A logo is a vital part of any company’s visual identity. The following report exploreshow logo design got affected by the recent age of digitalization. The report helpsoutline essential parts of successful logo design for current and future mediums. Sincecompanies want to hire designers or agencies who work based on research andsuccessful methods, this study helps create a generalization of good logo design that iseasy to implement. Our research confirms the notion that design is a science and not an art, since logosare strong when they fulfill their intended purpose and follow specific guidelines.With the help of gathering both quantitative and qualitative data, we found out that theprimary change of logo design through digitalization was done because of the mediumof which the logos lived. The specific elements that changed were that logos nowfocus more on logo marks and have solid and memorable colours. Further, we sawthat logos had to be distinct and unique to work in the overly saturated digital market.At the same time, logos had to be responsive and have the ability to be showcased in asimple way for it to be ready for any medium it could be thrown against. By analyzing some of the most successful logos of all time such as Apple, Adidas,and Nike this report gets an understanding of the part their logo had in making theirbrands successful. Which is also complemented by insightful interviews with industryprofessional designers who helped develop logos and brands for companies such asBurger King, Netflix, and Audi. All this together helped outline a valid understandingof what makes a good logo for the digital age.

商標是一種藉由圖像或是混和圖像與文字存在的標誌，經由特定的符號或是顏色所組成，利用圖像的組成、配置、形狀、顏色、混合、字體、字體顏色等視覺元素將會帶給人們不同的視覺感受。 過去的研究中，對於視覺元素在商標中扮演的角色偏向質化的探討，通常多利用使用者測試的方法找到設計元素與商標的相關度，較少應用電腦視覺對於圖像量化分析的方法，本研究的目的在於利用各種視覺特徵的計算方式，分析各種商標中視覺元素的組成，包含商標中圖像的複雜度、和諧度、組成重複度等相關量化指標。 藉由大量透過網路上收集的商標進行分析後，可發現商標普遍具有低複雜度、高和諧度、低重複度的設計特性，本論文最後試著以商標獨特性指標代替商標辨識度以驗證本論文設計的分析方法可行性。由於在電腦視覺領域中相關於商標美學的研究並不常見，本論文亦希望能對電腦視覺分析應用在設計或美學的領域進行先導性的研究。 / A logo is a mark composed of graph or a combination of text and graph. Typical visual elements in a logo design such as layout, shape, color (foreground and background), composition, and typeface. The graphical mark can exhibit interesting properties by mixing the elements in creative ways. Most previous researches regarding the role of visual elements in logo design are of qualitative nature. In this thesis, we propose to incorporate visual feature extraction and analysis algorithms commonly utilized in computer vision to compute proper index and investigate key visual elements in logo design, including complexity, harmony and repetition. After analyzing large amount of logos collected from the internet, we find out that most logos are of low complexity, high balance and exhibit some degree of repetition. We propose a new measure of “distinctiveness” and investigate its relationship with to the aforementioned properties. We hope that the results obtained in thesis serve as a catalyst to motivate further research in applying computer vision methods to the area of aesthetics and design.

Idag väljer allt fler varumärken att förändra designen i sina logotyper, något som orsakat starka reaktioner hos konsumenterna. Genom logotypens visuella element, såsom färg och form, kan känslor, som bland annat hoppfullhet och förtroende, samt associationer till specifika föremål eller företeelser, framkallas hos konsumenterna. Därtill kan logotypens design även skapa positiva attityder som i sin tur kan smitta av sig på varumärket. Den här studien ämnar utforska potentiella konsumenters uppfattning om förändrade logotypers designegenskaper och element. Vidare ämnar studien att bygga en interaktiv miljö för att besvara studiens frågeställningar. Studien är genomförd med en kombination av en kvantitativ och en kvalitativ metod i form av en webbaserad designenkät. Webbenkäten innehåller en inledande interaktiv del som innefattar logotypdesignande. Därefter berörs både öppna (kvalitativa) och slutna (kvantitativa) frågor angående val av designelement och logotyper i förhållande till förtroende (attityd).  Resultaten visade att färger som grön, blå och gul med fördel kan användas i varumärkeslogotyper som berör miljö, hållbarhet och energi. Varumärken som befinner sig inom fordonsindustrin kan inkludera färger som blå, silver och svart i första hand, därefter grön och gul. Grön är mest fördelaktig i samband med varumärkeslogotyper som tillhandahåller musikstreamingtjänster, då associationer till musik är framträdande. För att förmedla känslor som exempelvis hoppfullhet, lugn, säkerhet, seriositet, förtroende, framtidstro, harmoni och positivitet kan blå och grön användas i logotypdesignen. För att framkalla ett större förtroende gentemot ett varumärke kan antingen en balans skapas, med hjälp av former, eller en logotypram implementeras. / Today, more and more brands are choosing to change the design of their logos, something that has caused strong reactions from consumers. Through the logo's visual elements (such as color and shape) emotions, such as hopefulness and confidence, as well as associations with specific objects or phenomena, can be evoked in consumers. In addition, the logo's design can also create positive attitudes that in turn can be transferred to the brand. This study aims to explore potential consumers' perceptions of the design properties and elements of changing logos. Furthermore, the study intends to build an interactive environment to answer the study's questions. The study was conducted with a combination of a quantitative and a qualitative method in the form of a web-based design survey. The web survey includes an introductory interactive part that includes logo design. Then, both open (qualitative) and closed (quantitative) questions regarding the choice of design elements and logos in relation to confidence (attitude) are presented.  The results showed that colors such as green, blue and yellow can be used to advantage in brand logos that affect the environment, sustainability and energy. Brands connected to the automotive industry can include colors such as blue, silver and black in primarily, then green and yellow. Green is most beneficial in connection with brand logos that provide music streaming services, as associations to music are prominent. To convey emotions such as hopefulness, calm, security, seriousness, confidence, optimism, harmony and positivity, blue and green can be used in the logo design. In order to evoke greater trust in a brand, either a balance can be created, with the help of shapes, or a logo frame can be implemented.

As a graphic designer and as a creative in general, my interest has always been in the conceptualization and execution of brand identities. I am most comfortable as a designer when I am working in the realm of art direction, and most of my design heroes and inspirations are legendary art directors and designers like Paula Scher, Paul Rand, and Michael Bierut. Logo and wordmark design in particular are among my favorite aspects of design, and finding ways to creatively apply these foundational aspects of a brand to each stage of the user experience is exciting to me. The stages of the user experience which I designed and art directed for my honors thesis included a logo symbol, a wordmark, a set of packaging designs, a storefront, a landing page, and an engaging ad campaign. Designing a brand identity across digital and physical mediums while maintaining a high level of cohesion and story is a rigorous process, and my progress was far from linear. The most important thing I learned was to trust the process; wherever it took me. I am excited to bring what I’ve come to realize during the execution of this project to the industry and to help brands, big and small, design for the digital age across every level of their user experience.