Visual Communications Report

VISUAL COMMUNICATIONS REPORT

PART ONE:

Supreme’s use of colour and typography

Visual branding is a consistent and recognisable feature of any brand’s identity and can be used to create a positive relationship between the brand and the consumer and promote a desired interpretation (Phillips et.al, 2014). Streetwear brand Supreme consistently uses additive red and white colour blocking in its branding to emulate downtown New York’s youth culture and represent its values of ‘quality, style, and authenticity’ to their target audience (Supreme.com, 2023).

Supreme contrasts a warm red – best described as Pantone’s Red 032 (Pantone.com, 2023) – with a pop of white to create a dramatic, stand out contrast between the typography and the background of the logo. The colour red is known to create a positive emotion in consumers as it sparks excitement and attention when looked at. This colour may have been used to subconsciously present Supreme’s clothing as unique and appealing to its customers (Hilliard, 2013). On the other hand, the contrasting white sans serif font has connotations of purity, refreshment and modernity, an idea that reflects Supreme’s sleek and stand-out branding (Lischer, 2023).

To complement Supreme’s use of a vivid and positive colour palette, a bold sans serif font is used to create a high contrast and effectively emphasise the brand name (Saltz, 2009). Sans serif is simple and instantly legible to the consumer, making it the perfect font style to emulate Supreme’s continuous brand narrative of quality and authenticity.

PART TWO:

Stella McCartney’s use of visual channels to convey brand values.

@StellaMcCartney

Luxury fashion brand Stella McCartney uses multiple digital channels to represent its ethics and values as a brand. Visual channels allow brands to be consistent across several platforms and promote their brand values authentically. These channels include its website, social media, in store experience and emails (Arruda, 2016). As a company, it prioritises the sustainable and ethical creation of its products, as well as aiming to reduce its environmental impact (StellaMcCartney.com, 2023). These brand values are showcased to consumers consistently over several digital channels, including social media and advertisements.

On Stella McCartney’s website, its brand values are represented through visual imagery, using animals and outdoor settings on its landing page to promote the idea that the brand are environmentally conscious. The images used are bright and emotive, using a colourful yet simplistic style. The use of natural colours such as green has a positive reaction as it connotes prosperity and growth reminding customers the importance of shopping sustainably, subsequently inviting the customer to purchase from Stella McCartney. (Lischer, 2023). On its social media handle, natural imagery and environments are used to promote the idea of its ethical and corporate social responsibility as a business (Instagram.com, 2023). Emotive imagery is theorised to influence the opinions and thoughts of the viewer (Huddy and Gunnthorsdottir, 2000), and by using endearing animals and a natural environment to showcase Stella McCartneys’s products, it promotes the idea that as a brand they value sustainability and protecting the planet. By consistently using visual imagery across several channels, the consumer can easily understand the brand values and ethics of Stella McCartney.

@StellaMcCartney

PART THREE:

Key components of brand identity.

Visual branding is an effective way for a brand to set apart from the crowd and represent its identity in a particular way. This can be highlighted through a brand’s use of logo design, taglines, brand families, and values to promote a certain idea. One way to characterise a brand’s identity is through theorist Aaker’s (1997) brand personality framework, which breaks down into 5 categories: ruggedness, sincerity, excitement, competence, and sophistication (Slade-Brooking, 2016).

Sportswear brand Nike are a great example of effective brand identity, and fall into Aaker’s ‘excitement’ personality, as they are visually imaginative, ‘cool’, and up to date. On its website, Nike defines its values as ‘supporting and inspiring athletes across the world’, and this idea is represented through its visual branding (Nike.com, 2023). Nike’s logo and tagline features a ‘swoosh tick’ and tagline ‘Just do it’. The logo is black, which has connotations of power and authority, the perfect colour to embody sports and being active. The tagline uses a bold sans serif font as it is easy to read and therefore instantly recognisable, constantly keeping Nike up to date and relevant in the sporting community (Saltz, 2009). The strategic logo and tagline brand allows the consumer to associate Nike with excitement and enthusiasm for sport, perfectly embodying Aakar’s ‘excitement’ personality framework.

PART FOUR:

Optimising the landing page.

An E-commerce website should be easily accessible and understandable for a variety of online shoppers. The experience should be easy to digest, entertaining and most of all memorable for the consumer (Siddiqui, Et al., 2003). A website landing page should be created with the consumers attention in mind, and one of the most effective approaches is by using the F-shape pattern. The pattern describes the shape that consumers typically read and consume information on a webpage, from left to right and gradually working down.

Using this pattern, text should be in small chunks and easy to digest so that the consumer reads the key information without getting distracted (Nielsen, 2006). A landing page wireframe should optimise this shape and place key information in these areas such as click throughs and new products, creating a higher change for consumers to interact with the website.

The images on the right show two examples of landing page wireframes and how effective they are. The top image shows a structure that follows the F-shape pattern with 2 product images on the right and small chunks of font along the top of the ‘f shape’. This structure instantly guides the consumers attention to new products and headers, a strategy that could get the viewer to interact and purchase from the website. The bottom example does not follow the structure and opts for large chunks of text and smaller images, making the content harder to digest and keep the attention of the consumer.

PART FIVE:

The key touchpoints for visual communication.

Brand touchpoints are the different methods of communication between a brand and its customers. The touchpoint wheel breaks this down into three main categories: pre purchase experience, purchase experience and post purchase experience. Visually, these aspects rely on the experience and interaction that the customer has when shopping with a brand and whether these match up to the pre existing knowledge that the consumer has about the company (Lee. Et al, 2013).

This pre-existing assumption consumers have about a brand relates to Aaker’s (1977) personality framework, that is used to relate human characteristics to a certain brand. This includes its values and how it chooses to represent this visually.

For example, on the touchpoint wheel, logo, channel sign, and carrier bags all fall into ‘identity design’ for each step of the customers experience. A great example of effective identity design is sportswear brand Adidas, that feature a ‘mountain design’ as its logo with its brand name heavily featured on products and branding. The logo design reminds customers they are an active brand, but is also simplistic enough to be recognisable and unique. The use of black has connotations of power and strength, the perfect colour to remind customers of fitness. Adidas falls into Aakar’s personality ‘excitement’, as it is current and uses its platform to spread positivity around sport, highlighted with its slogan ‘Impossible is Nothing’. These features successfully integrate its personality into its visual communications, making it easily recognisable and memorable to customers throughout the purchase process.

PART SIX:

UK Vogue photoshoot: ‘New Beginnings’

Editorial photoshoots are designed to portray an art concept that tells a story to the consumer. There are several aspects of editorial shoots that create a narrative, including: model casting, location, and styling to represent a particular idea. These elements are discussed and developed prior with an art direction in mind, and a clear brief is made that sets the tone of the photoshoot.

The brief may first be mapped out with a storyboard that gives a clear layout for the intended art direction. Pictured on the right is a mock up for a Vogue photoshoot titled ‘New Beginnings’ which features three double page spreads of a wedding day. The storyboard loosely shows the photographer and stylists which outfits, hair and makeup, settings, and props which should be used, and can use this to interpret the desired art direction. Similarly, it can show the mood and look of the models, for example facial expressions, poses and how the model should look aesthetically (El-Demerdash, Et al., 2021)

Overall, an editorial storyboard should inspire and excite the creative team to develop intentional images that tell a story and connects with the reader. It should be detailed and informative in order for the creative team to bring it to life. A good storyboard should have a clear layout so that it is not confusing, and the art direction is executed appropriately and effectively (Hovan, 2023).

PART SEVEN:

Briefing the client: principles in communicating the concept.

A creative brief is an essential part of any visual project, and when executed properly can be very effective. The brief should be explicitly simple and straightforward with relevant information that can be understood by every member of the creative team. This includes copywriters, art directors, graphic designers and stylists; if the brief isn’t clear, the idea can be misinterpreted which can in turn be an expensive mistake (Ibach, 2009).

Creative planning director Kit Altin believes that a successful brief should inspire the team which can be done with an appropriate setting, structure or pitch. This may differentiate based on a particular brand but should be fitting and inspiring for the desired group of people. This could mean in a visual sense, where the brief includes images, videos and be pitched in a place that is relevant to the brief to inspire creativity amongst the group. This is particularly useful when pitching to stylists and art directors as it gives them a clear image on which models, props and locations to use in the project (D&AD- Creative Advertising, Design and Digital, 2018).

An example of an effective creative brief was Burberry’s spring/ summer 2010 campaign with actress Emma Watson. As a brand, Burberry wanted to step away from the so called ‘chav culture’ that was associated with its iconic plaid check pattern, and teamed up with Watson to reclaim the pattern as the high-class design it once was (Day, 2004). Accessorised with Burberry plaid in front of a regal white background, Emma and her ‘classic, effortless beauty’ was used to portray the brand as elegant and attractive, a perfect example of effective briefing and model casting (Milligan, 2010).

PART EIGHT:

The elements of styling.

Clothing is a major aspect of a person’s identity and is used for self-expression and conformity in social situations (Mair, 2018). Fashion theorists break down the elements of styling into two general categories: personal and professional styling (Parkko, 2019).

The study revealed that one of the key functions of styling was using fashion for self-expression and personal well-being. This feature is under the concept of appearance and that clothing is used to represent the wearers sense of self in different situations. Similarly, the study showed that styling is used as a tool to conform into certain groups, whether this being social groups or due to the pressure of society and media messages. Both of these categories are personal choices, and impact how a person chooses to style themselves.

On the other hand, styling is typically understood as a wardrobe stylist, being someone who works for a client to create a particular look with clothing and accessories. This is typically for fashion related activities and used to sell products. This element of styling may include a larger team of artists to create a particular image for a brand or occasion. Professional styling is highly regarded as the most influential aspect of styling as it plays a part in the ‘image making process’ that is shown in digital media to the public.

PART NINE:

The legacy of Oliviero Toscani.

Infamous photographer Olivero Toscani partnered with fashion brand ‘United Colours of Benetton’ from 1982 to 2000 to create some of the most controversial advertisements in the fashion world (Chochrane, 2017). Toscani used Benetton to create ‘shock factor’ campaigns that made social commentary on ‘taboo’ topics, and one that arguably received the most backlash was his ‘Looking at Death in the Face’ campaign in 2000.

The images featured several criminals facing death row in America, a social commentary on capital punishment. The campaign was visually striking and featured the inmates looking directly into the camera to provoke emotion into the viewer. Whilst the images did receive backlash for insensitivity to the inmates’ families, it was used to ‘spread awareness and tear down the wall of indifference’ (Benettongroup.com, 2023).

Despite facing backlash on some of Toscani’s most disputed campaigns, controversial imagery remains one of the most effective ways to capture the attention of consumers (Paulins, Hillary, 2020). Toscani’s emotive images was the perfect way for politics and fashion to combine, and made Benetton part of political conversations, pushing the role of controversy as a way for fashion to make comment and an impact on society (TheGuardian.com, 2019). His images have also inspired other photographers to produce ‘shock campaigns’ such as Dov Charney’s illusive images for American Apparel. These advertisements received backlash for his sexual images that protestors described as sexist and taps into the male gaze to sell products. Similarly to Toscani, despite these advertisements being controversial, they were memorable and created conversation around the brand (Stampler, 2014).

PART TEN:

Rebranding Bershka: differentiating the brand from the Inditex stable.

Storytelling and a brand narrative is an essential part of any successful fashion brand as it allows the customer to identify and connect with its image. However, successful brands may choose to change this narrative to reflect its changing identity or separate from the crowd (Tungate, 2012). Fast fashion brand Bershka is a recent example of this, and aims to appeal to ‘adventurous young people who are aware of the latest trends’ (Bershka.com, 2023).

Bershka is owned by fashion conglomerate Inditex, who own several other popular brands such as Zara and Stradivarius. To separate itself from the Inditex label, Bershka have rebranded in several ways, most notably being its logo and website design. The website attempts to appeal to younger consumers by having a ‘Bsk Teen’ section that uses a mix of graphics, colourful images and videos, and young models. This is visually different compared to its sister brand Zara, that typically opts for neutral colours to appeal to a more millennial demographic. This separates Bershka from the typical visual branding that Inditex uses and represents itself as a brand who caters for a younger, generation Z consumer.

Similarly, the logo has recently changed from ‘thin’ lowercase lettering to a bold, uppercase, sans serif font. Whilst this isn’t drastically different, it is bolder compared to other Inditex brands, and allows the logo to stand out against a plain white background. Similarly, black has connotations of power and attention, which could possibly draw attention to the brand for young shoppers (Lischer, 2023). However, the logo does not relate to the colourful and exciting rebrand the landing page has had, and the use of a black logo can still be associated with Inditex and its sleek, monochrome design.

Examples of Logos that are not suitable and why:

Similar to Zara

BIBLIOGRAPHY

Aaker, J. (1977) Dimensions of Brand Personality. American Marketing Association, 37 (3), pp. 347-356.

Adidas.com (2023) About – History. Available at: https://www.adidas-group.com/en/about/history/#:~:text=In%20one%20of%20its%20most,synonymous%20with%20reaching%20your%20goals. (Accessed 20th March 2023

Arruda, W. (2016) Why Consistency is the Key to Successful Branding. Available at: https://www.forbes. com/sites/williamarruda/2016/12/13/why-consistency-is-the-key-to-successful-branding/?sh=5c1c37ef7bbd (Accessed 10th May 2023)

BenettonGroup.com (2023) Looking at Death in the Face’ Available at: https://www.benettongroup.com/ en/media-press/press-releases-and-statements/looking-at-death-in-the-face/ (Accessed 5th May 2023)

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