The first blog by Ginny Russell, Digital Communications Producer and Coordinator at We The Curious as part of her Fellowship at AMA Digital Lab.

Successful brands articulate a clear promise and deliver on that promise through every gesture, each and every time someone comes into contact. A successful brand can never be ‘landed’ from above. Organisation-wide consultation and creative discussion is essential. Morris Hargreaves McIntyre take us through their work on the re-brand of Shakespeare’s Globe.

Pru Shackley, Marketing and Audience Development Manager at The Lightbox Gallery and Museum, Woking describes how Culture Segments TagTool insights are being used to fuel strategy across her organisation.

Cuseum take a comprehensive look back at the unique and creative partnerships that museums and brands have forged over the years.

In their second Prosper vlog, Amar Patel and Daniel Oduntan from  Soul Labels talk about how they developed the Soul Labels brand, and how they might evolve it with the help of Rob Key from Studio Change.

Rachael Biggs from Nonconform describes how they repositioned the UK’s longest running and biggest annual celebration of Arab arts and culture.

In this report from AMA conference 2013, Owen Hughes from Wolff Olins outlines why Wolff Olins believe that action will become as powerful as currency in the new economic landscape.

From logo redesigns to product extension, this e-book explores six brands that have made a major OOPS, six other brands that get a ‘WHOOP WHOOP’ for their work well done, and how all of this can be applied to the arts.

US marketing consultant, Trevor O’Donnell, argues that too often in the arts we fail to distinguish between ‘brands’ and ‘brand management tools’.  Trevor is a straight talking marketing consultant who has developed marketing/sales strategies for many arts organisations including Disney, Disney Theatrical Productions, Cameron Mackintosh, Cirque du Soleil and the Music Center of Los Angeles.

At Wolff Olins they ‘do brand’ and in a nutshell they believe that brand is not the organisation’s name, logo, slogan, advertising campaign or marketing activities. At its simplest they believe that brand is: 1. Your purpose – why you exist in the world 2. The way that all your different stakeholders experience that Owen ... Read more

The future doesn’t look bright for brands. This seminar paper blows a number of myths out of the water to persuade us that branding is not enough any more to attract and retain customers. The arts needs to be less ‘corporate’ and instead rethink how they want to deliver highly attractive products (beautiful spaces, fantastic ... Read more

This guide explores how an organisation can translate their brand into employee behaviour. It answers two key questions: how does an organisation keep their brand promise and how can it develop an employer brand.

This case study outlines the latest advertising campaign for the Sage Gateshead which focuses on brand.  It was developed by the communications team at Sage Gateshead together with brand consultancy Violet Bick and onebestway and is proving a success as ticket sales have been up in 2013.  Mike Owen, Managing Director at Violet Bick and ... Read more

In an environment where arts and cultural organisations are competing with factors including developing new audiences and gaining funding, it is increasingly important that we create, present and manage a strong and professional image equal to those in the corporate sector. Alex Beech looks at the process of creating, managing and presenting a strong professional image for Laban.

What are museums for? When National Museums Scotland decided to review their brand, they put the logo to one side, and started with the big questions; who are we, who are our competitors, what makes us different, who do we want to engage, and what do we want them to do and know?

Underpinning everything at the Barbican is the clarity of what they want their brand to stand for, the recognition that everyone has a role to play in delivering a good brand experience and the collective willingness to make a positive difference. But it wasn’t always that way as Chris Denton explains.

Audiences and visitors want organisations that live up to their hype. The consequence, believes Howard Raynor, is to be impeccable with your words and rigorous with your actions.

For an arts brand to survive in this climate, it needs to become essential rather than desirable, and, as Lisa Baxter discovers, the key to differentiating between the two is resonance.

Brands have run out of juice. People have grown to expect great performance from products, services and experiences. And most often, we get it. A few years ago, Saatchi & Saatchi looked closely at the question: what makes some brands inspirational, while others struggle? And they came up with the answer; Lovemarks: the future beyond brands.

Heather Maitland discovers that much research into brands is case-study based and in this article she explains why.