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Which clippings match 'Position-statement' keyword pg.1 of 1
01 MARCH 2014

Brand Book vs Brand Guidelines vs Brand Bible

"A brand book is the physical manifestation of the living, breathing concept that is your brand. Without a guiding document, the Brand can spin out into an inconsistent set of representations. In an attempt to slow that process, Marketing Departments often develop Brand usage guidelines. These guiding documents have a lot of names: Brand Book, Brand Guidelines, Brand Bible, Identity Guidelines, etc, etc, etc. But whatever you call it, the Brand Book helps to define the standard elements of the Brand identity, in an attempt to limit the inconsistency that would otherwise develop as the Brand is implemented and actively used."

(Tisha Oehmen)



bible (guide)brand behavioursbrand biblebrand book • brand elements • brand guidelines • brand history • brand identitybrand manager • brand philosophy • brand position • brand space • brand usage guidelines • branding • co-branding guidelines • colour choicecommunication design systems • corporate identity systems • design guidelines • Deutsche Bankdocument • guide document • guidelines • guiding document • identity guidelines • identity guidelines book • inconsistency • internal staff • marketing department • marketing partners • marketing team • overview document • parent brand • physical manifestationposition-statementpositioning statements • source document • standard elements • standardisation • sub-brand • technical document • typography guidelines • understand the brand • visual identity systems


Simon Perkins
13 JANUARY 2012

Training for Practice-Based Research: Adaptation, Integration and Diversity

"Our study was concerned with adapting existing research methods courses to accommodate practice–based research training rather than creating new programmes. Lest we are tempted to develop courses customised exclusively for practice–based research students it is worth noting that practice–based research does not present as a unified mode of studying for a PhD. There are differences between and within subject areas, different modes of study, and there are different outcomes. In the case of PhDs by Composition at the University of Edinburgh, the outcome to be examined is a portfolio of compositions suitable for presentation as a concert programme. No written component is required, other than musical notation and programme notes. ECA defines practice–based research as 'the exploration of a subject of enquiry through practical work accompanied by a related text' (ECA Grad School Student Handbook 2005–2006). The usual model at ECA is for a series of artworks or designs in conjunction with a thesis text, which may take the form of documentation, rationale, justification, position–statement or critique.

As mentioned, the strong assertion for practice–based research is that it is no different than any other kind of research, or, at least, it is as different from the rest as they are from each other. Our trial research methods course included students of archaeology, architecture, landscape architecture, history of art, visual and cultural studies, sound design, history of music, furniture design, fine art, sculpture, drawing and painting, and architecture by design. In fact student feedback singled out archaeology and laboratory–based research into architectural structures as having the least support from the course. Practice–based students also found the course content less than satisfactory to their needs, but personal attention from the art–practice researcher/tutor seemed to ameliorate such deficits, and certain lectures would at least make mention of practice–based research, even if to indicate that it may be an exception to the case under discussion. The importance of this basic level of recognition applies equally to transferable skills training. Practitioners singled out time management, scheduling and planning as crucial in the context of exhibitions and performances, involving the management of a range of conflicting variables.

We conclude that acknowledgement of practice–based research, along with every other mode of research represented in the class, is the least that can be expected in a research methods course. The minimum provision is for intellectual space for practice–based students to give voice to the issues that affect them, and an invitation to discuss the relevance of the material presented in lectures. A further level of engagement involves exposure to personnel who have an investment in the mode of research under discussion, even if that mode of research is not incorporated into the curriculum.

But practice–based research students drew attention to the need for formal practitioner input as vital in delivering insights into ways of working, particularly from those who have already gained PhDs through this mode of study. Practitioner input is to be included within the portfolio of expertise that includes historians, archivists, musicologists, technical experts and information specialists.

Whereas it is desirable to inject yet more course content to accommodate the different groups in a student cohort, this recommendation raises the issue of how to do so in the context of a diverse student cohort. Students from all areas reported their appreciation of the chance to study with students from different backgrounds and in different disciplines. Disciplines can be sufficiently different, but with common threads. In the course under study these threads were highlighted in discussions and at the student conference that culminated the course. Learning through a recognition of difference was also emphasized in the course documentation and some of the lectures and exercises. Difference, provocation and appropriation are major stimuli to creative production and can be exploited in a research methods course that supports a diverse range of students. This is abetted by an ethos of openness and conviviality within the course, identifying possible linkages, and teaching staff being open in discussion contexts. A diversity of research methods delivery is a seam to be mined in the case of practice–based research. In this, the potential eclecticism of practice–based research can provide a model for other modes of research, expanding the idea of what a PhD is or can be.

None–the–less in our trial course the issue of relevance surfaced frequently. The plan had been to deliver course material of general relevance in a lecture format, open the session to discussion and then provide break–out groups organized along disciplinary lines. In practice, the break–out groups proved too informally constituted to fulfill this purpose, and by this stage in any session the lecturers' and students' appetites for further delivery was diminished. Students wanted to discuss, often across disciplinary lines and according to other than disciplinary configurations. The discussions were regarded as extremely valuable, but not in addressing specific disciplinary needs. There is a need for some classes at least that specifically address practice–based research issues.

We conclude that there is value in providing at least one lecture/session on the problematics of research from a practice–based perspective, and involving practitioners. This discussion can also be highly relevant to humanities students whose interest in research may be more eclectic that students in disciplines with a scientific or empirical orientation. Rather than remove practice–based research students from the cohort for special attention, the alternative is to identify students from science–based disciplines, or those working with strictly prescribed methodologies, for alternative instruction. Practice–based students reported their desire to participate in debate and discussion with interested students beyond their own fields.

In summary, practice–based research students benefit from working in a diverse context and do not necessarily require their own course. In fact practitioners reported that there are benefits in being exposed to a variety of different approaches which may shed new light on their research, and the opportunity to make interdisciplinary connections. Nor did students demand their own course, just the recognition of the issues that affected their candidature, the introduction of certain themes pertinent to their modes of research, and exposure to experienced practitioners."

(Richard Coyne and Jenny Triggs, 2007)


art-practice researchercurriculum design • ECA • exegesis • experienced practitioners • exploration of a subject of enquiry • insights into ways of working • Jenny Triggs • modes of research • modes of study • musical notationPhDposition-statement • practical work • practice-basedpractice-based research • practice-based research students • practice-based research training courses • practitionersrationaleresearchresearch methods • research methods course • research trainingRichard Coyne • thesis text • transferable skills • University of Edinburghwritten component


Simon Perkins

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