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How LA Opera Revealed Its Branding

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Since its founding in 1986, LA Opera has become one of Los Angeles’s most influential arts organizations. In 2011 LA Opera’s communications team conducted extensive research in order to better identify the company’s brand and connect with its ever-expanding audience in a new era.

“In order for branding to be effective, it has to be organic,” says Diane Rhodes Bergman, vice president of marketing and communications, who oversaw the research efforts five years ago and continues to spearhead the company’s communications strategy. “It has to start with the people who are most involved with the brand: the board, our staff, and the public we serve. We conducted research with these three groups to identify what LA Opera is at its core, what role the company plays in the Los Angeles community, and what part it will play in the community’s future.”

Through this research and subsequent testing of various brand concepts, LA Opera’s branding began to take form. There were several things that all the groups surveyed connected to LA Opera: the company’s influential presence in the Los Angeles community, the inextricable link to the Dorothy Chandler Pavilion’s decades-long history, innovative productions, and a certain method of storytelling reflective of the city’s edgy (but still beautiful) spirit.

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Keith Rainville Brings His Brand of 60s Film Aesthetic to the Opera

Keith Rainville at LA Opera

Keith J. Rainville at LA Opera

For Keith J. Rainville, what began as a two-week graphic design gig at LA Opera (which he took instead of going to San Diego Comic Con) has morphed into a 13-year career as the company’s in house designer and brand manager. Rainville oversees and creates LA Opera’s marketing materials and has been instrumental in crafting the company’s cinematic style—a look often inspired by his lifelong love of classic film, 1960s television shows, and vintage horror.

“I was a kid in 1970s New England,” says Rainville. “We had a good five month winter and since I couldn’t go outside, I spent my days watching TV. Back then, pre-cable, you were a victim of whatever was on. I was lucky to have really good channels out of Boston that syndicated a lot of old 1960s TV shows. As a kid, I never quite understood what was new and what was old. I thought a ten year old rerun of Lost in Space was just as contemporary as Star Wars,” recalls Rainville. He continues, “My earliest memories of connecting with graphic design and typography were credit sequences for shows like Wild, Wild West and Bewitched. It was a great time for those credit sequences, most of which were animated, and I used to love those more than the shows.”

Those early experiences of watching 1960s TV shows, as well as Japanese monster movies, moody black-and-white Universal and later garishly hued Hammer classic horror films, still inspire Rainville to this day, particularly in his marketing designs for LA Opera’s more outré productions. “If you ever want to look at key art and say, ‘That’s a Keith Rainville design,’ look at our Lohengrin, Hercules vs. Vampires, and Nosferatu campaigns,” says Rainville. Those campaigns (see below) are 1960s inspired, full of loud colors, and eye-catching graphics. Of this, Rainville says, “Marketing is a blunt force instrument. You have to grab people’s collars and get their attention, and nothing does that more than garish color and large graphics.”

Key art for Lohengrin (2010) and Nosferatu (2016) designed by

Key art for Lohengrin (2010) and Nosferatu (2016) designed by Keith J. Rainville

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