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Relevant bibliographies by topics / Visual identity, identity, graphic design, museology

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Academic literature on the topic 'Visual identity, identity, graphic design, museology'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Visual identity, identity, graphic design, museology"

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Budiman, Arif, and PG Wisnu Wijaya. "Perancangan Media Komunikasi Visual Pada Museum Uang Sumatera." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 3, no. 1 (April 20, 2020): 356–69. http://dx.doi.org/10.37505/aksa.v3i1.28.

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The Sumatran Money Museum (MUS) in Medan, North Sumatra is one of the self-managed museums, with a collection of thematic and distinctive artifacts, namely the Sumatran currency! The official currency that was issued after independence in 1947-1949. This is among MUS's strengths. However, the problem that arises is that MUS has not yet maximally arranged aspects of visual communication such as consistency in implementing corporate identity, stationary, and graphic signaling (sign system), including the absence of graphic information (infographic) information on the history of the Sumatran currency. This study provides solutions to problem solving through designing a visual communication media based on identity (brand identity) and prioritizing informationfriendly principles, especially for young millennials. The problem in this study was answered by using the design method by following the stages of the graphic design process from Amy E. Arntson namely Research, Thumbnails; Roughs, Comprehensives and Ready for Press. The solution obtained from this research is to design a corporate identity service. Consists of the logo, stationary, merchandise and graphic information of the museum. As a first step in building the MUS brand identity.

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Frączek, Adriana. "The elements of the company's visual identity and their role in creating the identity." Studia Gdańskie. Wizje i rzeczywistość XIV (June 3, 2018): 197–218. http://dx.doi.org/10.5604/01.3001.0014.3171.

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In image-creating techniques that increasingly and increasingly use modern technological advances, the importance of image and images increases dramatically. The specialists responsible for creating the image of the company are building a message, which is often the logo placed on the company car, graphic footer in the mail, the color and material used in the interior design or the interestingly designed website, which in addition to the news contains information. About the history and heritage of the company, and its future plans.

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Nugroho, Puspita Putri, and Vera Jenny Basiroen. "Alternative Design for Visual Identity of Yayasan Batik Indonesia." Humaniora 6, no. 1 (January 30, 2015): 113. http://dx.doi.org/10.21512/humaniora.v6i1.3305.

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The research objective is to create a logo as the main visual identity. It is together with the graphic elements to support the overall visual identity of the organization and also apply the corporate identity to various applications to effectively foster the professional and trustworthy image of the organization as the foundation in Indonesia aiming for preserving and advancing Batik as the national asset. The writer used qualitative and quantitative method. Qualitative method included Face-to-face interview with the vice secretary of YBI, e-mail interview with the previous logo designer and direct survey to Textile Museum Jakarta and Batik Gallery; and Quantitative method through online survey. The result of the project is a new visual identity for Yayasan Batik Indonesia, which portrays its vision and mission. Design is the core in attaining an advantageous visual identity that could portray the image of the respected organization. When a consistency is applied through the whole visual identity, professional character of the organization is achieved.

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Skaggs, Steven. "The Semiotics of Visual Identity." American Journal of Semiotics 35, no. 3 (2019): 277–307. http://dx.doi.org/10.5840/ajs20201257.

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Visual identity systems allow a visual object to stand for, and provide suggestive expression of, a host. The primary graphic element in a visual identity system is the logo. In three sections, this article explores inportant semiotic mechanisms by which logos perform the work of identifying. The first section points to the difference between basic visual differentiation (boundary coherence) and affective/cognitive reference (semantic coherence). It makes a distinction between two kinds of reference that occur simultaneously in logos: (1) an immediate referencing of the host entity (the entity for which identification is sought), and (2), indirect, reference that is often metaphoric in character. The second section offers a four-part classification scheme for logos based upon a Peircean icon/index/symbol division with the addition of an axis of syntactical detail. A “hidden” class of logo is predicted by this Peircean framework; examples are identified and this class is named “gesturegraphs”. It is argued that this four-part classification scheme is both semiotically necessary and sufficient. Any further classes of logos can be considered subclasses within the four semiotic factors proposed. These classes are not judged to be discrete, but rather to afford blended and combinatorial situations. The rhetorical tropes of metonym and metaphor are discussed in terms of their value to the pictographic mode of logo design. Finally, in the third section of the article, genre is defined as the coherence of stylistic features in relation to the sector of the host’s activity. Two case studies are given as examples of how genre influences the semantical context of logos.

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Wibowo, Adhika, Birmanti Setia Utami Setia Utami, and Peni Pratiwi. "PERANCANGAN VISUAL BRAND IDENTITY TUKANG SAYOER ONLINE SEBAGAI UPAYA MENAIKKAN BRAND AWARENESS." Jurnal Dimensi DKV Seni Rupa dan Desain 5, no. 2 (October 1, 2020): 125–42. http://dx.doi.org/10.25105/jdd.v5i2.7951.

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AbstractDesigning the Visual Brand Identity of Tukang Sayoer Online as an Effort to Increase Brand Awareness. Tukang Sayoer Online is a grocery that used online and offlineordering system in Salatiga. Since founding in October 2018, this business doesn’t have enough brand awareness, therefore people don’t aware of it. The research purpose is to design unique and well-crafted brand identity that memorable and distinct in the market. This research used qualitative methode with linier strategy based from brandingprocess by Alina Wheeler. Interview and observation were used for data collecting.Analysis conducted in old identity design, target audience, visual preference and positioning analysis. The designing process produced Tukang Sayoer Online’s brand identity and design system for stationery, communication media, uniform, vehicle, store facade, social media, and graphic standard manual fabrication. The research result showed that the identiy design was unique and in-line with Tukang Sayoer Online imagetherefore could support long-term business. AbstrakPerancangan Visual Brand Identity Tukang Sayoer Online Sebagai UpayaMenaikkan Brand Awareness. Tukang Sayoer Online adalah usaha ritel sayur dan kebutuhan dapur yang menggunakan sistem online dan offline di Kota Salatiga sejak Oktober 2018. Sejak didirikan usaha ini tidak memiliki brand awareness yang cukup sehingga masyarakat kurang mengetahui eksistensi usaha tersebut. Tujuan perancangan adalah merancang brand identity yang unik dan baik sehingga mudah diingat danmencolok di pasar. Penelitian ini menggunakan metode penelitian kualitatif dengan strategi perancangan linier yang didasari oleh branding process by Alina Wheeler. Pengumpulan data menggunakan wawancara dan observasi. Analisis dilakukan terhadap identitas usaha, target audience, selera visual dan positioning. Perancangan menghasilkan brand identity Tukang Sayoer Online dan sistem desain identitas untukstationery, media komunikasi, seragam, kendaraan, facade toko, media sosial, serta pembuatan graphic standard manual. Hasil penelitian menunjukkan perancangan brand identity sudah unik dan sesuai citra Tukang Sayoer Online sehingga dapat menunjang identitas usaha dalam jangka panjang.

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Coskun, Cumhur. "Cultural Identity and Passport Designs." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 139–46. http://dx.doi.org/10.18844/prosoc.v4i11.2868.

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A passport is an identity given to an individual by his country, to travel to other countries. With globalisation, ‘passports’ that were papers stamped at the entrance and exit by customs during the past centuries have increasingly become critical documents. It is not only a personal document, but it also represents the country to which it belongs. The designs should reflect the cultural identity of a nation, in the form of visual elements, illustrations and photographs. Countries that are aware that their passports reflect their cultural values are able to combine their passport designs with the modern design concept of the times creatively and stylishly, as an artistic work. This qualitative study is aimed at evaluating passport designs in terms of being a representative of a cultural identity and examining passport designs that are re-examined with innovative and modern understanding cultural identity. Keywords: Passport design, cultural identity, graphic design.

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YAVUZ ÖDEN, Hülya. "GRAPHIC DESIGN SOLUTIONS APPLIED ON CHILDREN'S ROOM SURFACES IN INTERIOR DESIGN." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 60–73. http://dx.doi.org/10.38064/eurssh.191.

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Design elements such as typography, illustration, and photography used in graphic design can also be used indoors on surfaces and reinforcement elements. Original designs support the creation of the identity of the place. It is of great importance to use visual arts in the space. One of the areas of design that greatly affects people in the illustration. Whatever the content of the illustration, it can include different visual styles that can be expressed artistically. The art of illustration can express difficult concepts quickly. For this reason, illustrations are used in different techniques. Thus, it can be used to create unique designs that can reveal the difference of the brand. The uniqueness of the illustration used in the interior design is also effective in the formation of space's own identity. Illustrations that are uniquely designed based on the user's wishes should be used. Instead of fashionable design trends, the application of the appropriate forms to the concept of the space ensures the creation of the original space. The research aims to examine the use of graphic elements used in interior design, which is one of the factors that affect the formation of children's identity, on space surfaces. Qualitative methods were used as a method, and a literature review was made on graphic design and space design for children. The analyzed examples are limited to the use of typography and illustration on the walls and reinforcement element surfaces in the interior design of the children's room. The application images in the personal archive were used. Besides, internet resources were searched and the samples of the children's room were examined.

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Zulkarnain, Zulkarnain, Deny Dwi Lestari, and M. Syamsul Ma'arif. "GRAPHIC DESIGN INNOVATION AS BRAND IDENTITY FOR “MAHLZEIT N’DAS BROT” BREAD PACKAGING." SINERGI 20, no. 2 (October 1, 2015): 171. http://dx.doi.org/10.22441/sinergi.2015.3.001.

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Besides being useful for protecting food, packaging design also serves as a media campaign. So hopefully, Mahlzeit Bread n 'Das Brot can compete with other bakers and even can be a pioneer as an authentic German bread maker in Indonesia. This research was conducted by collecting information from the client (Mahlzeit n 'Das Brot owner). This information was used to obtain a verbal brand identity, then translated visually. The use of illustrations also becomes the most important visual images to present the image of Germany Elegant Vintage and privilege in explaining the products of Mahlzeit n 'Das Brot. The colors used are natural colors and traditionally the colors brown and green to indicate an authentic image of Mahlzeit n 'Das Brot.

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Apele, Diāna, and Ilze Bodža. "CORPORATE IDENTITY DESIGN POLICY IN THE PROCESS OF VISUAL COMMUNICATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 503–14. http://dx.doi.org/10.17770/sie2021vol4.6483.

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The term corporate identity describes the essence of a company, a set of all the characteristics that make up the company. The company SIA “Nature Line” mentioned in the article, which started its operation as a start-up in the food production industry through the Rēzekne Business Incubator start-up programme, put forward as one of the company’s principal aims to promote the recognition of the company and its products to ensure broad opportunities for product export. One of the objectives for reaching the aim is to create a corporate identity design. A corporate identity design will help the company to start advertising and positioning itself to customers, thus promoting successful company operation. Considering the changing trends, technological opportunities, popularity of the start-up field, and rapid development of visual communication in the modern day, in the article the authors justify the relevance of the chosen topic. The research problem is the lack of understanding on the part of start-ups about the importance of designing a corporate identity for ensuring successful operation of the company as well as insufficient support. The research aim is to explore modern corporate identity development trends in the context of design policy and to analyse expert interviews in order to find out the opinion of experts about the importance of creating a corporate design for ensuring successful operation of a star-up company, about the trends in the graphic design of corporate identity, about the most important elements and their successful positioning. The research results are obtained using the theoretical research methods: the study of scientific and journalistic literature and internet resources, analysis and evaluation, which discover the essence of the problem, as well as expert interviews, which are empirical research methods.

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Kaur, Harsandaldeep, and Kanwal Roop Kaur. "Investigating the effects of consistent visual identity on social media." Journal of Indian Business Research 13, no. 2 (March 1, 2021): 236–52. http://dx.doi.org/10.1108/jibr-06-2020-0174.

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Purpose Although the prominence of social media for companies is widely acknowledged, a close examination of the literature reveals a lack of empirical research pertaining to the effect of consistency specifically on social media. Therefore, the purpose of this paper is to fill the gap in social media communication concerning the effect of consistent visual identity on social media users. Design/methodology/approach The study executed an experiment 2 (corporate visual identity condition) × 2 (organization type) between subjects design to map the effects of consistent visual identity on social media users appreciation of the visual identity, attitude toward the company, reputation and intention to commit to a company on social media. Findings The results of the study indicated the significant effects of consistent visual identity on social media users over the inconsistent conditions of visual identity on all dependent variables. Furthermore, there were insignificant main effects of organization type on general judgment, credibility, distinctiveness and reputation of the company. Practical implications This study presents the effects of consistent visual identity on social media platforms. The research will help marketing academicians, graphic designers and social media practitioners in online marketing by using its practical implications to strategically positioning their corporate brand in a social media environment. Originality/value This study provides novel insights on the impact of consistency on social media users. This is the first study to determine the role of consistent visual identity in the social media environment. It thereby adds to the literature of visual identity by developing the sphere of influence of consistency and its effects toward the user’s attitude.

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Dissertations / Theses on the topic "Visual identity, identity, graphic design, museology"

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Baker, S. C. "The body in graphic design : Towards a semiological theory of visual identity." Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383100.

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Moreira, Ricardo Santos. "Revisões nos sistemas de identidade visual corporativa de marcas brasileiras: uma análise crítica." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-30032010-161534/.

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A economia brasileira passa, no período de 2000 até meados de 2008, por uma fase de relativa estabilidade. Tal situação permitiu às empresas elaborar estratégias de médio prazo e a implementá-las, muitas vezes de maneira bem sucedida. Observa-se assim, a valorização de algumas empresas brasileiras, considerando-se não só os seus ativos físicos, mas também as suas marcas, que passaram a constituir ativos que não deviam ser desprezados. Revisões dos Sistemas de Identidade Visual têm acontecido com maior freqüência, com a atualização de Identidades Visuais defasadas e, em alguns casos, com a mudança do próprio nome da empresa. Pretende-se, neste trabalho, analisar a Identidade Visual Corporativa resultante desses processos de revisão segundo a metodologia de Norberto Chaves, e seus catorze parâmetros de alto desempenho de símbolos e logotipos. O universo de pesquisa é formado pelas dez marcas brasileiras mais valorizadas, segundo as avaliações feitas no Brasil pela consultoria inglesa Interbrand, no ano de 2007.
The Brazilian economy at 2000 decade goes through a stable period of time, between 2000 and 2008. This situation has allowed corporations to elaborate some middle term and long term strategies, and to put them into practice, many times in a successful way. As a result, there was the corporation´s value increment, not only of physical resources, but also of brand value. The brand became a resource not to be despised. Revisions on Visual Identity Systems have happened more frequently, with renew of old Visual Identities and, in some cases, with the change of the corporation´s name. In this work is intended to analyze the Visual Identify after the revision process, according to Norberto Chaves methodology and his fourteen parameters of high performance for symbols and logotypes. The research is based on the ten most valuable Brazilian brands, according to Interbrand´s 2007 evaluation.

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Bowie, James I. "Innovation, Imitation, Legitimacy and Deviance in the Design of Graphical Trademarks in the United States, 1884-2003." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1253%5F1%5Fm.pdf&type=application/pdf.

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Ausfelt, Max. "Grafisk profil Citytryck." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23789.

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Ramos, Inês Margarida Madeira. "A identidade visual como elemento de expressão de uma marca." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13841.

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Malysz, Simone Cristina. "Sistemas de identidade visual como recurso para valorização de produtos artesanais do Brique da Redenção." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/96331.

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Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento.
Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

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Tinteanu, Nora. "GRAFISK PROFIL TILL EN BLOMSTERHANDEL - corporate identity for a flower shop." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23415.

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This project aims to explore how to create a working concept-based flower shop visual identity, with focus on brandig, eco-branding and visual communication.My main question is:How do I create effective visual communication for an ecological flower shop?The results of this thesis are that there are things to consider when creating a visual identity with an ecological concept. The most important question is if there is any benefit for your company to go green, otherwise positioning of your company will be hard. What I realized during the design part of my project was that if I use the methods described in this thesis and consequently applying my choices after the flower shops identifying words, a working concept-based visual identity will be possible to create.

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Carvalho, de Almeida Pedro Alexandre Santos. "Brand archives : the rescuing of locally specific brand imagery as a graphic design response to the globalization of visual identity." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5689/.

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Visual identity can be understood as the result of the application of graphic design methods aimed at inter-brand differentiation, which paradoxically is leading to “homogenizing identities” (Bell, 2004). The globalization of visual identity is a phenomenon that can be observed not only among global brands competing with each other, but also in locally specific heritage brands that relinquish distinctive elements of their identity to resemble the global. In many cases, their specificities end up being distorted, blurred, or lost, and the richness of what is historically and culturally unique about them is often misinterpreted, neglected, or even discarded. By showing what can be lost with regards to historical and cultural memory within a brand’s imagery, this thesis questions the significance of archives to locally specific brands claiming symbolic and cultural relevance. It shows how can graphic designers can contribute to the preservation of cultural diversity through visual identity. To address the loss of cultural memory as well as the globalization of visual identity, this study draws on visual design heritage to achieve an understanding of the past as a source and a means to feed future cultural development. By adapting visual methodologies and case-study methods to assess brand identity, the study presents a methodological approach for the rescuing, interpretative analysis, and exploration of historical memory in brand imagery. It applies ethnographic research methods for data collection and graphic design methods for recovering visual materials, combined with timelines and grids for contextual and visual analysis. A main case-study is presented to demonstrate how the methods originated, how they enable the observation of identity transformations over time, and of how visual identity dissolves with global influence. This case addresses the historical context and today’s cultural relevance of an archive of the Portuguese iconic Sanjo sports shoes brand, which emerged with the rise of the ‘Estado Novo’ authoritarian regime in Portugal (1933–1974). Through the interpretation of how brand designs evolved in relation to contextual history it is possible to see the various social, cultural, political and economical transformations that occurred in their life spans. The thesis presents parallel examples of brands that were heavily influenced or even controlled by government in the past and now operate independently. As with the case of Sanjo, the comparative study investigates, and further draws attention to the relationship between the loss of historical memory and the globalization of visual identity. By examining the relevance of archives for addressing identity issues, the thesis shows that current graphic design practices can avoid failing to address historical contextualisation and cultural relevance if, firstly, a great deal of historical and cultural memory is retrieved, secondly, if there is substantial visual and contextual analysis, and thirdly, if the visual elements and histories uncovered are put together in the right context. By considering the possibilities that brand archives present for exploring the symbolic values of objects and generating meaning, this study fills a gap between archival practices and the way many designers and companies are dealing with locally specific brands. It argues that brand archives are key instruments for designers to derive meaning and convey cultural memory into the future, and that visual identity is a channel through which these can be acknowledged, displayed and experienced. The study concludes by suggesting possible approaches graphic designers might pursue to address the issues identified, and it broadens the scope of the directions in which brand archives can be explored through the re-contextualisation of cultural objects.

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Grover, Jenna Nicole. "Expanding the Visual Identity of Cord of Hope Ministry: Or, One Way Graphic Design Can Benefit the World." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243958.

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One question has plagued me since the moment I entered into the Visual Communications program - does this degree have the power to improve the world? I doubted the power of graphic design because it was not seeking a cure for cancer, ending world hunger or pacifying war. I passionately love my field, but how could it be of any benefit? This question dogged my heels, nipping until I set out for an answer. I chose to expand the visual identity of a ministry called Cord of Hope, an organization within a Tucson church. Using their pre-existing logo, I designed business collateral, posters, newsletters and a website with the hope that their visual expansion would result in greater connections with the community they sought to serve. I was delightfully surprised at the results. The organization has blossomed and grown deeper into the heart of Tucson. It has connected with other ministries that are serving the city. Furthermore, the ministry has grown in its identity as a whole, resulting in confidence, security, and hope for what is to come. As for the question that previously nagged me, I answer it confidently with a “yes, design can indeed improve the world.”

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Robakowska, Martyna. "Grafisk profilering som en del avvarumärkesarbetet." Thesis, Högskolan Dalarna, Grafisk teknik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5060.

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A strong brand can help a company to be easier to recognize and be remembered by their customers. Part of branding is to create a visual appearance which is called a graphic profile and contains information on for instance a logo, colours or typography.The objective of this thesis was to create a graphic profile for Stjørdal Tannhelsesenter that could serve as a base for a brand work in the future. It was important to analyze how the clinic wants to be perceived and how it is perceived today. The methods used to carry out this study were questionnaires, researches and a focus group.The work resulted in the generation of a graphic profile that included a new logo, colours, decorative elements, fonts, templates for stationery, business card / badge, imagery, and examples of some publications.According to the test which was made to examine the results of the project showed that I was successful and that the new design meets all the requests from the previous questionnaires.

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Books on the topic "Visual identity, identity, graphic design, museology"

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Robial, Etienne. Canal+: Image graphique et identité visuelle = graphic image and visual identity. Paris: Canal+, 2001.

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1935-, Inagaki Kōichirō, ed. Visual identity in New York. Tōkyō: Seibundō Shinkōsha, 1991.

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Visual Identity in New York: Best of American Corporate Identity Design. Books Nippan, 1992.

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Kōichirō, Inagaki, ed. Visual identity in New York: The best of American corporate identity design. Tōkyō: Seibundō Shinkōsha, 1991.

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1935-, Inagaki Kōichirō, ed. Visual identity in Chicago. Tōkyō: Seibundō Shinkōsha, 1991.

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Guins, Raiford. Atari Design. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781474284561.

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Drawing from deep archival research and extensive interviews, Atari Design is a rich, historical study of how Atari’s industrial and graphic designers contributed to the development of the coin-op cabinet. Innovative game design played a key role in the growth of Atari – from Pong to Asteroids and beyond – but fun, challenging, and exciting game play was not unique to the famous Silicon Valley company. What set it apart from its competitors was innovation in cabinet design. Atari did not just make games, it designed products for environments. With “tasteful packaging”, Atari exceeded traditional locations like bars, amusement parks, and arcades, developing the look and feel of their game cabinets for new locations such as fast food restaurants, department stores, country clubs, university unions, and airports, making game-play a ubiquitous social and cultural experience. By actively shaping the interaction between user and machine, overcoming styling limitations and generating a distinct corporate identity, Atari designed products that impacted the everyday visual and material culture of the late 20th century. Design was never an afterthought at Atari.

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Book chapters on the topic "Visual identity, identity, graphic design, museology"

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Rolo, Elisabete. "Graphic Design and Ethnography: The Use of Folk Art to Create a Visual Identity." In Advances in Ergonomics in Design, 831–37. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79760-7_100.

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Raposo, Daniel, Catarina Laginha, João Neves, José Silva, and Fernando Moreira da Silva. "Methodology of Analysis of Brand Visual Identity of Food Products: Comprehension and Valuation of Graphic Signs." In Advances in Ergonomics in Design, 188–203. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20227-9_18.

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Raposo, Daniel, Rogério Ribeiro, Mariana Amaral, Fernando Moreira da Silva, and Juan Ramón Martin Sanromán. "The Brand Mark Competitors Map as Visual Research Tool. Using Graphic and Symbolic Data in the Brand Visual Identity Project." In Advances in Ergonomics in Design, 91–102. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20227-9_9.

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"Identity." In The Visual Dictionary of Graphic Design, 133. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. AVA Publishing (UK) Ltd., 2007. http://dx.doi.org/10.5040/9781474293761.0120.

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Rolo, E. "Graphic design and textiles: Visual appropriations in Sebastião Rodrigues’ work." In Textiles, Identity and Innovation: Design the Future, 433–38. CRC Press, 2018. http://dx.doi.org/10.1201/9781315100210-77.

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Iñurritegui, Leire Fernández, and Eduardo Herrera Fernández. "Rhetorical Resources for Innovation in Communication Through the Design of Brand Marks of Corporate Identity." In Advances in Business Strategy and Competitive Advantage, 145–53. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3628-5.ch010.

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Without a doubt, visual rhetoric constitutes a fundamental paradigm for recognizing resources that can guarantee an innovative and more effective communication in our essentially competitive corporate communicative environment. In this chapter, the authors reflect on graphic design from a linguistic basis to a particular approach to rhetorical principles. This is presented as a paradigm of an innovative creative model in the discursive construction of brands marks of corporate visual identity. In short, this chapter formulates a proposal of rhetorical variants in which graphic designers can find graphic resources and communication strategies that are essential for the creation of innovative messages.

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Conference papers on the topic "Visual identity, identity, graphic design, museology"

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Stankovič Elesini, Urška, Tjaša Armič, and Raša Urbas. "SCENTED CORPORATE VISUAL IDENTITY." In 9th International Symposium on Graphic Engineering and Design. Faculty of Technical Sciences, 2018. http://dx.doi.org/10.24867/grid-2018-p66.

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Zhang, Chufan. "The Importance of Visual Identity Graphic Design in Cities." In 2016 2nd International Conference on Social Science and Technology Education (ICSSTE 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icsste-16.2016.130.

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Rynning, Margaret. "Speculative Graphic Design: Visual Identity Branding as a Catalyst for Change." In Nordes 2017: Design and Power. Nordes, 2017. http://dx.doi.org/10.21606/nordes.2017.042.

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Levkovskaia, E. S. "VISUAL IDENTITY OF THE PARK IN THE URBAN ENVIRONMENT BY MEANS OF GRAPHIC DESIGN." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.7.

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Plahuta, Elena, and Nace Pušnik. "REDESIGN OF KOZJANSKO REGIONAL PARK VISUAL IDENTITY THROUGH AN EYE TRACKING ANALYSIS OF THE CURRENT AND NEW SOLUTION." In 9th International Symposium on Graphic Engineering and Design. Faculty of Technical Sciences, 2018. http://dx.doi.org/10.24867/grid-2018-p65.

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Lisha, Ouyang, Li Sisi, and Yuan Shuai. "Visualization of information design — A discovery using the recognition of the visual identity graphic symbol." In 2012 International Conference on Image Analysis and Signal Processing (IASP). IEEE, 2012. http://dx.doi.org/10.1109/iasp.2012.6425045.

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Sampaio, Valzeli. "Wish Mango Tree: hybrid experimentation and creation." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.109.

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This essay presents the process of creating the artistic project at augmented reality “Wish Mango Tree” is configured as a specific site / public intervention for installing in the georeferenced mango trees of the city of Belém a technological device for electronic labeling and the creation of a hollow steel plate at mango tree. This process involves experimentation and creation related to Visual Arts, Design and programming, experienced through a mobile application, being a physical hybrid intervention. “Wish Mango Tree” is inspired by the work “Wish Tree” , a series of art installations in process, started in 1981, by the Japanese artist, and member of the Fluxus group, Yoko Ono. She chooses a tree native to a place, or plants one under her guidance. The public is invited to tie a wish in writing and hang it on the tree. Yoko has already installed this work in some cities in the world. “Wish Mango Tree” proposes an action similar to the public and passers-by of the mango trees in Belém. The project promotes interaction between individuals: humans and mango trees. Digital content can be viewed in the augmented reality app at the site specific where mango leaf wishes can be accessed by anyone. “Mangueira Desejo” seeks to fill a gap or lack identified: the invisibility of mango trees, seeking to use technology to give visibility to a social and ecological problem. The political dimension of the project is revealed in giving visibility to the mango trees, activating the collective memory and provoking questions and commitments from the individuals involved: trees, people, and institutions. This artistic project aimed at experimentation and creation related to Visual Arts and Design, experienced through a mobile application. And evokes the affective memory of its participants, seeking to enhance, strengthen and maintain the identity and cultural memory of Pará through digital media. The project fits into the artistic and cultural area: Visual Arts, with the creation of proposals in the Visual Arts area, through the areas: installation, intervention mechanisms, specific site, urban art, digital art, new media, photography , being a hybrid proposal between art and digital design. In addition to addressing the experience of the visual arts in their technical, formal and conceptual reflections, of creation, diffusion, training and memory. In this sense, the project promotes creation, experimentation and design associated with a historical, social, cultural, sustainable and / or technological context, which can be translated into propositional actions that address graphic design, interactive media, web design/applications, design of games. The mango trees themselves are objects of public interest, the app invites everyone to “hang” their desires on the “Wish Mango Trees ”, promoting the transformation of the mango trees into a receptacle for the aspirations of the people who cross it. The app will promote remotely a network experience that triggers a physical experience in the main mango trees of the square, when approaching a mango tree to start the action, which will give visibility to the cloud of annotations at mango leaves through mobile app.

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