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Düzeltme: LOGO, EMBLEM AND ARCHETYPE: THE POWERFUL TRINITY OF CORPORATE IDENTITY

Yıl 2024, Cilt: 3 Sayı: 1, 27 - 58, 27.06.2024

Öz

In this research, the importance of logo, colors, typography and archetype usage in the formation of corporate identity has been focused on, descriptive analysis has been adopted as a method within the framework of qualitative research methodology and the data obtained through literature review have been examined. The research is focused on the effects of the preferred techniques on brand image in the use of logos, emblems and archetypes, which are characterized as the powerful trinity of corporate identity.
The findings were evaluated by comparing them with the information in the literature using logical reasoning method, and the values and characteristics represented by each archetype were examined within the framework of how the use of archetypes can contribute to a company's more effective communication with its target audience and strengthen its brand image.
In this context, the research provides insights that the use of archetype-based corporate identity elements can provide a competitive advantage by emphasizing the uniqueness of brands and help establish a deeper relationship with its target audience, providing insights that integrating archetypes correctly has the potential to increase brand loyalty and customer satisfaction for companies.
Therefore, it is thought that with the effective use of archetypes, brands can play an important role in marketing strategies and enable consumers to establish a stronger bond with brands.

Kaynakça

  • Aaker, D. A. (2012). Building strong brands. Simon and Schuster.
  • Airey, D. (2009). Logo design love: A guide to creating iconic brand identities. New Riders.
  • Apele, D., & Bodža, I. (2021, May). Corporate identity design policy in the process of visual communication. In Socıety. Integratıon. Educatıon. Proceedings of the International Scientific Conference, 4, 503-514.
  • Akdenizli, F. (2020). Historical Roots of Contemporary Turkish Graphic Design. Технологія і техніка друкарства. 71-76. http://doi.org/10.20535/2077-7264.1-2(67-68).2020.202012
  • Asiyah, N., Umam, R. K., & Sartika, Y. (2022). An Analysis of Branding at Islamic Universities Using Mark and Pearson’s Archetypes. Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya, 12(2), 282-303.
  • Balogun, M. T. (2021). Corporate Identity and Corporate Website: Quantitative Evidence from Selected Banks in Nigeria. Annals of Spiru Haret University. Economic Series, 21(4), 365-381.
  • Babbie, E. R. (2020). The practice of social research. Cengage AU. Barron, G. (2021). Toward a history of nautical archaeology: Boats and history by Éric
  • Rieth. Technology and Culture, 62(3), 931-933.
  • Bechter, C., Farinelli, G., Daniel, R. D., & Frey, M. (2016). Advertising between archetype and brand personality. Administrative Sciences, 6(2), 5. http://doi.org/10.3390/admsci6020005
  • Bulut, Ş. (2019). Yaratıcılık, dahilik ve hayal kırıklığı kavramlarının sanatçıların üretimlerine etkisinin incelenmesi. İnönü Üniversitesi Kültür ve Sanat Dergisi, 5(1), 52-59. https://doi.org/10.22252/ijca.561248
  • Bulut, M. H. (2020). Bloom’un revize edilmiş taksonomisinin müzik öğretiminde kullanımına yönelik önermeler. İnönü Üniversitesi Kültür ve Sanat Dergisi, 6(2), 109-118.
  • Bulut, Ş. (2018). Güncel sanatı (kavramsal) anlamaya çalışmak. İnönü Üniversitesi Kültür ve Sanat Dergisi, 4(1), 69-76.
  • Balmer, J. M. (2001). Corporate identity, corporate branding and corporate marketing‐Seeing through the fog. European journal of marketing, 35(3-4), 248-291.
  • Baronio, C. B., Pagan, N. M., & Pagan, K. M. (2022). Development of visual identity and positioning of a design agency based on archetypes. Quaestum, 3, 1-15.
  • Becan, C. (2021). Dijital tüketim alanı olarak dijimodern reklam uygulaması çerçevesinde tüketici motivasyon faktörleri üzerine bir saha araştırması. Pazarlama ve Pazarlama Araştırmaları Dergisi, 14(1), 183-212.
  • Chen, F., Yue, X., Yang, X., & Ge, T. (2014). Study on classification of personality-based brand archetype from the perspective of internet. China Communications, 11(7), 153-160.
  • Cooper, H., Schembri, S., & Miller, D. (2010). Brand‐self identity narratives in the James Bond movies. Psychology & Marketing, 27(6), 557-567.
  • Dong, X. (2018, April). Application of Chinese traditional auspicious patterns in logo design. In 2018 International Conference on Management and Education, Humanities and Social Sciences (MEHSS 2018). Atlantis Press.
  • Das, J. (2023). The stalwart-Carl gustav jung. Telangana Journal of Psychiatry, 9(2), 169- 172.
  • Djakelı, K., & Sheb, T. R. U. E. (2017). What is brand archetype portrait (BAPOR) and how to calculate brand archetype power (BAPOW). Journal of Business, 6(1), 27-32.
  • Döş, M. E., & Yiğit, A. Y. (2022). Tarihi minberlerin fotogrametri yöntemi ile belgelenmesi. Türkiye Fotogrametri Dergisi, 4(2), 58-65.
  • Ersyad, F. A., Watie, E. D. S., & Setyowati, R. M. (2018). The Logo Analysis from Faculty of Information Technology and Communication of Universitas Semarang in order to redesign the logo and the corporate identity design using logotype method. Jurnal The Messenger, 10(1), 104-112.
  • Foroudi, P., Melewar, T. C., & Gupta, S. (2017). Corporate logo: History, definition, and components. International Studies of Management & Organization, 47(2), 176-196.
  • Gaiter, C. (2018). Visualizing a Black Future: Emory Douglas and the Black Panther Party. Journal of Visual Culture, 17(3), 299-311.
  • Gehani, R. R. (2016). Corporate brand value shifting from identity to innovation capability: From Coca-Cola to Apple. Journal of technology management & innovation, 11(3), 11-20.
  • Gombos, N. J., & Bíró-Szigeti, S. (2023). Examination of the brand archetypes of the Hungarian retail banking sector and their correlations with consumer preferences regarding banking products. Periodica Polytechnica Social and Management Sciences, 31(2), 120-134.
  • Gopaldas, A., & Molander, S. (2020). The bad boy archetype as a morally ambiguous complex of juvenile masculinities: the conceptual anatomy of a marketplace icon. Consumption Markets & Culture, 23(1), 81-93.
  • Holtzhausen, L., Fourie, L. M., & Naude, A. M. E. (2008). Employees' perceptions of symbolic corporate identity elements and employer-employee relationships at Lonmin Platinum. Communicare: Journal for Communication Sciences in Southern Africa, 27(1-2), 19-40.
  • Keller, K. L. (1993). Conceptualizing, measuring, and managing customer-based brand equity. Journal of marketing, 57(1), 1-22.
  • Laksmidewi, D., Susianto, H., & Afiff, A. Z. (2017). The effect of hero archetype in advertising on perceived product efficacy. Indian Journal of Marketing, 47(5), 21- 36.
  • Liu, G. C., & Ko, C. H. (2021). Effects of social media and design thinking on corporate identity design course in Taiwan. E-Learning and Digital Media, 18(3), 251-268.
  • Losāne, N., & Apele, D. (2016, May). Corporate identity design in theory and practice. In society. Integration. Education. Proceedings of the International Scientific Conference, 4, 501-511.
  • Lynnyk, D. (2023). Effectiveness of applying the personality typology by archetypes in branding. Demiurge: Ideas, Technologies, Perspectives of Design, 6(1), 99-119.
  • Maden, D. (2013). The concept of brand culture: A qualitative analysis directed to Turkish airlines. Mediterranean Journal of Social Sciences, 4(10), 42-49.
  • McVetty, H. (2020). Selling cool: A visual analysis of Apple’s brand identity [Master’s thesis, Ryerson University].
  • Mollerup, P. (1997). Marks of excellence: The function and variety of trademarks. Phaidon.
  • Makmun, I., & Isnaini, M. (2023). Pola Komunikasi Visual Lembaga Pemerintah dalam penanganan pandemi covid 19: kajian arketipe dan kepribadian merek. Andharupa: Jurnal Desain Komunikasi Visual & Multimedia, 9(02), 261-281.
  • Mtange, M. (2022). Managing corporate identity during organisational transformation in a Public Institution in Kenya. International Journal of Communication and Public Relation, 7(1), 59-102.
  • Neumeier, M. (2006). Zag: The # 1 strategy of high-performance brands. Pearson Education. O'Neill, M., & Brabazon, A. (2008, June). Evolving a logo design using lindenmayer systems, postscript & grammatical evolution. In 2008 IEEE Congress on Evolutionary Computation (IEEE World Congress on Computational Intelligence) .IEEE.
  • Ostrá, D. (2022). Populist narratives in the Czech 2021 general elections:‘Hero fights, ruler protects?’. Politologický časopis-Czech Journal of Political Science, 29(3), 239-259. 54 Oturgasheva, N. V. Modern Yakut Cinema: Logos, Ethos, Pathos. European Proceedings of Social and Behavioural Sciences.
  • Oturgasheva, N. (2021). Modern Yakut Cinema: Logos, Ethos, Pathos. European Proceedings of Social and Behavioural Sciences, 173-179. http://doi.org/10.15405/epsbs.2021.12.22
  • Önen, V. (2018). Düşük maliyetli havayolu firmaları ile tam hizmet veren havayolu firmaları marka kişiliklerinin karşılaştırması: Türk Havayolları-Pegasus Havayolları incelemesi. İşletme Araştırmaları Dergisi, 10(2), 783-802.
  • Paliderova, M., Bielikova, A., & Spuchľakova, E. (2015). The importance of corporate identity in water transportation company. Procedia Economics and Finance, 26, 286-291.
  • Patsiaouras, G. (2022). The inter-generational arts branding of the Star Wars saga: May the myth be with you!. Arts and the Market, 12(1), 84-101.
  • See, P. M. L. (2019). Branding: A prosthesis of identity. M/C Journal, 22(5). https://doi.org/10.5204/mcj.1590
  • Strode, A., & Stikute, I. (2014, September). Logotype as a part of brand visual identity. In Arts And Music In Cultural Discourse. Proceedings of the International Scientific and Practical Conference.
  • Sevim, B. A., & Metin, A. C. (2022). Eski köye yeni zihniyet: İhap Hulusi Görey’in grafik tasarımlarında köycü söylem. Medya ve Kültürel Çalışmalar Dergisi, 4(2), 50-69.
  • Solomon, C., Harvey, B., Kahn, K., Lieberman, H., Miller, M. L., Minsky, M., ... &
  • Silverman, B. (2020). History of logo. Proceedings of the ACM on Programming Languages, 4(HOPL), 1-66. http://doi.org/10.1145/3386329
  • Strode, A., & Stikute, I. (2014, September). Logotype as a part of brand visual identity. In Arts And Musıc In Cultural Discourse. Proceedings of the International Scientific and Practical Conference.
  • Sezgin, E., & Yuncu, D. (2016). The Swot analysis of Turkish Airlines through Skytrax quality evaluations in the global brand process. Development of tourism and the hospitality industry in Southeast Asia, 65-81.
  • Stankov, U., Filimonau, V., Vujičić, M. D., Basarin, B., Carmer, A. B., Lazić, L., ... & Mujkić, D. (2023). Ready for action! Destination climate change communication: An archetypal branding approach. International Journal of Environmental Research And Public Health, 20(5), 3874.
  • Tešanović, N. (2022). (De)instrumentalization of smoking in modern visual arts on the example of the rebel archetype. Politeia, 12(23), 97-110.
  • Uslu, A., Durmuş, B., & Kolivar, B. K. (2013). Analyzing the brand equity of Turkish airlines services: Comparing the Japanese and Turkish perspectives. Procedia-Social and Behavioral Sciences, 99, 446-454.
  • Voci, D. (2022). Logos, Ethos, Pathos, Sustainabilitos? About the role of media companies in reaching sustainable development. Sustainability, 14(5), 2591.
  • Van Riel, C. B., & Balmer, J. M. (1997). Corporate identity: the concept, its measurement and management. European Journal of Marketing, 31(5-6), 340-355.
  • Yarosh, O. (2019, August). Neurobranding in territorial development: From traditional to innovative. In International Scientific-Practical Conference “Business Cooperation as a Resource of Sustainable Economic Development and Investment Attraction”(ISPCBC 2019). Atlantis Press.
  • Wilson, S. (2023). Magic and Metamodernism. M/C Journal, 26(5). https://doi.org/10.5204/mcj.3008
  • Wheeler, A., & Identity, D. B. (2006). Designing brand identity: A complete guide to creating, building, and maintaining strong brands. John Wiley & Sons.
  • Woodside, A. G. (2004). Advancing from subjective to confirmatory personal introspection in consumer research. Psychology & Marketing, 21(12), 987-1010.
  • Zhang, X. (2015, November). Analysis of visual language characteristic in logo design. In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Atlantis Press.

Düzeltme: LOGO, AMBLEM VE ARKETİP, KURUMSAL KİMLİĞİN GÜÇLÜ ÜÇLÜSÜ

Yıl 2024, Cilt: 3 Sayı: 1, 27 - 58, 27.06.2024

Öz

Bu araştırmada kurumsal kimliğin oluşturulmasında logo, renkler, tipografi ve arketip kullanımının önemine odaklanılmıştır, yöntem olarak nitel araştırma metodolojisi çerçevesinde, betimsel analiz benimsenmiştir ve literatür taraması aracılığıyla elde edilen veriler incelenmiştir. Araştırma, kurumsal kimliğin güçlü üçlüsü olarak nitelendirilen logo, amblem ve arketiplerinin kullanımında tercih edilen tekniklerin marka imajına olan etkileri üzerine yoğunlaşmıştır.
Bulgular, mantıksal akıl yürütme yöntemiyle literatürdeki bilgilerle karşılaştırarak değerlendirilmiş, arketiplerin kullanımının, bir şirketin hedef kitlesiyle daha etkili bir iletişim kurmasına ve marka imajını güçlendirmesine nasıl katkıda bulunabileceğine dair her bir arketipin temsil ettiği değer ve özellik çerçevesinde incelenmiştir.
Bu kapsamda, araştırma, arketip tabanlı kurumsal kimlik unsurlarının kullanımının, markaların benzersizliğini vurgulayarak rekabetçi bir avantaj sağlayabileceğini ve hedef kitlesiyle daha derin bir ilişki kurulmasına yardımcı olabileceğine dair öngörüler sunarak, arketiplerin doğru bir şekilde entegre edilmesinin şirketler için marka sadakati ve müşteri memnuniyetini artırma potansiyeline sahip olduğuna dair öngörüler sunmaktadır.
Dolayısıyla arketiplerin etkili bir şekilde kullanılmasıyla birlikte markaların pazarlama stratejilerinde önemli bir rol oynayabileceği ve tüketicilerin markalarla daha güçlü bir bağ kurmalarına olanak sağlayabileceği düşünülmektedir.

Kaynakça

  • Aaker, D. A. (2012). Building strong brands. Simon and Schuster.
  • Airey, D. (2009). Logo design love: A guide to creating iconic brand identities. New Riders.
  • Apele, D., & Bodža, I. (2021, May). Corporate identity design policy in the process of visual communication. In Socıety. Integratıon. Educatıon. Proceedings of the International Scientific Conference, 4, 503-514.
  • Akdenizli, F. (2020). Historical Roots of Contemporary Turkish Graphic Design. Технологія і техніка друкарства. 71-76. http://doi.org/10.20535/2077-7264.1-2(67-68).2020.202012
  • Asiyah, N., Umam, R. K., & Sartika, Y. (2022). An Analysis of Branding at Islamic Universities Using Mark and Pearson’s Archetypes. Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya, 12(2), 282-303.
  • Balogun, M. T. (2021). Corporate Identity and Corporate Website: Quantitative Evidence from Selected Banks in Nigeria. Annals of Spiru Haret University. Economic Series, 21(4), 365-381.
  • Babbie, E. R. (2020). The practice of social research. Cengage AU. Barron, G. (2021). Toward a history of nautical archaeology: Boats and history by Éric
  • Rieth. Technology and Culture, 62(3), 931-933.
  • Bechter, C., Farinelli, G., Daniel, R. D., & Frey, M. (2016). Advertising between archetype and brand personality. Administrative Sciences, 6(2), 5. http://doi.org/10.3390/admsci6020005
  • Bulut, Ş. (2019). Yaratıcılık, dahilik ve hayal kırıklığı kavramlarının sanatçıların üretimlerine etkisinin incelenmesi. İnönü Üniversitesi Kültür ve Sanat Dergisi, 5(1), 52-59. https://doi.org/10.22252/ijca.561248
  • Bulut, M. H. (2020). Bloom’un revize edilmiş taksonomisinin müzik öğretiminde kullanımına yönelik önermeler. İnönü Üniversitesi Kültür ve Sanat Dergisi, 6(2), 109-118.
  • Bulut, Ş. (2018). Güncel sanatı (kavramsal) anlamaya çalışmak. İnönü Üniversitesi Kültür ve Sanat Dergisi, 4(1), 69-76.
  • Balmer, J. M. (2001). Corporate identity, corporate branding and corporate marketing‐Seeing through the fog. European journal of marketing, 35(3-4), 248-291.
  • Baronio, C. B., Pagan, N. M., & Pagan, K. M. (2022). Development of visual identity and positioning of a design agency based on archetypes. Quaestum, 3, 1-15.
  • Becan, C. (2021). Dijital tüketim alanı olarak dijimodern reklam uygulaması çerçevesinde tüketici motivasyon faktörleri üzerine bir saha araştırması. Pazarlama ve Pazarlama Araştırmaları Dergisi, 14(1), 183-212.
  • Chen, F., Yue, X., Yang, X., & Ge, T. (2014). Study on classification of personality-based brand archetype from the perspective of internet. China Communications, 11(7), 153-160.
  • Cooper, H., Schembri, S., & Miller, D. (2010). Brand‐self identity narratives in the James Bond movies. Psychology & Marketing, 27(6), 557-567.
  • Dong, X. (2018, April). Application of Chinese traditional auspicious patterns in logo design. In 2018 International Conference on Management and Education, Humanities and Social Sciences (MEHSS 2018). Atlantis Press.
  • Das, J. (2023). The stalwart-Carl gustav jung. Telangana Journal of Psychiatry, 9(2), 169- 172.
  • Djakelı, K., & Sheb, T. R. U. E. (2017). What is brand archetype portrait (BAPOR) and how to calculate brand archetype power (BAPOW). Journal of Business, 6(1), 27-32.
  • Döş, M. E., & Yiğit, A. Y. (2022). Tarihi minberlerin fotogrametri yöntemi ile belgelenmesi. Türkiye Fotogrametri Dergisi, 4(2), 58-65.
  • Ersyad, F. A., Watie, E. D. S., & Setyowati, R. M. (2018). The Logo Analysis from Faculty of Information Technology and Communication of Universitas Semarang in order to redesign the logo and the corporate identity design using logotype method. Jurnal The Messenger, 10(1), 104-112.
  • Foroudi, P., Melewar, T. C., & Gupta, S. (2017). Corporate logo: History, definition, and components. International Studies of Management & Organization, 47(2), 176-196.
  • Gaiter, C. (2018). Visualizing a Black Future: Emory Douglas and the Black Panther Party. Journal of Visual Culture, 17(3), 299-311.
  • Gehani, R. R. (2016). Corporate brand value shifting from identity to innovation capability: From Coca-Cola to Apple. Journal of technology management & innovation, 11(3), 11-20.
  • Gombos, N. J., & Bíró-Szigeti, S. (2023). Examination of the brand archetypes of the Hungarian retail banking sector and their correlations with consumer preferences regarding banking products. Periodica Polytechnica Social and Management Sciences, 31(2), 120-134.
  • Gopaldas, A., & Molander, S. (2020). The bad boy archetype as a morally ambiguous complex of juvenile masculinities: the conceptual anatomy of a marketplace icon. Consumption Markets & Culture, 23(1), 81-93.
  • Holtzhausen, L., Fourie, L. M., & Naude, A. M. E. (2008). Employees' perceptions of symbolic corporate identity elements and employer-employee relationships at Lonmin Platinum. Communicare: Journal for Communication Sciences in Southern Africa, 27(1-2), 19-40.
  • Keller, K. L. (1993). Conceptualizing, measuring, and managing customer-based brand equity. Journal of marketing, 57(1), 1-22.
  • Laksmidewi, D., Susianto, H., & Afiff, A. Z. (2017). The effect of hero archetype in advertising on perceived product efficacy. Indian Journal of Marketing, 47(5), 21- 36.
  • Liu, G. C., & Ko, C. H. (2021). Effects of social media and design thinking on corporate identity design course in Taiwan. E-Learning and Digital Media, 18(3), 251-268.
  • Losāne, N., & Apele, D. (2016, May). Corporate identity design in theory and practice. In society. Integration. Education. Proceedings of the International Scientific Conference, 4, 501-511.
  • Lynnyk, D. (2023). Effectiveness of applying the personality typology by archetypes in branding. Demiurge: Ideas, Technologies, Perspectives of Design, 6(1), 99-119.
  • Maden, D. (2013). The concept of brand culture: A qualitative analysis directed to Turkish airlines. Mediterranean Journal of Social Sciences, 4(10), 42-49.
  • McVetty, H. (2020). Selling cool: A visual analysis of Apple’s brand identity [Master’s thesis, Ryerson University].
  • Mollerup, P. (1997). Marks of excellence: The function and variety of trademarks. Phaidon.
  • Makmun, I., & Isnaini, M. (2023). Pola Komunikasi Visual Lembaga Pemerintah dalam penanganan pandemi covid 19: kajian arketipe dan kepribadian merek. Andharupa: Jurnal Desain Komunikasi Visual & Multimedia, 9(02), 261-281.
  • Mtange, M. (2022). Managing corporate identity during organisational transformation in a Public Institution in Kenya. International Journal of Communication and Public Relation, 7(1), 59-102.
  • Neumeier, M. (2006). Zag: The # 1 strategy of high-performance brands. Pearson Education. O'Neill, M., & Brabazon, A. (2008, June). Evolving a logo design using lindenmayer systems, postscript & grammatical evolution. In 2008 IEEE Congress on Evolutionary Computation (IEEE World Congress on Computational Intelligence) .IEEE.
  • Ostrá, D. (2022). Populist narratives in the Czech 2021 general elections:‘Hero fights, ruler protects?’. Politologický časopis-Czech Journal of Political Science, 29(3), 239-259. 54 Oturgasheva, N. V. Modern Yakut Cinema: Logos, Ethos, Pathos. European Proceedings of Social and Behavioural Sciences.
  • Oturgasheva, N. (2021). Modern Yakut Cinema: Logos, Ethos, Pathos. European Proceedings of Social and Behavioural Sciences, 173-179. http://doi.org/10.15405/epsbs.2021.12.22
  • Önen, V. (2018). Düşük maliyetli havayolu firmaları ile tam hizmet veren havayolu firmaları marka kişiliklerinin karşılaştırması: Türk Havayolları-Pegasus Havayolları incelemesi. İşletme Araştırmaları Dergisi, 10(2), 783-802.
  • Paliderova, M., Bielikova, A., & Spuchľakova, E. (2015). The importance of corporate identity in water transportation company. Procedia Economics and Finance, 26, 286-291.
  • Patsiaouras, G. (2022). The inter-generational arts branding of the Star Wars saga: May the myth be with you!. Arts and the Market, 12(1), 84-101.
  • See, P. M. L. (2019). Branding: A prosthesis of identity. M/C Journal, 22(5). https://doi.org/10.5204/mcj.1590
  • Strode, A., & Stikute, I. (2014, September). Logotype as a part of brand visual identity. In Arts And Music In Cultural Discourse. Proceedings of the International Scientific and Practical Conference.
  • Sevim, B. A., & Metin, A. C. (2022). Eski köye yeni zihniyet: İhap Hulusi Görey’in grafik tasarımlarında köycü söylem. Medya ve Kültürel Çalışmalar Dergisi, 4(2), 50-69.
  • Solomon, C., Harvey, B., Kahn, K., Lieberman, H., Miller, M. L., Minsky, M., ... &
  • Silverman, B. (2020). History of logo. Proceedings of the ACM on Programming Languages, 4(HOPL), 1-66. http://doi.org/10.1145/3386329
  • Strode, A., & Stikute, I. (2014, September). Logotype as a part of brand visual identity. In Arts And Musıc In Cultural Discourse. Proceedings of the International Scientific and Practical Conference.
  • Sezgin, E., & Yuncu, D. (2016). The Swot analysis of Turkish Airlines through Skytrax quality evaluations in the global brand process. Development of tourism and the hospitality industry in Southeast Asia, 65-81.
  • Stankov, U., Filimonau, V., Vujičić, M. D., Basarin, B., Carmer, A. B., Lazić, L., ... & Mujkić, D. (2023). Ready for action! Destination climate change communication: An archetypal branding approach. International Journal of Environmental Research And Public Health, 20(5), 3874.
  • Tešanović, N. (2022). (De)instrumentalization of smoking in modern visual arts on the example of the rebel archetype. Politeia, 12(23), 97-110.
  • Uslu, A., Durmuş, B., & Kolivar, B. K. (2013). Analyzing the brand equity of Turkish airlines services: Comparing the Japanese and Turkish perspectives. Procedia-Social and Behavioral Sciences, 99, 446-454.
  • Voci, D. (2022). Logos, Ethos, Pathos, Sustainabilitos? About the role of media companies in reaching sustainable development. Sustainability, 14(5), 2591.
  • Van Riel, C. B., & Balmer, J. M. (1997). Corporate identity: the concept, its measurement and management. European Journal of Marketing, 31(5-6), 340-355.
  • Yarosh, O. (2019, August). Neurobranding in territorial development: From traditional to innovative. In International Scientific-Practical Conference “Business Cooperation as a Resource of Sustainable Economic Development and Investment Attraction”(ISPCBC 2019). Atlantis Press.
  • Wilson, S. (2023). Magic and Metamodernism. M/C Journal, 26(5). https://doi.org/10.5204/mcj.3008
  • Wheeler, A., & Identity, D. B. (2006). Designing brand identity: A complete guide to creating, building, and maintaining strong brands. John Wiley & Sons.
  • Woodside, A. G. (2004). Advancing from subjective to confirmatory personal introspection in consumer research. Psychology & Marketing, 21(12), 987-1010.
  • Zhang, X. (2015, November). Analysis of visual language characteristic in logo design. In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Atlantis Press.
Toplam 61 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Plastik Sanatlar (Diğer)
Bölüm Derlemeler
Yazarlar

Mehmet Akif Özdal 0000-0003-3148-8988

Yayımlanma Tarihi 27 Haziran 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 3 Sayı: 1

Kaynak Göster

APA Özdal, M. A. (2024). LOGO, AMBLEM VE ARKETİP, KURUMSAL KİMLİĞİN GÜÇLÜ ÜÇLÜSÜ. Otuzyedi Sanat Ve Tasarım Dergisi, 3(1), 27-58.

Sayın Yazarlar,

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