Visual Identity Research Articles

PKM Pendampingan Desain Kemasan pada RH (Reta Handycrafts) di Banjar Titih Tengah Kota Denpasar

Packaging design is fundamental for a company because it has a visual meaning that is implied both from the corporate culture, history, and positioning of a company. Every company has a packaging design, some are well-conceived and some are just perfunctory. Maintaining the consistency and quality of the brand image in the minds of consumers is very important so that it is easy to recognize the company in every communication. Products and services that are successful will be satisfying and easy to remember by consumers, as well as the company's brand. The packaging design in which there is a logo makes it the main identity for the launch of a newly established company or new organization. Without a visual identity, it will be difficult for consumers to identify the company. Micro, Small and Medium Enterprises or MSMEs can be interpreted as businesses run by individuals, households, or small-scale business activities that drive the movement of development and the Indonesian economy. According to data from the Cooperatives and UKM Office of the City of Denpasar, for the type of Creative MSMEs, the Micro scale is specifically in the creative field of knitwear craftsmen. RH (Reta Handycrafts) doesn't have a packaging design yet, of course this will cause problems when introducing a product. A product that is sold has more value if it can be packaged very well, but not a few partners ignore it. able to support their business income.

SMSMEs Development Through Visual Identity Rebranding

Data from the Ministry of Cooperatives explained that 1,785 cooperatives and 163,713 Micro, Small, and Medium Enterprises (MSMEs) were spreading the coronavirus pandemic (Antara, May 2020). The most limited MSME sector is food and beverage. MSME entrepreneurs feel the decline in sales, lack of capital, and hampered distribution. So that the competition in the culinary field is very tight, as experienced by one of the partners who became the place for Student Creativity Program activities, the Cake Mommy. Lack of knowledge of the owner of the importance of a distinctive visual identity to form consumer loyalty. For this reason, this activity aims to understand the importance of visual identity in trademarks and business logo stickers so that partners can increase the selling value of the products produced. Designing this logo uses the Design Thinking method through data collection, problem finding, research idea, design, and testing. The result of the design is in the form of a logo by combining typography with solid shapes to reflect that this brand is in the culinary field. Using tertiary colours attracts consumers to buy this food, even at a high price. In addition, the author chooses supportive typography, namely sans serif, because it gives the impression of being relaxed, informal, friendly, and approachable. The selection of solid shapes reflects the nature of the challenge and is intense. So that the new logo has an identity that is more reflective of a bakery. In addition, the logo is made simpler, cleaner, and minimalist to make the logo easy to remember and stand out in the eyes of the public.

Identitas Budaya Jawa Pada Mural di Kampung Batik Kota Semarang

Mural is a creativity that is poured in the design of the walls of the building. Murals are large paintings created to support architectural spaces, so that murals cannot be separated from the elements that make up space, namely walls. Murals are one of the alternative media for visual arts that function as a forum for public aspirations through paintings with nuances of criticism, information on events, as well as a means of unifying conscience between artists and the community. Mural is a form of information and communication media for Visual Communication. The form of visual communication is the delivery of information or communication using images such as murals. In the city of Semarang, there is a village where every corner of the city is filled with beautiful murals. Of course, these murals have a function and purpose as a form of visual media communication. No exception as a visual cultural communication. In Kampung Batik Semarang, the walls and roads in the village are also decorated with beautiful murals and have meaning behind them. In this study, researchers will analyze and examine mural art in Kampung Batik Semarang as a visual media communication of Javanese culture. The researcher uses visual communication theory and identity theory. Mural art, which has been considered a mere creation of young people, turns out to have an innovative side to be developed to the maximum so that mural art is not only limited to pictures but also has meaning according to what is described. The purpose of this study is to see the meaning of Javanese identity in mural art in Kampung Batik. The meaning contained in the painting basically stores various information that will be conveyed indirectly.

SIGNIFICANCE AND MULTIPLE VALUES OF THE RHOMBUS IN TRADITIONAL ROMANIAN ART

The purpose of the study is related to the identification and analysis of the significance and multiple values of the rhombus in the Romanian art, considering from its frequent perpetuation in the traditional art. Methodology. The study is founded by the application of direct-descriptive observation methods, exploratory methods, structural, comparative, culturological-historical, artistic, inductive and deductive analysis. The substantiation of the arguments was based on the multicriterial analysis of the bibliographic sources of reference published on this subject. Results. There were analyzed the interpretation of the subject in different bibliographical sources, analyzed the approach of the Rhombus from the oldest sources that attest its presence both as a synthesis of the form and as an ornamental element, there were analyzed the meanings attributed to the Rhombus as a representative visual identity element, there were analyzed the ways of visual representation of the Rhombus and were structured, it was observed and analyzed the presence of the Rhombus in the various pieces of interior textiles Romanian. Scientific novelty. The evaluation of the importance of the Rhombus for the intangible cultural heritage, of the frequency of finding the Rhombus in the traditional art objects, the awareness regarding the capitalization of this important element found in the traditional Romanian culture that denotes the arguments of the spiritual aspirations of identity. Practical significance. The practical importance is offered by the knowledge of the forms of representation of the Rhombus and of the meanings it denotes in one interpretation or another constituting reconnosable coded visual narratives. The paper presents the results of the study carried out within the State Program 20.8009.0807.17 REVICULT "Education for the revitalization of the national cultural heritage through the traditional processing technologies used in the Republic of Moldova, in the context of multiculturalism, diversity and European integration".

Hung up on Judas: A Case Study on the Pragmatic Usage of Religious Iconography in Legal Manuscripts of the Institutiones

This article serves both as survey of illuminated manuscripts of the Institutiones and an analysis of the links between the iconography of criminal law and the model of Judas hanged. This investigation is based on the study of all digitalised manuscripts of the Institutiones. The corpus is composed of manuscripts ranging from the fifth to fifteenth century, produced all over Europe. The study elucidates how illuminated manuscript boomed during the thirteenth century, with Bologna at its heart. The production continued growing until the fourteenth century, to eventually die down during the fifteenth century. The world of legal manuscript’s illumination was Bologna-centric, however, some competitors, namely France and Germany, offered a visual counterpoint to understand this great iconography. When developing iconographic cycles around criminal law, two approaches existed. The approach developed in Northern Italy incorporated the representation of either a decapitation or a presentation of a prisoner. These illuminators created a specific iconography to further a distinctive visual identity within the field of legal manuscripts, whereas the rest of Europe adopted uniformly the image of a hanged man. This form of depiction takes for its model the motif of Judas hanged, heavily linking criminality to religion.

How attractive are internship advertisements to prospective applicants? A mixed-method examination through the lens of employer branding

PurposeThe purpose of this study was to investigate attractiveness of internship advertisements to the prospective applicants through the lens of employer branding. By giving attention to internship attractiveness, universities and companies expand current collaborations around internship provision to enhance student internship experiences, satisfaction and employment prospects and to foster long-term sustainability of internship programs.Design/methodology/approachThe study used a mixed-methods design employing a concurrent triangulation strategy. The authors conducted a content analysis of 94 internship listings published in the largest Russian job portal, HeadHunter, and collected surveys from 274 prospective interns.FindingsThe study shows a mismatch between employer branding strategies and prospective interns' perceptions of employer attractiveness. Companies emphasize economic value and visual identity as well as functional attributes, while prospective interns prioritize development value and symbolic attributes. The findings suggest internship advertisements do not appeal to potential applicants.Research limitations/implicationsThe results are limited to business students from specific universities in Russia, so further research is needed to include students with different majors and from other countries. The study is also limited to advertisements available via a large online job portal. A comparative analysis of effectiveness of various communication channels for internship promotion could yield useful results.Practical implicationsCareer center advisors, academic program directors and internship coordinators should work with company leaders, human resources and marketing decision-makers, and recruitment specialists to better understand interns' drivers of attraction and audit the internship advertisements. Employers could use the study results to strengthen recruiting messages and, hence, attractiveness of the employer brand to potential interns.Originality/valueThe study contributes by applying the employer branding theory to an understudied population of interns, hence providing new insights into internships as collaboration between universities and companies. By focusing on internship positions, which differ from full-time permanent positions across many aspects, including the positions' duration, pay, supervision and purpose, the study assists in understanding the distinct drivers of attraction of interns, which are missing from published research on the topic.

The effects of the presence of a face and direct eye gaze on voice identity learning.

We rarely become familiar with the voice of another person in isolation but usually also have access to visual identity information, thus learning to recognize their voice and face in parallel. There are conflicting findings as to whether learning to recognize voices in audiovisual vs audio-only settings is advantageous or detrimental to learning. One prominent finding shows that the presence of a face overshadows the voice, hindering voice identity learning by capturing listeners' attention (Face Overshadowing Effect; FOE). In the current study, we tested the proposal that the effect of audiovisual training on voice identity learning is driven by attentional processes. Participants learned to recognize voices through either audio-only training (Audio-Only) or through three versions of audiovisual training, where a face was presented alongside the voices. During audiovisual training, the faces were either looking at the camera (Direct Gaze), were looking to the side (Averted Gaze) or had closed eyes (No Gaze). We found a graded effect of gaze on voice identity learning: Voice identity recognition was most accurate after audio-only training and least accurate after audiovisual training including direct gaze, constituting a FOE. While effect sizes were overall small, the magnitude of FOE was halved for the Averted and No Gaze conditions. With direct gaze being associated with increased attention capture compared to averted or no gaze, the current findings suggest that incidental attention capture at least partially underpins the FOE. We discuss these findings in light of visual dominance effects and the relative informativeness of faces vs voices for identity perception.

Tracing and tracking wine bottles: Protecting consumers and producers

The effective tracking and tracing of wine bottles is critical to ensure consumers are receiving high quality wine from the place of origin that is stated on the label and produced from grapes grown in that place. Wine production and its supply chain are controlled by different laws around the globe. From the International Organization of Vine and Wine (OIV) to the European Union (EU) and other national governments, suppliers and producers are required to provide specific documentation as the wines make their way to consumers. However, the wine industry loses billions from counterfeit wine and illicit trade. That is why the improvement of the methods applied to verify the origin and the quality of wines is important to protect wine consumers and producers. This short presentation explores what members of the Wine Origins Alliance (WOA) are doing within their respected regions to effectively trace and track their wine bottles along the entire value chain, with intelligent labeling and data recording through effective technology. Specifically, WOA provides case studies from its members that give an overview of the methods they have implemented (or are working to implement) to ensure consumers know the true origins of the wine. Their commitment to quality, traceability, and transparency are the very reasons why these regions are considered among the most renowned across the globe. Below are a few examples of the case studies that will be presented. * Chianti Classico. All the wines can be traced from the vineyard to the bottle as the entire production is monitored and recorded. Each bottle must be adorned with a government-issued label on the bottle neck, which contains an alphanumeric code that consumers can use to access the wine’s official chemical analysis and quantity bottled on the open database located on the Chianti Classico website. * Champagne. The General Syndicate of Winegrowers in Champagne (SGV) contracted with Advanced Track & Trace to supply the CLOE caps, which feature a unique serialized code and hologram. A QR code customized to the Champagne grower’s visual identity, which appears on the exterior of the cap, offers customers “access to each bottle's unique information, concealed on the inside of the cap. That includes a serial number, signature, message and illustration of the brand, as well as the ability to check the bottle's origin.” *Rioja. All wine bottles produced in the region are required to include numbered seals for specific zones or municipalities. But, in the Rioja Alta zone, producers have been using artificial vision to photograph each bottle, scanning the code and marking it on the bottle with ultraviolet (UV) link and integrating it into each winery’s computer systems, allowing wineries “to identify and monitor each and every bottle individually, from the moment the wine is labelled until it is delivered to every client, distributor or importer anywhere in the world.”

Brand's visual identity on social media platforms: a content analysis

Brand's visual identity on social media platforms: a content analysis

Визуальная айдентика городов Русского Севера

Visual identifiers of urban culture are recognizable by all images, largely marking it. They reflect the basic values and meanings of urban culture, its phenomena, and atmosphere. The identification of these markers, the analysis of their changes in historical dynamics, is an important issue not only for fixing the historical and cultural identity of territories and cities, but also to predict their development in the near and possibly long term. The article analyzes the visual urban identity of the cities of the Russian North, including images of historical heraldry, as well as modern brands. Heraldic and brand images are considered as a symbolic reflection of various aspects of culture, preserving its semantic space and connection with traditions in the context of cultural transformations.

本土独立服装设计师品牌视觉识别设计的提升研究

本土独立服装设计师品牌视觉识别设计的提升研究

Research on the Design of Kindergarten Visual Identity System in Ethnic Areas Based on Intangible Cultural Heritage —Taking Hua Yao Picked Flower as an Example

Research on the Design of Kindergarten Visual Identity System in Ethnic Areas Based on Intangible Cultural Heritage —Taking Hua Yao Picked Flower as an Example

The Role of Visual Identity in Music Perception

Since the music industry is oversaturated, the role of branding becomes of great importance. Although of a paramount value for success, the influence of visual identity on contemporary music perception is still poorly discussed. The present paper aims to exploratory assess the role of visual elements on the way music is perceived. Sixteen semi-structured interviews with music specialist are conducted. The primary topic approached refers to the role of visual identity in terms of song likability, perceived music quality and emotional reactions. The results suggest that branding may help in the differentiation process by creating memorability and clarity on the market. However, for a valuable creative product, there must be a balance between shaping the brand identity and maintaining the artist’s authenticity.

Kinetic typography as a tool for the formation of visual identity of brands in the multi-channel world

Kinetic typography as a tool for the formation of visual identity of brands in the multi-channel world

Emotional Design in Visual Identity of Urban Brand

Emotional Design in Visual Identity of Urban Brand

Gender Equality in the Posters Designed for Covid 19 Prevention

Since the Covid-19 eruption in 2020 designers from all over the world started to concentrate their efforts to increase the awareness of the population through visual methods and prevent the spread of the disease. As the germ itself is invisible to the naked eye, graphic designers created an iconic visual identity 3D image of a particle, which became the widespread inspiration for future propaganda and informational posters. Furthermore, the visualization of the virus particle was not enough to influence the wide scope of people; thus, the new problem for designers became to make such posters that could reveal virus vs human “relations”, taking into account gender characteristics as well. The article consists of analytical research on gender-based graphic design’s role in the prevention of viruses throughout history. The main problem is how graphic design projects influence the decrease of the virus spread and how gender equality-cantered design contributes to it. First time in the article are presented the basic principles of poster design considered for all genders to present the serious message of the urgent prevention of the virus. In the article, the works of designers are analysed and reviewed as well. The significance of the article is emphasizing the importance of gender equality in design visualization to increase the influence of them on people’s behaviour.

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 Identity and Packaging Design for Gringsing Textile Products from Bali Morinda Art Textile SME at BEDA’KAN 8th Batch

<p>Morinda Art Textile is one of the SMEs (Small Medium Enterprise) that sells Gringsing textile products and is located in Bali, Indonesia. Gringsing is a typical textile that is quite old and very well-known in Bali. This project was done for a program called BEDA'KAN in the 8th batch. The Ministry of Tourism and Creative Economy in Indonesia initiated this program. The packaging design for Morinda Art Textile was carried out using the Eric Karjaluoto methodology. This design was carried out in November 2021 and ended in December 2021.</p><p> </p>

Digital Marketing Training and Visual Identity Design as a Strategy for Economic Recovery of the People of Kucur Village in Malang Regency from the Impact of the COVID-19 Pandemic

The Medium-Term Development Plan (RPJM) of Kucur Village from 2019 to 2025 focuses on the community's economic recovery due to the COVID-19 pandemic. This Community Service activity is a form of support for the planning document for 6 (six) years. In addition, it is an elaboration of the vision and mission of the Village (RPJM). The problem faced by the people of Kucur village that has been identified is that Kucur village has significant tourism potential but has not been fully managed optimally. On the other hand, the Kucur village tourism activist team does not fully understand digital marketing, which is now a trend and an effective way during the COVID-19 pandemic. In addition, practical solutions are needed to restore the community's economy immediately. Departing from these problems, an increase in the competence of the Kucur village tourism activist team, especially the Gunung Sari Valley, in the field of marketing; in the form of copywriting training and its implementation on social media; 2) optimization of smartphones and applications for digital marketing activities such as simple design applications and video editing, and 3) Design of the visual identity of the Gunung Sari Valley (LGS) and its implementation to various media. As a result of this activity, there is an increase in public understanding to optimize LG S Nature Tourism through digital marketing. Furthermore, the visual identity developed by the Community Services team received a positive response from the LGS management team. It aroused the manager's interest in producing merchandise and developing other facilities for monetization.

Subaltern? Illustrated: A Study of Ambedkar Cartoons

Just like any other narrative form, cartoons too, by virtue of their storytelling ability, have problematized Dalit life history and delineated the trauma, tragedy and unflinching representational terms. Charting sociopolitical topics, cartoons are an example of popular culture influencing public opinion. With caricature, prose, topical content and a dash of humour, cartoons form a special category of news and a critical form of political journalism. When Elizabeth Edwards discusses the raw history and potential of photographs, she emphasizes their visual sovereignty, which is not only vital for the production of photography but also for the interpretation of images, and through them, the insertion of the human voice. Similarly, cartoons succeed in combining their visual sovereignty with their ethnographic potential because of their interpretive ingenuousness. As such, cartoons articulate lines of instability indiscernible under the garb of mythical solidarity of a myriad of political ideologies. Cartoonists construct publics and counter publics by problematizing the impact of sociopolitics on human beings through the construction of interpretative communities bound by visual perceptions. In other words, cartoons, particularly political cartoons, represent highly complex modern attempts to formulate visual identities under specific historical and political conditions that resonate with the readership. The present research article seeks to problematize Dalit representation in cartoons by non-Dalit illustrators against the work of a Dalit cartoonist to critically study the politics of representation, the discourse of powers and the dialectics of caste. The article seeks to study if and how Dalit agency is, respectively, illustrated or elided, how symbols and caricatures demonstrate the truth of Dalit life and the aesthetics of the Dalit experience. For the purpose of the study, the article especially focusses on the figure of Ambedkar, the iconic Dalit voice and the benevolent patriarch of Dalit ideology, and studies his representation in a series of political cartoons published between 1932 and 1956.