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Design for Brand Identity: A Case of Industrial Design Studio Process by Two Projects

Year 2025, Volume: 13 Issue: 3, 543 - 569, 30.09.2025

Abstract

For industrial design studies, understanding the target market and the company/brand for which the design is being implemented is crucial for the success of new products, given the product design ideas of both design-candidate students and professional designers. This study focuses on the relationship between design, designer, and brand identity. It aims to uncover the relationship between designers' research, understanding, and interpretation of the brand, focusing on form and function, and the final product decisions. As part of the research, 26 prospective design students pursuing industrial design education were given two projects regarding product design and brand identity to observe their approach and design decisions. At the beginning of the process, the lecturers gave students the project topics, goals, and expectations for success. The students' design stages were evaluated as a group work for the first project and individually for the second. A comparative analysis was conducted, along with how they reflected their keywords associated with the brand identity in their final product designs. The identical brands designed in different contexts in these projects, which featured physically and spatially, provided a source of information for students studying brand identity, thus preparing them for the expectations they will encounter in professional practice. The study results were interpreted as a guide for designers who continue professional practice in different sectors or adopt similar brand lines by revealing how the adjectives defined by the designers are reflected in the design language, form and function-oriented design decisions of the products.

References

  • [1] Hekkert, P. (2006). Design aesthetics: Principles of pleasure in design. Psychology Science, 48(2), 157–172.
  • [2] Erdem, H., Güneş, S., & Yavuz, M. (2025). Historical evolution of industrial design terminology: Examples of terms formation. Gazi University Journal of Science Part B: Art Humanities Design and Planning, 13(2), 295-315.
  • [3] Crilly, N., Moultrie, J., & Clarkson, P. J. (2004). Seeing Things: Consumer Response to the Visual Domain in Product Design. Design Studies, 25(6), 547–577. doi:10.1016/j.destud.2004.03.001
  • [4] Desmet, P. M. A. (2012). Faces of product pleasure: 25 positive emotions in human-product interactions. International Journal of Design, 6(2), 1-29.
  • [5] Manavis, A., & Kyratsis, P. (2021). A computational study on product shape generation to support brand identity. International Journal of Modern Manufacturing Technologies (IJMMT), 13 (1) 115-122.
  • [6] Karjalainen, T.M. (2007). It looks like a Toyota: Educational approaches to designing for visual brand recognition. International Journal of Design, 1(1), 67–78.
  • [7] Norman, D. A. (2004). Emotional Design: Why We Love (or Hate) Everyday Things. Basic Books.
  • [8] Hertenstein, J. H., Platt, M. B., & Veryzer, R. W. (2005). The impact of industrial design effectiveness on corporate financial performance. Journal of Product Innovation Management, 22(1), 3–21. https://doi.org/10.1111/j.0737-6782.2005.00100.x
  • [9] Krippendorff, K. (2006). The Semantic Turn: A New Foundation for Design. CRC Press.
  • [10] Montaña, J., Guzmán, F., & Moll, I. (2010). Branding and design management: A brand design management model. Journal of Marketing Management, 23(9–10), 829-840. https://doi.org/10.1362/026725707X250340
  • [11] Kapferer, J.-N. (2012). The New Strategic Brand Management: Advanced Insights and Strategic Thinking (New Strategic Brand Management: Creating & Sustaining Brand Equity) 5th Edition. Kogan Page.
  • [12] Andrade, B., Morais, R., & Soares De Lima, E. (2024). The personality of visual elements: A framework for the development of visual identity based on brand personality dimensions. The International Journal of Visual Design. 18 (1): 67-98. doi:10.18848/2325-1581/CGP/v18i01/67-98.
  • [13] Karjalainen, T.-M., & Snelders, D. (2010). Designing visual recognition for the brand. Journal of Product Innovation Management, 27(1), 6–22. https://doi.org/10.1111/j.1540-5885.2009.00696.x
  • [14] Lu, P., Wu, F., Hsiao, S., & Tang, J. (2025). A feature curve-based method for balancing brand identity and emotional imagery in automobile frontal form design. Advanced Engineering Informatics, 65, 103118. https://doi.org/10.1016/j.aei.2025.103118
  • [15] Verganti, R. (2009). Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean. Harvard Business Press.
  • [16] Raposo, D. (2025). Design-driven branding: A proposal for a methodological model for strategic and creative brand direction and design of the brand visual identity. In: Brandão, D., Martins, N., Duarte, E. (eds) Perspectives on Design and Digital Communication V. Springer Series in Design and Innovation, vol 50. Springer, Cham. https://doi.org/10.1007/978-3-031-76156-0_13
  • [17] Yalch, R. ve Brunel, F. (1996). Need hierarchies in consumer judgements of product designs: Is it time to reconsider Maslow’s theory? In K. P. Corfman, J. G. Lynch (Eds.), Advances in Consumer Research. Provo, UT: Association for Consumer Research, 405– 410.
  • [18] Lidwell, W., Holden, K., & Butler, J. (2003). Universal Principles of Design. Massachusetts. Rockport Publisers.
  • [19] Bloch, P. H. (1995). Seeking the Ideal Form: Product Design and Consumer Response. Journal of Marketing, 59(3), 16–29. https://doi.org/10.2307/1252116
  • [20] Hirschman, E. C. (1983). Aesthetics, ideologies and the limits of the marketing concept. Journal of Marketing, 47(3), 45-55.
  • [21] Monö, R. (1997). Design for Product Understanding: The Aesthetics of Design from a Semiotic Approach. Liber.
  • [22] Ellis, W. D. (1950). A Source Book of Gestalt Psychology. London: Routledge.
  • [23] Katz, D. (1950). Gestalt Psychology. New York: Ronald Press.
  • [24] Baudrillard, J. (1981). For a Critique of the Political Economy of the Sign. Telos Press.
  • [25] Featherstone, M. (1991). Consumer Culture and Postmodernism. 2nd edition. Sage.
  • [26] Solomon, M. R. (1983). The Role of Products as Social Stimuli: A Symbolic Interactionism Perspective. Journal of Consumer Research, 10(3), 319–329. https://doi.org/10.1086/208971
  • [27] Veryzer, R. W. (1995). The Place of Product Design and Aesthetics in Consumer Research. Advances in Consumer Research, 22, 641–645.
  • [28] Creusen, M. E. H., & Schoormans, J. P. L. (2005). The Different Roles of Product Appearance in Consumer Choice. Journal of Product Innovation Management, 22(1), 63–81. https://doi.org/10.1111/j.0737-6782.2005.00103.x
  • [29] Belk, R. W. (1988). Possessions and the Extended Self. Journal of Consumer Research, 15(2), 139–168. https://doi.org/10.1086/209154
  • [30] Aaker, J. L. (1997). Dimensions of Brand Personality. Journal of Marketing Research, 34(3), 347–356. https://doi.org/10.2307/3151897
  • [31] Lupton, E., & Miller, J. A. (1999). Design, Writing, Research: Writing on Graphic Design. Phaidon Press.
  • [32] Keller, K. L. (1993). Conceptualizing, Measuring, and Managing Customer-Based Brand Equity. Journal of Marketing, 57(1), 1–22. https://doi.org/10.1177/002224299305700101
  • [33] Buschgens, M., Figueiredo, B., & Blijlevens, J. (2024). Designing for identity: how and when brand visual aesthetics enable consumer diasporic identity. European Journal of Marketing, 58(4), 986-1014.https://doi.org/10.1108/EJM-08-2022-0576
  • [34] Person, O., Schoormans, J., Snelders, D., & Karjalainen, T. (2008). Should new products look similar or different? The influence of the market environment on strategic product styling. Design Studies, 29(1), 30-48. https://doi.org/10.1016/j.destud.2007.06.005
  • [35] Borja de Mozota, B. (2003). Design Management: Using Design to Build Brand Value and Corporate Innovation. Allworth Press.
  • [36] Yu, M., Abidin, S., & Shaari, N. (2024). Effects of Brand Visual Identity on Consumer Attitude. A Systematic Literature Review. doi: 10.20944/preprints202405.1109.v1
  • [37] Wei, S. (2024). The Importance of Brand Image. Media and Communication Research, 5(1), 93-98. https://doi.org/10.23977/mediacr.2024.050115
  • [38] Olins, W. (2008). Wally Olins: The Brand Handbook. Thames & Hudson.
  • [39] Throsby, D. (2001). Economics and Culture. Cambridge University Press.
  • [40] Velthuis, O. (2005). Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press.
  • [41] Holt, D. B. (2004). How Brands Become Icons: The Principles of Cultural Branding. Harvard Business School Press.
  • [42]. Kimbell, L. (2011). Rethinking design thinking: Part I. Design and Culture, 3(3), 285–306.

Marka Kimliği Tasarımı: Endüstriyel Tasarım Stüdyosunda Yürütülen İki Proje Örneği

Year 2025, Volume: 13 Issue: 3, 543 - 569, 30.09.2025

Abstract

Endüstriyel tasarım çalışmaları için öğrencilerin akademik hayatta ortaya koydukları ürün tasarımı fikirleri ve profesyonel tasarımcıların iş hayatında son ürünle ilgili çalışmalarının odağında hedef pazarı ve tasarımın yürütüldüğü firmayı/markayı tanımak yeni ürünlerin başarısı için büyük önem taşımaktadır. Bu çalışma tasarım, tasarımcı ve marka kimliği ilişkisine odaklanmaktadır. Tasarımcıların form ve fonksiyon odağında markayı araştırmaları, anlamaları ve yorumlamaları ile kullanıcıya ulaşacak son ürün kararları arasındaki ilişkiyi açığa çıkarmayı hedeflemektedir. Araştırma kapsamında endüstriyel tasarım eğitimine devam etmekte olan 26 tasarımcı adayı öğrencinin marka kimliği odağında ürün tasarımına odaklanan iki farklı projeyi başından sonuna kadar ele alış şekilleri ve tasarım kararları anlatılmıştır. Sürecin başında projelerin konusu, hedefleri ve başarı beklentileri öğrencilere verilmiştir. Öğrencilerin ilk projede grup içinde, ikinci projede kişisel olarak tasarlama aşamaları değerlendirilmiş, onların marka kimliğiyle ilişkilendirdiği keywordlerin tasarım çizgisine nasıl yansıdığıyla beraber karşılaştırmalı olarak yorumlanmıştır. Fiziksel ve mekansal olarak aynı markaların farklı bağlamlar içinde tasarlandığı bu projeler marka kimliğiyle ilgili çalışma yapan öğrenciler için bir bilgi kaynağı oluşturmuş, böylece onları professional practice’te karşılaşacakları beklentiler için hazırlamıştır. Çalışmanın sonuçları, tasarımcılar tarafından tanımlanan sıfatların ürünlerin tasarım dili, form ve fonksiyon odaklı tasarım kararlarına nasıl yansıdığını ortaya koyarak, farklı sektörlerde profesyonel tasarım çalışmalarına devam eden veya benzer marka çizgilerini benimseyen tasarımcılara kılavuzluk edecek nitelikte yorumlanmıştır.

References

  • [1] Hekkert, P. (2006). Design aesthetics: Principles of pleasure in design. Psychology Science, 48(2), 157–172.
  • [2] Erdem, H., Güneş, S., & Yavuz, M. (2025). Historical evolution of industrial design terminology: Examples of terms formation. Gazi University Journal of Science Part B: Art Humanities Design and Planning, 13(2), 295-315.
  • [3] Crilly, N., Moultrie, J., & Clarkson, P. J. (2004). Seeing Things: Consumer Response to the Visual Domain in Product Design. Design Studies, 25(6), 547–577. doi:10.1016/j.destud.2004.03.001
  • [4] Desmet, P. M. A. (2012). Faces of product pleasure: 25 positive emotions in human-product interactions. International Journal of Design, 6(2), 1-29.
  • [5] Manavis, A., & Kyratsis, P. (2021). A computational study on product shape generation to support brand identity. International Journal of Modern Manufacturing Technologies (IJMMT), 13 (1) 115-122.
  • [6] Karjalainen, T.M. (2007). It looks like a Toyota: Educational approaches to designing for visual brand recognition. International Journal of Design, 1(1), 67–78.
  • [7] Norman, D. A. (2004). Emotional Design: Why We Love (or Hate) Everyday Things. Basic Books.
  • [8] Hertenstein, J. H., Platt, M. B., & Veryzer, R. W. (2005). The impact of industrial design effectiveness on corporate financial performance. Journal of Product Innovation Management, 22(1), 3–21. https://doi.org/10.1111/j.0737-6782.2005.00100.x
  • [9] Krippendorff, K. (2006). The Semantic Turn: A New Foundation for Design. CRC Press.
  • [10] Montaña, J., Guzmán, F., & Moll, I. (2010). Branding and design management: A brand design management model. Journal of Marketing Management, 23(9–10), 829-840. https://doi.org/10.1362/026725707X250340
  • [11] Kapferer, J.-N. (2012). The New Strategic Brand Management: Advanced Insights and Strategic Thinking (New Strategic Brand Management: Creating & Sustaining Brand Equity) 5th Edition. Kogan Page.
  • [12] Andrade, B., Morais, R., & Soares De Lima, E. (2024). The personality of visual elements: A framework for the development of visual identity based on brand personality dimensions. The International Journal of Visual Design. 18 (1): 67-98. doi:10.18848/2325-1581/CGP/v18i01/67-98.
  • [13] Karjalainen, T.-M., & Snelders, D. (2010). Designing visual recognition for the brand. Journal of Product Innovation Management, 27(1), 6–22. https://doi.org/10.1111/j.1540-5885.2009.00696.x
  • [14] Lu, P., Wu, F., Hsiao, S., & Tang, J. (2025). A feature curve-based method for balancing brand identity and emotional imagery in automobile frontal form design. Advanced Engineering Informatics, 65, 103118. https://doi.org/10.1016/j.aei.2025.103118
  • [15] Verganti, R. (2009). Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean. Harvard Business Press.
  • [16] Raposo, D. (2025). Design-driven branding: A proposal for a methodological model for strategic and creative brand direction and design of the brand visual identity. In: Brandão, D., Martins, N., Duarte, E. (eds) Perspectives on Design and Digital Communication V. Springer Series in Design and Innovation, vol 50. Springer, Cham. https://doi.org/10.1007/978-3-031-76156-0_13
  • [17] Yalch, R. ve Brunel, F. (1996). Need hierarchies in consumer judgements of product designs: Is it time to reconsider Maslow’s theory? In K. P. Corfman, J. G. Lynch (Eds.), Advances in Consumer Research. Provo, UT: Association for Consumer Research, 405– 410.
  • [18] Lidwell, W., Holden, K., & Butler, J. (2003). Universal Principles of Design. Massachusetts. Rockport Publisers.
  • [19] Bloch, P. H. (1995). Seeking the Ideal Form: Product Design and Consumer Response. Journal of Marketing, 59(3), 16–29. https://doi.org/10.2307/1252116
  • [20] Hirschman, E. C. (1983). Aesthetics, ideologies and the limits of the marketing concept. Journal of Marketing, 47(3), 45-55.
  • [21] Monö, R. (1997). Design for Product Understanding: The Aesthetics of Design from a Semiotic Approach. Liber.
  • [22] Ellis, W. D. (1950). A Source Book of Gestalt Psychology. London: Routledge.
  • [23] Katz, D. (1950). Gestalt Psychology. New York: Ronald Press.
  • [24] Baudrillard, J. (1981). For a Critique of the Political Economy of the Sign. Telos Press.
  • [25] Featherstone, M. (1991). Consumer Culture and Postmodernism. 2nd edition. Sage.
  • [26] Solomon, M. R. (1983). The Role of Products as Social Stimuli: A Symbolic Interactionism Perspective. Journal of Consumer Research, 10(3), 319–329. https://doi.org/10.1086/208971
  • [27] Veryzer, R. W. (1995). The Place of Product Design and Aesthetics in Consumer Research. Advances in Consumer Research, 22, 641–645.
  • [28] Creusen, M. E. H., & Schoormans, J. P. L. (2005). The Different Roles of Product Appearance in Consumer Choice. Journal of Product Innovation Management, 22(1), 63–81. https://doi.org/10.1111/j.0737-6782.2005.00103.x
  • [29] Belk, R. W. (1988). Possessions and the Extended Self. Journal of Consumer Research, 15(2), 139–168. https://doi.org/10.1086/209154
  • [30] Aaker, J. L. (1997). Dimensions of Brand Personality. Journal of Marketing Research, 34(3), 347–356. https://doi.org/10.2307/3151897
  • [31] Lupton, E., & Miller, J. A. (1999). Design, Writing, Research: Writing on Graphic Design. Phaidon Press.
  • [32] Keller, K. L. (1993). Conceptualizing, Measuring, and Managing Customer-Based Brand Equity. Journal of Marketing, 57(1), 1–22. https://doi.org/10.1177/002224299305700101
  • [33] Buschgens, M., Figueiredo, B., & Blijlevens, J. (2024). Designing for identity: how and when brand visual aesthetics enable consumer diasporic identity. European Journal of Marketing, 58(4), 986-1014.https://doi.org/10.1108/EJM-08-2022-0576
  • [34] Person, O., Schoormans, J., Snelders, D., & Karjalainen, T. (2008). Should new products look similar or different? The influence of the market environment on strategic product styling. Design Studies, 29(1), 30-48. https://doi.org/10.1016/j.destud.2007.06.005
  • [35] Borja de Mozota, B. (2003). Design Management: Using Design to Build Brand Value and Corporate Innovation. Allworth Press.
  • [36] Yu, M., Abidin, S., & Shaari, N. (2024). Effects of Brand Visual Identity on Consumer Attitude. A Systematic Literature Review. doi: 10.20944/preprints202405.1109.v1
  • [37] Wei, S. (2024). The Importance of Brand Image. Media and Communication Research, 5(1), 93-98. https://doi.org/10.23977/mediacr.2024.050115
  • [38] Olins, W. (2008). Wally Olins: The Brand Handbook. Thames & Hudson.
  • [39] Throsby, D. (2001). Economics and Culture. Cambridge University Press.
  • [40] Velthuis, O. (2005). Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press.
  • [41] Holt, D. B. (2004). How Brands Become Icons: The Principles of Cultural Branding. Harvard Business School Press.
  • [42]. Kimbell, L. (2011). Rethinking design thinking: Part I. Design and Culture, 3(3), 285–306.
There are 42 citations in total.

Details

Primary Language English
Subjects Industrial Product Design
Journal Section Industrial Design
Authors

Ezgi Ilhan 0000-0002-5016-0948

Acar İpek This is me 0009-0000-8992-8793

Publication Date September 30, 2025
Submission Date August 11, 2025
Acceptance Date September 30, 2025
Published in Issue Year 2025 Volume: 13 Issue: 3

Cite

APA Ilhan, E., & İpek, A. (2025). Design for Brand Identity: A Case of Industrial Design Studio Process by Two Projects. Gazi University Journal of Science Part B: Art Humanities Design and Planning, 13(3), 543-569.