Corporate Rebranding and Strategy: Deepak Nitrite Ltd.

DEGREE PROJECT Corporate Rebranding and Strategy: Deepak Nitrite Ltd. Sponsor : DY VWorks, Mumbai

STUDENT : AYUSHI MEDATWAL PROGRAMME : Masters of Design (M. Des)

GUIDE : DR TRIDHA GAJJAR

2017 COMMUNICATION DESIGN (GRAPHIC DESIGN)

National Institute of Design Ahmedabad

The Evaluation Jury recommends AYUSHI MEDATWAL for the

Degree of the National Institute of Design IN COMMUNICATION DESIGN (GRAPHIC DESIGN)

herewith, for the project titled "CORPORATE REBRANDING AND STRATEGY: DEEPAK NITRITE LTD." on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements :

Activity Chairperson, Education

Copyright Š2016-2017 Student document published meant for private circulation only. All rights reserved.

Master of Design, Graphic Design, 2014-2016 National Institute of Design, Ahmedabad, India.

No part of this document will be reported or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Ayushi Medatwal and National Institute of Design.

All illustrations and photographs in this document are Copyright (c) 2016-2017 by respective people/organizations.

Edited and designed by Name: Ayushi Medatwal Email: ayushi_m@nid.edu, medatwal.ayushi@gmail.com Processed at National Institute of Design (NID) Paldi, Ahmedabad - 380007 Gujarat, India. www.nid.edu Printed digitally in Ahmedabad, India.

October, 2017

ORIGINALITY STATEMENT

COPYRIGHT STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which havebeen accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgements is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgements.

I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institutes Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

Student Name in Full: Ayushi Medatwal

Date:

Signature: Date:

Student Name in Full: Ayushi Medatwal Signature:

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

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STRATEGY AND RE-BRANDING

DEEPAK NITRITE LIMITED

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

ACKNOWLEDGEMENTS This the formal word for the kind of thank you’s I have in mind. I deeply appreciate the assistance, help, support and guidance of numerous people.

NID, for all the education on design and life, and for being this place where I got a chance to discover myself.

For being an institute which is truly open minded and accommodative of everyone’s crazy whims and ideas.

All my teachers at NID, for always being kind and patient. For all the teachings and inputs along every step of the way. For being supportive in whatever we wish to explore and for letting us venture out.

Dr. Tridha Gajjar, for she is in my eyes, the perfect listener and a great teacher, For smiling at my irrational doubts, and making me see the bigger picture every time I got too obsessive. For being a very understanding guide and for always inspiring me with her experiences and wisdom, and many excellent observations. For making me realize that Design is about life experiences.

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Dy Works, for offering me this opportunity to be a part of their company and this project. For making me feel warm and comfortable and giving me room to voice my thoughts and explore my ideas freely.

Akansha and Suranjana, for taking interest in my ideas and helping me take them forward. For mentoring me with utmost patience, helping me discover and enjoy different flavors of Mumbai. Conversations with them were always immensely insightful and thought provoking.

Anagha, Hemeesha, Aarti and Jagpreet, for mentoring me and helping me learn and answer all my questions with utmost patience. Working with them seems like an evening off.

Studio Team at Dyworks, for giving me guidance for everything related to paper, print, and dimensions.

Vaishnavi, for all the conversations that we shared about life and work. You always inspire me.

All my friends and batch mates at NID, who have contributed in my growth and learning’s with their stories and experiences.

Mom, dad, sister and brother for all the love. For giving me the space and freedom to explore and grow. For always being supportive of my decisions.

My house mates in Mumbai for their warmth, stories and company. Tanya, Vidushi, for a friendship that is exceptional and beautiful.

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SYNOPSIS This project has been the most eventful and memorable for me as a graphic designer and as well as a student.

This project gave me the opportunity to work in various important sections of graphic design, which included branding, strategy making, detailed immersion, and workshops, and also in print production.

Redefining Deepak Nitrite was a project, which led to re-strategizing a brand and visual system with the world at large. Being a chemical manufacturing company based in Baroda, the company is respected - but perceived as a sleepy organization. It was established in 1970 and has been growing steadily, however there are struggles with retaining good employees and there are several other internal and external issues plaguing the organization’s growth.

The problem lies much deeper and lies in the internal culture and the organizational structure of the company and that is the root cause of this rebranding exercise.

There is leniency, lethargy and company is disorganized which reflects in their communication as well from my project’s point of view.

Deepak Nitrite Ltd Strategy Design and Re-branding aims to create a brand and defining its perception is not

just necessary across its customers and employees - but across multiple stakeholders. It is important to control the narrative of the brand across all relevant audiences and touch-points, so that fragments of scattered information do not become what define the brand.

So this is where I come in as a student of Graphic Design looking for a final year project and I was given this project which et me go through Deepak’s existing journey throughout almost 50 years. Since there was not a clear idea what the brand should be like in future and what it is standing for currently, the information had to be collected from all stakeholders and varied touch points.

In order to redefine a brand, it is needed to understand what the brand currently stands for and especially with an organization, which has a legacy of almost 50 years. The lineage and history that comes with requires us to have an in depth understanding of each and every aspect of the organization. Understanding their current visual language if any and what kind of tonality they generally adopt.

Communication is also restricted since it is a B2B firm and not a B2C firm.

This project documents the journey of Deepak Nitrite Ltd. from the very thought about generating revenues

for new project with changing the overall brand image through strategy redesign and rebranding. The major part of the work is done on visually mapping the data, which helped in building a new strategy and new identity for the company. This project also contains a brief study about Deepak Nitrite Ltd., various case studies and competition study. This project also gave me an opportunity to work with other projects from the sponsor company.

“A strong brand should do following things: it should be relevant to customers, it should differentiate itself from the competition, and it should have the ability to stretch as the market stretch.”

- Kris Larsen, M.D. for Interbrand

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

Introduction

CONTENTS 1

2

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Getting Started 1.1 About Deepak Nitrite Limited

27

1.2 Why Rebranding Deepak Nitrite Limited?

36

1.3 Quick Diagnostic

39

1.4 Visiting Vadodara

44

1.5 Immersion

50

1.6 Competition Study

61

1.7 Case Study - Brand Philosophy

68

Design Research & Analysis 2.1 Thoughts on the Existing Brand Identity

73

2.2 Case Study Analyzing Visual Identities

74

2.3 Color Mapping Competition

75

2.4 Communication Study

78

2.5 Understanding the Brand Architecture

86

2.6 Naming the Brand

87

2.7 Understanding the Target Audience

88

2.8 Learnings: Analysis and Design Insights

89

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3

4

New Brand Vocabulary 3.1 Positioning Statement

92

3.2 Diagnostics

94

3.3 Core Values

97

Design Iterations 4.1 Getting Started with Design Directions

103

4.2 The Basic Visual Design Palette

107

4.3 Thinking on Paper

108

4.4 Understanding the word - ‘Contemporary’

116

4.5 Explorations

118

4.6 Choosing and Eliminating Options

131

4.7 Learning while Exploring

135

4.8 Brand Build Up

136

4.9 Client Feedback and Final Identity

150

4.10 Baroda Piece

170

4.11 Brand Guidelines

178

Conclusions

185

References

186

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

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Introduction.

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

THE NATIONAL INSTITUTE OF DESIGN The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research.

Through three campuses in Ahmedabad, Gandhinagar and Bangalore, NID offers professional education programs at Undergraduate and Postgraduate level with five faculty streams and 18 diverse design domains. NID has established exchange programs and ongoing pedagogic relationships with more than 55 overseas institutions.

NID has also been playing a significant role in promoting design.

NID has a unique institution with many problem solving capabilities, depths of intellect and a time tested creative educational culture in promoting design competencies and setting standards of design education. The rigorous development of the designer’s skills and knowledge through a process of ‘hands on, minds on’ is what makes the difference.

Early morning view of Foyer and Eames Plaza, NID taken from Old Canteen

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M. Des 2014, Graphic Design Batch Left to Right: Akshay, Parvez, Parag, Tripti, Vishnu, Shashi, Payal, Ankita, Ankush, Shruti, Surbhi, Kiran, Ayushi, Sneh and Nagesh

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

THE WORKPLACE ABOUT DYWORKS DyWorks is a human-centric business design firm that helps businesses lead at the speed of change. Working at the intersection of Business, People and Culture, the firm creates solutions that are deeply rooted in human beliefs, psychology and behavior.

They believe in bringing a different world view and operate at the cusp of management consulting and design thinking to decode cultural insights, disrupt categories and markets, product and experience and design solutions for radical impact. They make no distinction between business and design, online and offline, product and experience, and are multi-disciplinary thinkers that partner businesses to achieve high rates of growth and profits in this changing world order.

Through their experience and contribution in the field of design, they have developed their own method of working, and it was enriching to be able to learn that firsthand. In

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a rapidly evolving urban Indian landscape and a culture that is undeniably rooted in its unique sense of self, the design work at Dyworks constantly aims at identifying possibilities for communication and design, and coming up with design solutions that are holistic, innovative, smart and culturally relevant.

Founded in 1997 as DMA Branding and later merged with Yellow design as DY Works, they have grown to become one of India’s leading design thinking firm.

The method of work at DyWorks is driven by the nature of the project and every project is tackled with thorough study, commitment, love and attention to detail.

Working at DyWorks has helped me develop a keener eye for detail, always ensuring that every little element in the design, come together and works as a whole, while retaining as sense of freshness.

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Team DyWorks, Mumbai

Clients DyWorks has worked with

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

PROJECT PROPOSAL To work on Corporate Rebranding and Strategy development of Deepak Nitrite Ltd.

Tentative Project Proposal

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PROJECT TIMELINE

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

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01

Getting Started 1.1 About Deepak Nitrite Limited 1.2 Why Re-branding Deepak Nitrite Limited?

1.3 Visiting Vadodara 1.4 Immersion 1.5 Visual Mapping 1.6 Competition Study 1.7 Case Study - Brand Philosophy

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

ON BRANDING “People often view the role of Graphic Designers in branding as logo creation, starting and ending with the brand mark, yet the graphic designer’s role is much more extensive and requires knowledge beyond that of how to make a visually pleasing identity.”

Designer cannot “make” a brand. Only the audience can do so. The designer forms the foundation of the message with the logo and identity system. The process of Branding is hugely influenced by Graphic Designers. The visual interpretation and translation of a brand to an audience is the fundamental element of branding.

Successful delivery of brand promise demands involvement, motivation and preparation of key stakeholders. This applies to both internal and external ones. Employees are after all responsible for brand promise delivery because they represent the company and brand themselves.

Design connects the audience to the brand. People often view the role of Graphic designers in branding logo creation, starting and ending the brand mark. A graphic designer’s role is much more extensive and requires knowledge beyond that of how to make a visually pleasing identity.

The Interaction Triangle:

Branding helps the organisation differentiate itself from its competitors, and establish itself as the clear choice in the minds of prospects and existing customers. The concept and process of branding is dynamic and changes along with the change in social (cultural), economic, political, technological, legal system and across the geography. The brand is not always managed by the organisation or customers alone it evolves over a period of time in a given context with the interaction of various stakeholders with the organisation. It helps to shape these interactions in a controlled and desired way.

Branding is the means to achieve certain objectives of the organization, communicating through its touchpoints and interactions, to achieve the value it is proposing.

The current system interaction model is as illustrated above. The demand and supply of products and services govern the relationship between the B-to-C(market) and B-to-B(industry). Whereas the user or customer share a direct relationship limited to the buying or selling activities. The user has no or indirect interaction with the industry which is usually limited to feedback and the impact created by its offerings.

Source: The Importance of Brand on B2B Markets by Bc. Martin Konecny

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ON REBRANDING REDESIGNING POINTERS: • Require a thorough and full understanding of the brand and its direction.

• To determine the extent of change.

• Not compromise on the existing brand values as it may drive away those who are loyal to the brand.

• Ensure that the brand is updated, enlivened, and it gains a more contemporary position.

• Require clear communication to explain the need for the change.

Brand Identities are re-designed for various reasons.

It may be to capture a new audience, to reposition a company or an existing brand, or to offer something new.

Every product or service that operates in a competitive environment needs to be supported by branding and communication to explain to its audience why it exists or why it has changed.

• Identity for Repositioning (New horizons) - When a company redirects its business or expands into new products or services, it needs a way to signal the change to its market place. For these companies, a new identity must subtly play on the solidity and reliability of the original brand, but illuminate the new venture in a bold, visually interesting way.

With an existing brand that needs reinventing, a culture already exists, together with a tradition, an attitude and a reputation, often a long standing one. There are employees, customers, stakeholders, suppliers.

• Identity to Signal Change (Sea change) - Some companies outgrow their original missions or need to overcome erroneous impressions about who they are and what they do. Others need to change their name to reflect new business directions. Here, a new identity should help the company to maintain any positive brand equities that already exist, but allow it to reintroduce itself to the market place.

As a designer, it was important for me to understand the context of the brand that I was working with. To study its origin and history, its market positioning, its competitors and the existing brand environment.

“With an existing brand that needs reinventing, a culture already exists, together with a tradition, an attitude an a reputation, often a long standing one. There are employees, customers, stakeholders, suppliers.”

Reasons for embarking on new identities as diverse as the business themselves, but for purposes of this are grouped: • Identity for Renewal (About Face) - For many businesses, staying fresh is the name of the game and projecting a contemporary, updated image is essential to staying competitive. For these companies, new identities are often more evolutionary than revolutionary. They want customer to recognize an old friend, but are pleasingly surprised by a fresh new visual experience.

• Identity for Growth (Fueling Growth) - Mergers and acquisitions, IPO’S and roll-outs are new household words. But how do large corporations manage the change brought by growth, consolidation and other market changes? Many use new brand identities to stay connected to their local and global audience.

“A strong brand should do 4 things: it should be relevant to customers, it should be, it should differentiate itself from the competition, and it should have the ability to stretch as the market stretch.” - Kris Larsen, M.D. for Interbrand.

Source: Designing corporate identity, Pat Matson Knapp

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

METHODS OF RESEARCH IMMERSION

STRATEGY

CREATION

First phase adopting a mix of methods to fully understand the context, consumer, competition, company. A mapping of key issues facing the brand across data gathered from a variety of sources like primary and secondary research, extensive interviews, corporate o ice and factory visit in Baroda, visual mapping, immersion data analysis, workshops, empathy mapping, possibility mapping, etc.

The detailed immersion is followed by analysis of the categorized data. This will define and segment data, thus becoming input for the strategy phase.

What does the brand DNL stands for? What will align then internally to a common purpose? What makes Baroda an ideal location? What does the brand mean to its external and internal stakeholders? Why will its employees/ customers prefer the brand? Brand Definition (Essence, Values, Personality, Positioning).

• • • • • • •

• What we say (Lineage, Portfolio, Communication) • What others say (Consumer Study, Media/Expert Audit, Core Believer Insight) • What market says (Market share and growth data)

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Cascade: Brand strategy for Internal and External strangers. Workshop to cascade the brand. (Codes of internal culture, communication strategy for key stakeholders like Media, Investors, Suppliers, Customers, Potential Recruits) *This stage is not part of my project deliverables

Logo Brand Name Tagline Business Card Letterhead Envelope Employee ID Card

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The following process was formed after referring the Gary Hamel and Shoji Shiba Innovation process and studying Kano’s model.

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

View from the Nandesari plant in evening which is near Vadodara

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1.1 ABOUT DEEPAK NITRITE GETTING THE SENSE OF THE BRAND

Incorporated in 1970 as a private company, Deepak Nitrite Ltd is a highly respected, well performing company that has history of regarding investors, and of being a niche player in chemicals industry. Their first public issue in 1971 was followed by a commissioned Sodium Nitrite Plant at Nandesari, Gujarat.

Headquartered in Gujarat - the chemical hub of India, Deepak Nitrite is a multi-division and multi-product company with manufacturing facilities at Nandesari and Dahej in Gujarat, Roha and Taloja in Maharashtra, and at Hyderabad in Andhra Pradesh. They have been one of the earliest adopters of the ‘Make in India’ philosophy.

Deepak Nitrite has today grown into a 700 million US dollar global group.

KEY FACTS ABOUT DEEPAK NITRITE 1. They are the market leaders for Sodium Nitrite, Sodium Nitrate and Nitrotoluenes in India.

2. They are amongst top three global suppliers for Xylidines, Cumidines and Oximes.

3. They are the producers of organic, inorganic and fine chemicals with specialization in hydrogenation, nitration, customized molecule development, hazardous reactions and toluene derivatives.

4. Also among 18 Indian companies to be accredited with Responsible Care Certification - towards global environment, safety and health management.

5. Their 45% business is through exports.

Many of the Fortune 500 companies are among their client list. Being a global supplier of choice, offer a spectrum of ingredients used for multiple applications and in multiple geographies. Their capabilities include manufacturing of high-value specialty products either based on their own end products or developed especially for their users.

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

Deepak Nitrite (DNL) is promoted with manufacturing at Nandesari, Gujarat.

1970

Commenced manufacturing of Sodium Nitrite and Sodium Nitrate at Vadodara, Gujarat.

1971

Went public with a landmark oversubscription.

1972

Deepak Fertilizers commenced production as India's first ammonia manufacturer to support Deepak Nitrite's requirements.

1974

1983

Recognized with the Sir PC Ray Award for 'Best Chemical Industry Unit' developed by an indigenous endeavour.

Some milestones in the journey of Deepak Nitrite Ltd. since its inception in 1970

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Nitro Aromatics plant was commissioned.

1984

Acquired Sahyadri Dyestuffs, Pune to produce dyes and intermediates.

1991

Commissioned DNL Taloja, Maharashtra for full-fledged hydrogenation production.

1993

1995

Received merit certificate from CHEMTECH Foundation.

Acquired Aryan Pesticides, Roha, Maharashtra to support several chemistries.

1998

2002

Received 'FICCI Award‘ from the erstwhile Prime Minister of India, IK Gujral.

Added fuel additives to its set of verticals.

2006

Acquired DASDA manufacturing site from Vasant Chemicals in Hyderabad

2010

Awarded the Responsible Care accreditation - a global benchmark towards global environment, safety and health management.

2011

Achieved REACH compliance.

2012

2013

Brownfield expansion for inorganic salts at Nandesari, Gujarat.

2013

Commissioned a world-class facility to produce Optical Brightening Agents at the port supported industrial zone of Dahej, Gujarat.

2016

Deepak Phenolic Limited project kick-started. Looking for considerable investments for the same.

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GLOBAL REACH Over the years Deepak Group has built business relationships with leading global companies and have made their presence felt in over 20 countries across 6 continents including USA, the European and East European nations, South Korea, South America and the ASEAN countries.

Trademarks and logos of the companies referred on this page are the property of their respective owners/ companies

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

PRODUCT PORTFOLIO Deepak Nitrite is a multiple-product, multiplesolutions company. Their portfolio is a wide spectrum of products with diverse applications ranging from Agrochemicals, Rubber, Pharmaceuticals, Paper, Textile, Detergent, Colorants, and Petrochemicals to Specialty and Fine Chemicals. They also specialize in customized intermediaries to suit specific client needs.

1. Optical Brightening Agents (OBA) 2. Fine and Specialty Chemicals (FSC) 3. Bulk Chemical Intermediates (BCC)

APPLICATION DIVERSITY • Agrochemicals • Rubber • Pharmaceuticals • Paper • Textile • Detergent • Colourants • Petrochemicals • Fine and Specialty Chemicals Screenshot of product diversity of Deepak Nitrite from their website

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INFRASTRUCTURE Fully integrated infrastructure equipped to manage a product right from design to dispatch lends Deepak Nitrite a strong competitive advantage.

They produce complete value chains, right from feedstock to finished product within the organization. This not just ensures high quality standards but also, enhances cost-competitiveness.

1. Nandesari, Gujarat - Bulk and commodity product manufacturing with on site Nitration and Specialty Agrochemicals 2. Dahej, Gujarat – Full spectrum Optical Brightening Agents production with application labs.

3. Taloja, Maharashtra - Hydrogenation and noble metal catalysis specialty.

4. Roha, Maharashtra - Multi-specialty site specialising in pilot plants and scaling up activities, Nitration and Specialty Agrochemicals.

5. Hyderabad, Telangana - Zero discharge toluene derivative (DASDA) production sites.

Map showing the manufacturing plants of Deepak Nitrite

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

BRAND DEEPAK As shown alongside Deepak is a brand that has core values which is it's foundation, supported by mission statement.

The core vision of Deepak is what drives the brand forward in whatever they do internally and externally.

Current lived values of the company

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Deepak brand is targeted at it's audience who include all the stakeholders of the brand who will in some way or the other interact with the brand. This makes it necessary to create a brand that is relevant for all the stakeholders.

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DEEPAK PHENOLICS LIMITED Deepak Group sensed a huge untapped opportunity to cater to domestic Phenol and Acetone deficit.

Hence, it took investment decision for manufacturing Phenol and Acetone to match the shortfall in domestic market through its wholly owned subsidiary, Deepak Phenolics Limited (formerly known as Deepak Clean Tech Limited). The capacity of the proposed Phenol Plant will be 200,000 MTPA and that of co-product Acetone will be 120,000 MTPA. The project aims to tap the entire domestic demand facilitating import substitution.

Phenol and Acetone have high-end utilities in infrastructure, automotive, pharmaceuticals, and even in the aerospace Industry. Phenol is mainly used in Plywood & Laminates, Agro, Pharma, Perfumery derivatives, industrial sectors as molding component and in many areas of phenolic resins. It is used in the preparation of resins, dyes, explosives, lubricants, pesticides and plastics.

It is also used as an organic solvent to dissolve other alcohols, chloroform and ether. Acetone is used as one of the volatile components of some paints and varnishes.

› http://deepakphenolics.com

Current Brand Identity First look at the Deepak Phenolic Ltd. website CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

DEEPAK FOUNDATION A Corporate Social Responsibility wing of Deepak Group, initiated in 1982 with a vision of providing healthcare facilities to the families of workers and local communities residing in the industrial area of Nandesari. The Foundation has progressed over the period into a leading non-profit civil society in Gujarat and has expanded its services nationwide with branch offices in Pune, Roha and Taloja in Maharashtra, Hyderabad in Telengana, Indore in Madhya Pradesh and New Delhi.

The Foundation has marked its impact by: • Delivering door-step healthcare services to more than 2,00,000 marginalised population.

• Empowering more than 11,000 women from rural and tribal areas.

• Ensuring food security for more than 6,000 women farmers.

• Building skills of more than 4,000 grass-root functionaries and youths from rural and tribal areas.

• Monitoring nutritional development of approximately 6,000 pre-school children in the age group 0-6 years and developing the reading skills of more than 400 school going children.

›› http://www.deepakfoundation.org

Current Brand Identity First look at the Deepak Foundation's website

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Screenshot of the homepage of Deepak Nitrite's official Website CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

1.2

WHY REBRANDING DEEPAK NITRITE LTD. BRANDING OBJECTIVES

PROPELLING HOLISTIC GROWTH

1. Creating internal alignment to purpose and vision with relevant meaning for each business.

2. Create an internal culture that is cohesive and relevant for business objectives.

3. Define communication strategy and brand touch points - internally and externally.

4. Become an aspirational employer brand- to attract and retain talent.

5. Position Vadodara as a desirable place to live/work/play.

6. Increase the overall perception of the brand - reflected in its valuation and financial attractiveness to investors/ shareholders.

Each person is the expert in his or her own job. Strong internal branding must make clear roles and behaviors.

After defining the purpose of the organization, every employee must put efforts at the right pace, in the same direction leading to the company’s goal.

“DNL will need to take effective measures for building a cohesive culture that will fuel holistic growth. This further validates our beliefs that DNL needs internal alignment.”

Strategic vision and communication are of prime importance as the internal culture eventually spills over in the external environment. This reflects the company processes, deliveries; credibility as also forms the base of further growth of the organization.

QUICK DIAGNOSTIC Since the company has been around since 47 years and was going through a transition period, they had decided to re-look at the Deepak brand as a whole, and bring in the much needed change in order to make it more relevant and at par with today’s rapidly changing times.

Before my first visit to the company, Alpana visited Baroda for a two day immersion in form of interviews with the internal stakeholders at Deepak Nitrite and also some from Deepak Phenolics. She had done five interviews asking about the general image, know-how, internal culture, investments of the company. I got a brief idea while transcripting these interviews and drawing common patterns .

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The purpose from their point of view for calling her in was to kick-start diagnostic and figure out what the current values stands for so that everybody is on the same page.

Two Day Immersion with Internal Stakeholder There was a set of interviews conducted in a two-day immersion with Internal Stakeholders in the beginning of the project that paved the way to discover some key issues in this diagnostic. People interviewed: Deepak Phenolics - Harshit Kapoor, Gopal Thakkar, Harendra Pandya, S.K. Anand Deepak Corporate - Deepakbhai Mehta, Vijay Deshpande Deepak Nitrite - Ranga - BCG, Suresh Manekar, Umesh Asiakar, Sanjay Upadhyaya, Kamalakar Rao, Utkarsh More, Narendra Gangwar, 5 GET’s/MT’s

After transcripting them, data was organized and a pattern was identified under five headings; employees and management, vision and alignment, customers, communication, relevance and perception by external stakeholders.

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Screenshot of data organized under buckets

CORPORATE REBRANDING & STRATEGY

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

FILTERING DATA ISSUES DISCOVERED IN THE DIAGNOSTIC EMPLOYEES AND MANAGEMENT

• Should there be a common culture at DNL and DPL? • What is the culture we want to create?

• How can we attract and retain talent?

• How do we promote teamwork?

• How do we create a positive environment where we create a ‘can do’ attitude?

• How do we position Vadodara as a desirable destination?

VISION AND ALIGNMENT

• What aligns everyone to a common purpose so that all come together to take the company from good to great?

• How can this purpose translate into tangible goals and become the guiding principles for SBUs and functions?

• How can the gap between desires and execution be plugged?

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CUSTOMERS

• How do we create satisfied customers?

• How can we create long-term relationships with customers?

• How can we create a customer centric culture?

• How can we become their first choice?

• What will create customer loyalty and delight?

RELEVANCE AND PERCEPTION

• How do we create a greater awareness for Deepak?

• How do we make it relevant to media/investors?

• What media should we use? And how? What should our digital strategy be?

• What should we be communicating, when and how?

• How can we go from good to great?

COMMUNICATION

• How do we engage prospective and current employees?

• How do we create pride and a sense of belonging?

• How can we raise awareness with the Primar, Secondary and Tertiary audiences?

• What should we be communication, when and how?

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1.3 VISITING BARODA

VISUAL TOUR & MEETING STAKEHOLDERS My first briefing on the Project was a discussion with Suranjana updating me on the previous meeting they had with the client and what they know about Deepak Nitrite Ltd as a company, the Parent brand and their setup in Gujarat.

They threw in names related to chemistry and corporate responsibility, which were unheard of by me. They had worked on similar projects in different industry sector and hence they had a much better understanding of where the company stands and the kind of system we were dealing with.

are amongst the flag bearers of chemical manufacturing companies in India.

Since we are dealing with a s system that was under transition, there was lot to be understood before we played a role in brining about and supporting this change with the new strategy and redesigning.

Deepak Nitrite’s corporate office is situated in Vadodara, Gujarat on the National Highway No. 8, Chhani Road. We prepared and went for a two-day visit to their office and Nandesari Plant, which is around an hour drive from their corporate office.

Which meant that I had a lot of catching up to do in order to come at par with their line of thinking. When you work on a project in a new place, there is an added level of understanding of the place, the people, the language and the culture that is required in order to do justice to the project.

According to how it had been planned, we were to meet and conduct interviews with employees at office and plant and also their suppliers, customers and other stakeholders.

We started with a tour of the office and then observing the structure, work culture and also how a day looks like for any employee in Deepak Nitrite’s office.

This understanding was going to be very crucial in the future interactions and undertakings. I had decided that I would observe and absorb all along. Deepak Group is a corporate company, which comes with almost 50 years of lineage and a line of specialists in their field. They

The corporate office is situated on the highway, and doesn’t seem like its far from the city life. You can recognize their office with its distinct blue glass building.

Deepak Phenolic office is next to Deepak Nitrite’s office.

Deepak Group is going through a transition period with Mr. Maulik Mehta’s vision of bringing a trajectory change in the overall look, perception and internal functioning of the company. With a project like Deepak Phenolics Limited, they are trying to raise investments and aiming to face lift Deepak Group keeping in mind then need for future endeavors.

MEETING » AUDIO RECORDING » TRANSCRIBING THE MEETING » HIGHLIGHTING THE KEY POINTS » ISOLATING KEYWORDS AND PATTERNS » MAKING CONNECTIONS CORPORATE REBRANDING & STRATEGY

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Since this was the first meeting, we had a lot of questions that needed to be answered, starting from the purpose of brining in a brand strategist on their end, and the authenticity of conclusions about the big change that is about to happen with Deepak Phenolics taking shape and the huge investment that is taking place. We wanted to get their opinion on the current identity, the way it looks, the colors and the symbolism.

Being the propagators of the company’s identity, they were the best people to tell us exactly how the current identity came about and what it lacks and the degree of change they are looking for.

The second day started with visiting the corporate office again and completing few interviews left with employees at Deepak Phenolic. They seem to be generally happy with being associated with this company rather than Nitrite because they believed this is going to be fresh uplift for brand Deepak with better internal culture and working condition.

(L) Aditya I, Corporate Office building of Deepak Nitrite (R top) Reception of the corporate Office (R bottom) Campus picture taken at MS University,Vadodara

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GUIDE FOR ACCOMPANIED TRIP The research will be followed/ preceded by an accompanied trip to Vadodara. A fly on the wall method will be employed to study the respondent in their natural environment. What is the choice of activity, where is it being done, who all accompany, how is it being down, reasons for the same, other activities in conjunction (driving, food choices, chores, etc.), is it a habit/choice/ passion, time spent, conversations and any other striking thing about it – The space of the activity – is it a functional space or a lingering space.

What are the codes that make a space a lingering one?

What are the codes that make a space a shared space vs. an individual one?

• Basic Thick Description – making copious noted of everything that one observes the respondent doing in a narrative fashion.

• Reinvent the familiar - Note down familiar objects, assume that everything observed is a new thing • Understand the space – the environment.

1. What do they do in the space?

2. How do they interact with the space?

3. Their entire routine once they enter the space?

4. What is usual or unusual activity in the space?

5. How do they navigate the space?

6. The location of the space itself, surrounding environment, approach, other markers that define the space from the outside.

7. What kind of groups form within the space, what are the social activities in the space?

8. What are the dynamics between social actors?

9. What constitutes excitement, boredom, activity, etc. in the space?

10. What are the physical cues that can be garnered from their actions?

11. Their level of comfort and their interaction, and familiarity with objects?

12. What would constitute as “events” or “happenings” in the space?

13. What visual or cultural symbols define the space?

14. What is the quality of conversation between members?

15. In Out-of-home what is the network of individuals that constitute that space? What are the social relationships between these individuals? How do they facilitate and curate the experience of the respondent? How does the respondent react to this?

• Using Storytelling • Post the activity – Tell me about your trip today? What are the highlights? Why did you do that/this? Is this your normal routine? Tell me about a time when there was a deviation from the routine?

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Left: Planning and scheduling for two day Vadodara Immersion Right: Wearing madatory safety gears when visiting Nandesari Chemical Plant

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Left - Clicking pictures and documenting for research Right - Looking at print collaterals of Deepak Nitrite

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1.4

IMMERSION The most serious brand disconnect an organization can experience occurs when the organization’s people have a different perspective of what your brand entails. If disconnected, their behaviors, beliefs, stories, and outward expression of your brand will be different than the brand experience you want for your customers. Different is bad. Every company should strive for consistency for the customer experience. To be effective, Brand Immersion must happen inside the organization before you can expect your external brand community to internalize and appreciate your branding and brand experience.

Designers may employ a range of tools and techniques while involved in key activities in early stage design such as generating, selecting, and evaluating concepts. A range of tools may be used to explore and evaluate ideas in order to drive the design process forward.

First phase adopting a mix of methods to fully understand the context, consumer, competition and company.

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Qualitative Research: A judicious mid of in-depth interviews, Telephonic interviews, Vox-pops, Ethnographic study and observations.

Depth Interviews: Detailed discussion guides were prepared for each category of the stakeholders to lead the conversation. Though there were a set of defined questions, the interviews focused on probing to go to the depths of points which were of interest.

Ethnographic Observations: The idea here was to gain an insight into the employee’s lives - and understand their life, day parts, needs/motivations and stressors. A day was also spent at the Nandesari plant to observe its employees in their everyday environment and observe the day to day functioning of the plant.

Brand Immersion is accomplished through careful education and training, peer-to-peer storytelling, experience sharing, mentoring and strategic communications to facilitate brand adoption, acceptance, and appreciation.

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Interviews with Key Stakeholder

Process: Unpack and Group Unpacking deals with airing out all the stories and observations that are sticking out about what we saw and heard during the fieldwork. Each member will lay out all the data in open spaces for all the teammates to observe, synthesize and process.

All of this data is then physically grouped to illuminate theme and patterns that emerge. The end goal is to move toward identifying meaningful needs of people and insights that will inform our solutions.

Touch Points • Interviews - Employees - Customers (Satisfied and Challenging) - Suppliers (Long term association and Current) - Investors - Media/Marketing - Stakeholders • Annual Reports • Media Reports • Internal Communication • External Communication • Market Data (growth, market share, etc.)

• Philanthropic Activities • Company’s chemical plants location • Competition (Local and Global benchmark)

What are we unpacking here?

• Culture • Infrastructure • Business • Lineage • Brand • Category • Communication • Research • Learning • Competition

How do we hope to achieve?

• Collect Robust Data • Discover Tangible Insights

In a B2B scenarios the employees constitute as one of the most important stakeholders. Not only are they important from the work-wise point of view; but also from the company’s advertisement point of view. The employees should be aware of the ongoing of the company and also should feel good about their work place so that with the least amount of public presence their positive experiences reflect not only in their work attitude but in day-to-day outside-office interactions too.

Main agenda for Internal perspective was to understand: • The major apprehensions and appreciations of Deepak Nitrite Ltd • How would they like DNL to be defined as • How aware are they about the brand they work for and build with their daily activities.

• Unpack and Pack

Questionnaire for:

• Visual Mapping

• Stakeholders

• Empathy Mapping

• Investors

• Competition Mapping

• Suppliers

• Opportunity Mapping

• Baroda • Note for media interviews • Note for customer interviews • Guide for accompanied trip

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Questionnaire and basic guide notes prepared before visiting Vadodara for Immersion.

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Screenshot of the Planner and scheduling meetings with employees, suppliers, media, stakeholders and customers.

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Immersion Overview Immersion was conducted over a period of 4 weeks to ensure that the rich data collected is utilized effectively.

Our mission was focused on getting insights into each of these building blocks.

• People: Interviews conducted with employees at all levels both in-depths and Vox-pops.

Sub-category - Employees, Customers, Suppliers and Organization Structure • Business: Understanding of the Product Portfolio by using both secondary data and interview findings.

Mapping of all different processes by using observations and interview findings.

Sub-category - Product, R&D and Innovation, Process and New Ventures • Culture: Examining the culture of Deepak Nitrite Ltd., what values are intrinsic and what are extrinsic.

Ethnography of Spaces Observing both the physical

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aspect as well as people’s interaction with the same.

Sub-category - Vision, Mission, Learning and Training, Infrastructure and Environment, and Internal Culture • Community: What people say about Baroda and What residents say about DNL? • Competition Study: Companies to study were chosen strategically basis category reports and market data to identify market leaders and to have a balanced mix of both Indian and global players.

• Case Study: In order to demonstrate how these have impacted companies across the global.

All these led to a lot of data which was then further bucketed to sort through for key findings. These findings were further used to identify insights and emerging patterns.

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Top Left - The Immersion was focused on getting insights into each of these components.

Bottom Left - Details about total number of touch points covered during this research phase.

Right - Screenshot of Google sheets document where all the data was bucketed. Total of 9-10 sheets were used.

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1.5 VISUAL MAPPING Mind Maps allow you to creatively organize ideas, words, and tasks in such a way that they’re all interconnected producing a useful structure that visually helps decipher problems, with decision making, designing, and writing.

Visual mind-mapping can expand existing ideas, helps plan strategically, increase motivation, clarify and clear thoughts, explore and address past mistakes, develop better thinking skills and also fire up one’s imagination.

Brand Personality is a projection of human traits onto a brand, through which people can determine their relationship toward that brand and can maintain a relationship with it.

Source: Change by Design How Design Thinking Transforms Organizations and Inspires Innovation - by Tim Brown

Thought Process: When you practice design thinking, you move through “four mental states.”

“Divergent thinking” can generate alternatives to the present reality and provide more choices.

Next, employ “convergent thinking” to sort your options and decide which is best. Then apply “analysis and synthesis”.

Analysis breaks patterns down, and synthesis “identifies meaningful patterns” as you reassemble them. Shift cyclically back and forth among these states, generating the new, analyzing it, shifting and selecting, and then examining it in practice – and, often, starting the whole process over again. Evaluate ideas based on their own merits, not on who thought of them. Then analysis starts.

Source: The Science of Art and Branding, Giep Franzen and Sandra Moriarty

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Visual Mapping Boards used duirng research. Total of 8 boards were used like these.

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PEOPLE EMPLOYEES

CUSTOMERS

SUPPLIERS & STAKEHOLDERS

Strengths • Loyalty: Towards the company - have been working with them for a long time • Background: Hired from prestigious institutes - have the correct background • Management Training: A proper MT hiring and training program in place now

Strengths • Transparency: Fair amount of transparency is observed in all transactions • Trust: Most clients have a long business relationship with the company. Hence trust becomes a big plus

Strengths • Long association, high mutual trust • Open to recommendations • Genuine and humble

Possible Roadblocks • Older Workforce: Majority of the employees at the corporate office are 40+ • Communication Gap: Wide age gap between older employees and the new hires - how do you solve for the difference in perspectives and working style?

• Stagnation: Complacency settling in breeding mediocrity • Pit-stop Perception: Many employees are actively looking out for something better.

Possible roadblocks • Follow-ups are difficult • Lack of responsiveness • Long term perspective missing • Quality Assurance: Quality output needs to be taken care of in areas where continuous innovations is there

EMPLOYEES › CUSTOMERS › SUPPLIERS AND STAKEHOLDERS › ORGANISATION STRUCTURE NATIONAL INSTITUTE OF DESIGN

Possible Roadblocks • Efficient co-ordination is sometimes an issue • Process inefficiencies - not automated like multinationals • No incentives or extras given for gratification • Very little recall of the company name in the industry

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ORGANIZATIONAL STRUCTURE trengths • Restructuring leading to SBU formation - more focused on products now instead of functions.

• Career growth plans for MTs and new hires now being charted Possible Roadblocks • Hierarchical organization structure leading to lack of ownership • Freedom to take decisions limited • Dependency on seniors for the same • Communication gap between levels • Administrative processes bringing down efficiency • Departments working in Silos • Closed-door policy • Risk Averse behavior leading to slow decision making

Left: Organization Structure chart of Deepak Nitrite.

Right: Images from visual mapping boards where data was organized in categories and hence the above mentioned observations were made.

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BUSINESS PRODUCTS

R&D AND INNOVATION

NEW VENTURES

Strengths • Market Leader: Sodium Nitrite, Sodium Nitrate, Inorganic intermediates and Nitro Toluene in India.

• Among top global players for products like Xylenes, Color intermediates, Cumidines and Oximes.

• Diversified portfolio with wide applications • Capable of producing complete value chains - right from feedstock to finished product

Strengths • Centralized R&D center for all units, for product development, BSIR approved.

• A business development form accessible to all employees to contribute ideas.

Strengths • Greenfield expansion plan at Dahej, Gujarat for manufacturing phenol and acetone • The Udaan project leading to successful conversion of waste into valuable product.

• Plans to enter pharmaceutical and personal category in the future

Possible Roadblocks • The leadership advantage has not been leveraged to the fullest • Pricing strategy of products not a strong point.

• The end usage of end products not communicated sufficiently leading to information gap.

• Rapid obsolescence of products and related methods of manufacturing can pose a serious threat.

Possible Roadblocks • Department works in isolation • Need for a stronger patent portfolio - at par with the industry • Bureaucratic process making it difficult for ideas to flow freely • In maintenance mode • No awareness in other departments of what is happening in R&D • No knowledge transfer/up-gradation • Only superficial market research conducted for innovations, need to go deeper • Limited exposure to avenues of learning

PRODUCTS › R&D AND INNOVATION › PROCESS › NEW VENTURES NATIONAL INSTITUTE OF DESIGN

Possible Roadblocks • Competition from other international suppliers of Phenol • Faulty planning and execution structure • OBA category - highly competitive and stressful • No focus on new technologies for product development

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PROCESS Strengths • Caters to some Fortune 500 companies amongst its clientele • Footprints in over 20 countries across 6 continents • Mission 2-3-4 to guide all future efforts • Possible Roadblocks • Excessive focus on bottom-line • Decisions driven by clout • Analysis Paralysis • Leniency and lax attitude when it comes to deadlines

Images from visual mapping boards where data was organized in categories and hence the above mentioned observations were made.

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CULTURE VISION, MISSION

LEARNING AND TRAINING

Strengths - As Defined • Vision: To be an employer of choice, enhance stakeholder value and be a preferred business partner worldwide.

• Mission: To improve life through innovative science and create value for human kind & the planet.

• Values: Integrity, Decisiveness, Team Spirit, Commitment, Caring, Excellence, Innovation and Customer Orientation • Core Purpose: “Improve life through innovative science”

Strengths • Well-planned orientation program given to MTs • New initiatives now being taken to engage and inform employees at different level (bhavai, stress management etc.)

Possible Roadblocks • The vision not clearly transcending into everyday functioning • Lack of clarity amongst employees • Too many values to own - need to be more sharply defined • Where does the Mission 2-3-4 fit into the new scheme of things?

• Vision at the top - doesn’t transfer downwards

Possible Roadblocks • The efforts taken are too few and far in between • No proper induction/introduction given to senior hires • Training/knowledge exchange programs missing • For plants, all modules (if any) are organized by the plant itself, no initiative taken from the corporate side • Levels of English across company poor - can be worked upon through organized workshops

Vision, Mission › Learning And Training › Infrastructure And Environment › Internal Culture NATIONAL INSTITUTE OF DESIGN

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INFRASTRUCTURE AND ENVIRONMENT CORPORATE OFFICE Strengths • Well-planned and constructed fourth floor • Has ample space for ideation and brainstorm • Games facility (TT and Carom) available for employees • Pantry in house Possible Roadblocks • Sitting arrangement as per hierarchy • Lots of doors and walls; opaque glass walls • Employees sit facing their backs to each other • Ladies washroom not available on every floor • Makeshift arrangement of canteen in the basement storage area • Quality of the same varies across floors • Reception desk too high. Water cooler right next to it is an eyesore.

• Games room also in the basement area • Surplus cleaning supplies (Bins and brooms) on open display • Basement area – dusty and ill maintained. Old files and rusted cupboards • Very Sparsely stocked library

NANDESARI PLANT Strengths • Some landscaping present; however improvements can be made • The entry point for employees very well organized proper queues and other processes in place • Safety and Security systems well planned • Transportation facility available for employees Possible Roadblocks • Separate canteen for executives and employees difference in the way food is served • Not enough ventilation in some spaces; only one fan for multiple employees • Closed-door policy; all senior officials sitting closed door AC cabins • Ladies washroom not available on every floor • Only one female washroom in the admin block - ill maintained • Guest washroom in R&D block - usually locked • Drinking water and hand wash facilities unhygienic; major water clogging; Dirty water coolers • Stopped giving banana chaas to executives when employees expressed unhappiness • Dirty, dusty and unhygienic office spaces - fans, windows and floor gathering dust • Low light; dingy conditions; unfinished cement walls • Old school, rusting and damaged furniture

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INFRASTRUCTURE - CORPORATE OFFICE

Picture board for highlighting negatives and positives of Infrastructure and environment in Corporate Office, Vadodara.

Blue highlights are positive traits and grey are the negative traits.

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INFRASTRUCTURE - NANDESARI PLANT

Picture board for highlighting negatives and positives of Infrastructure and environment in Nandesari Plant, Vadodara.

Blue highlights are positive traits and grey are the negative traits.

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COMMUNITY BARODA

Straight from the Transcripts:

Strengths • Royal Connection • Good infrastructure • Culturally Rich • Easy Accessibility • Peaceful and Quiet • Mixed employment opportunities

"Deepak Nitrite could not really connect with the city even being such an old company, maybe they chose not".

Possible Roadblocks • Sleepy and slow • Not exciting for younger generation • Punishment Posting • City of retirees • Not a weekend home for many • Few options for recreation except during festivals • Too Comfortable?

"DNL's visibility is poor".

"Jyoti Ltd, Alembic and others their names are widespread in city but not Deepak Nitrite".

"Its not about money, but about how much one contributes to the society and connects to the city being a big corporate giant".

"In my opinion, as chemical industry grew here, Deepak might have struggled in complying with regulations and certificates". " In Baroda, everyone knows DNL because there are few companies in this city and it is an old and good company". " It's a city with mixed opportunities for people looking for career options".

Vision, Mission › Learning And Training › Infrastructure And Environment › Internal Culture NATIONAL INSTITUTE OF DESIGN

Professor Malti Gayekwad, Fine Arts Department, Maharaja Sayajirao University of Baroda

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1.6 COMPETITION STUDY With rapidly changing globalized market and high competition from China and other markets, it is imperative to solve these in order to sustain.

The purpose of the competitive analysis was to study and understand how DNL’s competitors have positioned themselves. How can we differentiate and project ourselves more meaningfully keeping in mind the future plans of the brand to explore and enhance its services.

To have a better understanding of the brand’s competitors it was important for me to study basics of different types of organizations, their functionalities and various types of brand message architecture and systems.

Medium: Interviews, online presence, observation, books These were studied across the parameters of vision, values, tonality, innovation, employee engagement, communication, social media presence and other relevant verticals.

All this data used to map out each of the players across different parameters and gauge DNL’s current standing with respect to that.

There is a lot to learn from where we are vis-a-vis competition and where do we grow from here so that our strengths are maximized and roadblocks minimized.

Screenshot of the Competition Deck prepared during competitor study.

The focus in the next stage will be to use these learning’s to reflect and collaborate towards building a future road map to unlock potential for DNL.

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Analysis and Study about the way competitor companies communicate to their stakeholders. Also dividing them in three sections; Industry Peers, Strong Players and Benchmark Company

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Global Benchmark Company Lanxess Leading speciality chemicals company - chemical intermediates, specialty chemicals and plastics - with sales of EUR 7.9 billion in 2o15 and about 16,700 employees in 29 countries.

The products are spoken about in terms of their end usage thereby minimizing alienation of an otherwise highly specialized category. In addition, the end impact of their innovations makes Lanxess part of a bigger change story.

Mission We develop and manufacture chemical products and provide services in a safe and sustainable way. We aim to be an organization whose success is driven by the personal commitment and achievement of each and every employee.

Culture of Innovation Innovation is a key cornerstone. Their current research goals are in line with the global mega-trends of mobility, agriculture, urbanization and water.

Core Values Respect, Ownership, Trust, Professionalism, Integrity Their tonality "We make trains safer, car lighter, golf balls faster and join you under water. We color the Eiffel tower, make the tires of your car greener and help provide clean drinking water.”

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A lot of emphasis is laid on ownership of projects and creating leaders out of employees. A lot of pride is taken in employees individual achievements as well as making individual growth as big as the company’s growth.

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Screenshot of the complete Lanxess Competition Deck prepared during study.

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Indian Benchmark Company UPL (United Phosphorus Ltd.) Among top 10 agrochemicals industries globally, UPL has presence in over 124 countries. They have over 388 global patents to their credit.

Mission Manufacturing and supplying crop protection and specialty chemicals worldwide by providing solutions to optimize farm productivity for the farmer through innovative and cost effective products to provide the customer with better value for money.

Core Values Change the game, Passion for Excellence, Nurture the Environment, Energizing Employees Tonality “Drive our business beyond conventional frontiers” “Enrich our human capital” “Created a rich intellectual property bank”

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Culture of Innovation Doing Things Better is our core DNA Three simple words, which lie at the heart of UPL philosophy. “Doing Things Better” as all about raising the bar in global agricultural productivity. It represent an ethos statement and exemplify UPL way of living and creating a win-win situation for all stakeholders.

All conversation happens from a leadership point of view - What is the overall impact they are making as an organization. Product specific communication is technical and focuses on their functional aspects and benefits.

A lot of emphasis is laid on farmer’s interests and setting benchmarks in product quality. Energizing employees by providing them a stimulating environment to work is another big part of their driving force.

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1.7

CASE STUDY BRAND PHILOSOPHY The case study research design has evolved over the past few years as a useful tool for investigating trends and specific situations in many scientific disciplines.

Basically, a case study is an in depth study of a particular situation rather than a sweeping statistical survey. Whilst it will not answer a question completely, it will give some indications and allow further elaboration and hypothesis creation on a subject. The advantage of the case study research design is that you can focus on specific and interesting cases. This may be an attempt to test a theory with a typical case or it can be a specific topic that is of interest. Note taking should be meticulous and systematic.

Points of focus for Case Studies: • Employee engagement that led to greater productivity • Streamlined a product category that made them leaders in that respective field.

• Organisational structure change which led to business transformation • Collaborative innovation leading to company growth

SHELL Shell, An Anglo-Dutch multinational oil and gas company headquartered in the Netherlands and incorporated in the United Kingdom. In 2004, Shell was facing an oil reserves crisis that hammered its share price. In addition, the group chairman quit abruptly.

As a result, the corporation had to transform its structure and processes. While these changes were vital for survival, they proved unpopular in the short term as some countries stood to lose market share. But to be effective they had to be adopted by all.

• For a change program of this scale to be successful, everyone had to adhere to the new systems and processes.

• The fact that it wasn’t an opt-in situation but a mandate had to be clearly communicated.

• By identifying and rapidly addressing the many areas of resistance, adoption was accelerated.

• A team of experts were picked who had both technical understanding and could provide change leadership A big part of this success was the new group chairman Jeroen Van Der Veer, who never drew back from emphasizing how important full implementation of Downstream-One would be.

Downstream-One Successful: Shell is in a significantly healthier position than when the transformation started, and by that measure the program has been deemed a success.

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Serco is an international service company with more than 40,000 employees delivering services to government and private clients in over 30 countries. With renewed focus on business growth, the leaders recognized the need to improve customer satisfaction. Hence, in 206, Serco undertook an internal reorganization, bringing together two operations to create a new business unit.

• They began by clearly communicating the need for change.

• A communication campaign was started that made use of many channels, including posters and magazines.

• In addition, there were face-to-face communications that involved employees at all levels and were two way.

• Employees engagement was measured using a survey.

• Managers discussed the results with their teams and agreed action plans together.

• The actions then formed part of the managers performance management objectives.

employees felt that they played an important part in the business and that they were recognized and valued for their contribution.

BUSINESS GROWTH The improved employee engagement was accompanied by a 12% increase in customer satisfaction and significant business growth over a three year period.

All this increased employees clarity on their roles and how they fitted into Serco’s vision and strategy. More

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02

Design Research & Analysis 2.1 Thoughts on the Existing Brand Identity 2.2 Color Mapping Competition 2.3 Communication Study 2.4 Understanding the Brand Architecture 2.5 Naming the Brand 2.6 Understanding the Target Audience 2.7 Visiting Chemspec India 2017 2.8 Learnings: Analysis and Design Insights

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2.1

THOUGHTS ON THE EXISTING BRAND IDENTITY • The logo is blue and black in color but this is inconsistent on different platforms.

• D and N Letter Integration is confusing and looks like Devanagari letter "म - भ" • Cultural symbol rather than a chemical reference • Recall value missing.

• It lacks character and brand language.

• The typeface is not very compatible with the existing form.

• Appears very dull and confused for a company as strong and prominent as Deepak Nitrite • It could be misleading for people who do not know about the company.

• Outdated look and feel • Inconsistent use of identity • Not at par with global standards • Nowhere related to chemical language or an innovation based global corporate.

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2.2

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COLOR MAPPING COMPETITION

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2.3

COMMUNICATION STUDY INTERNAL

EXTERNAL

Strengths • Notices available in both Gujarati and English • Policies related to health, safety and codes of conduct available throughout office • Notices and posters related to safety available across plant • New notice board installed at the plant entry • Responsible care placards available at some places • All the internal sports meet trophies displayed at each floor

Strengths • OBA advertised in trade publications as it is consumer facing product • Well crafted company tagline in place

Possible Roadblocks • Old, yellowing and torn notices on the boards at the office • The blue color of DNL inconsistent • No internal newsletter/publication except the Udaan newsletter that ran for the duration of that project • No common design language across internal collaterals • The certificates and awards not displayed appropriately, were lying in a corner at the conference room of the plant • No engagement/workshops organized • No internal communication/interaction portal

Possible Roadblocks • Copy purely functional/factual - no call to action • Generic, disconnected images used in creative • Brand tagline missing from most places; used in lower case in many • Company name not very well known outside Baroda and the specific fraternity • No running campaign/advertorial or regular PR • Design language not common • Blue color inconsistent • Very little social media presence • Glass-door reviews poor • What is Deepak Nitrite known for? - Not a big enough corporate brand when compared to TATA and RIL • No communication/media updates on the webpage • Product specific communication unclear • Two different corporate presentations available • No calendarization of marketing activities

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COMMUNICATION: INTERNAL

Picture board for highlighting negatives and positives of Infrastructure and environment in Corporate Office, Vadodara.

Blue highlights are positive traits and grey are the negative traits.

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COMMUNICATION: EXTERNAL

Picture board for highlighting negatives and positives of Infrastructure and environment in Nandesari Plant, Vadodara.

Blue highlights are positive traits and grey are the negative traits.

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2.4 UNDERSTAN D IN G THE BRAND ARCHITECTURE Brand architecture is the structure of brands within an entity: it is the way brands within a portfolio are related to and differentiated from one another. It establishes a framework from one another. It establishes a framework for the visual and verbal; representation of brands within a portfolio of brands.

Brand architecture addresses the following: • The Number of separately names entities (brands or sub-sub-brands).

• The Criteria for becoming a separately names entity, • The Relationship between separately names entities, • Naming and brand identity conventions for each level, • The nature of relationship between the named entities at different levels.

WHY BRAND ARCHITECTURE? To bring about order: • Help customers easily find what they are looking for • Clearly define the roles of various brands in the brand portfolio • Build the corporate brand, which suffers from a diffused image.

To improve efficiencies in resources deployment: • Achieve business objectives in the most efficient manner possible • To focus on resources on as few brands as possible providing more impact • To unite diverse business with common red thread: • Leverage and build the Deepak brand, in a meaningful way without compromising it’s visual/experiential integrity as a brand.

Following Is The Current Architecture Of Brand Deepak

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DEEPAK BRAND

BRAND EXTENSION Canon markets cameras, photocopies, and office equipment’s, all under one name. Yamaha sells motorcycles, as well as pianos and guitars. Mitsubishi has a common interest in banks, cars, and domestic appliances. These are all umbrella brands, in which the same brand supports several products in different markets – each with its own communication and individual promise. Yet each product retains its generic name.

The main advantage of this strategy is the capitalization on one single name, Deepak Umbrella brands are favored by multinational corporations marketing worldwide.

Being already established, Deepak Group’s name and reputation is a major asset in entering Phenol and Acetone segments which they had not previously penetrated.

This awareness of the brand can bring about almost immediate approval on the part of retailers and public alike. Deepak Group enjoying such awareness find the umbrella brand convenient in sectors where little marketing investment is required.

The umbrella-brand strategy allows to nurture the core brand by associating with its products with which it was not previously associated.

Deepak group is not a registered company and is referred as in their internal communication only. Whereas deepak nitrite limited, deepak phenolics limited and deepak foundation are registered trademark companies.

Deepak Nitrite’s corporate office at Vadodara is referred as Deepak House. Hence name “Deepak” is part of the company’s internal culture.

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Brand Architecture and Naming suggested to Deepak Group. Following is the study and analysis done to present to Deepak Group.

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Task at Hand: Create a Distinction - distinctly rename Deepak Nitrite Ltd Reflect the Parent Brand - The Nomenclature should indicate the lineage as well.

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Brand Architecture

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Case study: Gujarat Reclaim & Rubber Products Ltd.

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Case study: Godrej

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Recommendation for DNL's way forward

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2.5

NAMING THE BRAND Currently the Deepak brand naming revolves around word "Deepak" after its founder Deepak Mehta. Corporate office is called "Deepak House".

Time and again in research came an important point that the name "DEEPAK" is not at all helping the brand grow and being seen as a serious company on the global platform.

Before the design phase starts, two brand naming approaches were identified. Firstly, short form of Deepak Nitrite Ltd, to DNL; wherein DNL - Nitrite, Phenolics and foundation will be three sub brands under DNL Group.

Secondly, Deepak Group as head brand (non-registered entity which is meant for internal purpose); wherein DNL Deepak Nitrite and DPL Deepak Phenolics are sub brands.

During design phase also there was no clarity about the final naming but I was convinced with the second naming structure as it is more easy, impactful and recognizable which also blends well with earlier naming structure without a lot of surprising newness but a familiar touch.

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2.6 UNDERSTANDING THE TARGET AUDIENCE What motivates the Target Audience? How will the redesigning affect the Target Audience? What kind of visual language does the Target Audience respond to? What are their aims and aspirations regarding the company and it’s functioning?

Creating a brand and defining its perception is not just necessary across its customers and employees - but across multiple stakeholders. It is important to control the narrative of the brand across all relevant audiences and touch-points, so that fragments of scattered information do not become what define the brand.

Interviews and conversations aim to gain insights, determine consensus and uncover issues At this point, it was important for us to determine and understand who the target audience was. Who does Deepak Group aim to reach out to? Who do they want to cater to? What is their role in making and progress of the brand?

Primary

Secondary

Customers

Policy Makers

Employees

Media Shareholders

Tertiary

Customer’s Customers Public at Large

Financial Institutions Industry Bodies

After all, the Brand must speak to the particular group of people that it is targeting and catering to and take into consideration their needs and demands.

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2.7

VISITING CHEMSPEC INDIA 2017 Over the past decade, Chemspec India has continued to develop and reinforce itself as the must-attend networking platform for both domestic and international buyers and sellers of Fine and Specialty Chemicals. Chemspec India 2017 welcomed 11,500 industry professionals to the Bombay Exhibition Centre in Mumbai. Visitors from throughout India, Europe, China and the USA helped to make Chemspec India 2017 a truly upbeat networking occasion as they toured over 300 exhibitor companies onsite and sat in on the range of technical conferences and seminars on offer.

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Going to this exhibition turned out to be very insightful for me as a lot of Chemical sector companies small and big from across the globe. Visually there was a lot of color blue, then green. It is an interesting take from me at this stage of project before starting designing. It got cleared for me as to what I should ignore and what things should be kept in mind while designing their identity.

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2.8 LEARNINGS ANALYSIS AND DESIGN INSIGHTS • The logo design approach: Most of the logos followed simple and clear typographic approach.

• Monograms and Word Marks open up more possibilities than illustrative logos. The audience is open to attach the different kinds of connection and emotions with the identity.

• The design approaches taken are different but one thing in common is the simplicity and readability. There should be minimum stress on brain to comprehend the meaning or message that the identity is conveying.

• The color also plays very important role in evoking the right preferred emotions. Blue, Green are building trust, showing that the level of enthusiasm and energy.

• The other advantage is when shape and the color of the logo also symbolize too many different meaning depending on the context.

• Logos strive for a sense of balance or simplicity by employing a circle or square as its primary external shape. Like Word Marks that are recognized before they are read, the overall shape of the logo becomes a recognizable identifier for a brand.

• The brand does not get success just by the best logo created by the best designer. The combination of what the consumers think about the brand and the identity of the brand helps it to reach success. The more simple the shape and structure of the logos, more chance of recognition and recall value. For simple reason, the brain doesn’t remember complex images or shapes.

• The logo mainly acts as identifier. The complex and similar looking logos will be lost in the pool of thousands of logos in the world. The logo alone cannot make a brand, if the quality of service or the product does not satisfy the consumers, no matter how amazing is the logo, and the brand may fail.

• For a new organization or single identity, branding is very crucial as it is just the beginning. The recall value of the logo should be more, which gives design direction to follow.

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03 New Brand Philosophy 3.1 Positioning Statement 3.2 Diagnostics 3.3 Core Values

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3.1 POSITIONING

STATEMENT

A brand positioning is the conceptual place you want to own in the targets mind. It is the benefit the brand wants them to think of when they think of the brand. Brand positioning is considered to be very important in the brand building strategy. It is a short 3 to 5 word phrase that captures the irrefutable essence or spirit of the brand.

Positioning is a brand’s DNA. It is a private language that cats as a decision-making filter for public communications. This language is intended only for internal consumption.

A positioning statement defines a brand’s position – that is the “space” in your audience’s consciousness that you want to establish as belonging solely to your brand.

Positioning is about differentiating your brand from your competitors, so the language that describes your positioning is very important.

It is also referred to as a brand strategy, positioning strategy, or brand positioning statement. It is a crisp

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description that paints a compelling picture of how the market wants the target audience to view the brand. Every decision that is made regarding the brand is judged by how well it supports the positioning statement.

A positioning statement defines a brand’s position – that is, the “space” in your audience’s consciousness that you want to establish as belonging solely to your brand.

Every decision that is made regarding the brand is judged by how well it supports the position statement.

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Is it memorable, motivating and focused to the core prospect?

CRITERIA FOR EVALUATING A

POSITIONING STATEMENT

Does it provide a clear, distinctive and meaningful picture of the brand that differentiates it from the competition?

Can the brand own it?

Is it credible and believable?

Does it enable growth?

Does it serve as a filter for brand decision making?

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3.2 DIAGNOSTICS Before the diagnostic of brand positioning was started, I decided to take a look at the current position of the company in terms of its revenues and growth trajectory.

Where are we right now?

But after looking deeper, the picture is slightly different.

But looking at the current situation, this can be achieved

by Identifying Challenges followed by activating required considerable changes followed by unlocking Deepak Nitrite potential and then activating them to bring an overall change.

THE ROAD AHEAD: • The road map for financial year 2018 looks buoyant.

• New investments are being made in the FSC (Fine and Specialty Chemicals) segment whose impact will be seen next year.

• Boston Consulting Group (BCG) was appointed last year in 2016 to enhance efficiencies resulting in sustainable improvements in operating performances • Strategic initiatives to enhance product mix, wider geographic reach and improve presence across customer segments are being made.

• Plans are to introduce further value-added products • The upcoming Phenol and Acetone (Deepak Phenolic Limited) facility would further provide an impetus to the performance.

With financial growth ascertained, we have successfully unlocked Deepak Nitrite’s VALUES. However, to grow above competition there is a need to go beyond. Hence the potential has to be unlocked. This Potential can be unlocked by going beyond the tangibles.

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TO UNLOCK POTENTIAL In order to unlock potential for the company, we need to understand each individual building block of the company and then unlock potential for each blocks. Only then can the company venture onto the path of exemplary growth.

Causal Loop: Identifying relationship between the tangible and the intangible

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CURRENT BUSINESS OUTCOMES

CURRENT LIVED VALUES

CURRENT BUSINESS OUTCOMES

• Complacency

• Lack of Innovation

• Bureaucracy

• Loss of Talent

• Rigidity • Introversion

DESIRED BUSINESS OUTCOMES

»

• No/low visibility of the company

• Ego

• Divides and clashes

• Mediocrity

• Linear/Slow growth

• Apathy

• Poor perception as employees

• Risk Averseness

• Not able to capitalize on opportunities

DESIRED BUSINESS OUTCOMES

DESIRED VALUES

• Innovative Ideas

• Innovation

• Good talent pool and retention rate • High levels of efficiency • Company having good brand name

»

• Performance Driven • Agility • Responsiveness

• Cohesive teams

• Ownership

• Growth Momentum maximized

• Energizing Employees

• Sought after employees

• Transparency

• Making the most of new opportunities

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• Micromanaging - low efficiency

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3.3 CORE VALUES Core values are what support the vision, shape the culture and reflect what the company values. They are the essence of the company’s identity – the principles, beliefs or philosophy of values. Many companies focus mostly on the technical competencies but often forget what are the underlying competencies that make their companies run smoothly — core values. Establishing strong core values provides both internal and external advantages to the company: Core values help companies in the decision-making processes. For example, if one of your core values is to stand behind the quality of your products, any products not reaching the satisfactory standard are automatically eliminated.

VALUES DRIVING THE NEW VISION • • • • • • •

Innovativeness Performance Driven Agility Responsiveness Ownership Energizing Employees Transparency

Core values are becoming primary recruiting and retention tools. With the ease of researching companies, job seekers are doing their homework on the identities of the companies they are applying for and weighing whether or not these companies hold the values that the job seekers consider as important.

With an understanding of the various aspects in B-to-B brand development, positioning, client expectations etc., from the research, possibilities for brand attributes were brainstormed. Later with the help of the team the final values were chosen.

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VISION

To become the fastest growing chemical intermediates company by maximizing Growth driven by Innovation and Profits

MISSION

Mission 2-3-4 aiming to grow the topline and bottom-line and considerable investment into the Phenol sector aiming for growth.

KEYWORDS FOR WAY FORWARD

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Challenges faced during this process

People related

Time related

Understanding mindsets of all stakeholders.

Lack of unanimous decisions.

Getting a hang of the client’s vocabulary.

Extensive written material.

Lack of unanimous decisions.

Getting people on board.

Unsupportive environment.

Constant back and forth.

Getting people on board.

Waiting for approvals.

Hierarchy in the system.

Arranging meetings.

Incomplete information.

Time management

Differences in Opinions.

Waiting for replies.

Accessibility.

Accessibility.

Inconsistency.

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04

Design Iterations 4.1 Getting Started with Design Directions 4.2 The Basic Visual Design Palette 4.3 Thinking on Paper 4.4 Understanding the word - ‘Contemporary’ 4.5 Explorations 4.6 Choosing and Eliminating Options 4.7 Learning while Exploring 4.8 Brand Build Up 4.9 Client Feedback and Final Design Option 4.10 Baroda Leaflet 4.11 Brand Guidelines

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“So the challenge was to not only being about a fresh approach but also to figure out newer ways of using already established patterns, meanings, interpretations and symbols.”

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I had a sea of information that lay ahead of me. There was a lot of filtering that we had done, and there was a lot that still needed to be sorted. There was emphasis on the importance of having one core idea, and a few pivotal points that would aid in starting the design explorations.

The stress was on the importance of choosing the right words and how they make a huge difference when it comes to giving them a visual form. Since the DNA of the brand was identified and defines, it was much easier to understand ‘how the brand speaks.’ And what it wants to project. The first round of explorations was more of an exercise in the abstraction of actual concepts and ideas.

When I was consciously thinking of ideas, I was letting the clichés flow. Because the conscious mind can only think of things it knows and things it has seen or remembered.

Something that I thought was a good idea, was mostly something that had been tried and tested. So the challenge was to not only bring about a fresh approach but to figure out newer ways of using already established patterns, meanings and symbols. These patterns are important in the world of communication, because they make for a common visual language that is understood universally.

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4.1 GETTING STARTED

DESIGN DIRECTION After new strategy was in place, we went on in an open brainstorming session where ideas and concepts were discussed regarding the new brand image of Deepak Nitrite. Me with the team including Ajinkya, Akansha, Aarti, Anagha and Heemesha were part of this session.

The agenda of this session was to get clear design directions so that the next design phase can kickstart. Good time lies ahead if they make these changes because young blood is coming in the company and they want change to happen for which they are ready to take drastic steps. So the company that might seem sluggish at times is now ready for some changes.

Routes, Concerns and Reasons: • Thinking about larger systems, which work together and are now modern while still being warm and not look over-promising. This can be one thought but the general problem with chemical category is that it is alien to a regular person and for them to connect to it is difficult because they don’t understand what it is all about and where is this going. So the moment you remove that alienation you become warm and then start relating to it. Need to make it relatable for larger section of audience. Otherwise it will be irrelevant to them.

• There is a pressing need to now know what all pillars they stand for? Are they wanting to call themselves a little more tech oriented. Understanding which way are they now advancing to. It was clear that they don't want to go into the tech space. Business, efficiency, profit and numbers is their direction.

• What matters to them is stable business which comes with trust. What exists is that they are good in business and understands it well with trust factor playing an important role. They are extremely transparent and ethical in terms of how they conduct their business. Identifying new business opportunities like Phenol sector where Deepak Group is the bigger player in India.

• In terms of current acumen they have as opposed to knowledge creation, they are just managing their expertise and not really being the source of knowledge creation. Lanxess, UPL and Lyondell Basell are amongst the biggest players in chemical industry across platform. A lot of these big players focus on collaboration and have these research labs where they collaborate with other research facilities.

So the very innovation section is much strong and well planned and not in isolation.

a space of innovation for their new image might not work for them because they are not innovating products but innovating efficient otherwise ways which is an internal thing. These internal innovation processes helps in triggering culture shift in the company which overall positively bring changes.

Over promising is simply not the case here.

• One thing is sure that we don’t want to go to a space which is typical chemical looking like a beaker, flask, funnel, hexagons, etc.

• Innovation and efficiency in terms of processes.

In Deepak’s context when we use this term we explained it to them that when we say “innovation” it will be in terms of the entire process starting from the way you conduct yourself in the organization also to what you do for your employees to inspire them. It is about adapting to the change which is like a sub set of agility.

• The concern was also to pick an image, which they can carry out for example innovation. So

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Brainstorming session where design directions were discussed.

Concepts, objects drawn out to make way for a better design direction.

Brainstorming › Decoding › Concepts › Context › Right Vs. Wrong › Concerns › Reasons › Insights NATIONAL INSTITUTE OF DESIGN

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After this, we started writing down the negative and positive words that go with their personality, where we later identified the stronger ones that goes with the image of DNL with reasons. Also put down reasons from where these values are coming form. If agility then why agility.

Whatever is being defined has to come from something.

Is there something they are doing or working towards, or providing? Backing up reasons for each direction.

This activity helped in understanding new directions as opposed to the new seven values decoded in strategy phase.

Strong vales where we can play is Agility, Growth, Trust, Consistency, Transformation, Movement, Energy, Vibes, Motion, Fusion, New Age, etc.

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Line. Shape. Pattern. Color, Figure Ground. Letter form. Contrast. Perception.

Fundamental elements of Visual Design

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4.2 THE BASIC VISUAL DESIGN PALETTE

GOING BACK TO THE FUNDAMENTALS Design education is crucial because it sets your fundamental in place. I found myself trying to define palette. How do you break down any design into simple elements? How do these elements make/change meaning in different contexts? There are a few basic elements that one can boil down to while exploring visual communication. All of these elements are interrelated and work in tandem to create strong and effective visuals.

LINE A line is an expression. It is one of the most powerful means of communicating a mood. The way in which a line is drawn can evoke different meanings. As I had inferred from the DNL logo, the harsh angles of the forms made the logo look less warm and welcoming.

Composition dealing with angles at various degrees produces a “sharp” and potentially hostile situation, whereas a soft, sensuous line implies a gentler, warmer, non-aggressive attitude.

SHAPE What do you feel when you see a circle? A square? A triangle? Are you affected by the same when seeing an object with soft gentle curves as you are when seeing another object with sharp jagged edges? In the same way that lines have meaning, shapes have meaning too and are an important building block in the visual thinking we have at our disposal as designers.

There are abstract shapes, geometric shapes and

organic shapes. All these shapes have a visual grammar to themselves. Often the meaning behind shapes is cultural or religious, particularly as shapes are combined.

PATTERN When dealing with shapes, it is often tempting to continue the thought and create a pattern using elements of the trademark.

This helps build a dynamic visual language, which follows its own defined vocabulary and makes the trademark more dynamic and versatile. While sometimes this approach is useful in branding, it often runs a risk of placing the mark in jeopardy, since the simplicity of this approach also makes it less unique.

LETTER-FORM Using common letter-forms in unique combinations can create a simple yet effective means to develop a brand mark. Type as a visual common practice.

CONTRAST Variations in weight and size can create a subtle meaning and help in creating visual hierarchy and interest. Contrasts also help to break a monotone and grab the viewer’s attention.

Too much similarity is boring but without similarity important elements will not exist. An image without contrast is bland. So the key is to find balance between similarity and contrast.

PERCEPTION Even the simplest of shapes can convey completely different meanings with the slightest modification.

The relationships of shapes in a form can be perceived differently depending on slight or major alterations.

The principles of Gestalt are of great significance when it comes to working with visuals.

FIGURE GROUND This Is the interaction of one form with the other where there is need to prioritize and emphasize certain elements from the others.

Positive and negative shapes interact with one another to provide a mental puzzle. This relationship is the key to creating visual contrast.

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4.3 THINKING ON PAPER

WORKING WITH KEYWORDS FROM THE BRAND PHILOSOPHY A lot of people can ideate directly on the computer as it allows you to play around with the elements. Personally I choose to think on paper, and then take the idea forward with whichever tool or medium is appropriate. Visualizing on paper not only gives you the perfect outlet for your ideas, but it is also a spontaneous way of quickly seeing how the idea materializes out of your head. If I said that I wasn’t hesitant to start sketching out ideas for identity, I would be lying.

Since the research was so solid, it was important to do justice to it in the designs and I felt the pressure of conveying the message clearly and effectively. This was also the first time I was to have my sketches and ideas for the identity judged, analyzed and reviewed. My mind was buzzing with various thoughts and I decided to start with what’s available – the keywords from the Brand philosophy. And I started to visualize words into abstract ideas/forms.

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The explorations started with integrating the letters D and N of name Deepak Nitrite. It has its generic name where I since beginning refrained myself from going to the meaning of Deepak which is a diya. Nitrite on the same way is the name of a chemical. I was to start exploring visuals for a brand name where I cannot take cues from the meaning of the brand name itself.

In some explorations the letter D and N are explored as forms which are combined together making another form. In the rest of the explorations, integration of the two letters has been explored but then it didn't suffice at the end of the identity. Moreover initials were not strong enough to portray the brands energy and personality and also, it would make the audiences remember the brand DNL or DN instead of the whole name as it was required from the brief to be able to know the brand by its full name.

“So the challenge was to not only being about a fresh approach but also to figure out newer ways of using already established patterns, meanings, interpretations and symbols.”

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4.4 UNDERSTANDING THE WORD ‘CONTEMPORARY’ One of the words that kept on popping up time and again was ‘contemporary’. We emphasized on how the current identity was old-fashioned and wouldn’t work in today’s day and age and how it needed to be contemporary and up to date with the current times.

So I decided to do a small study and see how people define or understand the term ‘contemporary design’. What is it after-all? And why and how it will work for Deepak Nitrite's? What are people’s expectations and perceptions of something that is contemporary?

This was a significant step as it was one of the key points to keep in mind while redesigning the Deepak Group Identities, was to bring them at par with the global standards.

“Contemporary Design celebrates what isn’t there as much as what is” Having used the word time and again, I decided to put down some points that would help me in defining the word better and add in the design process.

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DESIGN?

C O N T E M P O R A RY

WHAT DO YOU MEAN BY

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• Rooted in the Moment.

• At par with the current times.

• About-face from the conventions of Traditional Decor.

• Less is more.

• Smooth profiles instead of ornamentation.

• More fluid (Dynamic?). Anything but static • Tolerates rule breaking.

• Minimal?

• Strong emphasis on Line & Form.

• Lines/Planes/Angles.

• Simple Geometric forms.

• Empty space takes on a sculptural quality.

• Clean lines & striking profiles.

• Simplicity?

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4.5 EXPLORATIONS In an organizational context, a process of profound and radical change that orients an organization in a new direction and takes it to an entirely different level of effectiveness. Unlike 'turnaround' (which implies incremental progress on the same plane) transformation implies a basic change of character and little or no

resemblance with the past configuration or structure.

Sometimes businesses will make a transformation when they want to change their image or introduce a brand new product line.

AGILITY

EEPAK

EEPAK

DNL

DNL

EEPAK

DNL

Deepak Nitrite Limited

Deepak Nitrite Limited

NL

Deepak Nitrite Limited DEEPAK NITRITE LIMITED

DNL DEEPAK NITRITE LIMITED

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DEEPAK PHENOLICS LIMITED

DPL DEEPAK PHENOLICS LIMITED

DEEPAK

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TRANSFORMATION: WAY FORWARD

DEEPAK DNL Deepak Nitrite Limited

DPL

DNL

DPL

Deepak Nitrite Limited

Deepak Phenolics Limited

DEEPAK

DNL Deepak Nitrite Limited

DPL

Deepak Phenolics Limited

Deepak Phenolics Limited

CORPORATE REBRANDING & STRATEGY

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EEPAK NL

Deepak Nitrite Limited

PL

Deepak Phenolics Limited

EEPAK DNL

DEEPAK NITRITE LIMITED

NATIONAL INSTITUTE OF DESIGN

DEEPAK NITRITE LIMITED

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TRANSFORMATION: VIBES, ENERGY

DNL

DNL DNL Deepak Nitrite Limited

GROUP

DPL Deepak Phenolics Limited

DNL DNL

DNL DPL Deepak Nitrite Limited

Deepak Phenolics Limited

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TRANSFORMATION: STABLE, DYNAMIC

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STABLE

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STABLE, GROWTH, EXPONENT GROWTH

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DYNAMIC, NEW AGE, MOTION, FUSION

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GROUP

GROUP

GROUP

Deepak Nitrite Limited

Deepak Nitrite Limited

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Deepak Phenolics Limited

Deepak Phenolics Limited

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DNL GROUP

group

D

DEEPAK GROUP

group

DNL GROUP

DNL GROUP

group

nitrite

nitrite

nitrite

phenolics

phenolics

phenolics

DNL GROUP

DNL GROUP

DNL GROUP

DNL GROUP

DNL NITRITE

DNL GROUP

DNL PHENOLICS

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EVOLUTIONARY DESIGN One of the words that kept on popping up time and again was ‘contemporary’. We emphasized on how the current identity was old-fashioned and wouldn’t work in today’s day and age and how it needed to be contemporary and up to date with the current times.

So I decided to do a small study and see how people define or understand the term ‘contemporary design’.

What is it after-all? And why and how it will work for Deepak Nitrite's? What are people’s expectations and perceptions of something that is contemporary?

Original logo form of Deepak Nitrite Ltd.

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REFINING THE FORM

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REFINING THE FORM AND GRADIENT

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EEPAK

4.6 CHOOSING AND ELIMINATING DESIGN OPTIONS

DNL DEEPAK NITRITE LIMITED

Mold able and growing

EEPAK

Deepak Nitrite Limited

Mold able and growing

DNL DEEPAK NITRITE LIMITED

NL

DNL DEEPAK PHENOLICS LIMITED

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Deepak Nitrite Limited

Deepak Nitrite Limited Mold able and growing

DPL DEEPAK PHENOLICS LIMITED

DEEPAK

DNL Deepak Nitrite Limited

Mold able and growing

Growth with profits. Stable yet dynamic

Growth with profits. Stable yet dynamic

CORPORATE REBRANDING & STRATEGY

EEPAK

AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

DNL Deepak Nitrite Limited

Simple approach to growth with a sense of movement.

Leading the way for future. Angle, stable and progress

DNL

DEEPAK NITRITE LIMITED

DEEPAK NITRITE LIMITED

Agility and a sense of movement in forward direction.

Very edgy maybe for a brand like Deepak. Triangle when straight is stable but when angeled then it is in movement.

Forwarding and leading with pace. Same approach explored of growth with profits. Being leaders of change.

Another concept on energy and movement. Gradient shows the different layers to it. Deepak is changing and changing for good.

Another logo exploring the concept of energy and movement. It is self evolving and the lines around it depicts being in a group and warmth.

DNL Deepak Nitrite Limited

Energy, vibes, waves and continuous movement. Hexagon shape similar to chemical compounds. Logotype in serif is rounded to show warmth.

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DNL

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GROUP

DNL DPL Deepak Nitrite Limited

Energy with a dynamic shape. Like a chemical fusion taking place and yet evolving. Orbit change.

Deepak Phenolics Limited

Symbol from letter D. Interconnected and adaptable.

Stable building blocks. Reliable and solid.

DNL NITRITE

Exponential growth being driven by a stable foundation

Another concept for exponential growth

Another one where progress is visible and happening.

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DEEPAK GROUP

Growing, evolving and dynamic nature.

Magic of transformation combined with lineage and stable square shape.

Growth and transformation

DNL NITRITE

Optimum utilization of resources which is growth thorough efficiency. Original blue color retained to keep the earlier connect going in future but with changes.

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Exponential growth which is stable and is in movement.

Evolutionary design approach. Used the original symbol making it modern, adaptable

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4.7

LEARNING WHILE EXPLORING Iconic/Symbolic

Logotype/Word mark

Combination Marks

Icons and symbols are compelling yet uncomplicated images that are emblematic of a particular company or product. They use imagery that conveys a literal or abstract representation of your organization. Symbols are less direct than straight text, leaving room for broader interpretation of what the organization represents. In order for a symbol to be a truly effective logo, it should conform to these: • Instantaneously recognizable • Memorable • Clarity when reproduced in small sizes • Can be illustrative in nature

A logotype commonly known in the design industry as a "work mark", incorporates your company or brand name into a uniquely styled type font treatment. Type fonts come in thousands of possible variations, shapes, sizes and styles, each conveying a slightly different impression upon your intended audience. Script fonts imply a sense of formality and refinement. Thick fonts proclaim strength and power, whereas slanted fonts impart a sense of motion or movement. Type fonts treatments can also include hand-drawn letters, characters or symbols that have been rendered in such a way as to intrigue the eye and capture the interest.

Combination Marks are graphics with both text and a symbol/icon that signifies the brand image that you wish to project for your company or organization.

Concise text can complement an icon or symbol, providing supplement clarity as to what your enterprise is all about. There are integrated or stand alone combination marks.

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4.8 BRAND BUILD-UP SELECTED OPTIONS Three design options were selected after carefully analyzing their approach and should compliment what the brand stands for. Also those options were selected where it is easy and practical to follow the visual language in sub brands of Deepak Nitrite.

DNL GROUP

DEEPAK GROUP

DNL NITRITE

SELECTED OPTIONS INTERNALLY TO PRESENT TO CLIENT

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DESIGN OPTION 1 GROWTH THROUGH EFFICIENCY Keywords Maximizing growth with stability, growth, lineage, profit, movement and efficiency.

Symbolism Efficiency is the centerpiece of this story. The idea of efficiency is basically optimally utilizing all resources and being self-sufficient where nothing is going to waste like a coconut. It goes for Deepak Nitrite as well, for example in Magnetite story they were able to convert a waste product in something useful. That can be core strength of Deepak Nitrite that we can leverage on. Gestalt Law of Closure wherein incomplete form come together and creates a completely new and more efficient form.

Using triangle shape to bring the idea of efficiency and movement. Experimented with this form. The negative space in letter N and using that space to show growth in upward direction. There is stability below, which are the lower arrow and profit and growth above. The lower shape is giving bounce and stability to above form to go upwards.

You see N in the second glance. It makes the brand very contemporary and that second glance locks the visual in viewers mind. It is a classic logo.

The Magic of Transformation - Logo Derivation CORPORATE REBRANDING & STRATEGY

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COLORS Retaining the blue color from existing logo

DNL GROUP

BLUE - The color of trust and responsibility - Loyalty - Precision - Reliable - Stable C - 100 M - 67 Y-0 K - 40

Round edges making it progressive yet dynamic

R-0 G - 51 B - 153

TYPOGRAPHY PRIMARY FONT Akrobat Bold - is robust and progressive. It’s geometric aesthetics with narrow proportions gives it a effective yet dynamic form - providing a progressive appeal.

SECONDARY FONT Central Sans Bold - is open and wide. It is characterized by some classic features, resulting in a more warm, friendly and modern look.

Sharp edges embody prominent and stable form

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Parent Brand

Sub Brand - Deepak Nitrite Ltd.

Possible Variations (just for reference)

LOGO ARCHITECTURE DNL - DEEPAK GROUP is the parent brand and DNL DEEPAK NITRITE LIMITED is the sub brand.

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Growth Through Efficiency - Stationary Mock-up

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Growth Through Efficiency - Industrial Product Packaging Mock-ups

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DESIGN OPTION 2 DRIVING EXPONENTIAL GROWTH Keywords: Maximizing growth with stability, growth, lineage, profit, movement and efficiency.

Symbolism: Center piece is Taking growth story and flexibility that comes with it. Inspiration is the idea of a route, so the exponential growth is the aim. When we talk about maximizing growth, it is the exponential growth that matters. Also chemical reactions that happen where two atoms combine and coalescence that occurs. If that same DNA moves and ventures into new opportunity and this is exactly what Deepak Nitrite is trying to do. It is the same DNA, which it will take forward, however it will move into a more dynamic and forward-looking space, which will be driven by the exponential growth. Taking this idea forward in terms of the logo derivation. Created a new shape out of the old shape.

Driving exponential growth - Logo Derivation

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COLORS BLUE color represents trust and responsibility. From a color psychology perspective, Blue is reliable and responsible. This color exhibits an inner security and confidence.

DNL GROUP

R:0 G:147 B:239 C:100 M:27 Y:0 K:6

R: 141 G: 198 B: 63 C:29 M:0 Y:68 K:22

GREEN is the color of balance, harmony and growth. From a meaning of colors perspective, green is also the color of growth, the color of spring, and rebirth.

R: 141 G: 198 B: 63 C:29 M:0 Y:68 K:22

TYPOGRAPHY R:0 G:147 B:239 C:100 M:27 Y:0 K:6

DIN– is a simple and elegant sans-serif typeface font. DIN’s spare geometric construction effectively communicates without any distraction.

DINCond-Black (Primary font ) AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQ qRrSsTtUuVvWwXxYyZz0123456789 DIN-Medium (Secondary font) AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQ qRrSsTtUuVvWwXxYyZz0123456789

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DNL GROUP

DNL NITRITE

Parent Brand

Sub Brand - Deepak Nitrite Ltd.

Possible Variations (just for reference)

LOGO ARCHITECTURE Deepak Group or DNL Group Deepak Phenolics and Deepak Foundation is not part of the scope of the project but here it has been showed roughly just to show the brand articulation across multiple sub brands under one parent brand.

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Driving Exponential Growth - Stationary Mock-up

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Driving Exponential Growth - Industrial Product Packaging Mock-ups

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LOGO COMPARISON

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4.9 CLIENT FEEDBACK The Clients appreciated the effort in terms of fresh ideas put on table and we received a very positive feedback.

Although final decision was based on a lot of factors most important being a strategic call to be taken from the client side about the naming of the parent brand, either Deepak Group or DNL Group.

Why Deepak Group and not DNL Group?

So for Deepak Nitrite to make a leap would not be hard.

What the client needs to decide is how far do they want the perception of today’s company to go. If you want to signify that you’ve had a huge transformation and you’re a very different company from who you were before, then they have to go very far from where they are today. If not and then saying that we have made improvements and we are new but we are much of the old, then Design Option 2 is the strongest route. It all depends on the what are the strategic objectives of the branding.

• On the contrary it is very clear that DNL gives a much more global feel and Deepak is a specific name of an individual and makes it a local company than a global one.

• Important question to be asked here is, Over the next three years are they looking at external stakeholders who have never dealt with the company or by or large looking at the one’s who have heard and worked with them before.

• If they have heard of them and seen the way they are listed on the stock exchange, it is Deepak or Deep.

For people outside DNL is completely unknown.

Internally in management meetings or when they talk amongst themselves it is referred as DNL. Most of their international clients refer it as Deepak and not Deepak Nitrite or even DNL. NATIONAL INSTITUTE OF DESIGN

Design Option 1 • Drastic different approach.

• It can work across different sectors.

• The form is dynamic and can work across anything. It has its roots from where it is coming from but when in application one can find it across many fields. It can pretty much be used across industries. Colors will make it different and play around different sectors of industries.

• Gives enough freedom to play and render with into different sectors.

• So the best logo will have multiple interpretations.

Chemical world is not the only interpretation it can have.

• This option works with their future vision, new fresh approach and yet simple and high recall value.

Design Option 2 • Blue color coming from the old logo is seen as the strong equity of the brand.

• Liked this design as it is little less playful and the acceptance of design to be larger as compared to the other two.

• Another reason it works because it is all caps, which gives a sense of authority and leadership.

• Works only with DNL Group and not Deepak Group or DPL (Deepak Phenolic Limited).

Design Option 3 • Driving exponentail growth.

• Drastic different approaches. They wanted to see group name Deepak with this option. So Deepak Group and Deepak Nitrite Ltd written at bottom. If that will happen the square will become a rectangle. What would work here could be DNL at top and Deepak Group at bottom. So introducing DNL as a short form so that there is scope of transition at some point.

• Allows for freedom to play and render with different industries.

• Idea is to grows exponentially is another very strong piece as well.

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Drastic approach Simple Works across sectors Freedom to render in different sectors High recall value Contemporary Accomodates Deepak Group

First two logo options were chosen due to differences in opinion amongst the Cleints. This divide was mainly because of two reason. One, Magic of Transformation favoured people who wanted name Deepak Group rather than short form of DNL. It gives a fresher take on the identity and also gives freedom to enter into different business sector apart from Chemicals.

The other reason as to why it worked was because of the way it had been presented to them. The presentation showed a clean evolution of the form with inspiration and clear take on future vision of the company.

SHORTLISTED IDENTITY

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THE MAGIC OF TRANSFORMATION Keywords Maximizing growth with stability, growth, trust, transformation, energy, movement and efficiency.

Symbolism First looking at the Periodic table and the square form that is there. So when you look at ta solid square shape, there is stability and foundation that comes with it. Anything on top of square is assumed to be much more stable. However when you talk about the world of chemicals, there is fusion, chemicals reactions, transformation happening.

These two opposites are combined together to make Magic of Transformation.

In this logo a very contemporary approach has been used.

Inspiration Board

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FORM/SYMBOL Shapes have an endless variety of characteristics, each communicating different messages to your audience.

I found I could say things with color and shapes that I couldn’t say any other way—things I had no words for. — Georgia O’Keeffe Transforming/Dynamic Form This is a free flowing dynamic form which denotes the dynamic and free flowing space that Deepak Nitrite enjoys in respect to its iwde portfolios and product range.

Sqaure Squares are stable. They’re familiar and trusted shapes and suggest honesty. They have right angles and represent order, rationality, and formality. The majority of text we read is set in rectangles or squares.

Squares conformity, peacefulness, solidity, security, and equality. Their familiarity and stability, along with their commonness can seem boring.

The Magic of Transformation - Logo Derivation

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C100 M80 Y0 K30

C80 M20 Y0 K30

C70 M20 Y0 K10

C60 M10 Y0 K10

C5 M0 Y100 K0

C10 M0 Y100 K0

C15 M0 Y100 K0

C20 M0 Y100 K0

C100 M80 Y0 K50

C100 M80 Y0 K40

C90 M40 Y0 K30

C100 M87 Y19 K10

C0 M0 Y100 K0

C0 M5 Y100 K0

C0 M10 Y100 K0

C0 M15 Y100 K0

C99 M95 Y7 K1

C94 M78 Y0 K0

C100 M97 Y0 K10

C94 M77 Y0 K0

C90 M0 Y100 K0

C80 M5 Y100 K0

C70 M10 Y100 K0

C60 M15 Y100 K0

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COLORS Blue: color represents trust and responsibility. From a color psychology perspective, blue is reliable and responsible. This color exhibits an inner security and confidence.

Yellow: is the color of the mind and the intellect.

The color yellow relates to acquired knowledge. Being the lightest hue of the spectrum, the color psychology of yellow is uplifting and illuminating, offering hope, happiness, cheerfulness and fun.

Green: A combination of blue and a small amount of yellow fits in on the color scale between green and blue.

It radiates the peace, calm and tranquility of blue and the balance and growth of green with the uplifting energy of yellow. Green is the color of balance, harmony and growth.

Color Gradient

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TYPOGRAPHY

Brand name in Campton Bold

DEEPAK GROUP

Primary Font Campton (Bold) It is a geometric sans-serif typeface from German typeface designer René Bieder. It was released in 2014. Although based on geometric forms, Campton has subtle touches of humanist warmth. It is an unconventional typeface based on the first steps of the newly born sans serif genre in the early twentieth century. Its character draws inspiration from Gill Sans and Johnston Sans while combining it with contemporary elements. The result is a modern and unorthodox family that is perfectly suited for graphic design application ranging from editorial and corporate design to web and interaction design.

It is a strong and confident font, and because of the beautiful rounded geometric features, it is also soft and nurturing – providing a balanced logo that can appeal to our wide audience.

Designed by: Rene Bieder, Germany Released in: 2014

DNL NITRITE

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Secondary Font Source Sans Pro (Regular)

DEEPAK GROUP Tagline or website address in Source Sans Pro Regular

Lorem Ipsum

Source Sans Pro is a sans serif typeface created by Paul D. Hunt for Adobe Systems in 2012. It is legible even at low resolution, and yet maintain the tension of being readable enough in order to support long streams of text.

It is a sans serif typeface intended to work well in interfaces.

It has been designed with a more generous width than many other comparable gothic, and its shorter majuscule letters, combined with minuscule letters with longer extenders, create a more pleasant reading texture in longer text passages.

It is a new kind of font family was specially designed to see action in Adobe’s open source applications.

Designed by: Paul D. Hunt Released in: 2014

DNL NITRITE

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DEEPAK Parent Brand GROUP

Deepak Phenolics and Deepak Foundation is not part of the scope of the project but here it has been showed roughly just to show the brand articulation across multiple sub brands under one parent brand.

DEEPAK GROUP

Sub Brand - Deepak Nitrite Ltd.

DNL NITRITE

DNL NITRITE

Possible Variations (only for reference)

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LOGO ARCHITECTURE

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Magic of Transformation - Stationary Mock-up I

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BRAND APPLICATIONS

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Magic of Transformation - Bulk shipment containers Mock-up Chemical containing tanks Mock-up

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TAGLINE OPTIONS A good tagline helps set you apart from other companies that provide similar products. It’s true that a bad tagline can do more harm than good. But doing away with tagline altogether would be a huge mistake.

It’s true that a bad tagline can do more harm than good.

But doing away with tagline altogether would be a huge mistake.

Tag lines take out the guesswork and make a company’s message crystal clear in explicit terms.

Tag lines also have the potential to build value over time. When you use a tagline for long enough, it can become one of the most memorable parts of your identity. Audiences may even become more likely to remember your tagline than your company name.

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• Create. Grow. Lead • Ahead of the curve • Lead the Equation • Catalyzing Growth • Partnership for Growth

DEEPAK GR OU P

Lead The Equation

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STATIONARY The next step of the project involved working on collaterals. Designing the stationary gave me a chance to explore layouts and Typograhy in depth.

Everything starting from the size of the collaterals, teh colors, typography, the type hierarchy, the chunking of information, the layout was taken ito account.

Fixing upon the right content was also crucial to avoid any kindof misinformation.

Explorations

Explorations of different layouts

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More Explorations of layouts NATIONAL INSTITUTE OF DESIGN

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Test print files for checking readability and layout design

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5.4 cm

Business Card

9.2 cm FRONT

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BACK

167

Letterhead, Envelope

11.69''

BACK

DEEPAK GR OU P

4.12"

Lead The Equa tion

Aaditya-I, N ational Highway No. 8, Chhani Road, V adodar a-390 024, Indi a www.deep aknitrit e.com | +91 0123 456 78 9

FRONT

9.5" 8.27''

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4.10 BARODA LEAFLET Objectives of this leaflet is to attract and retain employees in this company and hence in Baroda.

Highlight the concept that the city is moving and people are moving with it. What can be done to make them feel secure? First step was to just forget about the company and think about the city. It was time to look at the overall picture. The layer of company’s angle will be added later on. It was important to create hype around the city. Attracting people to Vadodara as a happening city.

Look at Universities towns in US where the sell the town as much as the university. So things about Baroda, which are, still a little insert. Like great place to work, great place to stay, schools, and colleges. Maybe a four page on living in Baroda.

So content was created around city of Vadodara.

Highlights like this city is good for you to come and settle with our family and work in Deepak Nitrite. It is a thriving city with multiple learning opportunities. It includes pieces on culture, nightlife, restaurants and food. I started with picking out things that stand out about Vadodara according to the need of young people.

After collecting data I started prototyping the format of this leaflet or brochure. A lot of formats were tried.

Things kept in mind while deciding the final format was amount of data to be put, space, layout, visual language, where it would be of use, who will use this, who is the target audience for it, how would they interact with such a leaflet, etc.

Sample test for deciding the format of the leaflet in a 6 Side Square format and 8 Page Accordian format

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Screenshot of design file showing how the layout emerged finally.

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42 cms

27 cms

9cm x 3(folds)

6cm x 7(folds)

FINAL LEAFLET: FRONT

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42 cms

27 cms

9cm x 3(folds)

6cm x 7(folds)

FINAL LEAFLET: BACK

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Explorations

Mock up for leaflet

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COSTING The A3 size print measures 29.7 x 42.0cm.

The final size of leaflet is 27 x 42 cm.

Printed on: 130 GSM Art Card Size of printed: 13inch x 19inch (33.02 x 48.26cm) Digital Print 1 copy(front + back) = Rs. 25 100 copies (front +back) = Rs. 16 200 copies (front + back) = Rs. 12 1000 copies (front + back) = Rs. 8

Images of how a user interacts with the leaflet

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Envelope containing brochure

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4.11 BRAND GUIDELINES Brand Guidelines or brand books, style guides, brand standards, however you want to call them, is a guide to know how your business communicated to its customer’s base. It sets out fundamental rules and guides about the business principles, ethos, the logo, color palette, typography, imagery, photography, visual device, advertisement, stationary and wording. It acts as a flexible yet robust guide to helping you maintain a strong personality to your brand that will involve and aim your businesses interests at your intended audience.

The goal of brand guidelines is to protect the strength of your brand so that it continues to create value for your company. Brand Guidelines create value for your company. Guidelines achieve this by explaining the importance of your brand and describing how to use the elements of the brand, such as corporate identity and the brand name. Your brand guidelines should provide a comprehensive manual for anyone who uses your brand and its components in their work, including employees, channel partners, designers and marketing agencies.

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LOGO: COLOR VARIATION It is recommended to use the logo in white colour in situations where the colour version cannot be used due to limitattions of reproduction processes, such as photocopy etc. It can be used on colour background in reverse as shown here.

DEEPAK

DEEPAK

GROUP

GROUP

COLOR

REVERSE - WHITE

LOGO: CLEAR SPACE SPECIFICATIONS Brand touch points plays important role in building the brand, therefore it is necessary to ensure that the logo is visible on every possible communications. The identity should be clear and maintain appropriate distance from other graphic elements such as typography and images.

The clear space around the identity ensures that it has maximum visibility and impact on every communication.

Avoid crowding the logo with other graphic elements such as typography and other imagery.

DEEPAK

DEEPAK

GROUP

GROUP

LEAD THE EQUATION

LEAD LEAD THE THE EQUATION EQUATION LOGO: WITH TAGLINE

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LOGO: RESIZE SPECIFICATIONS Minimum size of logo which should be used on different mediums decided after examining the output on various mediums. This will ensure that the logo is always legible and accurately reproduced.

MINIMUM SIZE ON SCREEN

MINIMUM SIZE ON PRINT

DEEPAK

DEEPAK

GROUP

GROUP 100 PIXELS 1.5 cm

*The above image size is for representation only

DEEPAK GROUP

DO NOT RESIZE THE LOGO VERTICALLY

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DEEPAK G ROUP

DO NOT RESIZE THE LOGO HORIZONTALLY

DEEPAK GROUP

ALWAYS RESIZE THE LOGO DIAGONALLY HOLDING THE SHIFT KEY

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BRAND: TYPEFACES Type haspersonality. Graphic designer thoughtfully choose the appropriate type for a brand which suits the brand and goess with the personality of the brand. Deepak Nitrite is stable and a mature leader compnay, therefore type chosen goes with the overall tone of the brand.

Important points kept in mind while selecting the typeface are: • Can cover the range of required applications • Able to reflect culture and personality • Convey feeling and reflect posotioning • Work in black and white as well • New and fresh feel • Are legible and readable

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AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

LOGO: CORRECT USAGE DEEPAK

The logo should not lose its visibility and legibility with background. The designer should make right decision when using the logo and can use with images which offer greater legibility.

GROUP LEAD THE EQUATION

Designer can judicially decide the place where logo should appear on image depending on the background or the context.

Logo should be placed within the safe zone or with a single color background as shown in image 1.

It can be placed without any background as well however the visibility of the logo shouldnot be compromised as shown in image 2.

1

Other versions of logo can be used on the image where it demands and improves the visibility as shown in image no 3.

3

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LOGO: INCORRECT USAGE Do not put a patch on the image to show the logo or enclose the logo in other shapes. Choose appropriate image to use logo with.

Below are the few examples of incorrect usage of the logo with the images.

DEEPAK GROUP LEAD THE EQUATION

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AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

CURRENT PROJECT STATUS The requirement of deliverables from the sponsor was to strategize and re-brand Deepak Nitrite Ltd. However, during the time period of 6 months of the project, many things changed. Since Deepak Group is also undergoing huge internal changes, a lot of the planned decisions initially did not happen and the project was kept at a stand-still for sometime. However, I took the project till identity re-design and Baroda communication piece.

Deepak Nitrite Ltd is expected to make implement new identity from next financial year just before their new project Deepak Phenolic gets completed after they get enough investments from the market.

The scope of this project is very huge as to what it was expected to be.

For the proper implementation of the tangible and intangible aspects of the brand development, Deepak Nitrite would require to undergo a small workshop or brand assimilation program to equip them better in communicating the new face of Deepak Nitrite Ltd.

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CONCLUSION “Design creates culture. Culture shapes values. Values determine the future.” – Robert Peters/ My main aim with this project was to craft with design strategies in the field of visual communication, and to try and bring forth a solution of n wholesome experience of the brand.

A good Brand always has an underlying great vision. I was happy to have worked with a company that strives to excel in t he field of science and innovation, and is trying to break convention in its own little way. A designer’s role is to craft an interface between the brand and the audience. Creating this perception goes beyond designing identities, and is a long-term process. All changes involve risk, branding change inevitably involves an element of risk, too.

Brand implementation takes time, and the roll-out plan for Deepak Nitrite Ltd. Was spread over an year and more.

With the new identity being put to use only in the coming year. There is a lot of groundwork to be covered so that the target audience is accepting of the change. So It had to be incorporated slowly and, meticulously.

During the course of this project I enjoyed all the processes of the Graphic Design, from prototyping to modeling to understanding all the small processes it takes for a concept to come to life. I had the opportunity to enhance my soft skills and hone my abilities. I have thoroughly enjoyed all the research in the fields of

strategy and branding. Understanding methods and processes to filter and categorize huge amount of data.

At the beginning of the project I had no clue whatsoever of the outcome. But it has turned out pretty satisfying for me. (I deeply thank my sponsor and my guide for the same). The world is moving towards deeper understanding of businesses and their long-term growth with digital engagement loop where everything can be done with a swipe of a finger or the click of a mouse. With this, the increase in competition has enhanced the company’s continuous urge to better the service for their users making them ‘the choice’.

Dealing with a system as large as a Chemical Company was a challenging experience. Not only because it is governed by a group of strong opinionated individuals with different outlook on things, but also because even the slightest change affects people at various levels. The progress of the project was heavily client dependent and that taught me to be persistent in my communication so that we get the necessary inputs as and when required.

enriching experience as it gave me a deeper understanding of some of my very intuitive design decisions. Being involved in various aspects of the Project, like interacting with the clients firsthand, conducting interviews, interacting with vendors; gave me a glimpse of the various aspects of the design process in the real world. It gave me valuable exposure as to how a design studio approaches a design project.

No designer can work in isolation and ignorance. Communication is crucial to the design process. That was one of my most important takeaways from this project.

The scope of work also evolved with time so it was extremely important for me to approach the work with an open mind to gain the maximum from it.

Working at a design studio with people who have a good sensitivity and a developed eye for design was an

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AYUSHI MEDATWAL • M. DES GRAPHIC DESIGN • GRADUATION PROJECT 2017

REFERENCES BOOK REFERENCES

WEBSITES

Mary Jo Hatch, Taking Brand Initiatives: How companies can align strategy, culture and identity through Corporate Branding. Print

Undersonsideration: BrandNew. http://www. underconsideration.com/brandnew/

Oilns Walley, Corporate Identity. Print Hiro Minamiyama, World Branding: Concepts, Strategy and Design. Print

http://www.businessdictionary.com/definition/ corporate-values.html https://www.spellbrand.com/ top-10-chemical-company-logos

David E Carter, Corporate Identity Manual. Print Baldwin Jonathan, and Davis Mellisa, More than a Name: An Introduction to Branding. Print

https://www.spellbrand.com/ top-10-chemical-company-logos

Mono Design, Branding: From Brief to Finished Solution.

http://typography-daily.com/blog/category/insoiration/ logos/

Sharad Sarin, Strategic Brand Management for B2B Markets: A Road Map for Organizational Transformation.

Jean-Noel Kapferer, Strategic Brand Management: New Approaches to Creating and Evaluating Brand Equity

http://freshsparks.com/ successful-brand-building-process/ http://typography-daily.com/blog/category/insoiration/ logos/ http://www.logodesignlove.com/similar-original-logos http://www.toastdesign.co.uk/ the-beneifts-of-rebranding/>

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COLOPHON This document has been written and designed by Ayushi Medatwal. It has been printed at Chhaap Printers. This document has been set in: Roboto Designed by Christian Robertson Commissioned

by Google as the system font for its operating system Android.

PT Serif Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.

CORPORATE REBRANDING & STRATEGY