This thesis deals with the analysis of the current status of the marketing mix, communication strategy and activities of village Vinné related tourism. SWOT analysis and questionnaire surveys are also part of the analysis. Our main objective is based on the findings to make recommendations for improvement of communication strategy of the village with specific tactics that would be applicable immediately, by June 2016. The recommendations include schedule for their implementation and design of visual identity and slogan for Vinné. As the attraction of the village can attract all ages, the aim of this thesis is also to identify behavioral differences in the selection and planning vacations of people under 30 years and over and recommend time and form of marketing communication.

This diploma thesis is focused on the analysis of Czech regional and district capitals attitude of their visual identity. It deals especially with management decisions which had been chosen by capitals in the phase of creation and implementation of the visual identity. Next to the facts connected with visual identity as with a complex system, this thesis evaluates also an approach of the capitals to the particular elements of a vizual identity. As a method a questionnaire research had been used. The questions had been put to the competent representatives of appropriate capital bodies.

Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

El logotipo define la apariencia y personalidad de una marca determinada. El presente estudio busca conocer el efecto que tiene el logotipo de las pollerías limeñas en la percepción de los consumidores, enfocado en los Niveles Socioeconómicos C y D, específicamente en el distrito de Chorrillos. Se tomaron las categorías logotipo y posicionamiento como elementos temáticos a ser evaluados a partir de la problemática que pretende abordar la investigación. En el desarrollo del trabajo se analizarán los dos conceptos antes mencionados para poder definirlos de manera concreta, basándonos autores especializados en la relación del visual identity y el posicionamiento de mercados regionales. A partir de ello, se busca analizar cuál es la asociación que establece el consumidor entre el logotipo utilizado por las pollerías y el posicionamiento de las mismas. El objetivo planteado es analizar cómo influye el diseño del logotipo de las pollerías ubicadas en el distrito de Chorrillos en el posicionamiento que tienen los consumidores hombres, de 30 a 38 años, pertenecientes al distrito de Chorrillos, por la alta densidad poblacional de NSE C y D. Por último, en enfoque de la metodología utilizada será de tipo cualitativa y el diseño de investigación será en base a teoría fundamentada y estudio de casos, finalmente, las técnicas de recojo de información definidas para el trabajo de campo son entrevistas estructuradas y no estructuradas para consumidores y expertos en el tema. / The logo defines the appearance and personality of a given brand. The present study seeks to know the effect that the logo of the chicken shops in Lima has on the perception of consumers, focused on Socioeconomic Levels C and D, specifically in the Chorrillos district. The logo and positioning categories were taken as thematic elements to be evaluated based on the problems that the research seeks to address. In the development of the work, the two aforementioned concepts will be analyzed in order to define them concretely, based on specialized authors based on the relationship of visual identity and the positioning of regional markets. From this, it is sought to analyze what is the association established by the consumer between the logo used by the chicken shops and their positioning. The stated objective is to analyze how the logo design of the chicken shops located in the Chorrillos district influences the position of male consumers, from 30 to 38 years old, belonging to the Chorrillos district, due to the high population density of NSE C and D. Lastly, the methodology used will be of a qualitative nature and the qualitative research design to be used, and the information gathering techniques defined for the field work are structured and unstructured interviews for consumers and experts on the subject. / Trabajo de investigación

No description available.

Esta investigación tiene por objetivo valorar el papel de la identidad visual en la generación de empatía como parte de la cultura organizacional de las empresas privadas del sector bancario. Así, se planteó como hipótesis que la adecuada implementación de los elementos de una identidad visual ayudará a generar valores como la empatía para poder cambiar y mejorar las dinámicas y vínculos laborales en el Perú. El tipo de investigación es descriptiva, ya que se busca observar el fenómeno de estudio y describir su comportamiento. Además, el diseño de investigación es mixta teniendo características cualitativas y cuantitativas, contando con trabajo de campo con la finalidad de recolectar información directa de los mismos trabajadores y de especialistas en los temas de la investigación. Los resultados obtenidos evidencian que existe un ambiente laboral agradable para los trabajadores gracias a los valores institucionales como la empatía, desarrollando de manera exitosa sus relaciones laborales. Además, el 100% de los individuos encuestados afirma conocer los valores institucionales, por lo que se pudo corroborar que existe coherencia en la comunicación visual que transmiten los elementos de la identidad, siendo los colores y el tono de comunicación los elementos más importantes para transmitirlos adecuadamente. Finalmente, se pudo valorar el papel de la identidad visual en la generación de empatía en la institución bancaria, y se puede afirmar que la identidad visual corporativa ayuda a transmitir la comunicación interna de manera coherente soportando los valores planteados en la cultura organizacional estableciendo relaciones laborales basadas en la empatía. / This research aims to assess the role of visual identity in generating empathy as part of the organizational culture of private companies in the banking sector. Therefore, it was hypothesized that the proper implementation of visual identity’s elements will help to generate values ​​such as empathy that will be able to change and improve labor dynamics and bonds in Peru. The research type is descriptive, since it seeks to observe the phenomenon within the study and describe its behavior. In addition, the research design is mixed with qualitative and quantitative characteristics, including a field work with the intention of collecting information from the workers and specialists in the research topics. The main results show that there is a pleasant working environment for workers due to institutional values ​​such as empathy, which successfully help to develop their labor relations as well. In addition, 100% of the participants claim to know their institutional values, which could mean that there is coherence in the visual communication that the elements of identity transmit, with colors and tone of voice as the most important elements to transmit. Finally, it was possible to assess the role of visual identity as an empathy generator in the banking institutions. It can also be affirmed that corporate visual identity helps to transmit internal communication in a coherent way as well as it supports the values ​​established in the organizational culture by establishing labor relationships based on empathy. / Trabajo de investigación

Bakgrund Medvetenheten om vår miljöpåverkan och intresset för ett mer hållbart konsumtionssamhälle har ökat. För att uppnå de globala målen för en hållbar utveckling, behöver miljöpåverkan från konsumtionen minska. En del av lösningen är second hand-försäljning som också är en av de konsumtions-trender som ökar i störst omfattning. Konsumenterna uppskattar företag som bedriver hållbara verksamheter och behöver information från företagen för att kunna fatta medvetna köpbeslut. Sociala medier som Instagram används av second hand-företag för att nå ut med sin information. Dock kan det vara svårt att synas genom den stora mängd information som florerar i flödena. Detta ställer krav på att second hand-företagens visuella identiteter utvecklas för att nå den önskade målgruppen. Syfte Studiens syfte är att kartlägga hur second hand-företag använder grafik som en del av deras visuella identitet för att utmärka sig på Instagram. Metod Som datainsamlingsmetod användes en visuell innehållsanalys. Urvalet bestod av elva second hand-företag vars inlägg på Instagram innefattades av kläder och inredning. Resultat/slutsatser I denna studie var användningen av de grafiska elementen jämnt fördelad totalt sett för gruppen av second hand-företag. De grafiska element som företagen använder i inlägg är illustrationer, logotyper/symboler, tonplattor och text. Av det totala antalet inlägg som second hand-företagen publicerar, består 34% av inlägg med grafik. Totalt sett för gruppen av second hand-konton var inlägg med grafik i kombination med fotografisk bild den vanligaste typen av inlägg att publicera. För den totala gruppen företag används färger ur kategori röd, gul, grön, blå, svart, vit, grå och magenta varav röd användes i störst omfattning i inläggen med grafik. Second hand-företagen använder typsnitt ur huvudklasserna Sanserif, Seriff och Display i inläggen, varav typsnitt i huvudklassen Sanserif används i störst omfattning. Inom underklasserna tillhörande de olika huvudklasserna används Neogrotesque, Grotesque, Transitional och Processed/Manipulated i störst omfattning. / Background The awareness of our environmental impact and the interest for achieving a more sustainable consumer society has increased. The impact from consumption must be reduced in order to reach the global goals for a sustainable development. Second hand sales is a part of the solution towards a more sustainable future and is also one of the most increasing consumption trends. Consumers appreciate companies that take sustainable actions, and they need information from the companies to make more conscious buys. Social media platforms, such as Instagram, are being used by second hand companies to reach out with their information. However, it can be difficult to be seen amongst the large amount of information that overflows in Instagram feeds. Therefore, the companies need to develop their own visual identities in order to reach their desired target group and attract buyers. Aim The purpose of this study is to map how second hand companies uses graphics as a part of projecting their visual identities on Instagram. Method A visual content analysis was used to collect data for the study. Eleven second hand companies, whose Instagram posts contained clothing and home interior, was selected for the analysis. Results/conclusions The result of this study shows that the second hand companies total use of different graphics was spread evenly amongst the following elements: illustrations, logos/symbols, solid color surfaces and text. Of the total number of posts that were published by the second hand companies, 34% consist of posts with graphics. Posts that consisted of graphics were most often used in the combination of photographic images and graphics. These types of posts were the overall most common for the second hand companies in this group to publish. The colors that the group of second hand companies uses in their posts consisting graphics, were found in the categories: red, yellow, green, blue, black, white, gray and magenta of which red was used in the greatest extent. The typefaces that were used in the posts were classified as Sanserif, Seriff and Display but Sanserif typefaces were the more often used than the others. This study also covered these typeface classifications subclasses in which Neogrotesque, Grotesque, Transitional and Processed/Manipulated are used to the greatest extent.

Esta investigación tiene por objetivo analizar los criterios de diseño persuasivo que utilizan las marcas peruanas de moda sostenible durante el proceso de creación de la identidad visual para comunicar sus valores. Por consiguiente, se planteó como hipótesis que el diseño persuasivo se utiliza como base al momento de crear la identidad visual de las marcas de moda sostenible, puesto que facilita la comunicación y recepción de los valores sostenibles. Esta investigación es de tipo cualitativo, puesto que los datos a examinar son los elementos de la identidad visual de las marcas peruanas de moda sostenible. Los elementos analizados son: el logo, la tipografía, la paleta de color, el estilo fotográfico, el tono de comunicación y las figuras de soporte. Se trata de una investigación de alcance descriptivo en vista que el fin es examinar información con respecto a una gráfica visual. Los resultados obtenidos confirman que la identidad visual posibilita la comunicación efectiva de los valores sostenibles de la marca. Gracias a los elementos que componen la identidad visual, las marcas peruanas se dan a conocer ante su público objetivo. Se concluye que, el diseño persuasivo es apto para comunicar los valores de las marcas de moda sostenible, mas no es considerado al momento de crear la identidad visual. Sin embargo, este sí se evidencia en la comunicación de los valores sostenibles. Esto sucede porque las marcas optan por mostrarse ante sus consumidores de forma auténtica; buscan concientizar al usuario sobre el impacto de la industria de la moda. / This research aims to analyze the persuasive design criteria used by Peruvian sustainable fashion brands when creating their visual identity to communicate their sustainable values. Regarding the hypothesis, it was considered that persuasive design is used as the basis when creating the visual identity of sustainable fashion brands; since it eases the communication and reception of sustainable values. The research type is qualitative, since the data and elements to be analyzed on are graphic and not numerical. The content to be observed are those used by Peruvian sustainable fashion brands when creating their visual identity. This investigation has a descriptive scope since the purpose is to examine information with respect to a visual graph. The results demonstrate that the visual identity enables the brand to achieve an effective communication, and it is the elements that compose it that allow Peruvian sustainable fashion brands to achieve recognition between the users. Finally, although persuasive design is apt to communicate the sustainable values ​​of sustainable fashion brands, it is not considered when creating a strategy and designing visual identity; however, if it is evidenced in the communication of sustainable values. This happens because brands choose to show themselves as a genuine brand to their consumers. Its objective is not to impose sustainability but to make the user aware of its existence, and that from the purchase they choose responsible fashion consumption. / Trabajo de investigación

En esta investigación se encontró un problema de comunicación visual en el restaurante Ache, donde se identificó la falta de elementos gráficos que logre identificar al restaurante de cocina nikkei a partir de su dimensión cultural. Se identificó que este problema de comunicación visual solo se podía resolver mediante el diseño gráfico, ya que pertenece precisamente al área identitaria. Además, este proyecto muestra una justificación cultural y práctica donde se identificarán aspectos esenciales para el replanteamiento de la identidad del restaurante para que logre transmitir su esencia como marca al consumidor.También, se realizó una encuesta a un grupo de personas que consumen comida nikkei y se entrevistó a dos expertos que han creado y rediseñado proyectos de identidad visual de restaurantes nikkeis y otros rubros de comida. Adicionalmente, se utilizó la metodología de trabajo del doble diamante para realizar el proceso de elaboración de la gráfica visual.Los principales resultados que se pudo obtener mediante la propuesta de diseño fueron positivos, ya que los usuarios consideraron que la nueva gráfica sí reflejaba el rubro de comida que ofrecían. Igualmente, el logo lo relacionaban con la cultura nikkei, la carta lo consideraban claro y directo, las imágenes ayudaban a entender el producto a consumir y el empaque les parecía innovador y diferente generando una experiencia única. / In this research, a visual communication problem was found in the Ache restaurant, where the lack of graphic elements that could identify the Nikkei cuisine restaurant from its cultural dimension was identified. It was identified that this visual communication problem could only be solved through graphic design, since it belongs precisely to the identity area. In addition, this project shows a cultural and practical justification where essential aspects will be identified for the rethinking of the identity of the restaurant so that it can transmit its essence as a brand to the consumer.Also, a survey was made to a group of people who consume Nikkei food and two experts who have created and redesigned visual identity projects for Nikkei restaurants and other food items were interviewed. Additionally, the double diamond methodology was used to carry out the process of elaboration of the visual graphics.The main results obtained through the design proposal were positive, since the users considered that the new graphics did reflect the food offered. Likewise, the logo was related to the Nikkei culture, the menu was considered clear and direct, the images helped to understand the product to be consumed and the packaging seemed innovative and different, generating a unique experience / Trabajo de Suficiencia Profesional

In recent years the arts institutions’ role in society have changed. With increased demands on attracting greater number of visitors they use concepts from corporate marketing to communicate with greater success. Theories from museum studies show that the importance of rendering authenticity now has become the new imperative in order to retain the status of a reputable institution. This thesis aims to discuss the development of a new visual identity for the public and non-profit institution Malmö konsthall. Through a collaborative working process, the project’s practice part resulted in a visual identity designed to reflect authenticity. The conclusion indicates that it is difficult without extensive studies of the produced design to find out if authenticity is really something that can be rendered intentionally.