VISUAL BRAND IDENTITY DESIGN

Assist. prof. Borislava Stoimenova, PhD, [Link]@[Link]

University of National and World Economy/Bulgaria

Abstract: The competition in the 21st century is among brands. The

two conventional tools for brand management today are brand identity,
sЩОМТПвТЧР ЭСО ПКМОЭs ШП ЛrКЧНs’ ЮЧТqЮОЧОss КЧН ЯКХЮО, КЧН ЛrКЧН
positioning – a short claim that contains a set of a few differentiating
properties, communicated to a target audience. Brand identity, when
used as a source for brand positioning, helps the brand change its
communication style by different positioning strategies, yet remain
coherent, consistent and true to itself over time. This paper identifies and
explains the types of elements of a visual brand identity program such as
logo(s), typography, colour, symbols, imagery, composition, etc., used to
tangibly express characteristics and intangible added values of identity
such as personality traits, character qualities and sensations. The result
of the analysis is a framework for planning the design of visual identity
programs in order to encode and convey particular meanings and to
strengthen brands' perceptions and images.
Key words: visual brand identity, visual brand identity systems
JEL classification: M31

1. Introduction
Although a brand consists of both tangible and intangible assets,
many brand definitions equate brands with visual elements of the graphic
design and respectively brand identity – with visual identity. The
American Marketing Association (2004) НОfiЧОs ЛrКЧН Кs “К ЧКЦО, ЭОrЦ,
НОsТРЧ, sвЦЛШХ, Шr КЧв ШЭСОr ПОКЭЮrО ЭСКЭ ТНОЧЭТfiОs ШЧО sОХХОr’s РШШН Шr
sОrЯТМО Кs НТsЭТЧМЭ ПrШЦ ЭСШsО ШП ШЭСОr sОХХОrs”. IЧ К аШrХН ШП ЦТХХТШЧs ШП
product brands and rising МШЧsЮЦОrs’ ТЧsОМЮrТЭв, ЭСО ТЦЩШrЭКЧМО ШП
corporate identity has become acknowledged in the marketing literature
(Aaker 1996, Balmer 2001, De Chernatony 2010, Kapferer 2008). Today,
more companies are refusing to remain hidden behind their product
brands and develop corporate brands strategies. Corporate identity turns

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out to be an important factor in consumer choice between products
ЛОМКЮsО МЮsЭШЦОrs “ЛЮв ЭСО МШЦЩКЧв” ЭСКЭ ЦКФОs ЭСО ЩrШНЮМЭ, ЭСОв ЛЮв
its character, its size, its processes, ethics and the confidence it inspires
(Melewar and Saunders 2000). Corporate identity is the sum of all the
ПКМЭШrs ЭСКЭ НОПТЧО КЧН ЩrШУОМЭ ‘аСКЭ ЭСО ШrРКЧТгКЭТШЧ Тs’, ‘аСКЭ ТЭ sЭКЧНs
ПШr’, ‘аСКЭ ТЭ НШОs’, ‘СШа ТЭ НШОs ТЭ’ КЧН ‘аСОrО ТЭ Тs РШТЧР’(Melewar
2003). Its visual expression can be perceived as a tangible asset of the
brand which helps different stakeholders easily understand and assess the
company and its products.

2. Methodology
The integrated design elements of CVI have rarely been studied and
the area is characterized by conceptual and methodological diversity.
Most visual identity design studies gather large samples of
advertisements and conduct content analyses to describe the frequency
with which various types of visual elements appear (McQuarrie and Mick
1999). Such studies may also report correlations between the presence of
МОrЭКТЧ ОХОЦОЧЭs КЧН sЩОМТfiМ КЮНТОЧМО rОsЩШЧsОs ЛЮЭ ЭСОв КrО ЩrТЦКrТХв
descriptive and provide only weak evidence for causality. Also, the
sЩОМТfiМ ЯТsЮКХ ОХОЦОЧЭs ТЧЯОsЭТРКЭОН ЭОЧН ЭШ МШЯОr К wide, unsystematic
range and are not generated by any theoretical background and
sЩОМТfiМКЭТШЧ. SШЦО rОsОКrМСОrs ПШМЮs ЭСОТr КЭЭОЧЭТШЧ ШЧХв ШЧ ЛrКЧН ХШРШs
Кs ШЧО ШП ЭСО ЩrТЦКrв ОХОЦОЧЭs ШП К МШЦЩКЧв’s ЯТsЮКХ ЛrКЧНТЧР sЭrКЭОРв,
perceived to be highly correlated with evaluations of quality and style
(Henderson et al. 2003).
Another research method, applied in this field, is the visual audit.
The visual audit measures consistency by analysing the visual materials
used by the organizations, and the perception of external stakeholders
towards the visual identity. This makes it possible to make a distinction
between actual consistency and perceived consistency by internal and
external audiences. The problem with visual audits is that in many cases
the auditors do not exactly know what to audit as they do not have a
preliminary list of the visual brand design elements, classified in a
comprehensive and a structured way.
The purpose of this paper is to create a theoretical framework for

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planning the design of visual identity programs by gathering and
classifying the visual brand elements mentioned in the visual brand
identity literature in marketing context.
3. Theoretical framework
Corporate visual identity (CVI) plays a significant role in the way an
organisation presents itself to both internal and external stakeholders, but
the subject of managing CVI receives little attention in the marketing and
management literature (van den Bosch et al. 2005). Theories on CVI
focus mainly on identity structures - monolithic, endorsed and branded
identities (Olins 1989) clarifying the relationships between strategy and
visual identity (van den Bosch et al. 2005) but very little research gives
directions on how to manage corporate visual identity and make it
consistent. The marketing communications and identity managers are
interested in mechanisms for enhancing the consistency of a CVI by the
use of well-sЭrЮМЭЮrОН ЛrКЧН РЮТНОХТЧО’s КММОssТЛХО ПШr ЭСО ОЦЩХШвООs аСШ
present the organization in various touch points. The elements of a CVI
are some of the few things in a company that can be readily changed,
controlled and managed to the smallest detail. Many scholars find such a
perspective to be a highly questionable one while senior managers find
this perspective to be especially attractive mainly because it gives them
an opportunity to control and influence external perceptions and thus
leave a mark on the organization they work for (Balmer 2006). CVIs are
often changed completely or modified as a result of organisational
changes - repositioning, mergers, acquisitions, or privatisation (van den
Bosch 2005).
As described by Balmer (2008), The British Standard Institute
defines visual identity (or corporate design) Кs “ЯТsЮКХ ОбЩrОssТШЧ ШП КЧ
ШrРКЧТsКЭТШЧ’s МШrЩШrКЭО ТНОЧЭТЭв: ЭСО ПКМО ТЭ ЩЮЭs ШЧ ТЭsОХП, ТЭs КМЭТЯТЭТОs
КЧН ШЮЭЩЮЭs” аТЭС аСТМС ЭСО ШrРКЧТгКЭТШЧ ТЧЭОЧНs ШЧ МrОКЭТЧР МОrЭКТЧ
visual images - “sЮЦ ШП ЯТsЮКХ ТЦЩrОssТШЧs КЧН ЪЮКХТЭв ШП ЭСО ШЮЭЩЮЭ ШП
an orgaЧТsКЭТШЧ ЛЮТХЭ ЮЩ ТЧ ЭСО ЦТЧНs ШП ТЭs sЭКФОСШХНОrs КЧН ЭСО ЩЮЛХТМ”
through its ЯТsЮКХ ТНОЧЭТfiМКЭТШЧ sвsЭОЦ - “ЩrТЧМТЩКХ ЦОКЧs Лв аСТМС КЧ
ШrРКЧТsКЭТШЧ ЦКЧТПОsЭs ЯТsЮКХХв ТЭs МШrЩШrКЭО ТНОЧЭТЭв”. The basic elements
of any visual identification system are lines, shapes, textures, typography,
colour, logo(s), symbols, imagery, composition, slogan, tagline and key

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messages used on different applications in order to communicate the
corporate essence, philosophy, culture and values, personality - overall
identity (Balmer 1995, Balmer 2006, BКrЭСШХЦО´ КЧН MОХОаКr 2011,
Melewar and Saunders 2000, van den Bosch et al. 2005). Used in a
consistent and coherent way these elements help organizations to add
additional value to the products that they sell and to strengthen their
brands (Dacin and Brown 2002).
Many brand choices are made with low involvement and very little
processing of information and are influenced mainly by brand awareness,
image and/or overall reputation of the company that sells the products.
Through the quality of design, the range of its applications, and the
condition of carriers, CVI can serve many objectives mainly related to the
image and reputation management. It can support different reputation
dimensions such as visibility, physical recognition, distinctiveness,
authenticity, transparency, and consistency (van den Bosch et al. 2005),
strengthening the brands by differentiating products, making it easier for
the consumers to process information, creating loyalty, allowing for
premium pricing, cutting through clutter, and protecting against
competition.
The results of such audits often reveal weak visual identities - the
use of different styles, different renderings of the same objects such as
coat of arms, different brand names and logos and, different colour pallets
and fonts, etc. This results into an inconsistent visual and oral
representation of a company and its products (Baker & Balmer, 1997).
Such inconsistency of an organization visual identity causes confusion in
its formal communication policy and in particular the corporate and
product branding system in use (Baker and Balmer 1997), conveying
unarticulated signals, meanings and promises. Despite providing a base
for clear and consistent communications, when managed in a coordinated
аКв, К МШЦЩКЧв’s КОsЭСОЭТМs ЦКв ОЧСКЧМО ЭСО КЩЩОКХ ШП ЭСО ШrРКЧТгКЭТШЧ
and its offers (Melewar 2008). Extrinsic visual attributes can help
consumers to recall intrinsic product quality (van den Bosch 2005). A
distinctive design, that is emotionally appealing and of good quality, can
create perceptions of higher quality products, can generate free publicity,
can influence the consumers goodwill and differentiate the company and

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its products (Aaker 1996, Balmer 2006, Henderson et al. 2003). Visual
stimuli may be effective because they are learned faster and remembered
significantly longer than verbal stimuli (Henderson et al. 2003).
The design of a CVI itself has little intrinsic value and the visual
identifiers need to acquire intrinsic value over time. Therefore, the CVI
must be coherent and consistent. The quality of design requires all design
elements to connect and support one another through the same style and
character, to form some visual unity and to convey the same message
ЛКsОН ШЧ К sТЦТХКr “ХШШФ-and-ПООХ” (ЯКЧ НОЧ BШsМС ОЭ КХ. 2005). TСО
assumption is that the consistency of the CVI depends on the way the
CVI guidelines are applied through different corporate visual identity
programs (van den Bosch 2005).
The corporate visual identity system (CVIS) is explained as the
graphic design of a firm's visual identity which provides the visual
language and discipline for the clear and consistent projection of a firm's
visual identity (Melewar and Saunders 2000, Topalian 1984). There is
little agreement within the organizations about the elements and scope of
a visual identity. The process of creating a visual identity system begins
with a visual audit - an analysis undertaken to establish how an
organization visually projects itself to its various audiences (Baker and
Balmer 1997). The purpose of the audit is to reveal the degree of
consistency across visual/tangible elements of identity (signs and
messages) aЧН ЭШ ОsЭКЛХТsС sЩОМТfiМ РЮТНОХТЧОs ПШr СШа ЭСО МШЦЩКЧв аТХХ
be visually presented (Melewar 2008). Some design elements such as
logos, signage on buildings, interior design, uniforms and so on have a
long lifecycle and therefore remain the same for long periods. However,
applying the design to brochures and advertising requires regular
adaptation in the style of photography/illustrations, typography and
layout. The list of visual brand identity design elements outlined in Table
1 is a result of a literature review of journal articles and other papers
featuring the studied area (Baker and Balmer 1997, Gray and Balmer
1998, Karaosmanoglu and Melewar 2006, Melewar 2003, Melewar 2008,
Melewar and Saunders 2000, Topalian 1984, van den Bosch 2005, van
den Bosch et al. 2005).

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 Table 1
Visual brand identity design elements
Basic elements Documents Advertising materials
brand name(s) business reports promotional literature
logo policy reports presentations
symbol (s) company literature brochures and
heraldry leaflets
seals Product bookmarks
lines, shapes, textures product design booklets
typography packages promotion/give-
colour pallets aways
grid navigation
slogan notebooks
tagline and/or descriptor Architecture* invitations
(key message) signage offers
layout/composition exteriors pens flags
letterhead interiors key fobs
photographs/illustrations environmental bag labels
design
Stationary (landscape)
forms exhibition boards Advertisements
envelopes (panels) video
business card decorations billboards
e-mail print ads
compliment slips Vehicles banner ads
trucks/cars/vans
cheques text ads
badges recruitment ads
Equipment
calendars posters
machines
certification direct mail ads
facilities
consumables
Corporate clothing
uniforms
t-shirts
ties
scarves
cufflinks
*Building architecture includes exteriors and interiors of manufacturing plants, premise,
offices, warehouses, showrooms, retail outlets.

The corporate visual identity structures are most often organized

around the Olins (1989) “МШrЩШrКЭО ТНОЧЭТЭв sЭrЮМЭЮrО”, аСТМС МШЧsТsЭ ШП
three concepts: monolithic brands for companies which have a single
brand, an endorsed identity - each of the operational units has its own

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identity but this is endorsed (visually connected) with the corporate name
and visual style, and a branded identity - different brands are developed for
different parts of an organization or for different product lines and/or
products (it excludes any reference to the corporate name and visual style).
4. Conclusion
The results of the literature review on visual brand identity design
provide a summarized theoretical classification of visual brand identity
elements. Such a classification would be helpful for the execution of
visual audits and for further planning the design of consistent and
coherent visual identity programs. These programs are meant to provide
unified brand representation at various touch points with stakeholders
which increases visibility, physical recognition, distinctiveness,
transparency and serves as a useful tool for desired image creation and
reputation management. The concept of visual brand identity design is
applied in business by marketing communications and identity managers
who coordinate the process of preparing well-structured brand guidelines
and make these guidelines accessible for the employees who represent the
organization in various brand touch points.

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