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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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Shlyakhova, Svetlana, Yulia Lektorova, and Natalia Bolshakova. "Innovation management in high school visual communications: from heraldry to animation." SHS Web of Conferences 116 (2021): 00054. http://dx.doi.org/10.1051/shsconf/202111600054.
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The article considers problems of innovative practices of building visual communication in higher education. In the theoretical part of the article, the authors’ model of university brand identity and a model of university logo identity are proposed. The research part presents the initial analysis results of the graphic design of university logos and the data on 80 logos comparative analysis, performed according to the color, font, symbol, shape criteria. Based on the results of the study, comparative analysis of the identified trends in formation of logos of Russian and foreign universities was conducted.
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I Nyoman Jayanegara and I. nyoman anom fajaraditya Setiawan. "ANALISIS BENTUK PADA IDENTITAS VISUAL STMIK STIKOM INDONESIA." Jurnal Bahasa Rupa 3, no. 2 (April 17, 2020): 76–82. http://dx.doi.org/10.31598/bahasarupa.v3i2.459.
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Visual identity as a sign system that is used consistently to communicate messages widely. This is very important to be a consideration in building positive branding. The design elements contained in visual identity should be able to be clear and specific in their function as sign systems. In STMIK STIKOM Indonesia as an entity, it has a logo and a symbol as its visual identity. The use of these two things becomes somewhat ambiguous when published to the public and can lead to confusion about the reception of the message. In this visual identity study as a sign system, data will be collected in various fields related to logos and symbols in various media created by institutions. So that the data can be analyzed taxonomically by considering the construction, fields, letters, colors, and forms of placement in various elements. The results of the study found that the inconsistency of the use of visual identity, the use of different colors on the logo or symbol, removal of some parts of the logo, and the destruction of the logo structure with a disproportionately step. The fundamental finding is the emergence of ambiguity in visual identity and the necessity of having standard rules through manual graphic standards as a reference for the use or utilization of agreed visual identity.
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Zhang, Shizhuo. "Application of Computer-Aided Graphic Design in Enterprise Image." Security and Communication Networks 2022 (January 24, 2022): 1–7. http://dx.doi.org/10.1155/2022/6206434.
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In order to study the role of computer-aided graphic design on corporate image, improve the internal management efficiency and market management effect of enterprises, and improve the business process of corporate image design (visual identity, VI), according to the relationship between corporate image design investment and internal management, this paper studies and analyzes the factors that affect corporate market management, including employee exchange rate, unit labor value, market share, team ratio, and passive order rate. Finally, it was found that the amount of investment in VI related work was confidently and negatively correlated with the employee exchange rate.
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Dončić, Siniša Hajdaš, and Nikola Đurek. "Social – Cultural Sustainability of a Local Community through Visual Identification on the Example of the Town of Zabok." Acta Economica Et Turistica 2, no. 2 (December 1, 2016): 127–38. http://dx.doi.org/10.1515/aet-2016-0011.
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AbstractIn order for a local community to set up mechanisms for shaping and enforcing public politics which strengthen local communities, historical research that would lead to the identity of a local community must be conducted thus enabling the identification of the community as a tourist destination. Analytical-synthetic method will be used to define the concept of a local community, that is the sustainability of a local community as one element of sustainability in general, as well as the concept of a tourist destination. The identity of a local community may be presented using basic means of visual communication (graphic design, typography, photography, illustration), which if defined and applied appropriately, will improve the distinguished identity of a local community.
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Masdupi, Erni, Tri Kurniawati, Halkadri Fitra, and Dini Faisal. "Kedinamisan dalam Kearifan Lokal: Perancangan Identitas Visual Galeri Sulam Pinjaik Patah." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 7, no. 2 (October 1, 2021): 224–39. http://dx.doi.org/10.33633/andharupa.v7i2.4097.
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AbstrakGaleri Sulam Pinjaik Patah sebagai usaha kolektif warga Nagari Panampuang memiliki potensi menjadi salah satu ikon produk sulam di Sumatra Barat. Namun, dari sisi desain grafisnya belum memiliki solusi desain yang baik. Logo yang dimiliki belum dapat memperkenalkan karakter, kepribadian, dan ciri khas Sulam Pinjaik Patah. Identitas visual merupakan jawaban bagi permasalahan Galeri Sulam Pinjaik Patah karena penggunaan identitas visual yang sistematis, terstruktur dan konsisten akan mampu membangun brand awareness. Identitas visual dirancang dengan menggunakan metode research and development (R&D) yang terdiri dari tahapan mengenali potensi dan masalah, merancang desain produk, validasi dan uji coba. Hasil rancangan identitas visual memiliki elemen yang dinamis, aplikasi yang fleksibel sehingga memberi ruang bagi entitas untuk mengembangkan elemen dari identitas visual. Kata kunci: galeri sulam, identitas visual, kearifan lokal, pinjaik patah AbstractGaleri Sulam Pinjaik Patah has the potential of becoming one of the icons of embroidery products in West Sumatra. However, the gallery does not have a better graphic design solution. Its current logo does not introduce the character, personality, and characteristics of the origin of the name Pinjaik Patah embroidery. The problem is gallery needs more recognition to create brand awareness. It demands a systematic and consistent use of visual identity, not just a logo. The research and development (R&D) method is used to design the visual identity. The stages are identifying potentials and problems, designing product designs, validating, and testing. The final design of Galeri Sulam Pinjaik Patah’s visual identity has dynamic elements and flexible applications that allowed the gallery to improve and develop its visual identity. Keywords: embroidery gallery, local wisdom, pinjaik patah, visual identity
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Ahmad, Arif Priyono Susilo. "Studi Perancangan Identitas Visual Wilayah Karimunjawa." Humaniora 4, no. 1 (April 30, 2013): 567. http://dx.doi.org/10.21512/humaniora.v4i1.3465.
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Effective communication is a critical need in our lives. Communication that is not running properly will impede the flow and the system of social activity. Living in a world filled with information needs language as a right marker so that the meaning of a message can be conveyed properly. At such moments, a marker, which also functions as the identity for the people, demands to look unique, creative, communicative, and comprehensible globally, beyond the boundaries of culture and geography. Visual markers of an area are needed so that miscommunication can be reduced. Visual markers were developed in regard to communication strategies within the context of destination branding. Sharp communication strategy would manifest in the form of creative concept, a kind of platform on which to base and the main idea behind the overall design visualization. Manifestation the visual form of logo design, typography, tone color, shapes, graphic elements, mascot, pictograms, wayfinding, posters, merchandise, and so on. The visual identity of the region, in relation to destination branding program, specifically intended for a destination region, will raise the values of locality, the uniqueness, diversity, and distinctiveness of the region. Designing visual identity Karimunjawa region in this case study apply the principles of creativity and uniqueness that is processed into a visual appealing, distinctive, and attractive, yet understated and powerful in raising local elements.
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Melewar, T. C., John Saunders, and John M. T. Balmer. "Cause, effect and benefits of a standardised corporate visual identity system of UK companies operating in Malaysia." European Journal of Marketing 35, no. 3/4 (April 1, 2001): 414–27. http://dx.doi.org/10.1108/03090560110694772.
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Investigates the degree of global standardisation of a corporate visual identity system (CVIS) in multinational operations. A special emphasis of this research is accorded to UK companies operating in Malaysia. In particular, the study seeks to reveal the reasons for developing a standardised CVIS; the behavioural issues associated with CVIS; and the determination in selecting a graphic design agency. The findings of the research revealed that multinational corporations in an increasingly corporate environment adopted a standardised CVIS for several reasons, including, aiding the sale of products and services, creating an attractive environment for hiring employees, and increasing the company’s stature and presence. Further findings show that the interest in global identity was stimulated by global restructuring, merger or acquisition. The above trends help explain why increased focus has been accorded to CVIS over the past five years by many UK companies operating in Malaysia. Additional findings reveal that both the UK design agencies and in‐house design department are used in the development of the firms’ CVIS.
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Boxenbaum, Eva, Candace Jones, Renate E. Meyer, and Silviya Svejenova. "Towards an Articulation of the Material and Visual Turn in Organization Studies." Organization Studies 39, no. 5-6 (May 8, 2018): 597–616. http://dx.doi.org/10.1177/0170840618772611.
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Contemporary organizations increasingly rely on images, logos, videos, building materials, graphic and product design, and a range of other material and visual artifacts to compete, communicate, form identity and organize their activities. This Special Issue focuses on materiality and visuality in the course of objectifying and reacting to novel ideas, and, more broadly, contributes to organizational theory by articulating the emergent contours of a material and visual turn in the study of organizations. In this Introduction, we provide an overview of research on materiality and visuality. Drawing on the articles in the special issue, we further explore the affordances and limits of the material and visual dimensions of organizing in relation to novelty. We conclude by pointing out theoretical avenues for advancing multimodal research, and discuss some of the ethical, pragmatic and identity-related challenges that a material and visual turn could pose for organizational research.
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Kosiv, Vasyl. "RELIGIOUS AND NATIONAL SYMBOLSIN VISUAL REPRESENTATION OF THE UKRAINIAN IDENTITY IN GRAPHIC DESIGN OF THE DIASPORA, 1945—1989." Ethnology Notebooks 144, no. 6 (November 5, 2018): 1385–93. http://dx.doi.org/10.15407/nz2018.06.1385.
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Saputra, Ari, Ade Kosasih, and Deden Bagja Sudrajat. "Redesign Corporate Identity Sebagai Peningkatan Image Perusahaan Studi Kasus PT. Finansia Multi Finance." CICES 2, no. 2 (August 30, 2016): 173–87. http://dx.doi.org/10.33050/cices.v2i2.316.
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The era of globalization brings two effects, on the one hand can increase the opportunities in the field of employment, on the other side of the business world increasingly keen competition and tight. Therefore, it needs the right strategy for success in the business world. In marketing the product until now the company has been using various forms of media support facilities include: media banners, xbanner, brochures, stickers products and supported other visual media used by the company. But the company realized that a competitor with a similar type of business more and more, and also continues to grow. The problems increase with the identity of the old logo is not in accordance with the vision and mission as well as management targets. From the condition the company calls for the renewal of the corporate identity to build the image and identity is formed through the overall appearance of design in any media promotional campaign as a support program in order to further enhance the attractiveness to prospective customers. Analysis of problems derived from interviews with Branch Operation Manager PT. Finansia Multi Finance relating to the design of corporite identity redesign. The end result of this research is the manufacture of Graphic Standards Manual that is intended for the manufacture of the logo as a corporate identity of a company systematically arranged, and there is no error of perception / view in the application of the logo on any existing media include media banners, xbanner, brochures, stickers products and supported other visual media used by the company. With the redesign of the design coorporite identity at PT. Finansia Multi Finance, is expected to reinforce the existence and increase consumer purchasing power against PT. Finansia Multi Finance itself.
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Chekal, O. "The Poetics of the Ukrainian Font and Graphic Image of Hudprom: A 100-year Search." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 254–62. http://dx.doi.org/10.33625/visnik2021.02.254.
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The article deals with the search for a graphic style for the Kharkiv Art School for the 100th anniversary of Hudprom (the previous informal name of KSADA). Based on a study of Ukrainian font tradition, a visual image was found that links different generations of Kharkiv artists. The author of the article shows how the bridge between the Kubo-Futuristic finds of Kharkiv art-craftsmen Vasyl Yermilov, Borys Kosarev and modern design thinking was stretched in the development of inscriptions and signs. The features of working with typographic and aesthetic clusters to reveal the identity of time and place in graphic design are described. A variable font has been developed, combining both grotesque and avant-garde forms and more plastic historical graphemes based on cursive heritage. The flower of Kosarev, which has become a graphic image of the academy, simultaneously in different contexts and compositional solutions embodies the flourishing Ukrainian modernism (historical background), as well as represents the modern multimedia postmodernist pattern.
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Bonafix, D. Nunnun. "Peranan Web Desain dalam Internet." Humaniora 1, no. 2 (October 30, 2010): 196. http://dx.doi.org/10.21512/humaniora.v1i2.2861.
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Internet is an alternative media that have become a trend, a lifestyle and a need for people in the world. Moreover, the interface display of a website is getting more beautiful, more interesting, and more sophisticated. That's the reason why a web design presents a visual display of a website that has certain messages that cover layouts, graphic elements, and navigation systems to facilitate the users in browsing it. Now a website has shown the identity of a product, a company, and even the owner. To face a tight global competition, a web design plays an important role in surpassing other competitors.
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Miroshnikov, V. V., and V. M. Miroshnikova. "ON THE PROBLEMS OF VISUAL IMAGE FORMATION IN RUSSIAN TERRITORIAL BRANDING." Arts education and science 1, no. 2 (2021): 144–50. http://dx.doi.org/10.36871/hon.202102018.
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The problem of designing visual signs in the context of Russian territorial branding by means of graphic design actualizes not only the image potential of regions, but also represents a significant sphere of understanding cultural identity, revealing cultural codes and semantic images relevant to the perception of a modern man. As the origins of modern geo-branding, the article examines heraldic traditions of city emblems, their archetypal images rooted in cultural memory and history. Particular attention is paid to the perception of abstract index signs and the most common examples of modern geo-branding in the absence of conventional interpretation. The potential of basic heraldic symbols in the design of graphic complexes, implementing the branding of regions is considered. The article provides arguments in favor of a systematic approach to the design of visual identification of territories based on a scrupulous pre-project analysis, respecting the historical and cultural codes of territories. The authors propose a list of constructive measures aimed at creating a territory branding system that will be able to solve functional problems actual for this area. The content of the article is intended to thoroughly understand the processes of regional branding as a factor of regional socio-cultural and socio-economic development.
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Zhao, Nanxuan, Quanlong Zheng, Jing Liao, Ying Cao, Hanspeter Pfister, and Rynson W. H. Lau. "Selective Region-based Photo Color Adjustment for Graphic Designs." ACM Transactions on Graphics 40, no. 2 (April 27, 2021): 1–16. http://dx.doi.org/10.1145/3447647.
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When adding a photo onto a graphic design, professional graphic designers often adjust its colors based on some target colors obtained from the brand or product to make the entire design more memorable to audiences and establish a consistent brand identity. However, adjusting the colors of a photo in the context of a graphic design is a difficult task, with two major challenges: (1) Locality: The color is often adjusted locally to preserve the semantics and atmosphere of the original image; and (2) Naturalness: The modified region needs to be carefully chosen and recolored to obtain a semantically valid and visually natural result. To address these challenges, we propose a learning-based approach to photo color adjustment for graphic designs, which maps an input photo along with the target colors to a recolored result. Our method decomposes the color adjustment process into two successive stages: modifiable region selection and target color propagation. The first stage aims to solve the core, challenging problem of which local image region(s) should be adjusted, which requires not only a common sense of colors appearing in our visual world but also understanding of subtle visual design heuristics. To this end, we capitalize on both natural photos and graphic designs to train a region selection network, which detects the most likely regions to be adjusted to the target colors. The second stage trains a recoloring network to naturally propagate the target colors in the detected regions. Through extensive experiments and a user study, we demonstrate the effectiveness of our selective region-based photo recoloring framework.
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Borysenko, Olha, and Stanislav Mygal. "IMPACT OF SOCIO-CULTURAL TRANSFORMATION IN THE COMMUNICATIVE DESIGN IN GALICIA." Proceedings of CBU in Social Sciences 2 (October 24, 2021): 57–65. http://dx.doi.org/10.12955/pss.v2.202.
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The development of information and communication technologies has determined their spreading in the design of the visual information environment of human activity. This was the main reason for this research — the search for the starting points of the communicative design in Galicia as the phenomenon of artistic-project culture and examining it. The methodological basis of the paper includes interdisciplinary and system approaches in solving the assigned tasks.
The comparative historical analysis and the culturological method has been used to analyze socio-cultural processes in Galicia. This paper analyzes the historical and socio-cultural preconditions for the formation and development of design in Galicia. This paper observed that public organizations, industrial committees, associations, educational and cultural societies have a salience role in improving the design of industrial products. The graphic design of printing products, advertising style, photo, and film productions models the communication characteristics and identity of the graphic design objects.
The result of the probability of design in Galicia was obvious due to the activity of artists, whose graphic design works created harmonious communicative encirclement of human activity.
The complexity of the language of European aesthetics and the sources of national creativity of the Galician masters constituted the paradigmatic basis of communication design. An integral communicative and multifaceted process in the context of socio-cultural transformation consolidated the phenomenon of formation and development of design in Galicia..
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Gunarso, Wijil Susetyo, Ahadiat Joedawinata, and Agung Eko Budiwaspada. "PERANCANGAN IDENTITAS VISUAL UNTUK RE-BRANDING RAJA TRAVEL MENJADI WHY TRIP TOUR AND TRAVEL DESIGNING VISUAL IDENTITY FOR THE RE-BRANDING OF RAJA TRAVEL INTO WHY TRIP TOUR AND TRAVEL." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 4, no. 1 (August 1, 2021): 53. http://dx.doi.org/10.25105/jsrr.v4i1.9970.
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<pre><strong><em>Abstract</em></strong><strong><em> </em></strong></pre><p>Why Trip Tour and Travel <em>is a company which engaged in tour and travel service provider, as an old company which engaged in tour and travel service provider bussines sector, it needs an effort to create image and strong identity, so that company’s identity can increase. Thus, rebranding is needed as an effort of increasing company’s identity through some media, for example logo, website, social media, mobile apps which finally it creates a GSM ( Graphic standard manual) this planning aims to rebranding </em>Why Trip Tour and Travel <em>will show more fresh visual. In this rebranding is needed some steps to recieve appropriate result. First step is interviewing and observation, collecting data, creative strategy from </em>Why Trip Tour and Travel <em>and next step is processing design planning. Through all of steps, it will recieve key word as rebranding reference, is safe trip. The result of this final project is a logo, website, soscial media, and mobile apps which create a GSM ( Graphics </em><em>S</em><em>tandard </em><em>M</em><em>anual) , it will be propposed to ownrer of </em>Why Trip Tour and Travel <em>company.</em></p><p><strong><em>Key word</em></strong><em>: Rebranding, why trip tour and travel, Company’s identity</em></p><pre> </pre><p><strong>Abstrak </strong></p><p>Why Trip Tour and Travel adalah perusahaan yang bergerak di bidang penyedia layanan jasa tour dan perjalanan. Sebagai perusahaan yang cukup lama brgerak di sector bisnis penyedia layanan jasa tour dan perjalanan, perlu adanya upaya membangun citra serta identitas yang kuat sehingga mampu meningkatkan identitas perusahaan. Maka dari itu, diperlukan upaya rebranding sebagai upaya peningkatan identitas perusahaan melalui beberapa media berupa pembuatan logo, website, sosial media, mobile apps yang akhirnya nanti membentuk sebuah GSM (Graphic Standart Manual). perancangan ini bertujuan untuk me-rebranding Why Trip Tour and Travel yang mana akan menampilkan visual yang lebih segar dari sebelumnya. Dalam rebranding ini diperlukan beberapa tahapan untuk mendapatkan hasil yang sesuai, yakni diawali dengan wawancara serta observasi, pengumpulan data, strategi keratif dari pihak Why Trip Tour and Travel, dan kemudian dilanjutkan dengan proses perancangan desain. Dari tahapan tersebut nantinya didapatkan kata kunci sebagai acuan rebranding, yaitu Safe Trip. Hasil dari laporan tugas akhir ini berupa logo, website, sosial media, mobile apps yang akhirnya nanti membentuk sebuah GSM (Graphic Standart Manual). yang akan diajukan kepada pemilik perusahaan Why Trip Tour and Tavel.</p><p><strong>Kata kunci: </strong>Rebranding, Why Trip Tour and Travel, Identitas Perusahaan</p>
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Arine, Zalshabila Audrea Putri, and Shienny Megawati Sutanto. "PERANCANGAN VISUALISASI JURNAL “TALENTIFY” SEBAGAI MEDIA IDENTIFIKASI MINAT DIRI REMAJA." Jurnal VICIDI 11, no. 1 (June 30, 2021): 95–112. http://dx.doi.org/10.37715/vicidi.v11i1.1991.
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Talentify is an activity book that is used to help highschool teenager to explore their interests in order to prevent the phenomenon of misdirecting college major. From the first market research on extreme users and expert users, a visual problem was discovered where Talentify book was considered too stodgy to read and fill, this was due to the dominance of text's composition, also the minimum frequent of visual elements such as illustrations and symbols. Therefore, the purpose of this design is to overcome the visual problems of Talentify product as described above so that the book appearance looks more fun and challenging to fill. This design uses secondary data collection methods. The secondary data is the result of literature studies through related journals and books such as visual design, activity books, reflective journals, and interactive content. These summaries will be considered as the basic knowledge to redesign the appearance of the book. The result of this design is the visual element and the book graphic design itself with more "fun" concept which associates with the brand identity, also layouts and illustrations which more organized according to visual hierarchy that does not causing a stodgy feeling when the users fill and read the book.
Keywords: Activity Book, Interactive Journal, Self-Interest.
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Nila, Nawang Nawang. "Fungsi Dan Makna Point Of Interest Dalam Unsur Grafis Pada Label Makanan Tradisional Getuk Goreng Di Sokaraja." CITRAWIRA : Journal of Advertising and Visual Communication 2, no. 2 (December 26, 2021): 113–28. http://dx.doi.org/10.33153/citrawira.v2i2.4012.
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Point of Interest (center of attention) becomes important for identity on product labels for Sokaraja fried getuk packaging. On each label, Sokaraja fried getuk uses a different center of attention from one label to another. This study aims to determine the role of the center of interest in the fried getuk label. The research method used is descriptive qualitative research by extracting data from primary and secondary sources such as interviews and literature studies. Through the perspective of the theory of graphic elements and design principles as the unit of analysis for the label of getuk goreng Sukaraja. Based on data analysis, it was concluded that the Sokaraja Fried Getuk Label has the characteristics of traditional visual elements and is dominated by red. Aspects of typography tend to be serif, sans serif, and script, using symmetrical and asymmetrical compositions. Design principles such as unity, proportion, balance, rhythm, and emphasis are visual elements that are composed quite well.
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Kozhina, Natalia, and Elena Kostyrina. "Project method of training the student designers on the example of regional identification logos and signs’ creation." E3S Web of Conferences 210 (2020): 22012. http://dx.doi.org/10.1051/e3sconf/202021022012.
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The article explores the design method of creating a logo as a graphic basis for visual branding. The identification importance for the promotion of goods and services, as well as in the field of regional branding, is substantiated. The task of creating an identity is considered in the context of the formal characteristics and the substantive aspect unity. A detailed description of the author’s methodology for the development of the regional identification logos and signs in the process of training the design students is given. The focus is on the need for a thorough analysis of the design task and the systematization of analog material for the conceptual solutions’ selection. An algorithm for step-by-step actions in the designed sign expressiveness compositional means’ selection using such resources as typography and illustration, is proposed. The criteria for assessing the design result quality - a composite and imaginative solution in creating the signs of regional identification are given. The multidisciplinary nature of this design task is emphasized.
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Lazo-Galán, Juan. "DISEÑO GRÁFICO Y PATRIMONIO." Universidad-Verdad, no. 64 (August 15, 2014): 119–46. http://dx.doi.org/10.33324/uv.vi64.257.
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El diseño gráfico profesional en Ecuador se ha convertido en una carrera que tiene una enorme aceptación en el país con más de 24 universidades que tienen la carrera. Es una profesión que utiliza signos y símbolos arraigados en el inconsciente colectivo para generar comunicación. En un importante movimiento en los últimos años, los diseñadores gráficos han estado buscando referentes dentro del patrimonio ecuatoriano para generar propuestas con características propias, en algunos casos volviendo la mirada al pasado y en otras buscando en la cultura popular y en la naturaleza aquello que nos caracteriza. Este artículo analiza el diseño gráfico generado en los últimos 50 años y su relación con el patrimonio histórico, cultural y natural del país.
Palabras Clave: Cultura popular, precolombino, naturaleza, identidad, expresión visual
AbstractProfessional graphic design has become a career with a huge acceptance in Ecuador, with more than 24 universities offering it as a program of study. It’s a profession that uses signs and symbols rooted in the collective subconscious to producecommunication. In an important movement over the last few years, graphic designers have been searching for references within Ecuadorean culture to generate proposals with their own unique characteristics, in some cases, looking at the past andin others, searching within popular culture and in nature all that characterizes us. This article analyzes graphic design generated in the last 50 years and its relationship with the country’s historical, cultural and natural heritage.
Keywords: Popular culture, pre-Columbian, nature, identity, visual expression.
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Renon, Anne-Lyse. "Graphic design and research in social sciences: Jacques Bertin and the Laboratoire de Graphique." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-311-2019.
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<p><strong>Abstract.</strong> The contemporary rise of data visualization and imaging technologies in all areas of knowledge now places design and visuality at the heart of research and its communication, with fundamental implications for scientific epistemology. Jacques Bertin's Laboratoire de Graphique (LG) of the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in France, is a privileged entry for this study, since it was a major player in this movement, at the crossroads of graphic innovation and social sciences as they reinvented themselves in the second half of the twentieth century.</p><p>This intervention aims to explore a black box of research in the humanities and social sciences, according to two approaches, that of the interdisciplinary collaborations and that more experimental of the graphic design and formatting of information. By design we mean as all the processes from graphical display of data, to CHI, new methods of scientific representation.</p><p>This laboratory was created and directed by the cartographer and semiologist Jacques Bertin from 1954 to 2000 at the Ecole Pratique des Hautes Études and, under the impetus of Fernand Braudel, at the Ecole des Hautes Etudes en Sciences Sociales (EHESS), is considered as a forerunner of productions and reflections on graphic research in the social sciences. His work articulates an unprecedented production of images, visualization of data and scientific research, forming the subject of a fundamental treatise, Graphical Semiology (1967). The intervention will trace the largely unknown history of this laboratory, will pinpoint the contributions and the intellectual trajectory of its graphic experiments and collaborations.</p><p>Indeed, while the activities related to the LG's cartographic research are relatively well known, its interactions with history, statistics, sociology, anthropology, urbanism, literature and the decorative arts remain unexplored.</p><p>Jacques Bertin, in <i>Semiology of graphics</i> (1967), highlighted the concept of « visual variables » to build a general rhetoric of visual representation: background shape orientation grain color, etc.</p><p>The paradox of these visual variables is the desire to achieve an objectivity of representation, while taking into account the ”aesthetic“ part of the data. This graphic rhetoric developed by Bertin has influenced many works and disciplines, becoming almost standard, convention, rules. In this session we propose to discuss the relationship between design and visual variables in the contemporary visual display of information.</p><p>We will start by presenting the two complementary funds of archives of the Laboratoire de Graphique the NAs and the BnF, allowing a genetic analysis of the origin of certain concepts of Bertin to give an account of the process of their elaboration.</p><p>We will present collaborations, content, and processes to produce a story that is at once aesthetic, social, economic, and political. We will measure the evolution of scientific imaginaries, the values and uses of representation methods and graphic communication tools, their epistemological scope into 4 thematics:</p><ol><li>The Life of the Graphic Lab: Pathways, Collaborations and Practices at EHESS. Collaboration Braudel-Bertin,creation of the visual identity of the EHESS, practices and conceptualization of the place of graphic research in the social sciences. Bertin heritage in current research programs</li><li>The graphic semiotics of Jacques Bertin: genesis and effects, including in contemporary digital humanities (statistics,big data, cultural analytics). Visual variable and Display of information as the starting point of a research, fieldworks</li><li>The expressivity and plasticity of graphic work: the representation of geographical and human territory. Contribution of the experimental work of the Graphical Laboratory to cartography; materialization of the instrumental design and graphic knowledge in the uses and materiality of the cards from the point of view of the plastic creation and the patrimonial conservation. Objectivity and visual display: relationships between graphics and fact in scientific demonstration</li><li>Graphical semiology in contemporary research, from graphic semiology to information design; pedagogical and epistemological issues of graphic semiology; dissemination of the work of the Laboratoire de Graphique and impact on the field of design and different disciplines in the international context. « Redesigning » the concepts of Bertin: how new data processing tools can contribute?</li></ol><p>The new convergences between design and research will be mobilized to question the place devolved to design in the visual and instrumental construction of contemporary scientific practices and knowledge. This will stimulate a dynamic and a collective experience of interdisciplinary discovery of uses of these methods and tools in heritage context.</p>
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Riposati, Daniela, Giuliana D'Addezio, Francesca Di Laura, Valeria Misiti, and Patrizia Battelli. "Graphic design and scientific research – the National Institute of Geophysics and Volcanology (INGV) experience." Geoscience Communication 3, no. 2 (December 11, 2020): 407–25. http://dx.doi.org/10.5194/gc-3-407-2020.
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Abstract. One of the primary activities of the Istituto Nazionale di Geofisica e Vulcanologia (National Institute of Geophysics and Volcanology; INGV) is the production of resources concerning educational and outreach projects in geophysics and natural hazard topics. This activity is aimed at transferring, periodically, results at the forefront of ongoing research to the public through an intense and comprehensive plan for scientific dissemination. Over the past 15 years, graphic and visual communication have become essential tools for supporting institutional and research activities. In this paper, we describe successful INGV team experiences resulting from a close relationship and collaborative work between graphic designers and research scientists. The main goal of the projects devoted to the general public, through the creation of a museum exhibition or the production of descriptive brochures, is to support scientists in conveying their message and making concepts fruitful, easier to understand but also fully enjoyable thanks to the emotional involvement that images may generate. Through a careful composition of signs and images, and through the use of different visual tools (colours, form and lettering) on different media (print, video and web), the graphics and editorial products together create a strong INGV-style identity, making it easily recognizable in any educational and outreach project. A full project product package might include a logo or other artwork, organized text and pure design elements such as shapes and colours, which serve the purpose of unifying the whole set. Colour is used not only to help the project logo to stand out from the international overview but, in our case, also to generate a unifying return across all INGV sections. A recent and highly stimulating experience concerned the creation of edu-games, specifically designed for scientific dissemination, through a close collaboration between INGV graphic designers and their reference scientific community. The edu-games were designed as an effective combination of educational content and playful communicative aspects, leading the young players to learn while having fun.
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Albert, Marilyn M. "A Multimodal Discourse Analysis of Incognegro (2008)." International Journal of Languages, Literature and Linguistics 7, no. 4 (December 2021): 171–76. http://dx.doi.org/10.18178/ijlll.2021.7.4.307.
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This study attempts to conduct a multimodal discourse analysis (MDA) of Incognegro (2008), a graphic novel by Mat Johnson and arts by Warren Pleece, by applying Michael Halliday’s theory of the Systemic Functional Grammar (SFG) (1994) for the written texts, i.e. the captions found on the images, and Gunther Kress and Theo van Leeuwen’s Grammar of Visual Design (GVD), or what has been recently called Systemic Functional Multimodal Discourse Analysis (SF-MDA) (1996) for the images themselves. The study employs, as well, Teun A. van Dijk’s modal of Critical Discourse Analysis (CDA) (2004), in which power, racism, segregation, oppression, ethnicity, inequality, discrimination, identity, superiority, inferiority, dominant groups, and dominated groups are being analyzed. The study aims at showing the inequality, the oppression, the racial discrimination, and the exercised power Negroes previously suffered (1930s) in America, the land of freedom, and how this suffering is depicted through graphic novels for historical documentation. The study shows that the Whites considered themselves the dominant group, whereas the Negroes were treated as slaves, not even equal to human beings, and hence are recognized to be the oppressed and the dominated group.
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Talebzadeh, Adeleh, and Azadeh Sharifi Nowghabi. "The Visual Effects of Store's Signage Displays in Urban Landscape." Civil Engineering Journal 5, no. 1 (January 27, 2019): 191. http://dx.doi.org/10.28991/cej-2019-03091237.
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Most conducted studies about urban development in architecture, urbanism and environmental graphics areas indicate that urban furnishing is one the effective factors of urban landscape, Graphic and environmental signs and structures have an effective role in inducing identifying and strengthening the sense of place, and man can realize the identity and existence of space unconsciously. If the environment has the right design, it will make us calm and cause prosperous creativity and positive moves that ultimately lead to progress. Providing the clarity, readability, and clear image of the environment gives the person a sense of security. The aim to have a clear picture of the environment is that one can easily recognize the components of the environment and connect them in their minds in an interconnected form. The irregularity of a series of elements that lacks aesthetic values has created visual distortion for the citizens. One of these cases is the store's signage, which leads to overcrowding due to irregularities, and completely violates the main purpose of the urban design which is creating visual comfort. The study conducted on paying attention to the importance of urban furnishing and designing store's signage and its role in urban landscape. It was a practical study with laboratory and survey method. The findings indicated that along with abundant issues of urban furnishing, paying attention to designing store signs has an important role in improving urban landscape.
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Skaggs, Steven. "The visual gamut and syntactic abstraction." Semiotica 2022, no. 244 (January 1, 2022): 1–25. http://dx.doi.org/10.1515/sem-2020-0076.
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Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.
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Yáñez Martínez, Mª Begoña. "El diseño gráfico como herramienta para la representación de la identidad visual y la interacción en el aula = Graphic design as a tool for the representation of visual identity and interaction in the classroom." ArDIn. Arte, Diseño e Ingeniería, no. 7 (July 25, 2018): 41. http://dx.doi.org/10.20868/ardin.2018.7.3758.
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ResumenEste artículo está basado en una experiencia real, didáctica y significativa,realizada en un entrono virtual, en la que trabajamos el diseño gráfico aplicado a la creación de identidades visuales desde el punto de vista de la representación de personas en lugar de empresas o entidades. Gracias a esta actividad hemos podido aplicar diferentes estrategias innovadoras, como la gamificación, para el correcto desarrollo de una tarea que incluye la adquisición de conocimiento teórico-práctico, la reflexión sobre la identidad visual, la interacción entre los distintos miembros de la experiencia (estudiantes y docente) y la motivación del entretenimiento.Para una mejor comprensión, de la experiencia y la actividad, conoceremos las necesidades de las que surge la elaboración de la propuesta didáctica, el desarrollo de la misma, los principales fundamentos teórico-visuales en los que se apoya el aprendizaje y la valoración de la experiencia desde el punto de vista del docentey desde los estudiantes (participantes de la experiencia).AbstractThis article is based on a real and significant didactic experience, realizedin a virtual environment, in which we work the graphic design applied to the creation of visual identities from the point of view of the representation of people instead of companies or entities. Thanks to this work we have been able to apply different innovative strategies, such as gamification, for the correct development of a task that includes the acquisition of theoretical-practical knowledge, reflection on visual identity, interaction between the different members of the experience (students and teacher) and the motivation of entertainment. For a better understanding of the experience and the task, we will know the needs of which the elaboration of the didactic proposal arises, his development, the main theoretical-visual foundations in which the learning is supported and the valuation of the experience from the point of view of the teacher and from the students (participants of the experience).
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Foroudi, Pantea, Khalid Hafeez, and Mohammad M. Foroudi. "Evaluating the impact of corporate logos towards corporate reputation." Qualitative Market Research: An International Journal 20, no. 2 (April 10, 2017): 158–80. http://dx.doi.org/10.1108/qmr-05-2015-0043.
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Purpose This paper aims to examine the impact of corporate logos on corporate image and reputation in creating competitive advantage in the context of Persia and Mexico as emerging markets. The paper provides an extensive links between corporate logo and its dimension and internal stakeholders’ attitudes towards advertisement, familiarity and recognisability as intermediaries to corporate image and reputation. Design/methodology/approach A qualitative exploratory approach was undertaken, comprising 12 face-to-face interviews and 14 skype in-depth interviews with graphic designers, design, communication and marketing consultant in Mexico and Persia based on attribution theory. Findings The study posits that the more favorable the name, colour, typeface and design of the company logo, the more favorable the attitude Mexican consumers have towards the corporate logo, corporate image and reputation. However, in comparison for Persia these factors have less effect on customers’ judgment and behaviour, towards the corporate logo, corporate image and reputation. The research findings suggest that the selection of colour in a corporate logo is related to its marketing objectives, cultural values, desired customer relationship levels with the organisation and organisation’s corporate communications. Originality/value Corporate logo has received little attention in marketing literature and rarely researched in the context of emerging market. This is the first research of its kind to find the effect of the compound logo in emerging markets of Persia and Mexico. Therefore, this research makes significant contribution towards the corporate visual identity literature by developing of the sphere of influence of the corporate logo and its antecedents and consequences (corporate image and corporate reputation).
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Kruglov, Alexander G., and Andrey A. Kruglov. "Adaptive Changes in the Psyche of Homo Sapiens during the Period of the Singularity (Part 3)." International Journal of Biomedicine 11, no. 3 (September 9, 2021): 318–22. http://dx.doi.org/10.21103/article11(3)_pv.
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Personal constitutional and acquired predispositions form preferences in the vectors of perception of information (cultural) sentences of the environment. On these vectors, contextual factors are formed that affect the processing of incoming information, the formation of representations and images, which determine the interpretation of lexical signs. Multiplication of contexts creates metacontexts that define the boundaries of virtual reality. One of the design features of Clip thinking (ClipT) is the formation of metacontexts by external structures: network associations. The metacontexts of ClipT form a new structure of communicative experience that changes the self-identification and socialization of the subject, causing a state of dependence. ClipT has significant similarities with hieroglyphic thinking (HieT), which consists of quantized combinations: image + sense + emotion + tone. Hieroglyphics (thinking and writing) have a metacontext nature, being a formation of an ethnic scale. According to some structural parameters, KlipT and HieT are similar to the level of identity. Fundamental factors are the external genesis of metacontexts; the imagery of thinking; elimination of causal relationships and abstraction; visual "receiving-transmission" of the sense of the perceptual image, including the graphic image; rigidity of mental and behavioral structures; embedded experience; etc. The integral structure of a legitimizing nature (HieT + writing + language + metacontext continuum (ethnocultural matrix)) forms a parametrically conjugated social structure derived from it. A monolithic socio-cultural conglomeration with a self-reproduction mechanism is created. We believe this principle is universal, with the possibility of extrapolation to any socio-cultural structure. Currently, the HS population is in a state of forming a universal cultural matrix with the potential to replace ethnocultural matrices. ClipT—the new operating system of the psyche—defines and unifies the transformation of ethnocultural matrices with the vector of universalization. The significant similarity of hieroglyphics with the parameters of ClipT contains the extrapolation potential of modeling (sociological and mathematical) the expected ethnic/universal dynamics of conglomeration: ClipT (psyche as a whole) and congruent social construction. The identity points of ClipT and HieT can find application in the constructions and artificial intelligence learning, as reference points of operating systems of thinking and language, in the structure of which there are no algorithms for cause-effect relationships, analysis, feedback, abstract thinking, and classification structures dominate.
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UĞUR, Engin, Samed Ayhan ÖZSOY, and Burçin TUNCAY. "ANALYSIS OF THE SYMBOLS ON THE SOCIALIST PARTY EMBLEM IN DIFFERENT COUNTRIES OF THE WORLD IN TERMS OF VISUAL COMMUNICATION CONCEPTS." IEDSR Association 6, no. 15 (September 20, 2021): 75–85. http://dx.doi.org/10.46872/pj.327.
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In many countries with a multi-party system, there are parties that have adopted socialist ideologies. These parties, which are in the category of left parties, generally advocate a strong state structure and the equal distribution of the opportunities of the country to all layers of the society. Although they have a large party structure to be an alternative to right-wing parties in some countries, they do not have a significant value in the eyes of the voters as a marginal party that appeals to a very small segment of the society in some countries. However, changing conditions and especially the failures of those in the administration cause socialist and similar parties to gain value in society as a hope. It is the general characteristic of socialist parties that they often take a serious stance against the populist party understanding. In addition, their weak point is that they prefer more traditional and economic methods instead of election campaigns where large expenditures are made because they do not receive support from large capital centers. A party that wants to struggle in today's multi-party structure has to do what is necessary in order not to fall behind the others. In particular, corporate identity structures that are not made by the professional team create an image that is well behind the day. Emblems and logos, which visually create a meaning and message for people and are perceived instead of the name of the party, are of great importance. Socialist parties' preference for classic logos with symbols that reveal their characteristic mentality constitutes a structure far behind today's modern graphic design product level. In the article, randomly selected socialist party logos from different countries of the world were analyzed within the framework of visual communication concepts. Analyzes are universal concepts that visual communication has produced under its own conditions from hundreds of years of experience. However, when these concepts are used with a critical structure, it is inevitable that there will be differences in evaluations according to personal perception differences.
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Díez, Laura González, and Pedro Pérez Cuadrado. "La cabecera como signo de identidad del producto periódico: una aproximación teórico-práctica a los rótulos de la prensa diaria española en 2013." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 1 (January 1, 2014): 31–62. http://dx.doi.org/10.7195/ri14.v12i1.637.
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El presente artículo de investigación plantea, de un lado, una revisión teórica sobre uno de los elementos básicos de la identidad visual de la prensa diaria: la cabecera, elemento que permite al periódico adoptar una imagen editorial propia y diferencial frente a sus competidores debido a su valor corporativo y cuya aproximación teórica no ha sido abordada con claridad por parte de los principales expertos del diseño periodístico. De otro lado, el artículo da a conocer los resultados de un trabajo de campo centrado en el estudio de las cabeceras de las ediciones impresas de los diarios españoles y que analiza el aspecto formal gráfico y tipográfico de este elemento fundamental, para lo que se ha trabajado con una muestra integrada por más de un centenar de periódicos. Todo ello nos ha permitido concluir que la cabecera tipo de los periódicos diarios impresos españoles es un rótulo compuesto con tipografía de palo seco, en color negro, en positivo, de caja alta y baja, centrado al ancho de la mancha, volado y con un filete que subraya el conjunto. This research article raises, on one hand, a theoretical review about one of the basic elements of the visual identity of the daily press: the headboard, element that allows the newspaper to show a differential and own editorial image over its competitors due to its corporate value and whose theoretical approach has not been clearly addressed by leading experts of the newspaper design. On the other hand, the article gives the results of field work focused on the study of the headboards of the printed editions of Spanish newspapers and which analyzes the graphic and typographic formal aspect of this essential element, for which we have worked with an integrated sample composed by more than one hundred newspapers. All this allowed us to conclude that the header type of printed Spanish daily newspapers is a compound sign composed by a sans serif typography, in black colour, in positive, in upper and lowercase, focused to the width of the stain, flown and a line that underlines the whole set.
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Klyukina, Lyudmila A. "VISUALIZATION OF THE THEORY OF OFFICIAL NATIONALITY IN RUSSIAN-BYZANTINE TEMPLE ARCHITECTURE IN THE FIRST HALF OF THE 19TH CENTURY." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 21–33. http://dx.doi.org/10.37816/2073-9567-2020-58-21-33.
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This article studies visualization of Official Nationality (ideology program designed by Sergey Uvarov, Russian Empire’ Minister of Education) in Russian-Byzantine temple architecture in the first half of the 19th century. The research is based on the semiotic concept by Umberto Eco, which views architecture as a visual means of communicating ideas. Moreover, works of architecture were studied through the lens of R. Ingarden’s aesthetic approach, as entities with emergent aesthetic value. Description of the visual images of Russian-Byzantine temples employs the notion of the “paradigm image” taken from A. M. Lidov’s theory of hierotopy. This paper is the first to provide semiotic analysis of the visualization of Official Nationality with three five-headed cathedral temples designed by K. A. Thon: the Cathedral of Christ the Savior in Moscow, Church of the Presentation of Mary in Saint-Petersburg, and Cathedral of Pentecost in Petrozavodsk. Analysis results obtained allowed for following author`s conclusions. The images of these temples were constructed by means of ideological, scientific and religious instruments. They may be regarded as “paradigm images” that translate the concept of “Orthodox empire”. These temples are illustrative of the idea of sacralization of authority with its historical mission of spreading and guarding such popular values as Orthodoxy and enlightenment. Irrational connection between “Orthodoxy”, “autocracy” and “nationality” was conveyed in temples designed by Thon by such rational means as “programmability”, “narration” and “quotation”. Thon used an eclectic design method, which combines elements of classic and Old Russian architecture. As a result, his contemporaries interpreted his temples differently: some emphasized “holy” symbols, while others saw “stately” ones. Perception of the temples’ images was defined by the cultural code of the epoch that began in the 18th century; Y.M. Lotman thoroughly studied and described this code. According to the latter, the “national” and “original” is to be defined through opposing to and distinguishing from all that is “alien”. The images of the temples were created by means of distinctive graphic language, which is why they didn’t only convey “Official Nationality” paradigm, but also an idea that a new epoch has come, an epoch in which the nation’s identity is not let loose to be shaped in a natural, historical way, but is consciously constructed by means of social engineering as well as architecture.
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Ananda, Roland Ananda, Agung Eko Budi Waspada, and R. Drajatno Widi Utomo. "FENOMENA DESAIN USER INTERFACE GOJEK MENURUT PERSEPSI PENGGUNA GENERASI X." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 2, no. 2 (April 1, 2020): 141. http://dx.doi.org/10.25105/jsrr.v2i2.8225.
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<br /><div>Interface Design Super App Gojek in Perception of Generation X. The GoJek Online Transportation Application is one of the technology-based companies included in the start-up business company as Unicorn Indonesia. Changes in visual identity and additional application services, growing along with the development of user needs to update the user interface on the Gojek application which is certainly intended for various generations. Generation-X is a generation born in the early years of technological and information development, even today it is still experiencing developments in the field of technology and information so it needs to adapt to the appropriate interface design in an application that is GoJek that has more than 20 services and can help each user’s activity. The purpose of this study is to understand the application of User Interface elements on the Gojek and to understand the Gojek User</div><div>Interface Design on generation-x perceptions. This research uses descriptive qualitative methodology with the perception of phenomenology and other theoretical approaches. The results showed that the</div><div>application of User Interface elements on Gojek has been utilized by making the Gojek’s User Interface is simple and efficient, this can be seen in the arrangement and application of layout, typography,color, imagery, and control and affordance elements that are arranged consistently so that it is easy for the user to understand. In addition, based on the experiences, interests and needs of generation x,</div><div>generation x’s perception of the Gojek user interface is influenced by aspects of design elements, graphic use, icon design, layout, functionality, menu control and navigation, use of text and language. This is</div><div>related to the user interface elements in the Gojek application. <br /><br /><strong>Abstrak</strong><div><br />Desain Antar Muka (Interface) Super App Gojek Dalam Persepsi Generasi X. Aplikasi transportasi Online GoJek merupakan salah satu perusahaan berbasis teknologi yang masuk dalam perusahaan bisnis start-up sebagai Unicorn Indonesia. Perubahan identitas visual dan tambahan layanan aplikasi, tumbuh seiring dengan perkembangan kebutuhan pengguna hingga pembaruan user interface pada aplikasi Gojek yang tentu ditujukan untuk berbagai kalangan generasi. Generasi-X merupakan generasi yang lahir pada tahun awal dari perkembangan teknologi dan informasi, bahkan hingga saat ini masih merasakan perkembangan dalam biang teknologi dan informasi sehingga perlu beradaptasi pada desain interface yang sesuai pada sebuah aplikasi yaitu GoJek yang memiliki lebih dari 20</div><div>layanan dan dapat membantu aktivitas setiap pengguna. Tujuan penelitian ini yaitu untuk memahami penerapan elemen-elemen User Interface pada Gojek dan memahami Desain User Interface Gojek terhadap persepsi generasi-x. Penelitian ini menggunakan deskriptif kualitatif dengan metodologi fenomenologi persepsi dan pendekatan teori lainnya. Hasil penelitian menunjukkan bahwa penerapan elemen-elemen User Interface pada gojek telah dimanfaatkan dengan membuat User Interface gojek menjadi sederhana dan efisien, hal ini terlihat dalam</div><div>penyusunan dan penerapan elemen layout, tipografi, warna, imagery, dan control andaffordance yang tersusun secara konsisten sehingga mudah untuk dipahami pengguna. Selain itu, berdasarkan pengalaman, minat dan kebutuhan dari generasi x, maka persepsi generasix terhadap user interface gojek tersebut dipengaruhi oleh aspek elemen desain, penggunaan grafis, desain ikon, tata letak, fungsional, kontrol menu dan navigasi, penggunaan teks dan bahasa. Hal tersebut terkait dengan elemen user interface pada aplikasi gojek.</div><div> </div></div>
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Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.
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Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.
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Dagli, Zeynep. "Corporate identity in interior design." Global Journal on Humanities and Social Sciences, February 19, 2016. http://dx.doi.org/10.18844/gjhss.v0i0.314.
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In today’s capitalist world, a well-established corporate identity may be accepted as a significant contributor to corporate success. Corporations are engaging in the process of redesigning their corporate identities to establish a sustainable relationship with the customers. Corporations may use different elements to reflect their corporate identities in a desired manner to their customers and interior design is one of those elements commonly used. Interior design of corporate spaces is the visual face of corporations and also a visual communication ground with the customer. In this framework, aim of this paper is to explore the interior design applications on a specific private bank branch example in Turkey as a case study to emphasize the importance of interior design in creating corporate identity. It presents an interdisciplinary study both in graphic and interior design disciplines. The conclusion of this paper contributes to the investigations regarding the impact of interior design for desired customer perception.Keywords: interior design, corporate identity, customer perception, banks
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"REDESIGNING A LOGOTYPE WITHIN THE SCOPE OF GRAPHIC DESIGN EDUCATION." SED Journal of Art Education, April 16, 2018. http://dx.doi.org/10.7816/sed-06-01-04.
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Corporate identity is a collection of communication strategies, philosophy, behavior and visual elements of a corporation. Graphic designer should not only think visually while designing corporate identity, but should also be aware of other features of the corporation. The significance of these features should be taught during the education they get to the graphic designer candidates. During the process of graphic design education, it is important for students to be able to design contemporary and original emblems and logos, to design corporate identity and to be conscious of introducing corporations in a contemporary identity. The aim of this study is to create a model proposal for redesigning a logo within the scope of graphic design education, in the light of the graphic design principles and in the awareness of the features of the corporate identity. In this context, the terms of redesigning the corporate identity design and logo design principles are explained and the methods of redesigning logos in the scope of the Corporate Identity Design course, which is included in the curriculum of Doğuş University, Department of Graphics, are clarified. As a result of the research, the examination of the application of these methods within the course is analyzed. Keywords: logo, corporate identity, graphic design, design education
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Tude, Helena, and Marta Varzim. "GRAPHIC DESIGN IN FILM: BUILDING CHARACTER IDENTITY AND VISUAL STYLE IN THE GREAT GATSBY (2013)." Design/Arts/Culture 1 (June 11, 2020). http://dx.doi.org/10.12681/dac.25968.
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Graphic design and cinema have worked together since the early days of filmmaking, driven by the effort to develop autonomous visual narratives in silent films, in much through the use of intertitles. It is meaningful to recognize how graphic design elements have invariably been a part of cinema’s hybrid language, as a material of expression manifested through the visual channel together with the filmed image. The different technological milestones that shaped cinema’s development also directly influenced the use of graphic language in movies, which became more complex with time. These graphic elements are present throughout an entire film narrative, from the choice of verbal, pictorial and schematic elements in titles and animations, to the creation (and curation) of printed or handmade graphic props, signage and logos filmed by the camera. Together, they form a movie’s graphic identity, which helps to convey meaning to the narrative as well as to bring a more dynamic and authentic storytelling. Through a case study of Hollywood’s 2013 movie adaptation of the literary masterpiece The Great Gatsby, this paper intends on exemplifying the strategic use of graphic design elements throughout the movie – in the physical and virtual formal natures – aiding in the construction of characters’ identities, contextualized into the roaring 1920’s aesthetics, as well as defining a clear visual style that is consistent with director Baz Luhrmann’s unique vision for the movie. In this way, the objective is to bring awareness to the potential of graphic design in building cinematic worlds that are historically accurate, aesthetically rich, and emotionally identifiable.
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Tude, Helena. "Design & cinema: A timeline of graphic design in film." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a174.
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Graphic design elements have always been part of cinema’s hybrid language, as a material of expression manifested through the visual channel, together with the filmed image. The graphic language is present throughout an entire filmic narrative, from the choice of verbal, pictorial and schematic elements in titles and animations, to the creation (and curation) of printed or handmade graphic props, signage and logos filmed by the camera. Together, they form a movie’s graphic identity, which aids in conveying meaning to the narrative as well as bringing a dynamic and authentic storytelling. This paper intends to present a timeline of graphic design in film by pointing out the technological milestones that shaped cinema’s development, directly influencing the emergence and disappearance of graphic configurations – which became more complex with time and affected the roles designers acquired in the film industry. By focusing mainly on examples from Hollywood’s contemporary cinema, the paper aims to show how the graphic language in films developed as an impact of technology reflected in society, which also leads to the identification of the three main functions acquired by the graphic language in narrative films nowadays.
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"Defining and highlighting the best qualities of a brand through its visual identity." International Journal of Development Research, May 30, 2020, 36227–30. http://dx.doi.org/10.37118/ijdr.18990.05.2020.
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The article deals with the application of designer tools to create the visual identity of a line of creative products. The logo, typography and color palette were defined for the composition of the elements that showed the personality of the brand to its customers. A systematic method was followed in the execution of the project, starting with the application of a briefing, and then the following steps were carried out: brainstorming, definition of elements, graphic editing and testing of possibilities. The result was a visual identity with sophisticated design outlining the idea of sophistication in the public eye.
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Mykhailova, Tetiana, and Olha Shandrenko. "Demonstrative symbolization of national identity in the design of the Olympic ceremonial costume." Almanac "Culture and Contemporaneity", no. 2 (December 27, 2021). http://dx.doi.org/10.32461/2226-0285.2.2021.249248.
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The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece.
Key words: design, costume, Olympic ceremonial costume, identity, identification, symbolization, demonstration.
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CELHAY, Franck. "Logos' textual and visual content." Conference Proceedings of the Academy for Design Innovation Management 1, no. 1 (December 4, 2019). http://dx.doi.org/10.33114/adim.2017.90.
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The logo is a key part of a brand’s visual identity. Logos appear on letterhead, business cards, annual reports, package and product designs, print and TV advertisements, websites and smartphone applications. As a result, logos have become an important way to capture awareness and build brand image. This study investigates how logo design impacts brand perception. More specifically, we explore how a logo’s textual content interacts with its graphic design to deliver a specific message. Semiotic theory provides the framework to study this question. Two logos with the same textual content but different designs are analyzed, first through a semiotic study and then with an experiment involving 903 survey respondents. The results confirm that the textual content of the logos interacts with the visual aspect in what we have termed the double anchorage effect.