Grafiska profiler har ofta liknande innehåll men ser självklart olika ut för olika verksamheter och varumärken. En cityförening är ett samarbete mellan flera olika aktörer som vill kommunicera med sina målgrupper och samtidigt förmedla det som föreningen tillsammans står för.  Studiens syfte är att ta reda på vad som bör ingå i en grafisk profil för en cityförening och vilka speciella faktorer som finns vid framtagandet av cityföreningars grafiska profiler. För att påvisa möjligheterna till applicering i det som undersökts, används Mjölby City som exempelfall och studien ska generera riktlinjer för Mjölby Citys grafiska profil. För att svara på studiens frågeställningar har en kvalitativ metod används i form av kvalitativa intervjuer och en fokusgrupp i form av en workshop. Intervjuerna har legat till stor vikt vid undersökningen av de speciella faktorerna, då intervjuer har gjorts med företagsrepresentanter som har skapat eller bearbetat grafiska profiler för cityföreningar. Fokusgruppen utfördes för att ta reda på Mjölby Citys identitet, något som bör ligga till grund då en grafisk profil utarbetas. En kvalitativ intervju med en kommunikationsbyrå har också gjorts för att understryka betydelsen av fokusgruppen. I analysen framkommer det att den teoretiska utgångspunkten och den framtagna empirin är eniga i flera aspekter. Studiens slutsatser bygger på att det finns en del speciella faktorer att ta hänsyn till när det gäller cityföreningars grafiska profiler. En cityförening behöver en tydlig grafisk profil och de bör ta hänsyn till att det finns en tredelad målgrupp: besökare, investerare och invånare. Det är viktigt att ta hänsyn till omgivande faktorer så som politik i området, den lokala utvecklingen och marknaden. En grafisk profil för en cityförening bör bygga på kärnvärden och en karaktäristisk identitet. Den grafiska profilen bör vara bred så att alla föreningens verksamheter inryms under den och den ska gå att kombinera med samarbetspartners visuella uttryck. Kulörer bör definieras i den grafiska profilen som kan delas in efter årstider, högtider och evenemang.  Innehållet i Mjölby Citys grafiska profil bör genomsyras av föreningens identitet och kärnvärden. Den bör innehålla en tydlig logotyp och olika harmoniserande färgpaletter för olika händelser. Den bör innehålla definierade teckensnitt, en antikva och en linjär och om Mjölby City finner en lämplig tagline bör även den finnas med i den grafiska profilen. / Corporate visual identities often a have similar kind of content, but of course they differ depending on the corporation or brand. A city center association is a collaboration of a number of different companies willing to communicate with their target groups and in the same time conveying what the association stands for. This thesis work aims to find out what should be included in a corporate visual identity of a city association and what special factors can be found in the development of these kind of corporate visual identities. To demonstrate the applicability of the study, Mjölby City is used as a case study and guidelines for Mjölby City’s visual identity will be generated. To answer the frame of questions of the study, a qualitative method is used in the form of qualitative interviews and a focus group. Considering the aim of finding special factors, the interviews have been of great importance. They were conducted with company representatives who have worked with visual identities for city associations. The focus group was conducted to find out what Mjölby City’s identity is, which is of great importance when a corporate visual identity is developed. A qualitative interview with a communications agency has also been held to emphasize the importance of the focus group. The analysis shows that the theoretical basis and the derived empirical data are in agreement in several aspects. The study findings are based on the existence of special factors to consider during the development of city association’s visual identities. A city association needs a clear visual identity and one should take into consideration that there are three target groups: visitors, investors and residents. It is important to take environmental factors into account such as policies in the region, local development and the marketplace. A city association’s visual identity should be based on core values and distinctiveness. The visual identity should be broad so that all the association’s activities are housed under it. The width is also important for the possibilities to combine it with partners’ visual identities. Colours should be defined in the visual identity program and they should be be classified according to seasons, celebrations and events. The contents of Mjölby City’s visual identity should be permeated of the association’s identity and core values. It should contain a distinct logo and various harmonizing colour palettes for different events. It should also contain defined fonts, one roman and one linear font, and if Mjölby City finds a suitable tagline this should also be included in the visual identity program.

Nowadays, packaging design is seen as a competitive tool and its importance for corporations is becoming increasingly apparent. The rivalry within homogeneous markets puts high demands on differentiation and the ability to create something more than the product itself. With this fundamental question, the soft drink industry has been examined and a case study of the brand Coca-Cola has been performed. The aim is to investigate how packaging design is used as a tool for strengthening a brand and to explore which additional values this contributes. In addition, the study observes the most important factors in the development of packaging design. A theoretical work of reference, consisting primarily of theories related to branding, design development and visual identity, has been developed to support the study. The thesis has been carried out using two semi-structured interviews with companies that think of packaging design as a vital part of their business: Designkontoret Silver and Amore Brand Identity Studios. The question formulations in this thesis are answered by describing the research front to the matter and to inquire how packaging design has made its mark in the Coca-Cola brand in the years 1886-2014. In this essay, the iconic Coca-Cola bottle plays a central role, as it sets an example of a successful design, along with the campaign “Share a Coke”. The study’s findings show that the phenomena of packaging design and branding are inseparable and require a strategic anchor between them. Packaging design is an effective means to create a good image of your company in the consumer’s mind. Important factors in the design development are recognition, color and shape, and consistency. These are highly characteristic marks of Coca-Cola who over a century stringently has maintained the brand’s well-known design language. The company has historically used design as an innovative tool, not least at the launch of the Contour Bottle in 1916, and has only performed minor changes since then.

Esta pesquisa tem como objeto de observação a Identidade Visual e o ambiente cultural formado em torno dos clubs de música eletrônica da cidade de São Paulo. Procuramos compreender como essa cultura peculiar, que tem na música seu elemento transformador, se modificou e deu forma às diversas modalidades de expressão estética das quais faz uso. Objetivamos identificar os elementos definidores da linguagem adotada em seus projetos de Identidade Visual que são justificados, em parte, pela procura do estabelecimento de vínculos de afinidade com o público. Para tanto, documentamos e analisamos a produção de design e de arquitetura de interiores de clubs surgidos na cidade durante as décadas de 1980, 1990 e 2000, privilegiando, ambiências, marcas e flyers. Buscamos, ainda, revelar histórias, autores e características peculiares dessa produção, e os valores cultuados pelo meio. A significativa efemeridade que caracteriza a cena nos impõe a necessidade de delimitação criteriosa do campo da pesquisa, selecionando uma amostragem panorâmica que permite uma leitura elucidativa e reflexiva dos fatos. Para tanto, apresentamos de forma concisa a história da música eletrônica, distinguindo os elementos definidores de sua linguagem, assim como as manifestações da cultura jovem associadas a essa música e aos seus ambientes de consumo. Observa-se neles um compartilhamento intenso de conhecimentos, hábitos e gostos, que, em grande medida, configuramessa cultura particular, a Cultura Club. / This research aims to survey the visual identity and cultural environment formed around the electronic music clubs in the city of São Paulo. We seek to understand how this peculiar culture, which founded in music its transforming point, has changed and shaped the various forms of aesthetic expressions it uses. We want to identify the defining elements of the language adopted in these Visual Identity projects, which are justified, in part, by the search of establishing ties of affinity with the target public. Thus, we reported and analyzed the design production and interior architecture of the clubs built in the city during the 1980s, 1990s and 2000s, focusing in ambiences, brands and flyers. We also seek to reveal stories, authors and unique characteristics of this production and values practiced by this specific group. The significant efemerity that characterizes the scene imposes the need of a careful delineation of the research field, selecting a panoramic sample that allows us an informative and reflective reading of the facts. Therefore we present a brief history of the electronic music, distinguishing the defining elements of its language as well as the manifestations of a youth culture associated with this music and its consumption environments, where can be noticed in an intense sharing of knowledge, habits and tastes, which largely formed this particular culture, the club culture.

Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-22T14:38:27Z No. of bitstreams: 1 DANILO CORREA DA COSTA CID.pdf: 8131098 bytes, checksum: 7d338dd57fcdca2549175daf516d7a18 (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-22T14:38:55Z (GMT) No. of bitstreams: 1 DANILO CORREA DA COSTA CID.pdf: 8131098 bytes, checksum: 7d338dd57fcdca2549175daf516d7a18 (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-23T10:55:50Z (GMT) No. of bitstreams: 1 DANILO CORREA DA COSTA CID.pdf: 8131098 bytes, checksum: 7d338dd57fcdca2549175daf516d7a18 (MD5) / Made available in DSpace on 2017-11-23T10:56:22Z (GMT). No. of bitstreams: 1 DANILO CORREA DA COSTA CID.pdf: 8131098 bytes, checksum: 7d338dd57fcdca2549175daf516d7a18 (MD5) Previous issue date: 2017-03-24 / Brands are strategic assets to guarantee a company’s or product’s success. Their visual identity comprehends the stimuli of its entire physical interface, which includes logo, symbol, color, shape, typography, textures, patterns, and image. It is through visual identity that a given brand takes place in a specific category of products, distinguishes itself from their competitors, and expresses its personality. For the past 30 years, there has been many discussions about the conceptual dimensions of brands that summarize their strengths. However, little has been researched about the visual elements that constitute their visual identity. The main objective of this research is to move forward in identifying arguments and variables for the choice of a certain visual identity practiced in the marketplace; as well as which criteria can be pointed as fundamental in these decision-making processes. To accomplish that, the chosen audience for this study is the contemporary brand experts – the designer and the brand manager. Furthermore, to draw a comparison between decisionmaking processes with context similarity, this research focus upon the marketplace of clothes and accessories, also known as the fashion market. The methodological procedure here is a qualitative research with in-depth interviews with fashion brands managers. All of them were decisive in the processes of revitalization of the following brands: Schutz, Farm, Rosa Chá, Regina Rios, Zinco, and Ellus. Both for the marketplace and the academy, this research intends to contribute in the formalization of success criteria and arguments for decision making when it comes to visual identity. / Marcas são ativos estratégicos para o sucesso de uma empresa ou produto. Sua identidade visual compreende os estímulos de toda sua interface física, que inclui logo, símbolo, cor, forma, tipografia, texturas, padronagens e imagem. É por meio da identidade visual que uma marca se insere em uma categoria de produtos, se distingue de seus concorrentes e expressa sua personalidade. Se, por um lado, muito se aprofundou nos últimos 30 anos sobre as dimensões conceituais de marca que sistematizam suas forças; por outro, pouco se progrediu na pesquisa dos elementos visuais que compõem sua identidade visual. O objetivo principal desta pesquisa é avançar na identificação de argumentos e variáveis para a escolha de uma identidade visual praticada no mercado, quais critérios podem ser apontados como chaves nessa tomada de decisão. Para tanto, o público escolhido para estudo foram os peritos contemporâneos da marca – designer e gestor de marca. Ademais, para uma comparação entre processos de tomada de decisão com similaridade de contexto, optou-se pelo recorte do mercado de vestuário e acessórios, também conhecido como mercado de moda. O procedimento metodológico deste trabalho é uma pesquisa qualitativa com entrevistas em profundidade com gestores de marca de moda. Todos esses gestores foram decisores nos processos de revitalização das seguintes marcas: Schutz, Farm, Rosa Chá, Regina Rios, Zinco e Ellus. Tanto para o mercado quanto para a academia, a pesquisa pretende contribuir para o avanço na formalização de critérios de sucesso e argumentos para a tomada de decisão de uma identidade visual.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-05-29T16:53:24Z No. of bitstreams: 1 gerenciamento_percepcao.pdf: 2438236 bytes, checksum: d707f24d397359564604b7d295079398 (MD5) / Made available in DSpace on 2015-05-29T16:53:24Z (GMT). No. of bitstreams: 1 gerenciamento_percepcao.pdf: 2438236 bytes, checksum: d707f24d397359564604b7d295079398 (MD5) Previous issue date: 2010-11-30 / Nenhuma / O objetivo desta pesquisa foi o de descrever e entender o fenômeno da identidade visual corporativa (IVC) dentro da PUC-GO na perspectiva de seus gestores e estudantes. Para isso foi utilizado como método de pesquisa o estudo de caso único descritivo, a fim de entender a IVC com mais profundidade. Percebe-se no meio acadêmico e gerencial uma necessidade de se entender esta questão de uma forma mais ampla. Há um interesse crescente das organizações em cuidar da sua imagem e reputação e a identidade visual tem um papel importante neste processo. Este estudo então procurou responder a seguinte pergunta de pesquisa: Como se dá o gerenciamento da IVC da PUC-GO na perspectiva de seus gestores e como a mesma é avaliada pelos estudantes da instituição? Foram coletados dados secundários através de documentos e dados primários que foram entrevistas com cinco gestores e o grupo de foco com sete estudantes. Estes dados foram analisados através da análise de conteúdo contrastando-os com proposições teóricas. A conclusão é de que o órgão gestor principal na gestão da IVC é a DICOM. Apesar do grande esforço e dedicação dos gestores, o processo de gerenciamento é complicado e apresenta dificuldades, o que gerou aplicações problemáticas da IVC na instituição. Há dificuldade no controle do uso da IVC e o reconhecimento da necessidade de otimização do processo. Entre os alunos, houve um sentimento de respeito pela PUC-GO, porém foram detectados problemas no entendimento da idéia central da marca, dentre eles a incompreensão dos elementos do símbolo. Foi detectado na pesquisa que não houve uma associação imediata da identidade visual com os valores da instituição. Surgiram também críticas a respeito da implementação da IVC em diversas aplicações, onde não foi percebida uma padronização desta. / The aim of this research was to describe and understand the phenomenon of corporate visual identity at PUC-GO under the perspective of its managers and students and to achieve this purpose, a descriptive case study approach was used as a methodological tool in order to understand the phenomenon of (CVI) with more depth. It is noted among academics and managers a need to understand this theme with a more holistic approach. There is a growing interest among organizations in taking care of their image and reputation and the visual identity plays an important role in this process. This study tried to answer the following research question: How is the management of PUC-GO held under the perspective of its managers and how is its perception viewed by its students? Secondary data were collected through university internal documents and primary data were collected through interviews with five managers and a focus group with seven students. These data were analysed using content analysis approach facing the studied theory. The findings concluded that the department responsible for the management of the visual identity is DICOM. Despite the great effort and dedication of its managers, it was discovered that the visual identity management process is complicated and presents some difficulties which resulted in some problematic identity applications. There is difficulty in the control and use of the visual identity and the assumption that the process should improve. A great feeling of respect for PUC-GO was recognized among the students, therefore, some problems regarding the understanding of the core idea of the brand were observed. One of these problems was the misunderstanding of the meaning of the symbol. Also, the research found that there was no immediate association with the values of the university and its visual identity. There were also some complaints about the visual identity implementation in various brand touchpoints, where padronization was not perceived.

För att skilja ett varumärke åt från ett annat behövs en grafisk identitet. Identitet skapar igenkänning och tidigare studier visar att konsumenten oftast hellre väljer ett varumärke de känner igen över ett varumärke de inte känner igen. Logotypen är det visuella märket som syns utåt, och en studie nämner att en amerikan blir utsatt för ca 16 000 logotyper, reklamer och etiketter per dag. Denna studie avser presentera existerande råd för utformningen av en bra logotyp och undersöka i vilken utsträckning dessa råd används. Studien undersöker också om det finns några samband mellan logotypens utformning och varumärkets styrka. För att genomföra studien har en litteratursökning gjorts; baserat på denna har tre betygsystem tagits fram. Sedan har 74 logotyper från två rankningslistor betygsatts av tre yrkesverksamma grafiker. I studien presenteras de råd litteratursökningen gav samt de råd som fanns mest använda. Resultaten visar att det inte finns något samband mellan logotypens utformning och varumärkets styrka, vilket tyder på att andra faktorer spelar in för att ett varumärke ska bli starkt. / To distinguish one brand from another, a graphic identity is required. The identity also creates recognition; previous studies show that the consumer would rather choose a brand they recognize over one they do not recognize. The logo is the brands face toward the consumer and one study mentions that an American is exposed to about 16,000 logos, advertisements and labels each day. This study aims to present existing advice on the design of the logo and to investigate the extent to which these advices are used. The study also investigates whether there is any association between the logo design and the brand's strength. In order to complete the study, a literature search has been made; and based on this, three rating systems have been developed. Then, 74 logos from two ranking lists have been rated by three professional graphic artists. The study presents the advices the literature search gave and the advices that was most widely used. The results show that there is no link between the design of the logo and the brand's strength, which indicates that other factors are involved in making a strong brand.

<p>The strategy when you change the visual part of the brand identity is often referred to as Corporate rebranding and is seen as a good way to show that a company has undergone a change. Despite high risks and high costs, this strategy has become more common and there are companies today who make the choice to change an already well-known graphic profile. This phenomenon is what underlies this essay’s problem statement: Why does a company with an already well-known graphic profile choose to change it and how does the process behind the change occur? In what way have the company’s customers recognized the change and how has the company’s image changed in this context? The purpose of this essay is therefore to explore the process that occurs when a company in the sport and fashion industry changes its visual identity and to explore how the company’s customers have perceived the change.</p><p>To fulfil the purpose of the essay a case study was carried out on a company’s Corporate rebranding process. The company that was chosen was the Swedish sports retail chain Stadium Sweden AB who decided to change its graphic profile even though their logo was one of the two most recognized in their field. With the help of existing theories on brands and Corporate rebranding two interviews and a survey was conducted for this study.</p><p>After this case study we have come to the following conclusions; The reason for the brand change was primarily the need to modernize the graphic profile in context of a larger reorganization of the company. The process can be described in four main phases: Initiation phase, Planning phase, Development phase and Launch and implementation phase. The study also showed that most of the customers had noticed the change and that the company’s image had changed for the better as they managed to maintain the core values of the brand while making it more contemporary and unique.</p><p>We have also come up with three propositions that can be used in future research on this subject: 1. A reason for a brand change might be that the old graphic profile needs to be modernized to practically suit new media, 2. The choice of the Phase in/Phase out strategy is controlled by the availability of various resources and 3. To distance the brand from its heritage doesn’t need to be a pitfall for a brand change.</p>

The strategy when you change the visual part of the brand identity is often referred to as Corporate rebranding and is seen as a good way to show that a company has undergone a change. Despite high risks and high costs, this strategy has become more common and there are companies today who make the choice to change an already well-known graphic profile. This phenomenon is what underlies this essay’s problem statement: Why does a company with an already well-known graphic profile choose to change it and how does the process behind the change occur? In what way have the company’s customers recognized the change and how has the company’s image changed in this context? The purpose of this essay is therefore to explore the process that occurs when a company in the sport and fashion industry changes its visual identity and to explore how the company’s customers have perceived the change. To fulfil the purpose of the essay a case study was carried out on a company’s Corporate rebranding process. The company that was chosen was the Swedish sports retail chain Stadium Sweden AB who decided to change its graphic profile even though their logo was one of the two most recognized in their field. With the help of existing theories on brands and Corporate rebranding two interviews and a survey was conducted for this study. After this case study we have come to the following conclusions; The reason for the brand change was primarily the need to modernize the graphic profile in context of a larger reorganization of the company. The process can be described in four main phases: Initiation phase, Planning phase, Development phase and Launch and implementation phase. The study also showed that most of the customers had noticed the change and that the company’s image had changed for the better as they managed to maintain the core values of the brand while making it more contemporary and unique. We have also come up with three propositions that can be used in future research on this subject: 1. A reason for a brand change might be that the old graphic profile needs to be modernized to practically suit new media, 2. The choice of the Phase in/Phase out strategy is controlled by the availability of various resources and 3. To distance the brand from its heritage doesn’t need to be a pitfall for a brand change.

Syftet är att undersöka hur en förpackningsförändring påverkar ett varumärkes image. Det varumärke som undersökts är Gille som genomförde förpackningsförändringar under 2012.  Detta är en fallstudie med ett kvalitativt tillvägagångssätt genom strukturerad samtalsintervju, kvalitativ textanalys och fokusgrupper.  I teorikapitlet presenteras de teoretiska utgångspunkter som ligger till grund för studiens problemområde; att kommunicera ett varumärke, att särskilja ett varumärke samt att kommuncera via förpackningen.  Studien visar att majoriteten av fokusgruppsdeltagarnas bilder av varumärket förbättrades i samband med förändringarna. Resultaten visade att den bild varumärket vill kommunicera och den bild deltagarna hade inte stämde överens, vilket indikerar på ett glapp mellan varumärkesidentiteten och imagen. Förpackningsförändringarna resulterade även i svagare varumärkesassociationer, då ingen av respondenterna kunde koppla de nya förpackningarna till varumärket. / The purpose with this study is to examine how a packaging redesign affects a brand´s image. The brand that has been investigated is Gille, who conducted a packaging redesign during 2012.  This is a case study with a qualitative approach through structured interview, qualitative textual analysis and focus groups.  This study has a theoretical frame of reference built by: to communicate a brand, to distinguish a brand and to communicate through the packaging. The study shows that the majority of the focus groups participant’s attitudes to the brand improved in relation to the changes. Results showed that the image the brand wanted to communicate and the image that the participants had were not consistent, indicating a gap between brand identity and image. Packaging redesign also resulted in weaker brand associations, when none of the respondents could connect the new packaging to the brand.

Université Paris 8 Gwenaëlle de KerretRÉSUMÉThéorisée dans un premier temps par les sciences de gestion et le marketing, la notion d’identité visuellecommence à être utilisée dans les institutions muséales. Mais pour un musée, elle recouvre des pratiques plusvariées que pour une marque commerciale : l’identité visuelle d’un musée comprend son design graphique(notamment le logotype), mais aussi son architecture et la mise en espace des collections, donnés à voircomme des images emblématiques. Au regard des sciences de l’information et de la communication, l’identitévisuelle peut être considérée comme un dispositif médiatique : elle consiste en une interface organisée etproduite par un groupe social, à destination d’un public. Mais plus qu’un dispositif médiatique, peut-elle êtreconsidérée comme un outil de management de la « marque » muséale ?Cette thèse interroge l’identité visuelle de plusieurs musées d’art en France et aux États-Unis, au regard dumodèle de la marque et de la théorie de l’esthétique des organisations, à partir d’une approchesociosémiotique. Se fondant sur l’histoire des institutions, sur des entretiens auprès d’acteurs et sur uneanalyse des productions visuelles actuelles, elle envisage comment les images construisent un système visuelidiosyncrasique et une forme de récit sur le musée. Une recherche-action dans le cadre des études de publicpermet par ailleurs d’explorer la question de la réception des signes visuels et de leur rôle dans la constructionde « l’imaginaire » du musée chez les publics. À la lumière de cette expérience et des entretiens, la thèsedébouche sur un ensemble de propositions pour améliorer la création et le pilotage des systèmes visuels dansles musées. / First theorized by management science and marketing, the notion of visual identity is now starting to be usedby museums. But for a museum, visual identity includes a wider spectrum of practices than for a commercialbrand: in addition to graphic design (notably the logotype), there is the museum’s architecture and the layoutof the collection, which position emblematic images. In the field of Information and Communication Sciences,visual identity can be considered as a media device: it consists of an organized interface, produced by a socialgroup and addressed to a public. But more than a media device, can it be considered as a tool to manage themuseum “brand”?This dissertation analyzes the visual identity of several art museums in France and the United States, in regardto the brand model and the theory of organizational aesthetics, from a socio-semiotic approach. Based onmuseums’ history, stakeholder interviews and analysis of current visual materials, it considers how imagesbuild an idiosyncratic visual system and the start of a narrative about the museum. Action-research done bymeans of a public survey also allows an exploration of the question of how visual signs are received and theirrole in the construction of a museum’s “collective imagination” in the eyes of the public. In light of thisexperience and these interviews, the dissertation finally suggests a method to help museums create andmanage their visual systems.