In this weeks lecture we were introduced to the ideas of symbolism and semiotics. In advertising, the meaning of the advert is important and needs to be clear to the viewer for the advert to do its job. Often the addition of language is important to achieve this sense of meaning.
However, because language is different across the world, and language can be misleading in itself, the use of symbols can often be more impactful and clearer. The same message can mean different things to different people due to their cultural context or language, but often symbols can unite the meaning.
“All that is necessary for any language to exist is an arrangement amongst a group of people that one thing will stand for another”
(Crow 2010)
David Crow talks about the same thing in this book Visible signs. He believes that if you want to make something universal you don’t want to include any language or anything that relies on specific cultural or historic knowledge. (Crow 2010)
I think this is something that needs to be taken into account for any graphic design. Now the world is so interconnected and globalised, any design you create has the capability of being seen across the globe. Therefore, you have to take into account how different people and cultures may misconstrue your meaning.
I think this draws back to the idea of empathy. If you’ve gained an understanding of how people think in your target audience you are more likely to use the language and symbols that resonate with them, and get your message across correctly.
Martin Hosken believes that the successful transfer of meaning is achieved when designers draw on psychological images. These images sit at the heart of language. Emojis are an example of this. They don’t need words, but the simple symbols are full of meaning that we naturally associate with them, so some stand pretty much universally as representing a particular thing.
However, symbols can carry a meaning which is changed by history or social context. The swastika for example, signifies purity and strength, but its use by the nazi’s has given it a whole other meaning and it would no longer be appropriate to use it to signify its original meaning. Some symbols require previous historical or cultural knowledge to give them meaning, and as mentioned with the swastika, this meaning can also change over time. I think this makes abstract symbols a bit risky to include in design, unless you are confident your target audience will have the required knowledge to decode it.
Hosken tells us that anything that conveys meaning is a sign, and to make this sign successful it must be made up of the signifier and the signified. The signifier is the words or image that carries the message, while the signified is the concept that is being conveyed. These two things have to work together for meaning to be successfully conveyed.
I looked at signs around me, they often seemed to combine simple symbols with clear messages. The symbol adds meaning to the text and the other way round. It is the combination of the two that make the signs easily understandable and more impactful. It also allows the signs to be read by someone with a more limited understanding of English.
The olympics offered an interesting case study about how something with fixed parameters differs across the world. The Olympic logo is designed to be a visual distillation of the host country. Different designers have had very different approaches to making this work. Some choose to look at a historical context, such as Mexicos design that is based on old Mexican ceramic patterns. Munich however, chose to represent their country by designing with a German approach and modernist look instead of representing any physical part of the country’s past or present.
Some chose to use emblems to represent their country, that require a previous knowledge, such as Tokyo’s ‘rising sun’ and Athens’ wreath.
Looking at earlier olympic posters they were much more illustrative and descriptive. This shows how the more well known a brand becomes, the less it needs to show the viewer as a certain amount of prior knowledge is expected. This allows designers to be freer and less literal in their design. I think you can see this with a lot of established global brands, where their name or logo is a symbol in itself to represent their product. The McDonald’s ‘M’ for example, will evoke the idea of fast food and burgers to people across the world.
I think this is similar to the work of James Victore, as mentioned in Design Literacy. To make this posters stand out in the street and convey their message successfully, he drew on simple things that people could understand and relate to. He used symbols that already have a cultural meaning, or he took common street signs that we are used to seeing, and recreated them to show his meaning. (Heller 1999)
Despite the difficulties with language for universal design, sometimes language is important for adding meaning or understanding to a piece. A good example of this is the work of Tom Gauld. This map would have little or no meaning without the addition of text below it.
I think this shows that although language can be at times untrustworthy and easy to misconstrue, it also can be vital to design. When trying to create global design, relying more on symbols and evoking universal images is more successful as it allows less room for people to misunderstand.
Workshop Challenge
While researching global brands, I noticed that the majority of them make their websites different with content that is more tailored to the country. The design and colours of the site often differs too – but logo stays the same so you aways know the brand.
KitKats
I decided to look at KitKat in detail. It is a very well know British brand that is sold all across the world. I wanted to look at how it is delivered in a few very different countries.
Today, the iconic brand is present in more than 80 countries. (Nestle 2019)
Looking at the instagram account of UK KitKat, the brand is very much hung on the slogan of “Have a break, have a KitKat”. It seems to be the focus of most of their branding. This must be down to the culture of people in the UK frequently feeling overworked and stressed, so the idea of having a break and eating some chocolate appeals to the masses.
I think with the work culture in Japan, this doesn’t fit very well. The Japanese culture is to work hard, for long hours and even to find enjoyment in it. Their branding therefore is much more centred on the cultural tradition of giving gifts. KitKats are mini and in sharing bags, as opposed to the mainly solo activity of having a KitKat in the UK.
“They are a “popular present in a country where gift-giving remains an important ritual,” said Wataru Kageyama, president-CEO of JWT, Tokyo, which handles Kit Kat advertising in Japan.”
(Madden 2010)
The Japanese translation of Kit Kat — Kitto Katsu means “surely win” which links in with the tradition of sending students good luck wishes before they take tough higher-education entrance exams.
As a marketing campaign KitKat partnered with Japan’s postal service to create “Kit Kat Mail,” a postcard-like product sold only at the post office that could be mailed to students as an good-luck gift.(Madden 2010)
In Japan KitKat is sold in a very large variety of flavours. The flavours are relevant to the area in Japan that they are sold, so you would have to travel around the country to try them all. This increases their interest as a souvenir or something to be collected.
“Each flavour is only sold in the region for which it was created, a distribution strategy that has turned limited edition Kit Kat packages into coveted souvenirs for domestic travellers”
(Madden 2010)
They sell over 300 flavours. The Japanese love to support their neighbouring localities, and it’s traditional to bring back small gifts known as omiyage for colleagues, friends and family back home when they travel. Therefore, the KitKat purchased from the station in Sapporo would not just be fruit-flavoured, but Hokkaido melon-flavoured in order to transform it into a gotochi (regional) product. (Joy 2016)
They also appeal to the Japanese desire for novelty. Most flavours are limited edition. They’ve also created ones meant to go inside a toaster oven, flat KitKats that can go through the mail system, and much more. (Joy 2016)
The packaging in Japan is made out of paper, and shows origami on the label to tell buyers that they can create origami out of the packaging. This is a very Japanese message that wouldn’t have the same impact elsewhere. (Yu Lim 2019)
The packaging also features an image that very clearly shows what flavour the KitKat is. This seems to draw into the culture in Japan where food is often available to view in restaurants and other places before you purchase it. Something that is less common in the UK.
The KitKats in america are created by Hersheys instead of Nestle. (Maynard 2018)
This means they use a different recipe, which is more inline with American chocolate tastes. They have also slightly reworked the branding, making the KitKat logo white on red and much more rounded. The packaging also includes the words ‘crisp wafers’ on it, which implies less of an inherent knowledge of the brand in America than in the UK and Japan, as I think a description of what a KitKat is on the packet in the UK would be unnecessary as they have built themselves into such a traditional and well known brand.
The branding of KitKat has barely changed over time which may be part of the reason they are so well known.
Initially the slogan reflected the welcome 11am tea break – ‘elevenses’ – common to British factories. (Gilles 2012)
The benefits in taking a break from something could be applied to all manner of stressful (and potentially comedic) situations. So this slogan has stayed relevant for years.
In the US in the 1980s they changed the slogan to ‘Give Yourself a Kit Kat. Give Yourself a Break’. But it didn’t have the same ring to it, and didn’t last.
While Rowntree’s was bought by Nestlé in 1988, Kit Kat retains its Britishness and there’s something in the tagline that taps into our obsession with working life. (Gilles 2012)
KitKats in India
This year during the pandemic KitKat have launched a campaign solely in India.
“Festivals in India have always stood for celebration, joy, and hope. This year, more than ever, we have realized that one really needs to find light, happiness, and meaning even in tough times. This festive season, KITKAT brings a brand first innovation with ‘Glow-in-the-Dark’ packs to help youngsters #Celebreak.”
The initiative is an extension of KITKAT’s proposition of ‘Life hai, KitKat break banta hai’ which encourages one to take a break and come back with a refreshed and optimistic perspective in these new normal lives. (Media Samosa 2020)
Drawing on the colourful festival culture in India, KitKat have managed to link their branding and tag line into Indian culture to make their brand relevant.
Indias instagram posts and marketing is more people focused, using actors and putting importance on relationships between them.
They make the brand relevant in each country with different bars, flavour and marketing.
Japan and Korea are more cartoony. India is more real life people films. But the red and iconic KitKat logo makes it recognisable. Apart from US but still very similar.
The basic branding of KitKat is simple enough to work pretty much globally. Its consistency in branding has made it recognisable across a lot of the globe. I think however, the reason they have been so successful is the tailored approach they take to each country. Creating culture specific campaigns, adverts that fit with the style of the country.
The symbol of the KitKat being snapped in half is also present across most countries. This is interesting, as the link between breaking the bar and having a break, is likely to be lost in translation in other countries. However, this image not only shows the inside of the KitKat but the snap implies the crunch of biting into a KitKat and that is automatically tempting for the viewer, no matter where in the world they are.
500 word summary
The brand KitKat was launched in the UK in 1935, and since then it has spread to over 80 countries worldwide. (Nestle 2019) The brand has enjoyed great success in a number of countries.
In the UK KitKats are marketed with the tagline ‘have a break, have a KitKat’. This initially reflected the welcome 11am tea break common to British factories, (Gilles 2012) but is a slogan that has stuck with them till today and continues to be at the centre of all their marketing campaigns due to its versatility. In the UK they are marketed as a solo break experience for when you are feeling overworked or in need of a break.
When you look at KitKats in Japan however, the brand is very different. The large 4 finger bars are replaced by sharing packs of mini bars in a range of flavours. Each region of Japan has its own unique flavours that appeal to residents and reflect traditional Japanese foods. (Madden 2010) The Japanese love to support regional produce gotochi, and it’s traditional to bring back small gifts known as omiyage for colleagues, friends and family back home when they travel. (Joy 2016) One of their most successful marketing campaigns hung on the Japanese tradition of gift giving. The Japanese translation of KitKat is “surely win” which KitKat uses to link in with the tradition of sending students good luck wishes before they take exams. They partnered with Japan’s postal service to create “Kit Kat Mail,” a postcard-like product sold only at the post office that could be mailed to students as a good-luck gift. (Madden 2010) Adverts in Japan are focused on sharing and giving, in a cartoony, ‘cute’ or anime styling.
In America, KitKats are created under licence by Hersheys instead of Nestle. (Maynard 2018) They are made using a different recipe, which is more inline with American chocolate tastes and they have also slightly reworked the branding, making the KitKat logo white on red and much more rounded. The packaging also includes the words ‘crisp wafers’ on it, which implies less of an inherent knowledge of the brand in America than in the UK and Japan.
Moving across to India, KitKat once again market themselves to customers in a different way. Their branding is more people focused, drawing on family, relationships and the idea of gift giving. For example, their current campaign is a glow in the dark KitKat for a year when India’s bright, often light focused festivals have been cancelled, encouraging them to smile and to take a break and come back with a refreshed and optimistic perspective in these new normal lives. (Media Samosa 2020)
The symbol of the KitKat being snapped in half is present across most countries. This image not only shows the inside of the KitKat but the snap implies the crunch of biting into a KitKat and is globally tempting for the viewer.
KitKat makes their brand relevant in each country with different bars, flavour and marketing. The basic branding of KitKat is simple enough to work pretty much globally. Its consistency in branding has made it recognisable across a lot of the globe. I think however, the reason they have been so successful is the tailored approach they take to each country. Creating culture specific campaigns and adverts that fit with the style of the country.
Final Design
I’ve made my design into an editorial piece to make it look like a KitKat advert that you might see within a magazine. I’ve kept to the bold red colour of the brand but added in images of KitKats from different years and different countries. The image on the left is an example of how KitKat used their tagline as an advert by drawing into a current event of the time, where John Isner beat Nicolas Mahut 70 – 68 at Wimbledon in the longest tennis match ever.
After some feedback during the crit that my design looked a little unbalanced, I reworked the design a little. I think this looks much more balanced as one side acts as the magazine article text heavy side, while the other side is purely left as an advert.
Reflection
This week has brought up some interesting ideas about the relationship between language and symbols when creating a message. With the world becoming increasingly globalised, there are many more considerations that need to be taken into account when creating a design that it likely to be viewed by people in many different countries. Making sure your message is correctly delivered to the viewer is much more complicated that I had previously assumed and each design decision needs to be carefully calculated and considered.
I chose to look at KitKat this week as while living in Japan at the start of the year I noticed the brands prevalence in the country and wanted to further investigate the brand across the world. I think its success comes from its consistent and simple branding. The logo has become synonymous with the content in many places in the world. The brand also uses a targeted approach to each country, making the chocolate bar relevant to the culture and traditions of that country, instead of trying to create a ‘one size fits all’ approach to their marketing.
Reference list
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BBC. 2016. “HyperNormalisation.” Vimeo. Available at: https://vimeo.com/191817381 [accessed 3 Dec 2020].
CROW, David. 2010. Visible Signs : An Introduction to Semiotics in the Visual Arts. London ; New York: Bloomsbury.
GILLES, Donald. 2012. “The History of Have a Break Have a Kit Kat – Creative Review.” Creative Review [online]. Available at: https://www.creativereview.co.uk/have-a-break-have-a-kit-kat/ [accessed 3 Dec 2020].
HELLER, Steven. 1999. Design Literacy (Continued) : Understanding Graphic Design. New York: Allworth Press.
MADDEN, Normandy. 2010. “Marketing: Nestle Flavors Kit Kat for Japan Markets | Global News – AdAge.” web.archive.org [online]. Available at: https://web.archive.org/web/20160114104513/http://adage.com/article/global-news/marketing-nestle-flavors-kit-kat-japan-markets/142461/ [accessed 3 Dec 2020].
MAYNARD, Micheline. 2018. “Kit Kat Lovers, Listen Up: Hershey Is Betting Big That You’ll Break Off More.” Forbes [online]. Available at: https://www.forbes.com/sites/michelinemaynard/2018/03/11/kit-kat-lovers-listen-up-hershey-is-betting-big-that-youll-break-off-more/?sh=2fe41a047975 [accessed 3 Dec 2020].
MEDIA SAMOSA. 2020. “KITKAT Rolls out Campaign to Mark the Launch of ‘Glow in the Dark’ Festive Packs.” Media Samosa [online]. Available at: https://mediasamosa.com/2020/10/27/kitkat-glow-in-the-dark-festive-packs-campaign/ [accessed 3 Dec 2020].
NESTLE. 2019. “Brands – KitKat.” Nestle.com [online]. Available at: https://www.nestle.com/brands/allbrands/kit-kat [accessed 3 Dec 2020].
PIPER, Daniel. 2020. “KitKat Logo Replaced after Alarming Revelation.” Creative Bloq [online]. Available at: https://www.creativebloq.com/news/kitkat-logo-replaced [accessed 3 Dec 2020].
YU LIM, Guan. 2019. “Paper Pioneers: Kit Kat Japan Ditches Outer Plastic Packaging for Origami-Friendly Paper.” foodnavigator-asia.com [online]. Available at: HTTPS://WWW.FOODNAVIGATOR-ASIA.COM/ARTICLE/2019/09/02/PAPER-PIONEERS-KIT-KAT-JAPAN-DITCHES-OUTER-PLASTIC-PACKAGING-FOR-ORIGAMI-FRIENDLY-PAPER [accessed 3 Dec 2020].
JOY, Alicia. 2016. “How Japan Became Obsessed With KitKat.” Culture Trip [online]. Available at: https://theculturetrip.com/asia/japan/articles/how-japan-became-obsessed-with-kitkat/ [accessed 3 Dec 2020].
Lizzie Wa Design 
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