Most TV graphics prior to Doctor Who were static channel identities or simple animated (presentation screens) for certain programs. It wasn’t until the 1970’s that TV channels began to incorporate moving graphics as part of their brand identity albeit with rather simplified results. This all changed though with the arrival of a new channel in 1982 which brought with it to the forefront the designer Martin Lambie-Nairn. Martin Lambie-Nairn had already his years of experience with the BBC and LWT (London Weekend Television), however it was with his creation of Channel Four’s 3D animated logo that TV identities were to really take off and spark a real cause for experiment with movement and form as a means for branding on the box. Today, the graphic presentation of a channel as well as it’s content has become an increasingly fertile field for motion graphics with a wide range of innovative ideas.

http://www.thehigginsbedford.org.uk/exhibitions/past_exhibitions/abram_games_2009.aspx

The Shell Logo (1900-2014)

Over the last century, our lifestyles gradually became more complex. Conversely, the design of logos became simpler for ease and speed of recognition in a faster world. The evolution of the Shell Logo throughout the 20th century clearly demonstrates this effect. In fact, the art of logo design illustrates the design concept “Less is More” better than any other graphic form.

Logos, as we know them today, are intelligent graphic images that are carefully designed to impart their concepts, both consciously and sub-consciously, for immediate recognition by a specific target audience.

A logo (abbreviation of logotype,^[1] from Greek: λόγος logos “word” and τύπος typos “imprint”) is a graphic mark, emblem, or symbol commonly used by commercial enterprises, organizations and even individuals to aid and promote instant public recognition. Logos are either purely graphic (symbols/icons) or are composed of the name of the organization (a logotype or wordmark).

In the days of hot metal typesetting, a logotype was a uniquely set and arranged typeface or colophon. At the level of mass communication and in common usage a company’s logo is today often synonymous with itstrademark or brand.

History

Numerous inventions and techniques have contributed to the contemporary logo, including cylinder seals (c.2300 BCE), coins (c.600 BCE),^[3][4] trans-cultural diffusion of logo graphic languages, coats of arms,^[5] watermarks,^[6] silver hallmarks and the development of printing technology.

As the industrial revolution converted western societies from agrarian to industrial in the 18th and 19th centuries, photography and lithography contributed to the boom of an advertising industry that integrated typography and imagery together on the page.^[7]Simultaneously, typography itself was undergoing a revolution of form and expression that expanded beyond the modest, serif typefaces used in books, to bold, ornamental typefaces used on broadsheet posters.^[8]

The arts were expanding in purpose—from expression and decoration of an artistic, storytelling nature, to a differentiation of brands and products that the growing middle classes were consuming. Consultancies and trades-groups in the commercial arts were growing and organizing; by 1890 the US had 700 lithographic printing firms employing more than 8,000 people.^[9] Artistic credit tended to be assigned to the lithographic company, as opposed to the individual artists who usually performed less important jobs.

Innovators in the visual arts and lithographic process—such as French printing firm Rouchon in the 1840s, Joseph Morse of New York in the 1850s, Frederick Walker of England in the 1870s, and Jules Chéret of France in the 1870s—developed an illustrative style that went beyond tonal, representational art to figurative imagery with sections of bright, flat colors.^[9]Playful children’s books, authoritative newspapers, and conversational periodicals developed their own visual and editorial styles for unique, expanding audiences. As printing costs decreased, literacy rates increased, and visual styles changed, the Victorian decorative arts lead to an expansion of typographic styles and methods of representing businesses.^[10]

The Arts and Crafts Movement of late-19th century, partially in response to the excesses of Victorian typography, aimed to restore an honest sense of craftsmanship to the mass-produced goods of the era.^[11] A renewal of interest in craftsmanship and quality also provided the artists and companies with a greater interest in credit, leading to the creation of unique logos and marks.

By the 1950s, Modernism had shed its roots as an avant-garde artistic movement in Europe to become an international, commercialized movement with adherents in the United States and elsewhere. The visual simplicity and conceptual clarity that were the hallmarks of Modernism as an artistic movement formed a powerful toolset for a new generation of graphic designers whose logos embodied Ludwig Mies van der Rohe’s dictum, “Less is more.” Modernist-inspired logos proved successful in the era of mass visual communication ushered in by television, improvements in printing technology, and digital innovations.

Contemporary logos

The current era of logo design began in the 1870s^{[citation needed]} with the first abstract logo, the Bass red triangle. As of 2014 many corporations, products, brands, services, agencies and other entities use an ideogram (sign, icon) or an emblem (symbol) or a combination of sign and emblem as a logo. As a result, only a few of the thousands of ideograms in circulation are recognizable without a name. An effective logo may consist of both an ideogram and the company name (logotype) to emphasize the name over the graphic, and employ a unique design via the use of letters, colors, and additional graphic elements.

Ideograms and symbols may be more effective than written names (logotypes), especially for logos translated into many alphabets in increasingly globalized markets. For instance, a name written in Arabic script might have little resonance in most European markets. By contrast, ideograms keep the general proprietary nature of a product in both markets. In non-profit areas, the Red Cross (varied as the Red Crescent in Muslim countries and as the Red Star of David in Israel) exemplifies a well-known emblem that does not need an accompanying name. The red cross and red crescent are among the best-recognized symbols in the world. On their own, they signify protection of medical personnel in war-time and have a history dating back to 1863. They also signify the protection of victims in armed conflict and of those who try to help them. National Red Cross and Red Crescent Societies and their Federation as well as the International Committee of the Red Cross include these symbols in their logos.

Branding can aim to facilitate cross-language marketing.^{[citation needed]} Consumers and potential consumers can identify the Coca-Cola name written in different alphabets because of the standard color and “ribbon wave” design of its logo.

Logo design

Logo design is an important area of graphic design, and one of the most difficult to perfect. The logo (ideogram) is the image embodying an organization. Because logos are meant to represent companies’ brands or corporate identities and foster their immediate customer recognition, it is counterproductive to frequently redesign logos.

The logo design profession has substantially increased in numbers over the years since the rise of the Modernist movement in the United States in the 1950s.^[12] Three designers are widely^[13] considered the pioneers of that movement and of logo and corporate identity design: The first is Chermayeff & Geismar,^[14] which is the firm responsible for a large number of iconic logos, such as Chase Bank (1964), Mobil Oil (1965), PBS (1984), NBC(1986), National Geographic (2003) and others. Due to the simplicity and boldness of their designs, many of their earlier logos are still in use today. The firm recently designed logos for the Library of Congress and the fashion brand Armani Exchange. Another pioneer of corporate identity design is Paul Rand,^[15] who was one of the originators of the Swiss Style of graphic design. He designed many posters and corporate identities, including the famous logos for IBM, UPS, and ABC. The third pioneer of corporate identity design is Saul Bass.^[16] Bass was responsible for several recognizable logos in North America, including both the Bell Telephone logo (1969) and successor AT&T Corporation globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969), and United Way (1972). Later, he would produce logos for a number of Japanese companies as well. Charmayeff, Rand and Bass all died in 1996.

Logo color

Color is a key element in logo design and plays an important role in brand differentiation. The importance of color in this context is due to the mechanics of human visual perception wherein color and contrast play critical roles in visual detail detection. In addition, we tend to acquire various color connotations and color associations through social and cultural conditioning, and these play a role in how we decipher and evaluate logo color. While color is considered important to brand recognition and logo design, it shouldn’t conflict with logo functionality, and it needs to be remembered that color connotations and associations are not consistent across all social and cultural groups. For example, in the United States, red, white, and blue are often used in logos for companies that want to project patriotic feelings but other countries will have different sets of colors that evoke national pride. Similarly, diverse industry sectors tend to favour different color palettes: strong, saturated colors are favoured in the fast food industry and less saturated, more sombre colors in the banking and insurance sectors.

Choosing an organisation’s logo’s color is an important decision because of its long term implications and its role in creating differentiation among competitors’ logos. A methodology for identifying potential logo colors within an industry sector is color mapping, whereby existing logo colors are systematically identified, mapped and evaluated (O’Connor, 2011).^[17]

Logo design process

Designing a good logo may require involvement from the marketing team and the design agency (if the process isoutsourced), or graphic design contest platform (if it is crowdsourced). It requires a clear idea about the concept and values of the brand as well as understanding of the consumer or target group. Broad steps in the logo design process might be formulating the concept, doing an initial design, finalizing the logo concept, deciding the theme colors and format involved.

Dynamic logos

Nunc est bibendum (now is the time to drink), 1898 poster of theMichelin.

Coca-Cola logo

The MTV logo. It has been modified to include images within the black areas from time to time.

In 1898 the French tire manufacturer Michelin introduced theMichelin Man, a cartoon figure presented in many different contexts, such as eating, drinking and playing sports. By the early 21st century, large corporations such as MTV, Google,Morton Salt and Saks Fifth Avenue had adopted dynamic logos that change over time from setting to setting.^[18]

Internet-compatible logos

A company that use logotypes (wordmarks) may desire a logo that matches the firm’s Internet address. For short logotypes consisting of two or three characters, multiple companies are found to employ the same letters. A “CA” logo, for example, is used by the French Bank Credit Agricole, the Dutch Clothing Retailer C&A and the US Software Corporation CA Technologies, but only one can have the internet domain name CA.com.

In today’s digital interface adaptive world, a logo will be formatted and re-formatted from large monitors to small handheld devices. With the constant size change and re-formatting, logo designers are shifting to a more bold and simple approach, with heavy lines and shapes, and solid colors. This reduces the confusion when mingled with other logos in tight spaces and when scaled between media. Social networks like Twitter, Facebook, and LinkedIn are examples of companies using such logos.

Design protection

Logos and their design may be protected by copyright, via various intellectual property organisations worldwide which make available application procedures to register a design to give it protection at law. For example in the UK, the Intellectual Property Office (United Kingdom)^[19] govern registered designs, patents and trademarks. Ordinarily the trademark registration will not ‘make claim’ to colors used, meaning it is the visual design that will be protected, even if it is reproduced in a variety of other colors or backgrounds.

Sports

For many teams, a logo is an important way to recognize a team’s history and can intimidate opponents. For certain teams, the logo and color scheme are synonymous with the team’s players. For example, Chelsea, Manchester Utd, the Toronto Maple Leafs, Cleveland Indians, or New York Yankees all have a recognizable logo that can be identified by any fan of the respective sport.

The Virgin brand came into existence gradually, reflecting what I was fundamentally interested in. And to my own surprise, it wasn’t publishing magazines, as I’d originally thought; it wasn’t even music. My driving force, I realize now, was finding new ways to help people have a good time — ideally, in places where they were least expecting it. Like airports.

Contrary to appearances, Virgin is focused: Our customers and investors relate to us more as an idea or philosophy than as a company. We offer the Virgin experience, and make sure it is consistent across all sectors. It’s all about the brand.

If you are embarking on a new venture, how should you envision and develop your brand? Let’s start with what a brand does.

Brands exist as a means of communicating what to expect from a product or service.

The Virgin brand tells you that using this credit card is rather like using this airline, which, in turn, is rather like using this health club, staying in our hotels, and paying into this pension fund. It is a guarantee you’ll be treated well, get a high-quality product that won’t dent your bank balance, and get more fun out of your purchase than you expected.
Should you follow the Virgin formula and focus your new company on providing a certain customer experience? It really depends on the type of business you are in. We are in consumer-facing sectors where service is key. You need to assess what is core to yours.

When creating your first ads, designing a logo and reaching out to potential customers for the first time, you may be tempted to create a brand that’s very corporate and remote.

Too many companies want their brands to reflect some idealized, perfected image of themselves. As a consequence, their brands acquire no texture, no character and no public trust.
In contrast, Virgin wears its sense of humor on its sleeve. It’s about our wanting to be honest about the ups and downs of our business and share what we think with the people who matter most — our customers. The people who see our ads are the same people who read about our tussles, setbacks and mistakes. So why would we pretend the real world doesn’t affect us?

Almost everybody in Britain knows of our run-ins with British Airways over the years. We had a lot of fun when we introduced onboard massages on Virgin Atlantic, running an advertisement in the newspapers saying “British Airways doesn’t give a shiatsu!”

Whatever you and your team decide your new brand will stand for, deliver on that promise. That’s the only way you’ll ever control your brand.

And beware: brands always mean something. If you don’t define what the brand means, your competitors will. Apple’s ads contrasting a fit, happy, creative Mac with a fat, glum, nerdy PC tell you all you need to know about how that works.

So, what’s next?
For any business building a consumer brand, speaking to journalists is part of the deal. Be prepared! Know what you stand for and be certain you’re delivering it. Then you’ll be able to answer every question openly and frankly, building your relationships with your customers and the media.”

http://www.someoneinlondon.com/blog/richard-branson-on-branding

Logos with no relevant context risk alienating consumers and staff alike. Simon Manchipp thinks it’s far better to create a brand world

I know, I know – it’s an emotive subject, but increasingly I think we are flogging a dead horse when it comes to just creating yet another witty symbol for yet another company, product or service.

Yes, logos have been around for forever and, yes, I, too, like the story of hieroglyphics. Sure, the Nike swoosh has, through hundreds of millions of pounds of investment, established itself as an elegant shorthand for sportswear. But who has that kind of budget now? What company knows it is not going to be bought/sold/merged/bankrupt in three years? The truth is that logos are now a red herring. The ones that survive are the exception, not the rule.

Just so we are all clear, when I say logo, I mean the squiggles, animals, lines and swishy bits designers like to revel in. For example, take the MSN butterfly – really, exactly what is going on in the odd picture below?

Logos are a hangover from another time. They need to be shaken off, moved away from, de-focused. Here are four reasons why:

First, public desire. No member of the public thinks that spending £700,000 on a new logo is a good idea. In fact, they think companies that spend more than £500 on one are fools. Everyone thinks they are a designer now – after all, they have all chosen their curtains, their shoe colour, their haircut – and how hard can it be to design a logo, anyway? Companies are making people redundant, then coughing up for pricey doodles. It doesn’t make sense. Newspapers hate new logos – when was the last time you saw a broadsheet or tabloid sing the praises of a new logo? Logos are seen as a waste of money.

Second, public need. A million people have never marched in support of ’more branding’. Pubs used to rely on logos, on pictures to ensure the illiterate could find the right boozer. Illiteracy is not really a major factor now, and so the logo isn’t as necessary or as useful as it once was. New logos are not useful, they are confusing. Why does the Argos brand think that a ’smile’ added to its name will make it more relevant? The smile doesn’t help the public – the store isn’t better, and the goods are not cheaper because of it. Nothing has changed, yet Argos has a new logo. Why? What’s going on? Logos are just seen as decoration.

Third, commercial need. A new logo for any company scares its staff. They ask, ’What’s wrong? Why the change? New management? Is my job safe?’ It’s not good. Sure, brands and their branding exist where competition arises. They aim to create a monopoly, to eliminate their rivals. Yet brands need to connect with people – emotionally, culturally, economically and clearly. But a logo alone fails nearly every time, because it needs an explanation. I’m an MSN customer, not a lepidopterist, so why is a butterfly relevant to me? You’re a tour operator called Thomson, with a wink as a logo – a wink, as in ’We’re dodgy’? That can’t be good. So new logos confuse staff and their customers, too.

Fourth, new digital needs. Nothing but the simplest shapes work at the new, digitally prescribed sizes. Twibbons, favicons, mobile screens, PDAs – small screen-based branding is a nightmare for anything more complex than a heart or a cross. Digital is the new fax, the acid test of visual branding.

When you look at brands like O2, you’ll discover its success lies in the richness and depth of its ’brand world’, which features bubbles, colour, photography and typography. This forms a flexible branded platform that is instantly recognisable – you could remove the logo and still know the brand. The logo in itself is not the ’hero’ here. So while we acknowledge that the logo is not about to disappear – and that it is still an important part of any brand toolkit – there is a case for applying more emphasis on brand worlds (see box below).

Simon Manchipp is founder and creative director of Someone

New thinking

Word marks work – type it out, give it a colour and a good typeface. Perfect. Perfect because we are increasingly search-led consumers. Perfect because it works internationally – no matter what the multilingual barriers are, retailers will always accept Visa to pay for Sony products

Brand worlds are where the smart money is going – they add depth to the brand name. They are the Adidas stripes down the side of the shoe or the leg of the tracksuit, at the entrance to the store and on the endframe of the TV ad. They are the O2 bubbles rising from the press ad, the decor inside the stadium, the animation on the mobile phone

Brand worlds are coherent – they’re coherent (not just consistent) universal branding systems. They cannot be missed in the clutter of 20 million (and growing) cheap logos. They distinguish a product or service more completely, more deeply than any one-dimensional clip-art could ever hope to do. They are varied, rechargeable, developing tools for brands

(Introduction)

In this study I will explore why brands are moving and what the purpose behind this is wither or not this improves the brand and if people react more towards still or static images.

(Main Text)

Tv Asahi Corporation known as EX or Tele-Asa is a Japanese television network in 2003 they re-launched, they wanted their logo to ‘live and breathe’ Tomato ‘design studio’ was given this task. Giving the logo visual elements that react to sound and creating an ever changing logo. Their logo has been spread over different elements of Japan, such as physical and virtual spaces, from idents, outdoor and print. Motion has obviously allowed Tomato, to effectively solve this problem, in my opinion this worked so well because like the logo that now ‘lives and breathes’ it’s because of the movement of motion, that brings objects to life.

Do people react better to still or static images?

Evidence shows in W. J. Matthews, Clare Benjamin and Claire Osborne manuscript that ‘The results demonstrate superior recognition memory for both black and white and colour moving images relative to equivalent static images, an effect which is constant as retention interval increases from one week to one month.’

http://www.tomatostudio.us/tv-asahi/

MATTHEWS, W., BENJAMIN, C. and OSBORNE, C. (2014). Memory for moving and static images. (P.990).

Memory for moving and static images

Research report

TV Asahi’s current branding were created by UK design collective Tomato (some members work as the electronic music group Underworld) along with TV Asahi’s in-house design department in 2003. It comprises a set of computer-generated “sticks” in white background, which changes in colour and movement along with the background music that accompanies the idents. TV Asahi also uses a brief eyecatch of its sticks animation at the top-left of the screen after commercial breaks.

The background music used for TV Asahi’s sign-on and sign-off videos are Underworld’s Born Slippy .NUXX 2003 and Rez. TV Asahi later updated its sign-on and sign-off video in 2008 with a revised version of computer-generated “sticks” animation and new background music. TV Asahi’s slogan New Air, On Air appears at the top of its name. It can be seen on TV Asahi’s YouTube channel.

Normally, the station branding on-screen appears as either “/tv asahi” or “tv asahi\”. The station’s watermark appearance is the stick at the top with the station’s name at the bottom. The fonts used by TV Asahi for the written parts are Akzidenz Grotesk Bold (for the English part)， and ヒラギノ角ゴシック（W8） (for Japanese).

http://en.wikipedia.org/wiki/TV_Asahi

tv asahi generative logo animation 02

from joel baumann 2 years ago NOT YET RATED

tv asahi approached tomato(tomato.co.uk) to create a cross media identity for the relaunch and branding of the japanese terrestrial television channel.
The starting point was the invention of a trademarkable, unique and ownable identity.
Next, in the words of tv asahi, was to “make it live and breathe.”

The visual elements of the identity are generated by sound input. This animated graphic then generates the station’s aural signature, creating an on-screen identity that is never repeated.
Once this basis had been established the identity was rolled out across the network; on screen, in print and throughout the hq environment.

TV Asahi: Branding

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Cross media identity for the re-launch of Japanese channel TV Asahi. After creating the core branding, it was made to “live and breathe” by having the visual elements generate from live sound input at locations throughout Japan. This creates an ever changing aural signature broadcast 24 hours a day. The dynamic logo was then applied across a range of physical and virtual spaces, from idents, outdoor and print to signage, furniture and coffee cups. In doing so, the brand is always “alive” through a strategy of similarity and difference. The campaign was featured by the V&A as one of the 100 greatest works of British commercial art.