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Today, what counts far more than a puma, a monkey, or a snarling aardvark is the cross-sensory experience your brand offers

I'm talking not only the emotion, beliefs, and desires your brand evokes, but its feel, touch, sound, smell and personality, of which the logo is just one small part

Whether it's a soda can, a car, a doll, a fragrance, a smartphone, or laptop, your brand needs to be smashable, e.g., instantly identifiable via its shape, design, copy, contours, and even navigation. Aside from adolescents, who are always on the lookout for the coolest logos to set them apart from, or help them gain traction with, their peers, today for most consumers the logo comes in near-to-last place to other considerations.

American Airlines has just rebranded for the first time in over 40 years. The AA logo of yore is gone, replaced by the Flight Symbol, a red and blue eagle crossed with a wing. And every plane will be tagged with a high-velocity abstraction of the American flag on its tail. There’s logic behind the decision: AA recently ordered 550 new planes. Many will have composite bodies that can’t be polished with the mirror shine of American’s existing fleet.

In approaching the redesign, American polled both their own employees about what defines the American brand (the answers were predominantly the planes’ silver fuselage and the eagle logo) and the larger globe about the American country (which is where tech, entertainment, and progress come in). What they were looking for was, not just what is American Airlines, but what is America in the age of globalization?

Futurebrand’s research also found that the American flag, of course, was another defining trait of America itself. The challenge was, how does American portray America without becoming blindly patriotic in the global market? The solution was a striped abstraction of our flag, augmented into a high-velocity graphic printed on each plane’s tail to make aircraft seem like they’re flying, even when they’re sitting still. In other words, they ditched the stars in favor of the stripes.

For a logo to hijack our brains and hearts through pre-attentive processing (those things we see in the corner of our eye), we require multiple exposures to the stimulus. Chatterjee has found this unconscious, positive association to occur within 23 exposures, but she believes it could probably happen in even fewer. “When consumers process any stimulus--a logo is a brand stimulus--implicitly it only creates a weak memory trace. The weak memory trace by itself can’t really change behavior, Chatterjee explains. “But over multiple exposures, those weak memory traces start to become stronger.” “The consumer is unaware that those memory traces exist. Let’s take John and Jane Doe looking at an ultrasound. They’re looking at a picture, they’re oohing and ahhing, showing it to their friends, talking about it, putting it in a scrapbook. They’re focusing on the baby. They may not even know it’s an ultrasound made by a GE machine, but they see it multiple times.” “Then, maybe they’re buying a new house, and so they’re buying appliances, they go to a big-box store, they’re looking at multiple brands. It is quite conceivable they will be more attracted to the GE brands."

for this long con to work, the logo has to be identical everywhere I see it.

The other catch, maybe the most important catch of all when working in unconscious branding, is that the consumer can’t recognize they’re being manipulated, or very bad things happen.

The films are a great example of how advertising has evolved for the age of perpetual beta. Had Ikea played the ads straight -- had they run nothing but porny shots of whisks and wooden spoons -- the whole campaign would've died as soon as it hit the intertubes; no one wants to look at that stuff (and the beauty of the Internet is that no one has to). But by blurring the line between advertising and content, Ikea creates incentive for people to click and, the thinking goes, to buy more stuff.

When tone of voice is consistent it allows the consumer another means of recognizing the brand and being reassured of expectations.

"Language is available to each of us," argues John Simmons, brand language evangelist and writer of several books on the subject. "Design is seen as a specialist life skill you have to acquire. Poor old language gets devalued because everyone does that, don't they?"

If a company's staff doesn't speak, write or behave in line with what the customer has been led to expect, then he will feel let down.