Visual Brand Research Articles

Gulo Puan Visual Brand: Medium Promotion of Gastronomic Tourism Destinations, Pampangan District, South Sumatra

Gulo Puan is a traditional food from the Pampangan sub-district, South Sumatra Province. Its existence has sunk into the ages. Gulo Puan does not yet have a visual brand that can represent her existence. The absence of a visual brand makes people less aware of the existence of this gastronomy. The purpose of this study is to present the Gulo Puan visual brand as a promotional medium for the gastronomic tourism destination "Guwan" Gulo Puan in the Pampangan sub-district. This study uses a qualitative method with a five-stage approach to design thinking according to Tim Brown's version: empathy, define, ideate, prototype, and test. The data collection process was carried out by interviews, observation, literacy, documentation, and questionnaires. The data obtained were then analyzed using the Triadik Sumbo Tinarbuko design concept approach. The results of this synthesis form the basis for designing the Gulo Puan visual brand. The results of the synthesis are also positioned as a solution for the Gulo Puan visual brand for visual communication problems found at the Gulo Puan production center, Pampangan sub-district, South Sumatra Province. The novelty of the results of this design puts forward the concept of Gulo Puan's visual branding as a promotional medium that represents the Gulo Puan gastronomic tourism destination in the Pampangan sub-district. The theory used in this study: visual branding for strategies to design visual branding, sociology theory of design to determine the needs of target audiences, theory of tourist destinations to design tourist destinations, and visual communication design theory is used to design the form of messages and the contents of verbal and visual messages. Conceptually, this research also contributes theoretical and practical knowledge to the development of visual communication design science.

Middle-age brand identity crisis

Objective: This paper aimed to provide a systematic review of brand identity and understand how literature streams impact the current brand identity frameworks. Method: There are few systematic reviews about this salient topic, and the existing ones have not analyzed how the research in brand identity has evolved in the last 30 years, what have been the leading research streams and gaps, and which future avenues of study could be pursued. To fill this gap, this paper analyzed 67 articles published in 24 leading academic journals (Academic Journal Guide grades 3, 4, and 4*) between 1990 and 2021. Main Results: Five key research streams were identified: brand identity frameworks; consumer behavior; corporate branding; visual brand identity; co-creation. Despite the impressive progress made over the last 30 years, our review points out what we defined as a “middle-age brand identity crisis”, since there is still no convergence among scholars about what brand identity is and what would be its main components. Also, the current research streams uncover concepts and ideas that were not previously included in brand identity frameworks. Relevance / Originality: This study performed a comprehensive systematic analysis of the brand identity literature, highlighting essential recent research not considered by the current brand identity frameworks and connecting it to branding constructs. We also identified that there is still a lack of consensus regarding the brand identity components and dimensions. Theoretical / Methodological Contributions: This paper contributes to the literature by presenting a new framework to shed light on the interactions of brand identity with other branding constructs, proposing that brand identity has a core (brand essence) and extended identity (composed of personality, relationship, symbology, and cultural expressions). A new brand identity taxonomy is also proposed, with complexity and tangibility as its dimensions.

A Brief Review of Computational Product Design: A Brand Identity Approach

On the way to designing customized products as one of the core activities of Industry 4.0, the strategy of computational design emerges as a unique design process due to its flexibility and simplicity. More specifically, the aforementioned strategy is concerned with the study of brand identity and its description in the development of commercial industrial products. The proposed design approach is focused on the study of branded product forms following computational design methodologies, i.e., employing textual or/and visual programming languages. The paper presents an overview of in-depth research studies which deal with the systematic way of creation, evolution, and transformation of industrial products with modern digital tools. Through the review, 100 studies have been analyzed over the last 15 years. The background of this research includes definitions from the specific four pillars of the modern theory of industrial design, e.g., product design, digital design, visual representation, and product identity. Furthermore, the current paper combines the use of computational design with specific parameters of visual brand elements in order to develop a methodological tool for the mass customization of industrial products. Moreover, the proposed framework offers a great deal of flexibility in both design and manufacturing, while many design alternatives could become available in a very short time. Finally, the impact of this paper is the correlation between computational design techniques and the theoretical background of brand identity principles (i.e., shapes, geometries, styles, textures, colors, and materials) for inspiring novel ideas among engineers, designers, and marketers.

Уолт Уитмен, галерист в Нью-Йорке

In mid-XIX century mechanical reproduction of images through lithography and photography becomes increasingly available — it allows for visual entrepreneurship on a growing scale. In literary artists this trend causes skepticism but in some (like O.W. Holmes) it also inspires creative interest. That the interaction between commercial and technological practices could be productive of aesthetic insight is proved by Walt Whitman’s poetic experiment. Whitman was fascinated by the art of photography – for a daguerreotype he would sit often, willingly and self-consciously, thus turning a portrait into an auto-portrait. Most of the editions of Leaves of Grass contain the author’s images, while Whitman’s form, the very principles his world-building imagination can be best understood through “photographic logic”. Two versions of the poem My Picture Gallery (the one dating back to mid-1850s and the one published in 1881) are being analyzed as instances of Whitman’s lifelong reflection on how the image, the world and the human subject interact. This relationship is full of submerged drama: technical reproducibility makes the image strikingly lifelike but also contributes to the “derealization” or “virtualization” of the world — tends to empower the subject but also to disable one through “the terrible doubt of appearances”. The visual analogue of the “catalogue” technique, representative of Whitman’s early manner, may be a sequence of snapshots and / or that of imperative pointing gestures: see, watch, imagine! Manicules are often used in Whitman’s early manuscripts: this typographic sign (described as “hand” or “printer’s fist”) is pervasive in newspaper advertising of the poet’s time and of particular interest to him — most probably, because giving a sense of forceful, embodied presence, direct contact with the world and the reader alike. In later editions the gesture gets a different representation — a butterfly rests, distractively, upon the index finger using it as a momentary landing grund. This image — Whitman’s newly chosen visual brand – is expressive of the contemplative attitude, indeterminacy and suggestiveness increasingly of import in his poetics.

Изменения журнального сегмента отечественной медиаиндустрии в 2022–2023 гг.: ребрендинг глянцевых изданий

In a situation of intensive changes in society, the conditions for the functioning of companies change dramatically, and there is a need to transform the existing brand. In 2022, the reaction of domestic glossy publications to the objective conditions of the new reality is divided into three types: some closed, others remained the same, and others changed their brands. The research material is glossy publications that have carried out rebranding: TechInsider, “Novyi ochag”, The Symbol, Men Today, U Magazine, The VOICE, “Pravila zhizni”. The purpose of this research is to study the state of the magazine segment of the domestic media industry during the rebranding of glossy publications. The methods used in the course of our research include system analysis, in-cluding comparative and functional approaches. For a visual presentation of the research results, all its parts are built according to a single scheme: verbal and visual brand attributes, media con-tent (categorization), development strategy in the digital field, brand values. Evaluation of the re-branding nature comes from the fact of preservation or transformation of the value level. As a re-sult, conclusions are drawn that publications took advantage of the situation in different ways: most publications do not depart from the established global brand and carry out partial rebranding, while others, on the contrary, decide to continue functioning in a new form. A full-fledged rebranding is carried out by “The VOICE” and “Pravila zhizni”, completely changing both the external and internal appearance of the publication. The final table presents the results of the study and conclusions about the nature of the rebranding.

Thick Description and Embodied Analysis of Digital Visual Artefacts: The Visual Repertoire of #SisterIDoBelieveYou

In this work, we explore the relationship between affect and the use of aesthetics by feminist digital activists to communicate their ideas and protest against sexual violence. Our focus, therefore, lies on the visual culture of digital protest. We consider visual artefacts a visual repertoire of protest (Jenzen et al., 2020, p. 420) that can both be articulated in a specific local context whilst simultaneously echoing global sentiments. In this paper, we analyse the visual repertoire of protest of Spanish feminist digital activism against sexual violence. To do so, we analysed 696 visual artefacts linked to the hashtag #HermanaYoSíTeCreo (#SisterIDoBelieveYou) shared on Twitter between May 1, 2018, and August 31, 2020. Our methodological framework incorporates a collaborative triangled analysis based on social semiotics (Ledin & Machin, 2018; Van Leeuwen, 2005), socio-hermeneutic analysis (Knoblauch & Schnettler, 2012; Serrano Pascual & Zurdo Alaguero, 2010), hashtag ethnography (Bonilla & Rose, 2015), and interpretative thick description (Geertz, 1973, pp. 3–30). Additionally, we also developed an ethnographic sensibility towards the corpus, which engaged us in a constant dialogue to overcome the positivist trend of data-driven visual digital analysis. Our work here addresses the understanding of how visual discourses can create the affective unification of social media users (Stage, 2013) as a key feature of feminist politics and online activism (Keller et al., 2018). We analysed the use of visual artefacts by the "virtual" community of sisterhood and concluded that these processes served as a basis for (a) establishing distinctive while versatile visual branding; (b) weaving an affective community; (c) articulating the desire to connect and to gather through love, hope, outrage and disgust; and (d) linking past and present as well as geographically distant feminist struggles.

Use of Design Theories and Principles in Visual Brand Identity Elements in Commercial and Retail Banks

Studies on the processes that link logos and space design aesthetics to visual perception and recognition of visual brand identity (VBI) remain scant. Consequently, this study analyzed the visual correspondence between visual brand identity elements such as logos and interior spaces in commercial retail banking companies by assessing the foundations of their aesthetics formation and the role of aesthetic principles, aesthetic appraisal, and aesthetic impression. Using a qualitative approach, four commercial retail banking companies in Jeddah, Saudi Arabia were analyzed through semi-structured interviews with professional designers and design academics. A comparative method was used to determine the visual correspondence between the aesthetics of the logos and the interior spaces. The findings confirmed the importance of using design characteristics and theories for designing the elements of VBI. The results encourage the use of design for building visual correspondence between the elements of a visual identity of brands. This study provides a useful addition to knowledge on the place of design principles in the creation of VBI.

Visual Branding : Pemanfaatan FIGMA dalam Perancangan Logo HIMA Akuntansi Universitas Nahdlatul Ulama Kalimantan Timur

Visual branding is an effort to presented and introduced a work (design) to the public or the market. There are many things that must be prepared, including how to process ideas into works. The use of Figma is an option in visualizing the Logo from HIMA Accounting UNU East Kalimantan, besides Figma being online-based and having Cloud Storage, Figma also provides results that are able to compete with other editing applications that require quite high laptop/pc specifications. The convenience provided by Figma makes designers more efficient in terms of time and results. The logo is processed using a practice-based method (Practice Based Research) which uses 3 stages of the creative process from Hawkins: 1) Exploration Stage, 2) Improvisation Stage, 3) Manifestation Stage. The visual branding that is carried out is expected to be able to provide a positive response from the campus community and activities around it later, but it still requires additional introduction efforts in the form of optimizing social media and websites.

A Novel Computational-Based Visual Brand Identity (CbVBI) Product Design Methodology

Product design is a promising field for the application of new technologies and methodologies emerging from the digital evolution of Industry 4.0. A great number of tools have been developed in order to accentuate the use of modern Computer-Aided Design (CAD) systems and computational design techniques for design customization in product applications. The present paper deals with the development of two different applications for designing furniture based on the Computational-based Visual Brand Identity (CbVBI) design methodology. For the first case study, the Application Programming Interface (API) SolidworksTM (VBA event-driven programming language) is used. The second case study focuses on the visual programming language of GrasshopperTM, which is incorporated within Rhinoceros3DTM. The proposed case studies offer a great deal of flexibility in both design and manufacturing, while many design alternatives could become available in a very short period.

PELATIHAN VISUAL BRANDING DAN COREL DRAW BAGI PELAKU UMKM DI KECAMATAN GEDONG TATAAN.

This visual branding training for UMKM prioritizes the crucial role of logos as the main component of visual branding for product marketing activities for benefits and how to design a logo that is easy to remember in accordance with logo principles so that the logo can give a memorable impression to potential consumers. The achievement of this activity is how the future training participants will know and be able to produce logo designs that represent the image of their business. Presentation of visual branding materials using presentation, discussion and practice methods. Presentations are used when the service team explains the function of visual branding and its components such as logos, taglines and promotional strategies. In the stage of introducing the graphics application, the service team gave the Corel Draw module to the trainees. The first day of the training, after the presentation of the material, the service team immediately installed the application on the trainees who brought laptops. The service team asked participants to understand and study the tools in Corel Draw in accordance with the content of the modules that have been given. Keywords— Trainning, Visual Branding, Gedong Tataan.

Finding creative drivers of advertising effectiveness with modern data analysis

The Modern Data Analysis paradigm (Williams, 2021) advocates using multiple methods to address the same research question, which is rarely done in studies of advertising creative effects. In this paper, we apply the MDA paradigm to data from Hartnett, Kennedy, et al. (2016), which coded 158 creative variables for 312 television advertisements with commercially validated short-term sales effectiveness outcomes. We found that many models give higher classification accuracy than the ordinal regression model previously applied, some significantly higher. Importantly, by applying many alternative but equally plausible analytical methods, we can identify creative variables associated with commercial success and have evidence-based confidence that these creative variables are artefacts of the data, and not artefacts of any particular analytical method and its associated assumptions. The findings reveal several alternative creative variables that are consistently associated with sales success across methods, which relate to the timing aspects of visual branding.

PELATIHAN FOTOGRAFI PRODUK MENGGUNAKAN SMARTPHONE UNTUK MENINGKATKAN VISUAL BRANDING PADA UMKM KERAJINAN TANDUK SAPI DESA PUCANG, MAGELANG

Product photos with smartphones can be a solution for MSMEs in facing the risk of access to the market. Smartphones are now equipped with cameras and photo editing applications that are very adequate and easy to create visual branding. One of the product photos used in the Community Service (PkM) training this time is product photography. The partner of this PkM is "Toko Subur", which is a horn and souvenir handicraft business which is located in Pucang Village, Secang, Magelang. The problem raised is the limitation of soft skills in applying smartphones for product photography purposes. For this reason, the PkM Team provides a solution in the form of simple product photography training using a smartphone and other supporting properties. The method used is direct training using a smartphone or simple property for SMEs "Toko Subur" as well as joint discussions regarding the obstacles they face. The output of this PkM is the formation of soft skills for MSME actors in the field of product photography to create visual branding so that they are able to attract potential consumers and increase sales from both social media and e-commerce.

The Concept of Three and Visual Branding of Laweyan Surakatra Batik

The ‘Concept of Three’ dominated the visual branding practices of Laweyan Surakarta batik prior to the 1970s. The concept can be interpreted from various aspects: scientifically, religiously, socially, culturally, and mathematically. This study aimed to reveal the meaning of the visual branding process of Laweyan Surakarta batik prior to the 1970s, especially regarding the Concept of Three. The data collection methods included document analysis, observations and in-depth interviews. This study employed a symbolic power approach based on Bourdieu’s theory. The findings indicated that the Concept of Three used by Laweyan Surakarta batik-makers was influenced by the thinking of etiquette-makers. Their thoughts were based on their belief in the computations of meaning. Laweyan Surakarta batik-makers upheld the concept of Javanese aesthetics as the main consideration in creating etiquette in addition to taking into account the marketing concept. The cultural values of the community, which have been embedded in the individuals since childhood, have caused the Concept of Three to become rooted in the mentality of the batik community.
 Keywords: Concept of Three, batik etiquette, Laweyan

Pengembangan Desa Wisata Budaya Puncak Wangun Pasirmulya Kabupaten Bandung Melalui Perancangan Brand Identity dan Media Promosi Digital

The collaboration between the Forest Village Community Institution (LMDH) and the Department of Culture and Tourism (Disbudpar) on the National Community Empowerment program succeeded in turning the Puncak Wangun Cultural Tourism Village into an alternative tourist destination for the people of Bandung and its surroundings. This tourist village has a lot of potential from interesting artistic, cultural, socio-economic and ecological aspects, but the existence of Puncak Wangun Cultural Tourism Village is not widely known to the public. To introduce the potential of tourist villages, improve marketing communications, and provide visual branding, a visual identity design was carried out through Community Service activities by applying the Design Thinking method and SWOT analysis guided by field activities, interviews, and Focus Group Discussions. This PKM program succeeded in designing a brand identity that was applied to digital promotional media for the Puncak Wangun Cultural Tourism Village in the form of a website and Instagram. In the future, it is necessary to develop a brand identity that is applied to souvenir products, sign systems, packaging, or other products according to the needs and interests of partners to expand the popularity of Puncak Wangun Cultural Tourism Village in attracting tourists from various demographic segments in order to advance tourist destinations and communities.

The Lure and Limits of Smart Cars: Visual Analysis of Gender and Diversity in Car Branding

Introduction: Currently Europe regards itself as a leader in the global race towards smart automated transport. According to ERTRAC, European Road Transport Research Advisory Council, automated driving innovation is motivated by technological advancements as well as “social goals of equality”. This article analyzes to what extent such dimensions of gender and diversity have become visible in smart car advertisements and how they correspond with the notion of Gender-Smart Mobility, which signifies equal and accessible transport solutions. Methods: Guided by theoretical notions of gender scripts and discourse analysis, this article addresses how perspectives of smart technology, gender, and class are carved out and handled in YouTube videos applied as marketing tools. Using visual analysis as a method, videos from well-known car producers such as BMW and Volvo are scrutinized. The visual analysis includes a presentation of the car company, descriptions of the most relevant YouTube videos, and discussion of the findings. Results: The visual analysis of the Volvo and BMW YouTube videos points to the lack of inclusiveness. There continues to be a prevalent reproduction of gendered stereotypes in the videos, not least in the notion of ‘hyper masculinity’ storytelling by BMW and how leaders (be they women or men) look, i.e., middle-class people. Volvo, on the other hand, has maintained its focus on female professionals in parallel with the introduction of new and energy-saving cars. Yet, a rather one-sided presentation of a professional business-woman is depicted as a replication of the businessman. Conclusion: In the final section, it is assessed how the visual branding complies with the notion of Gender-Smart Mobility, a concept that was developed in the EU Horizon 2020 project TInnGO. The two brands meet the Gender-Smart Mobility indicator, but only to some degree. None of the companies are fully inclusive, and it is difficult to label them as gender-smart and sustainable despite their ambitions of feeding into the green transition.

Penciptaan Visual Branding Karjo (Kaose Wong Pordjo) Purworejo

Abstract. Karjo T-shirt merchandise has an appeal as a medium in promoting Purworejo through the visual themes of t-shirt designs that are presented. This creation is an offer for Karjo who is building brand awareness as a souvenir of Purworejo. Karjo tried to invite the people of Purworejo to be proud of the uniqueness of the city.Karjo's visual branding took advantage of the homecoming moment and gave memories to the travelers when there was a chance for a reunion, in the form of painting t-shirts for children and families under the name of the Karjo Makaryo event.This creation method uses design thinking method that begins with exploring the Karjo problem, then empathizes through social media Suwarto to the Karjo brand and conducts interviews. Based on observations, the ideas that will be processed into visual identity of Karjo Makaryo's activities will emerge and apply them to the publication media as a prototype of Karjo's branding which is expected to be carried out routinely.Relevance to Visual Communication Design Practice: Karjo Makaryo's visual identity became the beginning of a communication strategy as part of brand activation.

Visual Branding Design Review of Local Coffee Store in Jakarta

The Indonesian government's campaign that invites to love local coffee products also strengthens the habit of drinking coffee as a contemporary lifestyle. This has resulted in encouraging the emergence of local coffee shop product brands in Jakarta that compete with non-local brand coffee shops which have a lot of demand first. This competition eventually triggers the creativity of producers in creating a brand identity as part of the power of product marketing. This research uses a qualitative method with a netnographic approach and a case study. The research uses a netnographic method related to the existence of local coffee shops on digital artifacts that are accessed online. Using the theory of visual branding and brand identity, this study aims to find trends and big ideas for local coffee shop branding visual design ideas from 2015-2018 in Jakarta as part of the image of Indonesian local brand identity. The results of this study conclude that overall the visual elements used to describe marketing strategies with big ideas are keywords that are different from each other by describing their respective advantages. The dominant color used by the eight samples of visual branding also supports the big idea of ​​professional, classic, modern, locality, ethnic, cultural, and romantic keywords that build these emotions in consumers. This has finally become a trend for the development of visual branding for local coffee shops in Jakarta.

Visual Branding Design Review of Local Coffee Store in Jakarta

The Indonesian government's campaign that invites to love local coffee products also strengthens the habit of drinking coffee as a contemporary lifestyle. This has resulted in encouraging the emergence of local coffee shop product brands in Jakarta that compete with non-local brand coffee shops which have a lot of demand first. This competition eventually triggers the creativity of producers in creating a brand identity as part of the power of product marketing. This research uses a qualitative method with a netnographic approach and a case study. The research uses a netnographic method related to the existence of local coffee shops on digital artifacts that are accessed online. Using the theory of visual branding and brand identity, this study aims to find trends and big ideas for local coffee shop branding visual design ideas from 2015-2018 in Jakarta as part of the image of Indonesian local brand identity. The results of this study conclude that overall the visual elements used to describe marketing strategies with big ideas are keywords that are different from each other by describing their respective advantages. The dominant color used by the eight samples of visual branding also supports the big idea of ​​professional, classic, modern, locality, ethnic, cultural, and romantic keywords that build these emotions in consumers. This has finally become a trend for the development of visual branding for local coffee shops in Jakarta.

The Spanish tilde as a visual semiotic marker of Pan-Hispanism

ABSTRACT Diacritical marks are strongly present and frequently used in many spellings of the world’s languages. Their main functions are phonological and prosodic, and can eventually become identity and semiotic markers as well. This study examines the tilde of Spanish grapheme <ñ> in current commodified language use to convey the Pan-Hispanic ideology. The diachronic and diatopic development of Pan-Hispanism in Spanish-speaking communities is analyzed, examining from a semiotic perspective the presence of the tilde in four logomarks of relevant Pan-Hispanic institutions and events. Findings of interviews with the creators of the brand logo and an in-depth study of the sociocultural, political and economic aspects of the organizations represented, indicate that social practices related to Pan-Hispanism could be associated and emblematized by the tilde in visual branding.

MIXED RESEARCH METHOD OF ORGANIC FOOD PREFERENCES AMONG GENERATION Y CONSUMERS

The article analyses by mixed research methods the attitude regarding the purchase of bio and organic food for the population of the Generation Y in Czech and Slovak Republic. The collection of primary data was obtained in the form of a questionnaire survey carried out in the year 2014 and then repeatedly in the year 2019. Both phases of questionnaires were distributed electronically among respondents, university students, ranged from 16 to 35 years in Czech and Slovak Republic. The research questions related to the reasons why respondents purchase or do not purchase organic food and what criteria are motivational for choosing organic food products. In data processing was used statistical software Statistics. Methods applied to the data were statistical hypothesis testing and regression modelling. The key factors have been identified with the software influenced the respondent's decision to buy bio-and organics products in 2019. The research findings prove that visual appearance and brand doesnt play the decision key role for generation Y customers, as they put the main emphasis on the quality and availability of the bio-product.