Corporate visual identity: exploring the dogma of consistency

Abstract

Purpose-The purpose of this research paper is to conceptually and empirically explore and challenge the dogma of CVI consistency. This is done to nuance the current polarized debate of consistency or no consistency. Design/methodology/approach-A qualitative research strategy is employed in this paper. Specifically, the empirical work rests on an interview study with strategists from 10 different CVI agencies. The interview transcripts are analyzed using template analysis. Findings-In terms of findings, both empirical and conceptual arguments for and against CVI consistency are presented. Many of these arguments rest on conflicting assumptions of CVI communication, CVI authenticity and CVI management, which all influence the debate of CVI consistency. Practical implications-CVI practitioners are presented with a more reflective approach to dealing with consistency and hands on examples for inspiration. Originality/value-This paper offers alternative and more nuanced conceptualizations of CVI consistency. This includes seeing consistency and inconsistency as ends of a spectrum to be balanced rather than mutually exclusive and by differentiating between consistency across platforms and consistency over time-coined CVI continuity. Furthermore, several future research areas that can help to further develop the field of CVI are suggested.

“It Broke My Heart When They Ripped the Old Logo Off the Wall”: Places, Uses and Meanings of the Rebranded Logo

“…From a marketing perspective, the question of continuity and consistency is particularly interesting, as consistency of visual elements is usually taken for granted (Gregersen and Johansen 2018;van den Bosch et al 2006). From this perspective there seems to be a contradiction between the needs of internal and external stakeholders, and organizations will need to consider a tradeoff between temporal continuity and spatial consistency.…”

“…An artifact has instrumentality, esthetics, and symbolism, of which the esthetic (e.g., Bresciani and Del Ponte 2017;Doyle and Bottomley 2006;Henderson and Cote 1998) and symbolic (e. g. Erjansola et al 2021;Park et al 2013;van Riel and van den Ban 2001) dimensions of logos are well established. From an instrumental perspective, the purpose of the logo is to create distinctiveness between organizations (Foroudi et al 2017) and-as a source of identity-unity within the organization (Gregersen and Johansen 2018). For the organization, the logo's purpose is to separate us from them, i.e., to function as an identity marker that is physically present at the workplace.…”

Basketball shooting technology based on acceleration sensor fusion motion capture technology

“…The background difference method is suitable for use when the camera is in a stationary installation, and has the characteristics of accurate detection, simple algorithm, and easy implementation [8]. In this way, through further processing, you can fully extract important data quickly and accurately extract the motion characteristics of the moving target [9].…”

Valoración de la eficacia del diseño de marca de las ONG españolas = Assessment of the effectiveness of the Spanish NGOs brand design

“…De todos los elementos que componen la identidad corporativa, tanto tangibles como intangibles (Schlesinger Díaz y Cervera Taulet, 2008), este trabajo se centra en la marca o logotipo corporativo, que supone un activo tangible de gran importancia en toda organización (Ewing, 2006;Foroudi et al, 2017). Henderson y Cote (1998) lo definen como el diseño gráfico que la empresa utiliza, con o sin su nombre, para identificarse a sí misma o a sus productos; puede ser tanto de naturaleza gráfica como tipográfica (de Smet, 2012) y está constituido por tres elementos: símbolo (el signo gráfico), logotipo (el signo lingüístico) y color (el signo cromático) (Henderson y Cote, 1998;Kohli, Suri y Thakor, 2002;Melewar y Jenkins, 2002;Hynes, 2009;Foroudi et al, 2017;Gregersen y Johansen, 2018).…”