CREATIVE BRAND STRATEGY

21/04/2026 - 26/06/2026
Week 01 - Week 14
Adrianna Sofea Mohd Fauzi (0350661)
Bachelor of Design (Hons) in Creative Media
Creative Brand Strategy

JUMPLINKS:

1. Assignment 1: Presentation & Situation Analysis
2. Assignment 2: Purpose, Positioning & Personality
3. Assignment 3: Cause/Campaign/Event Branding
4. Reflection

Instructions

Theme

Assignment 1: Presentation & Situation Analysis

Lecture 1

This week's lecture introduced the semester brief, which focuses on creating an original Mental Health Awareness branding campaign for Taylor's Counselling Club. The project is divided into three main tasks. The first task focuses on brand research and situation analysis, where we are expected to understand the current landscape and identify opportunities for the campaign. The second task involves developing the brand identity, including the overall concept, visual direction, and positioning of the campaign. Finally, the third task brings everything together through physical applications and campaign execution. What stood out to me was that the project goes beyond simply highlighting a mental health issue. Instead, the goal is to create a campaign that genuinely raises awareness, reduces stigma, encourages healthy conversations, and promotes support within the Taylor's community. To achieve this, we are expected to conduct in-depth research into existing mental health campaigns to better understand what works and what doesn't. This research will help us define a clear art direction, identify our target audience, and establish strong brand positioning, while ensuring the final campaign delivers a meaningful and engaging experience through thoughtful and empathetic design.

Lecture 2

This week's lecture focused on building the strategic foundation before moving into the design phase of our mental health awareness campaign. One thing that stood out to me was the importance of developing a strong brand strategy first, rather than jumping straight into visuals. We were introduced to the ten core components of brand strategy, starting with the brand purpose, which defines why the brand exists beyond making an impact, followed by the vision, mission, and values that shape its long-term direction and identity.

The lecture also covered brand positioning, target audience and insights, personality, tone of voice, brand story, visual identity, customer touchpoints, and SWOT analysis. Each of these elements plays an important role in building a brand that feels clear, authentic, and meaningful. I also learned that understanding the target audience goes beyond demographics, it is about uncovering their behaviours, emotions, and experiences so the campaign can connect with them on a deeper level. Likewise, the customer journey should be carefully planned, from creating awareness to encouraging engagement and advocacy.

Lecture 3

This week's class focused on finalising our campaign proposal and case study before moving on to the design phase. Each group was required to prepare a presentation, with a maximum of 10 minutes to present our proposal. One thing that was heavily emphasised throughout the lecture was that no design work should begin until the proposal has been reviewed and approved through consultation with our lecturer.

The proposal itself consists of 12 interconnected sections, each supported by proper research and citations. These include defining a clear problem statement, identifying deep audience insights, and developing a complete brand strategy covering the brand purpose, vision, mission, positioning, values, personality, and overall visual direction. We were also expected to include visual references to communicate the intended art direction, along with the brand's touchpoints and a customer journey map to show how users would experience the campaign from beginning to end.

Lecture 4

This week's lecture focused on brand positioning and its role in helping a brand establish a unique identity within a competitive market. One thing I found interesting was how successful brands are recognised not just by their products, but by the perception they create in people's minds. Throughout the lecture, we looked at several well-known examples, such as Apple, which positions itself around innovation and premium quality, Domino's, which is known for speed and convenience, and the different approaches taken by Nike and Adidas, where one focuses more on performance while the other leans towards lifestyle and culture.

Another key takeaway was understanding the difference between brand positioning and a Unique Selling Proposition (USP). Although they are closely related, they serve different purposes. Brand positioning is the long-term perception of the entire brand and defines how it wants to be recognised over time. On the other hand, a USP focuses on a specific product or service advantage that helps it stand out from competitors. Unlike brand positioning, a USP can change over time depending on market trends, customer needs, or new product offerings.

Overall, this lecture helped me understand that successful branding goes beyond having a memorable logo or attractive visuals. A clear brand positioning creates a strong and consistent identity that audiences can recognise and connect with, while a well-defined USP supports that positioning by highlighting what makes the brand's products or services unique.

Lecture 5

This week's lecture marked the beginning of Task 2, where the focus shifted from developing the brand strategy to designing the brand identity itself. After spending the previous weeks building the campaign's foundation, we were now expected to translate those ideas into a visual identity that reflects the campaign's purpose and message.

The task requires us to explore and develop the brand identity through a structured design process. This includes producing at least 20 logo sketches before refining the chosen direction, along with a mood board to establish the overall visual style. We are also expected to justify our choices for the colour palette and typography, ensuring that every decision aligns with the campaign's concept and target audience. Besides that, we need to research 100 existing symbols before designing at least 10 original icons that can support the visual identity, as well as propose three physical applications that best represent the campaign.

There are also several technical requirements for the logo. It must be created in Adobe Illustrator, remain recognisable in both colour and black-and-white versions, and stay clear even when scaled down to a small size. More importantly, the logo should communicate both the mental health theme and the chosen campaign name in a simple yet meaningful way.

Beyond the logo itself, we are expected to build a complete brand identity system, including logo variations, colour palettes, typography hierarchy, an icon system, grid construction, clear space guidelines, and background variations. Looking ahead, the final task will bring everything together through a complete e-brand book, customer journey maps, three physical brand applications, and one major campaign output, such as a promotional video, interactive quiz application, or an illustrated publication.

Task 1 Process

For our first assignment, we were required to complete a Presentation and Situation Analysis, which introduced us to the process of developing and strategising a cause, campaign, or event branding. The main focus of this task was to understand how a brand's visual identity influences the overall brand experience and how strategic thinking plays an important role before any design work begins.

The assignment was divided into two parts. The first part required us to present a case study on an existing cause, campaign, or event branding. We were expected to analyse how its visual identity contributes to the overall brand experience, supported by a customer journey map that illustrates how audiences interact with the brand across different touchpoints.

The second part focused on proposing our own cause or campaign branding. We were required to conduct thorough market research to identify a suitable niche and understand the current landscape before developing our strategy. This included carrying out a SWOT analysis, defining the campaign's brand goals and objectives, identifying the target audience, and mapping out the customer journey.

Fig 1.0 Rare Beauty Campaign

After doing multiple online searches, I particularly liked Rare Beauty's Campaign that focused on mental health. Selena Gomez the founder has always been an advocate for self-care, which makes it a better choice knowing that the intention was genuine and the brand has a solid story.

Task 1 Submission

What I really liked about this campaign was how simple the idea was, yet it carried such a meaningful message. Instead of encouraging people to download another app or complete a long activity, the campaign reminds us to do something we often overlook, simply picking up the phone and calling someone. I felt this made the campaign much more relatable because making a phone call is something almost everyone can do, but many people hesitate to, especially when they are feeling overwhelmed or lonely. The message doesn't feel forceful or overly emotional. Instead, it gently encourages people to take that first step, making mental health support feel more approachable and less intimidating.
Another reason why I found this campaign so impactful was because it felt genuine rather than promotional. Everything, from the warm visuals and conversational tone to the storytelling, worked together to create a sense of comfort and connection. Knowing that the campaign is supported by Rare Beauty's long-term commitment to mental health through the Rare Impact Fund also made it feel more authentic, rather than something created only for Mental Health Awareness Month. To me, this campaign shows that meaningful branding doesn't always have to rely on complex ideas. Sometimes, a simple message delivered with empathy and honesty can leave the strongest impression and encourage people to take action

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Assignment 2: Purpose, Positioning & Personality

During Week 3, it was time for us to start developing our own mental health awareness campaign based on the topic we chose. Before deciding on a direction, I reflected on the case study campaign that I had previously analysed and thought about what made it effective. One thing I learned was that the strongest campaigns often come from genuine experiences and real human emotions, rather than simply presenting facts. Because of that, I wanted to choose a topic that felt personal and meaningful to me, something I could truly relate to instead of selecting a mental health issue just because it was common.
I began researching different mental health topics such as anxiety, depression, borderline personality disorder (BPD), and suicidal. While these are all important issues, I kept asking myself which topic I genuinely connected with. Rather than looking at statistics alone, I started reflecting on the people closest to me, especially my own family.

Being one of the oldest cousins in the family, I have watched many of my younger cousins grow up and go through different stages of life. Over the years, I noticed that many of them tend to keep their struggles to themselves, whether it is being bullied at school, academic pressure, or feeling like they are unable to meet the expectations placed on them. I also noticed the same pattern among my friends. Many of them are afraid to admit that they are struggling because they worry about disappointing their parents or being seen as weak. It almost feels as though showing vulnerability is something that is not accepted, so they choose to stay silent instead.

For example, one moment that I noticed that one of my cousins had gradually become quieter and withdrawn compared to how they used to be. After asking how they were doing, they finally opened up and shared that they had been diagnosed with severe depression and were secretly attending therapy without their parents knowing. Hearing that really affected me. It made me realise that emotional struggles often do not happen overnight. They build up slowly over time when people continue to suppress their feelings without having a safe space to talk about them.

Looking back, I realised this is something I have seen quite often, especially within many ASEAN families. There is an unspoken expectation to stay strong, avoid disappointing others, and always "save face," even when someone is struggling internally. This made me think about university students, who often carry these same expectations while trying to balance academics, family responsibilities, and their own personal challenges. Because of that, I decided to focus my campaign on ASEAN university students and explore how the culture of "saving face" can prevent young adults from seeking help when they need it most.

Researches:
1. Annie E. Casey Foundation (2023 / 2024)
Relevance: Anxiety
Highlights that Generation Z reports significantly higher rates of anxiety and depression compared to older generations, with 47% of Gen Zers ages 12–26 reporting they "often or always feel anxious."
Identifies key drivers of Gen Z anxiety: financial worries, pressure to achieve, lack of purpose, social media use, and broader systemic stressors (climate change, gun violence, and social instability).
2. Gross, J. J. / PMC3939772 (2014)
Relevance: Emotional Suppression
Defines emotion suppression as the deliberate inhibition or denial of emotional expression.
Shows that habitual emotional suppression causes neuroendocrine and physiological strain, which is linked to a 35% increase in all-cause mortality and a 70% increase in cancer mortality over a 12-year follow-up.
3. Lancer, D. / Psychology Today (2022)
Relevance: Emotional Suppression & Anxiety
Emotional Suppression: Stuffing down unpleasant emotions (anger, fear, sadness) triggers a spike in sympathetic nervous system activity (stress response) and increases long-term risks of hypertension, heart disease, anxiety, and depression.
Explains that suppression backfires because it deprives individuals of crucial internal signals regarding boundaries and personal values.
4. Li, H., & Xu, M. / PMC12312699 (2024 / 2023)
Relevance: Emotional Suppression & Anxiety/Stress
Explores the process model of emotion regulation and the specific physiological cost of emotion suppression during stress and anxiety-inducing situations.
Demonstrates through meta-analysis that actively suppressing emotional responses increases physiological stress reactivity (elevated cardiac, hemodynamic, and neuroendocrine responses), which can lead to cardiovascular disease risk over time.
5. Allied Academies (2024)
Relevance: Families & Family Dynamics
Explores how family relationships and interactions directly shape psychological well-being in older adults.
Positive Dynamics: Strong emotional support, companionship, and helpful caregiving from family members promote higher life satisfaction, enhance resilience, and lower rates of depression and anxiety in aging individuals.
Negative Dynamics: Ongoing family conflict, neglect, isolation, and stress caused by role reversals (e.g., adult children caring for parents) contribute significantly to mental health challenges and diminished quality of life.
6. Gross, J. J. / PMC3939772 (2014)
Relevance: Emotional Suppression
Defines emotion suppression as the purposeful inhibition or denial of emotional expression.
Examines how habitually suppressing emotions negatively impacts long-term health, linkable to higher sympathetic nervous system reactivity, catecholamine/glucocorticoid release, and cardiovascular/neuroendocrine strain.
Shows that higher emotion suppression scores were associated with an increased hazard ratio for all-cause mortality and specific risks for cancer mortality over a 12-year period.
7. Lancer, D. / Psychology Today (2022)
Relevance: Emotional Suppression & Family Influence
Emotional Suppression: Details how holding in or denying emotions (like anger, shame, or sadness) backfires by increasing internal stress levels, heightening risks of heart disease and hypertension, and causing feelings of isolation, anxiety, and depression.
Family Connection: Highlights that living or interacting with families high in expressed emotion (or unbridled, extreme emotional outbursts) can worsen mental health outcomes and increase relapse risks for individuals with mental health disorders.
Alternative Approach: Advocates for accepting, noticing, and modulating emotions rather than suppressing or exploding with them.
I decided to look into emotional suppression in ASEAN University students.

Fig 1.1 Brief of the Brand

Fig 1.2 Moodboard

Fig 1.3 Aesthetic

Brand Name
Coming up with the campaign name was actually the first part that came to me naturally. From the beginning, I kept thinking about how everyone needs an outlet in one way or another. For some people, it might be talking to a friend or family member. For others, it could be writing in a journal, crying into a pillow, sharing their thoughts online, or finding a quiet space to let everything out. No matter what form it takes, I believe everyone deserves a safe space where they can express what they truly feel instead of keeping everything bottled up inside.
With that idea in mind, I spent quite some time exploring different campaign names. I wanted something that would resonate with a very specific audience, students who constantly suppress their emotions because they feel they have to stay strong. At the same time, I didn't want the name to sound too harsh or overly serious. Instead, I wanted it to feel subtle and relatable, something that would quietly make someone stop and think, This campaign understands how I feel. After exploring several possibilities, I narrowed it down to the following options:

Campaign Option/Tagline: Big Idea: From “I’m fine” to “I need help” guiding students from silencing their emotions to speaking up and finding support. Options

Strong Enough to Speak
Vent It Out
It Hurts Inside
Drowning in Hope

After discussing my campaign direction with my lecturer, we went through the different campaign names I had explored to see which one best communicated the message I wanted to deliver. Among the options were Drowning in Hope, It Hurts Inside, and Vent It Out. While I initially liked Drowning in Hope and It Hurts Inside, my lecturer pointed out that both names felt much heavier and more emotionally intense. They gave the impression of a campaign centred on pain, which wasn't quite the direction I was aiming for.
Based on the feedback, I realised that Vent It Out captured the message much better. I wanted the campaign to feel approachable and relatable, rather than overwhelming. Many students wish they had a safe space to express what they have been holding onto. Sometimes, they are not looking for someone to solve their problems, they just want to let everything out and ease the weight they have been carrying inside. Because of that, Vent It Out felt like the most fitting choice. It communicates openness, emotional release, and encouragement in a simple way and helps them understand what they are going through, while remaining welcoming to those who may be hesitant to speak up.
Colour Mood: Brand (The Outlet):

The Outlet uses dark, muted tones (deep green and ink‑like purple) with soft white as a base. These colours represent the weight, complexity, and seriousness of emotional suppression.
Campaign (Vent It Out):
Vent It Out uses a slightly brighter, “night‑time glow” version of the same palette:
Deep forest green and plum as background tones, softened with gradients.
Brighter, lighter tints of green‑blue and violet for highlights, like light leaking into a dark room.
White and off‑white accents to mimic the feeling of screen‑light or paper‑light at night when someone is alone, reflecting honesty, effort, and the courage to finally say more.
The colours should feel like soft light in the dark, not neon, but the kind of colours that look comfortable and calming at night when journalling, scrolling quietly, or thinking alone.

Task 1.2 Submission

Presentation Slides

As I continued developing the campaign, I realised that designing for mental health is very different from designing for a commercial brand. It is not just about creating something that looks visually appealing, but about communicating emotions, experiences, and the thoughts that many people struggle to express. Opening up is not easy, and I wanted the campaign to genuinely reflect that. More than organising an event or creating awareness, I hope the intention behind the campaign can encourage even one person to reach out or feel understood. To me, if the campaign is able to help even a single individual take that first step, then it has already achieved something meaningful. After carrying out more visual research and exploring different directions, my approach gradually changed as I gained a deeper understanding of what the campaign truly represents and the message I wanted it to communicate.

Exploration of Brand Logo

Fig 1.1 Logo Meaning and Body Poses

I started by listing down different keywords and asking myself a series of questions about what I wanted the logo to communicate. Rather than jumping straight into sketching, I wanted to define the qualities and emotions the campaign should represent first. Since the campaign revolves around emotional suppression and finding a safe outlet, I knew the logo needed to feel approachable, honest, and grounded. These keywords became my starting point before moving into visual exploration.

Fig 1.1 Unity and Pilates Inspired Logo

My first direction was inspired by body poses, particularly those found in Pilates branding. I liked the idea because our bodies often reveal what we are feeling internally, even when we try to hide our emotions. It reflected the idea that although someone may choose to keep everything to themselves, their body eventually signals that something is wrong. However, after consulting with my lecturer, he pointed out that the direction felt too generic and resembled a Pilates studio more than a mental health awareness campaign. While I understood the concept behind it, the visual language wasn't communicating the message clearly enough.

Because of that feedback, I went back to researching different visual directions. This time, I explored more nature-inspired references, hoping to create something that felt calm, grounded, and emotionally reassuring. Although the direction captured the feeling I wanted, I realised it slowly started resembling a beach or wellness retreat, and at one point even felt a little too similar to Olympic-inspired branding. It wasn't quite expressing the campaign's core message anymore, so I decided to move away from that approach.

Fig 1.1 Logo Exploration

Fig 1.1 Logo Initial Combination

After exploring different concepts, I shifted my attention to the logotype instead. I knew from the beginning that I didn't want the typography to feel perfect or overly polished. Since the campaign is about expressing real emotions, I wanted the lettering to feel more organic, raw, and human. While experimenting with the campaign name, I had the idea of using the letters in "Outlet" to create a monogram. I began exploring different combinations using the letters O, U, T, L, E, and T, sketching several variations and slowly refining the overall construction. During consultation, my lecturer mentioned that the monogram had potential and could be refined further. He also commented that the direction could become more elegant or premium-looking, but after reflecting on it, I realised that wasn't the feeling I wanted to achieve. I wanted the identity to remain approachable and relatable, rather than polished or luxurious, as that better reflected the heart of the campaign.

Fig 1.1 Initial Combination 2

Fig 1.1 Digitised Initials

3 Variations of Initial Combination

Second Attempt

Fig 1.1 Digitisation from initial sketches

Fig 1.1 Sketch and Digitisation of White Dove Bird

After finalising the sketches, I started digitising the logotype. My main focus was balancing the letterforms and making sure the stroke weights were consistent. Even though I wanted it to look cleaner, I still wanted it to feel a little raw and not too perfect, as that reflected the idea behind the campaign much better.

Fig 1.1 Bird and Hand Reaching Out with Tail

At the same time, I continued exploring different directions for the symbol. I started looking at nature-inspired references such as leaves, organic shapes, and animals. An idea that stood out to me was the white dove, which symbolises hope and freedom. Instead of illustrating the bird directly, I wanted its wings to resemble a hand reaching out, almost like someone recognising your feelings and reminding you that you're not alone.

Third Attempt

Fig 1.1 Revision of Logo

After digitising the symbol, I showed it to my lecturer. He liked the concept, but mentioned that it felt a little too organic. He suggested making it more balanced and consistent, especially on the left and right sides. So I refined the hand shape, adjusted the fingers, and made sure the overall proportions and stroke weights felt more even.

Fig 1.1

During the next consultation, my lecturer pointed out that I was starting to overcomplicate the design. Looking back, I agreed with him. I was trying to refine every little detail when the original idea was already communicating the message well. Sometimes adding more doesn't always make the design better.

Fourth Attempt

Fig 1.1

While refining the symbol, I had another idea. Instead of the hand simply reaching out, I wanted it to subtly resemble the "OK" hand gesture. Since the centre of the symbol had already form a perfect circle, it felt like the right opportunity to develop this direction further. What made this idea even more meaningful was how it connected back to the campaign's message. Many people often say, "I'm fine" or "I'm okay," even when they are struggling inside. I felt this subtle reference tied in naturally with the brand statement "from ‘I’m fine’ to ‘I need help", allowing the logo to communicate the message in a simple way without being too obvious.

Fig 1.1

I then moved on to refining the overall logo construction. At this stage, I focused on making the logo feel more balanced, proportionate, and straightforward. Using simple geometric shapes such as circles and guide lines, I adjusted the overall structure to ensure each element aligned properly while keeping the design clean and easy to recognise.

Logotype and Logomark Combination

Fig 1.1

Once I was happy with both the logotype and logomark individually, it was time to bring them together. I started exploring different compositions by adjusting the spacing, placement, and arrangement between the two elements. I tried various layouts to see which one felt the most balanced and natural. The goal was to make sure both the logotype and logomark complemented each other while creating a clear and recognisable identity as one complete logo.

Colour Exploration

Fig 1.1 Testing pantone colors on brown, red/oranges and blues

When I looked back at the colour palette from Task 1.2, I realised it didn't feel right for the direction I wanted the campaign to take. The dark green felt too dull and reminded me of the dark colours that are commonly associated with sadness. While I still liked the purple, I felt it worked better as a supporting colour rather than the primary one. As I continued exploring, I found myself naturally drawn towards shades of red, brick orange, and brown. To me, emotional suppression isn't just about feeling sad. It's about holding onto emotions for so long that they slowly build up, leaving you feeling trapped, frustrated, and sometimes even physically heavy. Those warmer tones captured that feeling much better. I then introduced blue as a softer colour to represent the quieter emotions, while cream became a symbol of hope, reminding me that there is always light at the end of the tunnel.

Fig 1.1

Finalised Colours

Fig 1.1 Primary Colors

The primary palette is built around Outlet Brown Orange, Outlet Cream, and Outlet Flow Blue. The deep brown‑orange carries the weight of a heavy chest and bottled‑up feelings, grounding the brand in warmth and honesty instead of clinical blue. The soft cream and gentle yellow‑tinted tones act as light breaking in, small hints of comfort, kindness, and relief that appear once emotions are given space. Flow Blue is suggesting clarity and open sky after a storm, and is reserved for key highlights or digital elements so it feels special, not overwhelming.

Fig 1.1 Secondary Colours

The eight secondary colors extend the system for illustrations, patterns, and digital layouts without changing the brand’s core mood. They move from deeper browns and muted pastels to soft sky and sunset tones, echoing different emotional states, from heaviness and tension to warmth, tenderness, and quiet optimism. These shades should be used to support stories, and campaign assets, while the primary palette continues to lead on logos, key typography, and main brand.

100 Icons List

As part of the brand identity development, we were also required to research and compile 100 icons before narrowing them down to around 10- 15 that best represented the campaign. This process allowed me to explore different visual metaphors and identify symbols that could communicate the campaign's message in a simple and meaningful way while remaining consistent with the overall brand identity.

The strongest symbols/icons:

1. Draft email — very strong because it shows something written but not sent, which directly represents unspoken feelings.

2. Note on tissue — one of your strongest icons because it feels personal, fragile, emotional, and private.

3. Voice recording — strong because it connects to the idea of finally giving voice to emotions.

4. Book / journal / pen — useful for reflection, emotional processing, and private expression.

5. Crumpled paper — strong for frustration, deleted thoughts, and feelings that are hard to express.

6. Folded paper — good for hidden messages, private feelings, or emotions kept away.

7. Ripped paper — strong metaphor for emotional release, vulnerability, and letting something out.

8. Speak / mouth — important because your campaign is about helping students say more than “I’m fine.”

9. Fidgeting hands — very relatable for anxiety, nervousness, and difficulty expressing feelings.

10. Person hugging herself — strong for self-comfort, loneliness, and internal emotional coping.

11. Person with hands on head — useful for emotional overwhelm, pressure, and stress.

12. Emotions hugging a person — strong if stylised well, because it shows emotions surrounding or holding the person.

13. Unable to speak — very relevant to emotional suppression, but design it sensitively so it does not feel too harsh.

14. Small cubicle — strong for isolation and the private emotional space students retreat into.

15. Bathroom mirror reflection — very good because bathrooms are often private spaces where people emotionally break down or reflect honestly.

16. Bathroom sink — useful as a quiet, intimate environment symbol, but should be secondary.

17. Person looking out the window — strong for silent reflection, distance, and wanting to express but not knowing how.

18. Static waves / sound noise / wavy lines — strong as abstract visual elements for emotional noise and unspoken tension.

19. Thought bubble — useful for unsaid thoughts and hidden feelings.

20. Phone / call / dial button — strong because it connects to reaching out and emotional expression through small actions.

The Outlet, visual system should feel like emotions are being released from somewhere: a note, a voice message, a paper tear, a window, a mouth, or a small private space.

Fig 1.1 Sketches of Elements