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How we used cultural insight to develop a brand new identity          Picture goes here        with 4pt white border
Who are SPANA?   Picture goes here with 4pt white border
Who are SPANA?   Picture goes here with 4pt white border
In 2011 SPANA’s logo was not a truerepresentation of the organisation
SPANA had ambition                      Grow the                     fundraising                    brand: short,         ...
Our challenge•   Revitalise the SPANA brand to create a    unique and compelling identity that    encapsulated what SPANA ...
Our search for insight                               Competitor                                analysis        Quantitativ...
Animal welfare organisations are not welldifferentiated from one another
Stakeholder interviews revealed acommon vision
Semiotic analysis provided ‘neutral’interpretation
• Handover to Alex
What is semiotics?
Signs & Meaning
Meaning & Context   Background & Objectives
Intention vs. Reception
Signs & Meaning       Semiotics is the study of the meaning of signs and symbols. It began with                           ...
Brands are inseparable from the       culture that surrounds them.JOHN GRANT - BRAND INNOVATION MANIFESTO   “A brand is a ...
Branding & CultureBrands and culture are inseparable. We can’t think about a brand without understandingthe culture that s...
Branding & CultureA brand is affected by culture at different levels, from obvious category competitors toother products o...
Signs & Meaning   Most recently theorised and applied to marketing and branding – bringing together                       ...
Case Study: Admiral                      vs.
Case Study: Admiral
Branding & Culture          Semiotics investigates the relationship between branding                  and culture through ...
Semiotics & Qualitative ResearchWhile qualitative research asks consumers what their opinions are, semiotic analysisinvest...
25Signs & Cultural ChangeSemiotics tracks the way culture changes and identifies symbols signalling that change RESIDUAL  ...
Signs & Cultural Change - Residual
Signs & Cultural Change - Dominant
Signs & Cultural Change - Dominant
Signs & Cultural Change - Emergent
Reading the SignsWe investigate the relationship between a brand and a culture by analysing the signs,codes and narratives...
Case Study: TV LicensingWe applied semiotics and discourse analysis to a fundamental revision of TV Licensingdirect mail. ...
Case Study: TV Licensing     TO ENABLING PERSONALITY   Use of white space, lime green colour,    dynamic icons, and friend...
Sign Salad Semiotics       Our approach enables you to see the brand in broad           cultural context as well as focuse...
The Semiotics of SPANA
Objectives                                                       Semiotic Methodology• This semiotic analysis is intended ...
Semiotics of SPANA – Logo, Strapline & Font                            Semiotic Methodology There are several problems wit...
Semiotics of SPANA – Logo, Strapline & Font                        Semiotic Methodology Progress in the West is to the rig...
Semiotics of SPANA – Brand Name                                       Semiotic MethodologyThe actual brand name is ambiguo...
Semiotics of SPANA – Donkey Dominance                               Semiotic Methodology Despite the claim of its straplin...
Semiotics of SPANA – Livery                                        Semiotic MethodologyVery few major organisations use or...
Semiotics of SPANA – Solution in Comms                                      Semiotic Methodology Where other animal charit...
Semiotics of SPANA – Conclusions & Recommendations                                            Semiotic Methodology • SPANA...
Semiotics of SPANA – Conclusions & Recommendations                                            Semiotic Methodology • SPANA...
Semiotics of SPANA – Conclusions & Recommendations                                            Semiotic Methodology • In ge...
Qualitative research built on semioticinsight…..  Supporters: not distinctive, rather dull and out-dated  • Well recognise...
….and helped us learn how to talkabout SPANA’s work  Animals the obvious hook   • Their suffering needs to be presented in...
SPANA’s name created a dilemma• Evoked strong opinions within SPANA• Unique and inferred heritage and credibility• Abbrevi...
Striving for a bold new look•   Convey a strong and confident brand that is    positive, passionate and caring about the w...
Logo
People connected with the new logo         38%                                 41%                       44%   Animal     ...
It helped people understand SPANA’s work       and conveyed positive impressions                                          ...
Created stand out in the sector
Created stand out in the sector
Thank you  Picture goes herewith 4pt white border
Using cultural insight to develop a new identity
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Using cultural insight to develop a new identity

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Transcript of "Using cultural insight to develop a new identity "

  1. 1. How we used cultural insight to develop a brand new identity Picture goes here with 4pt white border
  2. 2. Who are SPANA? Picture goes here with 4pt white border
  3. 3. Who are SPANA? Picture goes here with 4pt white border
  4. 4. In 2011 SPANA’s logo was not a truerepresentation of the organisation
  5. 5. SPANA had ambition Grow the fundraising brand: short, medium & long term More people caring about the plight of working animals More supporters and more income per supporter
  6. 6. Our challenge• Revitalise the SPANA brand to create a unique and compelling identity that encapsulated what SPANA is all about.
  7. 7. Our search for insight Competitor analysis Quantitative Stakeholder research interviews SPANA Qualitative Semiotic research research
  8. 8. Animal welfare organisations are not welldifferentiated from one another
  9. 9. Stakeholder interviews revealed acommon vision
  10. 10. Semiotic analysis provided ‘neutral’interpretation
  11. 11. • Handover to Alex
  12. 12. What is semiotics?
  13. 13. Signs & Meaning
  14. 14. Meaning & Context Background & Objectives
  15. 15. Intention vs. Reception
  16. 16. Signs & Meaning Semiotics is the study of the meaning of signs and symbols. It began with linguistics – the meaning of language It became an important part of psychology and anthropology – the meaning of culture It was picked up by sociology, philosophy, cultural studies and critical theory – the meaning of ‘meaning’ Most recently theorised and applied to marketing and branding – bringing together all above social science disciplines – the management of meaning
  17. 17. Brands are inseparable from the culture that surrounds them.JOHN GRANT - BRAND INNOVATION MANIFESTO “A brand is a cluster of strategic cultural ideas”
  18. 18. Branding & CultureBrands and culture are inseparable. We can’t think about a brand without understandingthe culture that surrounds it, and the cultural capital that the brand possesses. CULTURE BRAND
  19. 19. Branding & CultureA brand is affected by culture at different levels, from obvious category competitors toother products or mindsets that we might not immediately connect with the brand. CULTURE CATEGORY KEY COMPETITORS BRAND
  20. 20. Signs & Meaning Most recently theorised and applied to marketing and branding – bringing together all above social science disciplines – the management of meaning
  21. 21. Case Study: Admiral vs.
  22. 22. Case Study: Admiral
  23. 23. Branding & Culture Semiotics investigates the relationship between branding and culture through the medium of signs B C R U A L N T U SIGNS D I R N E G Through examining signs and what they mean and signal to consumers, semiotics reveals often overlooked meanings and can create disruption, attention & differentiation
  24. 24. Semiotics & Qualitative ResearchWhile qualitative research asks consumers what their opinions are, semiotic analysisinvestigates where those opinions came from. Qual Research Semiotics • Psychology • Culture & communications • Talking to consumers • Analysing ads, packs, NPD etc. • Consumer instinct & ‘feelings’ • Consumer as cultural decoder Conscious consumer Unconscious consumer perspectives insight
  25. 25. 25Signs & Cultural ChangeSemiotics tracks the way culture changes and identifies symbols signalling that change RESIDUAL DOMINANT EMERGENT• weakening & • ubiquitous codes • signposts of the future outdated- signs of of present day • strong brands often the past create new myths which contradict current category / cultural perceptions PAST/ PRESENT/ FUTURE/ RESIDUAL DOMINANT EMERGENT
  26. 26. Signs & Cultural Change - Residual
  27. 27. Signs & Cultural Change - Dominant
  28. 28. Signs & Cultural Change - Dominant
  29. 29. Signs & Cultural Change - Emergent
  30. 30. Reading the SignsWe investigate the relationship between a brand and a culture by analysing the signs,codes and narratives that brands and cultures use to talk about themselves. BRANDS signs, codes, narratives CULTURE
  31. 31. Case Study: TV LicensingWe applied semiotics and discourse analysis to a fundamental revision of TV Licensingdirect mail. FROM AUTHORITARIAN THREAT Boxes & linear layout, blue & black colours, parental tone of voice & male personality signify threatening official discourse
  32. 32. Case Study: TV Licensing TO ENABLING PERSONALITY Use of white space, lime green colour, dynamic icons, and friendly peer to peer tone of voice signify positive coding as renewal of TV access & enjoyment
  33. 33. Sign Salad Semiotics Our approach enables you to see the brand in broad cultural context as well as focused category dynamics... …and hence to build meaningful, culturally relevant brand and communication strategies.
  34. 34. The Semiotics of SPANA
  35. 35. Objectives Semiotic Methodology• This semiotic analysis is intended to provide unrefined but inspirational insight into the brands of SPANA and key competitor The Brooke, as well as into the broader category context of other animal welfare charities.
  36. 36. Semiotics of SPANA – Logo, Strapline & Font Semiotic Methodology There are several problems with the logo and strapline as they currentlystand, factors that confuse or weaken the message they carry. • “working” is a positive concept • SPANA donkey is not represented positively • The strapline offers “care” for such animals, yet we are given no indication of this care in action • Donor and the charity are absent in the logo
  37. 37. Semiotics of SPANA – Logo, Strapline & Font Semiotic Methodology Progress in the West is to the right – but SPANA donkey faces backwards intothe past, defeated not progressing positively into the future • Culture represents progress, as facing the right, and often upwards • This orientation is inspirational and aspirational. • Facing/moving leftwards and downwards means looking back to the past, • SPANA donkey fails to inspire: it represents negative emotion, a past orientation, inaction
  38. 38. Semiotics of SPANA – Brand Name Semiotic MethodologyThe actual brand name is ambiguous and unclear and createsmisunderstanding about its meaning and identity – is it global or is it UK? • it is not obvious whether to pronounce the brand name to rhyme with “spanner” or “llama”. BUT acronyms are category codes • Using the term “abroad” suggests the charity itself is firmly located in the UK: • SPANA potentially sounds Spanish (like “España”)
  39. 39. Semiotics of SPANA – Donkey Dominance Semiotic Methodology Despite the claim of its strapline to help all working animals, it is almostexclusively donkeys which are represented in SPANA’s communications: itslogo, newsletters, website. • Focus of donkey in logo signifies a disconnect between helping all working animals and helping primarily donkeys • Donkeys are more often than not creatures of fun and ridicule.
  40. 40. Semiotics of SPANA – Livery Semiotic MethodologyVery few major organisations use orange as their main colour, due to a deepcultural bias towards some colours – orange is not culturally linked to care • Beyond brightness or fun, orange has no such immediate meaning - it comes from other brands • White, green and red are commonly used to code care, but orange is not. • Unhelpful connotations when orange is combined with SPANA - Spanish oranges.
  41. 41. Semiotics of SPANA – Solution in Comms Semiotic Methodology Where other animal charities signal solution, SPANA only codes the problem– the suffering of animals - SPANA has a problem in finding a way to show amore positive “after” image to motivate donors• International Animal Rescue uses • SPANA’s magazine includes a report image of a “dancing bear” juxtaposed where no such dramatic transformation with the wonderful “after” shot, where is in evidence. the bear has a friend, is facing the camera, is playing
  42. 42. Semiotics of SPANA – Conclusions & Recommendations Semiotic Methodology • SPANA animal logo should (a) have a face and (b) face towards our right and upwards. This will code a more positive, progressive and dynamic set of values. • The logo image should not focus on suffering and isolation but healing and care. • One differentiating way of doing this would be to include a human element in the logo, a person or perhaps just a pair of hands. This would code a role for the charity – or the animal’s owner – in the logo. • The term “abroad” should be minimised in favour of “worldwide” or “international”. “Abroad” suggests a UK-centric outlook and an organisation with limited actual international reach. • In order to make SPANA a more modern and relevant organisation, it should use modernity in either its font (by removing serifs and not using an old fashioned calligraphic style) or by using a modern style of image.
  43. 43. Semiotics of SPANA – Conclusions & Recommendations Semiotic Methodology • SPANA could switch from using orange to using red or green in its logo. • This would differentiate it from the large number of animal charities that use orange, and also makes sense to code care more strongly. Red and green are used to powerful effect by The Red Cross/Crescent, Oxfam, Médecins Sans Frontières, Greenpeace and Save the Children to communicate care and humaneness – relevant values for SPANA. • In comms, more attention should be drawn to work with animals other than donkeys in order to make good its promise to help “working animals”. • Imagery of horses, cattle working in fields or camels carrying tourists may be slightly tokenistic but would carry the powerful message that SPANA does not “discriminate” against certain types of working animal. • A more powerful contrast needs to be drawn between the “before” and “after” (or problem versus solution) states. • For example, a thriving, colourful and vibrant community can be shown in the solution state – another, subtler, kind of “beauty” and “comfort”, in fact.
  44. 44. Semiotics of SPANA – Conclusions & Recommendations Semiotic Methodology • In general, SPANA may follow the lead of major charities and show a higher proportion of positive images. The goal of happy, healthy, cared for creatures rather than that of suffering, diseased, abandoned ones is what really drives donors to contribute. • Finally, one key area where SPANA’s charitable work is different from other animal charities is in the close connection between the animal and its owner. Their fates are tied together, and the welfare of each contributes to the welfare of the other. SPANA could take the step of altering the traditional role of the ‘abuser’ in animal welfare comms, transforming it into the role of the human partner of the animal.
  45. 45. Qualitative research built on semioticinsight….. Supporters: not distinctive, rather dull and out-dated • Well recognised and indicated working donkeys/horses via heavy load and forlorn stance • Generated sympathy but rather dull and out-dated, lacking in dynamism Prospects: ambivalent but don’t warm to it • On practical level it didn’t mean anything • On emotional level it wasn’t attractive • Lacked sense of purpose and nobody knew how to pronounce it • Conveyed a beaten donkey rather than sense of progress
  46. 46. ….and helped us learn how to talkabout SPANA’s work Animals the obvious hook • Their suffering needs to be presented in suitably emotional/heart rendering way with clear reference to state and number of animals suffering Important to explain why they suffer • Not in a way that blames the owners but rather in a way that explains why they cannot help it Any work beyond veterinary care must have its roots in animals – in their medium to long-term welfare • If it benefits the community too that’s a bonus.
  47. 47. SPANA’s name created a dilemma• Evoked strong opinions within SPANA• Unique and inferred heritage and credibility• Abbreviations consistent with the sector
  48. 48. Striving for a bold new look• Convey a strong and confident brand that is positive, passionate and caring about the work it does• Provide an immediate recognition that ‘working animals’ are the focus of our attention
  49. 49. Logo
  50. 50. People connected with the new logo 38% 41% 44% Animal general 35-64 year welfare public olds supportersSource: Online survey 1400 respondents representative general public
  51. 51. It helped people understand SPANA’s work and conveyed positive impressions 34% understand 59% think this 29% positive about this organisation organisation works this organisation works in poor with all types of countries working animals 26% felt this was 47% found logo 23% would trust modern and distinctive and this organisation forward thinking inspiring organisation 48% understand what this organisation stands forSource: Online survey 1400 respondents representative general public
  52. 52. Created stand out in the sector
  53. 53. Created stand out in the sector
  54. 54. Thank you Picture goes herewith 4pt white border
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