The shift in perspective this new generation brings and marketing to them

Get Ready: Gen-Z is Coming

Regular

Blue Hell: 3 PR Lessons From Ice-Creampocoylpse 2015

PR lessons learned from Blue Bell's health crisis

Pitches, Bitches: 3 Ways Mad Men Made Agencies Everywhere Jealous

How marketers can learn lessons from Mad Men

Seven ways you can lose a Twitter follower and what you can do to prevent it.

How To Lose A Follower In Seven Ways

The Secret Life of A Recovering Journalist

Creating a relationship that is beneficial to journalism and public relations

3 Myths About The Young Adult Demographic: Debunked

Understanding the young adult demographic

PR vs. Advertising —  Who cares?!

Ladies and Gentlemen: Your Marketing Has Left The Building

4 Things PR Folks Can Learn From Music Festivals

Music festival PR lessons

What? You’re not familiar with the greatest street artist of all time? We’ll fill you in.

Anyway, the movie chronicles Banksy and several other esteemed street artists like Shepard Fairey, Neckface and Space Invader as they undertake amazing, brilliant and often dangerous pursuits of street art, all through the eyes of an amateur “filmmaker.” As time progresses, the filmmaker decides to become a street artist himself, and he produces one of the largest exhibits ever featuring knock-offs of his more famous predecessors, leaving the audience to question his talent, his passion, and ultimately the plausibility of the entire film.

So even though the message rang true to us, half the fun of the movie was to see the outrageous products of the street art movement and the reactions of the people passing by. And while, perhaps, Banksy’s work lies in somewhat of a “legal gray area,” the ideology is something the most upright citizens can learn from.

Take chances. Our best clients are the ones that say, “We’ll try it! If it works, that’s great. If it doesn’t, we’ll try again.” As with business entrepreneurship, a risk is always involved, and the reward is usually directly proportional. I’m sure at some point Banksy wheat pasted something to the side of a building, and either got caught, got chastised or ripped his papers and failed at the venture entirely. It happens.

Expect dissent. Not everyone is going to like everything you do, especially if it has a strong message or meaning. Don’t worry about it. These people are not your audience. If you look back on the greatest ideas of all time, they had their naysayers too, so don’t let the possibility of criticism hold you back.

Bask in glory. Creating something big that catches people off-guard – a performance marketing stunt, a protest, a mural on the side of the wall or an underground grassroots campaign all over town – will get noticed. People will stop, take pictures and tell their friends. Those friends will tell their friends. Nothing is more valuable than a memorable experience, and when you use a “shock and awe” approach, you’re giving the people something they’ll not soon forget.

Don’t be a copycat. If you watch the film we mentioned above, you’ll see that in the street art world, imposters are not welcomed. If you’re going to do something that gets a lot of attention, make sure it’s thoughtful and original.

Wise up. Performance marketing requires a little humor and a little silliness too, but it also needs to be smart and insightful. Connecting emotionally and intellectually with your audience is essential to the success of any campaign, and this arena is no different. If you notice Banksy’s work, it’s not just meant to get a laugh or distract – there is a serious, often political, message attached to every piece of art. It is this jarring, poignant quality that makes his work so renowned.

Street artists find inspiration in the things around them. A wall is not just a wall – it’s a canvas. A sidewalk is not just used for traveling – it’s an artist’s playground. Try to find creative outlets in the unordinary, and take chances when you have the opportunity. Oh, and definitely go see Exit Through the Gift Shop.

Getting The Mob Done: 6 Reasons Flash Mobs Work

Most branding advice assumes one organization with one leader making the final call. Coalitions, networks with local chapters and groups of partners chasing a shared goal don't work that way. They decide together, priorities compete and the smallest partners often have the fewest people to carry the brand once it exists.

We've been working through these dynamics with the Houston Cultural Districts and the institutions and artists around them, building a shared brand for the city's arts scene. Recently, Natalie Wells (Director of Strategy), Jo Skillman (Creative Director) and Ren Mitchell (Director of Growth) walked through that process at the Houston Media Conference in a luncheon keynote called "Undefinable On Purpose." 

Here's what we've learned that applies to any organization whose brand depends on partners it doesn't control.


Who needs to be heard before a shared brand can take shape?

A shared brand needs input from everyone who will be asked to use it, champion it or be represented by it. Those groups overlap less than most leaders expect. Funders and civic partners tend to focus on visibility and economic impact. Practitioners care about credibility and fair representation. Community members want to know whether the story sounds like them.

We layer our research so each group is heard where they'll be most candid:

1:1 interviews draw out honest perspectives from decision-makers.

Focus groups show how people negotiate their differences in real time.

Sitting in on partner board meetings, when we're invited, adds context no interview can.

This phase doubles as early community building. People are far more likely to adopt a brand they helped shape.

Try this: Before any creative work starts, list every group that will use, fund or be represented by the brand. Then decide how you'll hear from each one.


How should research tensions inform brand strategy?

A tension is a place where two things people care about pull in different directions, and both sides are usually true. As Natalie put it, tensions show where people are most invested, which makes them some of the most useful findings research can turn up.

In our work with the Houston Cultural District, nearly every strength came with a risk. Greater visibility for neighborhood arts could accelerate displacement in communities already under pressure. Recognition tends to concentrate around large institutions, leaving midsize organizations and mid-career artists out of the story. And many of the stakeholders who want a stronger collective story are the same ones who resist being summarized.

Most complex nonprofits carry their own versions: headquarters versus chapters, legacy programs versus emerging ones, a national message versus local identity. Naming them explicitly gives the creative team something real to design around. It also moves the hard conversations to the start of the process, where they cost the least.

Try this: Write your biggest tensions into the research findings as plain either/or statements. Then decide together how the brand will handle each one before design begins.


How can a brand reflect real complexity without losing clarity?

A brand can hold complexity only when it commits to a clear point of view. When research keeps concluding that a community is everything at once, creative teams stall and strategy drifts toward language that feels safe and says very little. Jo named this risk directly in the creative brief:

"We've all heard it said: Houston is a little bit of a lot of things. Diverse, a tapestry rich with culture. However, trying to be everything to everyone will water down our visual and written creative. The brand directions we propose must contain a strong point of view on who we are and why. It's difficult but necessary."

The shared brands that hold up best work as a frame. They hold many stories at once while making a clear claim about what connects them. That gives participants room to see themselves in the brand without diluting the whole.

Try this: Test every brand direction with one question: could another city or coalition say this about itself? If the answer is yes, it isn't specific enough yet.


How do you keep a coalition aligned through creative decisions?

Alignment depends on agreeing to the goal in writing before anyone sees creative. We view the creative brief as the document that nails everything to the wall. Keep it short and candid, and use it to surface likely friction before hours go into design.

The brief earns its keep later, when feedback drifts toward personal preference. The group doesn't need to agree on the shade of blue. It needs to agree the work is reaching the larger goal. With many decision-makers, holding that line keeps reviews productive and protects the timeline.

When stakeholders are creatives themselves, start with a session reviewing a wide range of visual references. The value is in the reasoning behind each reaction, which gives the group a shared vocabulary for every review that follows.

Try this: Open every creative review by rereading the brief's goal out loud. Ask reviewers to tie each piece of feedback back to it.


How does a shared brand stay recognizable across very different organizations?

Consistency in a distributed brand comes from a small set of elements that never change. A system that has to work on a neighborhood mural and a museum banner needs a recognizable thread, whether a color, a mark, a pattern or a phrase. Protect those elements and let everything around them flex to fit the partner and the setting. 

Adoption also depends on capacity. Many coalition partners have no designer or communications staff, so participation has to be easy. Toolkits, templates, co-branding guidance and ready-to-post assets lower the barrier and help smaller organizations stay visible within the brand.

Try this: Choose the few elements partners can never change. Then build a starter kit that a partner with no designer could use in an afternoon.


When should rollout planning begin for a multi-stakeholder brand?

Rollout planning should begin while the brand is still in development. A shared brand gains value only through use, so partner onboarding, distribution and digital activation need to be designed alongside the identity. Each partner should see a role that matches its capacity, from a large institution running a full campaign to a small organization sharing a single post. Planning early also surfaces practical questions, especially around funding, while there's still time to solve them.

Try this: Ask each partner now what they could realistically do in the first month after launch, and build the plan and budget around those answers.


What makes a shared brand worth the effort?

A brand built across many organizations takes more listening and more deliberate facilitation than one built for a single institution. The return is a story more people feel ownership of and will carry into their own work.

If you're leading a coalition, network or multi-partner effort and the brand keeps stalling, we can help. 

Coalitions and multi-partner networks need a brand everyone can carry. Lessons from building a shared Houston arts brand with the Houston Cultural Districts, with steps to try.

How to Build One Brand for Many Organizations | Black Sheep

What building a shared Houston arts brand with the Houston Cultural Districts taught us about building one brand for many organizations

Condensed

Coalitions don’t get one decision-maker or one story. Here’s what we learned building a shared arts brand with the Houston Cultural Districts.

The Black Sheep blog is turning up the volume on community engagement, social media strategy, Houston happenings and what it means to lead a purpose-driven life.

The Black Sheep Agency | Social impact and nonprofit blog

We like to type as much as we like to listen.

We're not shy.

How Can a Coalition Share One Brand?

Get Ready: Gen-Z is Coming

Blue Hell: 3 PR Lessons From Ice-Creampocoylpse 2015

Pitches, Bitches: 3 Ways Mad Men Made Agencies Everywhere Jealous

How To Lose A Follower In Seven Ways

The Secret Life of A Recovering Journalist

When Taco Bell Calls, You Answer

3 Myths About The Young Adult Demographic: Debunked

PR vs. Advertising — Who cares?!

If You Got It, HAUNT It.

Ladies and Gentlemen: Your Marketing Has Left The Building

Black Sheep Book Club: Socialnomics

4 Things PR Folks Can Learn From Music Festivals

Taking Your Marketing To The Streets

Getting The Mob Done: 6 Reasons Flash Mobs Work

This S$#% is Bananas