Explore the vast range of titles available.

The present study examines the logotypes of successful Chinese domestic luxury brands (CDLBs), Shanghai Tang and Shang Xia, in order to reveal the underlying resonance between Chinese values and aesthetics. Based on signaling theory, the research underscores the importance of incorporating Chinese cultural elements into the branding strategies of CDLBs to attract Chinese consumers and distinguish themselves within the luxury fashion industry. The study employs a mixed-methods approach, comprising literature review, case analysis, and in-depth interviews, to analyze data from three distinct perspectives: contemporary trends, Chinese name selection, and the incorporation of local cultural elements in design. The findings suggest that CDLBs must strike a balance between conforming to current trends, particu-larly simplicity, and preserving authenticity, when selecting a Chinese name that holds cultural significance, and integrating traditional design elements in the details. This research provides practical guidance for professionals in the field and paves the way for future studies to explore related topics.

The article depicts the use of Japanese calligraphy (shodō) as a way to artistically create the logos of Japanese or Japanese-inspired products and restaurants in the food industry. Japanese calligraphy is a complex art that developed gradually, together with the writing system in Japan and, as a result, it manages to encompass both traditional elements that have remained unchanged over the course of years, as well as modern elements that reflect the calligrapher’s unique view. For this reason, shodō has been used in creating Japanese and Japanese-themed products, as means to portray tradition and authenticity within a brand. This practice is still used in the present, with more and more businesses opting for a calligraphic logo, not only in Japan, but also outside the country. This article analyses the use of shodō as means to promote and create a brand’s image, as well as the unique benefits of calligraphy. In order to better understand this phenomenon, the article ultimately assesses the logo of a Japanese restaurant situated in Romania that uses as logomark a calligraphic work created by the Romanian calligrapher Rodica Frențiu.

A logotype can have a considerable impact on the customers’ perception of a given business, generate experiences and become a basis for assigning specific associations to the brand (positive, negative, promotional). The aim of the present study is to verify the function of logotypes of selected agritourism establishments, especially in view of the rationale for placing them on home pages of websites, and the marketing function they fulfill. Homepages (the main web pages) of websites of 10 agritourism farms with the dimensions of 1,245 × 570 pixels (and 24 -bit color depth) were analyzed. The study involved 170 respondents (n = 170), whose task was to indicate a single element they perceive as positive, negative, and one that in their opinion best serves the promotional goal in each of the 10 homepages. Statistical analyses were performed using the R-CRAN software version 4.0.2. The study confirmed that there are both differences and similarities in the responses regarding logotypes of the agritourism farms studied. The perception of the logotype depends strongly on the education level and age of respondents. The analyses also confirmed that there is no linear relationship between the size of the logo and the frequency at which it is indicated as a promotional element. The use of a detailed factor analysis of logotypes (with the use of the click-tracking technique) on the websites of agritourism farms is an innovative approach and allows for a relatively comprehensive assessment of the perception of logotypes by potential consumers of offers available on the market. Plain Language Summary An Analysis of Logotypes of Agritourism Farms on Websites The aim of the present study is to verify the function of logotypes of selected agritourism establishments, especially in view of the rationale for placing them on home pages of websites, and the marketing function they fulfill. Homepages (the main web pages) of websites of 10 agritourism farms with the dimensions of 1,245 × 570 pixels (and 24 -bit color depth) were analyzed. The study involved 170 respondents (n = 170). The study confirmed that there are both differences and similarities in the responses regarding logotypes of the agritourism farms studied. The perception of the logotype depends strongly on the education level and age of respondents. The analyses also confirmed that there is no linear relationship between the size of the logo and the frequency at which it is indicated as a promotional element. Analyses presented in this article focused on the way consumers perceive logotypes of agritourism farms online. However, they pertained solely to Polish farms and Polish respondents. Limitation of this study is the fact that potential customers may react differently to logotypes that incorporate abstract word and/or graphic constructions. This is a rare practice in the case of agritourism farms operating in the Polish market, yet it cannot be excluded. Our study is limited to 10 agritourism farms. Future studies should include a larger sample, which would allow for drawing more precise conclusions. These, in turn, could provide a solid foundation for the practical use of the results by farmers who run agritourism businesses.

Country logotype is always considered as a visual part of country branding. This research addresses the country logotype elaboration problem while answering the question: how to attract consumer attention to a country logotype using different combinations of its elements. The aim of the article is to develop an eye-tracking based model of country logotype visual attractiveness. The paper presents experimental research using an eye-tracking system; visual attention to logotypes of European countries was assessed to determine the specific eye-catching elements of a logotype. The analysis revealed that in order to attract consumer visual attention, no visual association with a country is necessary; also, the logotype is preferred to be colorful, having high complexity, and shaped letters must be used. The analysis of the research results enabled elaborating a model of country logotype visual attractiveness, which might be used to facilitate the creation of country logotype.

This paper presents the typical sign of identity––the logotype––used by Spanish media in Spain during the first decade of the twenty-first century. The logotype was defined after studying a sample of 130 visual signs of corporate identity either designed or re-designed before 2010. The analysis of the signs was carried out using a tool designed as part of the doctoral research to measure trends in the visual sign of corporate identity. The results show a trend in the sample which fits the description of the index––according to Peirce––in which the communicative values of the context of use predominate. This tendency highlights a denotative form of representation, which we interpret as the need to anchor ourselves to the AFK reality (away from the keyboard reality) which nowadays is digital, interactive and changing. En esta comunicación se presenta el signo de identidad típico –logotipo tipo– usado por los medios de comunicación del estado español en la primera década de siglo XXI. El logotipo tipo se ha determinado a través del estudio de una muestra de 130 signos de identidad visual corporativa diseñados o rediseñados después del año 2000 y antes de 2010. El análisis de los signos se ha llevado a cabo mediante una herramienta desarrollada como investigación doctoral para medir las tendencias en el diseño del signo visual de identidad corporativa.Los resultados ponen de manifiesto una tendencia en la muestra que encaja con la descripción de índice –según Peirce– en el que predominan los valores comunicativos del contexto de uso. Dicha tendencia pone en relieve una manera de representar denotativa, que interpretamos como la necesidad de anclarse a una realidad AFK (away from keyboard) que se caracteriza por ser digital, interactiva y cambiante.

The emergence of new tools, the appearance of new technologies and improvements to existing ones have resulted in expansion of generative artificial intelligence. The technologies of generative artificial intelligence have already been used by people to perform not only intellectual tasks, but also creative ones, in particular in the field of design. Therefore, their capabilities in graphic design need to be studied. One of the routine tasks of a designer is the development of corporate identity elements (a logo, font, and colour). Designers can spend a lot of time on this, choosing different style options. Therefore, delegating this routine work to generative artificial intelligence may be appropriate. With this practical need in mind, the capabilities of modern AI tools for image and logo generation were studied in the research, and the results of AI logo generation compared to the work of novice designers were analysed. As a result, conclusions were drawn about the expediency of using generative AI technology in the work of designers, in particular, for the development of corporate identity elements, and the appropriateness of studying generative artificial intelligence technology in the training of future designers. These conclusions were made on the basis of a survey of 41 experts in the field of design, information technology and artificial intelligence. Based on the findings of the survey, we can note that it was difficult for experts to distinguish between logos generated by artificial intelligence and logos created by novice designers. Logos developed by novice designers (5) were recognized as the most attractive among the 45 logos presented in the survey. Images generated in some AI tools (Tailor Brands, Hatchful) are considered attractive by design, information technology and artificial intelligence professionals. Therefore, they can be used to create corporate identity elements. Thus, the vast majority of experts agreed that artificial intelligence tools for generating images and logos should be used in the process of creating corporate identity elements. In addition, the vast majority of experts found it advisable to use generative artificial intelligence technologies in the process of professional training of future designers. Нині сфера використання генеративного штучного інтелекту розширюється. З'являється все більше нових інструментів, створюються нові технології й удосконалюються вже існуючі. Технології генеративного штучного інтелекту використовуються людьми для виконання не лише інтелектуальних завдань, а й творчих, зокрема у сфері дизайну. Тому їх можливості використання в графічному дизайні потребують вивчення та осмислення. Одним з рутинних завдань дизайнера є розробка елементів фірмового стилю (логотип, шрифт, колір). На це дизайнери можуть витратити багато часу, обираючи різні варіанти стилю. Тому може бути доцільним делегувати цю рутинну роботу генеративному штучному інтелекту. Зважаючи на таку практичну потребу, у дослідженні було вивчено можливості сучасних інструментів штучного інтелекту для генерації зображень і логотипів та порівняно результати генерації логотипів штучним інтелектом з результатами роботи дизайнерів-початківців. Тож було зроблено висновки про доцільність використання технології генеративного ШІ в роботі дизайнерів, зокрема для розробки елементів фірмового стилю, та доцільність вивчення технологій генеративного штучного інтелекту при підготовці майбутніх дизайнерів. Ці висновки були зроблені на основі опитування 41 фахівця у сфері дизайну, інформаційних технологій та штучного інтелекту. Спираючись на аналіз опитування, можемо зазначити, що експертам було важко розрізнити логотипи, згенеровані штучним інтелектом, та логотипи, створені дизайнерами-початківцями. Логотипи, розроблені дизайнерами-початківцями (5), були визнані найбільш привабливими серед 45 логотипів, що були представлені в опитуванні. Зображення, згенеровані у деяких інструментах штучного інтелекту (Tailor Brands, Hatchful), розглядаються фахівцями з дизайну, інформаційних технологій та штучного інтелекту як привабливі. Отже, вони цілком можуть бути використані для створення елементів фірмового стилю. Переважна більшість експертів погодилися з тим, що інструменти штучного інтелекту для генерації зображення та логотипів доречно використовувати при створенні елементів фірмового стилю. Також переважна більшість експертів вказали на доцільність використання технологій генеративного штучного інтелекту у професійній підготовці майбутніх дизайнерів.

This article presents a tool for visual discourse analysis that allows stylistic research indicators to be systematised.The tool, called Documentary Analysis Matrix, is based on the theoretical aspects of visual semiotics. It can be used to describe or forecast the scope of trends in graphic design and visual communication. This article also presents a test carried out on a trend in logotype design in Spain during the first decade of the 21st century known as Pollination. The results confirmed that Pollination affects more the redesigned signs than the new designs, in a restyling trend phenomenon. El present article proposa una eina d'anàlisi del discurs visual que permet sistematitzar indicadors estilístics en les tendències de disseny gràfic i comunicació visual. L'eina, Matriu d'Anàlisi Documental, es fonamenta en les bases teòriques de la semiòtica visual. En aquest article es presenta també el seu rendiment aplicat sobre l'estudi d'una tendència en el disseny de logotips, ocorreguda a Espanya en la primera dècada del segle XXI, a la qual hem anomenat Pol·linització. Els resultats confirmen que afecta amb més intensitat als signes redissenyats que als nous dissenys, suggerint una tendència associada a l'ús d'internet. El presente artículo propone una herramienta de análisis del discurso visual que permite sistematizar indicadores estilísticos en las tendencias de diseño gráfico y comunicación visual. La herramienta, Matriz de Análisis Documental, se fundamenta en las bases teóricas de la semiótica visual. En este artículo se presenta también su rendimiento aplicado sobre el estudio de una tendencia en el diseño de logotipos, ocurrida en España en la primera década del siglo xxi, a la que hemos llamado Polinización. Los resultados confirman que afecta con más intensidad a los signos rediseñados que a los nuevos diseños, sugiriendo una tendencia asociada al uso de internet.