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Messaging with a Customer Focus

Messaging with a Customer Focus

Ryan Snarr

Ryan Snarr

Content Lead

Messaging with a Customer Focus

Perhaps you’ve heard this tale before:

In a quaint little village, three shoemakers had shops on the same street. One day, the first shoemaker put up a sign in front of his shop that read, “The Best Shoemaker in the Country.”

Not to be outdone, the second shoemaker, a few doors down, put up a sign that read, “The Best Shoemaker in the World.”

The third shoemaker, who was more modest but clever, thought for a moment and then put up his own sign. His sign simply read: “The Best Shoemaker on This Street.”

This little story underscores what we all know deep inside about marketing messaging—It is all about the customer. It also illustrates that noisy marketing spaces tend to result in companies shouting mostly about themselves. We see claims and features matched by more claims and more features. Is the key to success the maximum number of features, bells and whistles for the price?

Customers care more about themselves than they care for your company

On so many different levels, we’re all a bit self-consumed. Abraham Maslow explained this across 5 different categories (Physiological Needs, Safety, Social, Esteem, Self-actualization) within his hierarchy of needs pyramid. What customers buy reflects their aim to satisfy a need within one of those categories.

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It may seem like customers care primarily about a brand or a product when they are willing to stand in long lines overnight for a product release; however, one must look past the product and recognize what the brand message or the product is promising. This is what the customer cares about. A customer doesn’t love their Apple watch more than they love the efficiency, style, and prestige the product promises. That kind of purchase has nothing to do with a device that tells the time. Instead, the purchase is about how it will make the customer feel.

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Famous vs. least famous

A favorite real-life example of mine that parallels the story of the three shoemakers is on full display every summer off the shores of Bear Lake in Garden City, UT. This is a favorite destination for my family each year, and our visit is never complete without a stop at Zipz for a delicious raspberry shake. Within 100 yards of Zipz, there are probably about a half dozen other food vendors leading out with raspberry shakes in their marketing messaging. So why do I keep going back to Zipz for my shake? Perhaps it is because they are ‘Least Famous’.

This playful, tongue and cheek tagline, resembles the reverse psychology I’ve playfully practiced since grade school. 

It is perfect since it is right across the street from Le Beau’s, the first established shake shack in town (operating ‘famously’ for over 40 years).

Zipz’s little tagline may have gotten my attention, but their story holds it, and connects me to my story. Everything around Zips is stylishly recycled, upcycled or reclaimed. Fences are made of old water skis, old ads and news articles decorate table tops, old boats have been repurposed as table seating, and the building itself once was a tired old house built in 1925. Rather than tear the building down, Zipz brought it to life and opened its doors in 2014.

I’m a hero to my kids when we go there (especially when we get the boat seating), and it’s a nostalgic trip in many ways. To me, Zipz’s brand message promise has more to do with my memories (past, present and future) than shakes, fries, or burgers. This is why I’ll continue to go back.

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Building a story brand

Messaging with a customer focus isn’t new, but it appears to be something to revisit frequently within any organization since the needs of customers are constantly evolving. New York Times Best Selling author Donald Miller presents a framework in how to get this done in his book ‘Building a Story Brand’. In these pages, Miller suggests that companies must identify the ‘hero’s journey’ their customers are experiencing and aim to play a supporting/guide role within it.

Companies should aim to be the Yoda rather than the Skywalker, or the Doc Brown rather than the Marty McFly. Miller’s Story Brand outline shows how companies can keep customer messaging as its highest priority.

  • A character (your customer)
  • Has a problem (customer’s unfulfilled need)
  • And meets a guide (you/your company)
  • Who gives them a plan (your company’s promise)
  • And calls them to action (your company’s product in use)
  • That ends in success (customer’s needs successfully met at or above expectation)
  • That helps them avoid failure (the uncomfortable alternative of living with unmet needs)
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Every single movie, from Top Gun to Toy Story, moves along this formula. It is natural and comfortable for your customer to do so as well. It’s what they are secretly hoping for! All that is required is for companies to know their guide/mentor role within their customer’s story.

Not too big, not too little… just right

At Targa Media, we pride ourselves in knowing our identity. We’re in the business of making marketing professionals the rock star within their organization.

We play a supporting role like the best supporting actor in the movie. We’re the pulley system in a heavy lift. We recognize the value that big ad agencies and freelancers bring to the marketplace. We’ve carved out a niche of being skilled brand stewards vs. global brand architects. We operate swiftly and efficiently in our own lane while admiring the boundless structure of independent artisans and freelancers.

Our brand promise is centered around fueling our customers’ momentum by assisting them in their day-to-day juggle of marketing to their customers. Within our customers’ hero journey, we’re the extra hands appearing in response to the ‘All hands on deck’ call.

Conclusion

So what hero’s journey is your target customer currently experiencing? How can you appear in their path as a viable mentor? Studying the likes of Doc Hudson, Mr. Miyagi, Albus Dumbledore, Goose, and Wilson the volleyball may help drum up some ideas. Recognizing the needs your organization satisfies will inevitably bring you closer to your customers. Making your marketing message about them and filling their needs is the key to ultimately riding off into the sunset.

The Evolution of the Olympic Pictogram 

The Evolution of the Olympic Pictogram 

Ryan Snarr

Ryan Snarr 

Creative Lead

The Evolution of the Olympic Pictogram 

I’m not an Olympian by any stretch, but I have an Olympic story. My mountain shadow Olympic ski parka has hung in the same closet now for over 20 years. I don’t wear it much (never really), but I love it. Who knows, maybe it will be back in style in ten years (along with my USA Roots beret). I don’t really see it as a warm parka though. It’s a sentimental object imbued with the memories I made while wearing it in the chilly air of the Ogden Ice Sheet. In 2002, it kept me warm as I watched hours and hours of Olympic curling. In 2024, it keeps my memories of that time in vivid color.

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I’ve always been a big fan of the Olympic games. When the entire world is watching, it makes sense to me to check out sporting events I might not normally give much attention to. I enjoy a nice Olympic binge for two weeks, and that tends to satisfy my Olympic-competition craving for the next four years when these same sports will then suddenly become interesting once again.

These games aren’t all about the wins or losses though. I love the human element, the stories of the individual athletes, the history of the host cities, and the historic venues, the volunteers… Volunteering in various capacities during the 2002 Winter Olympics in Salt Lake City is a fond memory. Working behind the scenes made it seem like I was getting a sneak peek into the theme and visual design of those Olympic games before anyone else.

I really have grown to love the graphic design behind each Olympic games and how it evolves each year. More and more, host cities are seizing the opportunity to use branding and design to accomplish more than basic way-finding signs and universal-language iconography. They are creating stories that can influence the human family. This is one of the reasons why graphic design is so exciting to me: a host city, who may never again be in the same kind of global spotlight, gets to step up to a world-wide microphone and speak. What is it they’ll wish to say?

Within the many elements of Olympic branding, and one that seems to garner significant attention each go around, are the pictograms illustrating each of the different sports featured during the games. Whether you’re into design or not, it is likely you’ve got an opinion about these each time they’re introduced. Click here to get a visual timeline of notable designs.

Pictograms got their start, as we know them today, 60 years ago in the 1964 Tokyo Olympics. They were created to overcome language barriers. As you can see, their design is very practical; as if it had no other purpose than to communicate one layer of information—the sport being played at that venue. Regardless, one can still take note of how carefully crafted the design is for each symbol. The Japanese began a design trend that would soon begin to take on a life of its own.

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Fast forwarding through the years and we see notable design decisions indicating layers of meaning in these curious little icons. These pictograms become multifaceted in their messaging: represent the sport, extend the brand, support a theme, and represent the host city. That is a heavy lift for any designer to build. Years of examples demonstrate how this can be done in different ways through angles, organic lines, positive and negative space, and so on.

I’m excited to see the 2024 Olympics pictograms show a very out-of-the-box thinking compared to previous years. The geometry, consistent across sports, speaks to the art history and culture of Paris. There isn’t a human figure in any of the pictograms, but rather a representation of each sport’s field of play and associated equipment. The symmetry in each design reminds me of the competition of the sport.

This imagery and branding helps set the stage for the stories that will unfold during these games. However, I would argue the charm of the Olympics IS story. The victories, defeats, medals or last place finishes lose all interest without a broader context. Each individual athlete brings that gift to the table. The Olympic branding is simply the party décor and the custom gift wrapping. The reason they are so valued in conjunction with the games is how they help the color of our Olympic memories from fading.

The Best Type of Summer

The Best Type of Summer

Ryan Snarr

Ryan Snarr

Creative Lead

The Best Type of Summer

So, you’re looking for a nice ‘summertime’ typeface…

 How do you choose when there are so many to choose from? One way I like to think of this scenario is in terms of a job that needs to be done. Which typeface should I ‘hire’ that will do the job right? The late Clayton Christensen did some groundbreaking work on this idea of ‘jobs to be done’ as a professor at Harvard University. Christensen says, ‘We hire products to do things for us.’ This also helps us understand why there are so many fonts out there. There are so many different jobs to be done when we’re communicating with the written word. An effective font selection is one where the characteristics of the font align with the purpose of the text and the message to be communicated.

Consider also this idea shared by designer Chris Do: The more you know about the purpose and the history of the typeface you’re using, the more likely you can make an informed decision about how to use it. This is akin to reading the resume of a typeface before hiring it for a task. It’s an extra step, but worth it if you can gain access to the information.

“An effective font selection is one where the characteristics of the font align with the purpose of the text and the message to be communicated”

So how does a font convey a real summertime vibe? Thinking how an audience relates to summer will help answer that question. Think of the five senses: What does summer feel like, look like, taste like, sound like, and smell like? See the example brainstorm below:

With this list of brainstormed items, selecting type that hints at, or compliments, any of these items is the way to go. Once again, going back to determining the job your text needs to do for you, decide how loudly you want your font to shout summertime. Determine if it needs to play nicely with other fonts; if it can hog the spotlight or need to pull back a little bit. The summer attributes for your type might be so subtle and yet supported by surrounding color and design elements. You don’t need to make them work on their own.

Here are some fonts sourced from myfonts.com that seem to fit the season:

Anjika Jaya – Love the handwritten flow and the organic edge. Reminds me of a note that says meet me at the beach, or a statement in my high school yearbook. #HAGS

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Atomic Marker – The flow is energetic and bold. Reminds you of hand-written yard sale posters, or a battle of the bands invitation, but way better.

Bread Flour – This font hints at ocean waves and reminds me of some signage to your community wave pool.

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Food Truck – Nothing says summertime like hitting the food trucks that roll up to the festival, the farmer’s market, or the grand opening.

Matolha – This bold font has flowy waves and summer breeze baked into it.

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PH Font – This is a playful font that hints at innocent handwriting while avoiding the kitch of Comic Sans. Perfect for a lemonade stand.

Retro Monkey – I smell suntan lotion when I see this font. SPF 30.

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Roque – This font hints at summer fashions I remember as a kid as well as some water waves and nautical flags.

Summer of 76 – The text sure has a late seventies vibe, and it really has some similarities to the text created for the 1968 summer Olympics in Mexico. Either way, it’s a summertime win.

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Tropicon – This text has the ripple effect of a pool’s water surface built into the letter forms.

Selecting a display font for your message is like choosing a main course. Pairing your font with something complimentary can be like adding a special sauce or seasoning. Contrast and visual tension between a primary and supporting fonts is important.

Adobe Experience Designer and typography expert, Jake Giltsoff, says that good design is going to have an anchor font; one that conveys the right emotion for the design. An anchor font will do the heavy lifting in grabbing attention and communicating important information out of the gate. Avoid pairing fonts where each command a spotlight. This can distract from your intended design and message. Fontsinuse.com is a helpful resource to see how other designers are combining fonts to effectively communicate their message.

For me a great summer pairing is hot summer temperatures and cold popsicles. They go well together, but they couldn’t be more opposite. Combined, they evoke a specific kind of feeling and memory. A good font pair will do the same almost unconsciously. Here’s to having the type of summer to write about!

Moving Others with Motion

Moving Others with Motion

Ryan Snarr

Ryan Snarr

Creative Lead

Moving Others with Motion

We’re always looking for ways to implement interactivity and movement into things that we design. A good example of this is the latest edition of our promotional notepad. Who doesn’t love a flipbook? A simple pad of paper becomes memorable when people engage with it by flipping through its pages.

Quick question: When you interact with a flipbook, do you flip the pages upward towards your face or do you flip them downward away from you? You’d be surprised at how passionate some can be on this topic.

In this case, our flipbook depicts an illustration that animates to show the ‘T’ in Targa’s logo coming together. This idea is so simple and it has been around for ages. Honestly, who doesn’t remember drawing their own stick figures in their textbook, encyclopedia or pad of sticky notes just to try their own hand at basic animation? This nostalgic factor can be the glue in your sticky marketing.

Of course ‘sticky marketing’ is just a phrase until you can assign some actual marketing numbers to it. An A/B test done by VistaCreate demonstrated the objective, real life number results below:

“As you can see, our animated ad attracted 1.5x more clicks than the static image. This made our cost per click drop 50%. And despite our animated ad reaching notably less users – 18 thousand for video vs 25 thousand for the static ad, the number of clicks on our advertised link was more than double for the animated ad – 325 clicks vs 145 clicks.”
To introduce some new words into the conversation, the company Linearity shares the idea of turning information into visual content. Their About Us page takes a beautiful and simple approach at this. They don’t throw animated gifs at their audience, but have crafted their message to move in an engaging way as the viewer scrolls through at their own speed. A+ for excellent storytelling.

There are many different levels of motion that can be incorporated into marketing. From full fledged video and animations to small gif files. Targa’s signature signature images are an example of really simple graphics that catch the eye with movement.

If there is something I like as much as a motion graphic, it’s a nice list. Here’s 10 reasons to consider putting your next idea into motion.

1. Chop through the clutter:

Like a sneaky ninja, motion grabs attention faster than a cat chasing a laser pointer.

2. Java Jolt:

Who needs coffee when you have motion graphics to wake up the eyeballs?

3. Storytelling Sorcery:

Disarm your audience with moving narratives that would even make Harry Potter go, “Expelliarmus!”

4. Fisherman’s lure:

Move it or lose it—motion keeps your audience hooked like a fish on a reel.

5. ‘Digital’ Engagement:

 Get those thumbs tapping and hearts racing with animations that scream, “Like me!”

6. Visual Voodoo:

Turn mundane into magic with motion—still can be stale when you only have a split second to make an impression.

7. Brand Boogie:

Show off your brand’s dance moves and make competitors feel like wallflowers.

8. Memerable Marks:

Leave a lasting impression like a lipstick stain on a white shirt—intentional, of course.

9. X Marks the Spot with Motion:

Make users feel like they stumbled upon buried treasure—click, explore, repeat!

 

10. Roll out the Runway:

Give the red carpet treatment to your ideas and let them strut their stuff in motion!

March Logo Tournament Madness

March Logo Tournament Madness

Ryan Snarr

Ryan Snarr

Creative Lead

March Logo Tournament Madness

There is nothing like a national basketball tournament to usher in some spring weather. I’ve been at Targa for less than a year so I had yet to witness any March Madness bracketology with the team. Turns out a number of folks here weren’t familiar with the NCAA basketball tournament, much less a tournament bracket. There is no time like the present to learn. Given the college basketball interest here, it’s safe to say we didn’t watch many of the games; however, this was the perfect opportunity to familiarize the group with the 64 teams in this year’s contest. Rather than guess a winner based on their season ranking, we selected a champion based on the best school logo from a design standpoint.

We used a round bracket to display our results since this allowed us to better see strength trends at-a-glance in winning design. Obviously the winners in this contest would be selected in a very subjective manner, but we did encourage the team to consider the following metrics:

  • Logo timelessness
  • Logo toughness
  • Use of color
  • Logo creativity
  • Effective logo design
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Justin’s bracket (Best logo)

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Vanna’s bracket (Best logo)

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Ryan’s bracket (Worst logo)

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Evan’s bracket (Worst Logo)

Our collective familiarity with Gonzaga or TCU’s Horned Frogs is very low, but our experience with design puts us in a unique position to judge these school logos. We made brackets to determine this year’s best logo designs in the tournament. As we reviewed everyone’s final four, there were a pair of most frequently included logos (though not always selected as the overall winner).

1. Florida Gators – This logo has been around since 1995, and the football team pushed the mark into the brightest of spotlights by winning the national championship the following year. Colors were changed in 2013 to be much more saturated to what we see presently. It features a memorable, fierce character (who’s not afraid of alligators?), that embodies the tough and competitive attitude of a college mascot; breaking the boundary of the oval that frames the head. With jagged teeth and angry eyes, this version of Albert the alligator ditches previous iterations of the character that appeared full body with a school sweater and matching cap.

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The logo incorporates 3 bold colors (plus white) that are unique and well define the identity of the school. The one oddity seen here is the curiously thin white stroke that appears around the gator head. While it clearly helps define the shape of the character, it does seem a little clumsy and a production hurdle in replicating the mark in different mediums.

2. Creighton Bluejays – This current design of the Creighton Bluejays logo was unveiled in 2013. It was celebrated by many to be the most impressive logo update of the year. The Toronto Bluejays franchise felt differently. They asked the University to change their logo because it was too similar to their already existing logo. It appears Creighton successfully held their ground.

The logo strikes a nice balance of historical and futuristic looks and is framed nicely within the stylized ‘C’ behind it. Composed of 3 different shades of blue and two different shades of gray, the logo shows up in a way that adds depth and energy. I’m not entirely sure when birds started to become sports mascots, but this little bird shows up well with a look of determination to get that first worm.

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Several other teams tied for the third favorite position which just goes to show that we have a diverse group of opinions around here. Those of us sharing our worst logo brackets tended to agree the following schools could improve their logo: South Carolina, TCU, Vermont and Yale.

3. The big news on the court from this year’s contest is the back-to-back champion UConn. Their logo, a sturdy, stand-alone head of a determined husky, has a lot going for it. It is bold, recognizable, symmetrical, and depicts strength versus anger or malice. The details scale up or down exceptionally well and it appears to be very accommodating for reproduction in all sorts of mediums from digital to debossing.

‘Jonathan the Husky’ (named after Jonathan Trumbull, the last colonial and first state Governor of Connecticut) has gone through several iterations over the years and has been in a pretty good place for the last 10 years. The 1959-1960 version is somewhat a mystery and has been the topic of humorous online memes. The emotion and creature is somewhat ambiguous in this early mark. The standard and use of mascot and school logos back then was obviously very different.

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One school that isn’t playing in the tournament caught our attention amidst our logo discussion: The UC Santa Clara Banana Slugs. Despite having a curiously slimy, weak, yet fastidious mascot, this school touts having strengths in areas of innovation, social justice, sustainability and an enrollment of over 19,000 students. While the quirky mascot is positively unique, the school’s recent brand update puts this logo on par with many others across the country. Way to go Slugs!

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All in all, it was a good time discussing these design aspects of a sports tournament that have to do with the work we do each day. This kind of design may not win basketball games (none of our favorite logos advanced far into the tournament), but it all plays a part in painting the overall picture of the madness that is March!

Jason’s Take

What are the chances that my wife Heather and I would end up with the exact same Final 4 logo picks! I confess, filling in this bracket was no easier than an actual March Madness bracket. I’m sure I was my own worst enemy, deliberating all the nuances that get baked into a single team logo. Somehow I felt like I guessed a winning bracket when I matched my final for up to Heather’s. It might seem like destiny, but we’re both quite unique from each other in design styles and creative backgrounds. Let’s just say our match-up was a very fun surprise!

Jason and Heather's final four