ARREST ON A MARKETING IMAGE OF A PARTICIPATIVE BANK IN MOROCCO
A MARKETING IMAGE OF A PARTICIPATORY BANK IN MOROCCO: THE CASE OF BANQUE ASSAFA
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We would like to study an aspect of the marketing of a Moroccan participative bank: Dar Assafa from the logotype that identifies the visual identity of the bank. After defining the function and functionality of the logotype discourse, we will analyze, from the semiotics of the image, how the designer has chosen a logotype by playing on its symbolism, its pragmatism and its religious dimension. The designer bases the composition of his logo on three parameters: the linguistic message (fonts), the chromatic message (green and white colours) and the aesthetic message (Islamic architectural motif)...
We would like to study an aspect of the marketing of a Moroccan participative bank: Dar Assafa from the logotype that identifies the visual identity of the bank. After defining the function and functionality of the logotype discourse, we will analyze, from the semiotics of the image, how the designer has chosen a logotype by playing on its symbolism, its pragmatism and its religious dimension. The designer bases the composition of his logo on three parameters: the linguistic message (fonts), the chromatic message (green and white colours) and the aesthetic message (Islamic architectural motif). These strategies that come into play in the composition of the logo design highlight the brand image of this Islamic bank whose identity is visible in the logo designed in such a way that the customer, at the first glance at the facade of the building, the name or other marketing media, is welcomed by a banking entity in accordance with the precepts of the Shariah. This cleverly designed logo works to build customer loyalty and provides a seductive marketing choice for the Moroccan mentality.
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