Bristol-based web design and branding agency, Squarebird, have modernised the online presence of GLOBIS University, a leading business school in Japan, to better appeal to international audiences.
With practicality, entrepreneurship, and a strong global network at the core of the GLOBIS offering, it was crucial that the new website reflected these strengths alongside the wider benefits of joining University. Following a period of extensive market and user research by the GLOBIS team, Squarebird was briefed, and the discovery phase of the project began, starting with functionality, sitemap, and user journeys before moving onto the creatives.
The new English-speaking GLOBIS website needed to align with the global brand and Japanese-speaking site, yet still have its own identity. To encapsulate this, the team designed a number of brand exploration style tiles to ensure all stakeholders were aligned on the overall look and feel before moving on to the more functional desktop and mobile page designs.
With designs approved, the website development began. The Squarebird team worked closely with GLOBIS stakeholders to ensure the functionality matched their requirements, feeding courses, faculty members, events and more throughout the site to provide users with a constant stream of information and networking opportunities. Bespoke landing pages were an incredibly imperative element in this project given GLOBIS’ extensive marketing campaigns, and a flexible template enables GLOBIS to be able to create bespoke pages for future campaigns, with tracking established to record performance.
‘’The design brief was to include current brand styles and functionality but with a modern edge. The Squarebird design team had to adhere to GLOBIS’ brand colours and graphic shapes but incorporate new typography, photography, iconography and new forward-thinking UI. Working closely with GLOBIS throughout the design stage, the project team were able to produce a new website design that delivered the creative brief and more.’’ – Alec Herrington, Design Lead at Squarebird
“We’re extremely proud of our work with GLOBIS University. For me, the success of a website development project that involves international collaboration is not just measured by the end product, but by two teams working seamlessly in unison towards a shared objective from different corners of the world.
A large part of the project was to ensure we empowered the GLOBIS team with the ability to effortlessly update and manage their website, ensuring the project’s long-term success and value. I feel we achieved this, and more, building a website filled with client-centric functionality.
The GLOBIS team were a pleasure to work with, and we look forward to future projects with the organisation.” – Nick Bird, Managing Partner at Squarebird
The new website provides a present, informative, and visually engaging website that embodies the GLOBIS difference and presents their offering to talented international prospective students, giving them an insight into what life could look like at the GLOBIS business school.
“Before partnering with Squarebird, our University’s website faced challenges like limited organic traffic, outdated design, and unintuitive user experience. After evaluating over 20 agencies worldwide, we chose Squarebird for their expertise in design, development, SEO strategy, and excellent communication style. The outcome of our 9-month collaboration was a revamped website with enhanced UX/UI, compelling brand messaging, fresh visuals, and improved information architecture. The new site has attracted positive feedback from stakeholders and successfully showcases our brand values and personality. We’re proud of the results and highly recommend Squarebird’s high-quality services to others seeking an impactful web transformation.” – Cristiana Celli, Digital Marketing Specialist at GLOBIS University
View the full case study here.
Spaceworks is a platform for makers, creators and businesses of all shapes and sizes. They have been on a mission to bring community driven work spaces to Bristol since 1985 and needed a rebrand and website to match.
Accountants, artists, engineers and more, Spaceworks has been housing, helping and supporting some of Bristol’s brightest brands. They know that when it comes to office rental, businesses need affordable spaces with the right support in place to help them grow.
The new identity by Rhombus nods to the past while looking forward, inspired by the diverse community of businesses who call Spaceworks their home.
The brand balances play with trust and accessibility, uniting makers, creators and businesses across Bristol.
The visual identity was built around the new logo, evolved from their geographical footprint in Bristol. The wider identity system uses more abstract evolutions of the logo to portray the businesses of all shapes and sizes that make up Spaceworks.
The colourway is an evolution of the green they launched with in 1985, as a nod to their rock-solid history. The typeface (aptly titled Founders Grotesk from Klim Type Foundry) is a sans serif with plenty of character, inspired by some of the buildings they have transformed over the years – grade 2, big hangars, small nooks and stained-glass windows.
Rhombus developed a verbal identity underpinned by three core pillars to express the brand: Supportive, Passionate and Dynamic. The output included a set of key messages to announce the new brand to Bristol and beyond, as well as writing tips to help the Spaceworks team communicate with consistency and flair.
In order to bring Spaceworks into the digital world, Rhombus developed a motion language that encapsulated the brand’s warmth, approachability and character, inspired by collaboration. Bounce. Grow. Support!
Spaceworks are the same today as they were when they started – committed to providing affordable, supportive spaces for diverse businesses in local communities: Easton, Barton Hill, St Phillips, Stokes Croft, St Jude’s and Bishopston.
Their new custom website is testament to this commitment, delivered in partnership with Papaya Studio – making it easier than ever to access workspaces and business support.
“Rhombus Studio created our new branding and website and we are delighted with the results. It was a thorough and carefully planned process and aside from creating some amazing visual assets, they took the time to understand our business and aspirations and created something that represents us very well.” – Spaceworks
Take a look at the website here and keep your eyes peeled for new signage rolling out across Bristol!
Fiasco Design is now accepting applications for their Open Internship programme, which aims to make the design industry more accessible for those from underrepresented backgrounds.
“Following the success of last year’s Open Internship programme we’re thrilled to open up applications for the second year. Bringing a greater range of people into design allows the industry as a whole to prosper. We’re proud to be playing our part.” – Ben Steers, Co-founder and Creative Director, Fiasco Design.
Fiasco Design’s Open Internship programme looks to set a precedent for the way design internships can be made more inclusive for emerging creatives. The hope is to encourage people of all walks to life to apply, by actively removing some of the usual barriers:
It’s no secret that there’s a diversity problem in design. The UK’s design workforce is made up from a small section of society that fails to reflect the world we live in. Despite increased awareness around the topic of inclusivity, statistics from Design Can and the Design Council suggest that this is slow to translate to real change.
As an industry that thrives on creative innovation and diversity of thought, there is a need to think pragmatically about what can be done to tackle the problem head on and bring about real, tangible change. Fiasco’s wider ambition is to inspire others to find similar opportunities that help level the playing field and make our industry a more exciting place to be.
“As a studio we have a deeply held belief in the positive power of creativity. By thinking creatively, we can find solutions to the problem of diversity in the industry. Progress may be slow, but it is possible. It starts by challenging ourselves to do better.” – Nathalie Crease, Head of Marketing, Fiasco Design.
Fiasco Design’s Open Internship programme is now accepting applications. You can find more information and how to apply via: fiasco.design/open-internship
Launched in 2018, Studio Floc is the brainchild of our founder Florence Cassell. Armed with a loyal iMac and a vision to design for good, she started the journey that we’re now on as a growing (and currently fully female) team – supporting great people doing great things in the world through effective and beautiful design.
We’ve taken the time out of our regular routine to learn from her experience and be encouraged by a real life, real time example of a female business owner.
What inspired you to set up your own agency?
Hello everyone – Florence here! Great question – two key things come to mind. Firstly, my experience of starting out as a designer was a tough one. Most of the agencies I worked in created harsh and very isolating environments. I’m grateful because I did learn a lot in those early days but I believed it was possible to have an encouraging and honouring studio culture whilst still achieving excellence. This inspired me to start Studio Floc. My aim is to create a place where my team and I work hard and efficiently whilst also encouraging and supporting one another.
And then secondly, I’m passionate about playing my part in making the world a better place and love to use design as a tool to do that. Last year we had the privilege of rebranding Love Your Neighbour, an incredible charity who are committed to helping people overcome pressing social challenges by tackling the root causes of poverty through crisis support, debt advice, employment training and community care. We’ve been able to give them a visual language to communicate their message effectively in order to impact more lives. So good. I appreciate that we’re only one agency empowering a select handful of clients but imagine the world we’d live in if everyone played their part.
What has been your biggest challenge as a female founder?
When I was about to start Studio Floc back in 2018, only 16% of founders in the UK were female. I was surrounded by and learned from men. Don’t get me wrong, I learned a lot from those guys and many of which I still turn to for advice and are supportive in all I do. The presence of men has never been the issue, it has been the lack of women to encourage, trail-blaze and to be inspired by that has made the journey more difficult.
What has been your biggest learning point as a female founder?
I continue to lead the business that I feel called to run even though historically (and sometimes discouragingly) the odds aren’t stacked in my favour. Oh and the other thing is that Imposter Syndrome is a bitch. It has taken me a while but I’m still improving my ability to differentiate the helpful, guiding voice in my head from the unhelpful, self-doubting one. If you’ve got the tools there in front of you but need that extra push of confidence, just be bold and go for it.
I would highly recommend checking out Craig Groeschel’s book ‘Winning the war in your mind’ if this is something you struggle with.
Do you have any advice for women starting out in business?
Three key things – firstly, surround yourself with a support network of friends/mentors who will encourage you on the journey. Secondly, never stop learning. And thirdly, in my experience, more often than not, people respond to expertise delivered with confidence, not gender.
Driven by purpose, we use creativity to enable the makers, equip the innovators and empower the world-changers. We specialise in branding, print and digital design.
Have questions for our founder? Looking for help with branding, print or digital design work? Let’s chat! Get in touch at [email protected]
Striving to make post-caesarean care more wonderful
Imagine if we could re-address how we care for women approaching and recovering from a C-section. What if it was more considered, or even more wonderful? Rather than expecting them to have a typical post-partum pattern, why not acknowledge the extraordinary, and at times, unwanted circumstances they’ve been through?
Image credit: Erin Patel http://www.erinpatel.com/
Whilst every 4th trimester comes with extreme challenges, the nature of recovering from major surgery whilst entering a new life chapter gives rise to a complex layering of physical and emotional effects, which have been underserved.
According to the WHO, caesarean sections are rising globally, now accounting for 21% of all childbirths and is set to increase to 29% by 2030.(1) With those significant numbers and the clear gap in support, it’s time to start seeing these women.
Uncovering more
We explored this in more detail by sitting down with five women who gave birth via c-section, between 4 months and 8 years ago. Their experiences covered emergency intervention and planned surgery.
What we learned
Within our group, none of the mothers-to-be had spent significant time in the hospital setting, let alone faced the prospect of major surgery. They described feelings of shock, fear and helplessness, whether it was a planned or emergency C-section.
Birthing through caesarean section is not the ‘easy option’ and the road ahead is long. With every step afterwards, from 1 hour post operation to many months later, something else emerges: the need for self-administered stomach injections and a wound to care for, to potential unforeseen heavy bleeding, abdominal difficulties and deteriorating mental health.
The consequences are immediate and limiting. Our group described an undignified sense of failure, as simple tasks become challenging, and lifting, breast feeding or bonding with the baby can be tough.
With all childbirth, society has a tendency to focus on the new life. The baby’s condition is scrutinised, but the women are often considered secondary. The loss of identity many new mothers face can be exacerbated after such a procedure.
Whilst hospital procedures are for the most part out of our control, the period prior to admission and the time back home are rich in potential to serve mothers who go through a C-section.
The opportunity
Whilst there are plenty of services for women in pregnancy, general post-partum and some stand-alone C-section products, how can we create an empathetic, overall experience to ease post C-section mothers out of the professional but transactional experience they’ve just been through?
We think the key is a unique staggered experience – ‘the right thing, at the right time’ – reducing the complexity and overwhelm associated with the lengthy post-caesarean period.
What if there was a kit with physical and digital elements that are revealed over time?
It would address what might be needed prior to the C-section, on the first days back home, to many months later. By combining aspects of clear information & guidance, dignified care, a supportive ‘village’ and curated ‘me’moments we could enable new mothers to control their care and feel seen.
Lead up (pre-planned C-section)
Medical advice or a previous procedure can mean a C-section is expected, allowing for some planning and preparation.
Imagine if there was a printed guide that honestly summarised what to expect at each hospital stage: waiting areas, the operating theatre, and a post-operation ward.
We’re aware that those who have emergency intervention will not necessarily gain from this section.
Subacute (1 – 5 days back home):
The first hours back home can be emotionally overwhelming, physically tentative but also tedious and sedentary.
Imagine if the next chapter of the guide helped initiate light mobility around the home: how to comfortably hold & feed the baby and navigate basic tasks simply and safely.
Imagine if an adjacent phone app prompted women, or partners to administer the stomach injections on the right schedule.
Imagine if the medical compression socks given post C-section resembled lifestyle socks instead.
Imagine if those first nights navigating sleep with an abdominal wound were soothed with calming pillow spray and a personalised healing tea blend.
Early recovery (2 – 8 weeks back home):
As new life patterns form and the body improves, previous freedoms start to be recalled and frustrations of feeling restricted start to emerge.
Imagine if the guide clearly explained when and what exercise you can do.
Imagine if the app initiated a C-section community platform when the women was ready to share and learn from her experience with others.
Imagine if we could provide shaped scar strips, curated in different skin tones, to offer protection and reassurance to a delicate area.
Imagine if we introduced relaxing bath infusions, at the time it’s safer to take a bath, or a melt in shower version for those without a bath.
Long term realisation (3 – 6+ months):
The reality of the physical and psychological trauma can be delayed and understanding how to come to terms with it can fall into focus much later.
Imagine if the guide concluded with focused pelvic floor AND abdominal exercises, to reintegrate the abdominal muscles and increase strength.
Imagine if the app sent a scheduled notification at 3 months to suggest women seek out specialised physio or talk therapy and provided relevant local contact details.
Imagine if there was a nourishing balm to encourage loving touch of the sensitive skin around their scar.
Imagine if we included a reflection journal, to encourage quiet moments to acknowledge and process what has happened.
Image credit: Erin Patel http://www.erinpatel.com/
Who could ‘own’ this opportunity and deliver the most impact?
We think an existing brand could credibly extend into this space to bring new value to those who need it. What space that brand comes from, is up for grabs.
Could it be a trusted skincare brand with the existing knowledge of women’s bodies? Or could it be a FemTech brand, that already has the digital infrastructure and client base to make huge impact? It could even be a menstrual tracking app, who wish to bridge their audience through a gap in usage?
How could this approach be available to as many as possible? There could be private / public model, where for every kit purchased or gifted, a kit is donated to a state healthcare service or insurance provider – making sure we ‘see’ more women after their caesarean.
References
Each year P+S hosts the South West Design + Digital Student Awards.
The Design Awards were launched by Roger Proctor MBE, Founder and Chairman of Proctor + Stevenson, as part of an ongoing campaign to tackle the way institutions approach design education. Roger wanted to give students the opportunity to stretch their creative talents beyond academia. He recognised the need for hands-on industry experience and commercial briefs. But he also noticed a frustrating lack of creative recognition outside of London, which is why he chose to celebrate talent specifically in the South West of England.
For final-year university students, the SWDDS Awards offer unparalleled opportunities – industry exposure, advice from an expert panel of judges, and valuable creative connections.
Last year Jessica Stiddard, a graphic design student from the University of Gloucestershire, was one of our top 10 finalists with 24 Karat Coffee – a sustainable and ethically sourced coffee branding project.
Jess has gone on to become Junior Creative at Dyson. We sat down with Jess to find out what she’s been up to since the South West Design + Digital Student Awards 2022.
So, how did you find out about the South West Design + Digital Student Awards?
As part of our course, one module included submitting our work to a design award. Our lecturer presented a selection of opportunities to choose from, and she had mentioned the South West Design + Digital Student Awards.
I had also heard about a previous graphic design student from the University of Gloucestershire who had won the SWDDS Awards and the opportunities that followed for her.
What project did you enter, and what category did that fall under?
I entered my third-year brand identity and packaging project for an ethical coffee brand 24 Karat Coffee, which was on a mission to make coffee better. The brief was set by Bulletproof – a design agency in London.
I entered it into the Graphic Design category, and the fact there is no brief meant I was able to enter work I had already completed, which made it a lot easier for me to enter the Design Awards alongside my university deadlines.
Since entering the Design Awards, what have you been up to?
After the awards, I graduated with a First Class Honours and had a one-month apprenticeship with Bristol agency Outlaw, where I worked alongside Emma Proven, winner of the 2019 South West Design + Digital Student Awards.
“…I have now been working at Dyson in Malmesbury for 4 months and I’m loving every minute…”
I then went on to work at Dyson as a Junior Creative. I had been in contact with Chris Roberts, Creative Director at Dyson and judge at the SWDDS Awards, who offered me the role. I have now been working at Dyson in Malmesbury for 4 months and I’m loving every minute.
That’s fantastic! Knowing what you know now, do you have any advice for people thinking about entering the South West Design + Digital Student Awards themselves?
My advice to someone entering the awards would be: just throw yourself into every opportunity you’re given. It can lead to amazing opportunities and achievements! If I hadn’t entered the awards, I wouldn’t be where I am today. It has opened many doors for me, including my internship with Outlaw and my full-time role at Dyson.
“…if I hadn’t entered the awards, I wouldn’t be where I am today…”
What was your overall experience with the Design Awards like?
My experience at the awards was great. I had an interview where I had to present my project and my portfolio to a judging panel, which meant my work was seen by some utterly amazing judges. Even though it could have been a nerve-wracking experience, they made me feel so comfortable.
The ceremony was also great. I got the opportunity to meet other creative students who had entered their work, as well as industry professionals that Proctor + Stevenson had invited. They gave me good advice for my first steps into the creative industry.
The South West Design + Digital Student Awards is back for 2023
Think you could be one of this year’s finalists?
If Jessica’s experience has inspired you to enter, what are you waiting for?
If you’re a third-year university student in the South West of England, get your best projects in Graphic Design, Digital Design and Motion and AR (Augmented Reality) ready.
Whether it is a bold new app, a dynamic branding campaign, or an artistic animation, we want to see it.
Find out more and enter now.
We all know that the shorter working week has had proven success in other countries. 86% of Iceland’s workforce, for example, have either moved to a shorter working week or have the right to request shorter hours. So as Bristol tentatively dips its toe into the sea of change with a pilot scheme rolling out across businesses in the city, here we are five years into our four-day working week with some (hopefully) helpful reflections.
Why did we do it?
Life is short and we want it to be excellent. Every bit of it. We’ve found that since allowing more space for our brains to process, stray, absorb and even rest (what a thought, we know) this has enabled better ideas to flow, calmer attitudes to influence the team and ultimately a higher level of productivity during the time spent at our desks. Don’t get us wrong, we believe in working hard to deliver excellent, refined work – the only difference is that we think it can be achieved successfully within four days. No extra hours, just four normal days.
How does it work for our clients?
From a client’s perspective, you wouldn’t know any different. At the start of every project we create a timeline that our clients are happy with and that’s the timeline that we work to. Emails are answered from Monday to Thursday and we’re here to chat over the phone on any of those days too!
How does it work for the team?
Every team member works the same four days which allows for collaboration and efficiency. What each team member does on Fridays is completely up to them. And then after a year of working for Studio Floc, all staff get paid the equivalent of a five-day working week for just four days. It’s our way of saying thank you for the hard work that everyone puts in.
A win-win
Excellence can be achieved in so many ways. For us, a four-day working week helps us accomplish this – and we don’t just mean in the workplace – but in every aspect of our lives. we would consider that a win-win.
Driven by purpose, we use creativity to enable the makers, equip the innovators and empower the world-changers. We specialise in branding, print and digital design.
Have questions about our four-day working week? Looking for help with branding, print or digital design work? Let’s chat! Get in touch at [email protected]
Eat Curious is on a mission to help everyone discover new ways to eat healthy and delicious plant-based food, without taxing the planet. They put curiosity at the heart of everything they do. So much so, they’ve built their own vertical farm – a near-off-grid, plant playground built to research how to add even more flavour, nutrition and sustainability to the way we all eat.
As a new player in a growing market, our challenge was to create a B2B brand – ready for consumer rollout in the near future, that stands out in supermarket aisles and confronts the preconception that plant-based food means a compromise on taste.
Following an in-depth research and strategy phase, Fiasco cooked up the brand idea ‘Flavour favours the Curious’. This was driven by the insight that many of us seek out meat-alternatives out of curiosity. Eat Curious serves to empower people to eat better, healthier, and more sustainably.
Unlike some of their competitors, Eat Curious isn’t crusading against the meat industry. Whether you’re veggie, vegan or flexi, it’s time to open the freezer door and feed your meat-free imagination.
Fiasco developed a visual language for the brand that’s full of flavour. Utilising Obviously from Oh No Type Foundry, the brand font is unapologetically bold, with luscious curves and details that are good enough to eat. This is complimented by a colour palette that’s energetic and packs a punch, inspired by the different flavour profiles of their products.
Mouth-watering photography heroes the product, showcasing plant-based foods as a delicious choice in their own right. Celebrating look and taste, playful repeating patterns echo the food’s ‘unreal’ texture and add visual intrigue.
Products are shot individually to be utilised on the website for a playful user experience; with cutouts also appearing across social media and packaging. Colour is used to signify the food type and help create ranges of products that sit well together on the shelf.
Fiasco worked with Madrid-based illustrator, Miguel Angel Camprubi, to push the brand narrative further. A vibrant suite of illustrations reinforce the feel-good nature of the brand and help to visualise the overarching theme of curiosity. Illustrated characters on the site lift the brand off screen and work to position sustainable eating as accessible for all.
Working with the team at Eat Curious, Fiasco are helping with the roll out of the new brand which includes a digital home that’s vibrant, bold and playful. Curious and unexpected interactions drive the brand narrative, whilst a set of motion principles add extra flex to typography and illustrative elements.
“Thanks to Fiasco, We now have a brand that reflects who we are as a company and what we stand for. The entire Fiasco team were excellent to work with and their level of creativity, attention to detail and commitment to excellence has made all the difference. We are confident that our brand will continue to thrive and grow under their guidance and we are excited to see where our partnership will take us in the future.”
Preyesh Patel – Co-Founder, Eat Curious.
“Energy, open-mindedness and optimism. The Eat Curious team have it in spades – and this directly translated into the way we worked together, and the work itself. We designed the brand as the business was taking shape, which gave us an opportunity to use our creativity at every step. A dream project.”
Chris Tozer – Associate Creative Director, Fiasco Design.
You can view the full case study here.
We care about the ordinary products and services that are woven into everyday routines and patterns: they deserve to be extraordinary, for everyone!
We believe that what might seem as simply everyday products, are in fact the heroes in and out of the home. What’s more, we feel they should be accessible and affordable to everyone.
What we mean by everyday.
The ordinary products and services that are woven into everyday routines and patterns.
Remove any of these products or services and their impact would be felt. Better still, if they’re elevated, then it can be meaningful for the people who use them and the brands and organisations that provide the them.
What we mean by everyone.
Well, everyone. The girls, the guys, the gays, the straights and theys. The young, the old, the middle-aged. The global majority, any minority. The middle-income earner, the lower-income earner. Those of all abilities.
Too many people have been excluded for too long. We want to ensure that businesses recognise the power of inclusion.
We’re here to tackle the complex challenges of intersectional inclusion, along with sustainable futures, for all. With the power of creativity and a strong dose of positivity, we believe we can drive change and decipher the way ahead.
We are Studio Every.
Paid Social is when companies and brands display sponsored advertising content on third-party platforms, such as Instagram and Facebook, targeting audiences that match their brand. Marketing professionals use Paid Social strategies to increase traffic to their website or content, improve or increase marketing efficiency and market to larger audiences to capture new subsets of customers.
After the 2021 pandemic, social media saw a considerable rise in users, and people spent more time online than ever before. As a result, people’s activity on platforms such as e-commerce websites and social media stores increased, allowing companies to target audiences more precisely to match their brand. Through Paid Social, companies can post ads to audiences with a higher chance of the users interacting with the content.
The amount of companies using Paid Social in 2022 has dramatically increased due to the increased global engagement with social media. According to Search Discovery, this number is set to grow even more by 2025 to 4.4 billion users. People also spend much longer on social media platforms, averaging 147 minutes daily for the average person.
Social media strategies have become much more streamlined, and eCommerce websites are becoming one of the most accessible platforms for consumers to purchase products and services. In addition, the ease and simplicity of buying and consuming content through social media has enabled companies to generate traffic and sales much more efficiently. For example, through Paid Social, companies can streamline their advertisement to be seen by more specific audiences who are more likely to interact with the ads—leading to further sales.
Privacy and user safety have moved to the forefront of significant changes in how companies use Paid Social. According to a recent article by Clicky, after Apple updated IOS15 in September, 80% of global respondents chose not to be tracked. Companies will have to look into how they target audiences and how they can make their Paid Social campaigns more effective, reflective of the updated statistics.
Being diverse and authentic has become crucial to running successful ads. According to the same article by Clicky, 75% of Gen Z are more likely to support and use brands that are authentic in the way they advertise products. Companies must use original methods that reflect their message, story, values and overall products to attract their desired audiences. Paid Social can allow companies to do this on a larger scale, targeting audiences more likely to interact with their content. Companies that are more diverse in their advertisement will also see greater impressions and reactions. Diversity in the platforms companies use will also significantly impact the responses they receive to content. Companies that are also diverse in how many social platforms they use for their Paid Social ads could triple their audience reach and subsequently generate higher impression rates and CTR. TikTok is becoming one of the most powerful platforms for marketing, with over 1 billion users each day; utilising new media is a crucial way of reinventing Paid Social strategies and getting the most out of campaigns.
Short video content has dramatically impacted how we market and advertise products throughout 2022. Going into 2023, this remains the same. The increase in users on platforms such as TikTok and Instagram has seen many ways people use short 1, minute videos to create effective and engaging content while also allowing companies to interact with influencers within their subject audience.
According to Hootsuite, users of TikTok spend 95 minutes a day on the platform, and 78.6% of users use TikTok to find entertainment, making it one of the leading platforms for Paid Social. In addition, according to Hootsuite again, Google Trends’ interest in the platform has increased by 1,125% since 2020, meaning you will likely start to generate the most impact on TikTok going into 2023.
Influencers and the rise of Influencer culture on many social media platforms have created a unique and powerful influence on Paid Social and advertising on social domains. Despite being around for many years, the amount of organic user-generated content creators has increased rapidly throughout 2022, especially on social platforms such as Instagram and TikTok, where short video and review video logs, or ‘Vlogs’, are used daily.
According to an article for fbcomms, new social media platforms such as BeReal are set to emerge even more and become more prominent in 2023, hoping to break through into the heavily populated market. However, they pointed out that many new social media platforms tend to be niche sites with limited impact. However, utilising the trends produced by these platforms is useful when considering the design and storyline of companies’ advertising.
We live in a world with a far shorter attention span than generations before. Short videos, animations and interactive aspects of content can be a great way to get and secure audiences’ attention and get them to interact faster. Platform algorithms are introducing new ways in which content creators and brands can create two-way dialogues with their audience, rewarding those who produce successful content. For example, Instagram allows viewers to like, comment, share, and add stickers to social posts and stories. Aspects like this are a great way of building and maintaining relationships with followers. It gives audiences more say and enables brands to edit and shape advertisements to get the best results.
Since 2020, after the pandemic, we have been talking about the increase of people shopping online compared to the number of people who shop in physical stores. According to fbcomms, people will likely not have to leave their social platform to shop for goods and products advertised through posts. Through media such as Instagram and Facebook, customers will be provided with an even faster route to purchase products without going to another website or a different platform. Ensuring companies keep up to date with the ever-changing world of eCommerce is essential to running successful online businesses and creating an impactful online presence.
Paid Social is a fun, creative and highly effective method of finding potential customers and is considered by some to be one of the most effective ways of marketing in the current social image climate. Paid Social allows brands to connect with a target audience specific to their brand and gain a more extensive reach through the size of the platform. Focusing on diversity, interactivity, video and animated content, and eCommerce performance will help brands get the most out of their advertising going into 2023 and how Fanatic can help you.
Our Paid Social and Digital Marketing experts will consider your audience, competitors and existing online presence and branding to create a Paid Social campaign that is sure to get impressive results. Get in touch today and find out how we can help you on your Paid Social journey.
You need to load content from reCAPTCHA to submit the form. Please note that doing so will share data with third-party providers.
More Information