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ИСКУССТВОВЕДЕНИЕ
THE MAIN DESIGN CHARACTERISTICS OF LOGO OF IRAQI MEDIA: EVALUATION AND ANALYSIS Al-Nasser Yaseen Wami Nasser Email: [email protected]
Al-Nasser Yaseen Wami Nasser — Post Graduate Student, DEPARTMENT OF ART AND DESIGN, LIMKOKWING UNIVERSITY, BASRA, IRAQ
Abstract: this study is the first investigation that concerns the logo design of Iraqi media and its graphical structure. This study aimed to check whether the logos of Iraqi media possess the universal logo design characteristics and to investigate the consumer acceptance and responses toward these logo designs. Method of research made on the basis that a total of 20 Iraqi logos were selected and rated based on the presence of the universal design characteristics and on the other hand, a survey of undergraduate students was conducted to investigate the logo design responses which include affect, meaning, and subjective familiarity. The result of this study confirmed that the Iraqi logos possess the universal logo design characteristics. In addition, moderately high level of elaborate, harmony, repetition, parallel, and proportion with less natural design was more preferred and appreciated by the Iraqi consumers.
Keywords: logo, design, characteristics, responses, elaborateness, naturalness, harmony, affect, meaning, and familiarity.
ГЛАВНЫЕ КОНСТРУКТИВНЫЕ ХАРАКТЕРИСТИКИ ЛОГОТИПА ИРАКСКИХ СМИ: ОЦЕНКА И АНАЛИЗ Аль-Насер Ясин Вами Насер
Аль-Насер Ясин Вами Насер — аспирант, кафедра искусства и дизайна, Лимкоквинский университет, г. Басра, Ирак
Аннотация: это исследование является переъм исследованием, которое касается дизайна логотипа иракских СММИ и его графической структуры. Цель этого исследования состояла в том, чтобы проверить, обладают ли логотипы иракских средств массовой информации универсальными характеристиками эмблемы и исследовать потребительское восприятие и реакцию на эти эмблемы.
В общей сложности 20 иракских логотипов быти отобраны и оценены на основе присутствия универсальных конструктивных характеристик, включая три проектных параметра (сложность, естественность и гармония) и три элемента (повторение, пропорция и параллельность), 10 графическими экспертами по дизайну. С другой стороны, быт проведен опрос студентов бакалавриата для изучения ответов на дизайн логотипа, которые включают в себя аффект, значение и субъективное знакомство. Результат этого исследования подтвердил, что иракские логотипы обладают универсальными характеристиками дизайна логотипа. Кроме того, более высокий уровень продуманности, гармонии, повторения, параллельности и пропорции с менее естественным дизайном быт более предпочтительным и ценился иракскими потребителями.
Ключевые слова: логотип, дизайн, характеристики, ответы, сложность, естественность, гармония, аффект, значение и знакомство.
УДК 371.32
INTRODUCTION
Nowadays, within the world of mass contemporary media, the recent huge numbers of companies, trademark, products, journals and telecommunication channels resulted in opening the competition among these companies to attract people's attention as a part of marketing management. Therefore, logo designs in all its forms became the language of the marketing diversity to communicate with the audience directly or indirectly since it affect even more than audio or printed media. Logo is a graphical element in the form of emblem, icon, ideogram, symbol or sign that as a group form a
trademark designed for recognition. The term logo refers to graphic design that any company uses, to represent and recognize itself or its products with or without the use of the full company name [4, 25, 18]. At present, logos have become a vital element in the strategies of delivering messages and attracting people's attention in order to standout in this challenging crowd [13, 26, 20].
Logo became the most common and widespread advertising elements. Moreover, any product (material or cognitive, aesthetic, functional, cultural or commercial) should have an expressive signal, a mark or a specific name strongly linked with special specifications which refer to the point of production [26, 4, 12]. Logos usually consist of mixed text and graphic part, and it acts as a unique, perceptually significant trademark that can be recognized rapidly by the users [27]. Moreover, brands have regularly been defined by the signs that represent them such as Nike swooshes, and McDonald's golden arches etc. [1, 6].
Many researchers have studied the logo design dimensions and elements such as [10, 11, 24, 8, 3, 1]. Henderson & Cote established few guidelines for designing a logo focusing on the importance of these design dimensions. They suggested that elaborateness, naturalness, and harmony are universal design dimensions and that a global logo strategy can be implemented. The discovery of these universal logo design dimensions showed important implications for the design research, suggesting that focusing on a low number of design dimensions would make the design research more manageable and reliable [24 ]. Thus, the logos should be designed and selected based on the suggested guidelines of logo design and on graphical design theories with emphasis to the related marketing objectives [16, 10, 24, 17, 9, 15]. However, in this huge means of communication tools, TV channels, newspapers and internet sites, some logos have caused an optical and conceptual confusion because most of them they do not follow any guidelines or aesthetic concept in achieving their goal [16]. Moreover, most of these logos were either designed by unprofessional designers, or the designer had to include some unrelated points to the design which were requested by his client. There are no reports or any publications about the Iraqi logo designs nor its characteristics, in general, or specifically the logo of Iraqi media. Therefore, this research aims to evaluate and analyze the logos of media in Iraq by assessing its graphical structures and investigating if these logos are constructed according to the universal logo design characteristics. In addition, the consumer responses toward these logo designs were investigates as well.
CONCEPTUAL FRAMEWORK
In this study, the proposed conceptual framework has been made to evaluate the selected logo designs of Iraqi media. However, this framework was adopted from previous work of [24] with slight modification in order to be fitted to the sample of this research and to be suitable for the sample type. The adopted framework was employed to evaluate the selected logo designs of Iraqi media, and to investigate whether these logos possess the universal design characteristics. This framework also suggests that Iraqi consumers appreciate logo designs through three design dimensions and three design elements. The design dimension consists of a few elements, while an element represents a single characteristic. The design dimensions are elaborateness which consist of three subjective elements (complexity, activeness, depth), naturalness consists of (representativeness, organicity, roundness), and harmony consists of (symmetry and Balance). The three objective design elements include: repetition, proportion and parallelism. In addition, the conceptual framework frames the research variables, where the logo design characteristics represent the independent variables, while the dependent variables are the logo design respondents' responses which include; affect, meaning, and familiarity (Figure 1).
Fig. 1. Diagram shows the conceptual framework of the study
METHODOLOGY
In this study, a quantitative method will be used using a survey questionnaire as a research instrument to collect the data. Since the conceptual framework was adopted from Van der lans et al, (2009), so all the questions of the questionnaire and the rating or scoring of the responses were based on the study of Van der lans et al, (2009). Two questionnaires were made in order to achieve the goals of this study through the responses of the respondents. The first questionnaire was giving to 10 graphic design experts to evaluate the logo design characteristics, while the second questionnaire was giving to the undergraduate students of three colleges of Art to evaluate the logo design responses. The purpose of choosing those groups is because they can truly understand the concept of the design and the principles of the logo design. Moreover, this study mostly focuses on the logo designs that are used in the Iraqi media. Thus, about 20 logos were chosen from the Iraqi media to be rated based on the logos' characteristics and logo design element that exist in these logos.
The Ratings of Logo Design characteristics
In this study, 10 professional graphical designers were chosen to evaluate the logo design characteristics that each logo possesses. Before evaluating and rating the 20 logos, each graphic designer received a short description of each characteristic attached with the questionnaire and adopted from Van der Lan, et al. [24], in addition to a verbal explanation. The designers had to evaluate each logo design using eleven questions, each question represent one element using five point likert scales (1-Very low, 5-Very high). In addition, respondents will have to answer several demographic questions about their affiliation, gender and age.
The Responses to Logo Design
A total of 74 copies of questionnaires were distributed for data collection purpose. As such, 24 copies were distributed to 4-year students of Baghdad College of Applied Art, 24 copies to 4-year students of College of Fine Art and 26 copies to 4-year students of Basra College of Fine Art. The students' questionnaire was conducted based on a study of Van der Lans, et al. [24], to rate the logo design responses. In this questionnaire, five point likert scales have been used to assess the students' preferences for the selected logo designs from Iraq media. Each logo design is placed on one page and
below each logo, 12 questions are tabulated with its rank (1-strongly disagree, 5- strongly agree). All the respondents are given a short period of time upon receiving the questionnaire in order to be able to answer the questions where it is expected that the questionnaire will be returned once it is completed.
Data Analysis
In this study, two statistical softwares were used; the first is Smart Partial Least Squares (SmartPLS) version 2.0 while the second is IBM SPSS Statistics software version 20. The IBM SPSS Statistics have been used to generate the respondents' demographics summary. The SmartPLS were used to determine the relationships between the key variables of the theoretical framework in this study.
RESULTS AND FINDINGS
This study has focused on the logo designs of the Iraqi media and the perception of these logos by the consumers. In total, this study has used 20 different logos used by different Iraqi media such as TV channels, on line newspaper, magazine, newspaper and radio station. Both questionnaires have used these 20 logos. The independent variables and the dependent variables are checked against these 20 logos. Figure 2 shows the selected 20 logos that were used in this study (Table 1).
Table 1. The selected 20 logos of Iraqi media
¿Lnüljfi^ ALRAQIYA TV CHANNEL SAWA RADIO
\--0iall > ■ ■! ALHURRATV ALHURRA TV CHANNEL _1 AL- SABAI1 1 I ALSABAH NEWSPAPER
□ ALBAGHDADIYA TV CHANNEL m ALMADA NEWSPAPER
ALSHARQIYA TV CHANNEL ¡¡¡¡I TARIQ ALSHAAB NEWSPAPER
ARRASHEED TV CHANNEL © ALIF BA MAGAZINE
m ALFAYHA TV CHANNEL IRAQI V? NEWS IRAQI NEWS ONLINE NEWSPAPER
m ALFURAT TV CHANNEL m ALMAWQIF ALIRAQI ONLINE NEWSPAPER
A SAMARRA TV CHANNEL m BAGHDAD TIMES ONLINE NEWSPAPER
ISHTAR TV CHANNEL CULTURAL AFFAIRS HOUSE
n RUDAW TV CHANNEL m RUYA FOUNDATION FOR CONTEMPORARY CULTURE IN IRAQ
Logo Design Characteristics Result (Analysis of the Expert's Questionnaire)
The first part of the analysis for the expert's questionnaire looks into the average scores based on the survey feedback for each of the given factors. Thus, there are 11 different criteria based on which the experts judge the designs and check whether it possess the universal design characteristics that were proposed by Van der Lans, et al., (2009) [24]. This was achieved by the means of the average or the mean score of the 10 respondents or the 10 experts. This study looks into the average scores across
the independent variables for each logo. Hence, here we have synthesized the different factors into the independent variables to which they belong. For elaborateness, logo 20 (Ruya Foundation) has the highest average score of 3.87. Thus, logo 20 captures the highest essence and the concept of design richness and the ability to capture the essence of an object. However, there are other variables with scores that are close to this as well. Hence, there is not much gap between the top and the other logos in terms of the average scores. For naturalness, logo 6 (Alfayha TV Channel) has the highest average score of 3.3. Thus, logo 6 best depicts commonly experienced objects and is the most relatable. For harmony, logo 9 (Ishtar TV) has the highest average score of 4.7. Thus, logo 9 has the highest congruent pattern or arrangement of parts that combines the elements of symmetry and balance. However, it has been found that there are a few other variables with scores which are close to this as well. For repetition, logo 9 (Ishtar TV Channel) has the highest score of 4.7. Thus, logo 9 has the highest iterative use of the design parts. For parallel, logo 13 (Almada Newspaper) has the highest score of 3.8. Thus, logo 13 has the best multiple lines which appear parallel to each other. For proportion, logo 20 (Ruya Foundation) had the highest score of 4.9. Thus, logo 20 has the best relationship between the horizontal and the vertical dimensions. Thus, in terms of the number of highest scores for the 6 independent variables, logo 9 (Ishtar TV) and logo 20 (Ruya Foundation) have the highest scores for 2 different factors each. Logo 9 had the highest scores for harmony and repetition whereas logo 20 has the highest scores for elaborateness and proportion as shown in table 1.
For the next part of the analysis, this study looks into the overall average scores for each independent variable across all factors. In this way, we can see the average scores of all the designs and rate the independent variables with the highest scores. Thus, we get an idea of the independent variables which are having the highest scores and are important for the different logos and the overall analysis. Table 2 provides overall scores for all the different independent variables. The result reveals that repetition has the highest score of 3.26 across all the logos and thus this independent variable best describes the design among all the other independent variables. This variable is followed by Elaborateness which has a value of 3.09 making it the other most important variable in all designs. This was closely followed by proportion with a value of 3.05 making it the third most important variable in these designs. The bottom three is naturalness, harmony and parallel with values of 2.34, 2.75 and 2.95 respectively. However, repetition is the most important variable describing the different logos which have been used for this analysis (Table 2).
Table 2. Overall Average Scores across All Independent Variables
Independent Variable Average Scores
Elaborateness 3.09
Naturalness 2.34
Harmony 2.95
Repetition 3.26
Parallel 2.75
Proportion 3.05
For the next part of the analysis, this study looks into the overall average scores for each logo across all factors. In this way, we can see the top designs as per the average scores across all factors as shown in table 3. This result highlights three logos which have scored really high on all the different factors or characteristics. Logo 20 (Ruya Foundation) had the highest score of 3.85 and hence this design has scored high in terms of its various characteristics. The second best score was for logo 9 (Ishtar TV) which had a score of 3.62 across all the factors. The third high score was logo 6 (Alfayha TV Channel) which had a score of 3.55 across all the factors. Hence, these three designs have scored the highest and can be considered to be having the highest number of characteristics when comparing with the prevalent designs.
The result highlights the three logos which have scored really high on all the different questions or parameters based on the students responses. Logo 20 (RUYA FOUNDATION) had the highest score of 3.9 and hence this design was the best design as per the student scoring. This was followed by 2 logos, as both logos scored the second highest score of 3.8 across all the questions, these logos are logo 3 (ALbaghdadiya TV Chanel) and logo 13 (ALMADA Newspaper). The third best design was logo 11 (SAWA RADIO) which had a score of 3.6 across all the questions. Hence, these three designs
could be considered to be the best three designs as per the respondents' responses to this study as they have the highest average scores across all the given questions (Table 3).
Table 3. Basic descriptive statistic measures position for total rating
Participants Total Sum Median Standard Deviation Skewness
Logo 1 71 29.7 2.5 0.5 1.9
Logo 2 71 42.2 3.5 0.6 -1.0
Logo 3 71 45.6 4.1 0.9 -1.8
Logo 4 71 38.2 3.2 0.3 0.2
Logo 5 71 32.5 2.5 0.5 0.4
Logo 6 71 32.2 2.4 0.7 1.2
Logo 7 71 27.9 2.3 0.4 1.1
Logo 8 71 37.2 2.9 0.6 1.3
Logo 9 71 40.0 3.5 0.5 -0.4
Logo 10 71 32.3 2.7 0.5 0.4
Logo 11 71 43.6 3.8 0.5 -1.0
Logo 12 71 33.6 2.8 0.4 0.8
Logo 13 71 45.7 4.1 0.6 -1.1
Logo 14 71 30.8 2.2 0.8 1.2
Logo 15 71 29.7 2.5 0.4 0.7
Logo 16 71 41.0 3.4 0.5 -0.3
Logo 17 71 33.3 2.6 0.4 1.0
Logo 18 71 29.6 2.0 0.9 1.3
Logo 19 71 28.3 2.0 0.9 1.6
Logo 20 71 46.4 4.2 0.7 -1.3
Also, the basic descriptive statistics on the total score of each logo questionnaire are shown in Table 4.19 for each logo individually. The result of the descriptive statistics showed that logo 20 is the best logo design as it seems to stand out from the rest with a mean of 46.4. This was followed by logos 13, logo 3 and logo 11 with a mean value of 45.7, 45.6 and 43.6 respectively (Table 3). This result showed that logo 13 has a higher acceptance than logo 3 with slight differences. The result showed that the top designs that having the highest average across all the 12 questions are shown in (Table 4).
Table 4. Top logo designs
m
Logo 20 Ruya Foundation Logo 13 Almada Newspaper
RADIO sawa
Logo 3 Albaghdadiya V Channel Logo 11 Sawa Radio
The construct validity that has been tested with the respective loadings or the factor loadings are presented in the table 9 after running the SmartPLS. Thornton et al.[23]. suggested that convergent validity is acceptable if factor loadings were above 0.5. It can be seen that all the values are above 0.5, and thus it can be said that the factors are valid and the constructs can be used. In this study, the significance of each and every relationship was checked. In the following table 10, the path coefficients and the relationship testing for the independent as well as the dependent variable are presented.
DISCUSSION
The effect of logo design characteristics is considered as a vital strategy to improve the success of branding. Many researches have been done to evaluate the effects of logo design characteristics on consumer [24, 10]. However, in Iraq, no similar studies were found as there was a lack of research related to logos studies and particularly the logos of Iraqi media. Thus, this study is the first study to extend our understanding of the graphical element of the Iraqi media logo.
In this study, all the experts agreed and felt that all designs do possess the universal characteristics of logo design. All the designs were having the graphical elements of the logo design, however, the presence of these elements and dimensions varied from one design to another. The findings of this study indicate that Iraqi designers like to have lots of repeated shapes in their designs. Also, the Iraqi designs tend to be more elaborated that captures the highest essence to show the concept of design richness and the ability to capture the essence of an object. Moreover, the result indicated that the design characteristics are captured by top three fundamental design dimensions which are repetition elaborateness and proportion. The finding from previous studies showed that international design characteristics are captured by three design dimensions such as elaborate, harmony, and natural despite the other important features of logos [10, 11, 24].
The reason behind this slight difference might be due to the effect of culture, or designers' background. It has been suggested that cultural backgrounds and differences have great influence on logo characteristics, evaluations, preferences and perception [19, 14, 21].
On the other hand, Kim, et al., 2013 found that proportion is universal in its appeal and that the cultural of a society is a key value that has to be considered when designing any logo. In addition, the result showed each logo has few characteristic that scored the highest or were more dominant than other elements. Logo 20 (Ruya Foundation), logo 13 (Almada Newspaper), logo 3 (Albaghdadya TV channel) scored the highest overall average among all the logos. In addition, logo 20, logo 9 and logo 8, 15 and 13 had the highest scores for few different factors each. Logo 9 had the highest scores for elaborateness, harmony, repetition, parallel, proportion, while 8 and 6 had the highest scores for harmony, repetition, parallel, proportion, whereas logo 9 had the highest scores for harmony, repetition, proportion, and logo 15 and 13 had the highest scores for repetition, parallel, and proportion.
The result of this study has shown that the highest subjective familiarity was given for logo 16 (Iraqi News Online Newspaper) followed by logo 20 (Ruya Foundation). The result of the experts has shown that logo design 16 and logo 13 have a moderate level of elaborateness, naturalness, with moderately high level of repletion and proportion. Thus, these findings indicate subjective familiarity has a nonlinear relationship with design elaborateness with a slightly curved shaped relationship (moderately low or moderately high elaborateness designs are highly familiar than low or high elaborateness designs). On the other hand, the result showed naturalness also has a positively curved shape relationship with subjective familiarity (moderately natural design was highly familiar). While the less harmonious design were found to have higher subjective familiarity.
The result of this study indicated that elaborateness and repetition have a significant curve shape relationship with meaning as a moderately high level of elaborateness or repetition showed more meaningful logo than low or high level. As for naturalness, moderately low level of naturalness produces more meaningful logo. Thus, this result was in line with previous work from Henderson and Cote, 1998; Shinar et al., 2003; Van der lans, et al., 2009, where they have found that design characteristics have a positive relationship with the meaning of logo.
CONCLUSION
It can be concluded that all the Iraqi logo designs have the universal logo design characteristics (elaborate, harmony, naturalness, repetition, parallel and proportion) where all were leaning towards moderate level with slightly low or high, and the most important characteristics that appeared higher than other were repetition, elaborateness, and proportion. This indicates that these variables are mostly used in the design of Iraqi logo. Moreover, designs with a moderately high to a high level of design characteristics such as elaborate, harmony, repetition, parallel, and proportion play the most important roles in logo acceptances from the perception of the Iraqi consumers. It has been found that harmonious elaborate design that includes lots of proportional repeated elements is more attractive by the eyes of the Iraqi respondents and it makes the design looks more familiar, as opposite to low affect designs which were rated as a common design, not interesting and having low quality that was not preferred by the Iraqi population, these designs have been shown very low levels of design characteristics. In addition, elaborateness plays an important role in showing the meaning of the logo as the higher the elaborateness the higher the meaning of the logo. Thus, it can be concluded that design characteristics strongly impact the design responses.
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