Research Question

What role has illustration played in successful South African branding and advertising
campaigns, along with notable examples of successful illustrator-brand partnerships?

Aims and Objectives

This qualitative case study talks about the role of visuals in effective marketing and in the goods
production by buyers and manufacturers in South Africa which is very important. The study also
aims to highlight the profiles of some graphic illustrators who have made significant
contributions to advertising and branding advertising through their works in the industry.
Through this study, the researcher seeks to demonstrate how the illustrations of South African
graphic designers have broadened the definition of illustration by creating a connection with the
consumer and culture and a connection with the brand.

The investigation aims to learn how illustration becomes part of the brand story, influencing
consumers to see things differently. Further, the aim is to showcase the roles African illustrators
have played in the advertising scene by exploring how their works have melded with and
elevated local culture, while bolstering communication effectiveness across a varied brand
milieu. The outcome of our study will give brands insight for using illustrations in their
marketing roles. It will also create dialogue as to the joining of art, culture and business in South
Africa.

Context and Relevance

Compared to local cultures, illustrations have a unique appeal because they transcend the
boundaries of language and the cultural settings in which they are used. This makes illustrations
not just a local asset but a global one (Moriarty, S. E., Wood, C., Mitchell, N., & Wells, W.,
2015). They play a vital role in weaving ideas into spaces where people gather, helping
information flow seamlessly across cultures. Sethi et al. (2023) describe cross-posting as the
process of spreading information through different media, and illustrations serve as a bridge to
overcome linguistic and cultural divides, allowing brands to connect with diverse audiences. In
South Africa, where linguistic and cultural diversity is rich, illustrations hold particular
significance. For example, Tshepo Mas's art resonates deeply with local audiences, illustrating
how regional artists can draw from their heritage to create meaningful and relatable visuals
(Paul's Homemade Ice Cream, n.d.). Similarly, global brands can collaborate with local
illustrators to craft culturally relevant campaigns, ensuring their messaging feels authentic and
effective in various markets (Kunz, 2019). This research proposal examines how South African
illustrators, such as Karabo Poppy and Tshepo Mas, incorporate cultural elements into the
branding of iconic companies like KFC, Nando's, and Paul's Homemade Ice Cream. Despite
numerous examples of illustrations' importance in branding and advertising, there remains a
noticeable gap in the consistent integration of culturally specific visuals in global marketing.
Many international brands still rely on generic imagery, which, while widely understood, often
fails to forge a deeper connection with local audiences. This disconnect can weaken brand
loyalty and diminish the emotional bond that audiences could otherwise form with these brands.
Kunz (2019) questions whether effective advertising hinges on culturally specific values and
meanings conveyed through visual communication.To bridge this gap, brands must prioritize
involving local illustrators and producing culturally nuanced visuals that strike a balance
between global coherence and local relevance.

As a graphic designer focused on illustration, I see firsthand how visual storytelling transforms
branding and advertising. By studying cross-cultural illustrations and their integration, we can
uncover strategies to enhance brand communication and audience engagement. This involves
analyzing successful case studies and identifying best practices, helping us navigate
contradictions to design visuals that resonate on a deeper cultural level. These insights not only
elevate the creative process but also contribute to a company's growth by making its messaging
more impactful and culturally aligned.

The increasing demand for culturally relevant illustrations presents exciting opportunities for
talented illustrators. Brands are beginning to recognize the value of unique and culturally specific
visuals, leading to more job prospects and the emergence of niche markets for illustrators (Heller
& Chwast, 2008). This shift gives artists the freedom to experiment, innovate, and redefine
traditional advertising concepts (Moriarty et al., 2015). Collaborations with major brands, like
those involving Karabo Poppy or Tshepo Mas, are invaluable for illustrators, helping them build
portfolios, expand their reach, and attract new clients (Kunz, 2019). Illustrations offer many
advantages in branding, from enhancing engagement and creating stronger audience connections
to making brands stand out in a competitive market. They foster customer loyalty by offering
relatable and visually appealing content that simplifies complex ideas (Ware, 2012). For
example, KFC's partnership with Karabo Poppy not only celebrates South African culture but
also instills pride and identity among local audiences (KFC, 2020). The collaborations between
South African artists and international brands underscore the growing global influence of local
talent. For instance, Johannesburg-based illustrator Wes combines vibrant colors and whimsical
perspectives reminiscent of children's book art, appealing to audiences worldwide. Similarly,
Khanya Kemami, also known as Wacomboy, blends pop art, Afrofuturism, and anime to create
bold works for brands like Netflix and MTV Base Africa. Meanwhile, Pola Maneli from Port
Elizabeth has gained international acclaim, working with The New Yorker, The Atlantic, and
Google, while also contributing to the Nelson Mandela Foundation. These artists demonstrate
how African illustrators bridge cultures, promoting diversity and culturally focused marketing on
a global scale (VISI, 2023).
Methodology and Research Design
In this section, we explore the methodology and research design of the study, specifically within
the interpretivist paradigm described by Ryan (2018). This paradigm is well-suited to the
experiential nature of our work and allows us to better understand the individual and collective
views, as well as the interpretive acts of the specific individuals we studied. We incorporated
theories of Visual Communication, Branding, and Semiotics into our discussions. These
conversations provided the necessary context to better understand how illustrations affect brand
identity and influence advertising campaigns in South Africa. To supplement our theoretical
framework, we used a qualitative case study of selected brands as our research design. This
method allowed us to perform a much deeper dive into the strategic use of illustrations in five
different advertising campaigns.

Epistemology, or the problem of valid knowledge acquisition, serves as a compass for

methodology in this research. The interpretative paradigm promotes subjectivity and human
experience, which is, as indicated by Ryan (2018), beneficial for gathering narratives. An
interpretivist study is most suited to exploring the new territory of illustration within South
African branding and advertising. Focusing on illustrators' work allows the researcher to collect
more detailed insights at both the analytical unit level and the observation level.

The study applies visual communication theory to investigate the function of visuals in branding
and advertising campaigns. Visual Communication Theory deals with the idea of how such
elements as colour, shape, and symbolism in a visual composition cohere with the messages and
meaning, thus changing how the audience perceives and responds to the brand. Branding
Theories are concerned with how visual branding delineates the brand image through the use of
concepts such as brand identity, brand experience, and branding strategies. Sign theory, as
indicated by Chandler (2007), is used in semiotic Theory to explain how signs convey meanings
in visuals. Besides that, the Brand Identity Theory, which is emphasised by Aaker (1996),
underscores the significance of coherence in brand communications, which is the part of
branding that is relevant here. These theories provide an analysis of the relationship between
visual images and branding as well as the factors that influence consumers' behaviour towards a
brand, which are the objectives of the study.

The research employs a qualitative case study methodology to evaluate the impact of visual
elements on branding and advertising strategies. Qualitative research involves going deeper into
the actual phenomenon and is concerned with the experiences, perceptions, and behaviours of
participants (Tenny et al., 2023). It is dissimilar to quantitative research, which is centred on
collecting data points, and qualitative research is used to investigate quantitative research more.
This method of research makes it possible to the examination of real-life scenarios where
campaigns have integrated illustrations successfully. The study draws attention to brands that
include KFC collaborating with Karabo Poppy and Paul's Homemade Ice Cream teaming up with
Tshepo Mas, demonstrating how illustrations improve marketing strategies. Information will be
obtained by way of content analysis and a review of branding materials related to the case
studies. It is the analysis of the interaction between the brand and the illustrators. Through the
involvement of these resources, the study aims to know the role of illustrations in brand identity
and customer engagement without the participation of stakeholders. This method is used to
ensure a critical assessment of the strategies adopted by the brands and their corresponding effect
on the connection of the brands with the target audiences.

Data analysis of the study begins with the development of codes that point out the main themes,
repeated patterns and the critical elements of the data. These codes are arranged according to
their connection to the research questions, mainly focusing on how illustrations enhance brand
identity and consumer engagement. The coding process is circular, with codes updated and
changed as more information is found from the data. Thematic analysis (Braun & Clarke, 2006),
which is the appropriate technique for the research, is used to disclose the subjective experiences
and perceptions of individuals.

This approach gives a way to find not only those themes at the surface but also the ones that go
deeper into the emotional and cultural level, which may be established as a connection between a
brand and its audience. During the coding process, frameworks such as visual communication
theory, branding theories, and semiotic Theory are identified. These frameworks help in the
categorisation and interpretation of the data, making sure that the analysis is based on the
discussions already existing while being flexible to include the cultural and contextual factors
that are significant to the South African market. Through the coding approach, the study
becomes more adaptive to the data and thus the final analysis can capture the most important and
relevant findings.

This research is focused on the metaphorical and literal analysis of existing advertising
campaigns and illustrations. Hence, the ethical dimensions connected with intellectual property
rights and copyright questions become the most important ones to address. It is vital to credit
creators and sources of all materials used in the research, which includes brands and illustrators
giving permission and the depiction of the illustrations being accurate enough to prevent
misrepresentation. Through these principles, the research here observes the rights of the
illustrators and brands and remains within the bounds of the research integrity.

The research intertwines perspectives in a qualitative case study methodology, the main aim
being to capture a deep understanding of the role of illustrations in facilitating brand identity and
engaging consumers through sampling and data collection methods. A broad spectrum of
viewpoints and experiences is brought, adding to the richness of understanding of branding
dynamics in South Africa.
Literature Review
(Introduction)

The study of branding and advertisement self-representation is gaining traction, especially with
global companies looking to reach out to culturally relevant local audiences. This treatment of
the previously existing literature joins forces to clarify the effect of representation on consumers'
impressions and, consequently, on the success of brands in the case of South Africa. Visual
Communication Theory discusses the relationship between various visual components such as
colour, form and symbols with messages and how they influence the audience's viewpoint, thus
underlining the importance of visuals as a means to convey brand values and narratives.
Branding Theories are centred on the conception and the preservation of a brand identity via
verbal elements, highlighting the importance of coherence with respect to the consumers'
awareness and loyalty to the brand. Semiotic Theory reveals the ways that signs and symbols in
visuals produce meanings, thus making the illustrations examples of symbols that carry
emotional messages. Through the use of these theories, the research indicates how important
representations in tactics can be in winning consumers over and in achieving success.

(Body)

In their text Illustration: A Visual History (2008), Heller and Chwast have traced the history of
illustration from caves to digital media art. The authors provide an exposition of the role of
illustrations as instruments for storytelling, entrusting beliefs, and sharing information over
different historical periods and societies. Their exploratory critique points to the experimental
character of illustration in communication, stressing its ability to go through technological
advancements and cultural changes. Heller and Chwast (2008) presented their opinion
concerning the Middle Ages, Renaissance and Industrial Revolution and explained how
illustration has changed from scientific manuscripts to distributed printed materials. The progress
made during the age has enabled the mass printing of such materials. Thus, more information
and visual content were made available to an audience. This changeover makes clear the
necessity of communication as the core factor of viewer engagement. In the ensuing decades,
with the advent of technologies, illustrators have enriched their vision by exploring new styles
and improving the way they relate to a global audience. This digital technological revolution is
exemplified by the current interconnectedness of the earth, where illustrations have become
instantly sharable and can be localised in various cultural contexts.

Now, in the context of branding and advertising, professionals emphasise the use of illustrations
more than anything else because they are able to communicate meaning efficiently and do not
merely serve as decoration. As per Heller and Chwast (2008), the illustrations can not only
clarify the concepts but also help to bridge the language gaps and add to the storytelling. This
perspective resonates with Visual Communication Theory, which accentuates the importance of
elements such as colour, shape, and placement in the communication of messages that resonate
with the audience (Lester, 2013). Illustrations have always been part of the strategies embraced
by brands over the years; such illustrations not only become a key tool in establishing a distinct
brand personality but also help in creating emotional ties between the brand and customers. The
knowledge from Branding Theories focusing on brand identity and brand experience helps us to
understand more about how illustrations are essential in brand image development through the
insights of these theories. Aaker (1996) states that brand coherence is a critical requirement for
brand messaging, and illustrations play a substantial role in brand value and story reinforcement
across different platforms.

Semiotic Theory, which deals with how signs and symbols convey meaning, is also used to
illustrate brands along with the use of art. In this sense, illustrations are like symbols that stand
for a brand's core values and commitments to its audience. By combining text elements in
illustrations, brands can decode messages in a visually attractive way, which is why
communication effectiveness improves.

The literature discusses the effects of different artistic styles and movements on illustration, with
specific themes being the effects of Art Nouveau, Art Deco, and the influence of Surrealism.
Heller and Chwast (2008) build on this by explaining how these movements have contributed to
the style lexicon of contemporary illustrators by introducing new bleeding-edge technologies and
thematic explorations that are still used today.

In this perspective, artists like Karabo Poppy and Tshepo Mas have successfully included
elements that carry cultural significance into their pieces of art, which consequently have had a
positive effect not only on the local communities but also on the brands that they represent. For
example, Karabo Poppy's KFC collaboration was a tribute to families across South Africa, and it
was a great illustration of how well-informed illustrations can support brand messaging and get
consumer's attention. This act is in line with Theory as it utilises different constellation symbols
and visual language to create more substantial links between the audiences (Chandler, 2007).

African artists are getting their names in the spotlight as their contributions are invaluably
important for the branding processes worldwide. Artists such as Wes, Khanya Kemami
(WacomBoy), and Pola Maneli have successfully joined hands with brands to introduce new
illustrations to a global audience. For instance, Wes is credited with inclusive artwork for
projects that deal with themes related to gender and sexuality. Khanya Kemami is a visual artist
who combines art, Afrofuturism, and horror in his works, and he has been able to display it in
campaigns for Netflix, Showmax, and MTV Base Africa. On the other hand, Pola Manelis has
been working with The New Yorker and The New York Times, producing editorial illustrations
that show the proliferation of South African artists.
These situations reflect how certain illustrations have the ability to resonate with the audience
and thus increase the global allure of brands. Yet, monopolised, the content of such campaigns,
even in the case of globalisation, still happens to be disconnected from local cultures, thus
necessitating the creation of bonds with the local populations (Kunz, 2019). To put an end to this
disconnect, international brands should initiate illustrators to develop culturally aware visuals
that would catch the attention of local viewers. By moving away from cookie-cutter imagery and
including more relevant illustrations, brands will have the capacity to develop marketing
messages that are not only globally consistent but also of greater personal appeal at a local level.
This approach guarantees that we reinforce worldwide campaigns with significant content that
gets across to diverse audiences, thus enriching both local appeal and global consistency.

The book "Advertising & IMC; Principles & Practice," by Moriarty, Mitchell, and Wells (2015),
is an authoritative source on advertising and integrated marketing communications (IMC). It
discusses the theoretical principles of advertising, the strategic methods of analysis, the
importance of IMC, media planning strategies, and the measurement and assessment of
effectiveness.

The authors present the foundations of advertising and IMC by first talking about the essential
ideas, like the communication process, consumer behaviour, and the psychological sides of
advertising. They illustrate how marketing messages are presented to and processed by
consumers by using theories of perception, cognition, and emotional responses. These ideas are
essential to know the way advertising influences consumer behaviour and decision-making.

A major point of the text is its exploration of branding in advertising. The authors discuss the
way a brand acts as a symbol standing for trustworthiness, quality, and identity—traits that have
a significant impact on a consumer's decision. The discussion involves theories of brand equity
and positioning to clarify how advertising is used to create and maintain a brand's value
proposition. This conceptual apparatus serves to lay the groundwork for understanding the part
advertising plays in building and maintaining brand value.

Moriarty et. al. (2015) discuss the fundamental aspects of planning in advertising, highlighting
the fact that it is necessary to connect the advertising strategies with the business objectives.
They give step-by-step instructions on an advertising strategy's construction, which consists of
market research, consumer insights, content development, and media placement. The text also
covers strategies such as differentiation, segmentation, and positioning, giving real-world
examples and case studies to show how they are applied in practice.
Another theme is the importance of creativity in advertising. The authors stress that original and
attention-grabbing creative ideas can attract consumers and promote engagement, which are
critical elements for the success of any advertising project. This concentration on creativity
shows the need to develop advertising strategies that not only fit business goals but also touch
the emotions of the target group. The book's authors assert that, given the current media
landscape, businesses must synchronise their marketing efforts across channels and at different
touchpoints.

IMC is the process of combining and coordinating all the marketing communication tools,
including advertising, public relations, sales promotion, direct marketing, and digital marketing,
to convey a unified message. The authors present a framework for IMC implementation and
describe its components and benefits. Additionally, they stress the importance of IMC in
message consistency, brand alignment, and marketing efficiency. The book further addresses the
challenges in the adoption of IMC, such as the resistance to change and the promotion of
functional teamwork, which are vital for the establishment of a fully integrated marketing
strategy. Moriarty et al. (2015) emphasise the need to choose a mix of media to connect with the
target audience and successfully accomplish the campaign goals.

Moreover, the authors discuss the business of advertising. They investigate both the benefits and
drawbacks of search engine marketing, social media ads, mobile advertising, and programmatic
buying. This section sheds light on the ways through which companies can utilise tools to create
interactive and personalised marketing experiences that are of utmost importance in the current
digital world. The rating and the evaluation of advertising and integrated marketing
communications act as the roadmap, as depicted in the book. Moriarty, Mitchell, and Wells
emphasise the necessity of evaluating the success of marketing communications to guarantee that
they deliver the desired effects. They address metrics and methods for evaluating advertising
efficiency, including the sales impact, brand awareness, and return on investment (ROI).

The authors summarise the use of quantitative research methods in assessing advertising
effectiveness, stressing the significance of monitoring and analysing. This focus on measurement
indicates the importance of data-guided decision-making in improving marketing strategies and
optimising campaigns.

In "Advertising as Communication" (2019), William Kunz (2019) looks at an advertising

concept from a communication theory point of view. The book examines the role of advertising
as a complex form of communication and analyses the tactics and strategies used to influence the
audience and the considerations of this area.
Kunz's study is rooted in communication theory, which paves the way for the understanding of
advertising as a process. By applying models like the Shannon Weaver model to advertising
practices, Kunz clarifies the procedures of encoding, transmitting, and decoding messages.

This approach clarifies that advertising is not simply a means of conveying information; it also
has the capacity to shape opinions, attitudes, and behaviours. The book clarifies the effect of
incorporating communication theory into the complexities of advertising message delivery.

Ware (2012) discusses the intersection of human perception and visualisation design. Ware
emphasises the importance of understanding the way people perceive and process information in
making data representations. He refers to some of the perception phenomena like colour
perception, depth perception, and pattern recognition, asserting their role in designing
information visualisations.

Ware (2012) favours the clarity of design to facilitate understanding and the avoidance of clutter
and unnecessary complexity that can hinder comprehension. He also investigates the application
of hierarchies, alignment, and proximity to enhance readability and understanding. The book
gives explanations of the visualisation techniques and tools, presenting the best practices for
making bar charts, line graphs, scatter plots, and more complicated visualisations. Besides, Ware
highlights the importance of visualisations that let users interact with data in real-time. He
addresses the things to consider when making visuals, such as controls and responsive feedback
mechanisms. Ware illustrates real-world examples to show how his principles were applied in
various fields, such as business, science, education, and public policy.

The use of illustrative materials in branding and advertising is a field that has changed over time,
and modern communication theories and cultural influences have influenced it. In this literature
review, texts and themes that illustrate the role of illustration in different branding strategies and
advertising campaigns, especially in the context of South Africa, are brought together. In modern
branding and advertising, illustration becomes not only a decorative element but also a part of
the story that creates a memorable brand identity. The views from Visual Communication
Theory, Branding Theories, and Semiotic Theory support the idea that illustrations can not only
clarify messages but also overcome language barriers and create deeper emotional bonds with
the audience. By incorporating culturally resonant elements, illustrators can create visuals that
align with brand values and resonate deeply with target audiences.

Heller and Chwast describe the history of illustration from the past to the present. They show
how new technologies and culture shifts have been the origin of the coming of the current form
of illustration in communication. This process shows that illustrations should be adapted to the
current needs and made simultaneously respecting their cultural value. In the current world of
branding and advertising, illustrations have gone beyond being ornaments and become the parts
that help create unique brand personalities and compelling stories. The information from Visual
Communication Theory, Branding Theories, and Semiotic Theory emphasises the idea that
illustrations can make messages simple, overcome language barriers, and feel emotional
connections with the audience. With the inclusion of these elements, the illustrators can get
visuals that not only are in line with the brand values but also deeply connect with the target
viewers.

The review also vividly portrays the contribution of African illustrators to global branding
campaigns. Their work emphasises the idea of how specific visual illustrations can increase the
likeability of brands, making them relevant locally. Nevertheless, Kunz (2019) states that it is
equally important to introduce nuanced illustrations into systematic global marketing strategies
so as to make the visual content both unambiguously coherent worldwide and resonate locally.
Books such as Advertising & IMC, Principles & Practice by Moriarty, Mitchell and Wells and
Advertising as Communication by Kunz can serve as helpful texts presenting advertising as a
communication act. They offer a glimpse into planning, media selection, and the part of
creativity in grabbing consumer attention. They point out IMC and data-driven decision-making
in the process of improving advertising strategies. Ware (2012) focuses on the laws of perception
and their use in the design of information visualisations. Ware suggests simplicity, visual
hierarchies, and interactivity as the main aspects of aligning design with cognitive processes in
order to achieve better data comprehension and higher user engagement.

(Conclusion)

In short, this review demonstrates the influence of illustration on branding and advertising by
illustrating its importance as a sensitive and strategically crafted element and the latter's role in
branding and advertising. By looking at the theoretical and cultural dimensions, companies can
use art to improve communication and create brand loyalty with their consumers.

Analysis and Discussion of Research Results

INTRODUCTION
The Analysis and Discussion section of the current study seeks to illustrate the indispensable
function that illustrations have in branding and advertising campaign success in South Africa.
Centring the research question—'"What role has illustration played in successful South African
branding and advertising campaigns, along with notable examples of successful illustrator-brand
partnerships?'"—This section will look at how illustrations help branding strategies be practised
in the South African context. Through the examination of the visual elements of the KFC x
Karabo Poppy collaboration and Paul's Ice Cream x Tshepo Mas, this study will investigate the
way in which illustrations influence the perception of a brand and consumer engagement. These
findings will be linked to the themes discussed in the literature review, empowering the
effectiveness of visual storytelling and local partnerships in creating culturally resonant and
successful advertising campaigns.

The analysis is viewed from an interpretivist angle, which allows us to see it as a means of
grasping the individuality of people and the way they create their own meaning and
understanding of the world. The critical issue here is how visual elements affect branding and
advertising. By using this view, we can get to the ways that people use and receive things,
confirming that they are the ones who make the experience about their own lives. Therefore, the
differences that make the brand visuals unique are the ones that affect how people understand
and identify with them. When it comes to advertising, the case is such that illustrations constitute
the promissory notes necessary for consumers to engage at a more personal level, thus moulding
their ideas and behaviours. When the graphic illustrator and the target demographic belong to the
same community, advertising is more vivid, and the marketing efforts are hard to ignore because
the advertising is specifically designed for the target audience. The potential for cultural diversity
and emotional appeal is what the interpretive method brings when examining these experiences.
This means that illustrations communicate brand values and build relationships with the target
audience.

The analysis of these case studies borrows from Visual Communication Theory, Branding
Theories and Semiotic Theory to describe the role of each element in the strategies. Visual
Communication Theory deals with how the arrangement of colours, shapes and symbols in
visuals has the power to express ideas and moods and to give an impression on the viewers.
Learning this Theory is very beneficial in understanding how illustrations convey the message of
a brand and a story. Branding Theories put weight on this issue, emphasising that the brand name
is the first element to connect a product to a brand, and consumers will keep buying the product
if the brand name is the same for a long time. Last but not least, semiotic Theory studies how
images can be interpreted as signs, with every element carrying a meaning and a cultural
reference. In a way that ties all these theories together, the research also demonstrates the way
illustrations can move beyond simply being practical tools to become part of nuanced visual
narratives, carrying loads of meanings that evoke cultural memory and facilitate brand
engagement.

Case Study Introduction: KFC X Karabo

Poppy – Celebrating Families
(Image of KFC buckets)

In April 2022, KFC South Africa unveiled a project in collaboration with renowned South
Africa-based artist Karabo Poppy in order to appreciate the diversity and togetherness of families
in the country. Out of this cooperation, the KFC buckets collection featuring art by Karabo
Poppies was born, and it presents a rich picture of South Africa's culture and family. KFC's
campaign was ideally suited to Karabo Poppy's work, which often focuses on issues of identity,
community, and heritage. She provided illustrations that were used across different platforms,
such as product packaging, digital content, and in-store visuals, ensuring a consistent and
culturally relevant brand message (Brewer, 2020). The marketing initiative was primarily
focused on promoting family bonding by inviting people to share pictures of their loved ones on
social media platforms with the hashtag #MadeForSharing for a chance to receive customised
family portraits designed by Karabo Poppy herself.

The partnership was envisioned to link the KFC brand image with values such as community
acceptance and family links while, at the same time, ensuring the use of Karabo Poppys visual
narratives to achieve a deep emotional connection with the customers (KFC, 2022). In this
example, we will investigate how the visual components of this partnership play a significant
role in KFC's brand representation and customer interaction. This collaboration illustrates how
local talent can enhance brand appeal through a message of unity and diversity, which is in tune
with the KFC branding and the very essence of African culture.

Through the investigation of the aspects present in the art of Karabo Poppy and connecting them
with the findings from the research study of literature sources, this analysis will expound on how
culturally significant design drives brand loyalty and enhances consumer interaction. The
association not only reaffirms KFCs commitment to honouring communities but also utilises art
as a means of creating a sense of connectedness among its customers, thereby fitting into broader
conversations on visual branding and how it influences consumer identity.

Incorporating the ideas presented in Practices of Looking by Sturken and Cartwright (2001), the
semiotic analysis offers a road map for the examination of the meanings expressed through signs
and symbols that are found in cultural artefacts. With respect to this research example, the
analysis of signs will focus on the partnership between KFC and African artist Karabo Poppy,
and it will be the visual components used in the promotion that will be examined in order to
determine the impact they have on brand recognition and the inclusivity and kinship concepts.

This study will look into the symbols and images found in Karabo Poppys bucket designs to
examine how the partnership not only communicates ideas about the KFC brand but also
connects with South African cultural beliefs and traditions effectively. Through the use of
imagery that depicts family settings and community life, it utilises cultural references that are
well-known, and that associate the brand with local values while simultaneously acknowledging
the universal practice of coming together over meals. It is through this method that we can
analyse how the visual communication of the collaboration gives meaning by bringing to the fore
KFC's values of family bonding and inclusivity within the broader context of celebrating
diversity in South African culture.

Before getting into the analysis, it is important to define the basic terms that serve as the base of
this research method, which is discussed in (Sturken & Cartwright, 2018), where they dig into
the basic concepts of semiotics and how visual elements deliver messages, thereby
communicating intended meaning. The principal element in semiotics is, in fact, the sign, which
admits two parts. The signifier indicates the corporeal form of the sign (like an image or word),
and the signified symbolises the idea it conveys. Signage is significant in both ways. Denotation
stands for the literal, straightforward sign of understanding, while connotation goes deeper into
the cultural or emotional dimensions associated with it.

Besides that, Chandler (2017) expands the idea and categorises signs into three types: (1) icons
which are visually similar to what they represent, such as a photo; (2) indexes which have a
direct link of cause and effect with what they point to (e.g. smoke showing that there is fire); and
(3) symbols which get their meaning from the societal standards and customs (for instance, a red
heart means love). The means by which symbols express messages is a code. They might
include, for instance, common morals or cultural values or artistic representations that people use
to narrate the idioms in a setting.

As per (Sturken and Cartwright, 2018), myths are the amalgamation of signs and symbols to
produce the whole narratives which in turn mirror and support the existing cultural ideologies.
They usually reflect the norms and convictions as fundamental truths by casting a meaning onto
the commonplace signs of life and thus, they are the more significant. These notions will shape
the inquiry into the partnership between KFC and Karabo Poppy and the cultural messages
conveyed through its elements.

Analysis
(Image of design diagram)

Literal or Surface-Level Meaning of the Visual Elements in

the KFC x Karabo Poppy Collaboration
The visual elements of the KFC x Karabo Poppy partnership bring together animated brand
elements that are both catchy and deeply meaningful in their depiction of families eating a meal
together – thus fostering a sense of unity and community with the KFC brand. The colourful and
bold geometrical designs used by Karabo Poppy in the cover illustration contribute to the image's
distinctiveness while diversifying the group of characters displayed in the illustration space that
includes a diverse set of characters reflecting various familial dynamics and diversity through
their hairstyles, accessories and clothing choices. At the centre of this fair picture is a bucket of
KFC fried chicken, whose usual companions like fries and beverages are also on the tabletop.
The artwork's blending of KFC's red and white colours with yellow and black not only improves
the visibility of the brand but also adds to the joyful atmosphere surrounding the picture. The
face of Colonel Sanders, who is centrally located in the image, is thus a crucial element that
makes the brand's essence stand out in the artwork.

The visual design emphasises the importance of the agreement by means of items like the hair
comb and traditional African designs that salute Karabo Poppy's African heritage in artistry, and
at the same time, the local touch is infused into the brand's worldwide visual representation. The
literal meaning of the image shows the people sharing a meal that represents family get-togethers
and the joy of being together, which is KFC's message of being together with family and friends
and enjoying the meal as a family. The picture is a warm portrayal of family gatherings and
festivities that uses familiar cultural references and branded symbols to create a sense of comfort
and connection.

Analyse the Connotative Meaning

The KFC x Karabo Poppy collaboration goes deeper into the cultural themes of family unity and
diversity by touching on them at a deeper level. The representation of people from different
backgrounds coming together to share a meal is not just a depiction of a family gathering, but it
conveys a broader message of acceptance and respect towards different cultures and
communities. The different skin colours, hairstyles, and clothing styles are a reflection of the
cultural diversity of South Africa, which points out the inclusive attitude towards different kinds
of families – whether traditional or alternative ones. The vibrant and colourful combination of
reds, yellows, and blacks creates a cheerful atmosphere that brings to mind the emotions of joy
and connection that are usually associated with social events and holidays. The red choice is not
only linked to the KFC brand image but also carries the deeper meaning of love, warmth, and
unity that it conveys. These images merge seamlessly to send a message of connectedness and
harmony among individuals from diverse cultural backgrounds through the shared experience of
food—a universal symbol of togetherness and love.

The image referring to Figure 6 (Poppy, 2022) also includes cultural symbols that powerfully
connect with South African viewers on a personal level. A meal shared among a community is a
cultural symbol that signifies more than just a meal but also the meaningful gesture of forming
connections and keeping family relationships. All over the world, food serves to reinforce social
bonds, and this is especially true in African cultures where eating together is so important. The
companions huddled around the dining table in the painting are not just eating together; they are
participating in a ritual of togetherness and affection. Colonel Sanders's presence in Figure 6 at
the centre of the scene is not only a symbol of KFC's reach but also a reminder of the unique
cultural elements infused by Karabo Poppy's artistic touch.

The visuals portray a sense of togetherness amidst different cultures in a positive light. It stresses
the idea that love and relationships are not only about biological connections but also signifies a
more modern and accepting view of what constitutes a family unit. KFC's visual and messaging
strategy embraces diversity, positioning the brand as an inclusive company that wants to connect
with people from various cultural backgrounds. With Karabo Poppy joining forces for a
collaborative project, KFC can project an image aligned with the South African landscape,
knitting together themes of community solidarity and togetherness. The concept of food serving
as a bridge among various backgrounds is evident here, as the meal symbolises the concept of
social cohesion.

The brand's approach goes beyond the fast food advertisement and endorses cultural sensitivity
and social responsibility. KFC's cooperation with Karabo Poppy, a person who represents South
African art and identity, illustrates the brand's support for the local culture while remaining true
to its global image. This partnership helps strengthen the brand's focus on uniting people and
participating in conversations about diversity in South Africa to enhance its societal influence.
Furthermore, it provides insight into how visual components contribute to brand identity and
customer engagement. Literally speaking, the lively images showing families and friends
enjoying a meal together embody a sense of unity and togetherness while also emphasising KFC
symbols like the bucket and Colonel Sanders. They are emulating the coming together of the
various cultures of South Africa to form a rich tapestry. The Johnsons, bedecked in radiant
colours and patterns, together with images of family configurations, remind us of food's role as a
source of joy, which is consistent with KFC's emphasis on family and community. This
collaboration adds to the brand's connection to Indigenous culture and makes it more attractive to
South African consumers.

Thus, through an ideological view, an interpretation of the campaign shows how it corresponds
with the principles of embracing difference for the sake of harmony and mirrors KFC's part in
the creation of links in the midst of heterogeneous family arrangements. This procedure is in
alignment with branding theories, which claim that the employment of culturally relevant and
diverse images can lead to a considerable increase in consumers' interest in association with the
common social beliefs and values shared by society in general.
This evaluation strengthens the understanding of semiotics and visual cues as the devices
through which companies can strengthen the emotional bond with their consumers and,
subsequently, the brand loyalty with the consumers. The studies could look at how these
culturally blended branding techniques impact consumer behaviour in the long run, as well as
other worldwide brands that may follow the same method to establish deeper relations with the
local communities. Additionally, this collaboration paves the way for research on the ways that
brands can use visuals successfully to relate to the concepts of identity, representation, and
belonging in different societies. The research is aligned with the researcher's ideological
viewpoint.

The tale of Tshepo Mas and Paul's Homemade Ice Cream partnership offers knowledge
regarding how visual representations have an impact on branding and spatial design elements
within a business context. Set up in the South African ice cream sector in 2010, Paul's
Homemade Ice Cream is a brand that has grown over time. The image of the brand has shifted to
be a representation of both creativity and skill with an emphasis on the richness of the traditions
and cultures. In order to celebrate their Rosebank store location opening in style, Paul's
Homemade Ice Cream chose to enrich the environment with art that would complement
storytelling. Tshepo Mas took on the task of creating murals that show his illustration style
through the combination of conceptual elements and ice cream symbols to tell the brand's story.
The aim was to capture the essence of Paul's Homemade Ice Cream by converting its core values
of authenticity, excellence, and community into representations. Mas added his artistic touch to
the murals to ensure that the brand experience resonated with Paul's vision and was captivating
in a meaningful and visually pleasing way.

6.3.2 Semiotic Analysis of Paul's Homemade Ice Cream X Tshepo Mas Collaboration

The mural at Paul's Homemade Ice Cream in Rosebank, created by Tshepo Mas, contains
abundant visual elements that are related to ice cream and other topics. The piece showcases a
variety of stunning things, such as a child happily eating ice cream and swinging a depiction of
an ice cream-making machine, a hand holding an ice cream cone, a sign saying a storefront with
the words "This must be the place", and a cool person, in sunglasses eating an ice cream cone.
The background is decorated with artistic patterns in soft colours of pink, white, and blue,
thereby giving out a cheerful and festive mood.

The visual components in the piece of art embody common occasions of people blissfully
relishing their ice cream in a light-hearted environment; a child swinging and a person smiling
widely with a sun visor evoke thoughts of peace of mind and happiness, which are associated
with ice cream treats. In addition, the mural is explicitly linked to Paul Homemade Ice Cream
through its depiction of the equipment used for making ice cream and cones in the scene, thereby
reinforcing the relationship between the imagery and the brand's main product. The shop front
displaying the words "This seems like the spot " serves as a reference to the ice cream parlour it
symbolises by linking the visuals with the actual physical location.

Analyse the Connotative Meaning

Tshepo Mass murals at Paul's Homemade Ice Cream bring out cultural references and values
such as ambition and community through the imagery of a little child who is happily eating ice
cream and playing on a swing. In this way, the brand captures the youth's innocence and
happiness by provoking the longing for the times of simplicity in the past that coincides with the
brand's origins in humble beginnings. In this case, the swing symbolises the carefreeness and fun
that ice cream brings in, making one feel young and happy. The soft pastel pinks and blues,
along with the designs, have the same effect as they are usually associated with feelings of light-
heartedness, sweetness, and happiness.

The significant prevalence of ice cream imagery, such as cones and scoops, is in line with the
mainstream practice of depicting food as a symbol of togetherness and festivity; sharing sweets
is seen to be a common practice that unites people and helps to create a bond among them. In
addition, the representation of people enjoying ice cream is indicative of the idea of community
bonding. The mural in today's world can also be viewed as a tribute to the drive and
achievements within the community since it subtly alludes to the first ice cream contraption that
Paul made. It symbolises the company's modest beginnings and is linked to the societal story of
ingenuity and hard work, which have made success possible.

The mural explores the implications by reinforcing the societal belief in the concept of the "self-
made" individual, a story that shows how hard work and innovation lead to achievements and
prosperity in life. The mural thus illustrates Paul's development from a small ice cream maker to
a big company with a partner he trusts and grows with. The decor of the mural is in line with the
entrepreneurship concept, demonstrating movement and development. The design of the mural
captures the essence of entrepreneurship, showcasing energy and progress.

As for brand beliefs and values, the collaboration of Paul's Homemade Ice Cream and Tshepo
Mas aims to create a narrative that combines culture with authenticity and ambition. The
partnership establishes a link between Paul's Homemade Ice Cream and the identity of the
community, merging the allure of global success with the intimacy of local nostalgia and
togetherness. The mural features a swinging child who is delighted to eat ice cream while a
machine that represents the brand's small success at the beginning is also included in the image.
The cheerful and reminiscent ambiance of the pastel colors and abstract designs is an illustration
of the fact that childhood and the joy that comes with eating ice cream are the things that the
people are bringing back.

Visual art also tells the cultural stories of coming together and success in an individual way on a
deeper level. It is implied here that Paul Homemade Ice Cream is more than a label but a main
actor in daily life customs. The brand's real story is further emphasised and strengthened by the
fact that the ice cream maker's presence is a clear representation of the root values of hard work
and success in our culture. In South Africa, where entrepreneurship stories thrive, and the local
victory accounts resonate deeply with the audience, such a place is very significant to the people.

The mural is a metaphor for the concept of a self-made entrepreneur. It is a story that captures
Paul's incredible journey from a humble background to the business he runs today. Thus, the
brand becomes a symbol of hope and a chance to succeed in a society that appreciates creativity
and hard work. Moreover, the connection between the brand and the artist brings a bit of cultural
importance to it as Tshepo Mass's distinctive drawing style helps the brand become a part of the
contemporary South African visual and cultural scene.

This analysis is in line with the main topics discussed in the literature review, which are the ways
visual branding affects consumer identity and the importance of representation in marketing
strategies, as Sturken and Cartwright (2018) pointed out. They note that visual culture is pivotal
in building affective ties with customers by mirroring their lived experiences and aspirations in a
way that is quite accurate. The mural makes use of artistic elements. Sturken and Cartwright
(2018) emphasise that cultural representation is important in contemporary branding.

In the analysis of Tshepo Mass murals for Paul's Homemade Ice Cream through a lens, it is clear
that visual components are major players in the shaping of a firm's personality by the reflection
of cultural values and thought patterns that are close to the customers. The gist of the brand and
the themes of community and individual success, as well as the happy depiction of childhood
moments, are what brought the two together. Ensures its image of both a community-centred and
progressive company is maintained. This case illustrates the use of the story in the construction
of a brand. The question it raises is how the partnership with the local artists will be the basis for
the brand's reputation and customer loyalty over time. Future studies could explore the role of
these visual tactics in consumer behaviour and the way businesses can better use customs to gain
a competitive advantage.

6.3.4 Thematic Breakdown

The KFC and Karabo Poppy partnership demonstrates synergy between global brands and
African artistic style as a way of communicating with customers across the world through the use
of bright African colours and meaningful cultural symbols. It reflects South Africa's cultural
diversity and aesthetic traditions. Nesterenko (2020) states that country-specific advertising
practices are usually culture-oriented. KFCs collaboration with artist Karabo Poppy goes beyond
marketing. It is a way of exploiting South Africa's cultural and emotional capital through art to
build a visual identity that honours local heritage and the shift of branding practices that are
deeply intertwined with the community's fabric. The partnership illustrates the role of art in
constructing a brand's image and creating an emotional bond with the consumer on the cultural
level that is deeper than the visual aspects. The joint effort between organisations demonstrates
how storytelling can be developed in a way that not only captures the imagination of people
around the world but also resonates with local communities on an emotional level (Nesterenko,
2020).

Furthermore, most studies focus on how major global brands impose their visual identity
worldwide but tend to neglect the nuances of different local cultures. That said, the collaboration
of KFC and Karabo Poppy is an example of such a trend. Poppy's artwork goes beyond her
artistic expressions; it is a cultural document that visually communicates the idea of cultural
inclusivity with marketing strategies that are culturally significant and effective (Nesterenkos,
2020).

Concluding A&D

In short, the semiotic analysis of the collaborations between South African illustrators Karabo
Poppy and Tshepo Mas with brands like KFC and Paul's Homemade Ice Cream illustrates the
profound importance of visual elements in brand identity. The bright, culturally relevant
illustrations are not just decoration but also very influential and allow the brands to be
emotionally linked with their consumers. Both the artworks of Karabo Poppy and Tshepo Mas
display South Africa's impressive cultural diversity and they have skillfully included local
heritage in the overall brand story. These partnerships communicate that visual storytelling,
deeply rooted within local culture, can create consumer engagement and brand loyalty through
the production of culturally relevant emotional messages.

The repercussions of these discoveries go far beyond the South African scene. In line with
Moriarty et al.'s proposition (2015), illustrations have a universal appeal that transcends all
linguistic and cultural barriers and, thus, is a versatile tool in the global marketing strategy. In a
country like South Africa, which is full of cultural diversity where languages and heritages differ
widely, the use of culturally specific illustrations in advertising is even more crucial. Real-life
examples demonstrate that South African artists can use local visual codes to narrate the story of
Paul's Homemade Ice Cream, through the combination of themes of nostalgia and community
that are connected with South Africans. Such visual items' powers of passing through language
barriers and communicating with the audience on a cultural level are among the reasons why
they take on a major role in branding and advertising. According to Sethi et al. (2023), visual
representations are of great importance in the distribution of information through different
mediums, hence being an appropriate tool in versatile markets.

The increasing acceptance of illustrations in branding notwithstanding, there is still a lack of the
systematic embedding of culturally specific illustrations in global marketing strategies. A lot of
international companies still use standardised visual content, which is often the case of a fire or
tragedy for them, and their local audiences rarely, if at all, deeply resonate with them. This
ineffectiveness of cultural relevance is a lost occasion for brands to link emotionally with
customers more and get them to stay loyal better. Advertising communication success is
attributed to the sensitivity to culture and visual elements reflecting local values and identities by
Kunz (2019); effective communication indeed becomes an even greater challenge when cultural
differences and commonalities are taken into consideration. Brands that partner with local
illustrators, such as KFC and Paul's Homemade Ice Cream, exemplify the cultural sensitivity that
is now sought after in branding and has a local appeal while enhancing the global brand
narrative.

Future research could investigate the long-term results of these types of partnerships on
consumer behaviour and brand equity, especially in multicultural societies like South Africa.
There is also an opportunity for further probing into the ways brands can remain flexible with
their visual strategies by working with local artists to make sure their marketing is globally
coherent and locally relevant. The cases of Karabo Poppy and Tshepo Mas illustrate the fact that
culturally specific illustrations can manifest themselves as a means of creating an inclusive and
meaningful brand identity that will be able to resonate in various markets, thus establishing
strong connections beyond the superficial and consequently contribute to a more significant,
culturally informed brand presence.

Conclusion
This research report delved into an exploration of how illustrations contribute to branding and
advertising in South Africa. This was accomplished by a review of the current literature, which
led to the development of a framework that is based on the principles of visual communication
theory, branding principles, and communication models. For example, books such as
"Illustration: A Visual History" by Heller and Chwast and "Advertising & IMC; Principles &
Practice" by Moriarty, Mitchell and Wells provided us with knowledge of the historical
progression, theoretical foundations and strategic applications of illustration in advertising.
Our research findings were analysed and discussed through a case study that demonstrated how
illustration was integrated into branding and advertising: the partnership that existed between
Karabo Poppy and KFC. In this case study, we reported how illustrations are tools that not only
tell the brand values but also evoke emotions and connect with the intended audience. By
looking at the case study through the lenses of visual communication theory and branding
principles, we demonstrated how illustrations are vital to storytelling, cultural relevance and
brand distinctiveness in this case.

This research indicates the role of illustration in the development of branding and advertising
campaigns within the African context. Illustration is not only the decoration of the brand but also
a highly effective means of communicating the brand's idea to consumers, raising their interest to
a new level and thus establishing a connection with the culture. In the coming times, advertisers
can use the results of this study to exploit illustrations in a way that will produce stories that will
be loved by different audiences, build brand loyalty, and lead to the establishment of lasting
consumer relationships in the ever-changing field of advertising and branding in South Africa.

1. Image List

Figure 1: Leal, W. (2023). Lacoste [Digital illustration Lacoste].

https://visi.co.za/quick-on-the-draw-local-illustrators/

Figure 2: Kemani, K. (2023). ND [Digital illustration ND].

https://visi.co.za/quick-on-the-draw-local-illustrators/

Figure 3: Maneli, P. (2022). Family Man [Illustration Family Man].

https://www.polamaneli.com/work/martinlutherkingjrnewyorker

Figure 4: Mas, T. (2023). Paul's Homemade Ice Cream Wall Murals [Illustration Paul's
Homemade Ice Cream Wall Murals]. https://tshepomas.co.za/pauls-homemade-ice-cream-wall-
murals

Figure 5: Poppy, K. (2022). KFC Limited Edition Bucket Design [Review of KFC Limited
Edition Bucket Design]. https://www.behance.net/gallery/141379455/KFC-Limited-Edition-
Bucket-Design

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