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I have to pinch myself to realize that we are already in November and bringing out the second last issue of this year. Lots to savour in this issue. The branding landscape was always dotted with jargon (both wanted and unwanted) and here is one more to that list- Mecosystems- The Age Of You- it’s a fascinating read I can assure you. As is the very insightful Infographic on marketing to Generation Z. Video has become dominant and all pervasive and we talk about how it is changing the advertising landscape. For all those keen on knowing the do’s and dont’s of email communication, the feature on Emails & the lack of emotion therein is indeed worth reading. As more and more marketing tools begin to come into use, one potent tool that is standing out seems to be ‘ crowdfunding ‘ which we examine in our article. For the traditionalists, the analysis of 40 Logos and the hidden message behind each would be a delightful consumption. And we dig into some vintage nostalgia and share with you some of the Storyboards from the original Star Wars series. There is lots more and I do hope you have a great time with this issue. Till the next,

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Managing Editor: Suresh DinakaranCreative Head/Director Operations: Pravin AhirMagazine Concept & Design/ New Media Specialist: Mufaddal JoherCountry Head, UK: Sagar PatilCountry Head, India: Rohit UnniDigital/Social Media Marketing: Loknath Swain, Vishnu NathAssociate: Brand Success: Andre Van HelsdingenWeb Specialist: Prasanta Kumar SahuOnline Support: Mahendra Kumar Behera

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CONTENTS

Book, Line & Sinker

How Ads Can Push Too Hard

How Video is transforming the Advertising landscape

The Key To Creative Insight Can Be Simpler Than You Think

Get to Know Generation Z: Marketing’s Next Big Audience [Infographic]

Why Crowdfunding Is a Must-Have Marketing Tool for Brands

Email Communication & the the lack of Emotion

The Most Hated Design Trend Is Back

How to find the Sweet Spot of Killer Ideas

Check Out These Original Star Wars Storyboards

Why Art & Brands Go Together

Flying high on Augmented Reality

40 brand logos with hidden messages

The Age of You: How the Best Global Brands Are Creating Mecosystems

Brand-Led Coalition Targets Millennials on Sustainability and Climate Change

Laura Montini

What makes an idea great? Novelty helps. But so does practicality--you want to be able to put it into practice. Strike a balance somewhere in the middle and you might just have a winner.

That’s why Justin M. Berg, a Ph.D. candidate at The Wharton School, University of Pennsylvania, wanted to learn how to incorporate both important traits into new ideas. His recent study, “The primal mark: How the beginning shapes the end in the development of creative ideas,” suggests that different stimuli have a notable impact on the innovation process.

Berg called the stimuli “primal marks.” In his paper, he explained that the term is borrowed from painting theory. “The concept is that the first brush stroke a painter makes on a blank canvas, known as the primal mark, is especially important because it shapes what the painter subsequently paints on the canvas,” Berg writes.

He set up an experiment that tested the way two different types of stimuli--which he called “familiar” and “new”--influenced participants’ brainstorming.

Berg told 185 university students that the university bookstore was looking to add a new innovative product to its inventory. One group of participants was shown a picture of a cork board, which was the familiar primal mark, and the other was shown a picture of a fishing pole, the new primal mark. Both groups of students were asked to incorporate at least one element of the pictured item in their solution.

Nine judges, including three managers from the actual bookstore, were recruited to rate the ideas on a seven-point scale. They judged students’ responses on both their novelty and usefulness.

In the end, Berg concluded that the novel stimulus did indeed lead to ideas that were more creative--with an average rating of 3.82 out of seven. This compared to ideas that were inspired by a conventional stimulus--which received an average rating of 3.05.

However, the novel stimulus also resulted in products that were less useful. Ideas derived from a novel primal mark received a usefulness rating of 3.65 compared to 4.06, which was the average rating for ideas that came from the familiar primal mark.

So what’s the upshot? Berg said the results suggest that in order to come up with an idea that achieves a tradeoff between novelty and usefulness, the primal mark has to offer a balance as well. In other words, employees need exposure to both the practical and the absurd to find the sweet spot for that one killer idea.

You want an idea that’s novel--but not totally off the deep end. How do you find it? New research from Wharton sheds light on the brainstorming process.

Laura Montini is a reporter at Inc. She previously covered health care technology for Health 2.0 News and has served as an associate editor at The Health Care Blog. She lives in San Francisco.

Why Crowdfunding Is a Must-Have Marketing Tool for BrandsRichard Swart

When UC Berkeley decided to offer its executive education course on corporate crowdfunding, some faculty members wondered what relevance crowdfunding had to major brands. Especially because the original intent of crowdfunding was to help struggling small businesses—not billion-dollar brands.

However, many companies are starting to realize that crowdfunding represents a unique marketing opportunity for forwarding-thinking companies to dramatically strengthen consumer ties with their brand. Crowdfunding can also be used to drive innovation, and it is the newest (and probably most effective) form of crowdsourced product innovation.

Crowdfunding is the collection of finance from backers (the “crowd”) to fund an initiative, and it usually occurs on Internet platforms.

Since emerging in 2008, crowdfunding has become a

multibillion-dollar global industry with thousands of platforms offering funding opportunities to entrepreneurs, community organizations, and lately major corporations, such as Dodge, Honda, Coca-Cola, American Express, and DC Comics.

Corporations with access to debt and securities markets don’t need to use crowdfunding to finance operations for growth capital. However, what smart CMOs and CEOs have realized is that crowdfunding does a remarkably effective job in helping to drive marketing initiatives to existing customers and acquiring new customers.

Forget the hypothetical value of a social media mention, such as a Facebook like. When you can get a customer or social follower to contribute cash to a corporate-sponsored campaign, you have the deepest form of social media engagement possible.

What Strategic Corporate Crowdfunding

Looks Like

The first model of strategic corporate crowdfunding is not to create an opportunity for customers to finance the purchase of your product for themselves but usually for a social cause or community organization.

Dodge did a fantastic job with its DodgeDartRegisty.com campaign.

The registry allowed customers to have backers fund parts of the car. For example, a customer’s aunt could buy the steering wheel.

The magic of this model was revealed when community organizations started trying to fund the purchase of Dodge Darts to deliver food to the homeless and to provide access to transportation in women’s shelters. The campaign then went viral with more than 1,000,000 social media impressions.

Though fewer than 40 cars were purchased directly, the company engaged and mined data from tens of thousands of potential new customers and saw sales more than double the following quarter.

Dell used a similar logic by having customers fund the purchase of a laptop for first-generation, low-income college students.

The second model of strategic corporate crowdfunding is to use crowdfunding campaigns for community projects for entrepreneurs whose missions align with the company.

Honda used a campaign on Indiegogo.com to raise funds to save the American drive-in theater. This marketing strategy is about social engagement and brand positioning.

Kimberly-Clark uses a hybrid model with its Huggies

MomInspired campaign. The company provided grants to moms to develop innovative products for children. What Kimberly-Clark created is an external R&D laboratory, which led to significant opportunities for revenue increase. Huggies now learns from its customers—without focus groups or formal market research. Its cost per social impression is 40% lower than other forms of marketing, and the company has not had a single negative social comment.

Understanding Consumers

Many companies now use crowdfunding for market intelligence, especially since the funding of innovation in America has changed.

The first option for most entrepreneurs with a product idea is to use crowdfunding to fund its development. Crowdfunding receives $60,000 an hour in donations or in pre-sale of products each hour.

Corporations and venture funds alike are monitoring activity on leading crowdfunding platforms and trying to understand how consumers are interacting with product ideas on these platforms. That can be as simple as tracking the trending campaigns, seeing what type of product innovations are receiving funding, and who is participating in the funding campaigns (i.e., joining the community of people backing a particular idea).

Smart brands have realized that thousands of focus groups are occurring in real time on these platforms.

The most famous crowdfunded product, the Pebble Watch, is a great study. Within two weeks of launching the product, the community started pushing hard on the founders to make the watch waterproof. The company added this feature before it closed the campaign.

There are dozens of examples where domain experts, product designers, and marketing professionals have provided rich and detailed feedback to firms trying crowdfunding. This remarkable product feedback is given freely and openly, and it can be used by smart firms.

* * *

For firms that want to be at the forefront of digital strategies, crowdfunding represents a cutting-edge integrated marketing tool. It can strengthen customer affinity to brands through campaigns that tie to social causes or products. Firms can combine in-store and online experiences to create custom rewards and also deplete inventory.

Crowdfunding also deeply resonates with Millennials and early technology adopters. Nothing else allows firms to connect to target customers at such a low cost and to learn to innovate product lines so quickly. That’s why more CMOs are starting to realize that crowdfunding is the new must-have marketing tool.

Richard Swart, PhD is a leading authority in crowdfunding and runs the crowdfunding research group at UC Berkeley.

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How Ads Can Push Too HardMatt Richtel

People like to associate with brands that reflect how they see themselves. That’s an axiom of advertising. And so we have slogans telling us that “Choosy Moms Choose Jif.” Or, “If you call yourself a sports fan, you gotta have DirecTV!”

But a study published in the Journal of Consumer Research says ads like these can backfire. That’s because such assertive slogans remove a sense of freedom. What if I don’t have DirecTV? Are you telling me I’m not a real sports fan?

“When identity is involved, people really want to feel like they’re making the choice themselves, that the decision is meaningful,” said Amit Bhattacharjee, a visiting assistant professor at the Tuck School of Business at Dartmouth, who worked on the study with academics from New York University and the Wharton School of the University of Pennsylvania. When marketers “push too hard, it ruins that,” he added. The message “crowds out a sense of ownership and turns consumers off.”

In the experiment, researchers gathered a group of about 120 people at the University of Pennsylvania. The subjects were encouraged to focus on their environmental interests — a directive meant to activate that part of their identity.

Then they broke into three groups, with each shown a different slogan for Charlie’s Soap, a real-world, biodegradable cleanser. One group got a message that didn’t include any identity reference; it just said the soap was “a good choice for consumers.” Another group’s message made a light identity reference, calling the soap “a good choice for green consumers.” The third went further: “the only choice for green consumers!”

What researchers found was that the middle option (“a good choice for green consumers”) performed best. The worst performer was the ad that called the soap the “only choice” for green consumers.

That result ran counter to the expectations of a panel of 59 marketing executives and managers who had been asked beforehand to predict which slogan would work best. Nearly half projected that the “only choice” slogan would be most effective.

The study subjects reported that the off-putting slogan — with language that was not quite bullying but certainly imperative — threatened their sense of “freedom in expressing their identity,” Mr. Bhattacharjee said.

The researchers bolstered this conclusion when they ran the experiment a second time, but without telling a new group of subjects to focus on being environmentally conscious. In other words, they weren’t primed to identify as green consumers.

In this second experiment, the subjects were equally receptive to all three messages. The result told researchers that consumers who potentially identify with a product are put off by a too-explicit brand message.

The study cited the Jif and DirecTV ads as examples that could be off-putting. But clearly, they don’t turn off all consumers. Mr. Bhattacharjee and other scholars said that what’s probably happening is that while some people may be slightly or even subconsciously irked, they still buy the product because of other attributes, or because of factors like brand loyalty or message frequency.

“At some nonconscious level, it might be a little annoying or threatening, but put in the overall context, it doesn’t necessarily cause defection,” said Mark Forehand, a professor of marketing at the Foster School of Business at the University

of Washington, who added that the study’s overall results made sense.

To Mr. Bhattacharjee, the lesson for marketers is to “reference identity without being too explicit; you do

want a lighter touch.”

Overly Aggressive Pitches Can Put Off Consumers

brand logos with hidden messages40 Polly Becker

You’ve looked at them thousands of times, logos such as Amazon, FedEx and Coca-Cola, but have you ever really looked at them?

We take a look at the most famous brands in the world, and point out hidden design features and messages that most people have never spotted before. Infographic courtesy of Oomph.

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The Age of You: How the Best Global Brands Are Creating

MecosystemsSheila Shayon

The 2014 edition of the Interbrand Best Global Brands report is out and confirms the dominance of tech brands as Apple remains No. 1 and the world’s most valuable brand for a second straight year, followed by Google, with Coca-Cola at No. 3.

It’s the first year that two brands are valued at more than $100 billion: Apple at $118.9 billion, up 21 percent from last year, and Google, at $107.4 billion, up 15 percent from last year.

“Apple and Google’s meteoric rise to more than USD $100 billion is truly a testament to the power of brand building,” stated Jez Frampton, Global CEO of Interbrand (brandchannel’s parent company).

“These leading brands have reached new pinnacles—in terms of both their growth and in the history of Best Global Brands—by creating experiences that are seamless, contextually relevant, and increasingly based around an overarching ecosystem of integrated products and services, both physical and digital.”

It’s a theme that Interbrand calls “The Age of You.”

The thread that ties the world’s most valuable brands is how they put the customer first, defining a new era in the global business world. “As consumers and devices become more connected and integrated, the data being generated is creating value for consumers, for brands, and for the world at large.”

“As a result, brands from all categories and sectors will get smarter—with products and devices working in concert with one another, across supply chains, and in tandem with our own individual data sets,” he added, expanding on his essay in the report.

“Brands that seek to lead in the forthcoming Age of You will have to create truly personalized and curated experiences, or what we call ‘Mecosystems,’ around each and every one of us. Such brands will have to rehumanize the data, uncover genuine insights, and deliver against individual wants, needs, and desires.”

The evolution of brands is reflected in the four ages of branding: from the Age of Identity to the Age of Value, then from the Age of Experience to the Age of You.

• As the report explains, When ecosystems are fully integrated and sensors (on our bodies, in our homes, and in our devices) can talk

to each other in new ways, supply chains will reorganize around individuals and ecosystems will become Mecosystems. Connecting businesses to people-and people to each other-brands will then serve as enablers of both business and personal value creation.

As digital technology continues to weave its way into every aspect of our lives—including health—and people’s relationship to brands evolves, it comes as no surprise that four of the top 10 brands on Interbrand’s new report are technology brands: including IBM (No. 4), Microsoft (No. 5) and Samsung (No. 7).

Facebook climbed to No. 29 (from No. 52 in 2013) and “It’s still growing,” said Frampton, adding that “Twitter is starting to get closer to appearing on the table.”

The rankings and valuations are determined by criteria including the role a brand plays in influencing consumers, a brand’s financial performance and its strength in commanding a premium price and making money. This year, in a first for the report’s methodology, Twitter provided exclusive social data that informed the brand strength scores.

“The ability for brands and people to interact in a public, social way has presented a tremendous opportunity for our data to determine the pulse of consumer perception about a brand,” stated Joel Lunenfeld, VP of Global Brand Strategy at Twitter. “For years, Interbrand has been the leading authority on brand value and perception, and we’re thrilled to be providing Twitter data to enhance Interbrand’s annual Best Global Brands ranking.”

“We always tell our clients that big data is actually very personal—and that the future of business will be personal as a result,” added Frampton.

Watch Frampton’s video below.

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How Video is transforming the Advertising landscapeAmbreen Ali

We’re chatting with you on the second day of Ad Week, so let’s start with that. What do you see as the big takeaway from this year’s events?

The conference that we’re putting on here is focused on art, beauty and invoking emotion in people. There’s been so much talk about automation and technology in industry, and it’s a big part of what we do, and it can be a great help. But it can also lead to tools that create something artistic. What I hope resonates with the rest of Ad Week is that advertising can be something beautiful, and today, with new technology, we can reach people in a much better way.

The Internet advertising space moves so quickly. How do you stay up to date?

We work closely with our membership as well as partners such as the ANA and the 4A’s. And technology is really important when it comes to online advertising. It moves fast, so it’s easy to feel that you’re always one step behind. What we’re doing now with the IAB Tech Lab is really trying to invest our resources in the tech space. We’re also focusing on new platforms such as video and mobile and how they integrate into the full interactive advertising mix. Finally, we are really staying updated by constantly doing research and take a close look at what consumers are doing because things are moving so fast now when it comes to media consumption.

What do you see as the IAB’s role in the advertising ecosystem?

Our mission is to help the digital ecosystem thrive. The industry is growing so fast, and there is so much opportunity. There really is enough for everyone. What we want to do is make sure everybody thrives and it’s not just a few parties. We’re really want to spread the wealth. Just because something is growing, it doesn’t necessarily mean that it’s growing evenly or as fast as it can.

How is video disrupting online advertising as we know it?

We are at a point now where everything is changing when it comes to our consumption of moving pictures. Video, both long and short form, is clearly growing. We’re consuming more and more media on devices, including mobile phones and tablets. Video is a clear disruptor. It’s a huge opportunity for the interactive advertising industry, especially with the shift from TV to digital platforms.

But, you can’t silo video out. Just like mobile, it’s all interconnected. If you really make the most of it, you can make a lot of money and have fantastic marketing and branding. It’s not just about advertising. It’s about reaching the user with something very powerful and very rich. You have to really think about the intersection of all the different platforms, and then video is just a part of it.

What is the biggest challenge you face in your role as the head of the Mobile Marketing Center of Excellence at IAB?

I’ve been with the IAB for 3 1/2 years and I head what is sort of a mini IAB within the IAB. We create standards, thought leadership and public policy specifically for mobile. A big part of what we do is make sure mobile is part of the rest of the IAB agenda so that it is not completely siloed. We try to make sure we are a mobile-first organization.

When I started, the biggest challenge was that people didn’t believe in mobile. There were only a few players that were in this space. Then interest started growing, and then it completely changed. Now everybody wants to find a solution quickly, and that makes it hard to. What annoys me most is this market sentiment that only a few companies can make money on mobile, so the opportunity is lost for everyone else. I don’t think that’s true. A few years ago, nobody made money on mobile. People were laughing at Facebook, and now they are making a lot of money. The changes are an indication of what is to come. The problem is people are giving up before they fail, but there are a lot of people interested in the opportunity.

What advice do you have for marketers hoping to jump in?

What’s important for marketers is to not view mobile and video as experiments. Make sure that you add them to your overall media mix. And really try. Don’t try small, try big, so you really can see the results. Be prepared to reorganize a little bit. Think about what sort of talent you need in this new world. Be willing to take a little risk, because there is great gain. And if you don’t do it, it could be fatal.

SmartBrief, as part of its Advertising Week coverage, is interviewing top executives at the 4A’s, IAB, MMA and ANA.

In the third post of the series, Interactive Advertising Bureau Vice President Anna Bager discusses how video is reshaping the digital advertising landscape and how IAB works to stay on top this ever-changing space.

Be sure to join SmartBrief’s e-mail list for daily updates on advertising, Web marketing, mobile, social media and more.

Advertising Leadership Series: Q-and-A with IAB VP Anna Bager

Ambreen Ali edits SmartBrief newsletters on interactive advertising, social business, mobile marketing and other topics. Before joining SmartBrief, she worked as a reporter covering technology policy and lobbying for CQ Roll Call.

Check Out These Original Star Wars StoryboardsCarey Dunne

Now is your chance to own a little piece of Star Wars history--if you have $16,000 to spare, that is. Original storyboards, scripts, and concept art sketches from George Lucas’s trilogy are going up for auction at Profiles in History auction house in Calabasas, California, on October 17. It’s amazing to see how successfully Industrial Light and Magic (Lucasfilm’s special effects company) translated these sketches into

full-fledged cinematic realities.

The most valuable item for sale is an original cast script from Star Wars IV: A New Hope, signed by the illustrious cast, R2D2 and all. It reveals Luke Skywalker’s original name was Luke

Starkiller (doesn’t have the same ring). Titled “The Adventures of Luke Starkiller as taken from the Journal of the Whills by George Lucas,” it’s expected to go for $16,000.

Also included are pencil drawings of the rebels’ attack on the Death Star and concept art for the Landspeeder, Skywalker’s aircraft of choice for visiting his uncle on Tatooine, drawn in pen, ink, and marker pen by special effects artist Joe Johnston. Original drawings show the scene of Darth Vader’s famous confession to Luke--”I am your father”--before chopping off Luke’s hand with a light saber in The Empire Strikes Back. There’s also an original edition of the first ever Star Wars poster, featuring Luke Skywalker, Han Solo, and Princess Leia fighting the good fight in front of a looming Darth Vader, which is expected to fetch about $800.

Perhaps most epic, the face mold of the cryogenically frozen Han Solo’s would make the most enviable bit of home decor imaginable. It’s expected to bring in $8,058.

STORYBOARDS, DRAWINGS, AND EVEN A MOLD OF FROZEN HAN SOLO’S FACE ARE UP FOR AUCTION.

“THE ADVENTURES

OF LUKE STARKILLER

AS TAKEN FROM THE

JOURNAL OF THE

WHILLS BY GEORGE

LUCAS’ IS EXPECTED

TO GO FOR $16,000.”

Carey Dunne is a Brooklyn-based writer covering art and design.

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The Key To Creative Insight Can Be Simpler Than You ThinkEric Jaffe

Sometimes a creative breakthrough comes when we’re not doing anything creative at all. Maybe we’re taking a walk, or standing in the shower, or awakening from a nap. The mathematician Henri Poincaré may be king of what we commonly call the “aha moment.” You don’t have to understand his sudden insights into non-Euclidian geometry to appreciate his belief that the best way to overcome a creative obstacle is to take a break from it.

“Often when one works at a hard question, nothing good is accomplished at the first attack,” Poincaré wrote in The Foundations of Science (via Brain Pickings). “Then one takes a rest, longer or shorter, and sits down anew

to the work. During the first half-hour, as before, nothing is found, and then all of a sudden the decisive idea presents itself to the mind. It might be said that the conscious work has been more fruitful because it has been interrupted and the rest has given back to the mind its force and freshness.”

Creativity researchers have a name for this period of intentional interruption from a tough mental task: incubation. The concept isn’t new; as early as 1926, social psychologist Graham Wallas referred to incubation as a creative stage when a person is “not consciously thinking about the problem.” Some social scientists now place incubation smack in the center of the creative process, coming after exploring and focusing on a problem and just before producing an insight and following through on it.

Recently, a team of mechanical engineers looked at the role incubation can play for designers, in particular. For the study, led by Joanna Tsenn of Texas A&M University, the research team asked young engineers to design a machine capable of shelling peanuts. These test participants were given a set of design criteria as well as an example of a successful device--the Full Belly Sheller (below), which winnows shell from nuts using a hand crank, a conical roller, and a collection bin.

On their first day in the lab, the test participants considered the problem for 5 minutes then spent the next 45 minutes generating as many design solutions as possible. The participants left the lab without any instructions to think about the problem further. But two days later they returned, after an incubation period, and were asked to generate ideas about the same design problem for another 50-minute stretch.

Incubation was by no means a creative panacea. In the September issue of Design Studies, Tsenn and collaborators report that the quantity of these post-incubation ideas was not significantly greater than during the initial phase, and that the

average quality of ideas generated during both sessions was also similar. In fact, participants generated more high-quality solutions during the first creative session, and often failed to revisit their best designs the second time around.

Where the incubation did seem to help was in alleviating creative fixation. On the second day in the lab, participants mentioned significantly fewer elements from the Full Belly Sheller than they did on the first day. The post-incubation ideas were rated as being more novel than those generated during the first session, and participants drew up a greater variety of concepts after incubation, too. Participants were “both exploring new areas of the solution space and expanding it,” the researchers conclude.

In other words, these design engineers didn’t necessarily think better after incubation, but they certainly did seem to think fresher--to borrow Poincaré’s own term. (Clearly, this post wasn’t written with a sufficient incubation period.) Over time, one can imagine this freshness leading to the types of creative breakthroughs necessary to conquer the original problem.

The evidence is decidedly mixed on just how incubation works (as well as how long it should last and what you should do during it). Some creativity scholars believe unconscious processes actively attack a problem during incubation. Others suspect the mere absence of conscious effort does the trick, perhaps by helping the mind forget any ill-conceived leads or assumptions and opening it up to new threads of thought.

For anyone on the verge of an insight, whether you’re cracking nuts or math equations, knowing the exact incubation process is less important than trusting that there is one.

IT’S CALLED INCUBATION IN THE RESEARCH WORLD, AND IT CAN WORK WONDERS.

SOME SOCIAL SCIENTISTS NOW PLACE INCUBATION SMACK IN THE CENTER OF THE CREATIVE PROCESS.

THE EXACT INCUBATION PROCESS IS LESS IMPORTANT THAN TRUSTING THAT THERE IS ONE.

Eric Jaffe writes about cities, history, and behavioral science. His latest book is A Curious Madness: An American Combat Psychiatrist, a Japanese War Crimes Suspect, and an Unsolved Mystery from World War II (Scribner, 2014). He lives in New York.

Get to Know Generation Z: Marketing’s Next Big Audience [Infographic]Verónica Maria Jarski

As a marketer, you most likely understand Millennials, but you also need to get to know the generation that follows: Generation Z.

Generation Z makes up the largest percentage (25.9%) of the US population. They aren’t even 21 years old yet, but already they are beginning to exhibit influence, consumption, and spending power.

So, what do marketers need to know about Generation Z?

“Generation Z is mature, self-directed, and resourceful,” according to the following infographic by Marketo. They know how to self-educate and find information, and 52% use

YouTube or social media for typical research assignments.

Moreover, Generation Z embraces the DIY culture. Some 76% wish their hobbies would turn into full-time jobs, and 72% of high school students want to start their own businesses someday.

“This generation knows the ins and outs of the Internet, shops online, and is ambitious about work,” states Marketo. “Your future business depends on understanding how to market to them.”

To find out more about Generation Z, check out the infographic:

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Veronica Maria Jarski is the Opinions editor and a senior writer at MarketingProfs.

Brand-Led Coalition Targets Millennials on Sustainability

and Climate ChangeSheila Shayon

The tide is shifting in favor of our planet as a coalition of some of the world’s leading global brands overcome market rivalry to form a coalition to engage young people on climate change issues.

Partners in Collectively, the new content- and action-driven digital platform, include Audi, BT Group, C&A Foundation, Carlsberg, Diageo, Facebook, General Mills, Google, Havas, IPG, Johnson & Johnson, Kingfisher, Lenovo, Marks & Spencer, McDonald’s, Medialink, Microsoft, Nestlé, Nike, Omnicom, PepsiCo, Philips, SABMiller, Salesforce, Coca-Cola, Dow Chemical, Twitter, Unilever and WPP.

The pitch: “Collectively is where the power of positivity and collaboration make sustainability the new norm. Watch as we follow several young people across the globe that took a stand against the status quo to help build a better world around them. From emissions-cutting inventions to socially responsible travel, hear their inspirational ideas and let us know what you think. Join us at http://collectively.org, comment, contribute and make this movement grow.”

The target audience is millennials, aged 18-30, tomorrow’s rising powerbrokers who are inheriting a crippled planet. And as social media is their home away from home, the coalition is enlisting Facebook, Tumblr, Instagram, YouTube and Twitter to focus on “passion points” for that cohort. It’s all well and good—but will millennials listen, let alone take action?

“Every single day, the most creative minds in the world are thinking, designing, testing, building and launching awe-inspiring new solutions to help us thrive,” said the site. “Collectively will connect millennials to the innovations that are shaping the future, making it easy for them to act, buy, invest and promote the ideas that they believe in. To be part of the solution.”

Millennials are increasingly sceptical about the motives of big business and big brands, the claims of “green” brands and the fossil fuel juggernaut on policy-making—and Collectively is targeting that thinking. Putting its moxie where it counts, the coalition is a nonprofit venture and will not carry corporate branding as it launches a pilot phase in the US and the UK, setting its sights on India, China and Brazil by the end of the year.

Eschewing traditional media partnerships, Collectively is partnering with VICE Media, Purpose, and sustainability NGO Forum For the Future.

“Maybe mother nature has invented a solution by creating the internet so that we can create movements at scale,” commented Keith Weed, CMO and global head of

sustainability at Unilever, to the Guardian. “As individuals we are powerless, but collectively we are powerful. People are moving away from thinking about my world, my family and my next door neighbour to our world.”

BT’s chief sustainability officer Niall Dunne, noting the recent People’s Climate March and the Rockefeller Foundation’s divestment of fossil fuels from its portfolio announced at the recent Clinton Global Initiative, added that, “This platform is the next beachhead for the sustainability movement and should be looking to engage hundreds of millions of people and change conspicuous consumption to mindful consumption.”

Walmart, now championing all things sustainable, this week announced at its Global Sustainability Milestone Meeting a commitment to create a more sustainable food system around four pillars: improving the affordability of food for customers and the environment, increasing access to food, making healthier eating easier, and improving the safety and transparency of the food chain.

“The future of food is absolutely critical for both our society and for our business, which means we have a huge opportunity to make a difference here,” stated Walmart president and CEO Doug McMillon. “Grocery is a very personal category—it’s about what you feed your kids and how you take care of yourself. It’s about your health and wellbeing. And it all comes down to trust. Customers have to trust us on food. When we focus on food, we are doing right by our customers, our communities, and our planet.”

But it’s getting harder to trust these days, as evidenced by a recent Consumer Reports study that found a majority of US packaged foods labeled as “natural” actually contain a substantial amount of GMO ingredients.

As Reuters reports, a survey of more than 80 different processed foods found that while “foods labeled as “non-GMO,” or “organic” were free of genetically modified corn and soy, virtually all of the foods labeled as “natural” or not labeled with any claim related to GMO content contained substantial amounts of GMO ingredients.”

GMOs were found in cereals, chips and infant formula. The Grocery Manufacturers Association is lobbying the federal government to define “natural” on food packaging that includes GMOs.

One thing that is clear, the only solutions for our planet will be orchestrated collectively, and a global coalition is a good start—if millennials can overcome their mistrust and get inspired to take action, too.

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Flying high on Augmented RealitySheila Shayon

While some brands are testing virtual reality to heighten the brand experience, Lufthansa is claiming a world-first by launching a new augmented reality app that lets customers explore Premium Economy seats and the joys of getting 50% extra legroom.

iPhone and iPad users (iOS 7 or later) are prompted to grab a pen and paper to “draw something that flies,” then scan the drawing to see a Premium Economy seat pop on their screen.

Lufthansa’s new AR app differs from most, like Blippar, which only work when a specific brand logo or image is activated.

“The challenge for Lufthansa was to generate awareness of this new class simply and effectively,” commented Mat O’Brien, creative director at Space, the agency that created the app.

“The app is an interactive way to drive home the benefits of Premium Economy by closing the physical and emotional space between customers and the brand. We’ve delivered a world first for Lufthansa in the digital space that amplifies the Premium Economy offer whilst building brand intimacy in a fun, informative application.”

The new Premium Economy class is part of the company’s three billion euro investment in cabin and lounge improvements through the end of 2015.

The airline dabbled in augmented reality in March with an app that offered a virtual tour as a

“Brand new way how to discover high quality of Lufthansa business class service. Explore Boeing 747-8 in all its beauty. Turn it, zoom it or take it off. And enjoy the new business class seat right after and touch all the parts to see its amazing functions. This app was created for Lufthansa Czech republic to be used with a special promotional Magic Card.”

It’s interesting to note that the first recorded mention of AR’s precursor was made in 1901 by L. Frank Baum, of Wizard of Oz fame, who spoke of an electronic display/spectacles that would overlay data onto people, called a ‘character marker.’

As travel today continues to devolve to more of an ordeal than an adventure, any value-add for an airline can make a big difference. Lufthansa’s bet for its Premium customers starting with virtual reality will hopefully deliver more choice and comfort real-time as well, and be a character-marker for the brand.

Why Art & Brands

Go Together

Sheila Shayon

Companies are not only active as arts patrons, they’re innovating in ways that speak to their brands’ DNA. New campaigns by TD Bank and Absolut show how brands from diverse sectors are using art in a fresh way to engage and inspire consumers, especially those who value culture and corporate citizenship.

TD Bank, as part of its corporate citizenship commitment to the environment and especially trees (where money doesn’t grow), is turning the majority of its New York City area storefronts into micro art galleries, including installing pop-up exhibitions at Grand Central Station, the High Line and the Waldorf Astoria hotel in a new campaign,

Just in time for Fall, the TD Forests: Art for Trees experiential campaign (by Philadelphia ad agency Tierney) is a curated collection of ten artists with NYC roots to create two-dimensional pieces, reprinted, unbranded, on recyclable, compostable vinyl, using soy-based inks. Proceeds from art sales will go to four NYC public organizations, including Bette Midler’s MillionTreesNYC.

Over 22,000 poster reproductions of the works will be given away free and will be on display in the storefront windows of 115 New York City TD Bank branches as well as the three pop-up galleries. After the show, full-size reproductions of each artwork will be donated to ten NYC schools, hospitals and neighborhood centers.

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And as a brand long affiliated with artists to create unique packaging, Swedish vodka maker Absolut is launching a limited edition bottle with ties to another New York artist: Andy Warhol. It’s been three decades since Warhol created an original piece for Absolut, which serves as the inspiration for this season’s art bottle, “Make the Holidays Pop” (as in, of course, Pop Art).

About four million of the Absolut Warhol bottles will be sold worldwide starting in November, with a portion of sales going to The Andy Warhol Foundation. The brand’s mixologists have also come up with cocktails such as Blue Andy and Chelsea Vodka Gimlet.

“Warhol is an icon and Absolut has a fantastic heritage of collaborating with him,” commented Dan Brooks, creative director at Sid Lee New York, to the New York Times. “This is not about being back in the past, rummaging in the past. It’s about looking forward, reinventing… If Warhol was alive today, what amazing influence would he have on night life culture?”

To support the campaign (hashtag: #AbsolutWarhol), the Pernod Ricard-owned brand is hosting The Andy Warhol Art Exchange, an online platform where artists can exchange digital works from now through December.

Tonight #Art meets #NYC nightlife as we celebrate #WarholSpirit #Absolut #AndyWarhol http://t.co/NY4rQvL21a pic.twitter.com/7ASS5hycv8

— ABSOLUT VODKA (@ABSOLUTvodka_US) October 2, 2014

In an ode to Warhol’s cutting-edge video art, The Warhol Spirit by Absolut Experience (hashtag: #WarholSpirit) created a on-night-only brand experience/nightclub that included sayings by Andy (such as the one below) on monitors. The event, held Wednesday night in New York, aimed to capture the spirit of the artist and create a contemporary “happening” inspired by his famed non-stop Factory studio, including videos with quotes by Andy rendered into video art.

According to the press release,

During the experience, DJ A-Trak, light artist Schnellebuntibilder and experimental electronic voice phenomena (EVP) artist Leif Elggren will work together to transform sound waves originating from Warhol’s spirit into a one-of-a-kind nightlife experience. Using the sound waves as the main input, the three artists will create a live collaboration where Schnellebuntibilder’s interactive light installation will react to A-Trak’s music, which mixes in Andy Warhol’s words picked up by Leif Elggren’s EVP machine.

To allow audiences anywhere in the world to experience the connection with Warhol, an interactive site will live-stream what sounds are picked up from the EVP before, during, and after the event. The experience is part of the Nights by Absolut program, which brings the brand’s Transform Today campaign to life through a series of transformative artistic experiences. By reimagining what is possible in nightlife through these experiences, Absolut hopes to inspire audience to raise the bar for what to expect from a night out, and empower them to transform their own nights.

Email Communication & the the lack of EmotionEric Jaffe

Earlier this year, in a story on enigmatic email, the Wall Street Journal shared an awkward exchange between a consultant named Jill Campen and her boss, Marty Finkle. Campen sent a detailed email outlining a broad business strategy on a Thursday, only to get a one-word reply from Finkle the following Monday: “Noted.” Dismayed at the brevity, Campen replied again to ask Finkle if he was mad at her. It took a phone call to clear the air and establish that, far from upset, Finkle was pleased to clear the matter from his inbox so quickly and confidently.

We’ve all been Jill Campen and Marty Finkle at times: struggling to convey our emotions over email (or texts or tweets), and struggling to interpret the emotions of others. The difficulty of

expressive writing isn’t new, of course, but what’s relatively recent is the overwhelming amount of electronic exchanges we have with people whose personalities we only know digitally. Without the benefit of vocal inflections or physical gestures, it can be tough to tell e-sarcastic from e-serious, or e-cold from e-formal, or e-busy from e-angry. Emoticons and exclamation points only do so much.

So we’re bound to make some wrong assumptions on both sides of the ether, and as behavioral scientists have found over the past few years, boy do we. The evidence has also given researchers a better sense of why we suffer so many digital communication breakdowns (short answer: we’re

selfish) and what we can do about it (short answer: make some face or phone time).

Let’s start with message senders. A big problem people have when conveying digital emotions is often that they fail to appreciate there’s a problem at all. In one experiment from a 2005 study, test participants emailed 10 statements to a recipient. Some statements were serious, some sarcastic. These senders believed the recipient would correctly identify the intended emotion behind most of the messages. In fact, the recipients only identified seriousness or sarcasm 56% of the time, which isn’t much better than chance (below).EMOTICONS AND

EXCLAMATION POINTS ONLY DO

SO MUCH.

SHORT ANSWER: WE’RE SELFISH. BUT THERE ARE THINGS WE CAN DO ABOUT IT.

Here’s the key twist: When the same messages were transmitted through a voice recording, the recipient interpreted the emotion correctly 73% of the time, just about what senders expected. Vocal tones captured the emotional nuance that email couldn’t. The researchers believe that when people type out a sarcastic line, they hear it in their heads as sarcastic, and thus fail to appreciate that others won’t hear it the same way. In other words, our overconfidence when it comes to conveying emotions in email “is born of egocentrism,” concluded the research team, led by Justin Kruger of New York University.

“If comprehending human communication consisted merely of translating sentences and syntax into thoughts and ideas, there would be no room for misunderstanding,” Kruger and company write. “But it does not, and so there is.”

Now let’s look at such misunderstandings through the lens of the message recipient. It’s well-documented among psychologists that when people lack information, they tend to rely on stereotypes to fill in the gaps. In the case of emails and other digital messages, the missing information tends to be a full appreciation of the

sender’s personality. That’s why it’s usually clear when a friend or loved one is joking in a note or text, but not always clear that a remote colleague is doing the same.

Take another experiment from a different 2005 study (though also involving Kruger). This time, test participants rated the intelligence of a stranger based on answers to questions received via email. Since they never met the message sender, recipients had to rely on a (fictional) photo and brief bio. In some cases, the sender was a well-dressed Asian with a high GPA and a double major in physics and philosophy. In others, it was a white kid in a Metallica T-shirt with a middling GPA in hotel management who’d been a high school football player.

Shocker of the day (that’s sarcasm, just to clarify): test participants rated the Asian’s email answers as more intelligent than Metallica dude’s. But when the exact same answers were given to other test participants over the phone--with voice filling in

some of the character gaps--the two strangers were rated as equally smart (below). So when we receive an email from someone we don’t know too well, we often revert to personality stereotypes, and in doing so raise the chances of emotional misinterpretation.

Digital miscommunication wouldn’t be much of a problem if we always adopted the most optimistic or generous view of

an ambiguous email or text. If we all took “noted” to mean “he noted that” instead of “he hates me,” we could all move on with our days. But that’s not what we do. Management scholar Kristin Byron of Syracuse University has written that misinterpretation tends to comes in two forms: neutral or negative. So we dull positive notes (largely because the lack of emotional cues makes us less engaged with the message), and we assume the worst in questionable ones.

This digital slide toward neutrality or negativity came through in a 2011 study led by psychologist Bradley Okdie of the University of Alabama. Test participants were paired up and instructed simply to converse and get to know each other. Some interacted face to face; others via instant message. The face-to-face interaction took more reported effort--you had to actually acknowledge and deal with another living being--but also resulted in more positive ratings of the partner’s character, and an overall more enjoyable experience.

The lesson is a little face or phone time can go a long way toward exchanging more personality information, forming more positive impressions, and reducing email awkwardness. Short of that, it can help to use concrete emotional words in an email (e.g. “I’m happy to say…”), or to clarify someone’s tone (“when you said that, I took it to mean…”), or if you must, to dispatch emoticons. Some companies have been known to include disclaimers saying that brief emails may give a “false impression of curtness or insensitivity”--though people misinterpret the disclaimers, too.

If nothing else, Byron writes, it’s at least important to recognize that “we are fallible as both email senders and receivers.” Noted.

A LITTLE FACE OR PHONE TIME CAN GO A LONG WAY.

Eric Jaffe writes about cities, history, and behavioral science. His latest book is A Curious Madness: An American Combat Psychiatrist, a Japanese War Crimes Suspect, and an Unsolved Mystery from World War II (Scribner, 2014). He lives in New York.

EMAIL RECIPIENTS

ONLY IDENTIFIED

SERIOUSNESS OR

SARCASM 56% OF

THE TIME--NOT

MUCH BETTER THAN

CHANCE.

EMAIL

MISINTERPRETATION

TENDS TO COMES

IN TWO FORMS:

NEUTRAL OR

NEGATIVE.

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The Most Hated Design Trend Is Back

John Brownlee

LIKE OTHER SMARTWATCHES, APPLE’S WATCH IS EMBRACING SKEUOMORPHISM. BUT THAT’S OKAY: IT NEEDS TO.

Whatever the Apple Watch is, it’s not a watch. Not really. Nor is any smartwatch: the Moto 360, the Pebble, or the Samsung Gear Live. It’s an entirely new class of device. But it doesn’t look like a new device. It mostly resembles a watch. That’s because Apple (and other gadget makers) are turning to an old frenemy to help wrap their heads around these things: skeuomorphic design.

What is skeuomorphism? In the software world, it’s all those buttons, shadows, gradients, chrome, and textures that designers use to make digital software resemble the real-world objects they’re meant to replace. It’s the calendar app bound in virtual cowhide, or the podcast app that looks like an ancient reel-to-reel tape recorder. It’s a design language of digital fakery that Apple stuck to until Jony Ive blew out of the airlock with iOS 7. In the case of the Apple Watch, it’s the wrist-based computer that resembles an analog timepiece in form alone.

But despite Apple’s big move away from these principles last year, it had good reason to follow along with other smartwatch makers and revisit the concept with its watch: Skeuomorphism is good at teaching people how to use new technology. In the words of our own John Pavlus, the iPhone’s use of skeuomorphism was “a canny and monstrously effective solution to a daunting problem: how to make an input method once only seen in science fiction movies seem as normal and friendly as... well, as dialing a phone.”

It was effective, but over time we learned how to use smartphones and skeuomorphism lost its utility--nobody needs smartphone calendar apps to be bound in

faux Corinthian Leather anymore to figure out how to use it. It became tacky. Which is why Apple eventually shifted away from skeuomorphism. There were so many more interesting things to be accomplished with pixels and bytes than just simulate real-world objects. It could forge entirely new, digital-first schools of design, embracing interactions like

gestural swipes to fast-forward through songs or navigate web pages.

But with smartwatches, there’s a new type of device which requires its users to learn how to really use it. And the Apple Watch’s brand of skeuomorphism may not manifest itself with the same maniacal zeal that led to fake Armenian needlelace and exploding lens flares popping up in iOS, but it’s there. This revisiting of skeuomorphism is subtler, more sophisticated and tasteful than it was before. It’s most notable in the selection of real-world watch faces that can make your smartwatch look like a digital simulacrum of everything from an expensive Rolex to a cheap Swatch.

And this new wave of skeuomorphism isn’t just limited to their digital interfaces. The industrial design of smartwatches themselves are inherently skeuomorphic. After all, a smartwatch is a computer that you wear on your wrist. It aspires to be the same kind of connected portal of information that your smartphone, your TV, and your laptop are. It can be any shape, any size, but the reason it looks like a watch is simply for the sake of familiarity: to ease you into something new. This goes double for the Apple Watch and its primary interactive element, the digital crown, which repurposes the age-old watch component as a new way to zoom in and out of digital interfaces.

You don’t check your pulse, or remotely control your phone camera, or control Netflix, or pay for a cup of coffee with a traditional watch, but you will do all those things with the Apple Watch. Just like the iPhone was a sci-fi device come to life, the Apple Watch is a Dick Tracy communicator,

and its very existence raises all sorts of questions: What is this thing? What’s it for? How are we supposed to interact with it? And while we might not know how to interact with a wrist-mounted, health-tracking computer, we know how to use a watch.

Whether its smartwatches or any other new innovation, skeuomorphism serves as the Hitchhiker’s Guide to Technological Marvels; it’s a reassuring way of saying “DON’T PANIC.” That watch face ticking away when you glance at your wrist is Apple and every other smartwatch maker signaling to you that everything’s going to be okay. That this futuristic communicator that can read everything from your email to your pulse to your bank account will eventually seem as commonplace as a Mickey Mouse watch. And when it is, maybe you won’t need to think of it as a watch to make sense of it any more.

A SMARTWATCH IS NOT REALLY A WATCH AT ALL.

SKEUOMORPHISM SERVES AS THE HITCHHIKER’S GUIDE TO TECHNOLOGICAL MARVELS.

John Brownlee is a writer who lives in Boston with two irate parakeets and his wife, who has more exquisite plumage. His work has appeared at Wired, Playboy, PopMech, Cult Of Mac, Boing Boing, and Gizmodo.

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In a fast changing environment where social media has a heavy impact on marketing and branding efforts, Digital Branding provides guidance on creating, implementing and measuring digital campaign strategies. Daniel Rowles presents a step-by-step, practical framework for brand planning, channel selection...

Filled with full-color images and thought-provoking examples from leading companies, The Power of Visual Storytelling explains how to grow your business and strengthen your brand by leveraging photos, videos, infographics, presentations, and other rich media. The book delivers a powerful road map for getting started, while inspiring new levels of creativity within organizations of all types and sizes.

It’s not how good you are. It’s how well you tell your story.Big corporations might have huge marketing and advertising budgets but you’ve got a story. Your brand story isn’t just what you tell people. It’s what they believe about you based on the signals your brand sends...

One of the biggest challenges we face as entrepreneurs and innovators is understanding how to make our ideas resonate. We tend to have no shortage of ideas, but we struggle to tell the story of how they are going to be useful in the world and why they will matter to people. Marketing is the way we communicate how our ideas translate to value for people in a marketplace.

One of the world’s leading experts on content marketing, Joe Pulizzi explains how to draw prospects and customers in by creating information and content they actually want to engage with. No longer can we interrupt our customers with mediocre content (and sales messages) our customers don’t care about.

‘Difference’ lifts the lid on how brands like Airbnb, Uber and Apple have succeeded by creating difference and gives you a new one-page method for reimagining your business and reinventing your marketing. It helps you to recognise opportunities that create value, to develop products and services that people want, and to matter to your customers.

Why do some products capture our attention, while others flop? What makes us engage with certain products out of habit? This book introduces readers to the “Hook Model,” a four steps process companies use to build customer habits. Through consecutive hook cycles, successful products reach their ultimate goal of bringing users back repeatedly -- without depending on costly advertising...

Finally a go-to guide to creating and publishing the kind of content that will make your business thrive.Everybody Writes is a go-to guide to attracting and retaining customers through stellar online communication, because in our content-driven world, every one of us is, in fact, a writer.If you have a web site, you are a publisher. If you are on social media, you are in marketing. And that means that we are all relying on our words...

Digital Branding: A Complete Step-by-Step Guide to Strategy, Tactics and Measurement

The Power of Visual Storytelling

The Fortune Cookie Principle: The 20 keys to a great brand story and why your business needs one.

Marketing: A Love Story: How to Matter to Your Customers

Epic Content Marketing: How to Tell a Different Story, Break through the Clutter, and Win More Customers by Marketing Less

Difference: The one-page method for reimagining your business and reinventing your marketing

Hooked: A Guide to Building Habit-Forming Products

Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content

By Daniel Rowles

By Ekaterina Walter, Jessica Gioglio

By Bernadette Jiwa

By Bernadette Jiwa

By Joe Pulizzi

By Bernadette Jiwa

By Nir Eyal, Ryan Hoover (Contributor)

By Ann Handley

& Book,Line Sinker

In an online and social media world, measurement is the key to successIf you can measure your key business relationships, you can improve them. Even though relationships are “fuzzy and intangible,” they can be measured and managed-with powerful results.

Measure What Matters: Online Tools For Understanding Customers, Social Media, Engagement, and Key RelationshipsBy Katie Delahaye Paine

UnSelling is about everything but the sell. We put all of our focus on the individual purchase transaction, while putting the rest of our business actions second. We’ve become blind to customer service, support, branding, experiences and even product quality. Sixty percent of a purchasing decision is made before a customer even contacts you. We have funnel vision, and it needs to stop.

Understand the next level of marketingThe new model for marketing-Marketing 3.0-treats customers not as mere consumers but as the complex, multi-dimensional human beings that they are. Customers, in turn, are choosing companies and products that satisfy deeper needs for participation, creativity, community, and idealism.

Stop marketing. Start UnMarketing.No one likes cold calls at dinnertime, junk mail overflowing your mailbox, and advertisements that interrupt your favorite shows. If this is “marketing,” then the world would probably prefer whatever is the opposite of that.f you’re ready to stop marketing and start engaging, then welcome to UnMarketing. The landscape of business-customer relationships is changing, and UnMarketing gives you...

ntegrating theory with application and presenting numerous real-life examples, Strategic Advertising Management, Fourth Edition, offers a systematic look at advertising within a theoretical and strategic planning framework. Authors Larry Percy and Richard Rosenbaum-Elliott present an overview of “how advertising works,” discuss what is required from a manager in order to develop an effective communication plan, and equip students with the skills necessary for successfully applying strategy to various processes in advertising.

Occasionally, a great idea will sell itself. The other 99% of the time, you have to find a way to persuade others that it is, in fact, a great idea. Most executives spend the vast majority of their time creating their work, and almost no time on the presentation. Through an engaging and humorous narrative, Peter Coughter presents the tools he designed to help advertising...

UnSelling: The New Customer Experience

Marketing 3.0: From Products to Customers to the Human Spirit

UnMarketing: Stop Marketing. Start Engaging

Strategic Advertising Management

The Art of the Pitch: Persuasion and Presentation Skills that Win Business

By Scott Stratten, Alison Kramer

By Philip Kotler, Hermawan Kartajaya, Iwan Setiawan

By Scott Stratten, Alison Kramer

By Larry Percy, Richard Rosenbaum-Elliott

By Peter Coughter

From YouTube to Facebook to the iPhone, today’s media landscape offers more tools and platforms for the savvy marketer than ever before. And with this rapidly evolving technology come powerful ways to track what’s working, what’s not, and how to get the maximum impact for your brand in a shrinking economy. Media and brand expert Antony Young explores how today’s most innovative marketers are integrating...

Brand Media Strategy: Integrated Communications Planning in the Digital EraBy Antony Young

If you work with clients in any industry, The Art of Client Service is for you. If you work in an advertising or marketing agency, then this book is indispensable.Distilling decades of experience, advertising executive Robert Solomon has compiled the definitive resource for advertising and marketing account executives: a fast-reading, pocket-size, actionable checklist of 58 essential ideas to help client service professionals improve their account management strategy and skills.

The Art of Client ServiceBy Robert Solomon

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