We've been creating brand assets for beer brands for many years, usually partnering with creative teams at agencies. We create Icons, illustrations, and characters. From refreshing the iconic Eagle brand of AB Bev, to creating a brand new Muse character for Brahma beer in Argentina. We were lucky to have clients and agencies with visions, and willingness to invest capital in creative process execution for the best possible outcome, which is rare to come by nowadays. ROI is evident when you take into account its long term effect. We've created mascots and icons that brands use for more than a dozen years on average, vs the market average of about 4 years for smaller brands, and 8 years for Fortune 500 companies. This Muse is the chosen one, emerging from the sweet spot where tradition meets contemporary. Technically and practically it is created in a graphic style that is easy to be reproduced for different platform, without compromising on design integrity.
Character design always begins with a strategic vision. When all the puzzle-like brand attributes are identified, and start coming together, we begin to compose a visible entity, it is like meeting your dream girl on a subway platform, where, and when you least expected. This “person” is no longer just an abstract notion, but as real as someone flesh and blood. When she materialized, the whole team and client got excited, and with utmost confidence that she would be embraced by the prying eyes of focus groups. Exactly what happened to our new incarnated Muse of Brahma.
Americans love our cars, and brands know it. Graphic designer and illustrator Filip Yip helps those brands connect with their audience, creating car graphics that speak to people’s lifestyles and loyalties. “I do love cars, but not in that car-guy kind of way,” says Filip. “To me, cars represent where you are in life, what your needs and dreams are at that moment.”
Filip has conjured powerful racecars for companies like Kingsford and Havoline and cars with throwback charm for Eddie’s Premium Salsa and Sierra County Chamber of Commerce, along with many more. “With cars, and really all brand design, you’re trying to create a shared experience between the brand and the viewer. That’s where my process starts,” Filip says.
The relationship between company and consumer is one Filip takes very seriously. A decade into his successful design career, he took it upon himself to earn his MBA so he could fully partner with his clients on their strategic communications efforts.
Some may not immediately see the connection between Filip’s hard driving business instincts and his inspirational idols Van Gogh, Matisse and Gauguin, but for Filip, that’s the power of design and visual communication. “I try to create something authentic and emotional every time because those are the building blocks of strong branding,” he says.
With clients from Anheuser Busch to FedEx to EBay to Clif Bar, Filip’s vast portfolio reaches far beyond driving machines. Check out his cowboys, monkeys, schooners, skyscrapers and much more here.
This piece originally appeared as a blog from Freda Scott Creative.
Illustrator and Graphic Designer Filip Yip can see through buildings, machines and more – and he’ll help you do the same. Filip’s precise technical illustrations are often used to show the inner workings of complex machinery, or to help explain how things are used.
“With all technical drawings, first I have to know the communications goal,” he says. “Then I can decide how much information to include in an asset. Too much or too little leaves the viewer confused.”
That finessed judgment is something only an experienced designer can offer, which is why Filip is still highly sought for technical jobs, despite developments in 3D and rendering software. “We make decisions in terms of line weight, how to transition from straight lines to curves, how to be simultaneously elegant and accurate,” he explains.
And yes, even in this era of technology, Filip still starts with a pencil sketch. “If I can achieve clear communication in a sketch, I know the idea will only get more clear with clean, fine digital finish.”
And though Filip is well known and awarded for many styles of graphic design, including character development, logo design and packaging work, he finds a special satisfaction in technical jobs. “Solving a practical problem for a client is rewarding – and so is improving the user experience.”
Filip has created technical assets for clients in industries from pharma to tech, pet products to hospitality and even the cannabis industry. But his most…ahem, interesting project was for an electrical intimate health product. “My wife was rolling her eyes at the online research I had to do for that one,” he says.
Most recently Filip wrapped assets for Rhoda Goldman Plaza – turning 2D floor plans into “much more contemporary and cooler 3D visions of where retirees will live.” Check out more of Filip’s work – the technical and beyond – right here.
Chicago Booth Capital Ideas Magazine
" Anthropomorphism—giving human characteristics to animals, objects, constellations, and other nonhuman things—is a natural and ancient human inclination. Eighteenth-century philosopher David Hume wrote about a “universal tendency among mankind to conceive all beings like themselves”—a tendency, he argued, that stems from an intellectual urge to understand a frightening and erratic existence. All over the world, and throughout time, people have fashioned gods after people—and some have envisioned god-favored heroes in the constellations. Sailors named storms and hurricanes, a tradition continued by meteorological organizations. We see faces in clouds and trees, and attribute to our pets motivations that we can’t prove.
In the past few decades, thanks to advances in technology, we have created things that talk, sing, dance on screen, smile, frown, and exhibit nuanced human expressions. We think of products and brands as other people with fully formed personalities—as companions, friends, and relationship partners. When companies develop anthropomorphized characters, consumers pay attention. A video of geeky, dancing hamsters shilling for Kia has more than 8 million views on YouTube.
But despite our apparent need to anthropomorphize objects, the issue was rarely studied from a business perspective until recently. Now researchers are beginning to understand the psychology of anthropomorphism, which can be a useful tool—not only for selling cars and other products, but in understanding how we interact with animals, computers, and entire ecosystems. Anthropomorphism could be used to help overcome fears about self-driving cars, or to persuade a sometimes-skeptical public to confront climate change. A sense of humanity, we are learning, is a powerful motivator.
What makes us see humans everywhere?
Hume implied that our anthropomorphism is uniform. Nicholas Epley, John Templeton Keller Professor of Behavioral Science at Chicago Booth, disagrees. He says that when it comes to assigning human qualities to things, there’s huge variability. We don’t even anthropomorphize the same object in all situations. Sometimes, he points out, we start a car and press the pedal. Other times, we may pet its dashboard and plead for it to start.
“It changes over the course of a lifetime, in different situations, and across different cultures,” says Epley. Though it contradicts our higher logic, we still get sucked in: we know a talking peanut can’t exist, yet he’s an endearing and remarkably adept salesperson. We know that a computer that crashes right before a big presentation can’t be out to get us, but we curse at it anyway. It seems to be in our nature to humanize things despite our capacity to reason—or perhaps in part because of it.
Packaging a brand with a sellable message to hide its ethos sounds archaic. Back then in the 60's it was cutting edge. In this case the ad agency might have permanently altered UA's core value and persona unintentionally. Brand authenticity was seldom an agency's first priority unless it contributed to short term revenue boost. Sure, culture can change but it takes leadership's vision and time.
Selling the friendly skies
BY VICTORIA VANTOCH, AB’97 | UNIVERSITY OF CHICAGO MAGAZINE —JULY–AUG/13
American stewardesses and the making of an iconic advertising campaign.
ECONOMICS & BUSINESS | EXCERPT
During the Mad Men era, virtually every heavy-hitting advertising agency was based in New York City. But hundreds of miles away, the boutique Leo Burnett Agency on East Randolph Street was proving itself a formidable competitor. In 1963, the Leo Burnett Agency was invited to bid for one of the nation’s most coveted ad accounts: United Airlines. Leo Burnett, the acclaimed ad- man behind the small Chicago agency, corralled his top creative team. They poured themselves into brainstorming sessions—analyzing United’s image, strategizing the pitch, and waxing philosophical about the future of air travel. Later that year, a cadre of United executives in pinstriped suits convened in a smoky boardroom to hear the admen’s pitch. The Burnett team laid it out: United was the General Motors of air travel—“professional, official-looking” and “a little stuffy and cold—coldly efficient, with a production-line attitude.” Then came the real blow: the ad team called United “stodgy” and “dull.” William Patterson, United’s president since its beginnings in 1934, prided himself on the airline’s hard-won reputation for reliability, but he knew that United desperately needed to sell more seats...
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A designer, illustrator, repro-media consultant, brand strategist, new product developer, real estate investor, new venture builder, scuba diver, martial artist… and most importantly, husband and father, Filip holds a BFA from The Academy of Art University in San Francisco, and an MBA from The University of Chicago Booth School of Business. He is constantly seeking equilibrium between Form and Function; Purpose and Survival; He is equally comfortable with fuzzy feeling and fussy