Showing posts with label brands logos. Show all posts
Showing posts with label brands logos. Show all posts
Apr 28, 2014
Create New Brand
INTRODUCTION
According to ewebbers studio vision, we astounding the target audience of our client with our creative ideas employing a mix of colors through cutting edge technologies. We presenting this small presentation for quick points on our simple process to create new business brand to achieve business targeted value which is reputation from our clients because they are our partners.BUSINESS NEW IDEA
Every day you have an idea that accuse your mind and thinking about it hardly every time, Finally, you got its initial thoughts and want to present and sale to your audience in very clever, simple, artistic and remarkable way. NEXT STEP: SELECT YOUR BUSINESS NAMEBUSINESS NAME
Its not easy job to mix up your mission and vision for your new brilliant idea into one or two words. You have to summarize all your thoughts, dreams and plans into few words to get your newborn attracting your audience as new entity name in the market, The Ideas Palette submitting complete ideas for business name with full description and illustrations. NEXT STEP: LOGO AND SLOGANLOGO AND SLOGAN
The Ideas Palette identifies your business in its simplest form via the use of a mark or icon mixed up with selective colors. NEXT STEP: CORPORATE IDENTITYCORPORATE IDENTITY
To make your brand perceive its emotional corporate image as a whole, The Ideas Palette creates visual aspects that form part of the overall brand guidelines through creative and unique stationeries and printing staff that will help you to start communication with your audience in the market. To be consistent and keeping every thing according to your brand instructions, we creating corporate identity guidelines that will help and support your business to keep brand image unique, harmonious and congruous in the market.- THE IDEAS PALETTE
- CONTACT US:
- WWW.EWEBBERSSTUDIO.COM
- INFO@EWEBBERSSTUDIO.COM
- BY: AHMED ABDELHAMEED
Feb 15, 2011
What is the relationship between corporate branding and corporate identity?
John M T Balmer(2002): Corporate Brands: Ten Years On – What’s New?
“Corporate identity provides the grit around which the pearl of a corporate brand is formed.” Balmer
(2001a)
The author argues that there is in many, but not in all, instances, an inextricable link between corporate
identity and corporate branding as evinced by the above quote. However, whilst both constructs can
be important to organisations, there is a tendency to see corporate identity as analogous to corporate
branding. This is wrong. As it is also erroneous to equate visual identity with corporate identity. To
identity scholars this is all very curious since the centrality of identity in comprehending
organisations is a hypothesis which has, for the last fifteen years been propounded by identity
consultants and consultancies. The rise of interest in the corporate branding construct, invariably been
accompanied by ambivalence, and, more often than not, by amnesia in relation to the identity construct.
This is particularly the case with corporate branding, aka corporate identity/graphic design consultancies.
The author, for his part, is clear that there are however key differences beetween the corporate
identity and corporate brands constructs.
One, key, difference is that corporate brands tend to encompass “ethereal” elements which are not
so prominent in the identity mix. (Balmer 2001, Birkigt and Stadler 1986) Thus, whilst corporate
identity is concerned with the question:
“What are we?”/”What we do?” and its sister concept “organisational identity” is concerned with “Who are we?”/How we behave?”
A corporate brand whilst it may be concerned with the above but may be seen to embrace
issues associated with the question:
“What do we profess?”
As such, a corporate brand may be compared to an icon, but an icon in the sense of the Eastern
Christian tradition which functions at two levels.
The first level is that of representation or as a signifier. In this case an icon (visual, verbal, oral
etc) helps to identify the corporate brand. Here there is a clear link with visual identity and its
role as an identifier. A good deal has been written about this viz.,Van Riel et al (2001).
At the second level the icons act as windows to a belief system which represent the belief systems as
encapsulated in the corporate branding covenant (the latter may be implicit or explicit). Thus, we
enter a world of faith. Something which is potentially powerful but also, for the scholar and
researcher, problematic. This might help explain why loyalty to a corporate brands as religious
overtones and explains its power. In the Orthodox tradition the creators of icons are seen to have a
distinct ministry within the church. Some have implied that in the corporate world creators of
corporate brands are also seen as a type of priesthood. There are certainly iconoclasts in the
corporate sphere.
Klein’s book “No Logo” is one example of the above. Others can be found in the letter pages of
the broadsheet newspapers such as The Financial Times. Jones (2001) provides an example of this.
The latter questions whether it was sound business practice to project an business as a way
of life (as a corporate brand). He remarked, “Branding is, in essence, the propagation of
ideology and history is littered with catastrophes stemming from practitioners being taken in by
their own ideology.”
The issues raised by corporate branding iconoclasts are worthy of reflection but fall
outside the scope of this short article. In articulating the differences between corporate
identity and corporate branding the reader is directed to Exhibit Five compares the characteristics of both constructs Exhbit Five
(a) compares the corporate identity mix with the corporate branding mix whilst Exhibit Five
(b) compares the corporate identity management mix with the corporate branding management mix.
Consider Coca-Cola. It is both a corporate and a product brand. As McQueen (2001) observes, the company has virtually one product. A product that nobody actually needs. In its sugar laden form, it is plainly bad. The Coca-Cola corporate brand is entirely dependent on marketing. The company’s logo is the most familiar in the world.
It is not so much the product but the values/system of beliefs which are attached to the brand that matter. As such, the Coca-Cola brand does not only symbolise a brown, sweet and refreshing drink but, moreover, has strong
cultural overtones pertaining to the American way of life/Americanisation. In contrast, the identity of the company owes more to the company’s confederate roots rather than to the USA per se. Its headquarters are in Atlanta, Georgia, and its first advertisements featured southern belles sipping Coca-Cola.
The use of corporate branding is, of course far from new. Jeremy (1998) noted the importance that UK railway companies placed on branding in the 1830s. There was widespread use of coats-ofarms
which not only served to distinguish one company from another but also stood for a quality of service which staff aspired to uphold and customers to expect. Corporate brands also helped to create barriers to entry and helped preserve first-mover competitive advantage.
However, in order for corporate brands to thrive the brand’s profession of faith had to be delivered
- in other words underpinned by the identity.
Sheffield’s cutlery manufacturers were a case in point. They failed to suppport their corporate brands from American and German imitators who not only copied the cutlery manufacturer’s goods but also, quite telling, their trade marks and, more importantly, the collective Sheffield brand name.
(Sheffield was synonymous with bespoke and fine cutlery ware). At the same time they embraced
mass production which, whilst led to lower quality, also resulted in lower risk. As such, there was confusion as to what the Sheffield mark stood for; confusion as to the branding covenant and, this led to a loss of faith.
“Corporate identity provides the grit around which the pearl of a corporate brand is formed.” Balmer
(2001a)
The author argues that there is in many, but not in all, instances, an inextricable link between corporate
identity and corporate branding as evinced by the above quote. However, whilst both constructs can
be important to organisations, there is a tendency to see corporate identity as analogous to corporate
branding. This is wrong. As it is also erroneous to equate visual identity with corporate identity. To
identity scholars this is all very curious since the centrality of identity in comprehending
organisations is a hypothesis which has, for the last fifteen years been propounded by identity
consultants and consultancies. The rise of interest in the corporate branding construct, invariably been
accompanied by ambivalence, and, more often than not, by amnesia in relation to the identity construct.
This is particularly the case with corporate branding, aka corporate identity/graphic design consultancies.
The author, for his part, is clear that there are however key differences beetween the corporate
identity and corporate brands constructs.
One, key, difference is that corporate brands tend to encompass “ethereal” elements which are not
so prominent in the identity mix. (Balmer 2001, Birkigt and Stadler 1986) Thus, whilst corporate
identity is concerned with the question:
“What are we?”/”What we do?” and its sister concept “organisational identity” is concerned with “Who are we?”/How we behave?”
A corporate brand whilst it may be concerned with the above but may be seen to embrace
issues associated with the question:
“What do we profess?”
As such, a corporate brand may be compared to an icon, but an icon in the sense of the Eastern
Christian tradition which functions at two levels.
The first level is that of representation or as a signifier. In this case an icon (visual, verbal, oral
etc) helps to identify the corporate brand. Here there is a clear link with visual identity and its
role as an identifier. A good deal has been written about this viz.,Van Riel et al (2001).
At the second level the icons act as windows to a belief system which represent the belief systems as
encapsulated in the corporate branding covenant (the latter may be implicit or explicit). Thus, we
enter a world of faith. Something which is potentially powerful but also, for the scholar and
researcher, problematic. This might help explain why loyalty to a corporate brands as religious
overtones and explains its power. In the Orthodox tradition the creators of icons are seen to have a
distinct ministry within the church. Some have implied that in the corporate world creators of
corporate brands are also seen as a type of priesthood. There are certainly iconoclasts in the
corporate sphere.
Klein’s book “No Logo” is one example of the above. Others can be found in the letter pages of
the broadsheet newspapers such as The Financial Times. Jones (2001) provides an example of this.
The latter questions whether it was sound business practice to project an business as a way
of life (as a corporate brand). He remarked, “Branding is, in essence, the propagation of
ideology and history is littered with catastrophes stemming from practitioners being taken in by
their own ideology.”
The issues raised by corporate branding iconoclasts are worthy of reflection but fall
outside the scope of this short article. In articulating the differences between corporate
identity and corporate branding the reader is directed to Exhibit Five compares the characteristics of both constructs Exhbit Five
(a) compares the corporate identity mix with the corporate branding mix whilst Exhibit Five
(b) compares the corporate identity management mix with the corporate branding management mix.
Consider Coca-Cola. It is both a corporate and a product brand. As McQueen (2001) observes, the company has virtually one product. A product that nobody actually needs. In its sugar laden form, it is plainly bad. The Coca-Cola corporate brand is entirely dependent on marketing. The company’s logo is the most familiar in the world.
It is not so much the product but the values/system of beliefs which are attached to the brand that matter. As such, the Coca-Cola brand does not only symbolise a brown, sweet and refreshing drink but, moreover, has strong
cultural overtones pertaining to the American way of life/Americanisation. In contrast, the identity of the company owes more to the company’s confederate roots rather than to the USA per se. Its headquarters are in Atlanta, Georgia, and its first advertisements featured southern belles sipping Coca-Cola.
The use of corporate branding is, of course far from new. Jeremy (1998) noted the importance that UK railway companies placed on branding in the 1830s. There was widespread use of coats-ofarms
which not only served to distinguish one company from another but also stood for a quality of service which staff aspired to uphold and customers to expect. Corporate brands also helped to create barriers to entry and helped preserve first-mover competitive advantage.
However, in order for corporate brands to thrive the brand’s profession of faith had to be delivered
- in other words underpinned by the identity.
 |
| What is the relationship between corporate branding and corporate identity? |
Sheffield’s cutlery manufacturers were a case in point. They failed to suppport their corporate brands from American and German imitators who not only copied the cutlery manufacturer’s goods but also, quite telling, their trade marks and, more importantly, the collective Sheffield brand name.
(Sheffield was synonymous with bespoke and fine cutlery ware). At the same time they embraced
mass production which, whilst led to lower quality, also resulted in lower risk. As such, there was confusion as to what the Sheffield mark stood for; confusion as to the branding covenant and, this led to a loss of faith.
Oct 2, 2010
Logo Design Topic: Company Logos and their Meanings
Ever wondered what company logos mean and whats the significance behind them? Wonder no more!
Amazon
You might think the arrow does nothing here. But it says that amazon.com has everything from a to z and it also represents the smile brought to the customer's face. Wow, that is quite deep.
FedEx
Am not sure how many of you have noticed a hidden symbol in the Federal Express logo.
Yeah, I am talking about the 'arrow' that you can see between the E and the x in this logo. The arrow was introduced to underscore speed and precision, which are part of the positioning of the company.
Baskin Robins
The old logo of Baskin Robbins had the number 31 with an arc above it. The new logo took this idea to the next level. The pink parts of the BR still form the number 31, a reference to the 31 flavors.
Carrefour
Carrefour is one of the biggest European retailers, and its also French for crossroads. The logo symbolizes this word via two opposite arrows. They also added the first letter of the name, because if you look closely youll see the letter C in the negative space between the two arrows.
Formula 1
At first, this logo might not make much sense. But if you look closely, you'll see the number 1 in the negative space between the F and the red stripes. I also love how this logo communicates a feeling of speed.
NBC
The NBC (National Broadcasting Company) is one of the biggest American television networks. I think most of you have already seen the peacock in this logo. The peacock has 6 different tail feathers, referring to the six divisions at the time that this logo was created. The peacocks head is flipped to the right to suggest it was looking forward, not back.
Sony Vaio
Sony Vaio is a well known brand of laptops. But did you know that the name Vaio logo also had a hidden meaning? Well, the first two letters represent the basic analogue signal. The last two letters look like a 1 and 0, representing the digital signal.
Toblerone
Toblerone is a chocolate-company from Bern , Switzerland . Bern is sometimes called The City Of Bears. They have incorporated this idea in the Toblerone logo, because if you look closely, you'll see the silhouette of a bear.
Unilever
Unilever is one of the biggest producers of food, beverages, cleaning agents and personal care products. They produce a huge amount of different products and they wanted to reflect this in their logo. Each part of the logo has a meaning. For example: the heart represents love, care and health - feeling good, a bird is a symbol of freedom. Relief from daily chores “ getting more out of life.
IBM
Paul Rand (who designed the iconic IBM logo in 1972) designed this 'eye bee M' logo in 1981. I like that they are quite relaxed about the logo, unlike certain other companies who do not like the logo to be tampered with in any way even for internal promotions
SUN Microsystems
The SUN Microsystems logo is a wonderful example of symmetry and order. It was a brilliant observation that the letters u and n while arranged adjacent to each other look a lot like the letter S in a perpendicular direction. Spectacular.
Families Marriage
The above are two magazines from the Readers Digest stable. Again, the attempt to communicate what it is about quite figuratively through the logo catches my attention.
Cluenatic
This was a logo created for a puzzle game called Cluenatic. This game involves unravelling four clues. The logo has the letters C, L, U and E arranged as a maze. and from a distance, the logo looks like a key.
Eighty20
Eighty-20 is a small consulting company which does sophisticated financial modeling, as well as some solid database work. All their work is highly quantitative and relies on some serious computational power, and the logo is meant to convey it. People first guess that 20% of the squares are darkened, but that turns out to be false after counting them. The trick is to view the dark squares as 1's and the light squares as 0's. Then the top line reads 1010000 and the bottom line reads 0010100, which represent 80 and 20 in binary.
Eight
This logo is too good. For the name Eight, they have used a font in which each letter is a minor adaptation of the number 8.
Apple Curry Editing Studio
The above logo is for an editing studio. I like the way the logo attempts to convey what they do.
Rachel Hair Stylist
I liked this logo of a hair stylist for the cheeky humour it brings to the (dressing) table.
Forkwire Logo
Being an Online Food Delivery service, its logo shows a fork formed into an @ symbol! Such a easy logo to remember.
Body Wisdom
It is a logo design for a high end day spa… the hands effectively convey relaxing massage integrated with the proximity of the “owl eyes” to clearly say “wisdom”.
Big Ten
The Big Ten collegiate conference has eleven schools but they didn’t want to change their name. However, they used their logo to hide the numerical “11” in the name.
ED Logo: Gianni Bortolotti
The designer of ED Logo – “Elettro Domestici -Home Appliances” in English, changed the concept of traditional logo designing through this logo. The designer has amazingly used the negative space to demonstrate the letter “E” and “D” making the logo look like an electric plug.
Elle Hive
It is a company which designs compact tractors. The letters “E” and “H” make up the image of a tractor.
Hartford Whalers
The logo shows 3 concepts at the same time. A whale’s tail, letter “W” in green and the white space forming an “H” for Hartford.
Pakuy Logo
As “Pakuay” is a packaging company, so the logo shows a broken down box in the shape of the letter “P”
ZIP Logo
Zip – The “I” has been replaced with a zipper to connect the Z & P
VIA Rail Canada Logo
Notice carefully…the VIA rail Canada logo makes two train tracks with the letters” V” and the “A”. The alphabet “I” is the division between the two. A simply brilliant logo.
Mosleep Logo
You will notice here how cleverly designer have integrated a bed with the letter “M” to come up with a logo for an organization of doctor’s dealing with sleep issues.
Fuga
It is a logo for Architecture Center Of Budapest and looks more like a maze but if you follow the white space, the four lettered company name will become evident.
Piano Forest Logo
The designer gives the message in a subtle but evident manner by shaping piano keys like trees to resemble a keyboard/piano
NorthWest Old Logo
The logo reflected a clever way of splitting the alphabets, N and W (north west) along with a location pointed to by the red triangle in the upper left corner. The redesign lost the charm of the original.
Review Logo
When you take off a piece of the “v” in the word “review” it forms a check mark (for review). Simply amazing!!
Lafeyette Logo:Even
If you’ve ever visited one of the famous stores in Paris – Galeries Lafayette, you will notice that it’s logo represents Paris with its joined letters “t” to form Eiffel Tower. C’est magnificique!
Logo !N3K8
The complexity of this logo is its beauty. It is a business and IT consulting company based in the UK and the logo is a combination of numeric and alphabets to explain the word “intricate”.
Heart Beats
Although it is quiet evident but still I liked the concept a lot. Two musical notes are bent in a way to make a heart and and headphns. The softness of this logo expresses “Love for Music“
Amazon
You might think the arrow does nothing here. But it says that amazon.com has everything from a to z and it also represents the smile brought to the customer's face. Wow, that is quite deep.
FedEx
Yeah, I am talking about the 'arrow' that you can see between the E and the x in this logo. The arrow was introduced to underscore speed and precision, which are part of the positioning of the company.
Baskin Robins
Carrefour
Formula 1
At first, this logo might not make much sense. But if you look closely, you'll see the number 1 in the negative space between the F and the red stripes. I also love how this logo communicates a feeling of speed.
NBC
Sony Vaio
Toblerone
Unilever
IBM
SUN Microsystems
The SUN Microsystems logo is a wonderful example of symmetry and order. It was a brilliant observation that the letters u and n while arranged adjacent to each other look a lot like the letter S in a perpendicular direction. Spectacular.
Families Marriage
Cluenatic
Eighty20
Eight
This logo is too good. For the name Eight, they have used a font in which each letter is a minor adaptation of the number 8.
Apple Curry Editing Studio
Rachel Hair Stylist
I liked this logo of a hair stylist for the cheeky humour it brings to the (dressing) table.
Forkwire Logo
Body Wisdom
Big Ten
ED Logo: Gianni Bortolotti
Elle Hive
Hartford Whalers
The logo shows 3 concepts at the same time. A whale’s tail, letter “W” in green and the white space forming an “H” for Hartford.
Pakuy Logo
ZIP Logo
VIA Rail Canada Logo
Mosleep Logo
Fuga
Piano Forest Logo
NorthWest Old Logo
Review Logo
Lafeyette Logo:Even
Logo !N3K8
The complexity of this logo is its beauty. It is a business and IT consulting company based in the UK and the logo is a combination of numeric and alphabets to explain the word “intricate”.
Heart Beats
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