Learning from Academic Branding: Exploring Institutional Enhancement, Visual Identity, and the Role of Football as a Catalyst for University Brand Transformation

2016 ◽  
Vol 37 (1) ◽  
pp. 113-144
Author(s):  
Jason W. Lee ◽  
Matthew J. Wilson ◽  
Elizabeth A. Gregg
Keyword(s):  
Visual Identity ◽  
University Brand

scholarly journals DESIGN AUDIT: VISUAL IDENTITY OF HET HUISJE CAFE

2018 ◽  
Vol 1 (2) ◽  
pp. 141
Author(s):  
Gredi Gradana Sembada ◽  
Chandra Renaldi
Keyword(s):  
Total Revenue ◽  
Business Decisions ◽  
Business People ◽  
Business Goals ◽  
Strategy Process ◽  
Visual Identity ◽  
Research Designs ◽  
Observation Instruments ◽  
Promotional Strategies

The cafe business continues to experience significant developments, cafes being a favorite location to gather as part of the community's lifestyle. Currently there are more than ten thousand cafes in all corners of the country. In the 2013-2018 edition, the total revenue of the cafe sector is predicted to increase from USD 3.4 billion to USD 4.16 billion.The lifestyles of urban societies socializing in cafes are made a profit-making opportunity for business people by creating cafes with unique concepts. One of them is Het Huisje cafe. The cafe, which was established in early 2016, is located on Jl. Arif Rahman Hakim no. 9A, Pancoran Mas, Depok. the profit earned by Het Huisje cafe is static, in one month only a 10% increase in profit. Branding activities took the role of the case. The Het Huisje cafe logo that is not yet strongly illustrates the concept of its business. Visual Audit Results from pre-research Designs Audit, Het Huisje cafe logos do not meet the criteria of a good logo. The first phase of the study focused on visual audit on the logo. Methods of data collection using field observation instruments, interviews and questionnaires. Analysis using Design Audit matrix.The results of analysis in addition to being input for the design of promotional strategies are also used as input for the preparation of the design strategy process. The benefits of this research can be considered in making business decisions related to the field of design, so that the resulting design output is judged not only aesthetically, but also can be seen as a strategic step in achieving business goals

Promotion of Heritage Tourism Through Branding and Graphic Communication

2019 ◽  
pp. 87-107
Author(s):  
Manuela Piscitelli
Keyword(s):  
Cultural Heritage ◽  
Heritage Tourism ◽  
Main Theme ◽  
Structural Elements ◽  
Academic Field ◽  
Graphic Communication ◽  
Visual Identity ◽  
New Interpretation ◽  
Effective Integration

The chapter, starting from the analysis of the characteristics of heritage tourism, in particular in Italy, and the expectations of cultural consumers, focuses on the importance of a visual identity for the cultural heritage. For an effective integration of tourism and culture, a careful planning is required in the promotion of cultural assets, activities, and traditions. The role of communication should be to propose a new interpretation and representation of the territory, having as a main theme the role of culture. In this sense, it may be useful to identify a location through a brand, which materializes the characteristics of a system of culture and values of the territory, selecting structural elements that allow its identification and synthesizing them in a single name or symbol. Finally, some experiences of visual communication for cultural heritage realized in the academic field are presented here.

Sketchbook as therapist: Self-authorship and the art of making picturebooks

2020 ◽  
Vol 7 (1) ◽  
pp. 147-177
Author(s):  
Caroline Pedler
Keyword(s):  
Phenomenological Approach ◽  
Personal Distress ◽  
The Past ◽  
Visual Identity ◽  
External Sources ◽  
Self Discovery ◽  
The Individual ◽  
Self Authorship

To self-author means to have the capacity to make coherent and informed decisions based on one’s internal beliefs and to not rely on, or be swayed by, external sources; to trust one’s internal voice and identity. In this article, I look to self-authorship as a framework to enable the illustrator to better understand personal engagement and experience of practice and visual identity through critically informed decision-making based on one’s internal beliefs; using self-authorship as a phenomenological approach to practice, encouraging the exploration of and reflection on the individual facets of process and self with a more reflective and critical eye. Two case studies set the foundation of this article, and in case study one, I reflect on using personal sketchbooks created on a master’s degree and later during a period of great personal distress. As an established illustrator, I explore the way these sketchbooks have revealed the lengthy steps of redefinition of my practice over the past decade or more. Presenting a renewed ‘sense of identity’ for me as practitioner and for the work I create. Case study two is a prelude to the conclusion and sets in place a context for my own self-authorship as a picturebook maker. Building on Fauchon and Gannon’s Manifesto for Illustration Pedagogy, through personal exploration of self-authorship and the role of the sketchbook, this article presents the use and analysis of the sketchbook and mark making as a route to 'visual self-discovery' towards a more authentic picturebook practice.

scholarly journals LOGOTYPE SEBAGAI CITRA GRAFIS DALAM KONTEKS IDENTITAS VISUAL GRUP BAND MAJOR LABEL DAN INDIE LABEL

2019 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Agus Adhityatama
Keyword(s):  
Qualitative Research ◽  
Manufacturing Process ◽  
Music Industry ◽  
Label Data ◽  
Identity Group ◽  
Visual Identity ◽  
Group Band ◽  
Descriptive Approach ◽  
Graphic Image

<p><strong>Abstract</strong></p><p><strong></strong><br />Logotype as a Graphic Image in the Major Label and Index Label Visual Identity Group Band Context. A logotype will interpret the context of visual identity. Seringai band is one example of an indie group that has a strong image through logotype as their visual identity. A good and appropriate logotype quality is how to create an appropriate identity in forming the characteristics of a band. The use of logotype as a misguided visual identity often occurs in Indonesia and the music industry as a facilitator of the withdrawal of a visual identity both image and artistically, especially for a band that is shaded by a major label. Data on observations conducted in the field show that many things that are less than ideal seem like imitation often occurs without us knowing it.<br />A good logotype is born from an in-depth research, and facts in the manufacturing process, the role of letters emotionally must be able to appreciate the atmosphere and taste. By using this type of qualitative research with a descriptive approach, it is concluded that the results of the analysis in this discussion can provide education to the<br />people of Indonesia.</p><p><br /><strong>Abstrak</strong><br />Logotype Sebagai Citra Grafis Dalam Konteks Identitas Visual Grup Band Major Label dan Indie Label. Sebuah logotype akan memaknai konteks dari identitas visual. Grup band Seringai menjadi salah satu contoh grup indie yang memiliki citra yang kuat lewat logotype sebagai identitas visual mereka. Kualitas logotype yang baik dan pantas adalah bagaimana menciptakan sebuah identitas yang tepat dalam pembentukan<br />karakteristik sebuah grup band. Penggunaan logotype sebagai identitas visual yang salah kaprah kerap terjadi di Indonesia dan industri musik sebagai fasilitator mundurnya sebuah identitas visual yang baik secara citra maupun secara artistik, khususnya untuk grup band yang dinaungi oleh major label. Data observasi yang dilakukan di lapangan<br />menunjukkan banyak hal yang kurang ideal seperti sering terjadinya peniruan tanpa kita sadari. Logotype yang baik lahir dari sebuah riset yang mendalam. Fakta dalam proses pembuatannya, peranan huruf secara emosionil harus dapat mengapresiasikan suasana dan rasa. Dengan menggunakan jenis penelitian kualitatif dengan pendekatan deskriptif disimpulkan hasil analisis dalam pembahasan ini dapat memberikan edukasi kepada masyarakat Indonesia.<br /><br /></p>

‘Not all socialists dress the same’: Menswear as cultural capital in China

2021 ◽  
Vol 8 (1-2) ◽  
pp. 185-203
Author(s):  
Anthony Lawrence Bednall
Keyword(s):  
Cultural Capital ◽  
Chinese Population ◽  
Early Years ◽  
Management Systems ◽  
Sustainable Practices ◽  
Republic Of China ◽  
Construction Methods ◽  
Visual Identity ◽  
International Image

Chinese sartorial style, like many cultures, has been defined, formalized and articulated to its population by hierarchical definition and visual association. Menswear styles have transitioned from strict Imperial codes, to westernized adoption, designed to shape a new modernism, as various leadership regimes imposed and defined dress codes to implement political and cultural structures. Sustainable practices were developed through the design and construction methods of Imperial garments and as a response to low resources, famine and inefficient management systems during the early years of the People’s Republic of China. This period was characterized by rationing for fabrics, recycling and the re-invention of existing garments. Through a contemporary lens, this can be viewed as an integrated sustainable approach to the mass clothing of a significantly sized population. However, intervening regimes including the post-Imperial Nationalist leadership and the post-Mao Communist leadership cultivated a new visual identity for the Chinese population as westernization became the prefix for modernization. This article aims to map the historical development of menswear as cultural capital in China, to contextualize sustainable practices in the production of garments and define how these practices were systematically and repeatedly rejected in favour of new consumerism. It also aims to historically define the role of menswear in China as a representation of the nation’s outward-facing international image and ambitions as a serious and contemporary player, within the global political and cultural community.

scholarly journals How different effectors and action effects modulate the formation of separate motor memories

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Raphael Schween ◽  
Lisa Langsdorf ◽  
Jordan A. Taylor ◽  
Mathias Hegele
Keyword(s):  
Control Experiment ◽  
Contextual Cues ◽  
Body Model ◽  
Visual Tool ◽  
Visuomotor Transformations ◽  
Sensorimotor Transformations ◽  
Visual Identity ◽  
Implicit Motor ◽  
Sensory Prediction

AbstractHumans can operate a variety of modern tools, which are often associated with different visuomotor transformations. Studies investigating this ability have shown that separate motor memories can be acquired implicitly when different sensorimotor transformations are associated with distinct (intended) postures or explicitly when abstract contextual cues are leveraged by aiming strategies. It still remains unclear how different transformations are remembered implicitly when postures are similar. We investigated whether features of planning to manipulate a visual tool, such as its visual identity or the environmental effect intended by its use (i.e. action effect) would enable implicit learning of opposing visuomotor rotations. Results show that neither contextual cue led to distinct implicit motor memories, but that cues only affected implicit adaptation indirectly through generalization around explicit strategies. In contrast, a control experiment where participants practiced opposing transformations with different hands did result in contextualized aftereffects differing between hands across generalization targets. It appears that different (intended) body states are necessary for separate aftereffects to emerge, suggesting that the role of sensory prediction error-based adaptation may be limited to the recalibration of a body model, whereas establishing separate tool models may proceed along a different route.

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