University branding guidelines

The document detailing the key features of the university brand and how to use it.

The role of brand identification in alumni support to their alma mater

Universities around the world are facing global competition and challenges to finance their main functions - research and education. This study focused on the role of graduates, alumni, in the success of a university. The purpose of this study was to examine the role of brand identification in alumni willingness to support their alma mater. The research concentrated on finding out what is the relationship between brand identification and it’s antecedents (prestige, satisfaction, interpretation of brand) to alumni willingness to promote university, participate in university activities and support financially by donating money to university’s research. The research method was quantitative and the data was collected via online survey from 569 alumni of a Finnish university. The findings suggest that there is a strong relationship between brand identification and alumni support. The stronger brand identification is, the more willing alumni were to promote university, participate in university activities and support financially. Based on the research, it is beneficial for universities to invest in brand development in order to get alumni to act as ambassadors of the university after their graduation.

Conference Poster template

This PowerPoint file is a template for an A1 poster based on the new University branding. It is however only an example used in a workshop and is provided 'as is' - for example the University logo does not include any School name.

Higher education branding: Nova School of Business and Economics and Bocconi University

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

University of Southampton Branding Material

Various templates and logos and brand related media.

Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production

Many concepts have been developed to describe the convergence of media, languages, and formats in contemporary media systems. This article is a theoretical reflection on “transmedia storytelling” from a perspective that integrates semiotics and narratology in the context of media studies. After dealing with the conceptual chaos around transmedia storytelling, the article analyzes how these new multimodal narrative structures create different implicit consumers and construct a narrative world. The analysis includes a description of the multimedia textual structure created around the Fox television series 24. Finally, the article analyzes transmedia storytelling from the perspective of a semiotics of branding.

Structuration and branding of a religious tourism product: Catalonia sacra

This article aims to provide an overview of the products Catalonia has to offer in terms of religious tourism. The growing interest in this kind of tourism worldwide, and in Catalonia itself, along with the region's wealth of religious heritage (particularly connected to the Christian Church) contrast with the lack of religion-based tourism products available, which results in its absence from the region's image as a tourism destination. In view of this, the Faculty of Tourism (University of Girona), the Vic Bishopric's Albergueria-Centre for Cultural Dissemination and the Tarraconense Episcopal Conference's Interdiocese Secretariat for the Custody and Promotion of Holy Art (SICPAS) decided to address the situation with the help of funding from the Autonomous Government of Catalonia. In order to re-position Christian religious heritage in the image of Catalonia as a tourist destination, the aforementioned parties embarked upon a project to set up a series of routes throughout the region, branded under the name Catalonia Sacra

University Logo in Vector and Raster

This is a selection of University of Southampton Logos in both vector (svg) and raster (png) formats. These are suitable for use on the web or in small documents and posters. You can open the SVG files using inkscape (http://inkscape.org/download/?lang=en) and edit them directly. The University logo should not be modified and attention should be paid to the branding guidelines found here: http://www.edshare.soton.ac.uk/10481 You must always leave a space the width of an capital O in Southampton on all 4 edges of the logo. The negative space makes it appear more prominently on the page.

University Logo in Vector and Raster (Smoother Version)

These are a range of logos created in the same way as Mr Patrick McSweeny http://www.edshare.soton.ac.uk/11157. The logo has been extracted from PDF documents and is smoother and accurate to the original logo design. Many thanks to to McSweeny for publishing the logo, in SVG originally, I struggled to find it anywhere else. Files are in Inkscape SVG, PDF and PNG. From Mr Patrick McSweeney: This is a selection of University of Southampton Logos in both vector (svg) and raster (png) formats. These are suitable for use on the web or in small documents and posters. You can open the SVG files using inkscape (http://inkscape.org/download/?lang=en) and edit them directly. The University logo should not be modified and attention should be paid to the branding guidelines found here: http://www.edshare.soton.ac.uk/10481 You must always leave a space the width of an capital O in Southampton on all 4 edges of the logo. The negative space makes it appear more prominently on the page.

University branded Freight font

The Freight font pack which is used for the University Logo. For University Logos please see alternatives in this collection.

La proyección de imagen a partir de Soft Power, mediante Nation Branding y Diplomacia Pública en el caso de Japón, durante el periodo 2002 – 2010

En el actual contexto de globalización y con el comienzo de la era de la información, cada vez más Estados han buscado proyectar una imagen favorable con el objetivo de atraer atención y crear una reputación que permitan cumplir objetivos de política exterior y fomentar el desarrollo económico, logrando de esta manera un posicionamiento en el sistema internacional mediante estrategias novedosas, que incluyen elementos tanto diplomáticos, políticos, económicos, como comerciales y culturales. Para Japón, Nation Branding y la diplomacia pública han sido dos de las principales herramientas para lograr este reposicionamiento internacional, resaltando atractivos como las tradiciones culturales, el turismo, los incentivos para negocios, y trabajando en conjunto entre el gobierno nacional, el sector privado y la sociedad civil para crear relaciones entre el país y gobiernos y sociedades a nivel internacional.

My generation(s): cycles, branding and renewal in E4’s 'Skins'

In an era of fragmenting audience and diversified viewing platforms, youth television needs to move fast and make a lot of noise in order to capture and maintain the attention of the teenage viewer. British ensemble youth drama Skins (E4, 2007-2013) calls attention to itself with its high doses of drugs, chaotic parties and casual attitudes towards sexuality. It also moves quickly, shedding its cast every two seasons as they graduate from school, then renewing itself with a fresh generation of 16 year old characters - three cycles in total. This essay will explore the challenges of maintaining audience connections whilst resetting the narrative clock with each cycle. I suggest that the development of the Skins brand was key to the programme’s success. Branding is particularly important for an audience demographic who increasingly consume their television outside of broadcast flow and essential for a programme which renews its cast every two years. The Skins brand operate as a framework, as the central audience draw, have the strength to maintain audience connections when it ‘graduates’ those characters they identify with at the close of each cycle and starts again from scratch. This essay will explore how the Skins brand constructs a cohesive identity across its multiple generations, yet also consider how the cyclic form poses challenges for the programme’s representations and narratives. This cyclic form allows Skins to repeatedly reach out to a new audience who comes of age alongside each new generation and to reflect shifts in British youth culture. Thus Skins remains ever-youthful, seeking to maintain an at times painfully hip identity. Yet the programme has a somewhat schizophrenic identity, torn between its roots in British realist drama and surrealist comedy and an escapist aspirational glamour that shows the influence of US Teen TV. This combination results in a tendency towards a heightened melodrama at odds with Skins claims for authenticity - its much vaunted teenage advisors and young writers - with the cyclic structure serving to amplify the programme’s excessive tendencies. Each cycle wrestles with a need for continuity and familiarity - partly maintained through brand, aesthetic and setting - yet a desire for freshness and originality, to assert difference from what has gone before. I suggest that the inevitable need for each cycle to ‘top’ what has gone before results in a move away from character-based intimacy and the everyday to high-stakes drama and violence which sits uncomfortably within British youth television.

An empirical study of international private label branding in the food sector in Hungary

Private label branding strategies differ to that of the manufacturer. The study aims to identify optimal private label branding strategies for (a) utilitarian products and (b) hedonistic products, considering the special factors reflected in consumer behavior related to private labels in Hungary. The issue of House of Brands and Branded House strategies are discussed and evaluated in the light of retail business models. Focus group interviews and factor analysis of the survey found differences in branding strategies preferred by consumers for the two product categories. The study also outlines a strong trend in possible private label development based on consumer’s changing attitude in favor of national products.