Logos are valuable corporate assets that companies spend a lot of time and money cultivating. Taco Bell, for example, spends 20 times more on permanent media (such as signage with solely its name and emblem) than it does on advertising. Logos can be seen on television (to prevent zipping and zapping), packaging, letterhead, business cards, and signage, as well as in print ads, annual reports, and product designs (for example, Oreo cookies). Pretzels (Eagle brand). They are regarded as an important in-store identification tool, hastening the selection of the desired product. Furthermore, corporate freebies (e.g coffee mugs, calendars, pens, caps, clocks) with nothing more than the company logo are the fastest-growing section of the advertising business.
There is no systematic study in the marketing literature on the influence of design on customer judgments of logos. Relevant debates are restricted to numerous rules of thumb promulgated in the trade press that have not been scientifically validated or incorporated into a comprehensive set of guidelines.
Some statistics about logo designs:
- For most Americans, President Obama’s campaign emblem represented optimism. The rising of the sun over the horizon inspired renewed hope for the country’s future.
- Even though the apple is not a literal representation of computers or technology in this logo, it is a sign of knowledge. The “byte” has been removed. The apple may represent you taking a bite out of learning.
- The strong and capitalized lettering in these logos inspires trust.
- The most exciting color combination is produced by the colors Red and Yellow.
- Making people feel a feeling of panic and hunger Brown literally stands for the classic hue of packing paper, as well as the feeling of being sturdy and dependable
As a result, persons who choose logos must make decisions based on their own distinctive perspectives. For example, it would be difficult to determine which of the following logos would be the most remembered, loved, or provide the greatest sense of familiarity upon first exposure:
Choosing good logos makes economic sense as well. The initial design (ranging from less than $10,000 to hundreds of thousands of dollars, the managers’ time in the selection process, and placing/replacing the logo on everything from business cards and stationery to signage on buildings, vehicles, and packaging can all be quite costly. Given the regularity of the logo choosing process, the inexperience of most managers making such decisions, the impact of a poor choice on image, and the expense of selection and implementation, selection guidelines might be quite beneficial.
Logos should be recognized and familiar, elicit a commonly held meaning in the target market, and provoke positive affect.
There are two degrees of logo recognition. First, customers must recall seeing the logo (correct recognition). Second, logos must serve as a reminder to customers of the brand or company name (recall). The former is heavily reliant on design. Given equal exposures, a more memorable design will be more quickly recognized than a less memorable one. As a result, enhancing recall of the corporate logo begins with picking a design that is easily remembered. When hiring logo design services, find out what type of recognizable or well-known logos they have made in the past.
Many logos, even if they have never been seen before, will evoke a sense of familiarity. The perception or sense of familiarity, regardless of whether it is grounded on prior encounter.
Subjective familiarity can be caused by a logo invoking a familiar meaning or by the design being comparable to well-known symbols. Subjective familiarity can help a logo in any case since it can raise affect, establish more consenting held meanings (i.e., a more coherent picture), and even enhance brand choice if brand experience is restricted. Furthermore, familiar-looking stimuli are recognized and processed more quickly, which is especially essential for logos.
Influence of Logo Dimensions
The comparatively large proportion of explained variance shows that marketing managers may have the most impact on emotional responses to their logo during the selection stage. Furthermore, marketing managers do not need to be concerned with achieving liking and interest for logos individually. Previous study discovered that some stimuli (typically more complex stimuli) have different dimensions whereas others have a single dimension (often more simple stimuli). Our findings indicate that these two types of affective response are significantly associated with logos, maybe because logos are quite basic and it is difficult to separate the two reactions to them.
Selecting fairly complicated designs is the greatest strategy to assure more effectively pleasant logos.
Clear & Familiar Meaning
According to logo strategy literature, logos should elicit a clear, widely held meaning. We discover that meaning, as shown by codability (agreement in connections), and subjective familiarity are inextricably linked, loading onto a single dimension that we call familiar meaning. After all, a logo with an unknown meaning will not elicit universal connections. By choosing a unique, yet readily understood, design of a familiar object, familiar meaning may be increased (without decreasing uniqueness). Naturalness, which captures how representative and organic the logo is, and having a proportion near to that of the golden section, which is the most recognizable proportion in design and nature, boost familiar meaning.
Logo Design Process
How should the marketing manager go in picking or altering a logo in light of the empirically developed criteria and subsequent recommendations? The approach should always begin with study on the firm’s image or the direction in which the organization is headed. The following phase is to determine the logo’s aims in light of the budgetary constraints—correct recognition/high investment, false recognition/poor budget, high image/high or low budget. Other restrictions should be established, such as the existence or desire for a specific sort of logo (e.g., character, abstract) or a specific symbol (e.g., rock, umbrella).
Another restriction is whether the corporation prefers an independent symbol or one that always includes the company name. The management will then present the designers with the aims.
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