. I feel that this could work well as backgrounds for advertising/app designs etc.

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The illustrations with the coloured backgrounds work well and set into a screen background. I will further experiment and try and turn this into an advert that could go into the brand book should there be any pages.

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Brand book final design that has been sent to print.

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This typeface I found suitable for my brand due to the circles that appear within the lettering that I feel looks like the wheels of a car. I started to use the Comfortaa typeface when creating my logo, however I was not able to use google fonts when using illustrator on my iPad. For this reason I had to find something else that would be ok to use. I decided to keep the Comfortaa for the main body copy however as it is a clean to look at typeface and I feel is suitable for the younger target audience that I want my brand to attract. I believe that this decision has worked out for the best as it is easy to read when there are larger amounts of text and it is different to the typeface that I went onto use in the logo design

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I really liked the loops within the "wheel" typeface and though that it would work better with the tree deign that would go above the 'i' in Whip. I was unable to use the original typeface on iPad, however, I feel that with the use of illustrator this worked out to be a better typeface for the logo given the alterations that I made to make it clearer but also give the logo its own identity. I was able to alter the letter spacing to move some closer together and some further apart which again I believe works well in order for an audience to see the letters clearly.

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I added items that might appear on the app screen and used the "stationary" background that I had previously created to come up with an advert too. I feel this works really well, in-keeping with the green rural colour palette, yet it also feels uncluttered, clean and eye catching too.

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Using the colour ways for the brand to create avatars for the brand book to go alongside the persona’s created. I feel that these work well as they are not gender based.

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When inputting the coloured versions into the brand book they didn't look right. I have used these to keep with illustration within the boo, however, I feel that they persona's would have felt more personable if I had have used actual photographs of people.

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Introduction

Pay per trip car clubs allow individuals and organisations to have access to a car without being tied to ownership. Through years of ongoing research we have found that this cuts costs and mileage while boosting use of public transport and active travel.

Car clubs started with informal car clubs. 1999 saw the first formal commercial car clubs charging by the hour and by distance. The sector has grown considerably since and continues to grow, with member numbers at an all time high.

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A general introduction to shared cars: car clubs and peer-to-peer car sharing platforms. A look at the most recent stats and benefits for their use. This page also hosts our car club annual research.

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Find people to car share with on Liftshare and save money on your trip!

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Find people to car share with on Liftshare and save money on your trip!

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Car share on Liftshare. Offer a lift to offset your petrol costs or create an alert to find a driver.

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With UberX Share, get everything you love about UberX at an even more affordable price. Share a ride and save - up to 20% if you're matched with a rider along your route.

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Looking out for how different books are bound and what looks/works best for the actually book/design. I found this to be great due to the solid colour, the long, rounded pieces and the ability to twist it around to access the other pages. I also like how the usual menu style has been changed and it feels like the establishment itself is more high end because it’s not a standard book menu.
I do not feel that the eyelet design would work for my own book but it has forced me to think about I might make my own outcome indifferent. It’s also made me think about how I will use the colour scheme within my brandbook.

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When GF Smith visited I took a special interest in this type of book binding as there was no staple or another material needed in order to secure the book pages. When trying it myself I liked the outcome, however, I do not know how it would work with me wanting the transparent front cover and I would need to make the front cover longer in order to have enough paper to feed into the book itself. I need to think about alternative binding that would still tie in with my eco friendly pledge for the brand.

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BIG DILEMMA!!! Worrying about the printers still being able to print on the paper that I sourced for my book. The printers have said that they can print the same day and I have instructed them to print onto their own stocked eco paper as I do not feel that the order would arrive on time now.

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I am hoping that the paper will be here and need my book printed by tomorrow evening so that I have time to professionally photograph the book and upload the images before submission on Friday.

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For the story board I thought about the prospect of having the logo spilling so that it represented a wheel on a car, however I though that this was a bit boring and any circle object has the ability to roll. I then thought about wanting to incorporate my car illustrations so was thinking about making the car move so that the GIF would show that a car is in motion and it would be more representative of the brand.
For the story board I have used the colours of the brand in the wash style and created the car moving forward but seemingly driving into a merging circle and therefore finishing with the Whip brand logo.
I thought about the use of colours in the background and how they too could merge into the logo itself. If I was to create this GIF I would want the illustrations to some how become part of the lettering of the brand which I feel would need to be achieved over more frames for a story board.
I really like how I have managed to get the colour scheme for the brand combined in the final logo as I feel it feels fun and more attractive to the younger audience that I would like the brand to target.

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This project has been difficult for a number of reasons but I feel that I have learned a lot along the way and that this is the main objective to choosing to attend university.
Throughout the project I have learned a lot in terms of the building of a brand. I have always been interested in the logo, packaging and “Branding” in terms of a physical appearance but I have never really paid much thought about what happens behind the scenes in terms of building up a brand manifesto, targeting a particular audience and how you would be a stand out company compared the the many competitor brands that are around.
I hoped that there would be more hand rendered techniques involved during the project, but I wonder if I wanted this as this is where I feel most comfortable working. I have not previously used InDesign or illustrator so was thrown into a digital world that felt quite alien and I felt that I was very far behind my peers in terms of my ability to use the adobe software platform. I have only really used photoshop before so I had to teach myself a lot of new skills, I have taken advice from others, watched YouTube tutorials and generally have just taken the time to just play around and see how I can best achieve the results that I had envisioned. Towards the end of the project I got an iPad that has allowed me to experiment much further with the adobe suite and have been able to create my illustrations, logo and backgrounds with it which I feel I wouldn’t have otherwise done if I was still using desktop versions.
During a critical time of the project, I had a very close family bereavement which through me off of the project completely and I was not able to attend lectures let alone think about the work that I had to do in order to keep up with the fast approaching deadline. I took some time off and gave myself my own personal deadlines so that I knew I could challenge myself and felt better knowing that I was not as far behind as I thought I would be too. When returning to lessons, I set myself a strict rota and was able to stick to it quite well in order to get myself ready for the deadline after Christmas.
Having access to better digital resources over Christmas allowed me to make late alterations to the logo design and I was able to try out much more in a short space of time until I came up with the design that I have used in the final.
I found that a lot of my work to get up to date was about uploading items to Padlet, which I think has been a whole lot easier since having the Padlet app on my phone and iPad as I was able to take photos of the research that I had previously completed in my sketchbook and upload them to Padlet too. I was also able to add a lot of the links that I had used for research purposes which helped me to recall the information at a later time when it came to drafting the manifesto, story, persona’s etc.
A highlight has been the team from G F Smith coming in as I found it really interesting to hear about the various papers and the ability to print onto it, seeing examples of publications that had been printed using the G F Smith products. I was particularly interested in the eco options that the company had as this was something that I had already drafted into my brand manifesto. When I used the book of papers to make a selections, I went through and ordered samples of many of the eco papers that they had but settled on the “Bier” as I liked the coloured flick that it had within the sheet and also liked the story behind the paper itself, being made of old husks/hops.

My biggest problems that I have encountered was the printing process itself. I spoke to Sarah about the book itself and using the translucent paper for the cover and she suggested adding in more pages as I would need many pages blank and without anything on them otherwise the items that were essential for my book would be squashed. I came up with additional pages and the printers tested my sample piece to make sure it would print. I then ordered the bigger paper for my actual brand book. The printers explained that they would need a PDF version of my book sent to them, complete with the bleed lines. I was able to do this (having had 2 people proof read) and sent it to the printers. The printers contacted me and asked me for additional paper, despite supplying them with double the amount that was needed. This made me close to deadline day when I still needed to photograph. When I collected the book, there are a few faults which I have learned even more from and will be able to know moving forward onto future projects.
Firstly the pages that I added in were two and I would have needed 4 pages in order to keep the back of the translucent “blank” and the colour wash behind the logo. This would have been cleared up if I managed to get the test print completed before the final print (unable due to the printing/paper dilemma). Due to the lack of pages in the book, it means that the book runs without the double page spreads like I had created on InDesign. Some of the imagery on the pages appears to be slightly pixelated, I am unsure why and this did not show up greatly when looking at the digital PDF version, again this could have maybe been rectified with a test print and more time. My last problem was that I had originally thought about stretching the pages together with twine to in-keep with the economically friendly brand values and with the colour palette/rural nature of the brand identity too, however, I am unable to do this as on some of the pages the text is too close to the gutter of the page and it would cover up some of the wording or make it harder to close the pages together. When I spoke to the printers about the extra pages, they also said that the PDF that I had sent them was exactly A5 and without the bleed/gutter allowance that I had created on the InDesign file. They explained that this was probably cut out when completing the saving process and I would need to take a look at this again in order to prevent this from happening with future prints.

Over all I am very happy that I have been able to navigate my way through the Adobe software and create a publication for a brand that I have built. I have learned a lot of lessons throughout this project, mainly on the final printing process and these are definitely lessons that I will be able to take forward with me for future outcomes in order to come as close to perfection as I can get. I would like to learn more about logo designing as I feel that although I am happy with he Whip logo, there is much more that i could potentially do to come up with something that would better reflect the company objective as I feel that although I see the logo as a travel stamp, this wouldn’t necessarily be obvious. I would like to explore re-branding of companies so that I could again push my boundaries, get out of my comfort zone and learn further.
I have really enjoyed the project, despite the many obstacles that I have encountered and am looking forward to the next block of year 1 and trying to insert my own artistic skills so that it blends with the design process too.

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I used a photography studio and a prop bench in order to professionally photograph my brand book. I chose to keep the lighting to one side to create the shadow on the pages, however, I made sure that all the wording could be viewed and that it would not stop the visibility of the brand book itself.

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I professionally photographed the book using a photography prop table and lighting within a studio space. I feel that the photo's are well lit but also offer the shadow to show the 3d elements of the book itself.