Packaging a Presidential Candidate as a Brand

As the race for the Democratic presidential nominee tightened to a nearly dead heat last month, we asked our readers if they thought design and "packaging" could tip the balance in the primaries. Though not as heated as the primary debates, our Design Forum elicited some spirited opinions, as you can read below.

Other opinions recently appeared in consumer media channels. On April 2nd, The New York Times published an interview with Brian Collins, former chief creative officer of Ogilvy & Mather and recent founder of his own experiential branding firm. Collins claims that Barack Obama campaign's choice of the Gotham font exemplifies their effective branding strategy, saying that "The use of typography is the linchpin to the program." Further reading can be found at Fast Company's April 2008 issue, with an article entitled "The Brand Called Obama" by Ellen McGirt. Participate in future Design Forums by signing up for our eSolutions newsletter at www.packagedesignmag.com/esolutions.

Mary Zalla
managing director, Landor Associates, Cincinnati, OH
Design is always relevant, whether in a political campaign, a packaged goods brand, or a brand people experience three-dimensionally. Any branding effort that instills the discipline of consistency drives efficiency and builds greater collective impact. However, the greater design challenge is actually clarity. Does the design work to deliver and clarify the promise? If not, the design can be consistently deployed, which will aid in recognition. But without clarity we lose the opportunity to reinforce understanding and eventually drive action and loyalty. Action and loyalty are valuable commodities in a political campaign; smart campaigners will use design to achieve them.

Robert Ziegler
president, Brandimation, Morrisville, PA
While the typography of Obama's campaign stands out, I'm more impressed by the constant and consistent use of the O sunrise logo, designed by Sender LLC in Chicago. It's a progressive looking integration of the candidate's initial, message, and the flag. Of particular interest is how the designers then brought that same logo to bear for multiple interest groups (environmentalists for Obama, Veterans for Obama, etc.). It gives people collective and personalized "ownership" of the brand—which is one the campaign's core messages.

David Lemley
president, Lemley Design, Seattle, WA
I disagree with some points made by Brian Collins. The font choice is simply a reasonable design solution in support of Obama's position as a Category Disruptor. He has achieved groundswell by being a good brand (a collection of opinions we hold in our minds) with a sophisticated use of online media and social networking. Brand directors and CMOs are rubbernecking to learn which of Obama's techniques they can swipe to get traction for their brand on the internet. That said, I think the font is really sturdy and appropriate. Will it help him win the election? I was told early on that it's better to have good design and not need it than to need it and not have it.

Campaign posters and images courtesy of www.barackobama.com

Scott Power
managing principal, Man One Design, Los Angeles, CA
Yes, the font does exemplify a strategic approach to the Obama campaign and its visual communication. However, there are many things at work here, and the font is just one part of the Obama campaign branding machine. All the parts are important and they must work synergistically to break through and connect with voters. And it seems they are connecting. But remember, branding and packaging can only do so much. Effective branding and packaging may attract attention. But, in the end, the product has to be relevant to its target audience.

Randy Ludacer
partner, Beach Packaging Design, New York, NY
In a recent New York Times there is a photo of Obama supporters in Raleigh, NC, all holding up the "CHANGE WE CAN BELIEVE IN" signs. The photo is arresting—partly because the signs are all the same, but more so because the typography is really direct. The font is great; legible and at the same sort of friendly and intimate. It's as if each of those people carefully lettered those words on a chalkboard.