How does the use of
LINGUISTICS and SEMIOTICS INFLUENCE the creation of LOGOS within a brand?
Ekta Dineshchandra
2
Contents
Contents__________________________________________________ 2-3 Abstract__________________________________________________ 4-5 Introduction_______________________________________________ 6-7 Main body________________________________________________ 8-53 Chapter 1: Symbol or Letterform_____________________________8-17 Chapter 2: Visual Images from a semiotic perspective________ 18-29 Chapter 3: Case Study - Rebranding Gmail___________________ 30-35 Chapter 4: Visual Images from a linguistic perspective_______ 36-45 Chapter 5: Case Study – Success of the Virgin Logo __________ 46-49 Conclusion______________________________________________ 50-53 List of Images____________________________________________ 54-55 Bibliography_____________________________________________ 56-59 Appendices______________________________________________60-77
3
4
Abstract
There are many components to branding; however, a logo is known to be the centrepiece of a brand. Logos represent a brand, and if that appeals to consumers, there is a possibility that they will inevitably be drawn to view the products or services the brand has to offer. In order to achieve a good logo for a brand, a great deal of design, skills and theories will need to be applied. Semiotics (the study of signs) and Linguistics (the study of language) both affect the creation of logos, but it is essential to find out and why and how significant the influence is.
This dissertation will focus on analysing theories of semiotics and linguistics, explore how they help compose meaning within a design and how they apply to logo design to achieve effective communication. To aid this, various logo layouts will be studied to show their effectiveness. Furthermore, it will attempt to analyse different components within logos and explore the design decisions made in order to appeal to audiences with different cultural backgrounds. Surveys were carried out to understand how people and their purchasing decisions are affected by logos. In addition to this, interviews were conducted with people in the industry to gain a better understanding of the application of semiotics and linguistics in design.
Findings show both semiotic and linguistic theories have an influence in logo design and are beneficial within the design and business. However, they do not have a similar amount of influence as they both look at different areas of design. Where semiotics has an immense influence as it looks at design as a whole, linguistics only looks at the language within the design, yet both are beneficial to designers as laid out within the dissertation.
5
Intro duction There is an increasing number of
Branding has been one of the major
consumers who tend to buy products
areas of visual communication as
and use services just because of the
it involves creating an identity and
look of a logo. An Instagram Poll had
how the target audience will view it.
resulted in 80% of people agreeing
Creating an identity involves creating
that they have bought a product just
a logo and a visual system made up
because of the logo on it, whereas
of typeface, colour and imagery in
20% disagree (see appendix 1). This
order to convey a cohesive message
result showcases the impact logos
(Tarver, 2020). The message created
have on the consumers todays
can be interpreted into several
as some tend to not look at the
clarifications; therefore, the brand
quality but whether the brand looks
message must communicate its
legitimate of professional. Companies
desired meaning. Graphic design
use their logos to attract their
is all about visualising information
audience and showcase their service
and language and creating
or product, since the logo is the first
effective communication, and when
thing the customers view.
converted to signs, it can have a particular effect on the mind (Crow, 2003).
6
n ... Semiotics helps influence the target
in many socially critical types of
audience to decode the message
text (Leeuwen, 2016); therefore, a
concerning their social and cultural
linguistic approach to design can
background, allowing them to
help underpin communication
interpret messages automatically
between brands and their target
and understand what the brand
audience.
means (Paget, 2020). Professor Paul Cobley had also indicated that the
The meaning of a brand and its visual
semiotics of visual communication
identity is the main focus of this
might invite specific kinds of
research, and how logos specifically
reading and challenge to restrict
are a vital segment of a brand when
or prohibit other kinds of reading
it comes to communicating with
(see appendix 5). While semiotics
the audience. To understand this an
looks at signs, linguistics looks at
analysis of semiotics and linguistics
the language which can be used
will be undertaken and how they
within the graphic design and
influence the formation of logos, as
influence the designer’s choice on
well as surveying to see how people
how to represent semantic features
perceive logos and whether they
within a design. Visual design plays a
influence them (see appendix 2).
progressively significant role 7
Chapter 1 Symbols or Letterform
8
A brand aims to gain loyal customers; therefore, the brand identity is a powerful visual language tool used to encourage a company’s communication with its consumers and influence their perception of the brand. The first thing a consumer sees is the logo to identify the brand (Biricik, 2006) but as a result, 78.6% say the way a brand looks influences their judgement about a service or a product (see appendix 3) hence the logo is one of the more significant visual parts of the brand.
9
The layout of logos is either symbolic (see figure 1) or letterform (see figure 2). The Apple logo is one of the most recognisable logos ever to exist. The logo is everywhere, whether it is on the back or the front of a store. There is no title within the logo as the symbol itself addresses the company’s name. Its simplicity is what makes it stand out as it makes the brand look professional and sophisticated. On the other hand, the Disney logo has no imagery, but the letterform is very appealing to its target market. It’s also cursive and handwritten, which piques the viewer’s interest but also gives the brand a unique identity. For instance, if the letter face ‘D’ is seen on its own, people will recognise it as Disney’s brand, and that is because the font is custom made for the company. With both logos being utterly different from one another, they both attract the attention of their consumers, and both stand out in the competitive market.
10
Fig.1. Apple Logo (2018)
Fig. 2. Disney Logo (2020)
11
In terms of which logo stands out more depends on the consumer’s perception, however understanding symbols on an unconscious level leads to people grasping the meaning immediately; however, logos based on letterforms have no image. Therefore, it is difficult for people to make a connection between the logo and an idea which means logos with symbols are faster and more effective when communicating to the target audience. The use of symbols can be applied universally, whereas words need to apply to a specific audience who speak the language and understands the meaning of the words. To conclude, symbolic logos can appeal to a broader audience (Magicdust, 2019) 68.4% of people believed that a logo on products is very important; however, 61.4% of people believed a logo for service is unimportant (see appendix 3). A service is intangible, and people rely on quality rather than the looks of a service brand (Lumen Learning, 2019). Whereas a product is physical and the way a brand looks ideally represents how the product and its quality will look like because it is tangible (Reilly, 2020). Having said this, it is a minority’s opinion; particular service brands rely on the brand identity to attract their target audience, and products are merely available to those who benefit from its use rather than what the brand identity looks like (Kimbarovsky, 2020) this suggests that consumer perception is extensive. Paul Cobley had stated that brand strategist and advertisers could never predict what effects their communications have (see appendix 5) as it is difficult to comprehend what each consumer thinks.
12
Fig. 3. No Smoking (2010)
The main focus of a logo is to be
showcase the message and which
informative and communicate to
is understood by the general public,
the audience, whether it is with
but signs 4 and 9 would attract
linguistic symbols or image symbols.
a younger and culture-specific
Both have the potential of having a
audience as the context is different,
similar impact. For example, Daniel
but the meaning is the same as the
Etock has collected a variety of No
rest of the messages. On the other
Smoking symbols, each containing
hand, signs 3,6 and 7 would attract a
images or words and even the
more contemporary audience as they
combination of the two (see figure 3).
understand the deeper meaning
All signs indicate the same message
behind the message and understand
signifying the audience not to smoke
the links to cultural art. Overall, these
(Crow, 2010). However, each sign is for
examples testify that the contents of
different publics. Signs 1, 2, 5, 8 use
a sign are dependent on the cultural
well-known imagery and symbols to
group as the sign is for them. 13
Fig. 4. FedEx Logo (2014)
14
A logo can also include symbols and text, and an example of this is the FedEx logo (see figure 4) With the use of the two colours we can distinguish the two words, and the bold font choice allows the logo to be seen from afar however the central aspect of the logo is in the negative space between the letters’ E’ and ‘X’ where we can see an arrow. This arrow represents the brand’s traits which are speed, accuracy and striving for perfection (Rogozo, 2020). In fact, within the survey, many people had claimed they noticed the arrow and suggested the arrow portrays “quick” and “efficient” delivery however some also claimed that the word Express has “connotations” of a fast shipping/delivery service (see appendix 3) which means language and signs have an equal effect on the consumer when suggesting the purpose of a brand. Moreover, with the logo on display on vehicles, packages and ads, it is widely recognised all across the globe. This minimalistic approach has allowed the logo to be more versatile when creating logos for their sub-brands. Professor Josiah Kahane had claimed that in order to recognise a logo a consumer needs a clue as there are so many similar logos that confuse the consumers which mean there needs to be a sense of familiarity within a logo (see appendix 6).
15
16
Fig. 5. House of Brands: Fed Ex (2016)
The FedEx Corporation has a range of logos within their brand family (see Figure 5) which have been the same as the primary logo; however, there is a difference within the sub-brands. What makes each of the logos different is the different colours used on the word ‘Ex’. Each colour represents a different service which is a brilliant way to distinguish the departments, which means audiences can understand the brand and the many services they offer because of the flexibility of the logo. Despite being versatile, the logo is simple, which means the audience can recognise it and connect the dots of the meaning behind it.
17
Chapter 2 Visual Images from a Semiotic Perspective
18
Many companies are using semiotics within branding. A designer plays a role in manipulating visual elements to gain a response from its particular target audience and semioticians study how things can influence people (Logo Design Love, 2017). In this case, both designer and semiotician can work together as said so in an interview by Professor Paul Cobley (see appendix 5). In fact, around us, we are surrounded with design. The creation of things, spaces, services and interactions; these are all acts of design that aim to establish or convey a specific meaning to an individual action or communication (Van der Meulen, 2019). Altogether, semiotics can help evaluate designs according to traditional semiotic principles (see appendix 4). It is known to be a critical academic model of design analysis and visual research, which leads to an improved understanding of the relationship between written and spoken languages and their references in the corporate world. Semiotics is a tactical method which is a core tool for deconstructing and interpreting graphic design components such as graphic marks and texts in order to determine their underlying meanings (Noble and Bestley. 2005)
19
Fig. 6. René Magritte – The Treachery of Images (This is Not a Pipe), 1929 (2020)
A great example of semiotics within graphics design is ‘The treachery of images’ (1928–29) by René Magritte (see Figure 6). This painting includes an image of a pipe and below it is a text which says “Ceci n’est pas une pipe”; the translation for this is “This is not a pipe”. This iconic masterpiece of Surrealism overthrows outdated styles of pictorial and language depictions despite the inspiration of his work being children’s books and his early career in advertising (Henri Matisse, 2009). The images motive was all about representation and to convey a simple message which was: The image on the canvas is not a pipe, but a portrayal of a pipe. Magritte stated that “It is not an actual pipe that I can stuff so if I had written ‘This is a pipe,’ I would have been lying.” (Wear and Zarconi, 2011). Therefore, the primary interpretation is that the pipe in the painting is not a pipe, but rather a drawing of a pipe in which there is no tobacco.
20
Although the irony of the object corresponding to the word and image creates a massive impact on the audience, the painting ultimately challenges the social semiotic relationship between words and image. The painting is an excellent example of semiotics; it reframes our thoughts of communication about a referenced idea rather than a referenced object allowing us to visualise and interpret how meaning is created and communicated (Yow, 2017). Semiotics is an insightful approach which sums up the connection between what is existing, what we know it as and how we call it, which enables us to analyse the influence and power of these images which means analysing symbolic creation from a semiotic perspective leads to every perspective taken into consideration. If someone becomes well-informed for associate meanings, it does not matter whether the connotations are logical or not because if a person interprets a piece their way, the connotations they make are real and are never falsified (Logo Design Love, 2017).
21
22
People are living their everyday lives surrounded by signs. These signs are not just verbal signs, but they include images as well. Swiss Linguistic, Ferdinand de Saussure had claimed in order to understand language, a system of signs is beneficial (Noble and Bestley. 2005) and that is why the visual languages of graphic design are images. Applying a semiotic approach to these signs and images, we can better understand why they are communicating to the world, how they are conveying ideas and attracting attention, improving understanding and resonating with viewers to achieve the purpose of the exchanged information. (Yang and Hsu, 2015). A designer’s job is to analyse and solve visual problems and most importantly interact with the target audience. What we disregard is that there is more to designing when it comes to communicating a visual message and how we view and interpret the message as it is dependent on the consumer’s interpretation. Theories developed in semiotics can explain visual communication (Crow, 2003) and how logos of particular brands affect consumers, especially when trying to communicate a message to the intended target audience at the right time. The semiotic theories and methods help us to identify trends and understand the attitudes and behaviours of a consumer when they interact with a brand (Vos, 2019). Signs in particular form all sorts of components such as language, picture, body language, sounds and concepts. Additionally, signs simplify these multiple components. There were many theories developed to understand how to outline these signs within these components.
23
Charles Sanders Pierce (1839-1914) was an American philosopher developing semiotics, and he proposed that to define signs, split them into three categories: Icon, Index and Symbol. An icon is an illustrative sign which resembles something such as photographs and people. An index is a particular sign which has a direct link between the sign and an object and a symbol which has no logical meaning between it and the object (Boulton, M. 2005). However, in the early 1900’s Ferdinand de Saussure (1857-1913) a Swiss professor of Linguistics established a linguistic aspect to semiotics and suggested a more straightforward structure. The theories of signs proposed by Saussure specify that the connotation of a sign can be communicated by subjectively combining the signifier – the form which the sign takes - and the signified – the concept it represents (Yang and Hsu, 2015). Applying these theories allow graphic designers to re-associate and change the meanings of the displayed signs within their work which leads to grabbing the viewers’ attention and being able to convey the information and emotions they had intended. These theories sum up the main areas of semiotics which include the signs themselves, the way they are organised into systems and in the context in which they appear. Nevertheless, they showcase the semiotic theory as a way to present the images having the power to formulate what is perceived to be real.
24
Fig. 7. The Amazon logo (2019)
The Amazon logo (see Figure 7) represents a signifier through the components of the text and arrow. The ‘signified’ is the meaning behind the placement of the arrow. The arrow is pointing from the A to the Z which ultimately sends the message across that Amazon sells everything ‘a to z’, and an additional meaning of the arrow is that it showcases a smile that customers would experience by shopping (Passmore, 2011). The arrow is a significant factor within the overall logo as it is communicating to the audience and challenging their opinion and that is because of its simplicity making it easy to understand its purpose and overall, just through the logo telling the customers what service they provide. The signifier and the signified create a sign, and within these signs could contain a symbol that has a broad meaning to make the transmission of information.
25
26
Fig. 8. Nike (2020)
A design has a tremendous
abstract ‘swoosh’ symbol
impact on one’s brand as it
suggests the concept of
creates emotional connections
freedom of movement, which
with the target audience.
immediately relates to the
The target audience is the
target markets culture.
ones who develop emotional connections with the brand
Icons like this encourage
and their products and use the
the target market to think
brand’s symbols and sign to
differently about themselves
subordinate their feelings and
and build a relationship with
showcase moral values within
the brand, which means
the brand (Biricik, 2006). An
brands have the power to
example to present this would
lead cultural change. (Creative
be the Nike logo (see figure 8)
Semiotics, 2020). The existence
Nike consumers are often from
of signs and symbols in
the socio-cultural challenger
brand logos influence the
segment in which Nike
consumer’s opinion about the
propose campaigns to trigger
overall brand and themselves.
their consumer’s motivational
Applying a semiotic theory
values allowing them to reflect
towards logos helps create
on their beliefs (Schiere,
awareness and develop
2019). However, the logo itself
relations within the market.
affects the consumers, and by
It also helps us identify the
examining the logo through
purpose of a logo and how it
semiotic analysis, we can see
leads to a brand developing
how and why. The logo (see
a relationship with the
figure 8) includes an iconic
consumers. 27
A semiotic analysis within brand
effects their brand of choice (see
logos is beneficial as they help
appendix 3), which means logo
the logo naturally fit in the global
representation must be concise
market as well as making the logo
as consumers do look at a brand
stand out. It also helps solve visual
and this is where semiotics comes
problems that would interfere with
in. The target market of a brand is
the interpretation of the viewers
predetermined to read the logo,
on the brand (Bhuda, 2011). A
not from training or education but
Semiotic analysis includes many
through experiences from their
points, especially when considering
surrounding culture (Paget, 2020).
a logo, for example, what are the
Semiotics has an essential function
crucial signifiers and what do they
in understanding anything designed.
signify? Or what is the purpose
The repeated exposure of cultural
of the design elements, and
surroundings has taught them the
how does it impact the viewer’s
meaning of things, for example, the
understanding? (Chandler, 2017).
meaning of specific colour such as
Considering these points, we can say
red meaning stop, or danger or green
that semiotics aids to make quick,
meaning go or environmentally
analytic decisions and to be able to
friendly. However, semiotics also
articulate the reasons for creative
helps us to differentiate the different
decisions (see appendix 5) inspires
meanings that come with one
the designer to push the boundaries
symbol and helps to alternate the
of thinking, helping viewers think
meaning for different cultures.
creatively and tactically. (Bhuda,
Particular colours symbolise different
2011). Additionally, Paul Cobley had
meanings in different cultures for
also claimed that in logo design,
example red symbolises excitement,
considering the audience is one
energy, passion, love, in Western
of the main tasks. Charles Sanders
cultures, however in Asian cultures
Pierce had once said that a sign is
red is a very opportune colour as it
always “for someone” (see appendix
symbolises good luck, joy, prosperity
5).
and long life. (Shutterstock, 2020). Taking these symbolic meanings into
28
Making design decisions when
account when creating a logo allows
creating a logo is vital, but none
more of a depth of understanding
will be accounted for unless
in consumer behaviour and see
the consumer recognises and
whether they understand the
understands the message and
message of a brand or whether they
symbolism the logo represents. Also,
are initially attracted to the initial
64.9% of people said that logo
look of the brand.
29
Chapter 3 Case Study ~ Rebranding Gmail 30
Fig. 9. Google Workspace’s updated icons, including Gmail (2020)
On October 6th, 2020, Google introduced the redesigned logo for Gmail alongside Google’s G Suite software which has been rebranded to Google Workspace (see Figure 9). The new set includes logos for the apps Gmail, Calendar, Docs, Meet, and Sheets. Just within a couple of days from its launch, it has received many reviews. As Google is a brand that takes their creative logo designs to the next level with the celebration of different events which takes upon the diverse calendar in many respects— culturally, thematically, geographically, et cetera (Artnet News, 2019), changing their logo designs is a significant step for their brand as the public has high expectations. This case study will highlight the changes Google has made and how it impacts the overall brand.
31
Fig. 10.– Gmail Logo (2020)
The new logo presents a more curved and bolder ‘M’ split into four different colours to represent the four different segments which form the letter (see Figure 10). The designer has revamped the logo by removing the envelope icon, which made the old logo recognisable. The aim of this was so that the logo itself would be clean and minimalistic and so the decorative elements had to be stripped away in order for the design to only consist a single bold symbol (Piper. D, 2020). The brand update was encouraged by the transformation of circumstances in the workplace at Google since it is no longer a priority to attend work physically and instead of making employees turn their homes into workspaces and attending digitally (Wong, H. 2020). Users have been using Googles services a lot more since the pandemic; Google rebranded the logos in order to incorporate the productivity apps more effortlessly allowing people to use more than one app. Googles main focus was to depict to users that Google’s workplace is connected, helpful, and consists of flexible experience through the rebrand.
32
Fig. 11. Google Wordmark (2015)
In an interview with Professor Paul Cobley (see appendix 5) he had stated that the simplest of logos are the most striking examples of semiotics and graphic design which are formed by creative inspirations and then confirmed by what might be a semiotics assessment of the design’s suitability for purpose. In this case, the set of new logos consist of Google’s brand colours blue, red, yellow and green, as seen in the existing wordmark (see Figure 11), doing so makes the visual identity of Google looks consistent and therefore making the overall brand look professional and robust, which again makes Google stand out from its competition. The logos designed are closely aligned with Googles other services, for example, Google Maps, which was also redesigned at the beginning of 2020 (see Figure 12) to look similar to the Google and Chrome logo. The family of logos now represent the brand of Google and is now easily recognisable due to the simplicity.
Fig. 12. Left: the new Google Maps logo. Right: the old logo (2020)
33
34
Ferdinand Saussure believed that semiotics was a way to communicate language through symbols. He proposed that signs consist of a signifier (an object) and signified (its meaning) (Noble and Bestley, 2005) and applying that theory within these logos proves that the sole purpose of a logo is to convey the purpose of the app. From a semiotic perspective, the new logos have the same style and components used to make different images. Despite the colours and style being the same; the icon of the logo is not, which is the main element that distinguishes each logo from one another. Each image has a different meaning which can be justified and can be seen, allowing people to distinctly see the individual service each app provides from the symbol. The image is communicating with the audience and informing them about the criteria of the app itself. When put together, the logos look like a cluster of colours, and the audience finds it difficult to differentiate the logos as they are overwhelmed by the similarity. Unfortunately, a minority audience responded to the rebrand negatively as the logo alongside the other Workspace logos has created a defect in user experience. Despite the consistency of the designs being a great design decision, it did not go well with the audience as they find it hard to differentiate the apps mainly when the majority of the users use Gmail more. A user had stated that “A similar colour scheme for their entire suite of apps is a terrible idea. Now every app looks the same at a squint with the same colours.” (Parsons, 2020). The new logos look eye-catching, and the idea of how each logo has been incorporated with Google’s colour palette to make the statement that the logos are all a part of Google. The use of colour allows each logo to look calm and less aggressive and the balance of similar shapes makes up the individual icons allowing each logo to have its particular symbolic meaning and directly telling the audience what the app is through the picture. On the other hand, when the logos are beside one another, the same use of colours on the apps make the bundle look like a cluttered mess. To conclude, the design concept was too focused on Google’s viewpoint of the app; instead, the target audience making user experience difficult.
35
Chapter 4 Visual Images from a Linguistic Perspective 36
Language experts and philosophers have battled with defining symbols since Greek antiquity (Magicdust, 2019). Ultimately, without language, we would never be able to understand the symbols and what they represent. Graphic design is about communicating messages with the use of visual contents. (The Interaction Design Foundation, 2019). As it involves visualising information and language, it may be possible to apply theories of linguistics within graphics to create effective communication. (Crow, 2003). Nevertheless, ignoring linguistics within the design is a norm because the concept is the primary focus of design thinking (Lupton and Miller, 1996) as designers are not at their best dealing with text and meaning (see appendix 6). Josiah Kahane believes designers can benefit from a better understanding of linguistics (see appendix 6) He claims visual language with vision describes the insight, understanding and establishment of visible signs just as people can articulate their thinking, they can envision it (Kahane, 2015) Linguistics is the scientific study of language (Noble and Bestley, 2005) and has a significant role in visual design. Language and text are present on anything from websites, editorial pieces to print media as well as merging visual design and linguistic productions, through the means of the layout design and the use of typography. By combing writing and design leads to a new style of semiotics and a different approach to analysing design elements. When designers try to communicate the language, they usually rely on the use of typography or calligraphy to compose a form of speech to read besides the linguistic message (Crow, 2006). Typography is the creation of typefaces and the skill of positioning the letters and text so that the intended message is visually clear and appealing to the reader (Baines and Haslam, 2005).
37
Fig. 13. Same word different typefaces (2020)
38
Saussure said that linguistics is
is visualising it. Figure 13
forming one part of semiology;
presents an example, where the
however, Roland Barthes, a
denotation is the word ‘child’
follower of Saussure, had come
in the font Helvetica which
up with the conflicting theory
does not give off any other
which claimed that semiology
meaning. However, we can
was a part of linguistics.
also see that the same word
Barthes had suggested that
is written beautiful cursive
the reader played a vital role
handwriting indicating positivity
in the methodology of reading
and suggesting happiness and
the meaning. He developed
then it is written again with a
linguistic concepts to a variety
bold, sharp typeface indicating
of visual media, which all carry
negativity and evoking fear.
meaning and he also recognised
Even though the word is the
and manipulated structural
same, its appearance gives it
relationships, via components
an entirely different meaning
of a sign. His ideology pictures
which means that without the
around two unique levels
connotations, it is just the word
of signification, which are
with no other meaning past its
connotation and denotation
definition. Combining linguistics
(Crow, 2003). Denotation refers
skills and design elements
to what is pictured (the object).
allows the viewer to understand
The connotation is the portrayal
the message being put across
of the object and how the
and better understand the
audience
whole image.
Language has an exciting part
The power the brand name has
in branding as consumers get
on the consumers is evident
to know and understand the
and how it is showcased and
brand through language whether
presented to the consumers
it is what has been told in
is also a significant influence.
advertising or on the packaging
Together the name and its
of a product, social media or
portrayal suggest the practical
word of mouth. Language has
qualities of a product or service
a powerful influence on the
and stage the positivity and
consumers, their perception,
morals the company wants to
memory, attitude and behaviours
depict. The laid-out components
as sometimes the brand name
of the logo and name allow
itself is informative on what the
the consumers to identify the
brand has to offer (Carnevae,
product. It has the potential to
Luna and Lerman, 2017). Due to
increase sales and customer
our upbringing, we are aware of
loyalty (Subkowski, 2019).
the meanings and words and so
Nevertheless, the brand name is
without knowledge or awareness
essentially the first acquaintance
of words and meanings; we
the consumers has towards the
would not be able to have fixed
brand and products, whether if
thoughts and judgements on
it’s the first thing, they see on
certain things, especially people
ad campaigns, the entrance to
and brands. Therefore, there
a store or even when someone
is nothing that navigates our
asks them the contents of the
perception as much as language
product they have bought.
does. (Devleminck, Gobert and Looveren, 2010).
39
Fig.14. Heartbrand Logos (2019)
40
Linguists overall is a tool within
The brand acquired companies
branding and marketing
already established in the country
strategies especially for brands
and did not change the name of
who reach out to customers on
the previous company. By giving
a global scale as international
a different name to the brand in
companies reach out to
different countries allows local
consumers who have culturally
consumers to trust the brand as
different lifestyle and languages
the inspiration comes from the
(Nacchia and Massaro, 2017).
country and therefore, consumers
Brands strategically design
ethically keep purchasing their
their identity in order to attract
products. It recognises the
their consumers who are from
relevance of language in branding
different cultural backgrounds
and the impact that language
in order for their whole brand to
has on consumer response to the
be memorable. An example of
brand as they better remember
this is the Unilever’s Heartbrand,
the brand name; this proves
who specialise in ice-cream. The
that strategic branding must
famous brand is known globally,
consider language from multiple
and this is because the logo of the
perspectives and disciplines. Only
brand is the same; however, the
then marketers can precisely
name of the trademark is known
communicate what is intended to
by different names in different
the target audience even if it is at
countries (see figure 14).
a global scale.
Many brands are international, and they focus on how they represent themselves in different countries. Trying to appeal to an audience with many cultures and languages is challenging, but it is not impossible. However, some brands rename their brands in different countries just because of the meaning of the word being different in multiple languages, or maybe it could be because of franchising (Ro, 2016). The text within the logo can have an impact on consumers across the globe. Brands have taken both linguistics and semiotic approaches when it comes down to showcasing their brand in different countries.
41
While Burger King is known worldwide, in Australia it is known as Hungry Jacks; this was because when Burger King entered to set up in Australia, there was already a restaurant existing called Burger King; therefore, the name Hungry Jacks was chosen (The Street Food Guy, 2020). However, although the name is entirely different, the entire logo is different as well (see figure 15). The current burger King logo showcases burger buns with the name of the brand in the middle to represent two patties in a burger and give artistic effects to make it look modernised and pleasurable. The blue circle signifies the brand is available worldwide as well as symbolising a quick service. However Hungry Jacks logo was never changed but in fact, remained the same as Burger Kings old logo (see figure 16) which is a simpler logo with the icons of the buns and the text inside with the only difference being that the colour saturation on the logo is low portraying a lighter orange and red; this provides a sense of imbalance with the two trademarks despite hailing from the same brand.
42
Fig. 15. Burger King and Hungry Jack’s logo (2020)
Fig. 16. Old Burger King logo (2020)
43
Nevertheless, the similarity to the old logo consists of a sense of familiarity to those consumers who do not live in Australia. Also, the logo changes again in the country of Japan (see figure 17) with the title being changed in Japanese so that it is readable to consumers in Japan as it addresses the brand in their language (Inkbot Design, 2020). Conclusively, this shows that Burger King as a brand is universal and appeals to their target market all across the globe.
44
Fig. 17. Japanese Burger King logo (2020)
45
Chapter 5 Case Study Success of the Virgin logo 46
Fig. 18. Virgin Logo (2020)
Graphic information is interdependent on linguistic information and essential to create the corporate memory of products (Segers and Leclercq, 2007). Typically, the brand name is within the logo, and although the logo itself is not the overall brand, it is, in fact, the face of the brand which helps to identify the brand (Biricik, 2006). This case study will look at the Virgin logos, which are based solely on linguistic aspects such as typography and analyse the influence it has on the consumer and their interpretation. The Virgin Logo (see figure 18) has a typographical approach and does not use imagery. The word Virgin itself was a choice made by Richard Branson, where he had considered himself and his partner “virgins” within the business industry (Carter, 2020). However, the choice of having the logo look handwritten provides the brand with a cuttingedge look (Brownlee, 2014) but to consumers, it is now one of the most recognised logos in the world especially with it being famously red (Logo Design Love, 2009). However, a visual element that we almost miss is within the ‘V’. It is an expressive tick symbol, which represents the Virgin seal of approval.
47
48
Fig. 19. Virgin (2020)
On the other hand, a selection of
embedded in the rest of the logos
the sub-brands of Virgin (see figure
informs consumers that they are a
19) use more than a typography to
part of Virgin, which controls existing
distinguish themselves from one
consumers to trust the other brands
another. They use shapes, imagery and
Virgin owns, as the reputation the
typefaces as additional components
brand upholds will immediately be
in order to create a new logo. We can
seen and that way, customers are
see that they have similar features;
retained.
however, each represents the title of
This depicts that logos without imagery
another service Virgin offers. With
can also be iconic and have a similar
these logos based on typography as
impact that symbols. Its shows that
a form of communication, they invite
we should not underestimate words
the consumers to identify the brand
as they are also a powerful tool. One
immediately and view the quality of
should not examine a word because
the service within an instant look.
it has a fixed meaning (Devleminck,
Furthermore, with the logo being
Gobert and Looveren, 2010).
language-based, we can see a level of
Nevertheless, the representation of the
sophistication which aims at the target
word can create emotions within the
market of the brand and then allows
reader and applying this to logos allows
consumers to think that it is a high-
the brand to communicate the values
quality brand. Also, the original logo
and meanings to the customer directly. 49
Con clusion
50
... To conclude, researching and analysing
It was challenging to find evidence on
how semiotics and linguistics influence
linguistics due to lack of information
the creation of logos within a brand
and examples used by current brands
has led us to finding out that semiotics
and studies. However, taking into
and linguistics do not have a similar
account that languages have a crucial
impact. As logos are a visual element,
role in logo design understanding
it is much more beneficial to apply
linguistics can be beneficial to
a semiotic analysis as it takes into
designers (see appendix 6). In
account all the visual elements in a
fact, through the interviews, Greg
logo in order to ensure a message
Rowland had claimed that semiotics
would immediately attract the
and linguistics do not have a similar
audience’s attention. However, in
effect, as linguistics does not take into
comparison, the use of linguistics is
account the whole design but only
somewhat limited. Linguistics benefits
focuses on the words (see appendix 4).
the language and text used within a
Similarly, Paul Cobley says the same:
logo to clarify a symbol or image, but
“literature within design generation
also to represent text in an informative
rarely takes place” (see appendix
manner. Based on these conclusions,
5). Further research is needed to
practitioners should consider the
determine the scope of semiotics
use of semiotics theories as every
as linguistics is considered to be a
component within their design will
contribution to semiotics as well as
have a meaning or purpose, which will
philosophy and cultural studies (see
lead to effective communication with
appendix 6).
the target audience. 51
Findings of this research confirm that semiotics is a key aspect when analysing design components within a logo while linguistics has a smaller role. Semiotics has more impact on logo design as well as its interpretation and meaning (see appendix 6). The formulation of signs and symbols was long before the development of languages, and they were one of the primary forms of communication and storytelling (Macnab, 2015). 93% of people said they look for an image rather than text within a logo (see appendix 3). This research clearly illustrates that symbols and icons within logos is more likely to gain a response from the audience. Through the evolution of signs and symbols, it is still possible to communicate to viewers with just semiotics which means with a semiotic analysis, logos have a better chance of being understood as it takes into account national, political, cultural and social trends which then strengthens brand communication for both local and global markets (Lawes, R. 2020). Thus, the use of semiotics is advantageous to interpret visual meanings, not just in logos but other visual projects; it will allow customers to look at a brand differently. Moreover, it will be beneficial for brand as it will support marketing strategies and be a solution to marketing problems as research shows consumers are more likely to buy products and services frequently. 52
53
List of Images
54
Figure 1. The Logo Creative. (2018) Apple Logo [Black and White] Available from: https:// medium.com/@thelogocreative/apple-logo-evolution-it-all-started-with-a-fruite976427f5292 (accessed on 13.11.20) Figure 2. Marino, T. (2020) Disney Logo [Black and White] Available from: https://tonimarino. co.uk/disney-logo/ (accessed on 13.11.20) Figure 3. Etock, D. No Smoking [Digital] In: Crow, D. (2003) Visible Signs 2nd Edition. Switzerland: AVA Publishing SA Figure 4. The Branding Source. (2014) FedEx Logo [Digital] Available from: http:// brandingsource.blogspot.com/2014/06/twenty-years-on-time-for-fedex.html (accessed on 7.11.20) Figure 5. Bolt Group (2016) House of Brands: FedEx [Digital] Available from: https://boltgroup. com/brand-architecture-structure (accessed on 7.11.20) Figure 6. Hawk, T. (2020) René Magritte – The Treachery of Images (This is Not a Pipe), 1929 [Digital] Available from: https://publicdelivery.org/magritte-not-a-pipe/ (accessed on 24.10.20) Figure 7. The College Post (2019) The Amazon Logo [Digital] Available from: https:// thecollegepost.com/amazon-upskilling-2025-program/ (accessed on 7.11.20) Figure 8. Estrada, N. (2020) Nike [Digital] Available from: https://www.highsnobiety.com/p/ the-cost-of-a-logo-nike-coca-cola-london-2012/ (accessed on 7.11.20) Figure 9. Fullylove, R. (2020) Google Workspace’s updated icons, including Gmail [Digital] Available from: https://g-workplace.com/news/google-g-suite-workspace (accessed on 29.09.20) Figure 10. Fullylove, R. (2020) Gmail Logo [Digital] Available from: https://g-workplace.com/ news/google-g-suite-workspace (accessed on 29.09.20) Figure 11. Cook, A. Jarvis, J. Lee, J (2015) Google Wordmark [Digital] Available from: https:// design.google/library/evolving-google-identity/ (accessed on 02.10.20) Figure 12- Amadeo, R. (2020) Left: the new Google Maps logo. Right: the old logo [Digital] Available from: https://arstechnica.com/gadgets/2020/02/google-maps-gets-new-icontweaked-ui-for-15th-birthday/ (accessed on 03.10. 20) Figure 13- Dineshchandra, E. (2020) Same word different typefaces [Digital] In possession of: Ekta Dineshchandra: Leicester Figure 14- Chung, F. (2019) Heartbrand Logos [Digital] Available from: https:// theurbanscrapbook.com/2019/02/25/♡🍦-heartbrand-streets-walls-or-langnese/ (accessed on 15.11.20) Figure 15- Popsugar. (2020) Burger King and Hungry Jack’s logo [Digital] Available from: https://webcache.googleusercontent.com/search?q=cache:R1BZF5dA43sJ:https://www. popsugar.com/food/photo-gallery/43989250/image/43989253/Burger-King-HungryJack+&cd=1&hl=en&ct=clnk&gl=uk (accessed on 21.10.20) Figure 16. Inkbot Design. (2020) Old Burge King Logo [Digital] Available from: https:// inkbotdesign.com/history-of-the-burger-king-logo-design/ (accessed on 21.10.20) Figure 17. Inkbot Design. (2020) Japanese Burger King Logo [Digital] Available from: https:// inkbotdesign.com/history-of-the-burger-king-logo-design/ (accessed on 21.10.20) Figure 18- Clarkson, N. (2020) Virgin Logo [Digital] Available from: https://www.virgin.com/ about-virgin/latest/the-evolution-of-the-virgin-logo (accessed on 22.10.20) Figure 19- Walker, R. (2018) Virgin [Digital] Available from: https://adpearance.com/blog/ creating-logos-for-a-brand-family (accessed 15.10.20) 55
Bibliography
56
Artnet News. (2019). Ever Wonder Where All Those Quirky Google Doodles Come From? We Spoke to Jessica Yu, Captain of the Doodlers. Available at: https://news.artnet.com/artworld/ever-wonder-whos-behind-googles-doodles-1632262 (5.12.20) Baines, P. and Haslam, A. (2005). Type & typography. London: Laurence King Publishing Ltd. Bhuda, K. (2011). The Importance of Semiotics in Branding. The Drum. Available at: https:// www.thedrum.com/news/2011/07/22/importance-semiotics-branding. (accessed 09.11.20) Biricik, A. (2006). The role of logo design in creating brand emotion: a semiotic comparison of the Apple and IBM logos. MASTER OF SCIENCE thesis, İzmir Institute of Technology. Available from: http://citeseerx.ist.psu.edu/viewdoc/ download?doi=10.1.1.427.5285&rep=rep1&type=pdf (Accessed 14.11.20) Boulton, M. (2005) Icons, Symbols and a Semiotic Web. Available at: https://markboulton. co.uk/journal/icons-symbols-and-a-semiotic-web/ (accessed 01.11.20) Brownlee, J. (2014). The Evolution of The Virgin Logo. Fast Company. Available at: https:// www.fastcompany.com/3038726/the-evolution-of-the-virgin-logo (accessed 23/11/20) Carnevae, M and Luna, D and Lerman, D.B. (2017) Brand linguistics: A theory-driven framework for the study of language in branding. Available at: https://www.researchgate. net/publication/313112051_Brand_linguistics_A_theory-driven_framework_for_the_study_ of_language_in_branding. (accessed 13/11/20) Carter, L. (2020). Why Did Richard Branson Name His Company “Virgin”? [online] Available at: https://celebanswers.com/why-did-richard-branson-name-his-company-virgin/ (accessed 23.11.20) Chandler, D. (2017). Semiotics for Beginners: D.I.Y. Semiotic Analysis. Available at: http:// visual-memory.co.uk/daniel/Documents/S4B/sem12.html?LMCL=F6vpKY&LMCL=oQrrUt (accessed 08.11.20) Creative Semiotics. (2020). What’s in An Image. Available at: http://creativesemiotics.co.uk/ news/index.php?controller=post&action=view&id_post=15 (accessed 18.11.20) Crow, D. (2003). Visible signs: an introduction to semiotics in the visual arts. Lausanne, Switzerland: AVA Publishing SA. Crow, D. (2006). Left to right: the cultural shift from words to pictures. Lausanne, Switzerland: AVA Publishing SA Crow, D. (2010). Visible Signs: An Introduction to Semiotics. 2nd ed. [eBook] Lausanne, Switzerland: AVA Publishing SA. Available at: https://ebookcentral.proquest.com/lib/bcu/ reader.action?docID=4654121 (Accessed 1.10.2020) Devleminck, S., Gobert, I. and Johan Van Looveren (2010). Shaping voices: telling and thinking about graphic design; a shapeshifters anthology. Leuven, Belgium: Oogachtend. Henri Matisse. (2009). The Treachery of Images, 1929 by Rene Magritte. Available at: https:// www.renemagritte.org/the-treachery-of-images.jsp. (accessed 24.10.20) Inkbot Design (2020). History of the Burger King Logo.... Available at: https://inkbotdesign. com/history-of-the-burger-king-logo-design/. (accessed 5.11.20) Kahane, J. (2015). The form of design: deciphering the language of mass-produced objects. Amsterdam, The Netherlands: Bis Publishers. Kimbarovsky. R (2020). What is Brand Identity and How to Create a Great One: A Complete Guide for Marketers and Businesses Available at: https://www.crowdspring.com/blog/ brand-identity/ (accessed 8.11.20) Lawes, R. (2020). Using Semiotics in Marketing. Kogan Page. Available at: https://www. koganpage.com/product/using-semiotics-in-marketing-9781789662078. (Accessed 1.11.19) 57
Leeuwen, T.V. (2016). Language and design. LLAS Centre for Languages, Linguistic and Area Studies [online] Available at: https://www.llas.ac.uk/resources/gpg/683.html (accessed on 4.11.20) Logo Design Love. (2009). Virgin logos and the many sub-brands. Available at: https://www. logodesignlove.com/stretching-the-virgin-logo (accessed 25.11.20) Logo Design Love. (2017). Fire Signs: a semiotic theory for graphic design. Available at: https://www.logodesignlove.com/firesigns-semiotic-theory-graphic-design (accessed on 1.10.20) Lumen Learning (2019). Services versus Products | Boundless Marketing. Available at: https:// courses.lumenlearning.com/boundless-marketing/chapter/services-versus-products/. (accessed 21/11/20) Lupton, E. and J Abbott Miller (1996). Design writing research: writing on graphic design. London: Phaidon Press Limited. Magicdust, (2019). Lessons of Applied Linguistics: How to Successfully Use Symbols and Metaphors in Your Logo Design. Available at: https://www.magicdust.com.au/lessons-ofapplied-linguistics-how-to-successfully-use-symbols-and-metaphors-in-your-logo-design/ (accessed on 7.11.20) Nacchia, F., Massaro, V. (2017) A JOINT LINGUISTIC-MARKETING ANALYSIS OF BRAND AND PRODUCT NAMES The case of Unilever. University of Naples. Available from: http://citeseerx. ist.psu.edu/viewdoc/download?doi=10.1.1.427.5285&rep=rep1&type=pdf (accessed 13.11.20) Noble, I. and Bestley, R. (2005). Visual research: an introduction to research methodologies in graphic design. Lausanne, Switzerland: AVA Publishing SA Paget, I. (2020) Using Semiotics in Logo Design with Dr Rachel Lawes. The Logo Geek Podcast. [podcast] Available at: https://logogeek.uk/podcast/semiotics-in-logo-design (Accessed 1 .10.20) Parsons, J. (2020). People are very upset about Google’s new app icons. Available at: https:// metro.co.uk/2020/10/08/people-are-very-upset-about-googles-new-app-icons-13390478/ (accessed 5.10.20) Passmore, V. (2011) Hidden Meanings in 12 Popular Logos. Available at: https://www. aol.com/2011/01/14/hidden-meanings-in-12-popular-logos/?guccounter=1&guce_ referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAJI m0sF2jDuxwKiOavT1nqCrC2-Gw8mnBQ6Y6saIOd-MjzOMzud7aWVVGW7lMwa5Ax6E8729rx8Dp3Qc9j3VgHo8d_FLquJtjbnSmUDqUh_EtZZ5ZaSt5GlTyixqSr_H9_ ofIHSgtihhdUtlDkS7PlRpsOirz4EyXFcAnua3E5s. (accessed 15.11.20) Piper, D. (2020) Google’s bold new Gmail logo pushes the envelope. Available at: https:// www.creativebloq.com/news/new-gmail-logo (accessed 8/10/20) Piper, D. (2020) Google’s new Gmail logo leaves users fuming. Available at: https://www. creativebloq.com/news/gmail-logo-google-workspace. (accessed 8/10/20) Reilly, S. (2020). The Difference Between Product Marketing and Service Marketing. Available at: https://www.fiftyfiveandfive.com/difference-between-product-and-servicemarketing/. (accessed 8.11.20) Ro, H. (2016). 15 of your favourite brands that are called entirely different things abroad. Insider. Available at: https://www.insider.com/brands-with-different-names-abroad-2016-7 (accessed 5.11.20) Rogoza, R. (2020). FedEx Logo: Evolution and Hidden Meaning. Available at: https://www. logaster.co.uk/blog/fedex-logo/ (accessed on 7.11.20)
58
Schiere, M. (2019) THE SOCIAL CULTURAL TRENDS OF NIKE CONSUMERS SHOWS THAT FOR SOME BRANDS, BRAND ACTIVISM & PURPOSE PAYS. Available at: https://www.linkedin. com/pulse/heterarchy-anti-authoritarian-social-cultural-trend-one-schiere/. (accessed 13.11.20) Segers, N. and Leclercq, P. (2007). Computational linguistics for design, maintenance, and manufacturing. Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 21(2), pp.99–101. Available at: https://www.cambridge.org/core/journals/ ai-edam/article/computational-linguistics-for-design-maintenance-and-manufacturing/ E7133798B6C5B80A013DF1D62E769ACE. (accessed: 23/11/20) Shutterstock (2020). Cultures Around the World. The Shutterstock Blog. Available at: https:// www.shutterstock.com/blog/color-symbolism-and-meanings-around-the-world. (accessed 02.11.20) Smashing Magazine. (2015). Logo Design Theory, Part 1: Symbols, Metaphors and The Power of Intuition. Available at: https://www.smashingmagazine.com/2015/06/effective-logodesign-symbols-metaphors-intuition/ (Accessed 25.11.20) Subkowski, E. (2019). Brand Linguistics: Study of Sound Symbolism and Consumer Language Fluency on Brand Name Attitudes and Perceptions. Northeastern Illinois University. Available at: https://neiudc.neiu.edu/uhp-projects/2/ (accessed 3.11.20) Tarver, E. (2020). Create a Strong Brand to Grow Your Business. Available at: https://www. investopedia.com/terms/b/brand-identity.asp (accessed on 7.11.20) The Interaction Design Foundation. (2019). What is Graphic Design? Available at: https:// www.interaction-design.org/literature/topics/graphic-design. (accessed 11.11.20) The Street Food Guy. (2020). Hungry Jacks vs Burger King. Available at: https://www. streetfoodguy.com/hungry-jacks-vs-burger-king/ [Accessed 5.11.20) Van der Meulen, M. (2019). This means this, this means that: Semiotics — the study of meaning. Available at: https://uxdesign.cc/this-means-this-this-means-that-semiotics-thestudy-of-meaning-84cd9e800214. (accessed on 7.11.20) Vos, L. (2019). Semiotics in Marketing: What It Means for Your Brand and Messaging. All Things Data-Driven Marketing. Available at: https://cxl.com/blog/semiotics-marketing. (Accessed 01.11.20) Wear, D. and Zarconi, J. (2011). The Treachery of Images: How René Magritte Informs Medical Education. Journal of General Internal Medicine, vol 26, no. 4, pp.437–439. Available from: https://link-springer-com.ezproxy.bcu.ac.uk/article/10.1007/s11606-010-1581-9 (accessed 29.10.20) Wong, H. (2020). Gmail reveals new logo as part of wider brand update. Design Week. Available at: https://www.designweek.co.uk/issues/5-11-october-2020/gmail-reveals-newlogo-as-part-of-wider-brand-update/ (Accessed 5.10.20) Yang, C.-M. and Hsu, T.-F. (2015). Applying Semiotic Theories to Graphic Design Education: An Empirical Study on Poster Design Teaching. [PDF] Canadian Centre of Science and Education. pp.117–129. Available at: https://files.eric.ed.gov/fulltext/EJ1083918.pdf (Accessed 10.11.20). Yow, M. (2017). The Loyalty of Images. Available at: https://medium.com/@matt_yow/theloyalty-of-images-6629b6a60834. (accessed 29.10.20)
59
Appendices
60
Appendix 1 Survey via Instagram poll
61
Appendix 2 Survey via Google Documents
62
63
Appendix 3 Survey Results via Google Documents
64
65
66
67
68
69
Appendix 4 Email Interview Transcript: Greg Rowland – Member of the Semiotic Alliance 19/11/20
1. In your opinion do you believe semiotics aids logo design. And why? I’d hardly say ‘no’! Semiotics can help evaluate designs according to traditional semiotic principles. However Commercial Semiotics, a broader field of study, can help inspire a distinct change, using the method to change ‘texts’, which is something never anticipated by academics. 2. How does the use of semiotics in logo design benefit the target audience? Perhaps by not resenting them with something ridiculous or annoying in the role of disaster preventer – or adding to the visual pleasure of the brand landscape in a positive way. 3. How do you think a better understanding of semiotics will be beneficial to designers? It allows them to step outside of their own preferences and prejudices whether that’s aesthetic or unconsciously ideological or so on. 4. Can you see graphic designers and semioticians working together? If so, then in which kind of projects? We have done a great deal, on 3D pack design, logo work, NPD and retail signage (I’ve worked variously for brands like KFC, Dove, Lynx deo, Guinness, Ballantine’s whisky and a host of others in this context.) 5. Do you believe semiotics have an effect on consumers mind when they view a brands identity? Yes, because semiotics is a way of understanding how meaning is generated and processed so it’s there when people look at brands. It’s also there when people look at a painting or a table or a tree. 6. What are great examples of work relating to semiotics and graphic design? Saving the Colonels form disappearing from KFC (2004) Baby Dove, Dove Pro Age, Pot Noodle Bombay Bad Boy, Euphoria by Calvin k 7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Yes 70
8. In what ways would good graphic design be beneficial towards your own projects, studies or work? It creates better case studies if somebody of real talent takes our inspiration and runs with it. 9. Do you believe semiotics and linguistics have a similar impact on logo design? Not really – linguistics doesn’t take in the whole design, just the words. In my version of semiotics, we’d pretty much cover off the linguistic stuff, but also consider every other visual and often tactile or heft elements.
71
Appendix 5 Email Interview Transcript: Paul Cobley – Professor in Language and Media at Middlesex University 20/11/20
1. In your opinion do you believe semiotics aids logo design. And why? Yes and no. A version of semiotics is probably used in all logo design. Any careful consideration of design is a form of semiotics. Formal semiotics, referring to the literature in the field in order to generate a design, seldom takes place. 2. How does the use of semiotics in logo design benefit the target audience? See above. Again, there will always be some consideration of audiences in logo design. Incidentally, don’t fall for the myth that semiotics is not interested in audiences. As Peirce said, a sign is always “for someone”. 3. How do you think a better understanding of semiotics will be beneficial to designers? It’s not guaranteed that understanding formal semiotics will necessarily produce better designs. After all, many designs are created without it. However, what semiotics does provide, I think, is the ability to make quick, analytic decisions and to be able to articulate the reasons for creative decisions. Some designers probably learn to do these things through experience. Semiotics should give less experienced designers a head start. 4. Can you see graphic designers and semioticians working together? If so, then in which kind of projects? They do quite often. Have you not researched commercial semiotics companies like Space Doctors, Sign Salad, Creative Semiotics and many others (largely based in London)? 5. Do you believe semiotics have an effect on consumers mind when they view a brands identity? If you mean “does the semiotics of a visual communication have an effect on consumer’s mind”, that would be a more apt phrasing. However, the answer would have to be qualified because the issue of media/communication effects is a greatly vexed one. Who can ever be sure that there is an effect on consumers, let alone say what it is? Brand strategists and advertisers have routines and procedures, but they can never predict with absolute conviction what effect their communications have. What can be said is that 72
the semiotics of a visual communication may invite certain kinds of reading and attempt to restrict or forbid other kinds of reading. 6. What are great examples of work relating to semiotics and graphic design? You should contact Lucia Neva lucia.neva@visualsigno.com to discuss this. She is probably the best-informed commercial semiotician in this respect. Personally, I would say that the simplest of logos are often the most striking examples of semiotics and graphic design. However, these often involve an initial creative inspiration which is then confirmed by what might be a semiotic assessment of the design’s suitability for purpose. Think of the Nike swoosh. It seems relatively inconsequential at first. At its very basic level, I think it was probably meant to be an icon of movement. Yet, almost immediately, it begins to take on a rich range of associations – so rich, in fact, that it becomes susceptible of copying and parody. 7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Frequently – particularly when I see poor designs. I have been involved in consultations where a choice over one graphic design over another might be chosen and the process has been similar to that with the Nike swoosh, above. I must say, though, that I lack the creativity and inspiration, as well as the graphic acumen, to generate a memorable design myself. 8. In what ways would good graphic design be beneficial towards your own projects, studies, or work? The nature of my work seldom requires graphic design but if it did, I would be attentive to it. 9. Do you believe semiotics and linguistics have a similar impact on logo design? I don’t think linguistics does.
73
Appendix 6 Email Interview Transcript: Josiah Kahane, Professor Emeritus, Faculty of Design, HIT Holon Institute of Technology, Israel. 23/11/20
1. In your opinion do you believe linguistics aids logo design. And why? The term linguistics is quite wide-ranging and cover several areas (phonetics, grammar, semiotics, world languages etc.) so I am not sure which aspect of traditional linguistics will aid logo design. On one hand I agree with the philosopher Ludwig Wittgenstein famous claim “ The limits of my language mean the limits of my world”. On the other hand, linguistics does not inquire into the visual language as art and design do. As my professional expertise is industrial design, I deal less with the interaction between language and visual signs, but I do use a well-known analogy method– Product Semantics. 2. How does the use of linguistics in logo design benefit the target audience? Logo recognition is about familiarity. We cannot identify a logo that we have not seen before and there are so many similar logos to confuse us. Therefore, the consumer needs a clue. A logotype is one solution (e.g., Marks & Spenser). A logo that is a part of a broader advertisement is another. 3. How do you think a better understanding of linguistics will be beneficial to designers? Very much so. Please read part I of my book on the topic – J. Kahane, The Form Of design (BIS Publ. 2015) 4.Can you see graphic designers and linguists working together? If so, then in which kind of projects? Unfortunately, designers are not at their best dealing with text and meaning. As an example of such cooperation, here is a short excerpt from my book: The Sapir-Whorf hypothesis is significant to designers, not only in the context of design for global markets. It was already suggested that a novel product is not entirely understood until it is given a proper name and that name turns familiar. The early cars were called “horseless carriage” – a good description before the word automobile (move on its own) was invented. More recent, the Japanese word Kawaii (cute) has taken on the additional meanings of “cool”, “groovy”, “acceptable”, “desirable”, “charming” and “non-threatening”. This awareness brought about a whole class of kawaii plump and sweet products exclusive to Japan, almost a culture in itself, from cupcakes to Hello Kitty figures, even to cute small cars. 74
5. Do you believe linguistics have an effect on consumers mind when they view a brands identity? Yes, but rather not consciously, and not via logo alone. We are so used to seeing moving images, hearing vocal music, and reading short text at the same time. Corporate identity is evolving into a more and more dynamic context. Just try seeing an old silent movie, so much is missing without hearing actors talk and a story-telling music. 6. What are great examples of work relating to linguistics and graphic design? No exemplary comes to mind, so here is a good advice: All living language change. They have to. Languages have no existence apart from the people who use them. And because people are changing all the time, their language changes too, to keep up with them. Quoting David Crystal, A little book of language, Yale 2010 7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Very much so, in both design teaching and in practice. Innovation is all about ever expanding one’s horizon. It is true in all design fields, not just in graphic design. 8. In what ways would good graphic design be beneficial towards your own projects, studies or work? Sorry to admit. Product designers are not that good in graphic design. They feel better in designing 3D forms. 9. Do you believe semiotics and linguistics have a similar impact on logo design? Semiotics has more impact on logo design but the more you understand the great picture of linguistics, and evermore, culture in general, the more you understand what you do. See the marked sentences below:
75
Semiotics is the branch of knowledge dedicated to the study of signs and sign processes. Designers are likely to assume that the word sign has to do with what we professionally call signage systems. Actually, directional signs are just a narrow constituent of semiotics. Semiotics is by far wider in scope, having to do with philosophy, linguistics, cultural studies and the gamut of psychological, biological, and sociological phenomena which occur in understanding signs. Semiotics also deals with terms such as indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication. Semiotics is frequently seen as having important anthropological dimensions too.
76
77
