How Visual Brand Identity Shapes Consumer Response

Abstract

Most brands are represented visually in print advertisements, and these visual representations must consistently identify the brand to the consumers who encounter it. At the same time, some of the particular visual elements used to represent the brand must change over time, because it is not acceptable to run the same ad year after year without refreshing its visual content. To explore these issues, a qualitative exploration was conducted with ad agency art directors and ordinary consumers. The focus was the criteria used by each group to determine when changes in the visual representation of the brand succeed, by staying consistent with the brand's identity, or fail, by violating expectations. Professionals, with their greater aesthetic sensitivity, had a more narrow latitude of acceptance for changes. A follow‐up experiment with consumers showed that aesthetically aware consumers were likewise more sensitive to alterations in visual brand identity than consumers for whom aesthetics were not central. Results are interpreted in terms of assimilation effects and degree of incongruity along with the moderating effect of aesthetic skill.

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

“…The article draws on theories and concepts of identity-based strategic brand management (Balmer 2008, Burmann et al 2009, Meffert 2012, Phillips et al 2014b, Voyer et al 2017). This body of knowledge enables a differentiation to be made between a managerially-intended brand identity (inside view) and the specific brand image (outside view), which reflects all stakeholders' impressions of a brand (Radtke 2013: 2).…”

“…CONCEPTUAL FRAMEWORK: THE BRAND IMAGE FLOWER Based on the identity-based brand conception (Balmer 2008, Burmann et al 2009, Phillips et al 2014b, Voyer et al 2017) and how a brand image can be conceptualised within a semantic network (Keller 1993 and, we are introducing the model of the brand image flower which we specifically developed for live-operas (Roll et al 2017). From this theoretical framework, the brand image can be conceptualised as an image and meaning of the brand, relating to five elements of the product/service.…”

The influence of thematic product displays on consumers: An elaboration‐based account

“…Previous research generally focuses on the effect of environmental elements (e.g., background music) or characteristics (e.g., visual complexity) on product evaluation, ignoring the interplay between the focal product and the environment as a possible source of influence (Mari & Poggesi, ; Turley & Milliman, ). One line of consumer behavior research shows that consumers feel cognitive pleasure and evaluate a product more favorably when the product is displayed in a thematically congruent context than in a thematically unrelated context (Fiore, Yah, & Yoh, ; Lee & Labroo, ; Phillips, McQuarrie, & Griffin, ; Shapiro, ). Researchers generally explain this effect by a mechanism of attributing a positive feeling of conceptual fluency to the focal product under evaluation and associating the feeling with the product (Lee, ; Schwarz & Clore, ).…”

An Exploration on the Process of Brand Identity Building in the Context of Malaysian Cafe

“…The concept of brand identity has been researched in some depth (Christmann, Alexander & Wood, 2015;De Chernatony, 1999;Keller, 2001;Lawrence & Kaufmann, 2015;Lory & McCalman, 2002;Nandan, 2005;Phillips, McQuarrie & Griffin, 2014). This multidisciplinary domain has led to a variety of descriptions and conceptual frameworks that reflect this E-ISSN: 2289-1528 https://doi.org/10.17576/JKMJC-2018-3402-07 relevant concept.…”