A Design Toolkit
Prepared for
presentation at the
Ross School of
Business,
University of
Michigan
February 15, 2008
How to use design principles to improve business presentations
The Toolkit
Principles of Design
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/charts
The Toolkit
Principles of Design
Training the eye to recognize design principles is important
so that they can be used to best support the content of your
presentation.
Understanding the audience
Any effective communication begins with an appreciation for the
end-user.
Presenter
User
Content
Decide on a strategy for verbal presentation
Every presentation can be divided into 2 verbal paths.
Voice
Written type on slides
Content
Decide on a strategy for verbal presentation
Primary audience
Experience of presentation
Content
Decide on a strategy for verbal presentation
Secondary Audience
Experience of reading presentation without voiceover
Content
Decide on a strategy for verbal presentation
Strategy One
Strategy Two
Support
Text
Text
Support
Voiceover: Text of
presentation.
Voiceover: Navigates through
points of presentation
Slides: Illustrations, asides
and embellishments
Slides: Text of presentation.
Content
Strategy determines post presentation result
Strategy One
Strategy Two
Support
Text
Post presentation:
MS Word document
Text
Support
Post presentation:
Copy of slides that
is self-explanatory
Content
Strategy determines post presentation result
Strategy One
Strategy Two
Support
Text
Post presentation
MS Word document
Text
Support
Post presentation
Copy of slides that
is self-standing
Some bad examples
Some examples of how a slide looks by just entering information
into the automatic format.
How to use Design
Principles to Improve
Business Presentations
Starbucks
Visual Identity reflects its
organic roots
• Strong sensitivity for community
• The environment
• How to make a great cup of coffee
Heckler-First logo design
• Romance of high seas
• Lure of great coffee
Starbucks Logo
• First logo in 1971
– Connect Starbucks to
– Romance of high seas
– Seductiveness of siren
» Powerful lure of great coffee
Starbucks
Logo
Heckler remembers first logo design:
Created in 1971its premise was to connect Starbuck with the
romance of the high seas and the seductiveness of the siren
with the powerful lure of great coffee.
A Design Toolkit
The purpose of a toolkit of design
principles is to help you organize
information in a given space to achieve
the maximum effect of the content.
A design toolkit
The purpose of a toolkit of design principles is to help you
organize information in a given space to achieve the maximum
effect of the content.
A design toolkit
The purpose of a toolkit of design principles is to help you
organize information in a given space to achieve the maximum
effect of the content.
A design toolkit
The purpose of a toolkit of design principles is to help you
organize information in a given space to achieve the maximum
effect of the content.
Grid
A grid enables you to divide space into regular units.
These units will structure information to provide clarity.
Grid
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
A grid enables you to divide space into regular units.
These units will structure information to provide clarity.
Construction of a Grid
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Establish a margin
on the top bottom
and sides of the
page and divide
remaining space
into even units.
Basic 5-column grid
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
A zone is an area on a grid that creates a home on the page for a
specific kind of content. This enables the reader to navigate to
the required information.
Examples of Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Examples of Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Examples of Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Examples of Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
The Princeton
Museum website
effectively uses
zones for information
categories.
Examples of Zones
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
A monthy
architectural
newsletter designed
by Massimo Vignelli.
Navigation
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Placement and navigation are linked.
In order to guide the reader’s eye you must establish a plan
for the navigation. The grid and its zones facilitate this.
Placement is connected to content.
Navigation is connected to hierarchy.
Placement of information elements on grid
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Once the grid and zones are established the placement
of information can be planned.
The grid offers a richness of possiblities for placement.
Placement of information elements on grid
Heading
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
Placement of information elements on grid
Heading
This is the size
for the sidebar
or the caption.
Pacing
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Like a film, a presentation needs thought about the temporal
arrangement of information and the need to change
rhythm within the sequence of slides
Placement of information elements on grid
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
The following slides present the previous layouts
without any grids in sequence. This demonstrates the variety
of pacing possible.
Heading
This is the size
for the sidebar
or caption.
Heading
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
Heading
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
Heading
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
This is the size
for the sidebar
or caption.
Heading
This is the size
for the sidebar
or caption.
Hierarchy
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Hierarchy is the ranking of visual information.
Priorities are determined according to the intent of the design and
based upon the content of the message.
Hierarchy
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
A few ways in which visual hierarchies are established:
Size
Large to small
Color
Bright to neutral
Space
Isolation to grouped
Hierarchy
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Typographic hierarchy is managed by choosing no more than two
or three clear differences in size of type.
This will make your information distinctions clear to the eye. Each
size must be distinctively different and not just a little different.
Hierarchy
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
A tabloid
newspaper design
by Gottschalk &
Ash International
Zurich. It is page 1
of The Sun,
published by
Alusuisse
Information
Services of Swiss
Aluminium Ltd.
Typography
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
The arrangement of words on a page to convey meaning is called
typography.
Selecting a font
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Choose a font that is clear, readable and has distinctive sub-sets
of styles.
Example:
Typeface
Garamond
Garamond Italic
Garamond Bold
Garamond Bold Italic
Selecting a font
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
The basic categories for fonts are Serif and Sans Serif.
G G
Serif Typeface
Sans Serif Typeface
Selecting a font
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
The basic categories for fonts are Serif and Sans Serif.
y y
Serif Typeface
Sans Serif Typeface
Use maximum of two fonts
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Two fonts can work well to distinguish different kinds of
information. There are established pairings of fonts that work well.
Example1:
Garamond/Univers
Design decisions add life to presentations.
Design decisions add life to presentations.
Use maximum of two fonts
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Two fonts can work well to distinguish different kinds of
information. There are established pairing of fonts that work well.
Example 2:
Times Roman/Helvetica
Design decisions add life to presentations.
Design decisions add life to presentations.
Fonts not to use
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
There are many ways in which fonts do not make good pairings.
Braggadocio/Brush
Design decisions add life to presentations.
Design decisions add life
to presentations.
Color
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
The benefit in having one type font bold is that it carrys more
effective use of color.
Example 2:
Times Roman/Helvetica
Design decisions add life to presentations.
Design decisions add life to presentations.
Typography
Grid allows Columns
Choosing no more than two
or three clear differences in
size of type will make your
information clear to the eye.
To be clear in the hierarchy,
each size should be clearly
different and not just a little
different.
Choosing no more than two
or three clear differences in
size of type will make your
information clear to the eye.
To be clear in the hierarchy,
each size should be clearly
different and not just a little
different.
Typography
Grid allows Columns
Choosing no more
than two or three
clear differences
in size of type will
make your
information clear
to the eye. To be
clear in the
hierarchy, each
size clearly
different and not
just a little
different.
Choosing no more
than two or three
clear differences
in size of type will
make your
information clear
to the eye. To be
clear in the
hierarchy, each
size clearly
different and not
just a little
different.
Choosing no more
than two or three
clear differences
in size of type will
make your
information clear
to the eye. To be
clear in the
hierarchy, each
size clearly
different and not
just a little
different.
Choosing no more
than two or three
clear differences
in size of type will
make your
information clear
to the eye. To be
clear in the
hierarchy, each
size clearly
different and not
just a little
different.
Choosing no more
than two or three
clear differences
in size of type will
make your
information clear
to the eye. To be
clear in the
hierarchy, each
size clearly
different and not
just a little
different.
Typography
Adding rules (lines)
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
A rule is added to give a stronger structure to the page. And to
provide an anchor for the type. The type essentially hangs from
the rule.
Adding typographic rules
Lines that are used with type are called rules
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Legibility
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Legibility studies show that the eye tires easily when reading more
than 52 characters across a line of text .
Legibility studies show that the eye tires easily when reading more than 52 characters across a line of text . Especially when this
continues for many lines. Legibility studies show that the eye tires easily when reading more than 52 characters across a line of text .
Especially when this continues for many lines. Legibility studies show that the eye tires easily when reading more than 52 characters
across a line of text . Especially when this continues for many lines. Legibility studies show that the eye tires easily when reading more
than 52 characters across a line of text . Especially when this continues for many lines. Legibility studies show that the eye tires easily
when reading more than 52 characters across a line of text Especially when this continues for many lines. Legibility studies show that the
eye tires easily when reading more than 52 characters across a line of text . Especially when this continues for many lines. Legibility
studies show that the eye tires easily when reading more than 52 characters across a line of text . Especially when this continues for
many lines
Legibility
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
Hierarchy
Typographic Hierarchy
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Font Selection
Font Pairing
Type Color
Type on Grid
Legibility
Typographic Rules
Type Hierarchy
Color
Image
Tables/Charts
This page is an example of typographic hierarchy.
The first level is the heading. Second is subheading. This
paragraph is the third level and the sidebar to the left is the
fourth level. You could say there is even a fifth level with the
subset list in gray under Typography.
The color palette
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Develop a palette of color
The color should have a relationship to the content.
Color as background
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Enables richer environment for typographic information
Background color
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Enables richer environment for typographic information
Background color
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Enables richer environment for typographic information
Image
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Image should be thought of as information content and not
as meaningless background.
Image means photographic material, illustrations, and
line drawings.
Tables and Charts
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
To differentiate information in tables and charts it is effective
to use the design principles in the toolkit.
Smallest perceptible difference
A design toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/Charts
Edward Tufte, a statistician and lecturer on information design,
has studied what he calls the smallest perceptible difference
as an important principle in designing charts.
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Basic organization
from Harvard
Business Review,
December 2006. P. 119.
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
B&B Italia
Furniture
54%
$165 million
Cappellini
Furniture
117%
$29 million
Cassina*
Furniture
60%
$163 million
Flos
Lighting
106%
$75 million
Kartell
Furniture
211%
$70 million
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
◆ B&B Italia
Furniture
54%
$165 million
◆ Cappellini
Furniture
117%
$29 million
◆ Cassina*
Furniture
60%
$163 million
106%
$75 million
211%
$70 million
Flos
Lighting
◆ Kartell
Furniture
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
◆ B&B Italia
Furniture
54%
$165 million
◆ Cappellini
Furniture
117%
$29 million
◆ Cassina*
Furniture
60%
$163 million
106%
$75 million
211%
$70 million
Flos
Lighting
◆ Kartell
Furniture
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
◆ B&B Italia
Furniture
54%
$165 million
◆ Cappellini
Furniture
117%
$29 million
◆ Cassina*
Furniture
60%
$163 million
106%
$75 million
211%
$70 million
Flos
Lighting
◆ Kartell
Furniture
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
B&B Italia
Furniture
54%
$165 million
Cappellini
Furniture
117%
$29 million
Cassina*
Furniture
60%
$163 million
Flos
Lighting
106%
$75 million
Kartell
Furniture
211%
$70 million
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
B&B Italia
Furniture
54%
$165 million
Cappellini
Furniture
117%
$29 million
Cassina*
Furniture
60%
$163 million
Flos
Lighting
106%
$75 million
Kartell
Furniture
211%
$70 million
*estimated on the basis of data for the years 2000-2003
The Design Cluster Advantage
Financial Performance of Leading Companies in the Lombardy Design Cluster
Ten-Year Growth
1994-2003
Revenue
2003 US $
Alessi
Home Furnishings
81%
$104 million
Artemide
Lighting
59%
$110 million
B&B Italia
Furniture
54%
$165 million
Cappellini
Furniture
117%
$29 million
Cassina*
Furniture
60%
$163 million
Flos
Lighting
106%
$75 million
Kartell
Furniture
211%
$70 million
*estimated on the basis of data for the years 2000-2003
Presentation created using Toolbox of Design Principles
Content for these
articles is from @issue
magazine, which looks
at design from a
business point of
view.Founder and
Chairman
Based on the principles we have discussed the following are
three examples of different presentations based on the same grid.
Morningstar
Financial services
Starbucks
Food services
Lands’ End
Retail
Morningstar
Designing for Data
.
Corporate Design Foundation @issue magazine. Volumn 3 No. 2
Morningstar
Designing for Data
.
Corporate Design Foundation @issue magazine. Volumn 3 No. 2
Morningstar
Audience
.In 1984 a financial analyst in Chicago named Joe Mansueto
anticipated that aging baby boomers, fretting over the possibility
of a bankrupt Social Security system would seek shelter in the
stock market.
Corporate Design Foundation @issue magazine. Volumn 3 No. 2
Morningstar
Audience
Joe Mansueto,
Founder and
Chairman
“People needed reliable information to make more intelligent
decisions.
Problem was, a lot of information on mutual funds was available
to institutional investors, but nothing for the general public.”
Morningstar
Premise
To bring institutional-quality information down to a mass level, to
people who were really buying the funds.
Institutional
Investors
General
Public
Sophisticated
Financial
Information
Understandable
Information
Morningstar
Information Design
Phillip Burton,
Information
Designer
Information Design is not the kind of thing people find flashy. It’s
dealing with lots of data. The job is to make things clear.
Morningstar
Information Design
Legendary designer
Paul Rand designed
the Morningstar logo.
Morningstar
Information Design
The Morningstar Rating
Quantitative Data Tables
Category Rating
Shows how a fund is
rated within peer group
of funds over three year
period.
Typographic Styling
A type system divides
and articulates levels
of data and information
Management Status
Arrows represent four
different types of
management change
Style box
Shows a fund’s true
investment style
Morningstar
Information Design
David Williams,
Design Director,
Morningstar
“The absolute need is to know
the content, not just to design in an
aesthetically pleasing way.”
Morningstar
Information Design
David Williams,
Design Director,
Morningstar
“If editors and writers are doing their job, this information is
displayed in a way that is intuitive and easy to understand. There
is a logic to its sequence that, hopefully, the user understands.”
Morningstar
Information Design
Joe Manseuto
“It may be hard to appreciate the true beauty of our page until you
actually use it to select a mutual fund. Try picking a fund using it,
and then try picking a fund without it. You’ll see a huge
difference. It’s a wonderful example of strong design.”
Morningstar
Information Design
Mansueto upgraded the look of the rest of the business’s
packaging, marketing materials, interiors, internal forms, even
coffee cups.
Morningstar
Information Design
Color coding enables
customers to identify
the database they want
without reading the
labels.
A single CD can hold
hundreds of reports
Newsletter
Designed as a selfmailer, it is sent
quarterly to subscribers.
Morningstar
Information Design
Employees often wear
the T-shirts to investor
conferences and
seminars to broadcast
Morningstar’s presence.
Mailing Envelopes
Sold through
subscriptions and not
in retail stores.
Morningstar
Information Design
The website.
In addition to mutual
fund data, the site
includes daily feature
articles, financial news
and a bulletin board
social area.
Morningstar
Information Design
Web technology added further challenges affecting
navigational ease and user friendly interactivity.
Morningstar
Differentiation
Joe Mansueto,
Founder and
Chairman
“Design has allowed us to stand out; to look different and show
that difference boldly. That fresh look reflects our fresh way of
doing business, whether it’s design or our approach to
methodology.”
Morningstar
Design as Competitive Edge
Joe Mansueto
Founder and
Chairman
“Design has been a huge part of our success. It’s given us our
distinctive edge over the competition.”
Starbucks
A Visual Cup of Joe
Corporate Design
Foundation @issue
magazine. Volumn 1 No. 1
Starbucks
A Visual Cup of Joe
Starbucks
How does a lone coffee store in Seattle’s busy Pike Place market
become North America’s leading retail coffee purveyor?
Starbucks
The story of Starbucks may be less about coffee than about
quality of design, and how the latter can play a decisive role in a
company’s success .
Starbucks
The first
Starbucks store
still operates on
the waterfront of
Seattle near the
Pike Place
Market. They
have the original
logo in the
window.
Starbucks
Coffee was not thought of as stylish. Now it’s a trendy and
indispensible social ritual.
Starbucks
Store Design
During its meteoric expansion, design is the critical element
keeping the image of Starbucks congruent across different
markets.
Starbucks
Visual Identity
Starbucks
Visual
identity
reflects
organic roots
The visual identiy reflects Starbuck’s roots
Strong sensitivity about community
The environment
How to make a great cup of coffee
Starbucks
Logo
Heckler remembers first logo design:
Created in 1971, its premise was to connect Starbuck with the
romance of the high seas and the seductiveness of the siren
with the powerful lure of great coffee.
Starbucks
Creating the
Starbucks
idenitty
The first premise for the logo in 1971
Romance of the high seas
Seductiveness of the siren
Powerful lure of great coffee
Starbucks
Creating the
Starbucks
idenitty
The mythical
creature from the
sea (siren) is a
link to the exotic.
Starbucks
Coffee
Stamps
It’s powerful. The idea of coffee coming from far away places by
ship to places across America.
Blend stamps
Like steamer
trunk stickers
from a bygone
era, the color
stamps create
the allure of
exotic places
and contrast
nicely with the
company logo.
Starbucks
Creating the
Starbucks
idenitty
Defining and refining the corporate image is an ongoing strategic
imperative.
Starbucks
Howard Schultz,
CEO
Retail is detail
Starbucks
Creating a
sensation
The Starbucks sensation is driven not just by the quality of its
products but by the entire atmosphere surrounding the purchase
of coffee.
Starbucks
Details of
the total
experience
The details surrounding the purchase of coffee
Openness of its store space
Beauty of the packaging
Friendly and knowledgeable service
Interesting menu boards
Starbucks
Details of
the total
experience
The core of
Starbucks’identity
is the siren logo,
steam pattern,
logotype, graphic
character and
organic, earthy
colors.
Starbucks
Details of
the total
experience
Gift Shopping Bag
Starbucks
Store Design
Starbucks
Influence of
Italy
When Schultz was director of retail operations was in Milan he
noted the customs of the coffee-drinking public and the 200,000
espresso bars in the country.
Starbucks
The Third
Place
“Coffee houses in Italy are a third place for people after home and
work.” There’s a relationship of trust and confidence in that
environment.” Howard Shultz
Starbucks
The Stores
The design of a Starbucks store is intended to provide both
unhurried sociability and efficiency on-the-run, an appreciation
for the natural goodness of coffee and the artistry that grabs you
even before the aroma.
Starbucks
The Stores
Fine woodwork,
sparkling glass
displays, tile
floors, cheerful
lighting and
organized
efficiency create
a clean,
accessible and
friendly
atmosphere.
Visual Stimulation
A changing array of
non-logo
merchandise
creates a sense of
newness and visual
excitement.
Starbucks
Creating the
Starbucks
idenitty
Emphasize the
employees’
superior
knowledge of
good coffee
preparation
“Triple
grande
non fat,
no foam,
decaf latte”
Starbucks
Store Design
Store design seems to correspond closely to the company’s first
and evolving influences: the clean crispness of the Pacific
Northwest combined with the urban suavity of an espresso bar
in Milan.
Lands’ End Sheds a Beacon on its Brand
Corporate Design Foundation @issue magazine. Volumn 10 No. 1
Lands’ End Sheds a Beacon on its Brand
Lands’ End Sheds a Beacon on its Brand
Lands’ End enjoyed a loyal following
and a successful marketing strategy, but
after 40 years in business, it saw its
brand image looking tired and
frayed at the edges. In the process of
revitalizing its identity, Lands’ End
introduced a graphic system that
brought order to its catalogs and higher
visibility to its brand.
Lands’ End Sheds a Beacon on its Brand
Lands’ End was founded in 1963 by a
championship sailboat racer named
Gary Comer to sell yachting equipment
by mail.
Lands’ End Sheds a Beacon on its Brand
Today the company has expanded its
product offerings to include everything
from apparel to home furnishings.
Lands’ End
Customers
The company enjoys the fierce loyalty
of core customers, having won their
trust by offering well-made classic
casual wear at fair prices, backed by an
iron-clad satisfaction guarantee.
N
O
I
T D
C
E
A
E
F
T
S
I
N
T
A
A
R
S
A
U
G
Lands’ End
Why Update Brand?
Baby boom customers were now living
a different lifestyle.
Catalog competitors had increased
A new brand would connect to younger
customers.
Lands’ End
A New Identity System
DJ Stout, a partner at the design firm,
Pentagram, got approval to develop an
identity system but had to retain the
elements the made the brand
recognizable.
Lands’ End
The Lighthouse
It represents
guidance and
hope. It’s very
graphic and
wants to be
seen.
DJ Stout,
Designer
The company’s yachting heritage and
name suggested the perfect symbol--a
lighthouse.
Lands’ End
A flexible logo
The designers
provided
different
options for
using the logo.
Lands’ End
The lighthouse
A real
lighthouse
inspired the
stylized logo,
which led to
abstract
interpretations
on apparel
tabs and
hangtags.
Lands’ End
Specialty logos
The logos for specialty catalogs are
designed to always be used in two
colors, with the name of the specialty
dropped out of a brightly colored box.
Lands’ End
Subtitle
A process of
continuous
refinement.
DJ Stout,
Designer
Company implemented lighthouse
corporate logo across all media.
Folksy
Quirky
Sophisicated
Modern
Lands’ End
Subtitle
A process of
continuous
refinement.
DJ Stout,
Designer
Company implemented lighthouse
corporate logo across all media.
FOLKSY,
QUIRKY
CULTURED,
MODERN
Lands’ End
Clothing Labels
The logo is
strong enough
to have
presence even
when seen
small on
clothing labels.
Lands’ End
Packaging
Lands’ End’s
distinctive
stripes proved
its versatility
and can be
immediately
spotted by
customers.
Lands’ End
Bedding
Lands’ End
The blue and white stripe signature
Navy blue and
white stripes
became a
signature of
Lands’End
packaging.
Lands’ End
Catalog design
The designer
created a
visual
narrative of a
family on
vacation,
showing legs
swinging from
a hammock on
the cover and
a family
heading off on
vacation as
the opener.
Livelier covers were not enough. The
designer felt they were losing customers
through bad identity.
Old catalog
New catalog
Lands’ End
The catalog
The original
layout lacked
hierarchy of
information.
The new
design guides
the eye to the
product then
to the
headline, and
finally to the
order
information
and color
choices.
New catalog
Lands’ End
Seal of Quallity
A seal conveys a symbol of authority
and of oversight. It was used to reassure
customers of the company’s guarantee.
The old seal
was created
for packaging
when they
rolled out a
line of candy
and food
products.
The more
modern design
was developed
so that
shoppers at
Sears knew
about its
famous
guarantee.
Review of presentation elements
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/charts
Photos of main point
Report covers
Continue design thinking through all parts of
communication
Demonstrate application of principles to other formats
Report covers
Continue design thinking through all parts of
communication
Design of report follows same design principles of toolkit.
Grid adapted to
shape of new
format.
Review of design principles as applied to the Toolkit
Grid
Zones
Navigation
Pacing
Hierarchy
Typography
Color
Image
Tables/charts
Credits
Design Cluster Advantage chart from Harvard Business Review, December 2006. p. 119.
Photo of Howard Schultz by Elaine Thompson/Associated Press
Photo of Starbucks original store in Seattle by Susan Rogers
Content for Morningstar, Starbucks and Lands’ End sample presentations by permission from
@issue magazine published by the Corporate Design Foundation,Boston, Massachusetts.
Starbucks: A Visual cup o’Joe, from Volume 1 No. 1. p. 18-25.
Morningstar Applies Design to Financial Data, from Volume 3 No. 2. p. 6-13.
A New View from Lands’ End, from Volume 10, No.1. p. 6-13.