Design Tools and Processes Prior to
the Creation of a Brand.

Las herramientas y los procesos de diseño previos

a la creación de una marca.

Abstract:

The aim of this article is to point out the relevance of the processes and tools prior to the design phase in the creation of a brand. To do so, we have broken down all the phases prior to the development of the visual identity, explaining the function
and purpose of each of them, see: the
concept map (or mindmap),
the visual map (or moodboard) and the concept book. Our purpose is to emphasise the order of these, their
hierarchical and cultural power and their
importance in the construction of a brand’s identity.

Keywords: Mind maps; visual map; moodboard; design; brand identity; concept
books; branding.

Resumen:

El objetivo de este artículo
es señalar la relevancia
de los procesos y las herramientas previas a la fase de diseño en la
creación de una marca. Para
ello hemos desglosado todas las fases anteriores al desarrollo de la identidad visual, explicando la
función y el objetivo
de cada una de ellas, véanse: el mapa conceptual (árbol de conceptos o mindmap), el
mapa visual (o panel de inspiración, moodboard) y el libro de concepto (o concept book). Nuestro
propósito es recalcar el orden de estos, su poder jerarquizador, cultural
y su transcendencia en la
construcción de la identidad
de una marca.

Palabras
clave: Árbol de conceptos; mapa visual; moodboard; diseño;
identidad de marca; libros de
concepto; branding.

This work is under
an international license
Creative Commons Atribución-NoComercial
4.0.

Table of contents. 1. Introduction. 2. Tools, systems
and processes. 2.1. The concept
map. 2.2. The visual map. 3. The
concept books. 3.1. Preliminary research. 3.2. Expression of the idea. 3.3.
Internal and external user.
3.4. Aesthetics of the environment. 3.5. Narrative associated with the brand.
4. Conclusion.

How to cite: Sallés Diego, L. (2025). Design Tools and Processes Prior to the Creation of a Brand. Ñawi. Arte, Diseño,
Comunicación, Vol. 9, No. 2,
189–203.

https://nawi.espol.edu.ec/ www.doi.org/10.37785/nw.v9n2.a7e

1. Introduction

When we are faced with designing or
redesigning a brand identity, we must take into account many different factors. It is essential to build the new
brand identity on a solid foundation, which will allow us to develop the branding –that is, the process
through which we create the identity of a brand– enabling its visual execution, after having used the appropriate tools to give
depth to our visual proposal. To that end, we will present the different processes, systems, and tools that will
allow you to visually position the identity within the market space selected for its implementation.

We will devote the first part of
this article to elucidating these tools –namely, the concept map and the
visual map. We will then shed light on a largely lesser-known tool in the field– concept
books. These remain underexplored and often misunderstood within the field
of design, often confused with sketchbooks or inspiration books, which are so common in fashion design. There is only one reference in the field
of communication: the one developed in 2008 by Pete Barry,
though linked to advertising. His proposal was published by Thames and Hudson under
the title The Advertising Concept Book. Think Now, Design Later: A Complete Guide to Creative Ideas, Strategies and Campaigns (Barry,
2012). But, beyond this publication, the subject of “concept books”
as tools for brand-building –what
we know as branding– has rarely been explored. For this reason,
we consider it relevant to explain the methodology that will allow you to use them in your professional
practice.

2.  Tools, systems and processes

To
successfully carry out the creative
processes prior to the development of a brand, each team adapts the tools to fit the following aspects: their own
systems and capacities; the type of client, product, and context (conceptual, physical,
economic); and the consumer, user, or fan. Design studios, consultancies, and
agencies are usually reluctant to
reveal their “secret formulas” to outsiders. We, however, have developed our own model, which we have been implementing and sharing for more than a
decade. Our starting point is James Webb Young’s A Technique for Producing Ideas (1982), which we have complemented over the years with the processes of various design
studios, such as Pentagram in
London. Today, we know that studios
such as Summa Branding, Clase BCN, and Morillas use similar techniques and tools.

In
the time since the first outline, we have made adjustments, modified
some parts, and eliminated others.
The system is continually under
review. You may adapt it to your needs and objectives –or even disregard it altogether. Next, we present an execution chart– a timeline we apply when developing commercial identities. We will then define the first two phases, which
are where the environment that the brand
will occupy is created, structuring its identity through a graphic system that anticipates
the brand’s future needs and applications.

In the execution chart (Figure 1), we have divided the most relevant
processes and tools in the construction of a brand’s identity into six blocks, and arranged in chronological order. For the first time, we introduce
foundational concepts
present in the first phase after
receiving the client’s commission: the concept map (or mind map), the visual

map (mood board) –a tool that helps us shape and
organize our ideas before formalizing the proposal– and the concept book. This last one is likely the
least known and, according to our system, is the result of expanding and developing the first two: the concept map
and the visual map.

Figure 1. Phases, processes,
and tools for
creating a brand identity.

Source: Author
(2025).

The closest equivalent to the concept book is a travel book, where
we record everything that happens to us, everything
we see, feel, and experience during a journey. In it, we collect photographs,
museum or event tickets, newspaper
clippings, brochures, wrappers, and business cards, among countless other
items. We make small drawings and
write down thoughts and sensations that capture the moment. We include
everything that defines and recounts
our journey –combining cultural, anthropological, aesthetic, historical,
political, social, and economic aspects.
It is our own Grand Tour. The notebook describes our entire
experience, and constitutes a subjective and
unique vision of the place we have visited. It creates a distinct
identity that emerges from speculation and the
subjective interpretation of the experience.

Of
the many possible
identities that a place can offer, the curious, observant, and attentive traveler
recounts a single, specific, and unique version
–distinct from those of other observer-narrators. This is the version they share
with the world– first within their
inner circle, and later to anyone willing
to listen –publicly sharing a view of a place,

its people, habits, and customs. The travel book constructs a narrative that reflects– also
in the mirror sense of the word –the “6 Ws”: why, what, who, where,
when, and how. The concept
book applies this same logic to build a brand identity.
We will now explain how to create one, keeping in mind the travel book as a reference. Before developing the concept book, we first produce two
preliminary elements: the concept map and the visual map.

2.1.
The concept map

Most design students have, at some point, created
a concept map to begin
developing a project.
The question is: how deep can we go in their conceptual interrelations? And how deeply can we push their structure and meaning? As an example of this kind of conceptual
interrelation, we present two concept
maps. The first one was created by design student Sílvia Vallhonrat, analyzing Boris Vian’s book Le loup-garou, as a preliminary process for an editorial design project (Figure 2).

Figure 2. Concept map developed by
Sílvia Vallhonrat Munill during the 2015-2016
academic year. Esart (Barcelona).

Editorial project. Source: Author (2016).

In the second example (Figure 3), we see the concept map developed by students Luca Chemello, Alberto Hidalgo, and Manel Pla for the Lékué
brand redesign project.

Figure 3. Concept map developed by students Luca Chemello, Alberto Hidalgo,
and

Manel Pla for the Lékué brand
redesign project, during the 2022–2023 academic year. Elisava UVic (Barcelona).

Source: Author
(2023).

2.2.
The visual
map

The
second tool we’ll refer to is the visual map. It serves as the visual counterpart to the concept
map. Whereas the former uses words, the latter uses only images.
From the combination of both emerges
a preliminary idea that, like a storyboard, guides the initial
development of the concept book.
An example of this is the mood board (Figure
4), developed by Maia Díaz, Sara Mallén,
Mireia Martín, and Linda Piekniewski, also for
the Lékué brand redesign project.

Figure 4. Mood board developed by students Maia Díaz, Sara Mallén, Mireia Martín, and Linda Piekniewski for the Lékué brand
redesign project, during
the 2022–2023 academic
year. Elisava UVic (Barcelona).

Source: Author
(2023).

3.
The concept books

What is a “concept book”? Most professionals in the field have, at some point,
heard about concept
books. Some of us have developed or used them, but for
the most part, they remain largely unknown. A concept book is a tool through
which we can build a brand from scratch, or reposition an existing one. Its function
is to define the identity
of the brand, product, service, or company we want to
represent. To do so, it employs all
the expressive resources commonly
used by communicators: words (logos),
images, color, materials, touch, sound, and smell.

In
the concept book,
identity is represented both verbally and visually. In a sense,
it is the primordial spark
from which everything else develops.
The full narrative that structures
identity through storytelling: “the bridge that builds the narrative links that allow the subject
to identify with the models and protocols established by the
storytellers” (Sallés Diego, 2023, 206). Naming –the creative process of giving
the brand its name; branding, already defined in the introduction; and storydoing, the
user’s experience when interacting with the brand and its products; as
well as the values associated with
the brand, and its future positioning– all emerge from this narrative. It
influences all company departments:
R&D, sales, marketing, advertising, public relations, retail, human
resources, and so on. It thus establishes the strategic direction that will be
implemented in the communication and media plan. It defines and selects
the brand’s intrinsic values, its user, and the intimate environment in which they live and work. All this is done to create an emotional connection with the
consumer through the humanization of the new commercial identity –leaving aside rational arguments
and objectivity, and instead emphasizing distinctive traits and deep
subjectivity.

Creating a new identity ex novo, or redefining an existing one,
is not an easy task. Brands, products, and organizations,
over time, refine their narrative –and thus their identity. The aim is to create a tailor-made world
in which they can exist.
That’s why the concept book answers the questions of why, what, who, how, when, and where. Besides
the travel book, another possible
equivalent could be a manifesto, in which the most relevant
characteristics of the
identity of the movement it represents –whether artistic, mythological,
or political– are expressed both visually
and terminologically.

Its
values must be genuine and unique –this is its character, its strength, which
will distinguish the new identity
from its competitors. Every decision we make will influence its
development and implementation. The name we choose will shape its trajectory, just as will the environment in which it unfolds. The new identity
selects its symbiont
through a bidirectional discourse: it seems that the receiver has a choice, but in reality, they don’t –the new identity is built to fit them, through
a customized, ‘tailoring-like’ approach
embedded in the concept book. This process
adapts tools and methods to
the specific needs of each project.

The branding expressed in the concept book is a strategic idea
–far removed from the tactical communication or product marketing trends– and speaks to us of the
future. It outlasts advertising campaigns, which
are designed to serve a mnemonic
function related to the brand or its associated products. The concept book is a
long-term investment which
–like any investment– can be renegotiated or adapted to its
environment, but it cannot forsake its
essence, which is part of the
founding identity of the company, brand, product, or service. When applied to the creation
of brand environments, it defines the distinguishing factor that sets it apart from competitors –placing it on a
parallel, alternative path. It equips the brand with various evolutionary tools
and increases its chances of success. This emotionalization transforms the brand into a living
presence– capable of establishing authentic, human relationships with users and other
identities. Once humanized, it interacts with other identities
–whether commercial (brands)
or biological (people)– on equal terms.

Figure 5. Explanatory chart of preliminary research processes.

Expansion of the first
phase and its result on the second
phase. Source: Author
(2025).

3.1.
Preliminary research

As shown in Figure 5, preliminary
research is required to clarify the nature of the commission (the chart shows the expansion of phase one and its outcome in phase two).
Once this is complete, we can develop
the concept and visual maps, from which a concentrated idea will emerge –like the concentrated essence of a distilled perfume (Figure 8). After completing these two initial
phases, we will be ready to develop the concept book, which we divide into four sections: environment, user (internal and external), aesthetics, and narrative. These blocks are interrelated like interconnected vessels.

3.2.       Expression of the idea

In the section dedicated to the
environment, we define –both verbally and visually– the place where
this new identity will be born. Among
many possibilities, we choose a country, a city, a neighborhood, a street, a
house, a language (or several),
thereby creating a clear point of origin, unique and distinct from other
identities (Figure 5). It’s not
the same to reference Quito, Mexico City, Barcelona, Delft, or the island of
Kyushu in Japan. Each location has distinct characteristics, and therefore, the
emotions and experiences tied to the question “where” also differ. We associate
each place with different customs
and habits previously outlined in the concept map and fully developed in the concept book. By answering the
“where,” we reveal the tangible origin of the concept we are
developing, offering the user
an initial anchor point for the new identity.
We’ve all seen verbal
clarifications accompanying brands such as Made in Italy, From Barcelona, or simply the city name.
By tying a place to brand or product, we infuse the identity with cultural values.

Figure 6. Front and back view of the Tap’dNY bottle and the four points of the manifesto
developed by Craig
Zucker.

Source: http://www.packagingdesignarchive.org/archive/pack_details/2109-tapd-ny

An exaggerated example of the power
of “where” is found in the brand Tap’dNY
(Figure 6), which in 2008 bottled tap water from the city that never sleeps, and sold it. The idea came from Craig Zucker,
who in his four-point manifesto urged his customers to
“drink tap water whenever possible. Buy locally bottled water when tap is
not convenient. Support NYC and our
award-winning water […] [and] always refill and recycle your bottle
(it’s part of the deal).”
A sleek bottle and a bold story allowed Zucker to sell cases of twenty-four Tap’dNY
bottles for thirty-six dollars each, using the slogan “Free refills at 500,000
New York faucets.” The story’s entire value stemmed
from the mythic aura of Manhattan.

Starting from the epicenter
defined by “where,” we establish relationships with increasingly specific
locations – gradually narrowing the scale from the city, to the neighborhood, to the street, and finally to the (real or metaphorical) home where our (external) user will
reside.

3.3.       Internal and external user

We follow the same procedure for the internal user, which leads us to define the workplace –where the product (a tangible object) or services (intangible) are created. Both
locations must align in terms of values and
experience. Their functions differ: the internal user develops the products or services
associated with the brand (and may also consume them), while
the external user consumes them (but typically cannot produce them).
However, the experiences must be positive in both instances to maintain a
coherent and balanced internal and external narrative –one that, under no circumstances, should contradict itself.

In the verbal
and visual definition of the user (internal and external), we answer the question of “who”. As Carlos de la Guardia and Ana María Enrique
(2017, 33) rightly point out, internal users (employees) have a great interest in generating brand value, as they are:
“the transmitters of the brand promise, the point of contact between the customer and the brand; they are a
strategic and target audience, as well
as agents of change in organizations and brand advocates”. To delve deeper into the external user (the consumer), we construct their profile. We recommend choosing
a well-known figure that embodies
the user’s lifestyle
and values. If the chosen person is unknown, we will not be able to communicate their values clearly
to all the actors who will manage
and implement the new identity. The reference figure may be real or fictional —a character from a novel, a TV series, or a film. Their value as a symbolic and mythological reference remains the
same. They are not endorsers or
opinion leaders. Through this
figure, the artificial identity
we are constructing is humanized, serving as a connector –via the symbol they embody– between
the product and the user. We are
interested in the values and experiences associated with
this character, as they help us build and present
the new identity. This figure acts as a guide within the concept book and does not need to be used in advertising communications. Choosing Martin Luther
King Jr. as a model would result
in entirely different
concepts than choosing
Donald Trump. These
are polar opposites with conflicting symbolic
and mythological charges.
Though

they appear real, both figures
are artificial identities –constructed from within (the subject
itself) and from without (the receivers of the identity)–
that together shape the myth associated with them, whether positive or
negative. That is why it doesn’t matter whether the reference character is real or
fictional –these paths frequently intersect. In the popular imagination, the character of Charlot is more
real than the actor who created him, Charles Spencer Chaplin.

3.4.
Aesthetics of the environment

In
the third block—the aesthetics of the environment –we also provide a verbal and visual definition. This time, the focus is on the ‘what’ –the objects– in order to focus on their role as actors in the identity
narrative. By describing the aesthetics of a new identity, we are building its home
–detailing every room and corner: the furniture, small objects,
collections, artwork, appliances, clothing, and car. We open the closets
and the fridge, because every object matters
in shaping the identity narrative. These items serve as visual cues that reinforce the identity within a specific
aesthetic boundary.”

To understand the communicative
power of objects, we only need to observe the prominent role they play in any television series
or film –which is precisely why brands try to insert
their products into narratives, aligning
them with characters with whom they maintain a symbiotic relationship. The power of this bond facilitates endorsement, where a celebrity or socially relevant individual becomes a
living mannequin on whom brands place
their products in exchange
for money or goods. Similarly, product placement is an advertising technique that involves
embedding a message, product, or brand into the
storyline of a film, series, or TV
program.

A
clear example of product placement
–remarkable in this case because
of its impact, though not the first (that was Hershey’s Chocolate
in the 1927 film Wings by William A. Wellman)– occurred
in the 1980 film American Gigolo, directed by Paul Schrader and starring Richard Gere and former
model Lauren Hutton. The film opens with Gere
driving the iconic Mercedes Benz 450 SL, with both a summer and winter top. For nearly three minutes, the car is the protagonist, overshadowing Gere himself
(Figure 7), whose character is overshadowed by the product
endorsement. The first shot is of the front right wheel, cutting
to a close-up of the model’s signature
brake lights. Then, we get an overhead
front view of the Mercedes
and its driver,
followed by a subtle zoom into the actor’s Adonic
profile, ending in a wide shot of the car pulling up to a high-end clothing
store in Los Angeles. There, Gere’s character
shops for the outfits
he’ll use in his profession as a high-end male escort –two-piece
suits designed by Giorgio Armani.

Figure 7. Opening
credits designed by Dan Perri for the film American Gigolo, directed by Paul Schrader in 1980. Author's montage.

Sources: https://www.danperri.com/ and Movie Titles, https://www.youtube.com/watch?v=HS-L4UAmuFI

The
entire sequence unfolds to the song Call
Me, selected for the soundtrack by Giorgio Moroder as the film’s
theme song. The track was co-created by him and Debbie Harry for the band Blondie
in 1980. In addition to the Mercedes’ iconic value,
it was Paul Schrader who asked Giorgio Armani to design the
character’s wardrobe. As Alejandro Bernard (2018) points out, “the suits worn by Gere as he walks the streets
of Los Angeles in the film captivated audiences, and Armani’s clothing broke into the American
market,” turning Armani
into “a synonym
for global style.” Bernard adds that Armani’s success
in Hollywood likely stemmed from this appearance, since “shortly after the film’s release, the Italian designer’s clothing appeared
prominently in other cinematic productions.”

Another example is the work of photographer Todd Selby, who for years
has produced meticulous photo essays of the homes of unique individuals,
published on his website (theselby.com). His only request is that the subjects don’t change anything about their
daily routines or clean more than usual. The result is a collection of
authentic, character-rich images,
far from the clichés and stereotypes shown
in magazines, blogs,
or interior design
programs. Through these snapshots, we see
the intimate identities of the residents, who often appear in the
photos –confirming the
bond between objects and identity.

3.5.
Narrative associated with the brand

The final section
is the narrative, where we define what this identity
will represent, what concepts will represent it, and what visual language framework we
will use to present it to others –based on everything we have defined in the previous sections. To formalize the
commercial version of the identity– out of which storytelling, naming, branding,
storydoing, and ultimately the brand itself will
emerge –we present both visual and
verbal representations, using elements such as typographic, chromatic, photographic, material,
textural, olfactory, and auditory styles.
This is the point at which the visual-aesthetic framework
–used by the design teams– must be clearly
articulated. Because beyond trends and fashions, as the
philosopher Alain de Botton (2008, 86) points out, “even in something as
small as the letters of a particular
typeface, we can detect fully formed personalities –about whose lives and daydreams

we could easily write a story.” He also argues
that, “contrary to the romantic belief that everyone naturally knows what beauty is, it seems
our visual and emotional faculties actually require constant
external guidance to help them determine what to focus on and what to appreciate” (258)
–designers included. Through
the resulting identity, we answer the question
of why we do what we do, what makes us different, and what our manifesto is. The “when” will depend on the company’s strategic and financial planning and on all the stakeholders involved
in unveiling the new identity.

Finally, we’d like to delve
deeper into the concept of branding. Although we’ve referred to it
repeatedly throughout this article, perhaps we haven’t highlighted its prominence
strongly enough.

Figure 8. The concept of branding. Source:
Author (2025).

Branding concentrates all the
previous phases developed during the conception of the identity. It is a concentrated formula (Figure 8)
–the essence of the product, the
poison, in both of its possible
readings: as the potent extract of a perfume, which masks our presence, or as a dangerous toxin that contaminates
our identity. Branding is both a
layered system and a unifying element. A reflection of the other, a promoter of affiliation and mimicry, it allows for
individuality within the group
–through nuance and
customization– which, through personification, fosters an intimate
relationship with the brand. Its power lies in the experience it delivers, activating the sensory world of
the self, which triggers our cognitive, emotional, and behavioral responses
(Klein, 2018). Through emotional connection, branding creates groupies,
fans, true brand

hooligans. This level of engagement occurs as a result of relational branding
strategies, which encourage
consumers to “establish a relationship with the brand
and accumulate experiences that become part of their
lives” (Hernández- Santaolalla & Rubio-Hernández,
2014, 44). As both authors note, it was Susan Fournier who first identified the existence
of interpersonal relationships between brands and consumers in 1998. According to Fournier (1998,
346), “the relationship
between the consumer and the brand is built upon a series of repeated exchanges
between two parties who know each other well.” Both authors draw upon the very concepts
we developed in the first part of this article, where we stated that subjects
establish emotional relationships with the brands they consume. By using emotions to build connections between
brands and consumers, long-lasting bonds –true love stories– are
formed. Branding happens in the realm
of the intangible, making it possible for intimate relationships between
subject and brand to exist.

4.
Conclusion

To
sum up the discussion in this article,
we want to underscore that the tools
we have described are crucial for giving substance
to a brand. Without them, we would focus exclusively on aesthetic issues,
leaving aside everything that constitutes the emotional narrative associated with the
brand. Through branding, these
connections become intimate, promoting and encouraging immaterial, invisible, subliminal, and abstract links
that enables what appears to be a two-way relationship between
product and subject –always by means of and through branding. The brand
acts as an active agent, just like the consumer.

Hernández-Santaolalla and
Rubio-Hernández (2014, 44) stress that “acknowledging that an
emotional relationship develops between a brand and a person implies that both
parties agree to that relationship and establish mutual commitment,” and add that it is “a close bond
formed between both parties, in which emotions, shared experiences, and a common story are key ingredients for its
long-term consolidation.” Even if the relationship is hypothetically bidirectional, hierarchically it is not a horizontal one; it is not a relationship between
equals, as the brand retains its power in relation to
the consumer and their role as an object purchaser. The brand derives its strength through
the formulas and systematized processes
we have described. Nothing is left to chance–everything is premeditated. For this reason, we
believe the tools we have presented here –concept maps, visual maps, and concept
books– are indispensable tools for adding depth to the creation
of a brand environment, what we know as branding. All of this enables the design team to craft
a proposal tailored
to the specificities and particularities of the commission at hand.

References

Barry, P. (2012). The advertising concept book. Think now, design later: A complete guide
to creative ideas, strategies and campaigns.
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De Botton, A. (2008). La
arquitectura de la felicidad. Barcelona:
Lumen.

Enrique, A. M., & De la Guardia, C. (2017). Revisión del concepto de internal branding: La transmisión de la promesa de marca a los clientes por parte de los empleados. Grafica,
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Fournier, S. (1998). Consumers and their
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Hernández-Santaolalla, V., & Rubio-Hernández, M. M. (2014).
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Curricular Overview

Lluís Sallés Diego is a writer, researcher, theorist,
creative copywriter, namer, lecturer, graphic
designer, brand manager, and
speaker. As a consultant in identity, image, and brand strategy, he has worked
with both national and international companies.
He is co-founder of Boixader et Salles and Bómb estrategas, and
co-creator and co-director of the Creatus Dominus
Festival. Sallés holds a degree in Graphic
Design from Escola Massana in Barcelona, a BA in Humanities, a Master's in
Comparative Literature and Cultural Studies, and a PhD in Literary Theory
and Comparative Literature from the Universitat Autònoma
de Barcelona. He has taught at various schools and universities, and is
currently a faculty member at Elisava (Escola Universitària de Disseny i Enginyeria), where he teaches in the undergraduate Design program. His courses include
Fundamentals of Graphic Design, Critical Theories, Identity and Branding, and Theory of Identity. His research focuses
on the construction of identity and narrativity in design.