4. In 2011 SPANA’s logo was not a true
representation of the organisation
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. Our challenge
• Revitalise the SPANA brand to create a
unique and compelling identity that
encapsulated what SPANA is all about.
7. Our search for insight
Competitor
analysis
Quantitative Stakeholder
research interviews
SPANA
Qualitative Semiotic
research research
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. Brands are inseparable from the
culture that surrounds them.
JOHN GRANT - BRAND INNOVATION MANIFESTO
“A brand is a cluster of strategic cultural ideas”
18. Branding & Culture
Brands and culture are inseparable. We can’t think about a brand without understanding
the culture that surrounds it, and the cultural capital that the brand possesses.
CULTURE
BRAND
19. Branding & Culture
A brand is affected by culture at different levels, from obvious category competitors to
other products or mindsets that we might not immediately connect with the brand.
CULTURE
CATEGORY
KEY
COMPETITORS
BRAND
20. Signs & Meaning
Most recently theorised and applied to marketing and branding – bringing together
all above social science disciplines –
the management of meaning
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. Semiotics & Qualitative Research
While qualitative research asks consumers what their opinions are, semiotic analysis
investigates 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
Signs & Cultural Change
Semiotics 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
30. Reading the Signs
We 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. Case Study: TV Licensing
We applied semiotics and discourse analysis to a fundamental revision of TV Licensing
direct mail.
FROM AUTHORITARIAN THREAT
Boxes & linear layout, blue & black
colours, parental tone of voice & male
personality signify threatening official
discourse
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. 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.
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. Semiotics of SPANA – Logo, Strapline & Font Semiotic Methodology
There are several problems with the logo and strapline as they currently
stand, 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. Semiotics of SPANA – Logo, Strapline & Font Semiotic Methodology
Progress in the West is to the right – but SPANA donkey faces backwards into
the 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. Semiotics of SPANA – Brand Name Semiotic Methodology
The actual brand name is ambiguous and unclear and creates
misunderstanding 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. Semiotics of SPANA – Donkey Dominance Semiotic Methodology
Despite the claim of its strapline to help all working animals, it is almost
exclusively donkeys which are represented in SPANA’s communications: its
logo, 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. Semiotics of SPANA – Livery Semiotic Methodology
Very few major organisations use orange as their main colour, due to a deep
cultural 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. 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 a
more 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. 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. 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. 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. Qualitative research built on semiotic
insight…..
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. ….and helped us learn how to talk
about 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. SPANA’s name created a dilemma
• Evoked strong opinions within SPANA
• Unique and inferred heritage and credibility
• Abbreviations consistent with the sector
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
50. People connected with the new logo
38% 41% 44% Animal
general 35-64 year
welfare
public olds
supporters
Source: Online survey 1400 respondents representative general public
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
for
Source: Online survey 1400 respondents representative general public
