جستجوی مقالات مرتبط با کلیدواژه "visual identity" در نشریات گروه "هنر و معماری"

Problem statement: Today, cities, such as products, services and events, need to design a visual urban identity in order to introduce and distinguish themselves from others. The city of Arak is one of the most prominent industrial cities of Iran and one of the important centers in the field of economy (industry) of the country, where the owners of various domestic and foreign industries and businesses constantly visit it, and it is located on the country’s transportation highway. This city lacks a visual identity and according to these conditions, the basic issue of this research is the need to create a visual identity for a city with the mentioned characteristics and to identify factors and components that can be used to design a visual identity. The present research analyzes the components of Arak city and reaching the key components for use in visual identity design is one of the most important goals of this research.Research In this research, the descriptive-analytical research method and the methods of reviewing texts, sources and visual documents have been used in the context of library studies.  There are components of urban identity (economic components, socio-cultural components, physical-spatial components and environmental-ecological components), which we have neglected, these components guide the designer in forming the visual identity of the city. Paying attention to the index components in visual identity design is one of the findings of this research. Based on the findings of this research, while emphasizing the issue that visual identity design is very necessary for the city of Arak. Among the identity components, the most significant ones, which are the economic components with an emphasis on the industry category, should be selected for the design of the visual identity of Arak city, and next to it, social and cultural components (with an emphasis on celebrities such as Amir Kabir or an emphasis on the city’s culture and art category) Or use physical and spatial components (with emphasis on traditional and historical buildings such as Arak Bazaar, four-season bath, etc.) for more attractiveness in pattern and color. It is possible to create a visual identity for this city by addressing these components.

Problem statement: 

Museums are among the most valuable places in the world. Tehran has rich historical, cultural, scientific, entertainment and tourism museums. Determining the visual identity strategy of museums is the responsibility of graphic designers. Using communication and advertising tools, the graphic design of museums is done by displaying visual information in the forms of visual identity design and environmental graphic design. The research in this field has mostly focused on the area of museum marketing and the study of environmental graphics. Studying the brand strategy in the visual identity of museums, this research analyzed the data gathered from several samples of the study in Tehran and around the world.

is to study those samples qualitatively and help develop strategic solutions in graphic design for cultural and touristic places such as museums in Tehran. The current research attempted to answer the following questions: What are the characteristics of the visual identity in Tehran museums from the graphic design perspective? And what strategies have Tehran museums applied for their visual identity?

This study used library and documentary sources and employed the descriptive-analytical method to comparatively study the examples of visual identity in Tehran museums.

In designing its visual identity, Tehran museums have used the following strategies: using the main brand name, using the image of the museum building, using typography in the design of the museum logo, distinguishing and adhering to the principles of service design, the national approach, and being inspired by tradition. Also, from the graphic design point of view, Tehran museums have followed the logo guide rules and have used unique typefaces and briefcases for the visual identity of their brand.
This research shows the importance of formulating, planning, and implementing a comprehensive strategy toward the integration of visual identity design in Tehran museums.

Visual identity is the visible representation of a brand, from the logo and colors to the website and physical store design. It includes everything a person can see in connection with a brand. Visual identity design plays an essential role in business branding. If the brand identity creates the business›s personality, the visual identity expresses that personality. A brand identity gives customers the feeling that they associate with the company, and this identity is made up of everything that makes up the brand as a whole. This identity includes values, tone and voice, style guide, brand personality, unique value proposition, visual assets, and more. Visual identity is part of brand identity. It focuses on how a brand is visually represented. This identity requires a separate approach from the brand identity, but it should complement the brand. That is why designers and creatives are usually responsible for visual identity, while marketers and branding teams are responsible for brand identity. Visual identity design plays an essential role in business branding. They should drive the product or business toward success. Big brands that present their products internationally in different countries are looking for ways to unify their identity in different countries. Since the brand of a product is one of the most important factors in price fluctuations against competing products, and repurchases from a brand are formed due to trust in that brand, the design is decissive in its formation. The main goal of this research is to investigate the role of design in building the brand visual identity based on Jan van Toorn’s point of view. The research method is descriptive-analytical and derived from library information and authentic scientific articles. The main research question is, what are the effective factors in designing the visual identity of the Iranian jewellery brand based on Jan van Toorn’s point of view? An obtained research results studying the Nimany brand review, is that the role of design from Van Toorn’s point of view in the Nimany brand is the importance of production conditions in the social context of New York, the importance of govand its ”ه“ ernment and media, Iranian identity, and design with the specific letter emblem for the promotion of Iranian culture and the use of the Persian alphabet.

Islamic motifs are a set of motifs and pictorial elements that have gradually lost their naturalism form and have continued in an abstract form. Islamic motifs have different types of plants, geometric, writing, etc. that have roots in pre-Islamic historical periods and with the transmutation that has taken place in these designs, its variety, elegance and complexity have increased over time. One of the most basic principles of these designs is abstraction, abstraction and perfect rhythmic repetition of surfaces. Relying on the admirable richness in form and meaning in various fields, these designs have been able to carry awesome spiritual values ​​for the audience. Undoubtedly, the use of elements that have aesthetic and identity criteria in beautification, urban furniture, push citizens to preserve their identity and religion. One of the problems that modern societies are suffered from is the separation of man from the spiritual foundations and the focus on the material aspects of life. modern cities are aliens with environments and spaces that have induction a spirituality message and meaning. Cities lack of spiritual and believable values, as well as indigenous and local features and characteristics, and the lack of criteria based on theoretical foundations derived from Islamic-Iranian culture have predominated in all their elements and components. Also, Islamic cities whose physical appearance is reminiscent of the Islamic identity of their inhabitants, as a symbol of Islamic thought and thought should be a representation of religious symbols, because Muslims live in a city, it cannot be considered an Islamic city. Rather, an Islamic city is a place where its appearance and body show that it is Islamic. In a better interpretation, its architecture and design and decoration should be interpreted as the habitat of Muslims based on the characteristics and symbols of Islam. In the contemporary era, one of the arts that has been able to have a great influence on upgrading the visual and intellectual culture of citizens is environmental graphics. Environmental graphics as a medium and effective visual factor in urban environments with high potential in facilitating communication and creating a visual identity is one of the influential components of urban arts. Environmental graphics are very effective in identifying urban environments readable and are assured tool for urban design. Images of the role on the wall are effective and the view of the urban area in making the urban environment meaningful; The city is a great means of mass communication that people read about its appearance and landscape; in addition to informing, environmental graphics, should provide visual enhancement and beautification qualities of urban area. The capacity, cultural and religious function of these motifs is such that they can be easily used in different fields after centuries. Undoubtedly, the use of these elements in urban beautification propels citizens to preserve their religious personality.  On the contrary, the use of elements derived from non-indigenous cultures brings nothing but confusion and anonymity and it quickly empty society of cultural originality. In the contemporary era, one of the arts that has been able to have an important impact on raising the intuitive and intellectual culture of citizens is environmental graphics. Environmental graphics as a media and one of the effective visual factors has great potential in facilitating communication and creating a visual identity that influences urban art.  This study surveys the capabilities of Islamic motifs, to answer these questions. What intuitive and conceptual capabilities do Islamic motifs have? How are Islamic motifs used in urban graphics? In this research, an attempt is made to study the capability of Islamic motifs and its effect on the graphics of contemporary Islamic cities. The research method is applied, descriptive and analytical. Collection of data in the form of a library and case studies is through internet image search. Based on the studies conducted, the results indicate that Islamic motifs have a high intuitive and conceptual capability. Due to the intuitive quality and concepts latent in Islamic motifs, their use in beautification and graphics of Islamic cities leads to the transfer of its identity. Islamic motifs as one of the components of Islamic art in the field of transfer meaning to society and its relationship with important fields of art such as environmental graphics show that these motifs can play a role in recreating and representing the values ​​of Islamic culture. The use of Islamic designs, decorative elements and other symbols that represent Islamic identity have the ability to transfer Islamic identity and values ​​to the viewer by the standards of modern art in the perception of the urban environment as a symbol of the Islamic city and religion, and create attachment between citizens and urban environment.

Showing identity of something in the form of visual and written material, is one of the most complicated responsibilities of graphic designers and designing such projects for more complicated, multiple and widespread phenomena like cities, is even more difficult. Designing Visual identity for places and cities is the subject matter of this study which is an emerging discipline, and requires specialist attention. Nowadays, cities of the developed countries, apply different strategies, to distinguish themselves from others and draw attention in the scene of global competition; For this purpose there is a need to visual plans that integrate all these strategies and activities, and relate them to each other as a unit. These visual plans are called visual identity and graphic designers are responsible for designing it.
To investigate city visual identity we study the main elements and components of city identity at first, that any visual plan and identity design must follow up them to succeed. Then it is shown that identity of each city can be described, analyzed and measured through recognition experiments, and it is a necessary tool to help understanding the identity of the city and then applying it to it’s design. Finally we define and specify the key components of cities visual identity containing sign, typeface, color palette, websites, advertising campaigns, navigation system and pictograms that is extracted from heretofore designed projects like New York city, Amsterdam, Melbourne, Abu Dhabi and Santa Monica.
Also in this research differences of city visual identity with other types of it, like corporate and product visual identity are determined. The results showed that the most important urban visual identity projects are composed of other types of visual identity elements like sign, but perhaps the most important difference between them is that designers have more options to create the harmonic identity for city; for example a navigation system or other artificial elements of city environmental graphics can be used as facilities for designers intent to promote and disseminate their plan more and more extensive. Also we came to this conclusion that one of the most important elements of city visual identity which play a key role in the expression of identity is its website; a city website with classified information, appropriate appearance and sufficient Infography can communicates audiences who are out of a city and links them to related content, leading to positive image of the city and its identity.
Addressing this issue is of great importance because of not only it’s physical and cultural advantages for cities, but also this fact that designers are at the beginning of their path in designing city visual identity; Therefor studying theoretical and applied knowledge of successful examples in this field, can help them to move in the correct direction. Research Methodology of this study is descriptive, and in terms of data collection, information from authoritative databases centers, libraries and websites have been used. The author hopes that this research attracts the attention of Graphic designers to this issue.

The graphic design of the brands evolves under the influence of a wide variety of factors such as shifting targets to sell more or, at least, to keep the market share of a given product as well as social and political parameters or technological advances. In fact, many famous companies, after several decades, have started to change, modify or revise the visual elements, symbols and old signs used in their brands in order to present them to the customers in a new form and shape. The modified or changed visual face of a brand in the course of time indicates not only the visual taste of each era, but also it represents the evolution of graphic designs. Among the brands the visual designs of which have changed in the process of time,Frito-Lay Inc is a good example. A famous brand in the field of producing nuts and sweets, Frito-Lay Inc presents its products in the packages with eight various brands. This study aimed to examine the evolutionary trend of the packages of this brand since its inception. To do so, the evolution of graphic design and the involving parameters, particularly in the area of packaging, was analyzed and explained. Then, the evolution of the visual changes of the mentioned brand as well as its packaging was studied. The methodology is qualitative in nature and the results have been presented analytically and descriptively. The data were gathered based on library sources and reliable databases. The results indicated that in spite of resistance of certain famous brands to their packages being changed, the reasons which were pointed out in the study, their packaging design has been changed or modified. In this course, however, the effective communication with the customers, which has been realized through keeping the visual identity of the product represented by the minimal use of graphic elements, has been maintained.