Corporate visual identity (CVI) for music festivals
Main trends in Spain
Abstract
Music festivals are one of the leading products of the current music industry, given their spread worldwide. In Spain, there is a population of nearly 900 of these events. In such a competitive market, differentiating corporate elements, particularly the corporate visual identity (CVI), becomes a priority. This work proposes an analysis of the CVI, taking into account iconographic and narrative variables, of the most crowded festivals that were held in Spain in 2022, considering both macro events -those with more than 100,000 attendees- and seasonal events, according to the ranking of the Anuario de la Música en Directo (APM, 2023). It has been used as an analysis tool for the study, which includes structural, textual, plastic, iconic, identifying and preference dimensions. The findings show that festival organisers prefer brands with simple lines, accessible and legible typefaces, medium strokes and a commitment to two-colour printing.
Keywords
corporate visual identit, graphic design, logotype, music festivals, visual trendsReferences
Anderton, Chris (2019). Music Festivals in the UK: Beyond the Carnivalesque (1st ed.). Routledge. https://doi.org/10.4324/9781315596792
Anderton, Chris (2020). From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque. Popular Music and Society, 43(2), 201-215. https://doi.org/10.1080/03007766.2019.1687670
Asociación de Promotores Musicales (APM) (2023). Anuario de la Música en vivo 2023. https://drive.google.com/file/d/1osazzconZ3SeVPZZC6NheVqp7zs9lSKY/view
Bermejo Blas, Ana, Montes Vozmediano, Manuel (2015). Análisis de la identidad visual de las principales empresas del sector de la fotografía digital. Revista Mediterránea de Comunicación, 6(2), 181-194. doi:https://doi.org/10.14198/MEDCOM2015.6.2.09
Brandão, Amèlia, de Oliveira, Rodrigo Ferreira (2019). Internationalization Strategies in Music Festivals. Scientific Annals of Economics and Business, 66, 91-112.
Capriotti, Paul (2009). Branding corporativo: Fundamentos para la gestión estratégica de la Identidad Corporativa. Colección de Libros de la Empresa. http://www.analisisdemedios.com/branding/BrandingCorporativo.pdf
Cardoso, Lucília, Araújo Vila, Noelia, de Almeida, Ângela, Fraiz Brea, Jose Antonio (2019). Los festivales de música como inductores de imagen de destino turístico. El caso del Festival Vodafone Paredes de Coura. Investigaciones Turísticas, 17, 149-167. http://dx.doi.org/10.14198/INTURI2019.17.07
Chaves, Norberto (2015). La marca: señal, nombre, identidad y blasón. EME Experimental Illustration, Art & Design, n. 13, 40-49. https://doi.org/10.4995/eme.2015.3432
Costa, Joan (1992). Identidad corporativa y estrategia de empresa 25 casos prácticos. Ediciones CEAC.
Garay Tamajón, Lluís, Morales Pérez, Soledad (2020). User Engagement in Festival Virtual Brand Communities: The Cases of Sónar and Primavera Sound (Barcelona). Journal of Hospitality & Tourism Research, 44(2), 300–327. https://doi.org/10.1177/1096348019897990
Holt, Fabian (2016). New Media, New Festival Worlds: Rethinking Cultural Events and Televisuality Through YouTube and the Tomorrowland Music Festival. En Christina Baade y James A. Deaville (eds), Music and the Broadcast Experience: Performance, Production, and Audiences (online edn), Oxford Academic. https://doi.org/10.1093/acprof:oso/9780199314706.003.0013
Llopis-Amorós, María Pilar, Gil-Saura, Irene, Molina-Ruiz, María Eugenia (2018). The Role of Marketing Communications in Generating Brand Equity for an Event. Event Management, 22/5, 825-848(24). https://doi.org/10.3727/152599518X15241431917142
Mediabrands Content Studio.(2023). Oh Holy Festivals, 2023. III Observatorio de marcas en festivales. https://ohholyfestivals.com/
Pérez-Ordóñez, Cristina (2023). Los festivales de música como fenómeno multidimensional: experiencia cultural, narrativa audiovisual. Tres modelos en España. [Tesis doctoral, Universidad de Málaga]. https://riuma.uma.es/xmlui/handle/10630/2296
Pérez-Ordóñez, Cristina, Sosa Valcárcel, Aimiris (2022). El mito de los festivales de pop-rock como símbolo de la contracultura a través de la creación audiovisual: de los documentales film festivals de los 70 a los aftermovies. En Agustín Gómez, Rubén Higueras, Miguel de Aguilera (coords.), Los caminos de la memoria en el cine y el audiovisual contemporáneos, (175-193). Comunicación Social.
Salvador Rivero, Andrea, Montes Vozmediano, Manuel (2016). La identidad visual del lujo en España. Revista Prisma Social, (17), 1–23. https://revistaprismasocial.es/article/view/1273
Stone, Chris (2009). The British Pop Music Festival Phenomenon. En Jane Ali-Knight, Martin Robertson, Alan Fyall, Adele Ladkin (Eds.), Advances in Tourism Research, International Perspectives of Festivals and Events, (205-224). Elsevier. https://doi.org/10.1016/B978-0-08-045100-8.00014-4
Villafañe, Justo (1999). La gestión profesional de la imagen corporativa. Pirámide.
Webster, Emma; McKay, George (2016). From Glyndebourne to Glastonbury: The Impact of British Music Festivals. Arts and Humanities Research Council/University of East Anglia. www.dx.doi.org/10.6084/m9.figshare.3413836
Published
Downloads
Copyright (c) 2023 Cristina Pérez-Ordóñez, Belén Morneo-Albarracín, José Luis Torres-Martín, Andrea Castro-Martínez
This work is licensed under a Creative Commons Attribution 4.0 International License.
