What's in a name? Just about everything
'Action' on this, 'beating' that: in their naming and branding, charities are becoming much clearer about what they do and why. Michael Johnson of johnson banks charts the development of this new, 'active' approach in the sector
15 years ago if I'd told you that in 2013 the charity sector would be one of the most vibrant, challenging and competitive branding sectors, you'd have laughed in my face. Because any notion of ‘branding' was virtually non-existent. Charities had logos, yes, but they sat meekly in corners. Occasionally ad agencies were crowbarred into doing a poster, but usually in that we'll-do-you-a-great-ad-that-will-win-us-awards-and-you'll-be-grateful type of arrangement.
Slowly the market began to change. Charities began to understand that if they were unclear about what they stood for, so were their ‘customers'. And who exactly were their customers anyway?
The first rebrands were subtle rather than dramatic. Ten years ago, when asked to chip in on Shelter's repositioning, our design route was only intended as a simple update of a 30-year-old logo (with the ‘h' slipped in for good measure, see above). Their name was never queried - after all, ‘Shelter' for a housing and homelessness charity couldn't be beaten.
But imagine if your name actually doesn't convey what you do? Or can't be remembered, or, worst still, confuses people. What do you do then?
In 2004, a project by Landor in the USA opened many eyes to a new way of communicating when the impossibly acronymed YWCA (Young Women's Christian Association) adopted a new strapline: ‘eliminating racism, empowering women'. No big surprise there, but the breakthrough was its scale - three times the size of YWCA and above it, not below (see image, top). Overnight, an organization was starting to tell people what they did and why, on every single thing they put into print or pixel.
Macmillan identity and campaign by Wolff Olins
The tipping point in the UK came when large charities began to ‘activate' their names in a similar way. Macmillan Cancer Research amended their name to Macmillan Cancer Support, then incorporated it into a series of ‘we' statements. Backed up by a relatively big adspend, we all soon saw ‘We are Macmillan'.
The positioning and questioning language used by their consultants, Wolff Olins, as an internal clarification exercise (‘so what is it that you actually do, and what do you offer?') had all of a sudden gone public. The idea was that the ‘We' was all of us. And ‘we are all Macmillan'.
Now you can debate whether this thinking has genuinely permeated, but there's no doubt that YWCA and Macmillan made people see how charity brands could become active, campaigning schemes in their own right and perhaps negate the need for ‘advertising' in the traditional sense.
Just a quick skim across the sector reveals a vast amount of activity in the last decade. Many UK charities have looked at themselves, what they do, how they say it, and worked out how to say it better.
The Anthony Nolan Trust changed its name to simply Anhony Nolan, with branding by johnson banks
Sometimes the verbal changes have been minor - The Anthony Nolan Trust has simply shortened to ‘Anthony Nolan'. But now they talk about matching bone marrow and saving lives, not leukaemia - the difference is in the messages, not the name.
Parkinson's UK by The Team
Others have taken an easy - but increasingly generic - route of attaching the ‘UK' suffix to a version of their old name. So the Parkinson's Disease Society removed both ‘disease' and ‘society' (both difficult and sometimes ‘turn-off' words) and shortened to Parkinson's UK.
Look around and the ‘UK's' have taken over. National Kidney Research Fund? Kidney Research UK. The solution to the merger of Age Concern and Help the Aged? Age UK (promptly followed by Age International). And most recently The Prostate Cancer Charity has become Prostate Cancer UK.
The Prostate Cancer Charity before (l) and after Hat-Trick's new identity and name change
Some of this activity is debatable, and it's too early to tell if all these facelifts and all that ‘UK-ness' will have a genuine effect. But the signs are that when combined with stronger messages and communications (such as Parkinson's adoption of ‘change attitudes, find a cure, join us' or Prostate Cancer's Sledgehammer Fund) it can lead to awareness going up, and more money coming in.
Action for Children by Baby Creative
Another trend is ‘action' and various ‘action' prefixes. The London Association for the Blind became ‘Action for blind people'. Then National Children's Homes finally became Action for Children in 2008 after trying ‘NCH' for a while. You may not like the ‘action for...' wording (and at the time, neither did the ‘Action for Kids' charity who felt it a little close for comfort), but there's no doubt it's a much more active phrase.
The RNID changes to Action on Hearing Loss. Design and branding by Hat-Trick
Another organization saddled with a difficult name was the RNID, always confused with birds or the blind, but actually the hard of hearing (as in Royal National Institute for the Deaf). Their problem? Just 4% awareness amongst the general public. Their solution? ‘Action on Hearing Loss'. A bit clumsy, perhaps, but at least it's less confusing.
Where this thinking will go next is hard to predict: for example there are only a few ‘beating' charities at the moment (Beating Bowel Cancer, Beating Eating Disorders) but that list will probably grow. Leukaemia and Lymphoma Research should probably really just change their name to their strapline, ‘Beating Blood Cancers', if they truly want people to understand what they do.
We're putting the finishing touches now to a scheme for the Cystic Fibrosis Trust, who, whilst well known in the cystic fibrosis community, suffers from low awareness amongst the general public. In early meetings we spotted the ‘is' at the end of ‘fibrosis', and suggested a scheme that always explained what it is. This ensures that the logo is always a statement of intent, allowing them to become a well defined, ‘active' brand virtually overnight.
So we're artworking nearly 40 different ‘logos', varying from campaigning (Cystic Fibrosis a fight we must win) to fundraising (Cystic Fibrosis counting on your support) to those explaining it in more detail (Cystic Fibrosis a sticky, painful, suffocating condition). Depending on the tone and message they require, they'll swiftly be able to adjust each leaflet, poster, web page or banner accordingly.
Alzheimer's Australia by Interbrand Australia
Perhaps going forward we'll also see more schemes like the recently developed Alzheimer's Australia, which places words around the core words to activate them, such as ‘Fight Alzheimer's, Save Australia', and so on.
I Amsterdam by KesselsKramer
Be.Brussels by Base Design
There are signs that this kind of thinking is creeping into the cultural and education sectors too. Kesselkramer's ‘I Amsterdam' campaign was a great, early example, and now, after a shortish drive you can Be Brussels too or, if you go a bit further, be Berlin. The New Museum's ‘sandwich' approach to their name, and what they do, activates in series of different ways, as does The University of Westminster's (and now The University of Plymouth's too).
New Museum by Wolff Olins
University of Westminster by Jane Wentworth Associates/Hat-Trick
Plymouth University by Here Design/Buddy
What is clear is that many of these examples are blurring the lines between identity, branding, advertising and communications - the core brands remain central and become the launch pad for entire schemes, never pushed back into the corner and back to anonymity. These changes cost money, but in many cases the funds and awareness raised quickly offset the outlay.
Perhaps soon, the blue chip sector will look at these ideas and follow suit. But that would mean loosening their ‘logo guidelines' and allowing their brands to communicate...
Now, wouldn't that be something?
CR in Print
The February issue of CR magazine features a major interview with graphic designer Ken Garland. Plus, we delve into the Heineken advertising archive, profile digital art and generative design studio Field, talk to APFEL and Linder about their collaboration on a major exhibition in Paris for the punk artist, and debate the merits of stock images versus commissioned photography. Plus, a major new book on women in graphic design, the University of California logo row and what it means for design, Paul Belford on a classic Chivas Regal ad and Jeremy Leslie on the latest trends in app design for magazines and more. Buy your copy here.
Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.
Very interesting & informative article. I was actually talking to my Mrs about your brand identity for Shelter yesterday as a new store has opened near by.
Nice try. But truthfully the blue chips are not interested. If naming was important Carphone Warehouse wouldn't work as a brand. Yet it endures.
As long as a brand name isn't offensive it's a goer.
It's almost irrelevant.
Bluetooth seems nuts. (Yes I know it has some beautifully post rationalised la la behind it all). But seriously. It's bats. Means nothing to the white van man. Yet he's happy to use it.
I worry that the charities are more susceptible to the snake oil sold by the brand boys. Clearly MJ is a master of this patter as it seems to be the majority of his output.
Oxfam is an example of one charity brand well and truly sold up the river by Wolff Olins. They spent a hell of a lot on a colour scheme and a new wonky typeface.
I suspect the blue chips have a lot more savvy than that.
A great article in looking at the ways that branding has changed over time for the charity sector, and very helpful for me in particularly as I am currently undergoing a charity collaborative project at university.
It was only recently I have been in similar discussions with a charity that have rebranded their logo due to difficulty in promoting themselves - it is now a much user-friendly and engaging design.
Before Macmillan Cancer Support the charity was named Macmillan Cancer Relief, not Macmillan Cancer Research.
|Ads of the Week (2)|
|Canadian passport reveals its design secrets (1)|
|Artist INSA makes his latest animated gif... from space (3)|
|Selfridges celebrates 'retirement renaissance' with Bright Old Things (2)|
|Björk's Vulnicura album artwork (9)|
|Björk's Vulnicura album artwork|
|Vital Arts transforms Royal London Children's Hospital|
|Artist INSA makes his latest animated gif... from space|
|Designing for The Grand Budapest Hotel|
|Jean Jullien: Life Drawing, an interview|