![]() ![]() According to this line of thinking, logos convey associations between the brand and the self-from the organization they represent to the identity of the consumer.Īlthough there has been vigorous and ambitious research on logos, the majority of studies use quantitative metrics with relatively short time spans, and target groups with no meaningful relationship to the brand in question. A logo may display desired identities, hence congruence of the self and the brand is crucial (Japutra et al. 2017 van Riel and Balmer 1997), and in addition to their functional benefits and aesthetic appeal, they have been found to facilitate identity expression (Park et al. ![]() As a visual presentation of a corporation, the logo has also been viewed as the root of corporate identity (Foroudi et al. A logo could thus be described as a brand-management tool used in a carefully planned process to create brand equity, customer commitment and competitive distinctiveness. 2013 van Grinsven and Das 2015 Miceli et al. 2009), as well as on the psychological mechanisms behind their reception (Park et al. There has also been research on the logo-creation process and consumer evaluation (Henderson and Cote 1998 Buttle and Westoby 2006 van Der Lans et al. They are known to contribute to recognizability (Balmer and Gray 2000), brand equity (Abratt and Kleyn 2012) and a sense of familiarity (Foroudi et al. In the following, we focus on how resistance to a new logo turns into acceptance, and how the logo becomes a source of brand association and symbol of a shared identity.Ī logo is a graphic design, which companies use to identify themselves and their products (Henderson and Cote 1998). ![]() Fragmented identities may make it difficult to create a uniform brand (Wæraas and Solbakk 2009). Competition is intensifying as the field becomes increasingly marketized (Wedlin 2008), but as organizations valuing diversity and academic freedom they constitute a potentially challenging environment for brand management (Melewar et al. More and more universities are facing such challenges. At the same time, the logo was meant to be a tool for identity building-a blank canvas on which the community could reflect the identity of Aalto University. In the case of Aalto, the purpose was to create a symbol to communicate change and a fresh start. Literature on logos emphasizes the role of organizations as their creators, whereas customers are mere recipients (Kim and Lim 2019). The above quotation is from graphic designer Rasmus Snabb, when he was in the process of designing a logo for Aalto University in 2009. This is why the logo should not provide a static predefined image, but a blank canvas, which will in time be attached with meaning-an identity created and experienced by the students, researchers and employees. The image of a school is thus undefinable-it is in constant change. A school is constantly re-evaluating, discussing and adjusting the way it organizes itself and its activities. What defines the image of an educational institution? Discussion, evaluation, change. We argue that logo evaluations span three dimensions: they may be congruent or incongruent with the disposition of the individual toward the change: they may be congruent or incongruent with the visual preferences of the individual and they may be based on the visuals of the logo or on its identity-expressing capabilities. We show how the new logo faced initial resistance before it became a source of positive brand associations, and how it became anchored in the university´s corporate identity. We adopted a longitudinal free-association approach and followed the qualitative and quantitative changes in logo associations among first-year students at Aalto University as it was going through a merger accompanied with a radical visual-identity redesign. This article narrows this research gap in investigating how a new logo is evaluated, how the perception evolves, and what underlying dimensions emerge from the reception process. The focus has been on the visual traits of the logo and their effect on the reception process, whereas little attention has been paid to how the logo becomes part of the brand. Brand logos are a fundamental part of the corporate visual identity, and their reception has been vigorously researched.
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