پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 939 |
| تعداد مقالات | 7,734 |
| تعداد مشاهده مقاله | 12,722,364 |
| تعداد دریافت فایل اصل مقاله | 9,063,993 |
هماهنگی معنای اولیه و ضمنی نماد با هویت برند، در راستای خلق لوگوی فرهنگ محور | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 7، دوره 3، شماره 2 - شماره پیاپی 6، اسفند 1397، صفحه 85-98 اصل مقاله (527.91 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2019.24879.1039 | ||
| نویسندگان | ||
| الهام الیاسی* 1؛ زاهد شفیعی2؛ کامران افشار مهاجر3؛ میراحمد امیرشاهی4؛ محمود شیرازی5 | ||
| 1دانشکده پژوهش های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران. | ||
| 2استادیار گروه مدیریت جهانگردی، دانشکده پژوهش های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران. | ||
| 3دانشیار گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر، تهران، ایران. | ||
| 4دانشیار گروه مدیریت، دانشکده علوم اجتماعی و اقتصادی، دانشگاه الزهرا، تهران، ایران. | ||
| 5استادیار گروه مدیریت، دانشکده مدیریت، دانشگاه شهید بهشتی، تهران، ایران. | ||
| چکیده | ||
| یکی از راه‌کارها که منجر به متفاوت دیده شدن برندها در فضای تبلیغاتی معاصر می‌شود، استفاده از هویت‌های تصویری فرهنگی-قومی در لوگوی آن‌ها است و در جهت برآوری این امر استفاده از نمادها درخلق هویت بصری یک برند اهمیتی ویژه دارد. اما متاسفانه این‌گونه به نظر می‌آید که انتخاب نمادها توسط طراح گرافیک در مواردی به طور سلیقه‌ای و یا در حالت خوش‌بینانه‌ی آن، تنها با رویکردی فرمالیستی صورت می‌گیرد. پژوهش حاضر در راستای رفع این نقیصه به طرح راه‌کاری برای خلق لوگوی فرهنگ محور با استفاده از نمادهای فرهنگی-قومی می‌پردازد و به این سوال پاسخ می‌دهد، که چگونه می‌توان از نماد به درستی در جهت خلق لوگوی فرهنگ محور بهره برد؟ این پژوهش از حیث هدف کاربردی بوده و با ماهیت توصیفی-تحلیلی به روش مطالعه موردی به بررسی و تحلیل نمونه‌های هدفمند بین المللی می‌پردازد. لازم به ذکر است که جمع‌آوری اطلاعات به روش کتابخانه‌ای و از منابع دست اول صورت گرفته است. در نهایت به کمک مهندسی معکوس نمونه‌هایی که از نماد در طراحی لوگو در راستای منافع سازمانی بدون در نظر گرفتن دلالت‌های معنایی اولیه و ضمنی نماد استفاده کرده‌اند، این‌گونه حاصل شد که در اکثر موارد به معنای ضمنی نماد توجه بیشتری شده است؛ بنابراین جدا از خدشه به ارزش‌های فرهنگی، استفاده این چنین نامناسب از نمادها می‌تواند تأثیر منفی بر روی هویت و تصویر برند داشته باشد. در حالی که توجه یکسان به معناهای اولیه و ضمنی نماد و هماهنگ نمودن آن با هویت برند راه‌کاری مناسب در جهت خلق لوگوی فرهنگ محور است. | ||
| کلیدواژه‌ها | ||
| نماد؛ معنای اولیه و ضمنی نماد؛ هویت برند؛ لوگوی فرهنگ محور | ||
| عنوان مقاله [English] | ||
| Coordination of the Denotational and connotational meaning of the symbol with the brand identity, in order to create a culture-based logo | ||
| نویسندگان [English] | ||
| elham elyasi1؛ zahed Shafiei2؛ kamran afshar mohajer3؛ Mirahmad Amir shahi4؛ Mahmood Shirazi5 | ||
| 1high art research and entrepreneurship department, art university of Esfahan, Esfahan, Iran. | ||
| 2Faculty of tourism management, high art research and entrepreneurship department, art university of Esfahan, Esfahan, Iran. | ||
| 3Faculty of visual communication fine art department, university of art, Tehran, Iran. | ||
| 4Faculty of management, Social and Economic Sciences department, Alzahra university, Tehran, Iran. | ||
| 5Faculty of management, management department, Shahid beheshti university, Tehran, Iran. | ||
| چکیده [English] | ||
| One of the solutions that leads to different brands being seen in the contemporary advertising space is the use of visual cultural-ethnic identities in their logo, and to achieve this, the use of symbols is of particular importance. But unfortunately, it seems that the choice of symbols by the graphic designer in some cases is tasty, without prior research or in its optimistic state, only by a formalistic approach. The present study addresses this question as a way to create a culture-based logo using cultural-ethnic symbols, and asks how the symbol can be used in an appropriate way to create a logo culture-based? It should be noted that in this research, the culture-based logo is not merely a logo of cultural organizations, such as the logo of museums, universities and cultural centers, although this item can also be subset. But, the meaning of the culture-logo the logic axis is that in the design of the logo cultural-ethnic symbols play a key role in the transfer of organizational concepts, and the main idea behind the designer to create a logo is the symbol and cultural motifs of a people and a culture. This is an applied research objective with analytical descriptive nature and data collection is done by the library method. By analyzing international specific logo elements and presenting case studies, this article will examine how some contemporary logo designs have inappropriately exploited specific cultural groups. In the process, this study will theorize how designers can practice culturally and socially responsible design by researching the context as well as the cultural and historical significance of major elements used to create a logo design. For designers to implement specific symbolic elements, they will need to analyze each of them to understand the multiple meanings and what they communicate to the intended audience. This is an important step in the design process that should be addressed prior to formalizing the final design proposal. Understanding the importance of the symbol is very important when creating a culture-based logo. Symbols can also be confusing or informative, given how well they are designed and the fact that the designer has well investigated the audience of that brand. A review of the global literature on logo design suggests that the design of the logo includes two basic steps, the research phase and the design stage; however, with this in mind, in the research phase of designing a culture-based logo, there are two basic stages Another included: 1. Research on the organizational goals of the brand and the identity that the brand is seeking to create; 2. Research on symbols that are consistent with the organizational identity in terms of explicit and implicit implications. Therefore, designing a logo is not a tweet or only a matter of formalistic and aesthetic issues, but in designing a logo, especially a logo that plays a key role in the symbol, the designer needs to have a thorough and proper research before designing it. One can conclude from the examination of international samples that use the symbol in the design of the logo in line with organizational interests, regardless of the harmony of semantic implications of brand identity. Apart from undermining the cultural values that it the symbol of its text is extracted, the use of such an inappropriate symbol can also have a negative effect on the organizational goals of the companies that use such logos, and this is where brands usually have a significant amount of time and funds to create their own logo. When the resulting logo is used to insult a group or ethnic group or use their visual symbols inappropriately, it can be very costly for both that particular culture and that organization's owner. Also, by exploring the purposeful international samples that used the symbol in the design of the logo in line with organizational interests, regardless of semantic implications of the symbol, it was concluded that, apart from the inhibition of cultural values, the use of such Inappropriate symbols can have a negative impact on brand identity and brand image throughout the brand's life, as well as organizations that create and use these logos. Finally, the result of this essay was that in the majority of cases, the connotational meaning of the symbol in the design of the logo was given more attention, whereas the same attention to the denotational and connotational meaning of the symbol and its alignment with the brand identity was the appropriate way to create a culture-base logo. Also, by exploring the purposeful international samples that used the symbol in the design of the logo in line with organizational interests, regardless of semantic implications of the symbol, it was concluded that, apart from diminishing cultural values, such use incorrect symbols can have a negative impact on brand identity throughout the brand life. | ||
| کلیدواژه‌ها [English] | ||
| Symbol, denotational and connotational meaning of the symbol, brand identity, culture-based logo | ||
| مراجع | ||
|
- احمدی، بابک(1382). ساختار و تأویل متن، چ. ششم، تهران: مرکز. - الیاده، میرچا(1393). تصاویر و نمادها، ترجمه محمدکاظم مهاجری، چ. دوم، تهران: کتاب پارسه. - پهلوان، فهیمه(1390)، ارتباط تصویری از چشم انداز نشانه شناسی، چ. دوم، تهران: دانشگاه هنر. - چندلر، دانیل(1386). مبانی نشانه شناسی، ترجمه مهدی پارسا، تهران: سوره مهر. - سپهر، مسعود(1393). شرحی بر نشانه ها- نشانه‌های گرافیک در ارتباط تصویری، تهران: هرمس. - Aaker, D. A. (1991). Managing Brand Equity. New York: Macmillan, Free Press. - Adîr,V., Adîr, G., Pascu, N. E. (2014). How to Design a Logo. In the Proceedings of the 2nd World Conference on Design, Arts & Education DAE-2013, Procedia - Social and Behavioral Sciences,122, 140 – 144. - Ahmadi, B. (2003). The Text- Structure & Textural Interpretation. Tehran: Markaz. - ‘American Brewery Apologizes of ‘Kali-Ma’ Beer’. India Today. Retrieved 10 Mar. 2013 from http://indiatoday.intoday.in/story/american-brewery-apologises-over-kali-mabeer/1/188928.html. - Bennett, P. D. (1995). Dictionary of Marketing Terms. Lincolnwood, IL: NTC Business Books. - Chandler, D. (2007). Semiotics: The Basics. (Mehdi Parsa, Trans.). Tehran: Sooreh—ye Mehr. - Chu, S. (2003). Cross-Cultural Comparison of the Perception of Symbols. Journal of Visual Literacy. 69-80. - Da Silveira, C., Lages, C. & Simoes, C. (2011). Re-conceptualizing Brand Identity in a Dynamic Environment, Journal of Business Research. - Davis, M. (2012). Graphic Design Theory. Thames & Hudson. - Designer's Culture Guide. (n.d.). Retrieved 2018. 07 from https://www.aiga.org/designers-culture-guide. - Eliade, M. (2014). Images & Symbols. (Mohammad Kazem Mohajeri, Trans.). Tehran: Ketab-e Parseh. - Flaherty, S. D. (2013). Culturally Responsible Logo Design (M.A. Thesis). The Savannah College of Art and Design. - Fryberg, S.A, Markus, H. R., Oyserman, D. & Stone, J. M. (2008). Of Warrior Chiefs and Indian Princesses: The Psychological Consequences of American Indian Mascots. Basic and Applied Social Psychology, 30(3), 208-218. - Hewett, K., Roth, M. S. & Madden, T. J. (2000). Managing Images in Different Cultures: A Cross-National Study of Color Meanings and Preferences. Journal of International Marketing. 8(4), 90-107. - Kohli, Ch., Suri, R. & Thakor, M. (2002). Creative Logos: Insights from Theory and Practice. Business Horizons, 45(3), 58-64. - Krampen, M. (1965). Sign & Symbols in Graphic Communication. Design Quarterly, 62, 1-31. - Manville, R. (1965). How Much Does an Industrial Logotype Add to the Effectiveness of an Advertisement?. Journal of Marketing, 29(2), 57-59. - Mathur, G. (2005). Signboards as Mirrors of Cultural Change. Design Issues, 21(4), 78-93. - McCoy, K. (1990). American Graphic Design Expression: The Evolution of American Typography. Design Quarterly, 148, 3-22. - Mininni, T. (2005). Marketing Metrics & Package Design. Retrieved January 17, 2007 from www.brandchannel.com/brand_speak.asp? bs_id ¼ 117. - Morris, C. W. (1955). Signs, Language and Behavior. New York: George Braziller Inc. - Pahlevan, F. (2011). Visual Communication from Perspective of Semiotics. Tehran: University of Art. - Peterson, C., & Seligman, M. E. P. (Eds.) (2004). Character Strengths & Virtues: A Handbook & Classification. New York: Oxford University Press. - Philographics. (n.d.). Retrieved 2018. 06 from https://studiocarreras.com/philographics/. - Reynolds, L. J. (1997). American Cultural Iconography: Vision, History, & the Real. American Literary History, 9(3), 381-395. - Sato, K. & Chen, K. (2008). Special Issue Editorial: Cultural Aspects of Interaction Design. International Journal of Design, 2(2), 1-3. - Schechter, A.H. (1993). Measuring the Value of Corporate and Brand Logos. Design Management Journal, 33-39. - Sepehr, M. (2014). A Footnote for Signs. Tehran: Hermes. - Stokrocki, M. (2006). Searching for Meaning: Visual Culture from an Anthropological Perspective. Art Education, 59, (1), 46-52. - Tyler, A. (1992). Shaping Belief: The Role of Audience in Visual Communication. Design Issues, 9(1), 21-29. - https://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10748691. Retrieved 2018. 04.
Images Sources:
| ||
|
آمار تعداد مشاهده مقاله: 1,494 تعداد دریافت فایل اصل مقاله: 1,913 |
||
