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Zu Rhein, G. M. "Loco Cow Logo." Science 272, no. 5268 (June 14, 1996): 1569e—1573. http://dx.doi.org/10.1126/science.272.5268.1569e.
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Rhein, G. M. Z. "Loco Cow Logo." Science 272, no. 5268 (June 14, 1996): 1573a. http://dx.doi.org/10.1126/science.272.5268.1573a.
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Machado, Joana Cesar, Leonor Vacas de Carvalho, Anna Torres, and Patrício Costa. "Brand logo design: examining consumer response to naturalness." Journal of Product & Brand Management 24, no. 1 (March 16, 2015): 78–87. http://dx.doi.org/10.1108/jpbm-05-2014-0609.
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Purpose – This paper aims to study how logo design characteristics influence consumer response. Based on an in-depth literature review on consumer responses to logo design, the authors included in this research one fundamental dimension of logo design, namely, naturalness and investigated the influence of the different types of natural logo designs on affective response. Design/methodology/approach – In total, 96 logos were selected as design stimuli. The logos were previously classified, according to the naturalness of the logo design, as having an abstract, cultural or organic design. Responses were gathered through a survey in Portugal, including two studies with 220 participants. Findings – Results show that naturalness is an essential logo design element which significantly influences consumer affective responses to the logo, and that natural logos are clearly preferred to abstract logos. Additionally, this research indicates that, within natural logos, organic designs are favored over cultural designs. Practical implications – The findings presented suggest that affect toward unknown organic logos is at the same level as affect toward well-known abstract logos. This is a relevant finding from a managerial point of view, as familiarity, an essential cognitive response toward the brand that has a cost for the firm, can be replaced cost-free with unknown organic logos. Originality/value – This paper is a first exploration of responses to different types of natural logo design. The results should guide managers in selecting or modifying logo designs for achieving a positive affective response.
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Sääksjärvi, Maria, Ellis van den Hende, Ruth Mugge, and Nicolien van Peursem. "How exposure to logos and logo varieties fosters brand prominence and freshness." Journal of Product & Brand Management 24, no. 7 (November 16, 2015): 736–44. http://dx.doi.org/10.1108/jpbm-06-2014-0648.
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Purpose This study aims to propose that a brand can be kept both prominent and fresh by using existing logos as well as logo varieties (i.e. slight modifications to the brand’s existing logo). Design/methodology/approach In two experimental studies, the authors exposed respondents to either the existing brand logo or to logo varieties, and examined their influence on brand prominence and freshness. Findings The findings suggest that consumers subconsciously process logo varieties to which they are exposed in a similar way as they subconsciously process the existing logo of the brand, making both types of logo exposure effective for building brand prominence and freshness. Research limitations/implications It would also be worthwhile to study the effect of logo varieties using other dependent measures than the ones employed in this study, such as purchase intent and behavioral measures (such as consumption behaviors). Practical implications This research shows that logo varieties can be used alongside the existing brand logo to build prominence and freshness. These findings diverge from the findings typically reported in the branding literature that state that consumers resist changes to logos. Originality/value This research not only demonstrates that exposure to logo varieties and existing logos evokes automatic effects (both types of logos outperform a control group in fostering brand-related outcomes) but also confirms that exposing consumers to the existing logo or logo varieties give less differential effects than one may think.
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Ahmad, Ahmad Zamsuri, Susi Handayani, and Arpan. "PELATIHAN PEMBUATAN LOGO DENGAN APLIKASI PIXELLAB PESANTREN MAHASISWA UNILAK (PMU)." J-COSCIS : Journal of Computer Science Community Service 1, no. 1 (January 17, 2021): 1–6. http://dx.doi.org/10.31849/jcoscis.v1i1.5549.
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Aplikasi Pixellab merupakan aplikasi yang dapat digunakan dalam pembuatan logo yang berbasis android. Dengan pemanfaatan dan pengembangkan teknik dalam pembuatan logo Dalam hal ini, pemanfaatan media yang menarik dan tepat guna dalam proses pembuatan logo pelatihan akan memiliki dampak positif yang akan sangat berpotensi meningkatkan kemampuan mahasantri dalam membuat logo dengan aplikasi pixellab. Para mahasantri sangat membutuhkan pengetahuan dalam membuat logo dengan tujuan memberikan bekal dalam pembuatan logo walaupun mahasantri terdiri dari banyak prodi yang ada di Unilak. Oleh sebab itu, tim pengusul program Pengabdian Kepada Masyarakat menawarkan solusi berupa Pelatihan Pembuatan Logo Dengan Aplikasi Pixellab Untuk Pesantren Mahasiswa Universitas Lancang Kuning Pekanbaru. Di mana program ini diharapkan mampu menjadi wadah dan inspirasi bagi para mahasantri dapat menambah pengetahuan dalam membuat logo dengan aplikasi pixellab besar harapan mahasantri dapat mengikuti proses pelatihan pembuatan logo dengan aplikasi pixellab dan mahasantri lebih mampu menghasilkan karya yang dapat merangsang daya tarik dalam pembuatan logo dengan menarik dan unik. Sebagai pemateri memberikan sosialisasi dan sekaligus pendampingan mengenai bagaimana pembuatan logo dengan aplikasi pixellab yang menarik dan pastinya sagat dapat bermanfaat.
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The Pixellab application is an application that can be used in making Android-based logos. By using and developing techniques in making logos. In this case, the use of attractive and appropriate media in the process of creating a training logo will have a positive impact which will greatly improve the ability of students to create logos with the Pixellab application. The students really need knowledge in making logos with the aim of providing provisions in making logos even though the students consist of many study programs at Unilak. Therefore, the team that proposed the Community Service program offered a solution in the form of Training on Logo Making with the Pixellab Application for Islamic Boarding School Students at the Lancang Kuning University Pekanbaru. Where this program is expected to be a forum and inspiration for students to increase knowledge in making logos with the Pixellab application, we hope that students can take part in the training process of making logos with the Pixellab application and students will be more able to produce works that can encourage attractiveness in making logos attractively. and unique. As a presenter, he provides socialization and at the same time assistance on how to make a logo with the Pixellab application which is interesting and certainly useful.
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Clamens, Gilles. "Citoyenneté et démocratie. Logo ou logos ?" Autres Temps. Les cahiers du christianisme social 57, no. 1 (1998): 83–91. http://dx.doi.org/10.3406/chris.1998.2033.
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Desain, Peter, and Henkjan Honing. "LOCO: A Composition Microworld in Logo." Computer Music Journal 12, no. 3 (1988): 30. http://dx.doi.org/10.2307/3680334.
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Dwyer, Brendan, Zach Scola, and Joris Drayer. "Exploring the Explicit and Implicit Appeal of Retro Sport Logos." Sport Marketing Quarterly 29, no. 4 (December 2020): 296–307. http://dx.doi.org/10.32731/smq.294.122020.05.
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The current multi-study examination explored explicit and implicit appeal of a prominent form of retro sport marketing: retro team logos. Study 1 utilized the stimuli-organism-response framework to test preference differences between those offered team merchandise with a retro logo and those offered the same merchandise with the current logo. Statistically significant preference differences were not uncovered, yet it was found that previous exposure to the retro logo negatively impacted preference of the retro logo. Based on these results, Study 2 utilized an implicit association test to assess the style appeal of retro and current logos. This assessment, once again, found no difference in the explicit preference for the retro and current logos, yet an implicit bias of freshness toward the current logo and outdatedness toward the retro logo was found. Together, the results provide preliminary evidence of the ephemeral impact of retro team logos within a professional sports context.
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Tian, Nannan, Yuan Liu, Bo Wu, and Xiaofeng Li. "Colorization of Logo Sketch Based on Conditional Generative Adversarial Networks." Electronics 10, no. 4 (February 20, 2021): 497. http://dx.doi.org/10.3390/electronics10040497.
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Logo design is a complex process for designers and color plays a very important role in logo design. The automatic colorization of logo sketch is of great value and full of challenges. In this paper, we propose a new logo design method based on Conditional Generative Adversarial Networks, which can output multiple colorful logos only by providing one logo sketch. We improve the traditional U-Net structure, adding channel attention and spatial attention in the process of skip-connection. In addition, the generator consists of parallel attention-based U-Net blocks, which can output multiple logo images. During the model optimization process, a style loss function is proposed to improve the color diversity of the logos. We evaluate our method on the self-built edges2logos dataset and the public edges2shoes dataset. Experimental results show that our method can generate more colorful and realistic logo images based on simple sketches. Compared to the classic networks, the logos generated by our network are also superior in visual effects.
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Hawkins, H. Gene, and Elisabeth R. Rose. "Effects of Adding Dual-Logo Panels to Specific Service Signs." Transportation Research Record: Journal of the Transportation Research Board 1918, no. 1 (January 2005): 108–15. http://dx.doi.org/10.1177/0361198105191800114.
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Currently, FHWA's Manual on Uniform Traffic Control Devices for Streets and Highways allows only one business logo to be placed on a logo panel. Dual-logo panels were proposed by business owners as a solution to the complaint that single locations operating two or more business brands are ignored and unduly restricted to limited highway signing. Business owners are concerned that separate logos do not convey to the public that two brands are available at the same location; they believe that dual logos provide a means of linking services that are combined under the same roof. However, the use of dual logos raises concerns related to category placement, dual-logo recognition and legibility, and information overload. This research effort addressed several of these issues through the use of a timed survey in which subjects were asked to indicate whether various business logos were present in a series of photographs that included both single- and dual-logo panels. The objective was to gain some understanding of whether the use of dual logos would reduce the effectiveness of the logo signs. The results of the survey indicate that dual logos have lower recognition levels at shorter response times, but that, in general, the difference in recognition levels between single and dual logos decreases as both exposure time and driver familiarity with the business increases. The research results did not indicate a need to prohibit the use of dual-logo panels.
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Zhang, Zili, Xuan Wang, Waqas Anwar, and Zoe L. Jiang. "A Comparison of Moments-Based Logo Recognition Methods." Abstract and Applied Analysis 2014 (2014): 1–8. http://dx.doi.org/10.1155/2014/854516.
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Logo recognition is an important issue in document image, advertisement, and intelligent transportation. Although there are many approaches to study logos in these fields, logo recognition is an essential subprocess. Among the methods of logo recognition, the descriptor is very vital. The results of moments as powerful descriptors were not discussed before in terms of logo recognition. So it is unclear which moments are more appropriate to recognize which kind of logos. In this paper we find out the relations between logos with different transforms and moments, which moments are fit for logos with different transforms. The open datasets are employed from the University of Maryland. The comparisons based on moments are carried out from the aspects of logos with noise, and rotation, scaling, rotation and scaling.
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Zhu, Zhijuan, Huai Cao, and Bin Li. "Research on logo design and evaluation of youth education brands based on visual representation." Journal of Product & Brand Management 26, no. 7 (November 20, 2017): 722–33. http://dx.doi.org/10.1108/jpbm-08-2016-1287.
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Purpose The purpose of this paper is to explore how logo design characteristics influence consumer response based on visual representation. Logos in different areas may have different characteristics that impact liking a logo. The logos of youth education brands were explored in this study. Design/methodology/approach The Kansei engineering (KE) method was employed in this research. In total, 115 logos of youth education brands were collected and classified into three categories: abstract, natural and text mark. Then 12 of these logos were selected as representative samples. A set of 171 Kansei pairwise image words was collected, and 14 of them were chosen for further investigation. The psychological projection experiment was conducted based on a five-point Likert-scale questionnaire with 120 participants. Three statistical methods including cluster analysis, factor analysis and correlation analysis were combined for the data analysis. Findings The results show that four factors affect liking a logo including a sense of contemporaneity, a sense of esthetics, a feeling of interest and a sense of style. Accordingly, the weights of these four factors are proposed. The positive correlation between logo characteristics and liking a logo was also verified. In addition, the classification results of this study confirm the wide use of natural and English text mark logos in youth education brands. Originality/value The results could guide designers and managers in selecting or modifying logo design for achieving a positive effective response. This is the first research on logo design characteristics linked with industry domains. This study also contributes to the KE approach to investigate the relative impact of logo characteristics on liking a logo.
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Yousaf, Waqas, Arif Umar, Syed Hamad Shirazi, Zakir Khan, Imran Razzak, and Mubina Zaka. "Patch-CNN: Deep learning for logo detection and brand recognition." Journal of Intelligent & Fuzzy Systems 40, no. 3 (March 2, 2021): 3849–62. http://dx.doi.org/10.3233/jifs-190660.
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Automatic logo detection and recognition is significantly growing due to the increasing requirements of intelligent documents analysis and retrieval. The main problem to logo detection is intra-class variation, which is generated by the variation in image quality and degradation. The problem of misclassification also occurs while having tiny logo in large image with other objects. To address this problem, Patch-CNN is proposed for logo recognition which uses small patches of logos for training to solve the problem of misclassification. The classification is accomplished by dividing the logo images into small patches and threshold is applied to drop no logo area according to ground truth. The architectures of AlexNet and ResNet are also used for logo detection. We propose a segmentation free architecture for the logo detection and recognition. In literature, the concept of region proposal generation is used to solve logo detection, but these techniques suffer in case of tiny logos. Proposed CNN is especially designed for extracting the detailed features from logo patches. So far, the technique has attained accuracy equals to 0.9901 with acceptable training and testing loss on the dataset used in this work.
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Carutasu, Nicoleta Luminita. "Design and Redesign as a Creative Challenge." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 70–75. http://dx.doi.org/10.18844/prosoc.v4i11.2851.
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In this paper, we want to show how interesting and creative a redesign activity for a logo is. To design a logo is a matter of creativity and ‘graphic culture’. To redesign a logo (we have introduced ‘graphic leap’ in logo design to rename a redesign activity) is ‘something special’. This study concerns the creation of easy ways to design logos and to select the main constituent elements to realise them. It is a creative work to balance all the features involved in a graphic representation to create a harmonious design. In this paper, we have answered two questions: a new logo means a ‘refresh design’, by using the same elements, but in a modern redesign or a new logo without any connection to the elements of the old one. The case study is about the logos of the faculties of our university. Keywords: Design, redesign, logo, graphic leap.
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Peterson, Mark, Saleh AlShebil, and Melissa Bishop. "Cognitive and emotional processing of brand logo changes." Journal of Product & Brand Management 24, no. 7 (November 16, 2015): 745–57. http://dx.doi.org/10.1108/jpbm-03-2015-0823.
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Purpose The purpose of the study is to develop and empirically test a model of how consumers process logo changes used in rebranding. Design/methodology/approach Individual in-depth interviews with 12 informants allowed researchers to better understand how consumers respond to logo changes. After developing a model of how consumers process logo changes, researchers deployed a field study evaluating two actual retail brands using survey methodology with 406 respondents. Findings Nine of the ten hypotheses of the study receive support. Notably, both interest in the logo change as well as doubt about the logo change characterize consumers’ processing of the logo change. Research limitations/implications Although study respondents viewed multiple brands along with variations of these brands, other brands might elicit other responses from consumers. Further study is now in order. Practical implications As a result of the study, brand managers can be more aware of the positive and negative processing that brands receive from consumers when brands change their logos. Accordingly, communication programs of brands can better anticipate such processing before logos are changed. Social implications Social enterprises that change their logos stand to benefit in a similar way to for-profit businesses that change their logos. Originality/value This is the first study to include two types of curiosity – interest curiosity and deprivation curiosity – in a comprehensive model to better explain how consumers process logo changes.
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Torbarina, Matia, Nina Grgurić Čop, and Lara Jelenc. "Logo Shape and Color as Drivers of Change in Brand Evaluation and Recognition." Naše gospodarstvo/Our economy 67, no. 1 (March 1, 2021): 33–45. http://dx.doi.org/10.2478/ngoe-2021-0004.
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Abstract The purpose of the present study was to test whether logo shape and color affect emotional and cognitive response to a new logo. In the explorative part of the study, the effect of the amount of each of the additive primary color on logo perception was examined. Research was done on a sample of 190 students whose ratings were used as logo description measures. Two independent variables used in the study were logo shape (abstract vs. concrete) and logo color (original color vs. greyscale). Results showed that greyscale logos and logos that are concrete were recognized more accurately while liking was not related to either independent variable. It was also observed that the amount of red color in logo is negatively (correlated/related), and blue and green color are positively related to both logo recognition and logo liking. Practitioners are advised to note that factors affecting consumers’ cognition and emotion are different. Scientists can extend findings on the effect of amount of individual colors in a logo. This is one of the first works of research that examined the effect of logo color on brand recognition and has approached studying color in this way of averaging amount of each of the additive primary colors. External validity of the research is enhanced by testing the younger generation in their natural habitat of mobile phone environment.
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Adir, Victor. "A Comparative Study Concerning Airlines Logos." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 62–69. http://dx.doi.org/10.18844/prosoc.v4i11.2850.
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This paper is a study concerning the design of airlines logos all over the world, that is, what symbols, signs and colours are used to create this special identity. This study, which was realised on a hundred airlines, revealed interesting facts related to the main principles that govern the logo design. We were interested to see if special drawings that express a company are related to the represented country, because we found a lot of similarity in this. In the centre of the study was the logo, as an important graphic element to identify an airline company. We identified the typology of logos, known as iconic, logotype and complex logos. This paper is a plea for this wonderful graphic element, that is, the Logo. Keywords: Airline, logo design, typology, symbol, logotype.
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Ardiansyah, Erlan Aditya. "Honda Motor's Logos as Superimposed Advertisement Strategy in Opera Van Java Television Program." Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 10, no. 1 (December 10, 2020): 94. http://dx.doi.org/10.26714/lensa.10.1.2020.94-103.
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Abstract A motorbike manufacturer which struggles to market their products is Honda Motor Co., Ltd. (hereinafter referred as Honda Motor). This article investigated origin of Honda Motor’s logos and tried to describe the logos as superimposed advertisement displayed in a television program. The study applied a qualitative descriptive method. Data were taken from a commedy situation Overa van Java relayed on Trans7 television channel. The data are the Honda Motor’s logos displayed as superimposed advertisement. The results showed that Honda has denotation and connotation meanings. The company name was originated from the family name of the founder Soichiro Honda. However, there is also another meaning ‘Japanese rice’ due to marketing strategy which delivers cultural values due to promote Japanese products. The Honda Motor’s logos are a red-colored wing on a white background and a white-colored wing on a red background. The logos are discovered as the signified while the products of Honda Motors become the signifier. The logos slid with approximately 11 seconds of duration which depicted brand awareness. This study concludes that the superimposed advertisement employed mini images on the left corner of a television screen. The advertisement strategy is valuable to cause intention of the television audiences through the signifier and signified. Keywords: Logo, meaning, sign, signifier, signified, superimposed advertisement Abstrak Pabrikan sepeda motor yang berjuang untuk tetap memasarkan produknya adalah Honda Motor Co., Ltd. (selanjutnya disebut Honda Motor). Artikel ini menginvestigasi logo Honda Motor dan mendeskripsikan logo tersebut sebagai iklan superimposed yang ditayangkan dalam program televisi. Penelitian ini disusun dengan menggunakan metode kualitatif. Data diperoleh dari situasi komedi Overa van Java yang ditayangkan pada saluran televisi Trans7. Data yang diperoleh berupa logo Honda Motor yang ditampilkan sebagai iklan superimposed. Hasil penelitian menunjukkan bahwa Honda memiliki makna denotasi dan konotasi. Nama perusahaan berasal dari nama keluarga pendirinya, yaitu Soichiro Honda. Akan tetapi, terdapat makna lain 'beras Jepang' sebagai upaya strategi pemasaran yang memiliki nilai budaya untuk mempromosikan produk dari Jepang. Logo Honda Motor adalah sayap berwarna merah dengan latar belakang putih dan sayap berwarna putih dengan latar belakang merah. Logo-logo tersebut dinyatakan sebagai penanda sementara produk-produk Honda Motor menjadi petanda. Logo-logo ditampilkan saling berganti dengan durasi sekitar 11 detik untuk menyampaikan brand awareness. Penelitian ini menyimpulkan bahwa iklan superimposed menampilkan gambar berukuran kecil di sudut kiri layar televisi. Strategi iklan ini berupaya untuk meningkatkan pemahaman dari penonton televisi melalui penanda dan petanda. Kata Kunci: Logo, makna, tanda, penanda, petanda, iklan superimposed
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Luffarelli, Jonathan, Mudra Mukesh, and Ammara Mahmood. "Let the Logo Do the Talking: The Influence of Logo Descriptiveness on Brand Equity." Journal of Marketing Research 56, no. 5 (July 4, 2019): 862–78. http://dx.doi.org/10.1177/0022243719845000.
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Logos frequently include textual and/or visual design elements that are descriptive of the type of product/service that brands market. However, knowledge about how and when logo descriptiveness can influence brand equity is limited. Using a multimethod research approach across six studies, the authors demonstrate that more (vs. less) descriptive logos can positively influence brand evaluations, purchase intentions, and brand performance. They also demonstrate that these effects occur because more (vs. less) descriptive logos are easier to process and thus elicit stronger impressions of authenticity, which consumers value. Furthermore, two important moderators are identified: the positive effects of logo descriptiveness are considerably attenuated for brands that are familiar (vs. unfamiliar) to consumers and reversed (i.e., negative) for brands that market a type of product/service linked with negatively (vs. positively) valenced associations in consumers’ minds. Finally, an analysis of 597 brand logos suggests that marketing practitioners might not fully take advantage of the potential benefits of logo descriptiveness. The theoretical contributions and managerial implications of these findings are discussed.
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Nicoleta-Elisabeta, Pascu, Adir Victor, and Adir George. "Logo and the urban environment." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): 14–23. http://dx.doi.org/10.18844/prosoc.v6i4.4352.
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Our study focused to understand the importance of graphic representations, as logos, in urban environment and to identify the principles of logo design used to create them. In this paper, we have discussed about logos in the historical centre of Bucharest and it was hard work, including walking by foot along the streets to identify all these logos which convey different messages to the people and to show what typology was used and what graphics were drawn. As it is known, daily, the people are assaulted by signs, symbols, colours, which are everywhere on panels, buildings, walls, cars, buses, etc. All these representations are ‘expressions of something which exist in reality’. In our research study, we have tried to see in what proportion is used a logo to represent a company, a pub, a restaurant, a bank, a pet shop, a theatre, etc., and the result for this approach was so interesting.
Keywords: Logo, design, old city.
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Maddux, Cleborne D. "Logo:." Computers in the Schools 9, no. 1 (March 1992): 59–80. http://dx.doi.org/10.1300/j025v09n01_06.
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Maddux, Cleborne D., and D. LaMont Johnson. "Logo." Computers in the Schools 14, no. 1-2 (December 4, 1997): 1–8. http://dx.doi.org/10.1300/j025v14n01_01.
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van Riel, Cees B. M., and Anouschka van den Ban. "The added value of corporate logos ‐ An empirical study." European Journal of Marketing 35, no. 3/4 (April 1, 2001): 428–40. http://dx.doi.org/10.1108/03090560110382093.
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Describes the evaluations, by potential customers, of a new logo of a Dutch bank. Evaluations were measured before and after the introduction, comparing perceptions of the new logo with the observations of the logos of two competitors (a larger and a smaller one). The study indicates that people attribute different associations to each logo. The set of associations they have with the logo appeared to increase if respondents were confronted with the name of the company behind the new logo. After the launch of the new logo, embedded within a nation‐wide advertising campaign, the positive associations increased and the negative evaluations decreased. The majority of interviewees were able to describe associations that matched the intentions which the bank wanted to express with its new corporate symbol.
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Wang, Jing, Weiqing Min, Sujuan Hou, Shengnan Ma, Yuanjie Zheng, Haishuai Wang, and Shuqiang Jiang. "Logo-2K+: A Large-Scale Logo Dataset for Scalable Logo Classification." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 04 (April 3, 2020): 6194–201. http://dx.doi.org/10.1609/aaai.v34i04.6085.
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Logo classification has gained increasing attention for its various applications, such as copyright infringement detection, product recommendation and contextual advertising. Compared with other types of object images, the real-world logo images have larger variety in logo appearance and more complexity in their background. Therefore, recognizing the logo from images is challenging. To support efforts towards scalable logo classification task, we have curated a dataset, Logo-2K+, a new large-scale publicly available real-world logo dataset with 2,341 categories and 167,140 images. Compared with existing popular logo datasets, such as FlickrLogos-32 and LOGO-Net, Logo-2K+ has more comprehensive coverage of logo categories and larger quantity of logo images. Moreover, we propose a Discriminative Region Navigation and Augmentation Network (DRNA-Net), which is capable of discovering more informative logo regions and augmenting these image regions for logo classification. DRNA-Net consists of four sub-networks: the navigator sub-network first selected informative logo-relevant regions guided by the teacher sub-network, which can evaluate its confidence belonging to the ground-truth logo class. The data augmentation sub-network then augments the selected regions via both region cropping and region dropping. Finally, the scrutinizer sub-network fuses features from augmented regions and the whole image for logo classification. Comprehensive experiments on Logo-2K+ and other three existing benchmark datasets demonstrate the effectiveness of proposed method. Logo-2K+ and the proposed strong baseline DRNA-Net are expected to further the development of scalable logo image recognition, and the Logo-2K+ dataset can be found at https://github.com/msn199959/Logo-2k-plus-Dataset.
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Grigoryevich, Antipenko Leonid. "Linguistics in the Framework of Three-Dimensional Logo: Letter, Note, Numeral." World Journal of English Language 10, no. 2 (July 22, 2020): 39. http://dx.doi.org/10.5430/wjel.v10n239-45.
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The task of the article is return prosody to linguistics, to turn linguistics to speech, to voice content. For this, linguistics rises to the logo. It is shown that the logo as such is divided into three hypostases: the verbal logo, the musical logo (melos) and mathematical logo. The results of objectifications (Entӓusserung, Gegenstӓndlichkeit in German) of these components are expressed respectively by letters, notes and numerals. Each of the three components has two aspects that the author calls styles. The verbal logo has a prosaic and poetic style; musical logo has vocal (voice) and musical-instrumental style; mathematical logo has a logical style and a historical style. Martin Heidegger showed that the logo is inextricable linked with time. The projection of time on the created images ̶ verbal and poetic (letters), musical (notes), mathematical (numеrals) ̶ allows you to fill them with life, to give them a natural look. Thus, orientation to the logos leads the linguist to a wider understanding of the subject of linguistics in comparison with the previous, narrowed version of its interpretation.
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Grigoryevich, Antipenko Leonid. "Linguistics in the Framework of Three-Dimensional Logo: Letter, Note, Numeral." World Journal of English Language 10, no. 2 (July 22, 2020): 39. http://dx.doi.org/10.5430/wjel.v10n2p39.
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The task of the article is return prosody to linguistics, to turn linguistics to speech, to voice content. For this, linguistics rises to the logo. It is shown that the logo as such is divided into three hypostases: the verbal logo, the musical logo (melos) and mathematical logo. The results of objectifications (Entӓusserung, Gegenstӓndlichkeit in German) of these components are expressed respectively by letters, notes and numerals. Each of the three components has two aspects that the author calls styles. The verbal logo has a prosaic and poetic style; musical logo has vocal (voice) and musical-instrumental style; mathematical logo has a logical style and a historical style. Martin Heidegger showed that the logo is inextricable linked with time. The projection of time on the created images ̶ verbal and poetic (letters), musical (notes), mathematical (numеrals) ̶ allows you to fill them with life, to give them a natural look. Thus, orientation to the logos leads the linguist to a wider understanding of the subject of linguistics in comparison with the previous, narrowed version of its interpretation.
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Pascu, Nicoleta Elisabeta, Victor Adir, and George Adir. "Art and logo design." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 81–86. http://dx.doi.org/10.18844/prosoc.v7i4.5792.
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This paper aims to present a research study concerning the graphics and symbols in logo design exhibited in an art program dubbed ‘Golden Ages of Art Nouveau and Art Deco’. It was important for us to understand these trends, their characteristics and graphics, to create many times beautiful masterpieces of art. We have noticed a lot of differences between these two art movements related to symbols, signs and colours which were used. It was ‘a special art travel’ to study, theoretically and practically, the field of logo design connected to these ages. Starting from our research study, we have tried to make ‘a basket’ of features which characterises each trend. We have tried to explain the diversity of elements used as an art graphic design focused on logos. And, of course, we have tried to create logos using the features of Art Nouveau and Art Deco.
Keywords: Art Nouveau, Art Deco, logo design, feature, symbols, colours.
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Rukiah, Yayah, Nurulfatmi Amzy, and Angga Kusuma Dawami. "PERUBAHAN LOGO HARIAN SINGGALANG." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (April 1, 2019): 73. http://dx.doi.org/10.25105/jdd.v4i1.4562.
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<strong>Abstract</strong><br />The Changes of Singgalang Newspaper Logo. Logo becomes an inseparable identity in introducing a brand to society in general. The construction of the shape represents the identity in itself to show the entity and become a characteristic that is finally known to the target audience. Changes to the logo are based on the need for the entity to always make a new appearance to be better known and to imprint the meaning of the<br />entity in the minds of consumers. As one of the National newspapers, the Singgalang daily also changed its logo from the beginning of its publication in 1969. Changes in form that corresponded to Singgalang’s identity brought a different perception between one logo and another. The shapes differ from the first logo to the online media logo, indicating that Singgalang has special characteristics to show himself to the general<br />public. This article discusses the development of the Singgalang Daily logo that was published for the first time, until the logo is displayed in online media. The results of this study used the semiotic-Sumbo Tinarbuko approach, to see logos as symbols that exist and continue to make changes over time. By using semiotic analysis, the results of<br />this study show that logos are important for re-branding to get into the community in general.<br /><br /><strong>Abstrak</strong><br />Perubahan Logo Harian Singgalang. Logo merupakan salah satu identitas yang tidak terpisahkan dalam mengenalkan sebuah merek kepada masyarakat secara umum. Konstruksi bentuk merepresentasikan identitas dalam dirinya untuk menunjukkan entitasnya dan menjadi ciri khas yang akhirnya dikenal kepada target pembacanya. Perubahan logo didasari pada kebutuhan entitas untuk selalu membuat tampilan baru agar lebih dikenal dan lebih menancapkan makna bentuk entitasnya di benak konsumen. Sebagai salah satu koran nasional, Harian Singgalang juga melakukan perubahan logo dari awal terbitnya di 1969. Perubahan bentuk yang sesuai dengan identitas Singgalang membawa persepsi yang berbeda antar satu logo dengan logo yang lain. Bentukbentuknya<br />yang berbeda dari logo pertama sampai logo media daringnya, menandakan Singgalang memiliki ciri khusus untuk menunjukkan dirinya kepada masyarakat umum.Tulisan ini membahas tentang perkembangan logo Harian Singgalang yang terbit pertama kali, sampai logo yang ditampilkan di media daring. Hasil penelitian ini menggunakan pendekatan semiotika-Sumbo Tinarbuko, untuk melihat logo sebagai<br />sebuah simbol yang ada dan terus dilakukan perubahan dari waktu ke waktu. Dengan menggunakan analisis semiotika, hasil penelitian ini memperlihatkan bahwa logo menjadi penting untuk dilakukan desain ulang (re-branding) untuk dapat masuk ke masyarakat secara umum.
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Grobert, Julien, Caroline Cuny, and Marianela Fornerino. "Surprise! We changed the logo." Journal of Product & Brand Management 25, no. 3 (May 16, 2016): 239–46. http://dx.doi.org/10.1108/jpbm-06-2015-0895.
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Purpose This paper aims to investigate the impact of brand attachment and familiarity on perceived congruence between the logo and the brand. It explores the role of an under-researched factor, surprise, on perceived congruence in the case of a radical logo change. Design/methodology/approach A study was conducted with 220 students following a university logo change. Perceived congruence between the logos (old and new) and the school brand values was measured for two kinds of students, current and future (i.e. applicants). Findings Results show the importance of surprise in the acceptance of a logo change. Brand familiarity and brand attachment affect surprise in opposite ways, such that higher familiarity increases negative surprise, whereas higher attachment enhances positive surprise. Research limitations/implications This research used a school logo. Because schools represent a particular type of company, brand attachment to another type of brand could be different. The current model needs to be tested in different contexts. Practical implications Companies must pay special attention when communicating with their most attached consumers. In particular, companies that aim to change their logos must prepare for the change by relying on communications that can lead to positive surprise. Originality/value This study was conducted in a real context of logo change. It is the first study to focus on the link among familiarity, attachment and surprise when a radical logo change takes place within a company.
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Ke, Xiao, and Pengqiang Du. "Vehicle Logo Recognition with Small Sample Problem in Complex Scene Based on Data Augmentation." Mathematical Problems in Engineering 2020 (July 9, 2020): 1–10. http://dx.doi.org/10.1155/2020/6591873.
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Automatic identification for vehicles is an important topic in the field of Intelligent Transportation Systems (ITS), and the vehicle logo is one of the most important characteristics of a vehicle. Therefore, vehicle logo detection and recognition are important research topics. Because of the problems that the area of a vehicle logo is too small to be detected and the dataset is too small to train for complex scenes, considering the speed of recognition and the robustness to complex scenes, we use deep learning methods which are based on data optimization for vehicle logo in complex scenes. We propose three augmentation strategies for vehicle logo data: cross-sliding segmentation method, small frame method, and Gaussian Distribution Segmentation method. For the problem of small sample size, we use cross-sliding segmentation method, which can effectively increase the amount of data without changing the aspect ratio of the original vehicle logo image. To expand the area of the logos in the images, we develop the small frame method which improves the detection results of the small area vehicle logos. In order to enrich the position diversity of vehicle logo in the image, we propose Gaussian Distribution Segmentation method, and the result shows that this method is very effective. The F1 value of our method in the YOLO framework is 0.7765, and the precision is greatly improved to 0.9295. In the Faster R-CNN framework, the F1 value of our method is 0.7799, which is also better than before. The results of experiments show that the above optimization methods can better represent the features of the vehicle logos than the traditional method, and the experimental results have been improved.
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Pan, Hao, and Bailing Zhang. "An Integrative Approach to Accurate Vehicle Logo Detection." Journal of Electrical and Computer Engineering 2013 (2013): 1–12. http://dx.doi.org/10.1155/2013/391652.
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Vehicle logo detection from images captured by surveillance cameras is an important step towards the vehicle recognition that is required for many applications in intelligent transportation systems and automatic surveillance. The task is challenging considering the small target of logos and the wide range of variability in shape, color, and illumination. A fast and reliable vehicle logo detection approach is proposed following visual attention mechanism from the human vision. Two prelogo detection steps, that is, vehicle region detection and a small RoI segmentation, rapidly focalize a small logo target. An enhanced Adaboost algorithm, together with two types of features of Haar and HOG, is proposed to detect vehicles. An RoI that covers logos is segmented based on our prior knowledge about the logos’ position relative to license plates, which can be accurately localized from frontal vehicle images. A two-stage cascade classier proceeds with the segmented RoI, using a hybrid of Gentle Adaboost and Support Vector Machine (SVM), resulting in precise logo positioning. Extensive experiments were conducted to verify the efficiency of the proposed scheme.
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LAO, YUANWEI, and YUAN F. ZHENG. "OPTIMAL RATE ALLOCATION FOR LOGO WATERMARKING." International Journal of Image and Graphics 09, no. 01 (January 2009): 1–25. http://dx.doi.org/10.1142/s0219467809003319.
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Compression of logo as an image is addressed in logo watermarking, in which a framework of joint Human Vision System (HVS) model and rate allocation theory in the wavelet domain is applied. Under this framework, a novel logo watermarking algorithm using reversible discrete wavelet transform is proposed. Based on multi-level wavelet decomposition of both host and logo images, a well-known HVS model is applied to locate the visually insensitive area in the host for embedding, while the rate allocation theory determines how the logo is compressed and embedded by using the statistical characteristics of the logo. For a given overall embedding distortion, quantization step-sizes of different logo subbands are analytically determined to maximize the fidelity of the extracted logo under the imperceptibility constraint. The adaptive system is thus applicable to different hosts and logos without tuning the parameters manually. It is proved to be robust against various types of attacks and is quite suitable for hardware implementations. Since logo is considered as an image in this new algorithm, the watermarking approach developed can be extended in general to image-in-image embedding.
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Pathak, Abhishek, Carlos Velasco, and Gemma Anne Calvert. "Identifying counterfeit brand logos: on the importance of the first and last letters of a logotype." European Journal of Marketing 53, no. 10 (October 7, 2019): 2109–25. http://dx.doi.org/10.1108/ejm-09-2017-0586.
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Purpose Counterfeiting is a menace in the emerging markets and many successful brands are falling prey to it. Counterfeit brands not only deceive consumers but also fuel a demand for lower priced replicas, both of which can devalue the bona-fide brand. But can consumers accurately identify a counterfeit logo? This paper aims to explore this question and examines the accuracy and speed with which a consumer can identify a counterfeit (vs original) logo. Design/methodology/approach Seven popular brand logos were altered by transposing and substituting the first and last letters of the logotypes. Consumers then classified the logos as counterfeit (vs original) across two experiments. Findings Participants were faster and more accurate in identifying a counterfeit logo when the first letter (vs last letter) of a logotype was manipulated, thus revealing last letter manipulations of a brand’s logotype to be more deceptive. Research limitations/implications This paper comments only on the manipulation of logotypes but not of logo symbols. Similarly, findings may not be generalizable across languages which are read from right to left. Practical implications Counterfeit trade is already a multibillion dollar industry. Understanding the key perceptual differentiators between a counterfeit (vs original) logo can be insightful for both consumers and firms alike. Originality/value Research available on objective measures of similarities (vs dissimilarities) between counterfeit (vs original) brand logos is limited. This paper contributes by examining the ability of consumers to discriminate between counterfeit (vs original) logos at different levels of visual similarity.
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,, Fandy Ahmad, and Djuwityastuti ,. "KAJIAN YURIDIS SENGKETA KEABSAHAN LOGO SEBAGAI SEBUAH MEREK DAN HAK CIPTA." Jurnal Privat Law 7, no. 1 (February 2, 2019): 87. http://dx.doi.org/10.20961/privat.v7i1.30110.
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<p>Abstract<br />This Legal Writing examines the validity of the Logo as a brand and copyright as ownership of potentially <br />problematic logos in the future if the logo is listed as a Copyright by someone and there are others who <br />register it as a brand. This writing using the method of research normative or doctrinal which is prescriptive. <br />The results of this study is a Logo that has been used as a brand cannot be done Copyright Registration.<br />Keywords: Logo, Copyright Registration, Brand Registration</p><p>Abstrak<br />Penulisan Hukum ini mengkaji mengenai keabsahan Logo sebagai sebuah merek dan hak Cipta <br />sebagaimana Kepemilikan logo berpotensi bermasalah dikemudian hari apabila logo dicatatkan sebagai <br />Hak Cipta oleh seseorang dan ada orang lain yang mendaftarkannya sebagai merek. Penulisan ini <br />menggunakan metode penelitian Normatif atau doktrinal yang bersifat preskriptif. Hasil Penelitian ini <br />adalah Suatu Logo yang sudah digunakan sebagai merek tidak dapat dilakukan Pencatatan Hak Cipta.<br />Kata kunci : Logo, Pencatatan Hak Cipta, Pendaftaran Merek</p>
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YALUR, Refik. "STATİK LOGO TASARIMINDAN DİNAMİK LOGO TASARIMINA DÖNÜŞÜM." International Journal of Social Humanities Sciences Research (JSHSR) 7, no. 60 (January 1, 2020): 2794–802. http://dx.doi.org/10.26450/jshsr.2090.
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Konopka, Roman, Malcolm John Wright, Mark Avis, and Pamela M. Feetham. "If you think about it more, do you want it more? The case of fairtrade." European Journal of Marketing 53, no. 12 (December 3, 2019): 2556–81. http://dx.doi.org/10.1108/ejm-01-2018-0072.
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Purpose There are substantive disagreements about whether encouraging deliberative thinking increases consumer preference in low-involvement product categories. The authors draw on dual-process theory to add rare experimental evidence to this debate. They also investigate whether the effect of deliberative thinking increases with familiarity of the stimuli, as different theories of memory yield different predictions on this point. Finally, they provide evidence on whether the effectiveness of the Fairtrade logo arises more from mere exposure or attention to the ethical claim. Design/methodology/approach The context for the research is the use of ethical logos in packaged coffee, as this provides a realistic setting for the desired experimental manipulations. The fieldwork consists of two sets of trade-off experiments – rankings based conjoint analysis (n = 360) and best-worst scaling with a balanced incomplete block design (n = 1,628). Deliberative thinking is manipulated in three ways: by varying logos between visual (Type 1 processing) and lexical (Type 2 processing) treatments, by post hoc classification of time taken, and by imposing either time constraints (Type 1) or cognitive load (Type 2) on the completion of the task. Familiarity is manipulated by varying logos between the Fairtrade and a fictional Exchange Ethics logo. Findings Consumers do have higher preferences in the deliberative treatment conditions; thinking more results in an 18 per cent increase (Cohen’s d = 0.25) in the preference for choices that display an ethical cobranded logo. Surprisingly, the impact of deliberation is not greater for the more familiar Fairtrade logo than the fictional Exchange Ethics logo. This result is inconsistent with strength-based theories of memory, as these predict that deliberation will have a greater effect for more familiar stimuli. However, it is consistent with newer theories of memory that acknowledge familiarity can lead to activation confusion, reducing retrieval of pre-existing knowledge into working memory. The research also shows that the Fairtrade logo has substantial utility to consumers, and that this is approximately 59 per cent due to the ethical claim and 41 per cent due to the familiarity of the logo. Research limitations/implications In field conditions, attempts to manipulate deliberation may not be effective or may simply result in reduced attention. Also, the costs of increasing deliberation may outweigh the benefits obtained. Practical implications The research confirms the heuristic value of the Fairtrade logo and shows that the effectiveness of ethical logos may increase with additional deliberation by shoppers. Originality/value There is relatively little work in marketing that applies dual-process theories to investigate consumer behaviour. The present study extends the use of dual-process theories in marketing, demonstrates a new method to investigate the effect of deliberation on brand choice and shows how deliberation magnifies the effect of endorsing logos, including unfamiliar logos.
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Ha, Hyoji, Hyunwoo Han, and Kyungwon Lee. "A Visualization System for Exploring Logo Trend and Design Shape Patterns." Applied Sciences 10, no. 13 (July 1, 2020): 4579. http://dx.doi.org/10.3390/app10134579.
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A logo is an effective way of expressing a brand’s identity and an essential element in conveying the values and image of the company. The development process of a competitive logo should be based on a design that is future-proof in a rapidly changing global market; hence, understanding the design trends for successful logo design is key. In this study, the design shape elements of logo trend models were analyzed and made into a database. Then, a trend analysis system was produced using radial visualization (RadViz) and circular parallel coordinates data visualization techniques. RadViz allows observation of clusters of logos that have similar shape elements, whereas with circular parallel coordinates plots, detailed information of the shape elements of each logo trend can be seen. Using the system, it was confirmed that shape elements—such as transformation to surface, overlapping, artificiality, concept of color and rhythm—play a major role in driving a trend. It was observed that trends change over time as various shape elements are added or removed. In addition, our study is expected to help predict the logo trend models that will come into style in the future. While similar efforts have been made in the past, our proposed system improves upon them by utilizing standard design elements as the categorizing criteria, using a unique combination of RadViz and circular parallel coordinates data visualization techniques. Using our system as a guideline, many users would be able to create logos that reflect what is trending.
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Erjansola, Ari-Matti, Jukka Lipponen, Kimmo Vehkalahti, Hanna-Mari Aula, and Anna-Maija Pirttilä-Backman. "From the brand logo to brand associations and the corporate identity: visual and identity-based logo associations in a university merger." Journal of Brand Management 28, no. 3 (January 12, 2021): 241–53. http://dx.doi.org/10.1057/s41262-020-00223-5.
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AbstractBrand logos are a fundamental part of the corporate visual identity, and their reception has been vigorously researched. The focus has been on the visual traits of the logo and their effect on the reception process, whereas little attention has been paid to how the logo becomes part of the brand. This article narrows this research gap in investigating how a new logo is evaluated, how the perception evolves, and what underlying dimensions emerge from the reception process. We adopted a longitudinal free-association approach and followed the qualitative and quantitative changes in logo associations among first-year students at Aalto University as it was going through a merger accompanied with a radical visual-identity redesign. We show how the new logo faced initial resistance before it became a source of positive brand associations, and how it became anchored in the university´s corporate identity. We argue that logo evaluations span three dimensions: they may be congruent or incongruent with the disposition of the individual toward the change: they may be congruent or incongruent with the visual preferences of the individual; and they may be based on the visuals of the logo or on its identity-expressing capabilities.
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Huang, Kuo-Chen, Chin-Chiuan Lin, and Shu-Ying Chiang. "Color Preference and Familiarity in Performance on Brand Logo Recall." Perceptual and Motor Skills 107, no. 2 (October 2008): 587–96. http://dx.doi.org/10.2466/pms.107.2.587-596.
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Two experiments assessed effects of color preference and brand-logo familiarity on recall performance. Exp. 1 explored the color preferences, using a forced-choice technique, of 189 women and 63 men. Taiwanese college students ages 18 to 20 years ( M = 19.4, SD = 1.5). The sequence of the three most preferred colors was white, light blue, and black and of the three least preferred colors was light orange, dark violet, and dark brown. Exp. 2 investigated the effects of color preference based on the results of Exp. 1 and brand-logo familiarity on recall. A total of 27 women and 21 men, Taiwanese college students ages 18 to 20 years ( M = 19.2, SD = 1.2) participated. They memorized a list of 24 logos (four logos shown in six colors) and then performed sequential recall. Analyses showed color preference significantly effected recall accuracy. Accuracy for high color preference was significantly greater than that for low preferences. Results showed no significant effects of brand-logo familiarity or sex on accuracy. In addition, the interactive effect of color preference and brand-logo familiarity on accuracy was significant. These results have implications for the design of brand logos to create and sustain memory of brand images.
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Widyaswari, Ayu Widiari. "KONSEP TRI HITA KARANA PADA LOGO YAYASAN DHARMA SENI MUSEUM NEKA DI UBUD." Jurnal Nawala Visual 1, no. 1 (May 31, 2019): 38–44. http://dx.doi.org/10.35886/nawalavisual.v1i1.8.
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In a media, has a concept in its design. A concept will later become a trait or identity in a work or media. The concept is an idea that represents a form that can give birth to perceptions of an object in simple or abstract form. In this study, will discuss the concept of a logo, namely the logo of the Neka Museum Art Foundation located on Ubud, Sanggingan Street, Gianyar. At the Museum Neka Foundation logo, the concept used is the concept of Tri Hita Karana. The method that will be use in research is the observation method conducted at the research location, namely at the Neka Museum, the interview method is by structurally interviewing the designer of the Neka Museum Foundation logo about the concept of the logo, and the library method relating to design theories visual communication such as concepts, logos, and Tri Hita Karana theory itself. The concept Tri Hita Karana in the logo of the Museum Neka Foundation is elaborated from each of the existing design elements, all of which have meaning.
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Dita Setyowati. "The 2018 Pengging Fair's Logo As Visual Brand Strategy of Spiritual and Culture Tourism Area of Pengging Boyolali." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 112–22. http://dx.doi.org/10.33153/iicacs.v3i1.26.
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This study examines the 2018 Pengging Fair's logo as a visual brand strategy in the Pengging spiritual and cultural tourism area, Bendan Village, Dukuh Village, Banyudono District, Boyolali Regency. This study focused on the 2018 Pengging Fair's logo as a visual strategy of the Pengging Boyolali spiritual and cultural tourism area centred on the appearance of the 2018 Pengging Fair's logo, the shape and visual aesthetic elements and the application of the 2018 Pengging Fair's logo in the media promotion of the annual Pengging Fair event in Bendan Village, Dukuh Village, Banyudono District, Boyolali Regency. This study uses a visual communication approach, semiotics, and aesthetics, with qualitative methods. This research focuses on the visual form of the 2018 Pengging Fair's logo as the character identity of the Pengging spiritual and cultural tourism area by utilizing local content (Pengging regional cultural arts) and the Pengging identity icon in building the Pengging brand. Three icons have been found and analyzed in the 2018 Pengging Fair's logo in this study; Candirejo Market icon, Pengging Springs icon, Ciptomulyo Mosque icon. Three things are questioned in this study; (1) the appearance of the 2018 Pengging Fair's logo as a visual strategy of the Pengging Boyolali spiritual and cultural tourism area; (2) the form of the 2018 Pengging Fair's logo as a visual strategy of the Pengging Boyolali spiritual and cultural tourism area; (3) the application of the 2018 Pengging Fair's logo in the media promotion of the annual Pengging Fair event in Boyolali. This study describes the reasons for the emergence of the 2018 Pengging Fair's logo, namely (1) the demand of Pengging community leaders (2) the need for events (3) creativity in making a logo on the promotional media for the 2018 Pengging Fair's event. There are four elements of the logo in the Pengging Fair 2018 event, namely (1) typography (headlines and sub-headlines on logos) (2) logo illustrations (3) logo colors (4) logo layouts. This study found that the application of the 2018 Pengging Fair's logo in the media promotion of the annual Pengging Fair event in Bendan Village, Dukuh Village, Banyudono District, Boyolali District: (1) the Pengging Fair's 2018 logo was used on several social media (2) the Pengging Fair's 2018 logo was used on some print media (3) the Pengging Fair's 2018 logo is used on audiovisual media.
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Kaur, Harsandaldeep, and Kanwalroop Kaur. "Connecting the dots between brand logo and brand image." Asia-Pacific Journal of Business Administration 11, no. 1 (January 24, 2019): 68–87. http://dx.doi.org/10.1108/apjba-06-2018-0101.
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Purpose Although the prominence of brand logo for companies is widely acknowledged, a close examination of the literature reveals lack of empirical research pertaining to effect of brand logo on consumer perception toward brand. Therefore, the purpose of this paper is to fill the gap in marketing studies concerning the effect of a logo on consumer evaluations. The research addresses two questions: first, how brand logo favorability helps to increase brand image; and second, how brand logo form consumer perceptions toward brand through brand personality dimensions and brand familiarity? Design/methodology/approach The data were collected from 816 respondents using mall-intercept technique. Structural equation modeling via AMOS was conducted to test the proposed model to gain insight into the various relevant influences and relationships. Findings The findings revealed the importance of the company’s brand logo in enhancing the brand image. The results further highlighted that brand personality dimensions and brand familiarity mediate the relationship between brand logo and brand image. Practical implications The study offers managers a new perspective for building strong brand identity with the help of logos along with the brand personality dimensions and brand familiarity to enhance brand image. Originality/value This study provides novel insights on the impact of brand logo on brand image. This is the first study to determine the mediating role of brand personality in the relationship between brand logo and brand image. It thereby adds to the literature of visual identity by developing the sphere of influence of brand logo and its effects toward brands.
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Li, Yi-Na, Kang Zhang, and Dong-Jin Li. "Rule-Based Automatic Generation of Logo Designs." Leonardo 50, no. 2 (April 2017): 177–81. http://dx.doi.org/10.1162/leon_a_00961.
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This article proposes the application of shape grammar to the automatic generation of logo designs based on artists’ logo creation knowledge and visual structures of logos. The authors propose a set of rules to encode the design knowledge and enable automatic generation. They then present an experiment that was conducted to validate the feasibility of the proposed approach.
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Brooks, David. "Logo Contest." Oceanography 1, no. 1 (July 1, 1988): 34. http://dx.doi.org/10.5670/oceanog.1988.47.
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Shumway, Richard J. "Why Logo?" Arithmetic Teacher 32, no. 9 (May 1985): 18–19. http://dx.doi.org/10.5951/at.32.9.0018.
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Logo is available on an increasing number of microcomputers, and many teachers arc considering Logo as an alternative to BASIC for young children. Should you consider Logo? By all means; Logo is an excellent language that can easily be learned by young children. But do not choose Logo as an alternative to BASIC, choose Logo as a companion language. Logo is excellent for some graphics, procedures, and structural programming and is available at an extra cost for some additional memory. For Cartesian graphing and most mathematics, BASIC is excellent and widely available at no extra cost. To illustrate Logo, let me introduce you to some elementary programs for your students.
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Nielsen, Peter. "EmpireMeetsNo Logo." Journal of Critical Realism 4, no. 1 (April 2005): 211–20. http://dx.doi.org/10.1558/jocr.v4i1.211.
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Wadsworth, Nicolas. "Logo motives." Physics World 10, no. 4 (April 1997): 22–24. http://dx.doi.org/10.1088/2058-7058/10/4/19.
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Doogan, Bailey. "Logo Girls." Art Journal 60, no. 1 (March 2001): 98–101. http://dx.doi.org/10.1080/00043249.2001.10792054.
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Ginther, Dean W., and James Williamson. "Learning Logo:." Computers in the Schools 2, no. 2-3 (July 31, 1985): 73–78. http://dx.doi.org/10.1300/j025v02n02_08.
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David, Andrew. "Logo '84:." Computers in the Schools 2, no. 2-3 (July 31, 1985): 127–32. http://dx.doi.org/10.1300/j025v02n02_15.
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