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15 Secrets of Forensic Artists

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Despite recent advancements in DNA evidence-gathering and high-tech investigative tools, a simple pencil-on-paper sketch can still have a significant impact on criminal cases. Forensic artists who create such sketches use eyewitness accounts, crime scene evidence, skeletal remains, and more to help illustrate and personify criminals and victims—all of it in the pursuit of bringing perpetrators to justice.

To better understand the details of the job, Mental Floss asked three veteran forensic artists about tricks of the trade, why they’re not actually trying to create an exact likeness, and how a bird’s nest can be one of their best tools. Here’s what we’ve learned.

1. SOME SKETCHES ARE INSPIRED BY SMELLS.

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When witnesses sit down with law enforcement to relay their description of a criminal’s appearance, they might believe the only relevant information is what their eyes have seen. But according to Melissa Cooper, a freelance forensic artist based in California, all of their senses matter. “It often helps to ask questions that will trigger memory recall,” she says. “During one case interview, I asked [a witness] what stood out the most. She said, ‘His cologne.’ You’d think, ‘Oh, great, I can’t draw that,’ but scent is a huge enabler for memory. Now I know she can smell him and she’s right back in the scene. It’s a perfect state to be in.”

2. THEY NEED TO SUPPRESS THEIR CREATIVITY.

It's easy to imagine that forensic artists might remain hunched over a sketch for hours, trying to insert every last dimple and laugh line they could tease out of a witness. Wrong. According to Cooper, trying to create an exact likeness might make a sketch less likely to resonate with the public. “With a highly realistic portrait, someone might see it who knows the person, but if there’s one thing wrong, one detail, they’ll say, ‘Oh, that’s not my buddy,’” Cooper says. “When it’s more sketchy, more scribbled, you’re leaving more open to interpretation.”

Lisa Bailey, author of Ask a Forensic Artist and a consultant for several law enforcement agencies, agrees. “[Artists] are by necessity keeping their own self-expression and artistry out of it, and not adding information that would create a 'prettier’ image that could lead someone away from recognition.”

3. A SKULL CAN TELL ALL.

Courtesy of Lisa Bailey

Forensic artists have responsibilities that go far beyond sketching criminal suspects. Sometimes, they’re called upon to recreate the facial features of a deceased person by “building” out a face using a 3-D replica of a retrieved skull. Teaming with a forensic anthropologist who can usually determine the age, sex, ancestry, and height of the deceased, the artist uses clay to sculpt their missing features. “The skull says so much,” Cooper says. “It can tell you where the eyes angled, where the nostrils went [see image above], where the eyebrows were. Given the choice of a photo of a corpse that’s decomposing or a skull, I’d take the skull.”

4. THERE ARE NOT A LOT OF THEM WORKING FULL-TIME.

By some estimates, there are less than 100 full-time forensic artists in the country. That’s because most of the artists working cases are either freelancers hired by departments or active-duty officers or other agency employees who are called in when needed. “For the average-sized or smaller agency, it doesn't always make sense to have a full-time artist,” Bailey says. “Lots of cases don't require one—there's a video of the suspect, or investigators have already developed leads to the identity of the suspect. Even if an agency estimated the need for 20 or so sketches year, that's still not enough work to justify keeping a full-time artist on the payroll.”

5. DETECTIVES AREN’T ALWAYS HAPPY ABOUT USING SKETCHES.

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Charles Jackson, one of the "dual duty" artists who retired from law enforcement as a detective in 2013 but continues to provide forensic sketches, says that his fellow investigators were often reluctant to circulate the art he produced. “The most surprising thing about the job is that it’s hard to get detectives to use the tool,” he says. “Generating evidence based on memory, I think they can sometimes be afraid to [have victims] testify to it.” Despite the potential for defense attorneys to call sketches into question, Jackson says that almost all detectives who wind up using them are glad they did. "It's always been a positive."

6. WITNESSES SIGN SKETCHES.

Once a sketch has been completed and passed on to the investigating officers, it’s considered official police evidence that needs to adhere to a chain of command. To make sure the illustration came from the memory of a specific person, the witness is usually asked to endorse it with a signature. “For a pencil composite, the witness will usually sign the back of the sketch, behind the area of the face so that it won't unintentionally be made public when it's scanned, or can't be accidentally cut off if the sketch is trimmed down to fit in a case file,” Bailey says. The original is then kept on file in an evidence room.

7. BIRD NESTS CAN BE A BIG HELP.

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For cases where artists are called to help reconstruct the likeness of a decomposed or otherwise de-featured body, Cooper says that a good reference source for bodies found in the woods can often be found in a very unlikely place. “When dealing with a decomposed body, we’d like to get the color of the hair, and a good place to find that is in a bird’s nest nearby,” she says. “Birds love hair.”

8. SOMETIMES THEIR WORK IS GIVEN AS A GIFT.

Because many forensic artists can be skilled in age progression—trying to realize how a missing child might look years after their disappearance—families with missing loved ones will sometimes inquire about having a sketch done as part of their grieving process. “Sometimes it’s the actual parents, and sometimes it’s just one spouse who wants to give it to the other one,” Cooper says. “I sometimes get scared, not knowing how they’ll react, but they’re usually very grateful.”

9. THEY MIGHT BE DRAWING SOMEONE POLICE ALREADY KNOW ABOUT.

Courtesy of Melissa Cooper

According to Jackson, not all sketches are done in the proverbial dark. In some instances, authorities have a suspect in mind and are curious if a witness can match that image with their own description. “Detectives frequently call us to corroborate a suspect they have in mind, so it’s basically a composite sketch for a lead,” Jackson says.

10. SOME RECONSTRUCTIONS MIGHT GET A SMILE.

When Bailey is tasked with sculpting the features of a cold case victim, she pays attention to anything unusual or unique about their teeth. If a tooth is crooked or their smile is distinctive, she may decide to add a little smirk. “If there's anything unusual about the teeth, like gaps or crookedness, then we'll sculpt it with parted lips, or with a small smile, because someone might recognize the person just because of the teeth.”

11. SOFTWARE HELPS SOFTEN IMAGES.

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Some departments without the resources to hire forensic artists rely on software that can digitally render faces. While their efficacy compared to hand-drawn images is open to debate, many forensic artists often rely on software when it’s time to prepare a victim's photographed image for public consumption. “There's a lot of work to do to make an image suitable for public release,” Bailey says. “The artist will have to digitally open the eyes, close the mouth and adjust the jaw, remove swathing and cloth that has been placed around the head, and realign the head so the shoulders aren't hunched up around the ears when they are lying on the morgue table.” Bruises, blood, wounds, and other marks are also retouched.

12. THEY CAN WORK FROM SURVEILLANCE FOOTAGE.

Not all renderings of suspected criminals come from memory. Sometimes, an artist will be called on to fill in the blanks left by incomplete or obscured surveillance footage. “If they have only a three-quarters shot of someone’s head from above, I can look at that,” Cooper says. “Knowing the anatomy of the head, I can show them what the rest of the person would look like.”

13. EARS CAN GIVE THEM A LITTLE TROUBLE.

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Jackson says that many witnesses tend to retain visual information relating to the center of the face: the eyes, nose, mouth, and chin. “People generally have a hard time picking out ears,” he says, mainly because they just didn’t notice them. To assist witnesses with feature identification, some artists use an FBI manual that catalogs many common features and asks interviewees to point out which ones look familiar. Jackson uses one; Cooper doesn’t. “Pictures can be suggestible,” she says. “I like [details] to come from them.”

14. THEY WILL NOT DRAW YOU A CHUPACABRA.

Forensic artists occasionally tackle work outside of law enforcement duties: Cooper has worked with the Natural History Museum of Los Angeles with taxidermy efforts for exhibits. But requests to do anything too far off the beaten path are usually met with refusal. “My primary clients are law enforcement, but I once had someone from the Ellen Show wanting me to do a composite of a chupacabra, which Ellen’s wife apparently saw outside their house,” she says. “Someone else wanted to help interpret a dream for them. There’s an element of integrity to the job. I declined. You get a lot of weird requests.”

15. LUCK PLAYS A BIG PART.

Courtesy of Melissa Cooper

Artists working with law enforcement do everything they can to try and take a person’s memories and make them into a tangible image on a page. But no matter how striking the image, nothing will happen unless it ends up in the right place. “We're dealing with luck and timing,” Bailey says. “The right person needs to be looking at the right time. The best, most accurate facial approximation in the world can't do its job if a family member or friend isn't looking.”

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12 Ways Airports Are Secretly Manipulating You
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Over the years, airports have evolved from bare-bones transportation hubs for select travelers to bustling retail centers for millions. They’re being designed to both complement and influence human behavior. Everything from the architecture and lighting to the trinkets on sale in the gift shops is strategic. Here are a few tricks airports use to help travelers relax, get to their gates safely and on time, and hopefully spend some money along the way. 

1. They make sure you can see the tarmac

One key to a successful airport is easy navigation. Travelers should be able to get from security to their gate without getting lost, with help from subtle design cues nudging them in the right direction. In design lingo, this process is called wayfinding. “I tell my staff that signage is an admission of failure,” says Stanis Smith, executive vice president and leader of the airports sector at consulting firm Stantec. “Obviously one needs signs, but the best thing for designers to do is look for ways you can assist with wayfinding that are subtle.”

For example, in many new airports, passengers can seen through to the tarmac immediately after they leave security, or sooner. “More important than anything is a view directly out to airside and you see the tails of all the aircraft,” says Robert Chicas, Director of Aviation and Transportation at HOK, the architectural firm that helped redesign the Indianapolis International Airport. “Does it matter whether it’s your aircraft? Probably not. It gives you an orientation so you know generally that’s the direction you need to head in.”

2. The signs send subliminal messages

“Very, very little in the style of an airport sign is arbitrary,” writes David Zweig, author of Invisibles: The Power of Anonymous Work in an Age of Relentless Self-Promotion. Take the font, for example. In 75% of all airports, you’ll find one of three typefaces: Helvetica, Frutiger, and Clearview. All three are sans serif because it’s easier to read at a distance. The unofficial rule for size, according to the Transportation Research Board’s guide to wayfinding, is that every inch of letter height adds 40 feet of viewing distance (so a “3 inch tall letter would be legible from 120 feet”). Sometimes different terminals will have their own distinct signature sign design—like rounded edges or a specific color. “If you are ever in an airport or campus or hospital or other complex environment and suddenly something feels off, you sense you are going the wrong way, there’s a good chance it’s not just magic or some brilliant internal directional sense,” Zweig writes, “but rather you may be responding to a subconscious cue like the change of shape from one sign system to another.”

3. They lighten the mood

Newer airports incorporate as many windows as possible, even in stores. “There’s a trend that the shops face the tarmac. Passengers tend to walk more into shops that have direct access to the sunlight,” says Julian Lukaszewicz, lecturer in aviation management at Buckinghamshire New University. “If they’re closed off with artificial light passengers feel they are too dark and avoid them.” 

4. They herd you with art

That big sculpture in your terminal isn’t just there to look pretty. It’s another tool to help travelers navigate. “We like to use things like artwork as kind of placemakers that create points of reference through an airport terminal,” says Smith. “For example, in Vancouver International Airport we have a spectacular 16-foot high sculpture at the center of the pre-security retail area. People say, ‘Meet you at the sculpture.’ It acts as a point of orientation.” 

Art also serves to create a sense of place, transforming the airport from a sterile people-mover to a unique atmosphere where people want to spend time (and money!). In one survey, 56% of participants said “a more culturally sensitive and authentic experience tied to the location” is something they’d like to see more in airports by 2025. 

5. They use carpeting

In many airports, the long walk from check-in to gate is paved in linoleum (or some other hard surface). But you’ll notice that the gate waiting area is carpeted. This is an attempt to make holding areas more relaxing by giving them a soft, cozy feeling, like you might find in your own living room. Happy, relaxed travelers spend 7% more money on average on retail and 10% more on Duty Free items. And it doesn’t stop with a layer of carpeting. Yoga rooms, spas, and even airport therapy dogs are becoming more common as airports look for new ways to relax travelers and encourage spending. 

6. The “golden hour” is key for profit

In airport manager lingo, the time between when a passenger clears security and boards their plane is called “dwell time.” This is when, as the Telegraph puts it, “passengers are at a loose end and most likely to spend.” Especially crucial is the “golden hour,” the first 60 minutes spent beyond security, when passengers are “in a self-indulgent mood.” Display boards listing flight information are there in part to keep you updated on your flight, but also to reassure you that you still have plenty of time to wander and shop. Similarly, some airports are installing “time to gate” signs that display how far you are from your destination. And because 40% of us would prefer to avoid human interaction when we shop, self-service kiosks are becoming more common in airport terminals. According to the Airports Council International, 50% of American airports now have robo-retailers.

7. They’re increasing dwell time

The “golden hour” is great, but two golden hours are even better. “One hour more at an airport is around $7 more spent per passenger,” says Lukaszewicz. Anything that’s automated, from check-in to bag drop, is meant to speed things up. And it works. Research suggests automated check-in kiosks are 25% faster than humans. “A lot of airports, especially in Japan and New Zealand, are now doing this, where you don’t actually get any assistance from any staff member from check-in,” says Lukaszewicz. “You print your own baggage tag. You put it on the bag on the belt. You go through auto-security and immigration where there is no one. At the boarding gate you just touch your barcode and they open a gate and you walk onto the plane without any interaction.” One study found that for every 10 minutes a passenger spends in the security line, they spend 30% less money on retail items. Last year, the TSA announced it would give $15,000 to the person who comes up with the best idea for speeding up security.

8. Shops are strategically placed

Most airport spending is done on impulse (no one really needs a giant pack of Toblerone), so the key is getting the goods out where they can be seen by as many people as possible. Shops are located where airport footfall is highest. Some airports force passengers to wander through Duty Free to get to the gates. And the more twists and turns, the better. According to one report from consulting company Intervistas, Duty-Free shops with “serpentine walk-through” designs have 60% more sales “because 100% of customers are exposed.”

Shops and restaurants are often clustered to evoke a Main Street feel, because people tend to shop in bustling environments. “It’s no different than if you’re in a town in Europe or in Manhattan,” Smith says. “Retail succeeds when it has a critical mass.” 

9. They go local

Airport shops are packed with souvenirs and trinkets that reflect the local culture because that’s what travelers want to buy. For example, more than 20 years after its release, ”Sleepless in Seattle” shirts are still a top-selling item at Seattle-Tacoma International Airport. In the Phoenix Sky Harbor Airport, shoppers go wild for potted cactus plants. “Local brands, local services, reinforce this idea of place, and that you are in a special place on your way to the rest of the world,” says Ripley Rasmus, senior design principal at HOK. 

10. Walkways curve to the left

The majority of humans are right-handed, and according to Intervistas, this influences airport design. “More sales are generated if a walkway curves from right to left with more merchandise and space on the right side because passengers are looking right while (perhaps unconsciously) walking left,” says one report.

11. A single queue puts us at ease

While the line for check-in and security may seem absurdly long, a single queue actually lowers stress levels by increasing the perceived sense of fairness, according to Lukaszewicz. No one worries the other line is going faster than theirs, because there is no other line. “If you implement a one-queue system for check-in, or for security, so one long line and then you go just to the next available counter, passengers perceive it as more fair because each person standing in the same line,” he says. “It’s strange but true because you always think the queue next to you moves quicker.” 

12. The security officers get conversational

Since 2007, the TSA has been pouring $200 million a year into agents trained to spot suspicious behavior in passengers. The program, called Screening of Passengers by Observation Techniques (SPOT) was developed by a psychology professor at the University of California Medical School in San Francisco named Paul Ekman. It involves a list of 94 signs of anxiety and fear, like lack of eye contact or sweating. But one report found that SPOT is ineffective because "the human ability to accurately identify deceptive behavior based on behavioral indicators is the same as or slightly better than chance." 

Another method of screening passengers is simply to talk to them. A 2014 study found that asking open-ended questions—known as the Controlled Cognitive Engagement method (CCE)—is 20 times more effective than trying to monitor based on behavior. For example, an agent might ask a passenger where they’re traveling before prodding them with a random question like where they went to college and what they majored in, then watch for signs of panic. “If you’re a regular passenger, you’re just chatting about the thing you know the best—yourself,” says researcher Thomas Ormerod, PhD, head of the School of Psychology at the University of Sussex in England. “It shouldn’t feel like an interrogation.” In the study, officers using conversation-based screening caught 66% of deceptive passengers, compared to just 3% who used behavior-based screening.

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13 Secrets of Professional Naming Consultants
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When it comes to companies and products, names matter. A slick name makes a company sound trendy and cool, while a terrible name can have customers running into the arms of the competition. Unsurprisingly, many companies take the process very seriously, hiring outside naming consultants who either work within creative agencies or at agencies devoted entirely to naming. We got a few to give us the scoop on how their job really works.

1. IT’S NOT JUST A CREATIVE TASK.

“The notion that namers are hippies and poets jotting down names on cocktail napkins couldn’t be farther from the truth,” says Mark Skoultchi, a partner at Catchword, the agency that named the Fitbit Flex and Force and Starbucks’s Refreshers line.

The stakes are just too high for naming to be a purely creative project, because a bad name can break a product. Consider, for example, the major slump in sales ISIS chocolates experienced in 2014 when people began to associate their name with the Islamic State. (The company rebranded itself to Libeert.) And when the AIDS crisis hit in the 1980s, the diet candy company Ayds chose not to change its name, eventually suffering the consequences. (When asked about it, an official from its parent company, Jeffrey Martin, famously snapped, “Let the disease change its name.”) By 1988, the company conceded that the name was hurting sales, and changed it to Diet Ayds. But the product was soon pulled from shelves altogether.

“When you’re naming your kid or nicknaming your car it’s more creative. There aren’t as many consequences,” says Nina Beckhardt, founder and CEO of The Naming Group, a consultancy that works with Chevrolet, Kohler, and Capital One. “But when you’re brand naming, the name you select has to be strategically impeccable. It has to make sense and at least not offend millions of people around the globe.”

2. NAMES CAN’T JUST SOUND GOOD.

Naming isn’t just a subjective choice—really liking a name doesn’t mean it’s a good fit for your company. “People want to get more subjective with it,” Beckhardt says. “They’ll say that name reminds me of my cat or rhymes with such and such. That observation is so enormously unimportant compared with the fact that the name successfully checks all the boxes we created at the beginning.” The point is to find a name that gets across what the company wants to convey, rather than one that every person involved in the naming process loves.

For example, when The Naming Group was working with Capital One to develop their first brand-name rewards credit card, the company had to consider who they were trying to target—travelers. The result was the Venture card, a name with a connotation of adventure and exploration that’s “not right on the nose.”

3. IT HELPS TO HAVE A BACKGROUND IN LINGUISTICS—OR TRADEMARK LAW.

Though naming is essentially an exercise in corporate strategy, naming agencies don’t just employ people with backgrounds in branding and marketing. They also need linguistics experts to help generate names that make sense, have positive connotations in modern usage (i.e. nothing that might have a negative slang meaning), and inspire the associations the company wants to elicit.

Coming up with a name also involves some legal legwork. You can’t name your company or product after something that’s already trademarked. And if you want to expand internationally, the name needs to be available to trademark in other countries as well. That means naming agencies are often looking for people with a background in trademark law.

4. YOU HAVE TO COME UP WITH HUNDREDS OF NAMES, IF NOT THOUSANDS.

“Naming is a game of numbers,” Beckhardt says. “You have to have a lot of options.” Even if the potential names sound great, many are bound to run into trademark conflicts or not work in another language.

So before namers get together to present feasible ideas to the clients they’re working with, they come up with hundreds, if not thousands, of potential options. “At Catchword, 200 names is scratching the surface,” Skoultchi says.

5. BUT THE CLIENT WON’T SEE THEM ALL.

When faced with too many options to choose from, people tend to freeze up in what psychologists call “choice overload” [PDF]. Whether you’re talking about choosing between similar items at the grocery store or an endless array of potential product names, it’s overwhelming to consider all the possibilities. Namers take their initial 200 or 1000 ideas and whittle them down to present only the best (and most feasible) options. At Catchword, that means about 50 names.

But namers can also face the opposite challenge. If a client gets too set on a single idea, it blinds them to what might be better options still out there. “For each project I will get and try to get the client attached to a number of different names,” Beckhardt says, rather than looking for “the prince charming” of names.

6. A NAME CAN BE TOO ORIGINAL

The amount of meaning a name communicates lies along a continuum. On the one end, there’s an overly descriptive name. On the other end, there’s so-called “empty vessel” names, which are so far removed from actual words that they come off as meaningless. The ideal name falls somewhere in the middle, but if you end up too far toward the “empty vessel” side, your name will be a target for mockery.

Consider Tribune Publishing, the media company that owns the Chicago Tribune. In 2016, it rebranded as “tronc,” a name derived from the phrase “Tribune online content.” The move was widely mocked, for good reason. In The New York Times, a branding expert said the name “creates an ugliness.” The new name became a black eye for the company rather than a sign of its forward-thinking vision.

Empty vessel names are particularly common in the tech world, but played right, it can work. Google could be considered an empty vessel name, but it does have an origin, albeit one that most people aren’t familiar with. A googol is a huge number—10100—which makes sense within the context of the search engine’s ability to aggregate results from a near-infinite number of sources online.

7. A NAME CAN’T JUST SOUND GOOD IN ENGLISH.

One reason naming agencies need linguists is that unless a company is only marketing its products domestically, the name needs to work in multiple languages. If your product sounds slick in English but means something dirty in Norwegian, you’ve got a problem.

Plenty of companies have found this out the hard way. The Honda Fit was almost the Honda Fitta, but the company changed the name when it realized that “fitta” was slang for female genitalia in Swedish. The company later started calling it the Honda Jazz outside of North America.

Different languages also pronounce certain letters differently, which gets awkward if you’re not careful. “When we’re developing names we have to prepare for those mispronunciations to make sure that isn’t going to affect how people understand the product,” Beckhardt says. In Germany, Vicks sells its products under the name Wick, because the German pronunciation of the original brand name (in which a “v” is pronounced like an “f”) sounds like a slang word for sex.

Even if the name isn’t vulgar, it might have connotations in another language that you don’t want people associating with your product. In Mandarin, Microsoft’s Bing has to go by a different name, because “bing” means disease. Part of the naming process, according to Beckhardt, is “making sure that if we’re naming a skin care product, it doesn’t mean acne in Japanese.” She adds that at one point, while working on a rebranding project, The Naming Group came up with a name that ended up meaning “pubic hair” in another language. (Obviously, that one didn't get presented to the client.)

8. IF YOU DON’T COME UP WITH A FOREIGN NAME, CUSTOMERS MIGHT DO IT FOR YOU.

Famously, when Coca-Cola first started selling its products in China in 1927, it didn’t immediately come up with a new name that made sense in Chinese characters. Instead, shopkeepers transliterated the name Coca-Cola phonetically on their signage, leading to odd meanings like “bite the wax tadpole.” In 1928, Coke registered a Chinese trademark for the Mandarin 可口可乐 (K'o K'ou K'o Lê), which the company translates as “to permit mouth to be able to rejoice.”

9. COMING UP WITH A CHINESE NAME IS ESPECIALLY COMPLICATED.

Foreign companies are eager to expand into China’s growing market, but it’s not as easy as transliterating an American name, like LinkedIn, to Chinese characters. In some cases, companies use Chinese names that sound somewhat like their English equivalent, but in others, they go by names that don’t sound similar at all. “It’s this crazy art form of balancing phonetic similarity and actual meaning,” Beckhardt says.

Labbrand, a consultancy founded in Shanghai, helps American companies come up with names that work for Chinese markets. For LinkedIn’s Chinese name, Labbrand was able to come up with a name that both sounded a bit like the original and still had a meaning in line with the company’s purpose. 领英 (lǐng yīng) means “leading elite.” For other companies, though, it makes more sense to come up with a name that sounds nothing like the American brand, yet has a strategic meaning. For Trip Advisor, Labbrand came up with “猫途鹰 (māo tú yīng)," a combination of the characters for "owl" and "journey"—a reference to the company’s owl logo and its role as a travel site.

Some names, however, are just straight translations. Microsoft is 微软 (weiruan), two characters that literally mean “micro” and “soft.”

10. THERE ISN'T USUALLY AN ‘A-HA’ MOMENT.

“Oftentimes, clients are expecting epiphany, to have an ‘a-ha!’ moment, but those moments are more rare than you think,” Skoultchi says. “It’s not because the name ideas aren't great, it’s because most people have trouble imagining” what the names will sound like in the real world. “Context, visual identity, taglines, copy, and other factors influence our perception of a name and how appealing it is. Imagine just about any modern blockbuster brand, and now imagine it’s just a word on a page, in Helvetica, with little to no marketing support.”

To help customers understand how a name might look in real-world settings, Catchword gives it a slightly jazzier graphic design that’s more representative of what it would look like in the market, adding in potential taglines and ad copy to make it look more realistic.

11. YOU’RE NOT JUST NAMING ONE THING.

The Naming Group, for example, has worked with Capital One, Kohler, and Reebok to come up with names for multiple products, and they've also worked to establish parameters for future names. That's because what you call one product could have implications for your future products—and ideally, the names of different products across a company should work together.

Take the example of Fitbit. The company has a naming style that involves single-syllable, simple English words that are designed to convey something unique about the product. They also had to fit the tiny devices themselves, so length mattered. The name “Flex” went to the first wristband tracker, and the most advanced tracker became “Force.” Later, the first tracker that measured heart rate would become "Charge," and the one designed for high-intensity athletes, "Blaze." All the names have a similar vibe while managing to convey something about the specific device.

As a cautionary tale, imagine a world in which Steve Jobs was allowed to use his preferred name for the iMac, “MacMan.” (Luckily, an ad agency creative director talked him out of it.) Given how the “i” in iMac influenced Apple’s future naming conventions, would there later have been a PodMan and PhoneMan? Choosing the iMac led to a larger branding scheme—the iPod, the iPhone, the iPad—that's instantly recognizable. “The PhoneMan” just wouldn’t have the same ring.

12. COMPANIES OFTEN WAIT UNTIL THE LAST MINUTE.

There’s a perception that naming should come from within a company—that if you build a product, you automatically know the best thing to call it. But that’s often not the case. Companies usually don’t employ professional namers on staff and don’t have any set guidelines on how to come up with new names. And it’s often not until the last minute that they realize they need outside help to decide on a great moniker. “It can be so emotional,” Beckhardt explains. “Companies come to you pulling their hair out, [saying] ‘We just can’t decide; we haven’t found it yet.’”

13. IT ONLY TAKES A FEW WEEKS.

Naming something usually doesn’t involve a lightning bolt of inspiration, but neither do companies slave over names for months. According to Beckhardt, the process takes anywhere from four to six weeks, though they can expedite the process if they really need to.

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