1. Introduction
Logos are present everywhere. After the same product is printed with a logo, it becomes a ‘Peripheral product’, and it always gets surprising sales. Logos are stated to be a full- capability, they combine the name, the key products or other things the company wants to present. In this way, we believe that logo is a more intuitive expression and transmission of corporate value. As Machado, J.C, Vacas and Costa said [1], people showed a clear preference for figurative logos, and at the same time, it showed a close connection with the brand and company. Thus we all know that the way the logo text is combined with shape, color, etc., leaves a deeper impression on people. For the brand and company, the logo with the combination of pictures and words has an important meaning and function. Also shows a pivotal role in some places.
Considerable research has been devoted to the whole logo meaning to the company [2] and why they are important [3], rather less has been paid to how to develop an excellent Logo. Specifically, we pay more attention to how we can develop a good logo, from color to details, and how they can combine with the company’s value and products together to get unimaginable benefits.
We use literature review and the study of descriptive cases to discuss.
2. Literature Review
Nowadays, ‘Brand Visual Assets’ gradually become a concept appearing in front of people, it refers to the things about the brand image that can be retained in the consumer's brain [4]. It can be colors, fonts, graphics, culture, slogan words or a product shape, structure, etc. that can constitute a brand's assets. In other words, companies with high brand visual equity usually have higher brand value and customer loyalty. At the same time, we also believe that the logo is the most intuitive manifestation of this asset. When we are in all aspects of life, we may not directly see the name of the brand, but we can see a logo pattern. This is the easiest and most subtle way to impress, and virtually increases the brand's exposure and traffic. Brand visual assets are gradually being valued, and as a complementary logo. The logo itself has also been given more meaning and importance.
Thus the importance of a company’s branding logo design cannot be ignored. From a certain point of view, it is a symbol of the company's external image and plays an important role in the competition of the industry. No company grows without paying attention to its image. The company's external image can have an important impact on both users and peers, and even has important implications for the company's future development. A good company brand logo design is an essential external image display of the company. Also, different types of companies are suitable for different logos. Otherwise, can you imagine there’s a Hospital that uses Louis Vuitton as their logo? If we want to figure out what a good logo is, we have to know what makes up a logo. 1.Colour 2. Shape 3. Font 4. Complexity 5.Size. 6. Other Elements. 7. Sense of Trust. There are all the factors that affect the logo’s final rendering effect. And at the same time, according to CBM Van Riel and A Van den Ban [5], People also attribute different associates to logos, if the logo gets close to the company’s name, the positive associations increase and the negative evaluations decrease.
Let’s talk about color first. In addition to the shape, the color also determines the overall vision of its professional image, overall atmosphere, and industrial coordination. Hynes said consumers have strong opinions about which colors are appropriate for different corporate images [6]. Imagine if we exchanged the colors of the logos that are usually seen everywhere, you would feel very strange. Green McDonald's, red Starbucks. So color is not independent, it’s part of the whole logo. Although we can't generalize, we can roughly classify them. Like blue makes people feel calm and peaceful. So tech companies generally like this color. Red gives you a passion, excitement feeling, also it increases people's appetite. Black lets you feel power and authority. This is also the most used color, “Mercedes”, “Nike”, “Givenchy”, we can see it everywhere.
Second is the shape. The specific shape of logo design has relevance in the human brain and has the ability to amplify the target audience. John R Doyle and Paul A Bottomley suggested that powerful visual messages are present in brand name and logo [7]. The shape of the logo always leaves a deep impression. Designers determine the shape of logo design according to the brand tonality. Like many things in life, the shape of a logo design is not fixed, different shapes can have different meanings. Of course we don't rule out the success of some companies with very odd looking logo shapes, because most of them are targeting a very niche market. But what we're going to talk about is the other 99% today. The most common logos that we see are usually round, rectangle and Square and triangle. The round shape gives a soft feeling. It is a very special shape, since it has no sharp horns, it also symbolizes peace. The rectangle logo is often used in software development companies or banks, because the rectangle represents efficiency and strength. Triangular shapes are Aggression, man, strength, conflict and speed related. People usually use it to make car brand logos or airlines.
The third and fourth is the font and complex. This is also the easiest part to understand, because this is what our eyes see the most in a day [8]. When designing brand logos, most companies will design fonts specifically, but in fact, many brand logos are actually designed using existing fonts with small changes. The design of fonts is relatively unique, so we can only generally have two types. One is a normal font and the other is unique. Normal fonts are usually used in cheap brands, because normal fonts give a sense of simplicity, efficiency and low cost.But complex and unique fonts are very different from the normal font. Unique fonts can give people a sense of security, and at the same time complexity means that the brand products are also very complicated, so they can be sold at a higher premium price. So complex logos are usually used on Luxury brands and hotels.
Fifth is Size. There are two types of logo. One is the logo with only images like Starbucks or McDonald, second is the logo with image and words. We don’t have much to say for the first type of logo, because it’s just a photo. But for the second type of logo, words combined with a picture. The Proportion is very important. If the picture’s size is bigger than the word, which gives people a relaxing or luxury feeling. But if the image is smaller and the word and the image are on the left or right side. It makes people feel simple and efficient.
Six is the other elements. Logo design is a conjugate with art and business. So there is not a standard to limit the logo’s design. The brand wants to convey through the company, also the habits and preferences of the target customer group. Psychology and marketing can only offer advice and can not be decisive. The quality of the logo is affected by a lot of reasons, because people are subjective and emotional animals. If a company has a very good logo but they lie to their consumers, no matter how good their logo is, people will think it's a bad logo. Or maybe a company has a poor logo design, but their product is of good quality and has a long history. People would think this as a classic. Thus although the brand has a great logo, they also need to pay more efforts to ensure their value and survival [9].
The last one is a sense of trust. This one is easy to understand but a little bit difficult to create or design. To put it simply, I think it is the first impression when people see a logo. For example, green colour and trees create a valley atmosphere. If the logo is on a food package, people tend to think it’s organic or healthy [10], because the ‘organic’ logos are often connected with some inspection system. But at the same time, in the United Kingdom, UK consumers rated the Soil Association and Organic Farmers and Grower logo higher than the labelled products just the word ‘organic’ or just the green colour and trees. It also showing that they are willing to pay more for the logo and think they are certified and valuable [11]. We also think it is a way of present the value of the companies or associations. The logo means a lot, it is an unconditional support and trust for consumers and also a ‘sticky’ customer loyalty and best advertise for the brand. Here we can clearly perceive that it is easy to understand and can bring practical benefits to the brand for a long time. But when it comes to the difficult part, it usually takes a long time for a brand to build the enterprise image and gain trust from consumers.
3. High end Brand Logo
First is the clothing and fashion industry. In the luxury fashion industry, most brand logos have one thing in common. That is they like to use their own names to design logos, such as LV, DIOR, YSL. This is actually a self-contradictory design. Because these brands have their logos designed with a square structure, this design approach itself is meant to reflect the sophistication and ritual of the brand. The strange thing is that they use the first letter of their own names to make their logos, and no matter how the English letters are put together, they look very simple. We searched a lot of information and compared the design of luxury brand logos from other periods in history. In the end, we came to the conclusion that when the economy is developing rapidly, people tend to live at a very fast pace, so even people want luxury goods to look full of efficiency. (In the definition of traditional economics, in order to have a certain sense of ritual, the most bad thing for luxury goods design is to look very simple.) We can observe this from many sides. For example, the home design style of wealthy Europeans in the nineteenth century is different from that in the twenty-first century. By comparison, it is not difficult to find that the whole trend is to yearn for simplicity. So the fashion industry is quite different. Meanwhile, ‘People wearing clothes with luxury brand logos receive primary treatment over those not wearing luxury brand logos.’ According to Jieun Lee, Eunju Ko and Carol M. Megehee, they did experiments and found this conclusion. It obviously to say that especially in high end brand. Logo also can be called the Competitiveness and Connotation of the companies.
Second is luxury brands with relatively large turnover like: car, hotel. Under the trend of high efficiency and simplicity in the whole society, the logos of some brands have not turned to simplicity. For example: Porsche, Rolls Royce, Ritz Carlton, St. Regis. If you look carefully at the logos of these brands, you will find that their designs are very complex compared to high-end brands in other industries. We can immediately think that Apple's logo is an apple with a bite, and Louis vittion's logo is L and V, but we can't think of the details in Porsche's logo. We can approach this phenomenon from many sides. From the perspective of consumer groups. The wealthy group is roughly divided into two categories. One is the new rich who pursue high efficiency and dreams. These are usually founders of technology companies, cryptocurrency players, and game company shareholders. The other group is the traditional rich, most of them are bankers, founders of traditional industries. The target customers of these brands with complex logo designs are basically the latter, because these people seem to be very authoritative. In order to maintain their external image and authority, they will take the initiative to choose something that looks more complicated. And these people are older than the former. It's kind of hard to describe, but if I explain it with an example, I'm sure you'll understand right away. Usually we see new rich people like Elon Musk, Zuckerberg. They generally wear simple clothes, drive a Tesla, Mercedes or BMW. It gives a very friendly feeling. But when we see politicians or old rich people they are generally very serious and dignified. Like Powell, Soros or the Queen of England. In the case of men, they wear suits and leather shoes all the time. Gives a commercial and serious feel. In the case of women, they generally wear a lot of jewelry. And travel by Rolls Royce and Bentley. This gives people a feeling of being unapproachable. So this is also why we think the logos of these brands are not simplistic. They will continue the tradition and build a strong image for their consumer [12].
Other luxury brands with relatively simple logo designs and relatively large turnover have followed the trend like: Mercedes, W hotel, RICHARD MILLE. They are serving those new rich last paragraph I mentioned. These brand's products are very expensive, and their designs don't spend too much on materials and rituals. but a sense of technology. We can also see from their products that they are deliberately catering to this type of consumer group. So this theme must be reflected in their logo. At the same time, with the rapid development of the sports industry, many sports stars have also launched some industries in their own names.
Opportunities are everywhere. Co-branded models appear between many brands, and the logos of different brands are cooperating together, which produces a wonderful chemical reaction in the hearts of consumers [13]. If two brands get together and create a product with their two logos, many customer think it is ‘Dream Linkage’. In this case, brands usually bring their own advantages to display products, and combine the advantages of two different brands together, which not only expands the market, but also offers consumers a discount. 'One price, two brands'. For example, many sports stars getting to sell their ‘own products’. Most of them sell some daily sports items, like sneakers, clothes, etc. But the biggest difference from other places is that they pay more attention to the generation and application of their own logos. They are committed to showing their own logos on sneakers or clothes. At the same time, these sporting goods that convey special meanings also sell for a lot of money. It is also a kind of Co- branded. Consumers adore sports stars and professional sporting goods getting together.
4. Conclusion
In conclusion, As Luca Cian, Aradhna Krishna and Ryan S Elder said [14], the static visuals can evoke a perception of movement and thereby affect consumer engagement with the brand logo. If you want to design a good logo, you must first understand your company's products and consumer preferences. Then make the right choices in colors, fonts, proportions, and shapes. The overall feel of the logo must match your company's consumer. And keep exploring the brand value that a logo can bring. That’s what a good logo creates and needs.
Acknowledgments
Ziyi Shao and sheung ngai Chen contributed equally to this work and should be considered co-first authors.
References
[1]. Machado, J. C., Vacas‐de‐Carvalho, L., Costa, P., & Lencastre, P. (2012). Brand mergers: examining consumers' responses to name and logo design. Journal of Product & Brand Management, 21(6), 418-427.
[2]. Hynes, N. (2009). Colour and meaning in corporate logos: An empirical study. Journal of Brand Management, 16(8), 545-555.
[3]. ÇELİKKOL, Ş. (2018). THE IMPORTANCE OF LOGOS AND STRATEGIES FOR LOGO DESIGN. POLITICO-ECONOMIC EVALUATION OF CURRENT ISSUES, 29.
[4]. Japutra, A., Keni, K., & Nguyen, B. (2015). The impact of brand logo identification and brand logo benefit on Indonesian consumers’ relationship quality. Asia-Pacific Journal of Business Administration.
[5]. Van Riel, C. B., & Van den Ban, A. (2001). The added value of corporate logos‐An empirical study. European journal of marketing.
[6]. Hynes, N. (2009). Colour and meaning in corporate logos: An empirical study. Journal of Brand Management, 16(8), 545-555.
[7]. Doyle, J. R., & Bottomley, P. A. (2011). Mixed messages in brand names: Separating the impacts of letter shape from sound symbolism. Psychology & Marketing, 28(7), 749-762.
[8]. Frank, A. J. (1972, May). Parametric font and image definition and generation. In Proceedings of the November 16-18, 1971, fall joint computer conference (pp. 135-144).
[9]. Ismail, W. R. B. W., Othman, M., Rahman, R. A., Kamarulzaman, N. H., & Rahman, S. A. (2016). Halal Malaysia logo or brand: the hidden gap. Procedia Economics and Finance, 37, 254-261.
[10]. Janssen, M., & Hamm, U. (2012). Product labelling in the market for organic food: Consumer preferences and willingness-to-pay for different organic certification logos. Food quality and preference, 25(1), 9-22.
[11]. Gerrard, C., Janssen, M., Smith, L., Hamm, U., & Padel, S. (2013). UK consumer reactions to organic certification logos. British Food Journal.
[12]. Van Grinsven, B., & Das, E. (2016). Logo design in marketing communications: Brand logo complexity moderates exposure effects on brand recognition and brand attitude. Journal of marketing communications, 22(3), 256-270.
[13]. Chen, K., Newell, S. J., Kou, G., Zhang, L., & Li, C. H. (2017). Effective strategies for developing meaningful names and associations for co-branded products in new and emerging markets. Journal of brand management, 24(4), 362-374.
[14]. Cian, L., Krishna, A., & Elder, R. S. (2014). This logo moves me: Dynamic imagery from static images. Journal of Marketing Research, 51(2), 184-197.
[15]. Kohli, C., & Suri, R. (2002). Creating effective logos: Insights from theory and practice. Business Horizons, 45(3), 58-64.
[16]. Haig, W. L., & Harper, L. (1997). How to Create Effective Company Logos. New York: Van Nostrand Reinhold.
[17]. Walsh, M. F., Winterich, K. P., & Mittal, V. (2010). Do logo redesigns help or hurt your brand? The role of brand commitment. Journal of Product & Brand Management.
[18]. Liu, J., Krotova, T., Yezhova, O., & Pashkevich, K. (2018). Traditional elements of Chinese culture in logo design. International Circular of Graphic Education and Research.
[19]. Bresciani, S., & Del Ponte, P. (2017). New brand logo design: customers’ preference for brand name and icon. Journal of Brand Management, 24(5), 375-390.
[20]. Hawes, R. E. (1983). LOGOS: the intelligent translation system. In Proceedings of Translating and the Computer 5: Tools for the trade.
[21]. Antrop, M. (1982). THE" NATURAL" WAY OF VISUAL IMAGE INTERPRETATION FOR LAND CLASSIFICATION AND LANDSCAPE PLANNING.
[22]. Lee, J., Ko, E., & Megehee, C. M. (2015). Social benefits of brand logos in presentation of self in cross and same gender influence contexts. Journal of Business Research, 68(6), 1341-1349.
[23]. Rizan, M., Warokka, A., & Listyawati, D. (2014). Relationship marketing and customer loyalty: do customer satisfaction and customer trust really serve as intervening variables?. Journal of Marketing Research & Case Studies, 2014, 1.
[24]. Nelissen, R. M., & Meijers, M. H. (2011). Social benefits of luxury brands as costly signals of wealth and status. Evolution and human behavior, 32(5), 343-355.
[25]. Eggers, F., O’Dwyer, M., Kraus, S., Vallaster, C., & Güldenberg, S. (2013). The impact of brand authenticity on brand trust and SME growth: A CEO perspective. Journal of World Business, 48(3), 340-348.
[26]. Wu, D. G., & Chalip, L. (2013). Expected price and user image for branded and co-branded sports apparel. Sport Marketing Quarterly, 22(3), 138.
[27]. Lin, Y. C. (2013). Evaluation of co‐branded hotels in the Taiwanese market: the role of brand familiarity and brand fit. International Journal of Contemporary Hospitality Management.
Cite this article
Shao,Z.;Ngai,C.S. (2023). Why and How Effective Brand Logo Contributes to Marketing?. Advances in Economics, Management and Political Sciences,13,17-22.
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References
[1]. Machado, J. C., Vacas‐de‐Carvalho, L., Costa, P., & Lencastre, P. (2012). Brand mergers: examining consumers' responses to name and logo design. Journal of Product & Brand Management, 21(6), 418-427.
[2]. Hynes, N. (2009). Colour and meaning in corporate logos: An empirical study. Journal of Brand Management, 16(8), 545-555.
[3]. ÇELİKKOL, Ş. (2018). THE IMPORTANCE OF LOGOS AND STRATEGIES FOR LOGO DESIGN. POLITICO-ECONOMIC EVALUATION OF CURRENT ISSUES, 29.
[4]. Japutra, A., Keni, K., & Nguyen, B. (2015). The impact of brand logo identification and brand logo benefit on Indonesian consumers’ relationship quality. Asia-Pacific Journal of Business Administration.
[5]. Van Riel, C. B., & Van den Ban, A. (2001). The added value of corporate logos‐An empirical study. European journal of marketing.
[6]. Hynes, N. (2009). Colour and meaning in corporate logos: An empirical study. Journal of Brand Management, 16(8), 545-555.
[7]. Doyle, J. R., & Bottomley, P. A. (2011). Mixed messages in brand names: Separating the impacts of letter shape from sound symbolism. Psychology & Marketing, 28(7), 749-762.
[8]. Frank, A. J. (1972, May). Parametric font and image definition and generation. In Proceedings of the November 16-18, 1971, fall joint computer conference (pp. 135-144).
[9]. Ismail, W. R. B. W., Othman, M., Rahman, R. A., Kamarulzaman, N. H., & Rahman, S. A. (2016). Halal Malaysia logo or brand: the hidden gap. Procedia Economics and Finance, 37, 254-261.
[10]. Janssen, M., & Hamm, U. (2012). Product labelling in the market for organic food: Consumer preferences and willingness-to-pay for different organic certification logos. Food quality and preference, 25(1), 9-22.
[11]. Gerrard, C., Janssen, M., Smith, L., Hamm, U., & Padel, S. (2013). UK consumer reactions to organic certification logos. British Food Journal.
[12]. Van Grinsven, B., & Das, E. (2016). Logo design in marketing communications: Brand logo complexity moderates exposure effects on brand recognition and brand attitude. Journal of marketing communications, 22(3), 256-270.
[13]. Chen, K., Newell, S. J., Kou, G., Zhang, L., & Li, C. H. (2017). Effective strategies for developing meaningful names and associations for co-branded products in new and emerging markets. Journal of brand management, 24(4), 362-374.
[14]. Cian, L., Krishna, A., & Elder, R. S. (2014). This logo moves me: Dynamic imagery from static images. Journal of Marketing Research, 51(2), 184-197.
[15]. Kohli, C., & Suri, R. (2002). Creating effective logos: Insights from theory and practice. Business Horizons, 45(3), 58-64.
[16]. Haig, W. L., & Harper, L. (1997). How to Create Effective Company Logos. New York: Van Nostrand Reinhold.
[17]. Walsh, M. F., Winterich, K. P., & Mittal, V. (2010). Do logo redesigns help or hurt your brand? The role of brand commitment. Journal of Product & Brand Management.
[18]. Liu, J., Krotova, T., Yezhova, O., & Pashkevich, K. (2018). Traditional elements of Chinese culture in logo design. International Circular of Graphic Education and Research.
[19]. Bresciani, S., & Del Ponte, P. (2017). New brand logo design: customers’ preference for brand name and icon. Journal of Brand Management, 24(5), 375-390.
[20]. Hawes, R. E. (1983). LOGOS: the intelligent translation system. In Proceedings of Translating and the Computer 5: Tools for the trade.
[21]. Antrop, M. (1982). THE" NATURAL" WAY OF VISUAL IMAGE INTERPRETATION FOR LAND CLASSIFICATION AND LANDSCAPE PLANNING.
[22]. Lee, J., Ko, E., & Megehee, C. M. (2015). Social benefits of brand logos in presentation of self in cross and same gender influence contexts. Journal of Business Research, 68(6), 1341-1349.
[23]. Rizan, M., Warokka, A., & Listyawati, D. (2014). Relationship marketing and customer loyalty: do customer satisfaction and customer trust really serve as intervening variables?. Journal of Marketing Research & Case Studies, 2014, 1.
[24]. Nelissen, R. M., & Meijers, M. H. (2011). Social benefits of luxury brands as costly signals of wealth and status. Evolution and human behavior, 32(5), 343-355.
[25]. Eggers, F., O’Dwyer, M., Kraus, S., Vallaster, C., & Güldenberg, S. (2013). The impact of brand authenticity on brand trust and SME growth: A CEO perspective. Journal of World Business, 48(3), 340-348.
[26]. Wu, D. G., & Chalip, L. (2013). Expected price and user image for branded and co-branded sports apparel. Sport Marketing Quarterly, 22(3), 138.
[27]. Lin, Y. C. (2013). Evaluation of co‐branded hotels in the Taiwanese market: the role of brand familiarity and brand fit. International Journal of Contemporary Hospitality Management.