Texte remanié de: Thèse de doctorat--Design--Lunds universitet, 1995. / Bibliogr. p. 231-233. Index.

<p>C-uppsats vars huvudsyfte var att undersöka hur stor igenkänning människor har av företagsmärken utan att logotypen finns med. Genom att arbeta med både en kvalitativ och kvantitativ metod har vi fått fram våra resultat, detta genom att våra respondenter besvarade en enkät. Våra teoretiska perspektiv kommer från en blandning av olika ämnesområden, så som psykologi och informationsdesign med fördjupningar i bland annat perception, objektsigenkänning, symbolik och färgers betydelse. Genom våra undersökningar kom vi fram till att det inte finns något enkelt svar på huruvida märken känns igen eller inte. Bland våra utvalda märken var könsbundenheten låg, och ålder har viss betydelse för igenkänningen. Detta genom att äldre respondenter hade en högre igenkänning än de yngre.</p> / <p>Bachelor theses with the main purpose to investigate how well people recognize corporate brands without the logotype being present. We have achieved our results by using a mixture of both qualitative and quantitative methodology, and all of our collected data has been gathered through a survey. Our theoretical perspectives come from a variety of disciplines, such as psychology and information design, including perception, object recognition, symbolism and the importance of colours. After analysing our gathered data, we feel quite confident in claiming that there are no simple answers when it comes to our abilities to recognize corporate brands. We noticed that the gender of our respondents had none or very little impact when it comes to recognition, but age on the other hand was quite a large factor. We came to the conclusion that our older respondents recognized far more corporate brands than our younger respondents.</p>

The purpose of this paper is to examine the role of logotypes within the visual identity and identify possible reasons that motivate companies to change their logo. This paper should also clarify how different parts of the visual identity affect each other and how they are interconnected. The thesis research question is formulated with the purpose in mind and has led to the following question: How can a logo change contribute to enhanced visual identity?   Since we wanted to obtain a better understanding of the chosen research area with help of interviews have we chosen a qualitative method for this thesis. During the process we have let the empirical material control the chosen theories. Our gathered theories are from secondary data and the empirical material has been collected from semi-structured interviews.  In order to obtain a wider range of our research topic, we have selected the interviewed respondents from different industries and areas of work. In our work process, we have analyzed and discussed the impact of a logo and how a logo change could impact on the visual identity. Our research showed that a single logo change would not necessarily have an impact on the visual identity but would improve with a combined match of the identities other components. During our process we also identified three main ingredients that a good logo should contain. Finally, we have developed a theory that shows how visual identity components are interconnected.

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 14).

Sedan fotbollens början 1863 har sporten idag vuxit till en mångmiljardindustri. Detta innebär att klubbarna framställs mer som företag där den visuella identiteten är en viktig faktor när det kommer till marknadsföring. Syftet med denna studie är att jämföra 98 europeiska fotbollsklubbars logotyper från fem olika ligor för att hitta samband och skillnader i utformningen mellan länder och ligor. Resultatet sammanfattades i form av generiska logotyper för respektive liga. De 98 klubbarna hämtades ur de fem europeiska ligor som 2014 hade störst tv-intäkter. Logotyperna samlades in genom bildsökningar via Google. Logotyperna sorterades efter respektive liga och överskådades för att definiera lämpliga kategorier för en visuell innehållsanalys. Den visuella innehållsanalysen visade att ligorna skiljer sig något vad beträffar logotypernas utformning, men att de har vissa gemensamma grundläggande drag. / Since the beginning of football in 1863 the sport today has grown into a multimillion dollar industry. This means that clubs today are seen as corporations where the visual identity is a major factor when it comes to marketing. The purpose of this study is to compare 98 European football clubs logos from five different leagues to find correlations and differences in design between countries and leagues. The results were summarized in the form of generic logos for each league. The 98 clubs were extracted from the five European leagues, which in 2014 had the largest TV revenues. The logos were collected through image searches using Google and then sorted for each league. The logos were sorted for each league and then beheld to define appropriate categories for a visual content analysis. The visual content analysis showed that the leagues are somewhat different as regards to the design of the logos, but they have some common basic features.

English is commonly used on the Swedish consumer market today. Not only is English present in Swedish print media but it is also highly present in everyday communication amongst Swedes. The aim of this paper is to find out why English is often picked for promotion purposes and to find out if young Swedes have more positive attitudes towards English than Swedish – Both in general and when it comes to advertising purposes. This study investigates the possible advantages as well as disadvantages of using English in logotypes and brand names aimed at a target group that are learners of English as a second or foreign language. The study was performed using a questionnaire divided into two parts. The first part aimed at finding out about the informants’ knowledge of English and attitudes towards English. The second part was about Swedes’ preferences regarding English versus Swedish brand names. To do so six fictional logotypes in pairs of two’s were created: one with all Swedish text elements and one with all English text elements. The informants were to pick their favorite logotype and motivate why they picked it. The results showed that Swedes generally have positive attitudes towards English and that they prefer English brand names to Swedish ones when the English used is on a certain linguistic level. A possible conclusion is that Swedes like English better for commercial purposes but only as long as they experience some familiarity with the words or expressions used.

In this study we are seeking to discover the norms in the design of logotypes and how they havechanged over time. To achieve this we have chosen to analyze the logotypes of twenty companies withthe largest expenditure on advertising in Sweden. We mapped chosen design attributes within the logoto discover the similarities and then we selected the five oldest brands to analyze how their logos havechanged over time. The design changes in the logotypes over time is can be related to the changingattitudes of the general public and the designers ambitions to draw on convention to create iconic designthat will spark brand-recognition. However many changes can’t be directly explained through changesin convention. Logotype design is deeply connected with technology and foremost what optionstechnology can offer in the form of design. The digital revolution has impacted the norms of logotypedesign and we are now seeing that logotypes have adapted to the digital era. Later versions of populardesign software, enables designers (and also non professionals) to easily enrich logotypes using 3Deffectsand levels of gradients. Parallel to this evolution in design, we can draw a conclusion that theprinciples of a simplistic design, with fewer design elements, and the principle of versatility, has gainedground. Today’s logotypes need to have fever elements in order to be functional in really small sizes andversatile to be able to function in many different digital environments.

Today's rise of brands makes it increasingly difficult to differentiate on the market. Logos are seen as one of the main tools to express your business and are one of the first things consumers come into contact with. In order to create strong emotional bonds with your consumers, brands need to produce logos with aesthetic characteristics to differentiate and appeal to consumers. The purpose of this study is to contribute to a deeper understanding of which aesthetic characteristics in a logo that creates brand attachment for consumers. Therefore, by examining whether color, shape and font affects brand attachment, brands get guidance for a logo design to best attract consumers to their own brand. The theoretical frame of reference consists of branding, brand attachment and logos with their aesthetic attributes. Based on this, a conceptual framework has been created to describe the connection between the logo and brand attachment from the consumer’s point of view.  Semi-structured interviews from a mixed inductive and deductive approach are conducted using a qualitative method. 22 respondents aged 18-25 were interviewed. Consumers aged 18-25 are described as the age group that finds it difficult to create an emotional bond with a brand and instead relies on digital technology. The results of the study showed that this was not the case. All respondents feel a connection with the brand in one way or another. The important thing was to feel a connection to the brand values and that the logo’s content reflects the brand’s quality. Color, font and symbols were important to take into account when designing the logo. / Framväxten av varumärken idag gör det allt svårare att differentiera sig på marknaden. Logotyper ses som ett av de främsta verktygen att uttrycka sin verksamhet på och är något av det första en konsument kommer i kontakt med. För att skapa starka känslomässiga band med  konsumenter behöver varumärken ta fram logotyper med estetiska egenskaper som differentierar varumärket och samtidigt tilltalar konsumenterna. Syftet med denna studien är att bidra till en mer djupgående förståelse för vilka estetiska egenskaper i en logotyp som skapar brand attachment för konsumenter. Därför genom att undersöka huruvida färg, form och teckensnitt påverkar brand attachment kan varumärken få vägledning inför en logotypdesign för att på bästa sätt locka konsumenter till sitt eget varumärke. Den teoretiska referensramen består av varumärkesprofilering, brand attachment samt logotyper och dess estetiska egenskaper. Utifrån detta har ett konceptuellt ramverk skapats för att beskriva kopplingen mellan logotypen och brand attachment utifrån konsumentens synvinkel. Semi-strukturerade intervjuer ur en blandad induktiv och deduktiv ansats genomfördes med kvalitativ metod. 22 respondenter i åldern 18-25 år intervjuades. Konsumenter i åldern 18-25 år beskrivs som den åldersgrupp som har svårt att skapa ett känslomässigt band till ett varumärke och förlitar sig istället på digital teknik. Resultatet av studien visade däremot att så inte var fallet. Samtliga respondenter upplever samhörighet med varumärken på ett eller annat sätt. Det viktiga ansågs vara att känna en koppling till varumärkets värderingar och att logotypens innehåll speglar varumärkets kvalitet och därmed var färg, typsnitt och symboler viktigt att ta i beaktande vid logotypdesign.

Ända sedan filmbranschen började implementera datorgenererat innehåll i filmproduktioner har 3D blivit en större del av vår vardag. Syftet med detta arbete är att hjälpa 3D-artisten att optimera sitt arbetsflöde för att effektivisera en annars tidskrävande teknisk process. Genom att visuellt analysera och därefter kategorisera befintliga animationer av olika 3D-logotyper, har detta arbete skapat en grund till att kartlägga hur en eventuell plugin med förinställda ljussättningar bäst möter funna kategorier. För att besvara arbetes frågeställningar utfördes en visuell innehållsanalys av 50 3D-animationer. De analyserade logotyperna valdes ut från urvalskategorierna: film och bil. Arbetets resultat tyder på att det finns återkommande stilar och metoder för ljussättning av motion graphics. Funna kombinationer för ljussättningar har inte kunnat kategoriseras då resultaten från analysen ej gav upphov till mer än en ljussättning. Resultaten ger en grund för en optimal ljussättning ämnad för en plugin i Cinema 4D. Studien ger även förslag på fortsatt forskning inom området. / Ever since the film industry started implementing computer generated content in film productions the presence of 3D in our everyday life has increased. The purpose of this study is to help the 3D artists optimize their workflow and streamline a time-consuming technical task. Through visually analyzing and further categorizing existing logotype animations this study has created a foundation towards mapping how a potential plug-in with predefined lighting setups best matches found categories. To answer the questions of this study a visual content analysis was conducted during which 50 3D animations were analyzed. The analyzed logotypes were chosen from the categories: film and cars. The findings of this study suggest that there are reoccurring styles and methods for lighting in motion graphics. The study has not been successful categorizing the most commonly used lighting setups due to the analysis not resulting in more than one lighting setup. The result provides a foundation for an optimal setup for lighting in motion graphics. The study also provides suggestions for future research on the subject.

C-uppsats vars huvudsyfte var att undersöka hur stor igenkänning människor har av företagsmärken utan att logotypen finns med. Genom att arbeta med både en kvalitativ och kvantitativ metod har vi fått fram våra resultat, detta genom att våra respondenter besvarade en enkät. Våra teoretiska perspektiv kommer från en blandning av olika ämnesområden, så som psykologi och informationsdesign med fördjupningar i bland annat perception, objektsigenkänning, symbolik och färgers betydelse. Genom våra undersökningar kom vi fram till att det inte finns något enkelt svar på huruvida märken känns igen eller inte. Bland våra utvalda märken var könsbundenheten låg, och ålder har viss betydelse för igenkänningen. Detta genom att äldre respondenter hade en högre igenkänning än de yngre. / Bachelor theses with the main purpose to investigate how well people recognize corporate brands without the logotype being present. We have achieved our results by using a mixture of both qualitative and quantitative methodology, and all of our collected data has been gathered through a survey. Our theoretical perspectives come from a variety of disciplines, such as psychology and information design, including perception, object recognition, symbolism and the importance of colours. After analysing our gathered data, we feel quite confident in claiming that there are no simple answers when it comes to our abilities to recognize corporate brands. We noticed that the gender of our respondents had none or very little impact when it comes to recognition, but age on the other hand was quite a large factor. We came to the conclusion that our older respondents recognized far more corporate brands than our younger respondents.