arabicization1

8/8/2019 Arabicization1

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or DEPLoYED in tHE MiDDLE EASt

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on tHE worLD oF brAnDinG


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1A r A b i c i z A t i o n

August 2009

For more than a decade, FutureBrandhas been creating, evolving and

expanding brands in the Middle East.

During this time, we have witnessed

signicant evolution in the sophistication

and understanding o marketing in the

region. Our clients today seek not only

to build world-class brands but also to

develop ones that stand or something

uniquely compelling rom an Arab

perspective. This is a ar cry rom when

we rst entered the Arabian Gul, a time

when the notion o branding as a uel or

marketing eorts was largely unknown.

In the FutureBrand 2008 Gul Real Estate Study, we showed examples o

how real estate and hospitality brands have developed a more Arabic-centric

orientation in their names and design. This shit signals both the markets

increased maturity and the desire to nd what we call the authenticreal and

meaningul links to the regions heritagewhich has resulted in the creation o aunique voice and expression or Middle Eastern brands.

As this practice becomes more pervasive, the challenges we oten ace include:

When should (or shouldnt) Arabic be used?

What are the options for adopting Arabic in a brand name?

What are the related options for brandmark design?

What are the customs, laws and regulations surrounding brand identity, and

how do these differ throughout the region?

This article examines these questions, illustrates a set o options and

considerations, and shows examples o how we have addressed similar topics or

clients in the brands we have established over the past ten years.

This topic is interesting because it spans rom cultural and emotional issues to very

technical and regulatory ones. There is no single right method or one-size-ts-all

approach or incorporating Arabic in brands. In act, we see a range o possibilities

and opportunities that depend on everything from tactical necessities such as What

is the brands primary geographic and cultural focus? and What are the governing

laws and rules within that particular country for that particular category? to

strategic choices such as What is the right t for the brand and its name? and

What unique category opportunities will enable the brand to stand out?
http://www.futurebrand.com/http://www.futurebrand.com/


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August 2009

Naming

On most occasions, the issue o using Arabic or Arabicizing the brand comes

to the oreront dur ing the naming process. An increasingly predominant method

o incorporating Arabic-ness is through the use o Arabic words or brand names.

Some well-known examples of these are Jumeirah (an ember or coal), Emirates

(Principalities), Masdar (the source), Thuraya (the Pleiades star cluster) and Al

Jazeera (the island). The primary use of Arabic can embed cultural, regional and/

or category signicance within a brand.

namg Examples y caegy

The ease o pronunciation in both English and Arabic is an obvious consideration

when selecting an Arabic word or a brand name. Most Arabic letters are

pronounced with sounds that coincide with similar sounds in the English

language and are therefore relatively easy to say and remember (and trademark) in

English. Some Arabic letters, such as ayn ( ), are difcult for English speakers to

pronounce, so words including those letters are oten avoided. Likewise, there are

a ew English letters that have no equivalent in Arabic. For example, because thereis no P in Arabic, the translation of the Pepsi name is actually written Bebsi in

Arabic.

Regional Arabic dialects are now being used in some cases to add authenticity

and to counter a crowded new brand landscape. Though this can provide a very

powerul way to gain a proprietary edge, this method can be problematic, as

meanings can vary rom place to place. Similarly, despite a desire to utilize classical

Arabic, the practice is largely avoided because these words tend to have many

connotations that vary widely by geography. A well-suited classical Arabic word in

one locale may be an inappropriate name in another.

Arabic also does not allow combined or joined words, a practice that is very

commonplace in English for new product naming (and for ensuring that thename can be trademarked). This is particularly evident in the pharmaceutical

industry, with well-known brand names such as Viagra, Lunesta and Clariton.

The dominant approach or translation o Arabic names is a phonetic transliteration.

Instead of the English brand name adopting the meaning of the Arabic word (its

true translation), it takes on the English pronunciation of the Arabic. For example,

the brand is transliterated into the Latin alphabet rom its pronunciation as

Nakheel. But its literal translationor meaningis many palms.

cAtEGorY ArAbic tHEMED EnGLiSH tHEMED

Eegy Taqa (energy) Saudi Aramco

real Esae Nakheel (many palms) Limitless

Fae Forsa (opportunity) National Bank o Kuwait

telem Zain (good) Batelco (Bahrain Telecom)

Our clients todayseek not only to buildworld-class brandsbut also to developones that stand orsomething uniquelycompelling rom anArab perspective.


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August 2009

Design

Ater a naming direction is chosen, consideration o how to best represent the

brand and its Arabic avor (if any) should be ltered through a series of options as

dened above. We have developed this construct to help explain the opportunities

to our clients ahead o or in tandem with an exploration on identity design. This

range spans the integration o Arabic rom more to less Arabic-centric. It aids in

narrowing the identity development variables beore nalizing a concept design.

Separate IdentitiesWhen a streamlined expression is required or when global audiences are the

ocus, we oten recommend designing separate identity options with limited use

o the Arabic versionmostly to cater to Arabic-specic media or select signage

programs. This approach requires careul management and controls, but it can

lead to a strong, clear visual impact. When creating iconic brands such as Dubai

World, Emaar and The Palm, we opted for this model, employing Arabic on a

limited basis. This decision was largely based on the global role and multicultural

audiences these brands were aiming to attract. It is important to note that these

are nation-dening brands and warrant an international (English-dominant)

expression similar to such brands as Samsung, Nokia or Lenovo (that do not

generally use Korean, Finnish or Chinese versions of their logos). Furthermore,

when creating the secondary Arabic version o the identity, the goal was to closely

ollow the spirit o the English typography without mimicking or looking too

orced, so as to avoid compromising the legibility or recognition o the brand.

Pros Cons

Creates fexible language options Handling complex asset

Builds recognition o graphic, management and distribution

not type Determining balance o languages

Bilingual IdentitiesThis is considered the most direct, albeit the most cluttered, method to make an

identity readable in both languages. One o the biggest drawbacks o this option is

that it requires careul staging o the identity, especially in narrow or restricted-space

locations, and it relies on a symbol rather than typography to carry the majority o

the proprietary recognition o the brandmark. Additionally, brands with long names

add a layer o complexity, requiring double the amount o space or typography.

Since the languages are read in opposite directions, these designs tend to require

symmetry or else the creation o a clear weighting o one language over the other.

Pros Cons

Bilingual readability Limiting to other language extensions

Consistency o single asset More complex and cluttered

Greater space requirements

SEPArAtE biLinGuAL cALLiGrAPHic SiMuLtAnEouS

BRAND

In most cases, each identity type along the spectrum

may utilize an English or Arabic name, design

system, or other method to increase or decrease the

amount o perceived regional associations.

Dal-Lagage idey Spem

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August 2009

Calligraphic IdentitiesThis solution uses the Arabic name or a portion o it as a stylized symbol,

allowing the typography to be read in English while the symbol communicates

the brand name in Arabic. This method has a range o approaches, rom highly

abstract contemporary designs to artul linework inspired by the rich tradition

o Islamic calligraphy. Two advantages o this option are that the design gains

eciency by using the Arabic characters as the symbol and the name itsel,

creating a double read, and that the overall aesthetic is unmistakably Arabic in

favor. One o the diculties o this approach is the challenge o creating a mark

that communicates clearly and in an attractive manner while also serving as an

appropriate element or image that reinorces the meaning o the brand.

Calligraphic-styled identities develop intrigue through symbols that are

recognizable via the shape dened by the characters in the word. The brands

we created for Taqa (Arabian stallion), Nakheel (falcon) and Forsa (ower)

demonstrate the balance between legibility, symbology and composition that

ranges rom very contemporary to traditional Islamic calligraphic styles.

Pros Cons

Authentic-looking May limit international relevance

Proprietary May conuse non-Arabic

Culturally neutral among readers

international audiences

Simultaneous IdentitiesWhen the opportunity exists, we examine the possibility of embedding Arabic

and English into one wordmark composition. This is generally very dicultto achieve as Latin and Arabic typographic characters rely on very dierent

underlying structures. When successful, this solution creates an effective bilingual

palindromea rarity where the word can be read rom both ends without its

meaning being aected.

Pros Cons

Compact Difcult to invent/create

Innovative Limits use o a symbol

Dierentiating within the market May conuse non-Arabic readers

The considerations inherent in each o the alternatives along this spectrum

illustrate the importance o understanding the ull range o identity options. These

issues also underscore the need or care in making strategy and design decisionsthat ensure an appropriate t or the client, the brand and the marketplace.

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August 2009

Regulations

Occasionally the laws and regulations o a country, when they avor the use o

Arabic, inuence the range of solutions. While Arabic requirements may seem

appropriate or the Gul region, one must consider that the population o the Gul

states in total consists o approximately 50% oreigners, many o whom do not

speak or read Arabic. The resulting mix o cultures orces many consumer brands

in the region to communicate in a universally understood language (typically

English). The prominence of non-Arabic speakers in this multilingual marketplace

has prompted legislation designed to protect and encourage the use o the native

language. Surprisingly, regulations governing language in brand names and

marketing-related inormation in the region are generally scarce, inconsistent and

not systematically enorced.

The chart above shows a range o legal requirements in the Gul pertaining tothe use o Arabic in branding and marketing. Limited awareness and irregular

enforcement of these regulations create confusion among many clients (and

even local trademark attorneys) about the existence, extent and intent of the

regulations as they relate to the execution o dierent marketing materials. Due

to this ambiguity, clients and their agencies tend to be overly cautious in their

approach to the use o language in naming and brandmarks. There is widespread

client-side preerence or brandmarks that use bilingual typography, Arabic names

or calligraphy in order to be politically and legally sae.

Gaps Gcc eglas adg*

countrY trADE nAME trADEMArk ADS, biLLboArDS & SiGnAGE

Bahrain

Trade names must be in Arabic and English.No language restrictions

were ound.

Designs should be either

100% Arabic or 50/50 (bilingual)1

KuwaitNo language restrictions were ound.

No language restrictions

were ound.


were ound.

Oman

Trade names must be in Arabic and be consistent

with the moral standards and public habits o

Oman. For companies with capital over 100,000 RO,

words like international, overseas, etc., may be

used, and oreign names are permitted i there is no

Arabic translation. Companies with capital over 50,000

RO may use words like Oman or Omani.2


were ound.

The inclusion o Arabic appears

to be required, but no details

are specifed. Arabic messages and

artwork must be located above any

English counterparts.3

Qatar No trade name restrictions around language were

ound. A registration ee o QAR 500 exists or

Arabic names and QAR 1,000 or non-Arabic names.4


were ound.

The company name should be

displayed in both Arabic and

English.5

Saudi

Arabia

Trade names shall consist o Arabic or Arabicized

words and may not include oreign words except:names o oreign companies registered abroad;

companies with well-known international names;

and companies o mixed capital, to be specifed by a

decision issued by the Minister o Commerce.6

There are no laws regarding

Arabicization. The companysname shall be its trade name and may

include a novel appellation or words

relating to the type o commerce in

which the company is engaged.7


were ound.

UAE

Trade names should be Arabic in orm and spirit

and indicative o the type o activity in which the

company is engaged. Additional ees exist or the use

o a oreign name, or English or Arabic abbreviations,

or or a name that has an Arabicized word.8


were ound.

Arabic language should cover

at least 50% o the designs total

area. However, other international

languages can be used alongside,

provided that the Arabic language is

on the top or the right-hand side.9

*This chart is meant as an overview only, and may not reect the ull range or intent o legal regulations in each country. It is not intended as a substitute or legal counsel.

Sources:1. ENG Worldwide, Bahrain

2. Oman Ministry o Commerce and Industry

Controlling the Trade Names

http://www.mocioman.gov.om/english/Investors/Rules_new1.h

3. ENG Worldwide, Oman

4. The World Bank Group Starting A Business in Qatar

Procedure 1, Application or approval o proposed name

http://www.doingbusiness.org/ExploreTopics/StartingBusiness/

Details.aspx?economyid=157

5. The World Bank Group Starting A Business in Qatar

Procedure 6, Obtaining trade license and signage license

http://www.doingbusiness.org/ExploreTopics/StartingBusiness/

Details.aspx?economyid=157

6. Kingdom o Saudi Arabia Ministry o Commerce & Industry

The Law o Trade Names Royal Decree No. M/15, Article 3

http://www.commerce.gov.sa/english/print.aspx?PageObjectId=

7. Kingdom o Saudi Arabia Ministry o Commerce & Industry

The Law o Trade Names Royal Decree No. M/15, Article 2

http://www.commerce.gov.sa/english/print.aspx?PageObjectId=

8. Government o Dubai Department o Economic Developmen

Trade Names Conditions or Selecting & Approval o Trade

Names

http://www.dubaided.gov.ae/main/gn/DoingBusiness/

TradeNames.htm

9.Government o Dubai Department o Economic Developmen

Permit or Signboards Note #6

http://www.dubaided.gov.ae/main/gn/DoingBusiness/

CommercialPermits/Signboards.htm


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August 2009

Global Brands

As interesting as the range o options presented are, we are equally intr igued by

the choices some international companies make in their attempt to Arabicize

their brands. Do iconic global brands that simply create a mimicked version o

their logo really attain their goals? The answer remains largely in the eye of the

beholder, but to the r ight are three examples that we eel have not eectively

achieved balance, clarity or elegance in their Arabic execution.

Virgin, FedEx and Coca-Cola each are expressed in Arabic in a way that eels

orced, creating tension between legibility, recognition and symbology. The Virgin

mark captures the identiable V o the English Virgin logo, but in Arabic it

appears at the end o the word as a G N. Because there is no V in Arabic,

three dots were added to the top o the beginning aa character to orce it

to read as a Va solution that is seen as unsophisticated in terms o Arabic

typography design. A similarly inelegant solution, the Arabic FedEx identity

has the distinctive arrow orced into the Arabic characters o the mark. Since

Arabic reads right to let, the white arrow points let. This let-arrow not only

eels contrived, but could be misunderstood by cultures that read let to right

as suggesting or symbolizing backwards. The Coca-Cola logo also wrestles

between legibility and recognition. The alternative-language wordmark sacrices

much o the primary versions character to read properly in Arabic. In emerging

markets where knock-os four ish and trademark protection is weak, this

approach is likely to compound the challenge o brand protection.

These examples also call into question whether alternate-language, mimicked

identities are even needed for such established, globally renowned brands. Would

you (if you were uent in Arabic) purchase a Rolex watch with the standard logo

or prefer the same timepiece with an Arabic version of the brandmark? Does the

potential goodwill these brands create by crating an Arabic expression outweighthe risk o brand dilution, being perceived as inauthentic or the loss o

recognizability? Would these major brands perform better overall with a simple

Arabic translation of the word near the English-dominant logo, instead of mimicry?

Creating a brandmark in a bi- or multilingual marketplace is just the beginning o

the challenge or both the brand creators and those who are deploying and

managing the brand. Issues like typography present additional challenges that must

be strategically managed across multiple marketing touchpoints. For example, there

is a limited (but growing) number of Arabic and English typefaces whose const-

ruction makes them well suited or working side by side in layouts. Selecting these

complementary typeaces means weighing the benets o visual balance against

reduced proprietary ownership, given the small number that are available. This may

be a worthwhile consideration i creating bilingual marketing materials is desired.

Among the most common options or creating bilingual materials are Arabic

and English on the same page or spread, Arabic and English starting at opposite

ends and meeting in the middle, and separate Arabic and English materials. Some

o the brandmark solutions rom our identity spectrum are better suited to one

layout style than another, which illustrates the benets o deciding on identity,

typography and layout styles together and ensuring that a logo decision is made

while considering where and how the brand will promote itsel.

These examplesalso call intoquestion whetheralternate-language,mimicked identities areeven needed or such

established, globallyrenowned brands.

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August 2009

Deployment

Once a brand is ready to deploy, the process then generally involves developing

key components, including a series o guidelines and templates, as well as ensuring

that there is a clear strategy dening how to best leverage the Arabic design

components i they exist across marketing touchpoints, languages and cultural

barriers. When multiple identity signatures are used, the clarity around which assets

to use and when becomes urther intensied by the requirements that vary across

channels and geographies. To eectively deal with these complex issues, we depend

on BrandHub, our proprietary online guideline system. This toolkit includes

standards, best practices, assets, templates and help desk to give marketing managers

and agency partners a dependable lieline to help navigate these requirements.

Conclusion

There is no single or clear right answer or dealing with the topic o

Arabicization. We begin by gaining a deep understanding of the brand and its

strategy. We then follow with a exible set of design variables, informed by our

Arabic logo spectrum. This gets layered onto the creative process o naming and

identity creation. We consider whether the brand is new or established, where it

will be ocused geographically, and through which mediums it will be principally

deployed. This aids us in shaping an Arabicization strategy, recognizing regulations

and planning for near-term effectiveness. We also look at the long term and

uture-proo to ensure that the brands ultimate aspirations will be achieved.

The overall Arabicization goal is consistent with the main objective o anybranding exercise: simply, to create a compelling and memorable brand that

resonates with audiences and stands or something that is original, dierentiating

and enduring. Middle Eastern brands and global brands deployed in the Middle

East will nd that a careully navigated Arabicization process can play a critical

role in achieving this goal and can aid in deploying the brand eectively.

This article was released in August, 2009.

This article was written by Mario Natarelli. Mario has pioneered some o theMiddle Easts most successul brands and is a 12-year veteran o branding in the

region. [email protected]

Contributors:

Karim El Fetouh [email protected]

Rina Plapler [email protected]

Mike Williams [email protected]

Cover art by Nermin Mouti

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