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Verbal Design is the one part of a brand’s expression that is always there, beyond the headline or the one ad you may have seen. Even when visuals fall away, there is no physical manifestation of the brand, and a campaign has run its course, a brand is still saying something to you. Verbal Design can bring the increasingly complex, discrete, and intangible elements of a brand’s ecosystem together by establishing a cohesive conversation, evoking a consistent feeling, everywhere, in the loudest and quietest moments alike.

In fact, it’s in those quiet moments that Verbal Design can reveal the most about a brand.

Take DryBar, a blowout-only salon. DryBar takes a distinctive approach to language, which they delightfully call ”sophisticated whimsy”; in the words of founder Allie Webb during a panel discussion at the 2016 Fast Company Innovation Festival , it’s a mix of “telling it like it is” and “not taking ourselves too seriously” that is designed to make people feel happy and confident. DryBar speaks in this way no matter what they’re talking about, or where, from the names of their products (blowout styles are named after cocktails) to their marketing, to their website and app, and even when you might least expect it — in a framed placard at every blowout station that addresses the could-be uncomfortable topic of tipping:

As stated in their nike air max 1 anniversary obsidian uk daily mail
: “The single most important part of the DryBar experience is the way we make people feel…It feels good to make people feel good.” And everything DryBar not only does but says — especially at those seemingly inconsequential moments — achieves just that.

That’s Verbal Design at its best: pulling all the parts, pieces, and moments together, making people think — and deeply feel — a truth about a brand.

Verbal Design is only gettingbigger.

Verbal Design isn’t solely AI design, but because it addresses all the words a brand uses, however and wherever that brand exists, it’s also AI design.

And as brands and technology increasingly rely on language, we are primed for a future in which Verbal Design, Experience Design, and even Brand Design itself, are one in the same. As Fast Company recently said of Google,

By clapping more or less, you can signal to us which stories really stand out.

I give brands the power of words. I write the stories of strangers on the subway.

Charlotte Perkins Gilman (1860-1935) was a writer and lecturer for social reform. Gilman was a feminist during a time when it was not socially acceptable to be one.

I was climbing up a mountain-path

With many things to do,

Important business of my own,

And other people's too,

When I ran against a Prejudice

That quite cut off the view.

My work was such as could not wait,

My path quite clearly showed,

My strength and time were limited, Q1

I carried quite a load;

And there that hulking Prejudice

Sat all across the road.

So I spoke to him politely,

For he was huge and high,

And begged that he would move a bit

And let me travel by.

He smiled, but as for moving!

He didn't even try.

And then I reasoned quietly

With that colossal nike roshe run marble womens watches
mule:

My time was short —no other path—

The mountain winds were cool.

I argued like a Solomon; 2

He sat there like a fool.

Then I flew into a passion,

and I danced and howled and swore.

I pelted and belabored him Q2

Till I was stiff and sore;

He got as mad as I did—

But he sat there as before.

And then I begged him on my knees;

I might be kneeling still

If so I hoped to move that mass

Of obdurate nike air max thea woven womens mint green white nursery
ill-will—

As well invite the monument

To vacate Bunker Hill! nordstrom nike air max 90

So I sat before him helpless,

In an ecstasy nike roshe run grey womens vans
of woe—

The mountain mists were rising fast,

The sun was sinking slow—

When a sudden inspiration came,

As sudden winds do blow.

I took my hat, I took my stick,

My load I settled fair,

I approached that awful incubus 6

With an absent-minded air —

And I walked directly through him,

As if he wasn't there! Q3

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