Remembering my “best travel buddy” and pushing myself out of my comfort zone through design and creativity

When I decided to create a new identity for Travego Firarda for its 20th anniversary, the first thing that came to my mind, even if it was imaginary, was that I had to decide what kind of music the band I would take on tour with Travego, whom I once described as my best travel buddy would make.

Although my relationship with music is mostly with the music of people who produce in pop tones, I imagined that the music produced by Frost & Sun, a band that I created by making extensive use of artificial intelligence for Travego Firarda’s 20th anniversary, would also be out of the ordinary for me.

It would be right to state at the outset that almost every element in the Travego Firarda project, which I tried to reinterpret specifically for its 20th anniversary, was a kind of departure from my comfort zone.

In addition to the fact that I paid attention to the members of the band named Frost & Sun being Northern and looking like individuals with a northern phenotype, as I shared on the images produced by Google’s Imagen 3 artificial intelligence, I was very excited about the possible results that would emerge when these people, who I imagined living in colder and harsher conditions due to climate conditions, came together with the tones specific to the people living in the south and having warmer blood in their own geography.

The basic idea behind the emergence of Frost & Sun was, in short, a northern rock band touring the Mediterranean coast, presenting the music with Mediterranean tones in their own way. Therefore, the band’s name was shaped with this motto; Frost meant “frozen” while “sun” meant the sun, and Frost & Sun would melt the ice while touring the Mediterranean coast.

When creating a visual identity as a designer related to rock music culture, we mostly use dark colors, and using palettes consisting of dark colors in this work seems like a bit of an easy way out to me. Maybe I'm wrong, I don't know.

Although the origin of these palette choices consisting of dark and dark colors is dominant in the story of the emergence of rock music, rock music's stance in a harder place compared to acoustic and pop music, the psychological effects of this stance and the symbol of belonging to the rock subculture are also somewhat.

Colors such as black, gray and dark blue are important colors used in visualizing themes that are directly related to rock and - maybe we can include metal music in this - a kind of show of power on stage, a symbol of rebellion and even passion.

When working on the communication of any brand, we make certain choices in color selection to match the expectations of the target audience. Rock music is also a music genre that adopts dark colors as an identity symbol, the subject is actually quite simple and understandable in this respect.

I actually lived on the Mediterranean coast for about ten years and currently live in Izmir, a city on the Aegean coast that is considered by some to be a part of the Mediterranean.

The Mediterranean region really has a very rich cultural diversity and the natural beauties that we encounter as people living on the coast of this sea, of course, directly affect design, architecture, music and even communication.

When we say Mediterranean, we talk about bright sun, a clear blue sea and a lively nature; a salty, humid and sometimes cool breeze blowing from the sea in the evening, accompanied by lively, light and warm music. Therefore, the color palette of the Mediterranean consists of lively and bright colors. and usually colors inspired by nature such as orange, yellow, blue, green and purple find their place in color palettes when doing works related to the Mediterranean. These colors are very good at being energetic, cheerful and full of life and evoking positive emotions.

While choosing the color for the band Frost & Sun, which I imagine as a northern music band and that wanders around the Mediterranean coast singing songs to melt the ice, the main reason I moved away from the dark color palette that I can define as conventional and traditional in rock music is actually the vision I drew in relation to the music band and the mission I wanted to impose on the band.

The imaginary music album called "Mediterranean Essentials", which I used in the band’s PR and includes northern interpretations of the most well-known songs in the Mediterranean, is also a part of this comprehensive dream. One day, I really want to spend time preparing the communication materials for this album, and who knows, maybe with the help of artificial intelligence, I will somehow be able to make you hear the music playing in my head. What a surprise it would be for all of us. :)

If I were to return to the main subject... As someone who has lived on the Mediterranean coast, I know the intensity of emotional expressions in Mediterranean music, and the colors of a band that makes music in this region should be at least as interesting as the phenotypes of the people who make up the band, and unexpectedly in a band that defines its music as Rock, in colors that create a twist.

I can explain the main reason why lilac and hyacinth purple, freshly mowed grass and pine green, sunshine yellow and pomegranate red are included in the communication of Frost & Sun's Mediterranean tour in this way.

The salmon color, which I did not mention and used most dominantly in the color palette, also comes from salmon, which is widely consumed in the band's home country, and this can be considered as a signature I have put on the design, which is related to my main profession, aquaculture engineering.

While closing the topic here about Travego Firarda and the communication I prepared specifically for its 20th anniversary, I see no harm in mentioning it again; The Frost & Sun concert tour communication example, which I developed entirely using artificial intelligence, also represents a kind of stepping out of my comfort zone for me.

At the same time, I tirelessly dream of a world where people living in different parts of the world can understand each other better and more easily using music, a universal means of communication...

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Will Korean be able to attract attention again on the city's most expensive billboards with its new cool image?

In March 2025, Korean Air, which has used the same corporate identity for nearly forty years, completely renewed it in line with the changes and transformations experienced by aviation and displayed its new design on a new-generation Boeing 787-10 aircraft during a night called Rising Night in a hangar at Korean Air's main base in Seoul.

This change, which took place after the acquisition of Asiana, which operates in the same country, can be defined as a modernization aimed at the goals of Korea's national airline in the global market.

Noteworthy elements in Korean Airlines’ old corporate identity

The design, inspired by the national colors of Korea and which has made Korean Airlines one of the most recognizable brands in Asia and even the world in the quarter-century since its first appearance, had several elements that made the planes carrying this template distinguishable at international airports where they landed and took off.

The first of these was the logo inspired by the Taegeuk symbol, which is also found on the flag of the Republic of South Korea. This logo, which uses blue, red and complementary white, was one of the most important promotional symbols of both the airline and the country.

If you have seen a Korean Airlines plane on Instagram or on an airline you have visited, you will have noticed that the upper part of the plane’s fuselage is painted sky blue (or powder blue). The color palette, in which blue is the dominant and widespread color, made the airline’s planes instantly recognizable. The shade of blue called Spritzig (#71CBEB) has managed to become synonymous with the brand at airports where Korean Airlines lands worldwide.

If i was to make an evaluation in terms of design, the typography used in the old logo was quite striking. It was a classic, strong, serif font that reflected Korean culture and gave the airline its own personality. Even though more than forty years have passed, it would not be wrong to describe this logotype as still dynamic and perhaps modern.

The most frequent criticism made by those who design and work in the field of communication in the modern era about the Korean Air logo was that the Taegeuk symbol resembled the Pepsi logo. Although it was noted that this could cause confusion in brand communication in some markets, the symbol comes from Korean history and is believed to represent balance.

Why do brands feel the need to change their corporate identity designs?

Keeping up the age

Just like people, brands also want to keep up with the dynamics of the age, stand out from their competitors and gain an advantage in competition, and strengthen their ties with their target audiences, and corporate identity covers all the strategies a brand uses while doing all these things.

Adapting to the tech

Other important reasons include adapting to technological developments, being where the changing generation is, catching up with intercultural differences, and ultimately, the motivation to redefine and strengthen the position in the market.

Technological advances take societies with them, even change and transform them, and brands do not want to be left behind. This is similar to feeling the need to constantly update your mobile phone and tablet in order not to be exempt from published updates.

Catching the Gen Z

Minimalistic approaches used in design, interactive content and color palettes compatible with use on social media are among the criteria that brands pay attention to when renewing their corporate identities in order to meet the expectations of the young, short-attention-span and always alternative audience defined as Generation Z.

Expanding product range

On the other hand, the range of products and services offered by brands is expanding and the ability of corporate identities to cover new product or service groups is insufficient. These changes in corporate identity make it easier for consumers to perceive the new areas that brands are focusing on, while maintaining consistency in marketing communication.

Changing ownership of companies and rebirth of a brand

It is also frequently witnessed that corporate identity changes are made after company mergers, acquisitions or separations. This is a message of rebirth and this change is seen as a necessity in line with the vision and mission of the newcomer depending on the changing ownership.

For example, if a small company acquired by a larger company will not be assimilated into the larger company, it is deemed necessary to revise its corporate identity in line with the larger company, while the brand’s colors are transformed towards a more universal one, the tendency to add symbols containing cultural signs to the logo is common.

Brands do not hesitate to revise their corporate identities in order to stand out from their competitors. If there is a high similarity between the logos of brands operating in the same sector, consumers’ decisions may be negatively affected. Therefore, it is important to understand the psychology of colors and interpret typographic elements correctly when choosing colors.

Another criterion that is as important as design is the communication of the change process, and explaining to consumers why this corporate change is being made is an action that will reinforce the transparency and reliability of the brand.

You can think of the change in corporate identity as the result of brands evolving over time, like a living creature.

If Korean Air and Pepsi were in the same industry, it would probably be a problem that they have similar logos, and one of them would eventually change their logo.

Becoming "Korean"

The brand’s corporate identity has been modernized and renewed by global creative consultancy Lippincott who has worked to Delta, Southwest and Aer Lingus too, while maintaining its commitment to Korea’s cultural heritage and national identity.

The most important component of Korean Air’s new corporate identity is the renewed logo, around which the entire design is technically shaped. The simplification of the traditional Taegeuk symbol, which has been compared to that of the soft drink brand Pepsi, is the most important innovation worth mentioning.

The logo has been stripped of the red and blue used in the previous generation and drawn only in a strong and dark blue bearing the name Dark Sapphire (#051766). You can still see same traditional symbol here, but this time it is dominated by more negative space. This change is perhaps the most important step that encourages the corporate identity to be thought of differently.

The removal of color is clearly a result of the simplification effort, and on the consumer side of the airline, you used to see Spritzig blue, Microprose Red red, Ruri Blue blue, Silver Polish gray and complementary white.

The micropose red and Ruri blue KOREAN AIR logotype was also in the Taegeuk symbol used as O. In the renewed corporate identity, the logotype has gained a more Latin character and European form by getting rid of the Far East connotation with its soft forms, distinct curves and brush strokes, and in the design placed on the outside of the aircraft, the AIR part has been removed and only the KOREAN shape has been worn on the aircraft. The red and dark blue are now only seen in the Korean national flag placed on the tail of the aircraft. 

Perhaps the most obvious heritage that Lippincott has not given up is the blue color that distinguishes Korean Air from other airlines. The Spritzig blue color that resembles the sky has been replaced with another blue called High Blue (#53aae2) and metallic paint has been used to make the aircraft body shine in different light conditions. The Silver Polish gray color that separates the blue and white colors on the aircraft body is no longer there and the body looks directly white after the white color.

It would not be wrong to say that the gray, which extended from the nose to the back of the aircraft in the previous design of Korean Airlines, gave the aircraft dynamism and brightness. By painting the main body color of the aircraft with a metallic paint, the dynamic image that was actually desired with gray is achieved again, and by spreading the effect to the entire body, both more strikingly and by achieving a more premium image.

It must be admitted that we all love the perception of metallic parts and colors in the vehicles we use, which is directly related to durability.

Speaking of the effect spreading to the entire body, it would be wrong to close this topic without mentioning the fluidity of the body design and there is also a connection between the design on the aircraft and the “aircraft”, which is the main focus of the flying business.

The changes made in the aircraft designs of Boeing and Airbus, which we can easily count among the main aircraft manufacturers, directly affect the corporate identities that brands place on these aircraft, and more efficient and less consuming aircraft that leave less waste. This is actually a direct result of the transformative and progressive power of technology. 

I was inspired by this fluidity when creating the main philosophy of an airline branding - Air Equinox, study that I worked on and published in the past. Many national brands now make a special effort to make their planes appear to float even when they are on the ground. This includes Emirates, Qantas, TUI, and even KLM, whose new Korean on-board design you will hear a lot of comparisons about in the coming days.

It is certain that the natural-looking curve of Korean’s two-tone body adds a movement reminiscent of the Sangmo Nori dance to the most minimal image possible.

Minimalism is quite common among luxury brands these days and it is clear that airlines such as Korean, Qantas, Turkish Airlines, BA are trying to position themselves in a higher segment compared to low-budget airlines. On the other hand, the target audience is also changing, brands are now trying to approach young people more. Displaying logotypes and even logos on aircraft bodies with a simpler and larger approach is an important element that allows the brand to be perceived more clearly, especially in airports and other corporate identity materials.

I don't know if we will get used to it and accept it after a while, but I am on the side that does not find the new version of the Taegeuk symbol strong enough.

Although the design, which used to be filled with red and dark blue and balanced with white, distances the symbol from the chaos around it and makes it stand out wherever it is placed, the inverted version, which focuses on the gaps of the previous logo, looks like a complementary pattern on the tails of the aircraft instead of being a main design element.

Therefore, Korean's new design-painted aircraft will probably be harder to distinguish at airports, especially at stations where they are parked side by side with KLM's aircraft.

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It wouldn’t be wrong to describe airports as the most expensive billboards in cities, and this also applies to airlines. Transportation companies are always looking to design the tops of their planes in the most eye-catching way possible, and we will all see how effective Korean will be with its new identity.

This change, especially after the merger with Asiana Airlines, is clearly not an effort to change the image of Korean Air as an airline that only operates flights from Europe to the Far East; like many subsidiaries preparing for the future, Korean is taking steps to appeal to a newer and younger generation.

It wouldn’t be wrong to say that Korean Air, which has adopted a more minimal design with simplified design elements and reduced colors, has a more sophisticated communication language compared to the past.

Although Korean’s minimalization has eliminated some characteristic details that have become synonymous with the brand throughout its history, it is certain that it will effectively support the airline’s growing position on a global scale and allow it to establish strong bonds with its current passengers and new ones… 

Korean Air old livery photo by David Syphers, other photos from Lippincott.com

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If you want to read something about this subject, please visit following links:

1. Korean Air Gets Its First Rebrand Since 1984 - octet.design
2. Korean Air just made huge changes to... - the points guy
3. The New Korean Air - Awardfares
4. Korean or Korean Air? - The Design Air
   

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Why perfection can't exist in design: Exploring the limitations and subjectivity of creative excellence

Look at anything you see around you; a building you see through the window, a roller blind, your car, a bus passing by, the screen you are reading this text on, even this software itself.

All of these are products of design. So, do you think these designs are "perfect"? ​​They may not be for me, they are okay for you, they are perfect for someone else.

As people working in the design world, we always seek perfection, no different from the focus of our work and design, and perfection is always an attractive but unattainable ideal.

Can you define perfection without giving away your own opinion?

From any architectural work to men's underwear; from how a product looks from the outside as a remedy for a wound to the interfaces of digital applications, designers want people to establish deep connections with the products they design, and they want these products to function flawlessly. This is actually a race, and the products around us are the ones who have already won this race.

Since those involved in design are constantly thinking and trying new things, and the results are better, beautiful, functional or just plain pleasing to the eye than the previous ones, it usually doesn’t seem possible to reach this absolute perfection that I am trying to talk about.

Another example from a familiar perspective, I see and hear that Apple’s minimalist product design approach is admired and even praised by many people due to its clean and stylish lines. However, on the other hand, some people find this minimal design language too sterile, impersonal and cold. I know people who think in both ways.

I would like to give another example from a completely different area. Fashion. While the eye-catching products of design-oriented and made-to-order (MTO) brands such as Altan Bottier or TLB Mallorca seem perfect to some people due to their designs, shapes, models, molds and the fact that traditional methods are incorporated into the production model.

The new generation may find them impractical and uncomfortable, and flashy for daily life. Which of the perfection approaches here is correct? Sturdy and stylish shoes made of good quality leather materials or sneakers made of mainly plastic-based materials?

Here, even I personally cannot describe to you without highlighting -albeit unintentionally- the things that express perfection to me, I cannot even describe to you without somehow dictating my already held opinion.

I would like to give another example from a very different discipline. While in traditional Japanese design we talk about simplicity, the use of natural materials and an unadorned narrative, on the other side of the world, for example, in Baroque design there is a magnificence and plenty of ornamentation.

So which of these do you think is perfect? ​​The Japanese approach to design, the Baroque approach or the Scandinavian design?

Perfection defines a perception that varies from person to person and does not seem easy for everyone to find a common denominator for a product that emerges.

In architecture, the Parthenon in Greece is an example of a building form that seems perfect to some with its classical proportions, while the Taj Mahal can very well represent perfection in architecture with its detailed workmanship and symmetry. Which is it, Roman or Indian?

Comparisons on this subject could go on forever, so I'll stop giving examples here for now.

Describing perfection subjectively

What I want to talk about here is that the definition of perfection is constantly changing under the influence of subjective tastes, what the culture we live in has shown us in the past, the functional needs of the product and the variability of other developing technologies related to design.

Speaking for myself, when I design a wrap on a bus, in the websites I prepare, in printed materials, in corporate identity materials or, in a simpler example, what I always have in mind is to find the simplest, most readable form of the message I want to give. Most importantly, I want to be able to tell what I want to tell without giving people a puzzle to solve.

That's why I try to do this job with sharp lines, as few shadows as possible, plain fonts and appropriate colors.

In my opinion, this is the form a corporate structure should use when communicating, but you must have seen the graphics Spotify used at its traditional Wrapped event at the end of 2024, I think it is a form of communication that never suits a company like Spotify, but according to Spotify's corporate communications team, it has been accepted as perfect.

What we consider perfect today is not certain that it will be valued the same tomorrow. The best example of this is perhaps Web 2.0.

Web 2.0, which entered our lives with a design approach that allowed users to interact on websites and made this task easier, represented a brand new form that made room for user-generated content such as bright colors, rounded corners, glassy surfaces, distinct gradients, large buttons, forums and interactive content management systems.

However, when designing the interfaces of websites, we are now influenced by other trends and tend towards simplicity.

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I think designing itself is an effort to seek perfection; but keeping what already exists, what works for us and the new perspectives that come with it in a constant state of motion seems more inclusive, adaptable and meaningful in terms of the act of designing.

We will continue to seek perfection and the journey on this path will never end anywhere in the world. At the same time, this search will also be what moves the world of design forward and stimulates creativity.

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The evolution of e-mail marketing: Why SPAM is no longer an obsolete method on digital communication?

As the number and variety of tools we use in digital marketing increases, we have also realized the importance of a tool we have traditionally used for a long time; e-mail marketing.

The most important issue we had to deal with in the past regarding e-mail marketing, which has now taken a fundamental place among modern digital marketing tools, was SPAM. In other words, the e-mails we sent were somehow perceived as unwanted and ultimately prevented from reaching the end consumer.

In e-mail marketing, along with the change in the way the relationship between consumers and brands is established, our traditional bulk e-mail protocols and the methods of delivering this content to the end user have also changed.

What is spam and does it have a negative impact on email marketing?

When you think about it in terms of e-mail marketing, SPAM usually defines e-mails that are not personalized, are intended to reach a very large audience at the same time, and are generally not requested by the user.

It would not be wrong to say that, the most important thing that defines an e-mail as SPAM is the e-mails that are not requested by the recipient.

Although today’s email service providers (ESPs) have put a lot of thought into filtering and blocking these, spamming has not completely disappeared and has adapted to today by changing and transforming like many other things.

How do service providers try to combat spam? 

Almost all of us have ESPs such as Gmail, Outlook, or Yahoo, which are often free or have a subscription fee, they have strict policies to protect those who use their systems from SPAM.

The first method ESPs use to detect spam is content analysis. This involves scanning the content of e-mails for certain keywords, suspicious looking links and other risky content.

Another thing ESPs monitor is the reputation of the IP address and domain from which the email is sent. An e-mail from an IP address or domain extension with a bad reputation is more likely to be marked as SPAM. 

Although you don’t see this side of the system today, ESPs do a lot of analytics tracking underneath the systems we use to send and read e-mails. These metrics include email opening rates, time spent in the e-mail, and the rate of clicking on a link in the e-mail, and the evaluation of these rates themselves are important criteria that affect the sender's reputation.

Some of the authentication protocols of ESPs

Despite these measures developed by ESPs, spammers are constantly looking for the necessary methods to bypass these filters and reach end user accounts, and they are trying to keep this war alive by developing new strategies.

The ESP you use have associated your email addresses with you more than you think today. It is inevitable for ESPs to take some precautions in risky situations by verifying identities with authentication protocols such as SPF, DKIM and DMARC.

• SPF is a protocol that prevents servers from perceiving an e-mail you send as SPAM, an SPF TXT is added to the DNS record.
• DKIM is a protocol developed to prevent email forgery. It helps to prevent e-mails from reaching the inbox of the recipient and to inform the e-mail server that the emails received are legitimate.
• DMARC is a protocol that allows you to inform what to do when you receive an e-mail whose identity cannot be verified when scanned by SPF or DKIM.

What is the inbox rate and why does an e-mail end up in the spam folder?

It would not be wrong to say that, the most critical metric in e-mail marketing is the inbox rate.

This is the percentage of an e-mail sent by someone that successfully reaches the inbox, not the spam folder, which we can also define as a gray area in the email box. Inbox rate is defined as the percentage of e-mails that successfully reach the recipient's inbox, not the spam folder.

Inbox rate is a critical metric in email marketing and shows the percentage of emails that successfully reach the recipient's inbox, not the spam folder.

Why does an email you send end up in the spam folder?

• Permission to send an e-mail may not have been obtained.
• Overly promotional language may have been used.
• Too many external links in the e-mail.
• The e-mail was sent from a blacklisted IP address / domain.
• Due to low interaction with the sender and the high number of unsubscribe requests, the ESP may detect that you do not want to receive the email.
• The sender's identity may not have been verified.

These factors are important keys for digital communicators doing e-mail marketing to improve the strategies they follow to avoid spam filters.

How does spam affect email marketing?

SPAM activities have been around for a long time in e-mail marketing and despite the high potential for return, it is a method that carries its own risks.

E-mail campaigns are a great way to reduce costs and expand reach in marketing activities, but only if you can avoid SPAM filters. For this reason people-who-are-spammers are constantly developing better targeting tactics and trying to send more personalized e-mails.

Spamming seems a profitable method in digital marketing; but only in short term. In addition to damaging brand reputation, it carries risks such as blacklisting of the domain by ESPs with penalties foreseen under regulations such as CAN-SPAM and GDPR. 

This should provide us with the necessary motivation to focus on more specific audiences and quality content instead of fast and widespread ones when doing email marketing.

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E-mail marketing is a dynamic and, frankly, niche area within today’s digital marketing activities. Spamming is still a controversial topic in many circles, but it is still a method included in marketing strategies.

We all want to achieve long-term success in what we do and to have balanced communication between our solution partners. Therefore, correctly understanding the current status of spam policies, the mechanism by which the sent e-mail lands in the inbox, and what defines an e-mail as SPAM are among the things we need to learn in order to both increase our performance in e-mail marketing and reduce the complexity of the job.

Although spam has a negative connotation primarily due to its literal meaning and perception, the existence of the mechanism and its adaptability are also a factor that triggers the evolution of digital marketing tactics. What is important here seems to be the behaviors of businesses in their e-mail marketing approaches and their ability to stay within ethical boundaries while creating their campaigns…

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Brand communication is now more than a cup of coffee; how do we reach our target audience?

As brands that are trying to be more intimate with us day by day proceed in different ways to add a whole new meaning to our lives with their products, storytelling is starting to take up more space in the marketing strategy of each brand and we read a whole different story in each campaign.

When it comes to marketing communication and advertising, competition is intense; everyone is trying to stand out from their competitors and break through the noise and thus somehow connect with their target audience. 

So how will you communicate with your target audience while everyone is shouting loudly and with microphones and speakers that they have purchased by spending a lot of money?

The answer is in the strategies and tools that the brand will use to communicate.

What I need to say before continuing is that these “strategic tools” cannot be determined in a standard way for every brand and put into an ordinary mold. The brand’s location, size, target audience, purpose of existence and how it expresses this purpose, and even how much money it is prepared to spend for this business… All of these are important factors in determining these strategic tools.

As brands, we are in a dynamic market and it is imperative to maintain brand communication, attract the target audience and ultimately increase sales in order to attract the attention of our customers.

Everyone may argue that in order to achieve this, very innovative, innovative and things that no one has done before must be done, but this is no longer the case in its entirety. When we look at it from the brand’s perspective, I think it would not be wrong to say that nothing has been done. It is not bad to do our best with the methods we know.

In a very simple definition, if you can drink a cup of coffee at your desk during the day, you may be excited to know that there is a lot of experience, strategy and marketing action in the journey from the moment this coffee is collected from the tree it falls to the ground until it is roasted and put into your cup.

Reaching new people in the target audience with traditional methods

Social media platforms such as Facebook, Instagram, Twitter and LinkedIn, which emerged with the idea of ​​sharing information, photos, important moments and even our activities about our own lives, are in a very different place today than when they were first established and have transformed into platforms that allow brands to connect with people in their target audience in real time and, perhaps most importantly, to establish two-way communication with the user profiles they have and the promotion potential they offer through them.

This transformation forced brands to take their place on these platforms, produce content specific to each platform and create their own communities on each of these channels. As brands gathered their followers around them on each platform, they became more visible. 

The era of company websites has not passed.

Although we have focused on being present on social media platforms today, a well-designed, smoothly functioning, good looking website still sits at the core of digital communication.

Along with blogs that manage to integrate very easily into websites, websites represent a medium where detailed information about the brand is given, stories are told, official updates are shared and most importantly, we have full control.

The search engine optimization part of the business, which is constantly optimized to increase organic traffic, is a completely different and special dimension.

When I talk about SEO, I am defining a type of optimization.

We can simplify its definition as making some changes to the structure of the website's interface and adding some keywords and tags in order to ensure that websites are found by search engines and rank higher.

Brands are happier when the keywords they think define them appear higher in search engines. Being ahead and at the top means attracting the attention of the searcher more easily and therefore increasing the possibility of offering the product or service.

Nowadays, search engines have transformed into a serious advertising platform as much as companies that provide social media services. Advertising on search engines and joining niche advertising networks are among the promotional activities we need to do to expand our target audience.

Reinventing a communication method: Email marketing

Perhaps the most functional tools that emerged from technology and communication entrepreneurship were mass email sending tools.

In the past, we would send emails continuously from a computer that we left open until the morning using a domain we owned and various third-party programs, and we would wait for them to open when they landed in customers' email boxes.

I think this was the most important thing that technology changed and transformed. With the development and spread of the Saas concept in different dimensions, we have made mass email sending a service more economical, faster, more effective and, perhaps most importantly, more statistically data-capable than before.

While most brands use email marketing as a personalized communication opportunity these days, newsletters, promotions, offers and tickets are now always sent via emails, the relationship with the target audience is nourished from here and conversions are encouraged.

Definition of placing useful information in a medium: Content marketing

If i need to define it very simply, when i say content marketing, it is to attract the target audience to our own area (in today's conditions, it can be a Twitter account, a Facebook or LinkedIn post, a blog post on our website) and to make them find it valuable, interesting, benefit from it / think they will benefit from it and make some purchases or payments in return for the benefit it provides.

Providing a service fragment that is a demo of the service offered for free, adding a report, graphic or infographic to the attachment or bottom of a post we upload on social media are examples I can give from two extreme points. These previewed or free products or services support the brand to build trust in its target audience and reinforce its authority on the subject.

Printed media, outdoor media, television and radio are not as dysfunctional as you might think.

Some still like to access tangible information. Especially those who are not good with digital tools, do not like looking at screens or like to read, examine and progress from there while holding something in their hands.

It is still possible to talk about a demographic that exists in these media. It is important not to overlook that groups that regularly read newspapers, have magazine subscriptions, examine brand catalogs and keep flyers are also a target audience.

Although the people who work on the brand side, generally continue advertising campaigns focused on digital media these days, traditional media such as television and outdoor continue to exist just like printed media. There is a large audience that watches television in particular and to give a more specific example, the evening hours when programs broadcast in the morning and competitions are broadcast are quite popular for people who appeal to a wide target audience to show their products.

We spend a lot of time on the road while going home from work or returning from work in the city, and during this time, radio broadcasters with a lot of followers are still on the air. All of the channels and tools I have listed here and forgotten to list are ideal for reinforcing the messages brands want to convey in people's minds and creating a lasting impression.

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Today, when talking about a successful brand communication strategy, it is necessary to not forget the offline channels as much as the online side. Ultimately, we are trying to reach someone and we are trying to capture interaction, there are many channels and tools.

We can exist on every social media platform in the market, we can use every tool and benefit from it, but it is understanding their power correctly and managing to use it correctly that reaches us to the target audience. The market that people are in is constantly in motion and dynamically changing and transforming. Of course, we will include various communication methods and new channels in the brand's communication strategies, but first, as brand communicators, we should not get dizzy.

We create a consistent brand voice in some way by using online and offline channels, but the key here is to adapt our approaches according to our brand's identity and target audience.

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A new and versatile approach to the consumer in marketing communications

Not being a fan of excessively loud music myself, I've sometimes wished I had a tangible keepsake from concerts I've attended. This could be anything from a signed card or commemorative glass to a poster. It seems these items often represent more than just products adorned with a photo or signature of a favorite artist; they can embody a memory, a shared energy, or even a message.

While such items might have once seemed like simple fan merchandise, today, "merch" represents a significant market and a vital connection between artists and their fans, serving as a multifaceted bridge between them.

The emergence of the first merch

The modern concept of merchandise emerged in the mid-20th century.  The introduction of Beatles-branded hats, t-shirts, and bags in the 1960s sparked immense fan interest, as such items were unprecedented.  This allowed Beatles fans to incorporate not only the band's music, but also their lifestyle, into their own lives.  This trend, which subsequently spread to rock and metal bands, has now captured the attention of brands as well as cult music groups.  Merchandise occupies a dedicated category in marketing campaigns, with virtually every brand striving to create its own collection.

Regardless of the specific item, merchandise represents a visible, tangible, and even sensory (including smellable) extension of the artist's world and the identity they cultivate.  In today's context, it's fair to include digital products as well. For instance, a souvenir from a concert provides a tangible memory that transports us back to that moment, creating a deeper connection with the artist whose music we enjoy.  The photo on a card or the t-shirt we wear symbolizes not just the musician's name, but also the value and passion of our admiration for them.

Where does merchandise fit into an artist's communication strategy?

Particularly after the impact of the Covid-19 pandemic and the digital transformation of the music industry, many musicians have shifted away from releasing ten-to-twelve song albums and now focus on single releases. Consequently, generating revenue solely through music creation isn't as lucrative as it once was.  This has brought the use of an artist's name and image as a revenue stream into sharper focus, making the production and sale of merchandise increasingly important.  Looking at today's popular artists, it's safe to say that merchandise significantly contributes to their income.  These products, especially those sold during tours, can substantially supplement a musician's earnings beyond stage performances.

Merchandise as a community-building tool:

When a fan purchases merchandise, they feel a sense of belonging to that artist's community. For example, wearing a Metallica t-shirt from a specific concert or a Hard Rock Cafe t-shirt from a particular city in everyday life can facilitate connections with others who share a similar affinity for the band or venue.  Other prominent examples include BTS's Army and Taylor Swift's Swifties.  As these examples illustrate, merchandise acts as a powerful connector, uniting fans beyond the realm of music itself.

What should you consider when designing your own merchandise?

Given that merchandise facilitates direct communication and connection between artists and fans, strong design is paramount.  Merchandise should possess a distinct style and, ideally, tell a story.  The artist's musical style, personal iconography, and color palettes aligned with the album or single the merchandise is associated with are generally considered foundational elements.  Regardless of the target audience, the resulting merchandise should unmistakably identify itself with the artist.

However, merchandise production requires a significant budget in today's market, making products with broader appeal more practical. While oversized t-shirts and hoodies are consistently popular, other items like tote bags, pins, or magnets, though currently trending, might not be the most strategic investment depending on budget constraints.  Using song lyrics with eye-catching typography on t-shirts is both trendy and personal.  Furthermore, merchandise design should align with the fan base's demographics, age, and interests.  A younger audience might gravitate towards more colorful and playful designs, while a more mature audience might prefer sophisticated and understated colors.

Frankly, one of the main reasons I wanted to move Travego Firarda away from its cold gray and blue color scheme is that the organization is geared towards young people, and its focus is Mediterranean music.

Merchandise that fosters fan connection goes beyond simple items like t-shirts or hats; product materials should be of the highest possible quality.  Merchandise carries the artist's brand, and a quickly deteriorating product reflects poorly on the artist's brand value.  No one wants to see a product bearing their name and brand discarded; it's disappointing for everyone involved.  Considering that fans want to own not just an artist's music, but also a piece of their world, budget optimization is crucial for creating a positive and lasting impression.

Professional agencies for merch production

Merchandise production involves not just design, but also distribution and marketing.  Recognizing this, some entrepreneurial individuals have developed new agency models to manage this process professionally. These agencies fill a crucial gap by understanding the artist's identity and creating products that accurately reflect it.  They provide comprehensive support, from sourcing high-quality materials and selecting appropriate printing techniques to offering design expertise.  For artists with global fan bases, they also provide logistics and e-commerce solutions, ensuring seamless worldwide product delivery.

These agencies act as valuable intermediaries, tracking current trends, rapidly producing impactful merchandise, and facilitating stronger artist-fan relationships. Some even manage post-sale processes and offer customer service to maximize fan satisfaction.  This allows artists to delegate the technical details to dedicated professionals and concentrate on their music.

It's important to acknowledge that merchandise, while serving as a potential revenue stream for artists, also touches people's lives.  The world of merchandise transcends mere items; it's a network connecting music, emotions, and identities.  And perhaps, that logo represents a significant way to improve someone's life and foster a sense of belonging.

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Design of a unique descriptive indicator and successful bringing together of different cultures with a focus on music

Unfortunately, the Travego with its renewed form never made a music tour to universities, but when I decided to create a completely new image, I did not want to use the previous generation either. This would also cause a time gap between what I wanted to do and what I wanted to present.

Travego, like many other Mercedes models, has been a bus that has changed its face in 20 years, and if I was going to make it available for university students again one day, I wanted it to be with a renewed model.

The most difficult part of the job was to examine some of the design elements that determine the character of this new Travego form, which I define as a completely new energy, and to decide how to combine it with the 20th anniversary indicator. The indicator is actually like a separator here, but on the other hand, it is also an element that shows the 20th anniversary of the tour.

I was especially undecided between using the front of the bus and the glass belt on the side, and the side belt was the more dominant element on my side in this regard. Because – in my opinion, unfortunately – the Travego’s current form shares a similar face with its little brother Tourismo and cousin Actros, so it wouldn’t look very original, just for the sake of it, so I created a 20th anniversary indicator by cutting off the bus’s ribbon above the windows and combining it with the number 20.

More Mediterranean music from the North

Until the year the Travego Firarda project ended, the predominant colors used were shades of black and gray, which are also Mercedes’ corporate colors, and sometimes electric blue and sometimes orange. Frankly, my biggest motivation before starting to develop this project was to step out of my comfort zone and use different colors, both for myself and in these communication materials.

I actually chose the colors you see in this work for the second time. The first ones I chose were duller and pastel tones, and dark colors just like in the first project. Yes, the band’s name says “Frost”, but on the other hand, they are performing the tour in a country in the Mediterranean, so I really liked including colors like orange, red, yellow, purple and green here, making it a bit more Mediterranean.

We caught it from the very beginning, but I am saddened that today’s university students have lost touch with the concept of the spring festival. It may seem unfair to some to remove a project that was initially conceived and implemented for university students from universities and make it more “urban”, but it is true.

Can such events be held for universities under today’s conditions? Maybe, but I don’t want some beautiful things to remain in the depths of history. I hope that we will have the opportunity to see events like Travego Firarda on university campuses again and that young people will have the opportunity to watch the bands and artists they love listening to on these stages.

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