Jenni Romaniuk: Building Distinctive Brand Assets

Building Distinctive Brand Assets opens by defining distinctive brand assets as the non-name elements of a brand (like colors, logos, taglines, sounds, etc.) whose primary purpose is to uniquely trigger the brand name in people’s minds. In other words, these are the memorable cues that instantly remind consumers of a specific brand without needing to see the brand name itself. The author emphasizes that developing such assets is crucial to “future-proofing” a brand’s identity and long-term equity. The introduction sets the stage by explaining that truly distinctive assets act as mental shortcuts for consumers – they prompt quick brand recall and recognition even in crowded, competitive environments. Romaniuk also notes that building a strong brand identity through distinctive assets is a strategic, evidence-based process. Throughout the book, she draws on research to show which branding strategies work and which do not, helping readers avoid common pitfalls in brand building. Overall, the introduction underlines why distinctive assets matter for any brand: they make the brand more salient (coming to mind easily) and form an enduring memory structure in consumers’ heads that competitors will struggle to dislodge.

The Formation of a Brand Identity

In this chapter, Romaniuk discusses how a brand’s identity takes shape through the creation and consistent use of brand assets. Brand identity is portrayed as the collection of all elements (visual, verbal, auditory, etc.) that represent and differentiate the brand. These assets – a logo, colors, fonts, packaging design, tagline, and more – are deliberately crafted and applied consistently across all marketing materials and touchpoints. By using the same cues repeatedly, a company forges strong associative links in consumers’ memories between those distinctive elements and the brand name. Romaniuk explains that forming a robust brand identity is not an overnight task, but a gradual process requiring three key ingredients: reach, co-presentation, and consistency. First, the brand must reach as many people as possible with its assets so that a large audience starts linking those cues to the brand. Second, the asset should be presented together with the brand name (e.g. always appearing on the product or in ads alongside the name) to firmly anchor the association. Third, the use of the asset must be consistent over time – repeated again and again in a similar form – in order to “refresh and retain” the memory links. Through this consistent and broad exposure, the brand’s identity solidifies: consumers learn to recognize the brand instantly from its visual or auditory signatures. In short, the chapter highlights that a brand identity is built by systematically creating distinctive assets and relentlessly pairing them with the brand until they become inseparable in the consumer’s mind.

The Role of Distinctive Assets

Here, the book delves into why these distinctive assets are so important for brand building. Distinctive assets are described as the workhorses of branding – their role is fundamentally to make it clear “it’s your brand” in any marketing or product context. Romaniuk points out that the first job of any advertising or marketing communication is to capture people’s attention, but the critical second job is ensuring people know which brand is speaking to them. This is where distinctive assets come in: they bridge the gap between attention and brand identification. A catchy ad or a clever message is wasted if viewers don’t connect it to the right brand. By embedding unique brand cues (a signature color, a familiar character, a slogan jingle, etc.), marketers greatly increase the chances that when an ad grabs attention, consumers immediately recognize the brand behind it. In essence, distinctive assets serve as branding devices – their primary role is to trigger the brand name in the consumer’s mind. The chapter emphasizes that these assets act as powerful memory shortcuts: people might not consciously remember every detail of a commercial or packaging, but a well-established distinctive asset (say, a particular yellow arch or a unique melody) will instantly call the brand to mind. By consistently using such assets, brands ensure that they “own” a space in memory; when consumers see or hear the cue, it automatically links to that brand. This ability to efficiently connect marketing to the brand is how distinctive assets contribute to brand equity – they make the brand salient and easy to recall, which in turn helps drive purchasing decisions.

How Distinctive Assets Help Build Mental Availability

Romaniuk next connects distinctive assets to the concept of mental availability, which is a cornerstone of brand growth theory. Mental availability refers to how readily a brand comes to mind in buying situations. Distinctive assets directly bolster this by making the brand more memorable and top-of-mind. The chapter explains that each well-known brand asset is like a mental hook; it gives consumers an extra pathway to recall the brand when they’re shopping or considering a purchase. Research shows that brands with strong distinctive assets achieve significantly higher salience – in fact, on average they are about 52% more likely to spring to mind than competitors without such assets. This is because distinctive cues create additional “handles” in the brain: a color, a shape, a jingle, or a character that can trigger the brand memory from different angles. For example, the ritual of a lime in a Corona beer or the silhouette of a Coca-Cola bottle immediately brings those brands to mind when a person encounters those cues in context (like at a beach bar or in a store). By consistently associating assets with certain usage contexts or category situations, brands increase the chance that when a relevant moment arises, one of those cues will surface mentally and remind the consumer of the brand. In short, this chapter illustrates that distinctive assets are key to building mental availability: they keep the brand mentally “available” to consumers by ensuring it is easily recognized and remembered via multiple sensory and symbolic touchpoints. The more a brand’s assets stand out and are linked to the brand, the more likely consumers will recall that brand (instead of a competitor) when it counts.

How Distinctive Assets Help Build Physical Availability

This chapter explores a less obvious but equally important facet of distinctive assets: enhancing physical availability. Physical availability is about making a brand easy to find and buy in the marketplace – it’s largely about distribution, shelf presence, and visibility in real-world buying environments. Romaniuk explains that distinctive brand assets can dramatically improve a product’s stand-out power in stores or other physical settings. With thousands of items competing for attention in a typical supermarket, a recognizable packaging or symbol can literally catch the shopper’s eye and guide them to the brand’s product. For instance, a unique package shape or a signature color scheme on a box can make a product jump out from a crowded shelf, increasing the likelihood that consumers notice and pick it up. The author gives vivid examples: seeing a yellow “M” arch on the roadside immediately tells a driver a McDonald’s restaurant is ahead, long before the word “McDonald’s” is visible; likewise, picking up a triangular chocolate bar is a nearly sure sign it’s a Toblerone, even without checking the label. These examples show how distinctive visual cues help consumers locate and recognize a brand’s offering in physical space. By cultivating noticeable and unique packaging, logos, and other design elements, brands make it easier for buyers to find them among myriad options. In summary, distinctive assets contribute to physical availability by making the brand unmistakable at the point of sale – whether on a store shelf, on a street sign, or in someone’s hand. This increases the chance of purchase, since a product that is easier to spot is easier to buy. Romaniuk reinforces that mental and physical availability work hand in hand: a brand that is readily thought of (thanks to mental cues) and easily found (thanks to visual cues) has a strong advantage in the market.

Using Distinctive Assets to Signal Meaning

In this chapter, Romaniuk tackles a common question for marketers: should brand assets carry some deeper meaning or message about the brand’s personality or values? Many brands attempt to imbue their logos or symbols with specific meanings (for example, choosing a color to signal eco-friendliness or a logo shape that conveys speed). However, Romaniuk cautions that using distinctive assets as communication devices for meaning is generally a poor strategy. Distinctive assets are fundamentally brand identifiers, not message conveyors. When brands choose an asset primarily for some abstract meaning instead of for its ability to identify the brand, they risk limiting the asset’s usefulness and lifespan. For instance, if a brand adopts a symbol meant to evoke a certain trend or product feature, that asset may only make sense in contexts where that meaning is relevant – it won’t work universally across all brand communications. Worse, if that particular meaning becomes less important to consumers or the category evolves, the asset could become obsolete (“expire”) because its raison d’être has faded. The book argues that a distinctive asset should not have an “expiry date” tied to a transient meaning. Its primary job is to say “It’s us – [Brand]”, not to tell a detailed story or value proposition. Romaniuk notes that brands have other tools, like messaging and advertising content, to communicate meanings, emotions, or category benefits – those are separate from the assets whose job is pure branding. The chapter’s key takeaway is that identification trumps communication when it comes to distinctive assets. A brand element will be far more versatile and enduring if it’s chosen for its uniqueness and recognizability, rather than for a specific meaning. By keeping assets focused on triggering the brand (and letting ads or campaigns carry the meaning), marketers ensure their brand cues remain relevant in the long run and can be used consistently across all contexts without constraint.

The Corporate, Parent, Sub-Brand Hierarchy

Brands often don’t exist alone – they operate in architectures (corporate brands with sub-brands, product lines, variants, etc.). This chapter addresses how distinctive assets should be managed in a brand hierarchy context. Romaniuk explains that when launching a new sub-brand or variant under an existing parent brand, one must strike a balance in the new brand’s identity. The new entity should leverage the equity of the parent’s distinctive assets without simply mimicking them so closely that it causes confusion. If the new sub-brand’s look and feel are too far from the parent, the company misses out on the familiarity and goodwill already built by the parent brand’s assets. On the other hand, if the new brand is too close to the parent’s identity, it may not stand out enough on its own, or worse, consumers might not distinguish between the two, leading to internal competition or muddled brand perceptions. Romaniuk uses a “Goldilocks” analogy: the goal is an identity that is not too hot, not too cold, but just right – meaning neither too distant nor too duplicative of the parent’s distinctive identity. To achieve this, the chapter suggests first assessing the strength of the parent brand’s existing distinctive assets and then deciding which of those can or should be carried into the new sub-brand. The parent’s most powerful assets (for example, a well-known logo or color scheme) might be worth sharing, in some form, with the sub-brand to immediately signal a family resemblance. However, any new launch must avoid clashing with the parent; if a sub-brand tries to develop its own completely separate set of cues while the parent’s cues are still in play, they might effectively compete against each other in consumers’ minds. The chapter likely provides guidelines for creating a complementary identity: one that borrows just enough from the parent to benefit from established distinctiveness, but also carves out its own unique elements to be distinctive in its niche. In summary, Romaniuk underscores that effective brand architecture means coordinating distinctive assets across levels – protecting the core identity of the parent brand while giving sub-brands their own space, all without fragmenting the overall brand recognition system.

Measuring Asset Strength

After establishing why distinctive assets matter, the book shifts to how we can quantify and evaluate them. This chapter introduces the idea that not all brand assets are equal – some are much stronger and more valuable than others – and it’s essential for brand managers to measure the strength of each asset. Romaniuk defines asset strength in terms of the asset’s ability to function as a true distinctive cue for the brand. Two key metrics are introduced: Fame and Uniqueness. These correspond to the two requirements an asset must fulfill to be considered a strong distinctive asset. Fame refers to how well-known and well-associated the asset is with your brand – essentially, what proportion of consumers, upon seeing or hearing the asset, think of your brand immediately. Uniqueness refers to how exclusive that association is – whether the asset only reminds people of your brand and no one else’s. An asset needs both components to be powerful: it should be widely recognized and not generic or overlapping with competitors’ branding. The chapter likely explains how to gather these measurements, typically through market research. For example, to gauge Fame, researchers might show the asset (like a logo, color swatch, or sound clip) to consumers without revealing the brand and ask which brand comes to mind. The percentage of people who correctly name the brand indicates fame (high fame means many people link it correctly). To gauge Uniqueness, one can look at whether people name other brands when shown that asset – if a significant number do, then the asset isn’t unique to its intended brand. Romaniuk stresses that rigorous asset testing like this provides a clear picture of which brand elements are assets worth investing in and which are weak or underdeveloped. This measurement step is vital for managing brand identity: it tells you which cues truly belong to your brand in the minds of consumers. Only with data on fame and uniqueness can marketers make informed decisions – for instance, deciding to drop a low-performing asset, or to double-down on building the fame of a promising one. The chapter sets the stage for the next ones, which dive deeper into each metric and the interpretation of results, introducing the analytical framework (the Distinctive Asset Grid).

Metrics: Fame

This chapter focuses on the Fame metric in detail. Fame is essentially about how many people recognize the asset and associate it with the brand. Romaniuk explains that an asset with high fame is one that a large share of the consumer population links to the brand instantly. Building fame is largely a function of exposure and usage: the more consistently and broadly the asset is used in marketing, packaging, and communications, the more people will come to know it. The book highlights that creating a famous brand asset is a long-term endeavor – there are no shortcuts. It “doesn’t happen overnight,” as consumers need repeated encounters to firmly connect an image or sound with a specific brand. For example, if a company adopts a new mascot or tune, it will take sustained repetition before that cue becomes a familiar shorthand for the brand. Romaniuk likely provides examples of assets with great fame: for instance, the Nike “swoosh” logo or McDonald’s golden arches have near-universal recognition. Such ubiquity is the result of decades of consistent, prominent use. The chapter also advises how to measure fame properly – emphasizing the importance of unbranded testing (asking consumers to identify the brand from the asset alone). A high fame score means consumers instantly connect the asset to the correct brand unaided, which indicates the asset is effectively embedded in public memory. Romaniuk notes that to boost an asset’s fame, brands should ensure high reach (exposing many people, as noted earlier) and maintain consistency (so every exposure reinforces the same association). Over time, as fame grows, the asset becomes extremely valuable: it can trigger the brand with just a glance or a brief sound, which is marketing gold. In summary, the Fame chapter underscores that breadth of association is key – a distinctive asset isn’t truly an asset until enough of the market recognizes it as yours. Achieving that fame requires patience and unwavering repetition, but once attained, it means the brand has an additional “mindshare” imprint that competitors will find hard to erase.

Metrics: Uniqueness

In this chapter, Romaniuk turns to the second critical metric for brand assets: Uniqueness. Uniqueness measures how exclusively an asset is linked to your brand. Even if an asset is famous (widely recognized), it won’t effectively distinguish your brand if consumers associate that cue with multiple brands. Therefore, a strong distinctive asset must not only be well-known, but different enough that no other brand comes to mind when consumers encounter it. Romaniuk explains that uniqueness is often the more challenging criterion, because many common branding devices are shared across companies and industries. For example, certain colors or symbols might be used by several brands, meaning no one can truly “own” them in the public’s mind. She cites evidence to show how rare true uniqueness can be: in one study, only about 4% of brand colors tested were immediately and uniquely identified with the right brand – the vast majority of colors did not point solely to one company. This implies that just using a signature color (say, blue or red) rarely makes a brand stand-alone, unless that color is deployed in a very singular way. The chapter likely gives examples of assets with high uniqueness: for instance, Tiffany & Co.’s trademarked “Tiffany Blue” is so distinctive that very few (if any) other brands are associated with that exact robin’s-egg blue shade. When people see that color on a box, almost only Tiffany comes to mind – a sign of strong uniqueness (achieved by Tiffany through decades of consistent use and legal protection of the color). On the other hand, assets like generic taglines or stock images lack uniqueness; consumers might recall several brands or none at all when seeing them. Romaniuk emphasizes that to improve uniqueness, brands should avoid overly common cues and strive for something ownable. If an asset is failing the uniqueness test (e.g., consumers confuse it for a competitor’s), the brand might need to modify or reinforce it. Often, context and combination help – using a color with a particular shape, or a phrase with a specific logo, can create a unique composite that others don’t share. The key message is that an asset only provides a competitive edge if it is truly singular in the consumer’s memory. Measuring uniqueness (by seeing if people mention other brands for your asset) is thus crucial; it reveals whether your brand really owns that cue. A high uniqueness score means your asset is yours alone in the market’s perception, making it a potent weapon for differentiation and brand clarity.

Metrics: The Grid

Having covered Fame and Uniqueness separately, Romaniuk introduces the Distinctive Asset Grid, a simple but powerful framework that combines these two metrics to evaluate assets. This grid is essentially a 2x2 chart: one axis is Fame (low to high) and the other is Uniqueness (low to high). Plotting an asset on this grid shows its overall strength and what to do next. The ideal place to be is the top-right quadrant – high fame and high uniqueness – which is the mark of a truly strong distinctive asset. An asset in this quadrant is widely recognized by consumers and almost exclusively linked to the brand, making it a valuable brand property to maintain and protect. The chapter describes each quadrant of the grid and how marketers should approach assets in those positions. If an asset has high fame but low uniqueness, it means lots of people know it, but it’s not uniquely yours – perhaps they also associate it with other brands or it’s a generic design. Romaniuk would likely advise that such an asset, while popular, needs work to differentiate it. The brand might either modify the asset to be more ownable or gradually replace it with something more unique, because an asset in this quadrant can be a double-edged sword (people know it, but it doesn’t always point to your brand alone). If an asset has low fame but high uniqueness, it’s a hidden gem – it could be a strong asset because no one else owns it in consumers’ minds, but not enough people recognize it yet. The strategy here would be to invest in building its fame (through more usage in marketing, wider exposure) since the uniqueness foundation is promising. Assets in this quadrant are often newer or less frequently used elements that haven’t reached their potential; Romaniuk might suggest prioritizing them in campaigns to boost awareness. The troublesome quadrant is low fame, low uniqueness – an asset that neither many people know nor particularly associate only with your brand. Such elements are weak or “background” at best. The book likely suggests that assets in this category are not worth heavy investment; the brand could consider dropping them or reworking them entirely, since they contribute little to brand identification. By regularly mapping assets on this grid, brand managers can clearly see which brand cues are strong, which need attention, and which are ineffective. Romaniuk emphasizes using the Distinctive Asset Grid as an ongoing diagnostic tool: the goal is to move assets toward the top-right over time, focusing resources on those that can realistically become both famous and unique triggers for the brand. This framework also underscores that both metrics matter – an asset isn’t truly distinctive if it scores high on one metric but low on the other. Only the combination – well-known and one-of-a-kind – yields a distinctive brand asset that provides lasting competitive advantage.

Types of Distinctive Assets

Switching from metrics to the assets themselves, this chapter surveys the various forms a distinctive brand asset can take. Romaniuk explains that distinctive assets can emerge from virtually any of the five senses, although in practice the majority are visual cues. She provides an overview of common asset categories, each with its own strengths and challenges:

• Logos: Often the starting point for brand identity, a logo is the visual emblem of the brand. Logos tend to be the most universally recognized asset because brands use them everywhere (on products, ads, websites, etc.), driving high fame. A well-designed logo can also incorporate unique shapes or colors that enhance its distinctiveness. (Think of the Nike swoosh or Apple’s apple – simple shapes that are instantly recognizable.)
• Colors: A signature color or color scheme can become strongly associated with a brand (for example, Coca-Cola’s red or UPS’s brown). Romaniuk notes that while color plays a key role, it’s hard to “own” a color in isolation. Colors are powerful attention-grabbers but often need to be used in combination with other elements (like a shape or logo) to truly become unique to a brand. The chapter highlights a few success stories such as Tiffany & Co.’s famous robin’s-egg “Tiffany Blue” boxes, which are so consistently used that the color itself evokes the brand. But generally, color works best as part of a broader palette of assets rather than a standalone identifier.
• Shapes and Icons: Distinctive shapes – whether it’s the design of a product/package or an iconic symbol – can be extremely effective assets. Romaniuk gives examples like the McDonald’s golden arches, which combine a unique shape and color to create a globally recognized icon. Another example is the distinctive contour of the Coca-Cola bottle or the triangular prism shape of Toblerone chocolate. These shapes are so unique in their categories that they immediately signal their brands. Even simple geometric motifs (like Nike’s swoosh or Adidas’s three stripes) function as brand icons. The chapter notes that shapes often work subconsciously; a silhouette or outline can trigger the brand in a split second.
• Taglines and Slogans: Verbal assets – short phrases associated with the brand – are also covered. Famous taglines like Nike’s “Just Do It” or KitKat’s “Have a break, have a KitKat” illustrate that words can become distinctive assets. However, Romaniuk cautions that taglines are among the hardest assets to firmly establish. They face the dual challenge of being words (which people may interpret with their general meaning and thus not uniquely link to the brand) and often being common language that competitors could also use or that don’t stick in memory. In fact, research indicates only a small percentage of taglines achieve strong distinctiveness (one study found just 6% of taglines were uniquely and instantly tied to a brand in consumers’ minds when seen standalone). The chapter suggests that making a tagline distinctive requires long-term consistency and integration into the brand’s communications. Taglines that directly reference the brand or product (like KitKat’s, which even uses the brand name in it) tend to have an edge in becoming memorable. Romaniuk likely advises caution in relying solely on a slogan for branding – it should complement visual cues, not replace them.
• Characters and Mascots: Some brands create their own characters – whether human spokespersons (real or fictional) or anthropomorphic mascots – to embody the brand. These can be incredibly sticky assets; consumers are naturally inclined to remember characters and faces. Examples include Ronald McDonald, the Michelin Man, or Tony the Tiger. Such mascots often become the “face” of the brand and, when done well, evoke the brand name instantly. The book notes that mascots have been found to be one of the most effective types of assets, second only to logos in their ability to trigger brand recall. A strong mascot can also be played with across ads, packaging, and promotions, creating a rich brand world. However, creating a beloved character requires creativity and significant investment in familiarizing the audience with that character over time.
• Audio Cues: The chapter also explores sound as a distinctive asset – a format many brands underutilize. Audio assets include things like jingles, musical signatures, or specific sounds linked to the brand. Classic examples are the Intel five-note chime (Intel Inside), McDonald’s “I’m Lovin’ It” melody, or the NBC chimes. A catchy jingle can become an earworm that cements the brand in memory. Romaniuk points out that while jingles might seem old-fashioned to some modern marketers, they are incredibly efficient brand assets – a few notes can convey the brand identity in a flash. The challenge is that sound, without visuals, may carry less meaning or emotional depth, so the best audio assets tend to incorporate the brand name or tagline lyrics for clarity. For example, the McDonald’s jingle literally sings “McDonald’s,” and other jingles like “Ho ho ho, Green Giant” explicitly mention the brand, ensuring the listener makes the link. The book suggests that with the rise of voice assistants, podcasts, and audio streaming, having a sonic identity might become even more important, giving brands a new way to stand out when visuals aren’t present.
• Other Asset Types: Romaniuk likely touches on additional categories like packaging design (distinctive bottle or container shapes, unique labeling), typography (custom fonts or lettering styles associated with the brand), patterns (like Burberry’s plaid or Louis Vuitton’s monogram pattern), and even sensory cues like scent or touch in some cases. The key theme is that anything consistently associated with the brand can become a distinctive asset if it’s unique and well-managed. The chapter encourages thinking beyond just logos – a brand can develop a palette of assets (visual, verbal, auditory) that together reinforce its identity.

Overall, this chapter functions as a catalog of possibilities, illustrating the rich tapestry of brand elements that can serve as distinctive assets. Romaniuk provides examples and notes the pros and cons of each type, preparing the reader for the deeper dives that follow on specific asset categories like color, sound, and words. The underlying advice is that a brand should cultivate multiple asset types (a “distinctive asset palette”) to cover various channels and senses, thereby maximizing its recognizability across different contexts.

Color as an Asset

In this chapter, Romaniuk zeroes in on brand color – one of the most visually obvious but deceptively tricky distinctive assets to manage. Color is powerful because it’s among the first things our eyes notice, and it can carry emotional associations (e.g., red for excitement, blue for trust). Many brands have a signature color scheme, and some are strongly identified by a single color (think of Cadbury purple or John Deere green). Romaniuk acknowledges that color can indeed be a valuable asset, but she stresses a few realities that temper its use. First, a color by itself is usually not enough to uniquely identify a brand. Because there are a limited number of basic colors and many brands share similar hues, color often requires support from other cues (like a logo shape, a design, or a wordmark) to truly become distinctive. For example, while many companies use red, Coca-Cola’s particular red in combination with its cursive logo and ribbon graphic is what makes it Coke’s. The chapter likely shares the finding that very few colors achieve distinctiveness in isolation – as noted earlier, only around 4% of tested colors could uniquely evoke the correct brand on their own. This means that most brands cannot rely on just a swatch of color to do the heavy lifting of identification; if you showed a random person only a color (with no context), it’s rare that they’d name the brand unless that brand-color link is extremely strong and exclusive (like Tiffany’s robin’s-egg blue, which the company has even legally trademarked).

Romaniuk provides guidance on how to use color effectively. Consistency is paramount: a brand should use its core colors everywhere – in its logo, packaging, retail design, advertising – so that over time those colors become synonymous with the brand. Examples like Tiffany & Co. are cited to show how relentless consistency (every Tiffany box and shopping bag has been that same blue for decades) eventually creates a firm association. Another point is the importance of context and combination: pairing color with other brand elements. For instance, Guinness uses a black-and-white color scheme that is distinctive especially when applied to the shape of a pint glass of stout (foam on top of black beer) – color is working together with product form. Color can grab attention, but to truly signal which brand, it often works best as part of a unified design language. The chapter also likely touches on the practical side: brands should be careful in choosing colors that aren’t already “owned” by a strong competitor in their category. If one brand has dominantly used a color (like Coca-Cola with red in soft drinks), a newcomer trying to use the same color may struggle to unseat that association. There might be discussion on legal brand identity issues too – trademarking colors is difficult but possible in certain circumstances (e.g., Owens-Corning’s Pink for insulation, Tiffany Blue, etc.), highlighting that a color needs to be strongly tied to a brand in consumers’ minds even to qualify for protection.

In summary, color can be a potent brand asset but rarely a standalone hero. Romaniuk’s advice is to leverage color as part of a multi-faceted identity: choose a distinctive palette, use it obsessively consistently, and combine it cleverly with shapes, logos, or other cues to maximize uniqueness. When done right, color enhances recognition – e.g., a customer scanning a store shelf can pick out a Tide detergent box by its bright orange color from a distance. But brands should remain aware that color alone has limitations and should always be reinforced by other distinctive elements to truly anchor the brand’s identity.

The Power of Sound

This chapter explores the auditory side of branding – sound and music – as a distinctive asset. Romaniuk points out that in an age of multimedia and digital content, a brand’s sonic identity can be as defining as its visual identity, yet many brands underutilize this dimension. She begins by examining classic jingles and audio logos, which at one time were a mainstay of advertising. A jingle is essentially a short, catchy piece of music or song explicitly tied to the brand (often including the brand name or tagline in the lyrics). The “power of sound” lies in music’s ability to lodge in memory (who hasn’t had a jingle stuck in their head?) and to evoke emotion quickly.

Romaniuk notes that some of the most enduring brand cues are sounds: the Intel Inside chime, the three-second melody that plays with the Intel logo, immediately signifies the brand without a single word; McDonald’s “ba da ba ba bah” tune from I’m Lovin’ It ads has become instantly associated with McDonald’s globally; even non-musical sounds like the Netflix “TUDUM” or the Microsoft Windows startup sound have strong brand linkages. The chapter emphasizes that audio assets, when consistently used, create a Pavlovian effect – hear the sound, think of the brand. This can be incredibly useful in contexts where visual branding might be limited (radio ads, podcast sponsorships, voice-assisted devices, etc.).

However, Romaniuk also acknowledges challenges with sound. Unlike a logo that can be constantly on screen, a sound usually plays briefly and might not always carry conceptual meaning. She cites that while distinctive, many branded sounds “lack the depth to forge a meaningful connection” on their own. In other words, a melody might not communicate a specific message or value proposition (a cheerful jingle doesn’t tell you much about the product details), but that’s okay – its main job is branding just like visual logos. To maximize effectiveness, the book advises that audio assets should incorporate the brand name or a core brand phrase if possible. By doing so, the sound not only triggers the memory through its tune but also reinforces the brand verbally. For example, many classic jingles literally say the brand name (e.g., “Liberty, Liberty, Liberty…” in Liberty Mutual’s jingle, or older ones like “Meet the swingin’ Nestlé’s Quik bunny” which sang the product name). If singing the name isn’t desirable, having a unique melody can still work if it’s consistently tied to brand appearances (e.g., the first notes of 20th Century Fox or Netflix that always play with their logo screens).

The chapter might also encourage brands to consider owning a piece of music or a sound bite – for instance, some brands use licensed popular songs that become heavily associated with them (think how the song “Happy” by Pharrell became linked to the Despicable Me franchise, or a certain classical tune associated with British Airways). But creating one’s own sonic logo is more ownable long-term. Romaniuk highlights that as marketing channels diversify (with a rise in purely audio media and need for accessibility), having a distinctive sound can set a brand apart where visuals can’t. Importantly, she suggests that brand sounds should be treated just like other assets: measured for recognition and uniqueness, and used regularly.

To conclude, sound is a powerful but underused asset, and those brands that harness it smartly gain an extra dimension of distinctiveness. A good melody or audio cue can trigger brand recall in a heartbeat and linger pleasantly in consumer memory. Romaniuk’s practical tip is to keep audio cues simple and repetitive (much like visual logos) – a short motif or phrase is easier to remember. The “power of sound” chapter likely leaves readers with an appreciation for jingles and sonic branding as not just marketing fluff, but as serious tools for building mental availability in an era where consumers are inundated with visual clutter but might still perk up their ears at a familiar sound.

Taglines and Other Words

In this chapter, Romaniuk addresses verbal brand assets – particularly taglines, slogans, and other short phrases closely associated with a brand. These are the “words” of the brand’s identity (aside from the brand name itself). A tagline is often used to communicate a brand’s essence or promise in a memorable way (for example, “Just Do It”, “Think Different”, or “The Ultimate Driving Machine”). The chapter explores how such phrases can serve as distinctive brand assets and what challenges they present.

Romaniuk explains that a truly distinctive tagline is one that people hear or see and immediately think of the brand, even if the brand name isn’t present. A classic example is “Just Do It” – most people, upon hearing that phrase, will think of Nike. That tagline has effectively become a secondary brand identifier for Nike, almost as strong as the swoosh logo. Another is “I’m lovin’ it”, which invariably evokes McDonald’s. However, these successes are the exception rather than the rule. Romaniuk shares research indicating that very few taglines achieve unique brand linkage – as mentioned earlier, only on the order of 6% of taglines tested had both high recall and exclusive association to the correct brand. Why so few? Taglines face a few inherent hurdles.

First, language is common – any given word or phrase likely exists in general vocabulary, so consumers might not automatically link it to one brand unless it’s heavily reinforced. For instance, the phrase “just do it” is a normal English phrase; Nike had to invest enormous effort over years to attach those everyday words to its brand and not anyone else’s. Second, as Romaniuk points out, taglines compete with their literal meanings and with the brand name itself in consumers’ brains. When you hear “Just Do It,” you might think of the motivational meaning, not only the brand, unless Nike’s marketing has done a strong job. Likewise, if a tagline is more descriptive (say, an airline using “Fly the Friendly Skies”), people may recall the sentiment but forget which airline said it, or they may remember the brand (United Airlines for that example) but the phrase itself doesn’t uniquely belong to United in their minds. Essentially, words are slippery assets because they don’t have the visual distinctiveness of a logo or package.

Romaniuk suggests a few ways brands can make taglines more effective distinctive assets. One is longevity and consistency: using the same tagline for a long time across all campaigns. Many brands switch taglines every few years, which prevents any single one from sticking. The ones we remember (Nike, McDonald’s, Subway’s “Eat Fresh”, etc.) tend to have been used for a decade or more without change. Consistency builds familiarity. Another tip is integration: using the tagline in conjunction with other assets (for example, always appearing alongside the logo, or set to a jingle as McDonald’s does). This co-presentation helps consumers associate the phrase with the brand because they see them together often. Additionally, making the tagline reinforce the brand name or a unique concept helps – KitKat’s famous line “Have a break, have a KitKat” is powerful not only because it’s been used forever, but also because it cleverly inserts the brand name right into the heart of the slogan (no ambiguity that it’s KitKat’s line). Some taglines also become distinctive by tying into a broader brand story or campaign style; for instance, Mastercard’s “There are some things money can’t buy. For everything else, there’s Mastercard” was part of a long-running ad series that cemented those words to Mastercard’s identity.

Romaniuk likely warns that changing a tagline frequently is a recipe for none of them becoming assets – each time you start a new slogan, you’re resetting the clock on building associations. Therefore, if a brand is lucky enough to have a half-decent tagline that people like or remember, it may be worth sticking with it and investing behind it to strengthen its distinctiveness. The chapter might include examples of failed or weak taglines that sounded clever but never caught on because they weren’t used consistently or were too generic.

In conclusion, verbal assets like taglines can play a role in a brand’s distinctive asset palette, but they require heavy lifting to truly become iconic. They should be concise, relevant, and ideally unique in phrasing (something competitors are unlikely to say). Romaniuk reiterates that while a great tagline can enhance brand identity and even summarize the brand’s promise, it should not be the sole identifier. It works best in tandem with visual and sonic assets. If a brand does manage to create a famous, unique tagline, that’s a powerful asset – a few words that evoke the brand instantly – but achieving that is an exercise in patience, creativity, and unwavering repetition.

The Celebrity Dilemma

This chapter deals with a specific type of asset – or rather, a tactic – that many brands use: celebrities as brand associations. Romaniuk calls it a “dilemma” because using famous people in branding is a double-edged sword when it comes to distinctiveness. On one hand, celebrities can generate attention and bring their own positive associations; on the other hand, the celebrity is not owned by the brand and can overshadow or even dilute brand recall. The key question the chapter addresses is: Can a celebrity spokesperson or endorser become a distinctive brand asset?

Romaniuk suggests that while a celebrity can be part of a brand’s marketing strategy, they rarely function well as long-term distinctive assets. One major issue is what’s known as the “vampire effect” – the tendency for the star’s presence to suck attention away from the brand. Consumers might remember the funny ad with a Hollywood actor, but forget what brand it was for, essentially remembering the celebrity instead of the brand. She gives an example: George Clooney and Nespresso. Clooney has been the face of Nespresso in ads for years, and while he’s certainly brought charm and notice to the campaigns, Romaniuk notes that if you see George Clooney’s face outside the context of a Nespresso commercial, it doesn’t inherently trigger “Nespresso” in your mind. Clooney is famous for being Clooney, not for coffee. This underscores the point that a celebrity comes with their own pre-existing image and meaning, which may not always mesh tightly with the brand. They might be associated with multiple things (movies, other endorsements) and thus can’t serve as a unique marker for one brand.

Additionally, celebrities are uncontrollable assets – unlike a logo or a fictional mascot, a real person has their own life and decisions. They might endorse other brands (diluting uniqueness), their popularity may fade, or they could even get caught in scandals, negatively impacting the brand by association. Because of these factors, Romaniuk argues that celebrities should not be counted on to be long-term distinctive assets. They are more like a borrowed interest – useful for a short-term boost, but not something you can own or keep exclusive.

The chapter likely contrasts celebrity spokespeople with brand-created characters or lesser-known “brand ambassadors.” Interestingly, Romaniuk suggests that “long-term spokespeople who aren’t already famous often work better” for brand distinctiveness. This refers to using actors or models who essentially become famous because of the brand (and only for that brand). A good example is the character “Flo” from Progressive Insurance ads – the actress wasn’t a celebrity beforehand, and now her persona “Flo” is strongly associated only with Progressive. Similarly, Geico’s gecko or KFC’s Colonel (as a character) can be totally owned by the brand. These figures become quasi-celebrities in their own right, but they exist solely in the context of the brand, making them much more effective distinctive assets. They don’t come with baggage from other roles or endorsements. Romaniuk’s advice, then, tilts towards creating unique brand icons (even if they are human characters) rather than hiring outside famous people, if the goal is distinctiveness.

Of course, many big brands will still use celebrities in campaigns – it’s a prevalent practice – but the takeaway is to understand the limitations of that approach. If a brand does use a celebrity, the chapter might advise ensuring that the brand itself is still front-and-center (for example, the ads should heavily reinforce the brand name and other assets, so the celebrity doesn’t stand alone). And if a celebrity is closely associated, it should be a long-term partnership to build a stable link (e.g., Michael Jordan with Nike’s Air Jordan line has been enduring, or William Shatner with Priceline in the past). Yet even then, the celebrity’s independent fame can dilute the exclusivity of the association.

In summary, “The Celebrity Dilemma” teaches that while stars attract eyeballs, they seldom become enduring brand assets. Brands are better off developing their own branded personalities or mascots if they want a face or character that truly triggers the brand and nothing else. Romaniuk encourages a strategic look: the glitz of a celebrity endorsement must be weighed against the strategic goal of distinctiveness – and often, it’s the custom-created characters or lesser-known figures tied solely to the brand that deliver better on that goal.

Keeping Relevant (In a Changing World)

The final chapter focuses on the longevity and stewardship of distinctive assets – how to keep them relevant and effective over time, especially as markets and consumer tastes change. Romaniuk recognizes that building distinctive brand assets is not a one-and-done task; it’s an ongoing responsibility. Brands operate in dynamic environments: competitors may try to copy successful cues, cultural meanings of symbols can shift, new media channels can emerge, and what was once fresh can become stale. This chapter provides guidance on how to manage a portfolio of brand assets for the long haul, ensuring they continue to serve the brand’s needs in the face of change.

One of the key concepts introduced is a Distinctive Asset Management System – essentially, a systematic process to monitor and protect your brand’s assets. Romaniuk suggests that brands set up an “early warning system” to detect potential threats to their distinctive assets before they become serious problems. For example, if a competitor launches new packaging or a logo that is confusingly similar to yours, that could erode your asset’s uniqueness. With a monitoring system, the brand can catch this and respond (perhaps through legal action if it infringes, or by doubling down on its own asset marketing to reinforce differentiation). Another threat could be internal – say, a well-meaning new design agency suggests a radical logo change that would throw away years of built distinctiveness. A good management system would flag that and remind decision-makers of the equity at stake. Essentially, Romaniuk advises treating distinctive assets as valuable assets that require guarding, much like patents or trademarks, and tracking their health through periodic research.

Regular measurement and evaluation are emphasized as part of keeping assets relevant. Just as earlier chapters advocated measuring fame and uniqueness, the finale says to keep doing that on a routine basis. Over time, an asset’s Fame or Uniqueness scores might change – hopefully up if managed well, but possibly down if the brand hasn’t used an asset enough or if others encroach on it. By checking in (through surveys or other consumer research), brand managers can see if an asset is losing its punch. If an asset’s fame is declining because the brand has not used it in recent campaigns, that’s a sign to re-introduce it more heavily. If uniqueness is slipping (perhaps more consumers confusing your jingle with another brand’s new jingle, for instance), that’s a red flag that you may need to adjust strategy. The chapter likely advises to adjust or retire assets that no longer perform. While consistency is important, Romaniuk is not dogmatic about never changing – if an asset has truly lost its distinctiveness or is tied to something outdated, the brand might need to evolve it. The key is to base such decisions on evidence, not whim.

Another aspect of staying relevant is adapting to cultural and technological changes. The book might mention that assets should be periodically reviewed in light of current sensibilities – for example, is a mascot or tagline that was created decades ago still appropriate and appealing today? Brands like Aunt Jemima or Uncle Ben’s had to completely overhaul their brand imagery because cultural perceptions shifted. While those are extreme cases, even subtle shifts (a color that goes out of style, or a celebrity spokesperson who ages out of relevance) might prompt reconsideration. Romaniuk likely encourages planning for refreshes that keep the essence of an asset but modernize it as needed, rather than wholesale changes. For instance, brands often refine logos slightly (e.g., updating fonts or simplifying shapes) to stay contemporary while maintaining the continuity of the asset.

Crucially, the book highlights building a palette of multiple assets as a future-proofing strategy. By not relying on just one symbol or cue, a brand has flexibility. If one asset encounters trouble, others can carry the weight. For example, if a brand’s jingle becomes dated, its logo and color can still keep brand recognition strong while the jingle is updated. Romaniuk introduces the idea of a “Distinctive Asset Palette” – a combination of visual, verbal, and auditory assets that together define the brand. Managing this palette means deciding how many assets to maintain (focus on a strong few rather than diluting across too many), and ensuring each is getting the right support and usage.

Finally, the chapter probably leaves readers with a mindset: think long-term. Distinctive assets are long-term brand investments. Short-term campaigns come and go, but the assets (logo, colors, characters, etc.) persist and accrue value like compounding interest – if managed well. Thus, brand managers should champion consistency and resist unnecessary changes (“change for the sake of change” is deemed a major risk to brand equity). However, they also must remain vigilant and responsive to the world around them, ready to defend their brand’s distinctive marks or tweak tactics to keep them sharp.

In conclusion, “Keeping Relevant” ties together the book’s lessons: build assets using evidence and consistency, measure them, protect them, and adapt as needed. A brand that does this will enjoy enduring distinctive memory assets that make its identity stronger year by year. By catching any loss of distinctiveness early and addressing it (the early warning system idea), brands avoid the fate of waking up one day to find their once-proud asset is no longer effective. Romaniuk’s final message is empowering – armed with the knowledge and tools from this book, any brand owner “with a logo, font or colour scheme” can cultivate and guard their own set of distinctive brand assets to help their brand thrive for the long run.