Memorable Logo Design
Memorable Logo Design
Memorable Logo Design
by
April 2011
by
Approved by:
April 2011
ABSTRACT
The primary purpose of this research is to look into the design of successful logos and
determine what design characteristics make them so easily recognizable and memorable.
From research thus far, I have found that a business‟s success can be credited to the
strength of their brand and logo. While an identity can be costly, it is crucial to all
because graphic designers are a costly investment that they cannot afford to include in
their budget. The research began with an extensive literature review looking into the
importance of logos, specific design characteristics, and case studies. From there, I
created a survey testing participants‟ memory of logos and specific design characteristics
that stood out the most to them and left a lasting impression in their minds. The results
of this survey were then used to create a general list of principles for designing logos
which can be used by any business or organization. I then put the list of design principles
to the test myself by designing the logo for a fairly-new nonprofit organization based out
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of the United Kingdom called Ripple Africa. My hope is that this information will help
every kind of nonprofit organization create an impactful identity for them and improve
TABLE OF CONTENTS
Page
CHAPTER
I INTRODUCTION ....................................................................................... 1
II METHODS ……………………………………………………………..24
IV LOGO DESIGN..………………………………………………………..45
List of characteristics…………………………………….............45
Nonprofit logo design………….…………………………...........46
V CONCLUSIONS ………..………………………………………………49
Analysis …………….……………………………………………49
Summary ………………………………………………………...50
REFERENCES .................................................................................................................. 52
LIST OF FIGURES
FIGURE Page
CHAPTER I
INTRODUCTION
“Let‟s all admit that the number of impressions we make is far less important than the
importance of good design for branding and logos is the primary subject matter of this
research. It is obvious that the design of a logo is highly important to the overall
memorable logo? The primary purpose of this research is to look into this question and
believe a business‟s success can be attributed to the strength of their identity. Nonprofit
because graphic designers are a business expense that newly formed nonprofit
organizations cannot afford to include in their budget. To help solve this problem, I will
be conducting research to produce basic design principles for successful logos. This will
help nonprofit organizations improve the communication of their cause to the public.
Introduction to literature
An extensive literature analysis has included themes on successful logo and brand
_______________
This thesis follows the style of Art, Design, and Communication in Higher Education.
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design, colors and symbols as important elements in graphic design, case studies on
specific logos, and graphic design for nonprofit organizations. I have also looked into
successful logo and brand design from the perspective of key people in the world of
graphic design. This research has exposed several design aspects that aid in the
organization, based on emotional and psychological effects associated with that color.
The symbol used in a logo is also extremely significant in the memory it sparks and the
lasting impression it leaves on a person. Two case studies have furthered my knowledge
in the realm of graphic design. The logos for The Bahamas and Project 7 are successful
identities that have been created in the late twentieth century and twenty-first century. A
deep analysis of these logos will assist me in my research for successful logo design
characteristics. I have also looked into the graphic design of nonprofit organizations to
find that a successful logo design can truly help the nonprofit influence their community
Mark Gobé is a major author on the subject of brand design and how important it is to
Officer, and Executive Creative Director of d/g* worldwide, which is one of the world‟s
top ten brand image creation firms. Overtime, Gobé has created breakthrough,
emotionally charged brand design strategies for big-name clients, such as Coca-Cola,
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IBM, and Ann Taylor. In addition to design work, he serves on the board of the Brand
Design Association, has taught at the prestigious Ecole Superieure de Dessin Industriel
In his book, Emotional Branding, Gobé noted that ideas and creativity are a new kind of
currency, more powerful than money. “One single idea - especially if it involves a great
brand concept - can change a company‟s entire future”. He believed that what constitutes
a great brand identity is one that emotionally connects with the consumers and comes to
life, building a lasting, deeper connection (Gobe, 2001). “Emotional branding is about
crafting an intimate and reassuring experience for each customer” (Gobe, 2001). He
states that a well-designed identity is unforgettable and emotionally charged, much like
the Apple logo. It has vision, visualization, and emotional connection, which has been
A company‟s first impression is often made by their identity – a single mark, symbol,
emblem, or text representing the entire company and its people. Gobé suggests that “a
logo by itself is not necessarily a communication tool but it can most definitely act as a
symbol of what a company represents (or hopes to represent) and the resulting consumer
perceptions” (Gobe, 2001). He has found that in today‟s society, corporate identities are
perceived by the people and how they want people to interact with the company or
brought to life in the most imaginative way” (Gobe, 2001). Gobé has found that
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“companies are just now beginning to explore how a logo can become a living, breathing
creature that can foster a great deal of awareness for a brand in a very positive way”
(Gobe, 2001). Target is a great example of this in the way that their creative
change (Gobe, 2001). The mark of a company is incredibly important to the personality
they give off to consumers. Gobé describes it like this: “a logo without „heart‟ is like a
person without „heart‟: cold, uninteresting, a robot” (Gobe, 2001). No one wants to trust
a robot who cannot relate to them - they want friendly, personal service.
Erik Abbing and Christa van Gessel are two more dominant authors on branding,
particularly on brand-driven innovation. Erik Abbing is the founder and owner of Zilver
Brand Driven Innovation, a creative consultancy in the Netherlands, and also teaches at
the Delft University of Technology and at Eurib in Rotterdam. He has been the project
manager at Axys Innovation and Flex, the innovation lab, which educated him in the
realm of product design. Christa van Gessel obtained a master‟s degree in industrial
design engineering through a research project at Philips. She was Erik Abbing‟s first
employee at Zilver Brand Driven Innovation, where she brings a creative level of
which they note that “the concept of brand has moved from being thought of as merely
an addition to the offering (the logo on the product) to its acceptance as a representation
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of the culture, knowledge, and vision that inspires and strategically guides that offering”
(Abbing & Gessel, 2010). The identity of a company is often their first impression,
which needs to be an excellent representation of who they are. Abbing and Gessel
observe that it appears that design is taking a leading role in the convergence of branding
and innovation: brands need innovation to fulfill their promise, while innovation needs
the brand to provide vision, focus, and direction (Abbing & Gessel, 2010). The two
authors agree that within this “dance” of branding and innovation, design is the music
that bonds the two together in “a shared understanding and a common goal” (Abbing &
Gessel, 2010).
Abbing and Gessel created a four-step method for brand-driven innovation: brand
usability, innovation strategy, design strategy, and touch-point orchestration. The first
step, known as brand usability, leads to a usable brand that stimulates innovation and
design. It is about making a brand format that is “rich, uncut, highly visual, and
authentic” (Abbing & Gessel, 2010). Innovation strategy is the second step and leads to
a strategic plan for action, understanding the brand‟s promise. It becomes a way to
constantly think about where the company is going and consider future touch-points of
the brand. The third step is design strategy, which translates the entire plan into concrete
design decisions. It focuses on turning the brand into a tangible experience for the
customer. Abbing and Gessel defined design as “the creation of carriers for meaningful
design” (Abbing & Gessel, 2010). They illustrated five layers corresponding to the way
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people come into contact with and experience brand touch-points, the first of which are
the sensorial aspects, such as color, shape, and texture (Abbing & Gessel, 2010). While
this is particularly referring to a product, the same can be applied to a logo or brand
identity. People are first introduced to a company or business by the logo they see when
they walk in the door, the brochure they receive in the mail, or the advertisement they
see on television. Finally, the fourth step to brand driven innovation is touch-point
orchestration. This step makes sure all brand touch-points are in tune with each other
and the brand. It strives for touch-point harmony, each one conveying its own version of
the brand story. This is employed by using the design skills of various branches in a
company in an inspiring way, which brings the brand to life (Abbing & Gessel, 2010).
Abbing and Gessel no doubt believe that the branding of a company is a major aspect of
who the company is and what they are trying to promote, but also have confidence in
Joe Duffy is a prominent designer in the realm of logos and branding. He is the chairman
of Duffy and Partners, a branding and identity design firm that strives to “design to make
a difference”. When the firm was founded, he broke new ground for the integration of
branding and design with advertising. Duffy has worked on brand identity programs for
major companies, such as BMW, Starbucks, and Sony. In addition to working at Duffy
In Duffy‟s book Brand Apart, he agrees with Gobé when he says that “brands, like
personality, a voice and a language” (Duffy, 2005). Duffy explains the idea of having
one voice for a brand is important so it can hold together and stand out from other
brands. However, sometimes the drive for unity can become so deceptive that nobody is
talking honorably. “To be truly effective, we all need to speak from our hearts” (Duffy,
2005). The “one voice” idea can also be “described as a brand language that can speak in
many voices in order to keep it interesting and refreshing” (Duffy, 2005). The main
concept of “one voice” is to create a completely open feeling so that consumers can
actually hear the brand and understand what it stands for. Duffy demonstrates this theory
as he talks about developing a brand language for Nike – “the voice that would speak to
a young kid playing basketball at Rutger‟s Park is entirely different from the voice that
would speak to a kid playing tennis in the Hamptons, or one playing football in Brazil”
(Duffy, 2005). The central goal of the design team was to make the athlete‟s say, “Wow,
those people understand me; they understand my sport in a way no one else does”
(Duffy, 2005). Duffy believes that it is about making a deep, personal connection
Color is one major aspect of design that greatly influences customer‟s perceptions of the
company or product. Think of particular businesses that have a distinct color that defines
them: the golden arches of McDonalds, red Coca-Cola label, or blue AT&T globe. “In
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each instance the associations of color enable identification and prompt particular
images and emotions” (Gobe, 2001). Mark Gobé‟s research produced the theory of
Emotional Branding, which is “the conduit by which people connect subliminally with
companies and their products in an emotionally profound way”. One particular aspect of
his findings revealed that color, among other features, is a crucial vehicle of the
experience of a brand or logo. He reveals that “colors trigger very specific responses in
the central nervous system and cerebral cortex, which can then activate thoughts,
memories, and particular modes of perception.” Like people, brands are not static; they
have many facets to their personality, and color is just one of these (Gobe, 2001).
Stephen Bleicher agrees that color is crucial to design: “when companies are successful,
they no longer need to have their names in their logo-the shape and color are all that are
In his book Contemporary Color Theory and Use Steven Bleicher established that “color
plays a vital role in culture and daily life and may be the single most important aspect of
a painting, product, or design… the simple act of choosing a color can make or break a
product” (Bleicher, 2005). A great amount of research has been conducted on the
psychological effect of colors, revealing that red typically increases skin temperature and
raises blood pressure while blue is more calming and reduces blood pressure. Color and
appetite is another important study, leading to the use of bright hues of red, orange and
yellow in fast-food restaurant chains. “These colors increase the appetite, so not only do
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you order and eat more under the influence of these hues, you eat faster” (Bleicher,
2005).
Bleicher also found that “in market research studies it has been determined that 60
person will make a choice to accept or reject a purchase” (Bleicher, 2005). This same
conclusion can be applied to the logo of a business – upon seeing the particular color of
a business‟ icon, one might draw overly dramatic conclusions, either steering them away
or pulling them in. “Whether it is the brain or the psyche that determines personal
Capsule Design firm disagrees with the above authors on how color should be used.
They have found it important to make people think about color rationally so that they do
not automatically relate colors to emotions and memories (Capsule, 2007). They believe
that “the color is not what should distinguish the logo in the marketplace” (Capsule,
2007). While color is highly effective in design, it should not relate to a particular
memory or type of emotion. Capsule Design firm believes that color is a great tool that
can help communicate a message to consumers, but it should not be the driving force
behind the design. The importance of color in the design of a logo is evident in the fact
that it “can give clear direction when language fails to translate” (Capsule, 2007).
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In Color Design Workbook, Terry Stone documented that “the human eye and brain
have meanings” (Stone, 2006). Stone‟s research has revealed several interesting facts
about specific colors: red is the most visually dominant color; yellow is the first color
that the human eye notices and is brighter than white; blue food is rare in nature and thus
suppresses hunger; green is the easiest color on the eyes and aids in digestion; purple is
said to enhance imagination and is thus used in decorating children‟s rooms; orange is an
appetite stimulant and is used for visibility enhancement; black is supposed to boost self-
confidence and strength; white is the perfectly balanced color and can sometime give
people headaches for being so bright; gray seldom evokes strong emotions and is its own
Stone further explains that “color has the ability to evoke a response, create a mood,
symbolize an idea, and express an emotion” (Stone, 2006). Therefore, it becomes a very
important to note that color meanings are often influenced by a variety of factors,
including age, gender, personal experience, mood, ethnic identity, history, and tradition
(Stone, 2006). Stone states that “color meanings are held deep in our subconscious” and
quotes Carl Jung in saying that “colors are the mother tongue of the subconscious”
(Stone, 2006). Color “has biological, psychological, social, and cultural dimensions, all
of which give it meaning and convey information” (Stone, 2006). Stone also exposes
that color is memorable – often seeing or thinking about a specific color produces certain
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reactions in people. “Marketing research indicates that more than 80 percent of visual
information is related to color” (Stone, 2006). The memory trigger that color pulls, is
L.K. Peterson specialized in global color meanings and associations in his book Global
Graphics: Color. He found that Americans (and Canadians, too) “display a preference
for subdued, traditional, safe colors on items that are expensive or intended to last and
brighter colors are reserved for accents” (Peterson, 2000). He also notes that context
means everything when it comes to using color in the United States. For women, red
high-heeled shoes, red lipstick, or a red dress often portray sexiness and passion. For
men, a red sports car serves the same purpose of making him extra “cool” and exciting
(Peterson, 2000). Yellow has been distinguished as a cautionary color, being used for
road signs and tape for police investigations. Blue has become a color that is popular
among companies and businesses wanting to convey their honesty and trustworthiness
(Peterson, 2000). “Green is the color of money and nature, two things close to the hearts
of Americans” (Peterson, 2000). As it gets paler and more yellow or gray, it becomes
less appealing to a general audience. Peterson found that “Americans claim a strong
dislike of orange, and yet the hue is everywhere” (Peterson, 2000). For many people,
orange road construction signs do not indicate danger, but inconvenience and delay.
However, more recently, Peterson has established that “orange has gained popularity
because it is seen as a refreshing and invigorating change from the norm” (Peterson,
2000). While purple is still linked to nobility, it can also “signal an excess of something
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better done in small portions; purple prose for example is embarrassingly melodramatic”
(Peterson, 2000). While black is “not exclusively linked to death, black does have
decidedly somber associations, implying morbidity, despair, evil, sin, and negation”
(Peterson, 2000). Black also commands respect and is meant to be taken seriously; it is
sophisticated, dignified, dramatic, and extremely formal. White can mean clean,
sanitary, pure, elegant, and perfect, as well as cold, antiseptic, empty, ghostly, boring,
Peterson further describes specific uses of color in wearing it, food and food packaging,
and traditions of blue. “Yellow ribbons have been tokens of remembrance for absent
loved ones since the nineteenth century, when the wives of U.S. Cavalry officers on duty
in the Western frontier wore scarves of their husband‟s regimental colors” (Peterson,
2000). Now they are regularly displayed as signs representing hope for the safe return of
soldiers fighting abroad. Peterson discovered that “in food and food packaging, the
overall rule is the deeper or darker the color, the stronger the flavor” (Peterson, 2000).
The colors on the packaging of food are just as important as the image or symbol. “Black
and gold indicate luxury, a premium product; bright multi-colored packages mean fun,
probably snack food; earthy tones imply heartiness and health; while green has come to
mean not only vegetables but anything that is healthy and eco-friendly” (Peterson,
2000). The origins of the favored faded blue color come from the Royal Navy. Naval
uniforms were dyed blue and ultimately, “a sailor‟s length of service could be read by
how faded his uniform had become” (Peterson, 2000). Therefore, young recruits didn‟t
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want to look even more like inexperienced sailors, so they would quickly scrub their
Maggie Macnab is a significant author on shapes and symbols and documents the
various meanings they denote in her book Decoding Design. “Visual communications
that tap into the dynamic energy of the collective psyche makes a powerful and direct
connection that is expansive on many levels” (Macnab, 2008). Macnab states that
“interpreting the qualitative aspects of number and shape is an alternate approach to the
design and intuitive connections inspires an intimate meaning, something which is “quite
attractive to a thinking species” (Macnab, 2008). If you look around, many common
symbols used in design revolve around numbers, and may have a more significant
meaning than one might expect. I have only looked into the numbers one through five
The number one denotes wholeness and completion and is illustrated by a circle. The
circle is all-encompassing and is the visual pattern of energy (Macnab, 2008). The circle
is known to be extraordinarily simple and mysterious, holy and sacred, and gives birth to
all other geometric constructions (Macnab, 2008). Target‟s bull‟s-eye logo embodies
success and implies hitting the mark. The latest logo design is a simpler version that is
“closely aligned to the archetypal symbol of the strength of all for one and one for all”
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(Macnab, 2008). The Fashion Center logo is another example of design that uses a
The number two is completely opposite of the number one, suggesting “separation and
the compelling desire to return to wholeness” (Macnab, 2008). Macnab states that
duality is about opposites that create conflict, which then look for resolution. Carl Jung
is referenced for his term of “‟individuation‟, a concept that addresses the separation and
life” (Macnab, 2008). The yin yang symbol is probably the most common symbol that
demonstrates the principle of duality. However, the opposed balance actually occurs
within the mold of the circular shape representing “one”. Macnab says that “the principle
of separation is the first act of becoming, the first venture into the illusion of „separate‟”
(Macnab, 2008).
Thankfully, the number three “brings solution to the conflict of division by presenting a
third point of balance” (Macnab, 2008). Color is one example of the number three,
represented by the primary colors, red, blue, and yellow, which when combined make
white. The number three is often referred to as the holy number, reflecting the Trinity of
the Father, Son, and Holy Spirit. Three is also apparent in the fact that there is always a
beginning, middle, and an end to everything we do, much like past, present, and future.
A communal superstition arises from the number the three – “not walking under a ladder
comes from an Egyptian warning not to break a triangle” (Macnab, 2008). The Radio
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Free Europe logo applies the number three in the fact that the triangle is the alchemical
symbol for fire. It becomes a metaphor “for transforming destiny into choice, or
Macnab relates the number four as the “perfect fit for the world”, expressing the four
corners of the earth, four cardinal directions, and four seasons (Macnab, 2008). The
common two-dimensional shape to represent this number is the square. The square is
rigid with right angles, symbolically describing the earth, and is also one of the least
example of the number four used in design is the logo for H&R Block. Filling out tax
forms is tedious, boring, and painful. Therefore, the logo is so dreadfully simple that it‟s
boring. H&R Block takes care of the monotonous tax returns so you don‟t have to. The
Macnab refers to the number five as the “keystone in the exploration of number as
quality” (Macnab, 2008). It symbolizes man, health, love, and the energy of movement
acting upon matter – also known as magic. There were originally just four elements of
creation until Aristotle added a fifth one: air, fire, water, earth, and ether. The fifth
element “defines an element so rare that it can‟t be seen or felt but is pervasive in
everything created and everything we do” (Macnab, 2008). The number five also
shape, which is frequently transcribed into a star. Within every pentagonal star is a not-
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too-obvious spiral. The Seed Media Group logo is a great example of the number five,
evoking “the dynamic grace of the spiral and the beauty of resolved balance between
While Macnab is an expert on relating shapes and symbols, Anistatia Miller and Jared
Brown have conducted research defining the meaning behind particular symbols and
images of various countries and cultures. In their book Global Graphics: Symbols, they
identify that the bald eagle is one of the more prominent animal symbols used in the
United States, as it is the national emblem. The eagle is also seen as a global image,
representing royalty, power, authority, and victory for ancient Greeks, the perceptive and
contemplative nature of the evangelist St. John, and the eternal contest between the sun
and the clouds for ruler-ship of the skies in Mexico (Miller & Brown, 2000). An
example of the eagle used in a logo is Eagle Speakers, a speaker company wanting to
convey power and authority in that particular industry. Another significant symbol in our
culture is the bear, which actually takes on two different connotations. While it is a sign
of despair for adults, depicting depressed stock market prices, it is a safe, nurturing
animal for children to play with, such as Winnie the Pooh (Miller & Brown, 2000).
Miller and Brown have also pointed out specific plant images that symbolize the
American culture. “Even though the United States is not the world‟s only producer of
corn and wheat, these two plant symbols are often used in American design to convey
the concepts of abundance, harvest, and food” (Miller & Brown, 2000). Shafts of wheat
are seen in the logo for Progressive Baker Packaging, signifying an abundant harvest
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because “wheat is often referred to as the staff of life” (Miller & Brown, 2000).
Mountains are another global symbol which has slightly different meanings for each
culture. Many people groups believed that the mountaintops were the home of the gods
and goddesses and were symbolic of heaven (Miller & Brown, 2000). The image often
represents that something or someone has reached the highest peak of achievement. In
America, mountains describe the strength, grandeur, and beauty of the American
wilderness.
The sun is another major symbol used in many graphic illustrations. Miller and Brown
note that it typically symbolizes life and humankind‟s victory over darkness. “Early
Christians associated the sun with Christ, immortality, and resurrection” (Miller &
Brown, 2000). The Vision Group used a sun in their logo as a metaphor for
enlightenment and leadership. The moon symbol as a passive, nurturing, feminine side
of nature is frequently juxtaposed with the aggressive, powerful, masculine sun (Miller
& Brown, 2000). The moon has been known to signify wisdom in many cultures. Today,
many people associate the moon with the nocturnal world, afterlife, and fertility. The
star is often connected with departed human spirits and heavenly occurrences,
suggesting the “light of the spirit” (Miller & Brown, 2000). The crescent moon, such as
the one in the Dreamworks logo, denotes victory over hostile forces, and is often a
In 1996, The Bahamas Ministry of Tourism began working with Duffy Worldwide to
design a new identity for the island country. “While The Bahamas does offer the
tantalizing promise of a sensory, emotional, and physical vacation, they are perceived to
be a „stereotypical paradise‟” (Logo Lounge, Inc., 2007). This was the challenge:
designing a logo that was unique to this specific vacation destination, which would make
it stand out from all the other tropical locations, such as Mexico, Jamaica, or other
Caribbean islands. In Brand Apart, Vanderpool-Wallace noted that it was vital to “give
each individual island its own identity”, thus highlighting the exclusivity of The
Bahamas (Duffy, 2005). When questioned about designing a logo for a country rather
than a particular business, Olson, another designer on the team, stated that “‟it‟s about
trying to find tangible ways to bring the intangible to life. It‟s about taking all the words
and all the visuals, and marrying them up in a way that becomes symbolic and
telegraphic‟” (Duffy, 2005). The final design would have to expresses the “breadth of
the offerings of The Bahamas”, because no other tropical location is made up of 700
islands, 17 of which are popular tourist destination (Logo Lounge, Inc., 2007).
After visiting the islands and immersing themselves in the culture and location, the team
of designers had many positive, strong impressions of colors and shapes. The forms that
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Figure 1: The Bahamas logo. It was designed by Duffy and Partners in 1996. The
colorful shapes brilliantly portray the best qualities of the popular tourist destination.
Image from: http://www.bahamas.com/
make up the islands in the logo are organic, rounded forms, which are anything but
expected. They were mainly inspired by the flora and fauna of the tropical paradise,
particularly the birds, shells, and flowers (Logo Lounge, Inc., 2007). The final design of
the logo can be seen in Figure 1. “The beauty of the identity is that it sets in motion an
entire brand language that is endlessly adaptable- in signage, in patterning for clothing
and interiors, in iconography.” (Logo Lounge, Inc., 2007). The forms are great for
accenting specific islands in a magazine or on the tourism website. By graying out the
rest of the logo and having one particular island represented in a bright color, it makes it
easy for one to graphically pinpoint the island they want to visit (Logo Lounge, Inc.,
2007). The shapes are also great for highlighting pictures from a specific island in any
realm of media. The color was also an extremely significant part of the design, as it
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mimicked the “turquoise blue waters, pink flamingos, and pastel sands” (Logo Lounge,
Inc., 2007). While the color palette may feel natural for a tropical destination, “its
complexity makes it special to the diverse nature of The Bahamas”. The vast array of
tropical colors all work together to create a very relaxing, peaceful, yet exciting logo for
such a fascinating destination. Duffy could not have stated better the purpose of a well-
designed logo: “Strong branding elegantly and simply captures what is unique, special,
everyday consumer goods, such as bio-bottled water, gum, and mints (Merrick, 2008).
He took the seven deadly sins to heart and turned them upside down. “For example, it‟s
not about the glutton, but rather the person who is hungry Focus on peace, not wrath”
(Top & Cleveland, 2010). For every product that is sold, some good is done in one of the
seven areas of global need: hunger, sickness, peace, homelessness, thirst, education, and
saving the Earth. Their goal is to change the score- make a significant, measurable
difference in lives all over the world (Merrick, 2008). “We wanted to create a brand that
could communicate seven areas of needs. We took bottles of water and turned them into
t-shirts, with fifty percent organic cotton and five bottles of water” (Top & Cleveland,
2010). From this goal, came the gritty, honest design of their identity, communicating
seven areas of need by altering the common tally mark system used to keep score. The
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Figure 2: Project 7 logo and packaging. The intimate and personal feel was designed by
the owner of the company, Tyler Merrick. Image from: http://www.project7.com/
whole look of the brand illustrates the messed up world we live in: brown backgrounds
with muted tones of color, hand-written imperfect lettering, and very simple, shy
packaging methods. The Project 7 logo and packaging can be seen above in Figure 2.
What makes this company stand out from others is the personal and intimate feel of their
identity. Consumers can get a sense of what the company stands for just by looking at
their logo.
In his forward to Designing for the Greater Good, David Hessekiel stated that “after
nearly a decade of studying cause marketing campaigns, I know that strong design is
absolutely crucial to success. A good design team can breathe life and power into work
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that might otherwise be lost in the twister of advertising messages that swirls around us
from morning to night” (Top & Cleveland, 2010). Hessekiel further explains the
importance of good graphic design for nonprofit organizations because the media
budgets behind it are often very small. “A cause-related effort relying primarily on
donated media must jump off the page, handbill or screen to grab the attention of every
consumer that sees it” (Top & Cleveland, 2010). Good graphic design is vital for
nonprofit organizations because it helps them communicate their message and make
After researching important authors on brand and logo design, important aspects of logo
design, two case studies, and graphic design for nonprofit organizations, I affirm that a
well-designed and identifiable logo is a key ingredient for the success of a particular
business or organization. Mark Gobé, Erik Abbing, Christa van Gessel, and Joe Duffy
all relate that a company‟s identity needs to personally connect with each consumer in an
represents and need to be able to trust them. All this can be done with the power of a
simple logo.
From these conclusions thus far, my research methods will begin with a survey
determining what particular aspects of a logo make it identifiable and memorable. The
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survey will deal with original logos and ask participants to determine what the most
important design characteristic is for each one. On the next few questions, I will show
participants slightly altered versions of the original logos and see how easily they are
able to remember them. Alterations will be done to the font, color, symbol, and form of
the logo. At the end of the survey, all the logos will appear and participants will have to
decide which ones are original and which ones are altered. This will once again test the
impact the logo had on their memory. All the data from the surveys will then be
collected and analyzed to determine which specific features of the logos tested will
always remain clear and identifiable, which might be the color, form, symbol, or font.
Using the information gained from the survey responses, I will then create a general list
of design characteristics for logos. The list will be used to design the logo and brand
identity for a newly-formed nonprofit organization, helping them better inform people in
CHAPTER II
METHODS
The logistics
After reading several books on successful logo and brand design, I found that the best
way to determine the memorability of a logo was to use a correlational data collection
method. To invite people to take the survey, an email was sent out to friends and family
as well as a message on a social network site, called Facebook. The message stated a
simple briefing of this research project with some general information about the survey,
such as the fact that it dealt with logo design and the length of it. At the end of the
message, there was a link that participants could click on, taking them to the website of
the survey. Once the window opened, participants had one more chance to agree or
decline whether they would take the following survey. Once the survey started, there
were optional questions regarding the participants‟ race, ethnicity, and gender, which
were recorded to help vary the results. By surveying as many people as possible from all
Everyone receiving the email or social network message was also asked to pass it along
to their friends and family, particularly ones of different ages, ethnicities, and
backgrounds. Although the message was sent to a majority of college-aged students, this
was the only means available to invite a large number and variety of participants. Giving
out a physical, paper survey was the immediate thought; after reconsidering, the ease and
efficiency of an online survey would be the best for the environment. The survey was
25
created and distributed using Survey Monkey, a website that can be used for research,
event planning, customer feedback, and other survey needs. It has been very helpful to
professors and students who use surveys in their research projects. After creating a
personal account and paying the first month of use, thoughts about how to word the
Participant thoughts
To begin the questions for a specific logo, the participants were asked to determine what
they think is the most defining characteristic of the logo. In other words, what made this
particular logo memorable? The participants had six choices: color (of the font or
symbol), font (type style), form (arrangement of symbol and text), symbol (picture,
image, or graphic), and other, where they could write out what they thought was the
most defining characteristic. These questions were used for two purposes – to get a very
clear idea of what the participants thought was the most important characteristic (this
could be different than what the overall results show) and to show the participants a first
glimpse of the original logo before altering it on the next page of the survey. This
question was also designed to spur the thinking of participants and the idea of first
impressions. Most, if not all, of the logos used for this survey had never been seen by the
participants. Therefore, when Joe Duffy said “that the number of impressions we make is
far less important than the quality of impression we make (Duffy, 2005)”, one can relay
that a good quality impression triggers the memory. The test of the memorability of
these never-before-seen logos was based on the first impression that they left with the
26
participants. As noted from the literature review, Mark Gobé believed that a well-
determine what it is about each particular logo that makes it unforgettable and
Question inspiration
Inspiration was acquired from a website that a professor introduced to me. It‟s called
Guess the Logo – an online guessing game to test your memory of logos you see several
times throughout each day. There is a running timer at the bottom of the screen while it
displays around 8 versions of the same logo. Each logo tests a different aspect of design,
and each alteration is very subtle. For example, the “Google” logo tests your memory of
the order of the colors of the letters. The “IMDB” logo tests your memory of the shape
of the ticket behind the letters. It is amazing to take the test and see how certain design
Where’s Waldo?
A similar “test” was incorporated into a part of the survey, which was called “Where‟s
Waldo”. A few logos were chosen for me to manipulate so that participants would see
other versions of it. The logos were opened with Adobe Photoshop, an image editing
software that allows you to make subtle or drastic alterations to pictures. For the “Better
ATM Services, Inc.” logo, subtle changes were made to the symbol by changing the
27
Figure 3: “Better ATM Services” logo. The original logo on the left was shown in the
survey on a separate page before the series of altered logos. Participants had to choose
the original logo out of the mix of altered logos on the right. Image from:
http://www.betteratmservices.com/
placement of the black bar on the wing of the butterfly. This can be seen in Figure 3 –
the original logo is a larger size on the left and participants were asked to pick which one
of the logos on the right was the original one. Please note that in the survey, the original
logo was shown on a separate page before the series of altered logos; however, here they
are shown side by side so the reader can see the subtle alterations. This same method
was used with the “How to Crack an Egg” logo. In Adobe Photoshop, the order of the
colors of the letters was altered, which can also be seen in Figure 4. The format of this
figure is just like Figure 4 in that the original logo is a larger size on the left so that the
reader can compare the alterations to it more easily. The question in the survey had the
28
Figure 4: “How to Crack an Egg” logo. The original logo on the top was shown in the
survey on a separate page before the series of altered logos. Participants had to choose
the original logo out of the mix of altered logos on the bottom. Image from:
http://www.howtocrackanegg.com/home/
original logo mixed in with the altered logos, causing participants to really examine the
Memory game
Another question for testing characteristics of a memorable logo was making alterations
for that specific logo in each area of design: color, font, symbol, and form. For example,
one color alteration, one font alteration, one symbol alteration, and one form alteration
was made for the “A-Town” logo. Participants were asked to determine how each of the
altered logos was different than the original. It was basically a game of memory because
29
they saw the original logo just a moment before and then had to remember exactly what
it looked like. Mark Gobé revealed that “colors trigger very specific responses… which
can then activate thoughts, memories, and particular modes of perception” (Gobe, 2001).
Each colored logo can prompt a variety of memories, aiding the first impression of it. By
slightly shifting the colors of some logos, this survey question hoped to change those
original memories and confuse the participant. This whole idea was applied towards the
other design characteristics that were transformed (font, symbol, and form). Participants
were also asked how subtle the differences were and how easily recognizable they were.
These questions were used for personal purposes – to possibly reveal areas in the survey
where changes to logos were not effective in tampering with the participants‟ memory.
Ultimate memory
At the very end of the survey, the impact of each logo was put to test on the highest
level. On the last page, one image of each of the logos the participants had seen
throughout the survey was displayed; however, some were originals and some were
altered versions. Participants then had to decide whether each logo was an altered
version or the original. After a few questions into the survey, participants may have
gotten the hint to pay close attention to each logo and its characteristics, but I doubt they
expected to see each one again at the very end. This final question tested the
individuality of each logo compared to others. As stated from the literature review,
“strong branding elegantly and simply captures what is unique, special, and enduring
about the product” (Logo Lounge, Inc., 2007). Each logo needs to stand apart,
30
highlighting the unique characteristics of that particular company or product. This whole
survey was designed to determine what the most important characteristic of a logo is.
Closing
The survey was created in the middle of November and was then available online
towards the end of that month. It was going to be left open until responses were crucial
to continue this research project; however, it was only open for one month, as the
participation slowly declined. It was officially closed at the end of December because
enough responses were received to validate the survey – one hundred and two people
CHAPTER III
RESULTS
When the survey was completed by a large number of participants, the results were not
entirely as reliable as I had hoped they would be. The first potentially harmful issue is
the lack of variety of the participants which took this survey. The survey was sent out to
friends and family, asking them to also forward it along to their friends and family, in
hopes of achieving variety in participant age, ethnicity, and gender. The results showed
that while there were more participants in the 18-30 year old range, the age distribution
was pretty well attained. However, the same cannot be said for the ethnicity of
participants. The vast majority were Caucasian, with very little participants of other
ethnicities. The gender distribution was 69.1% female to 30.9% male, which can be seen
on the next page in Figure 5 with the age and ethnicity charts as well. While these results
were not as varied as I had hoped, I believe there was a great enough distribution to still
The initial logo participants saw was for Better ATM Services. Results of the survey
revealed that 68.2% of participants thought the symbol was the most important
characteristic of the logo. Specific aspects that some participants noticed were the 3D
nature of the logo and the way the image was breaking out of the barriers that enclosed
it. All other answer choices were split between color, form, combination, and other. The
32
Figure 5: Demographic pie charts. The participant diversity in age, ethnicity, and
gender can be clearly seen in these pie charts, taken directly from the survey results.
only characteristic that was altered for this logo was the symbol. When asked to pick out
the original logo from the mix of altered logos, 44.2% of participants guessed correctly
and 34.9% had a pretty good idea that they were right. It would have been interesting to
see which of the participants that guessed right knew that they had a good guess, as
opposed to those that honestly had no idea and just happened to guess the right answer. I
believe this was a successful logo alteration due to the distribution of responses, which
Figure 6: “Better ATM Services” logo results. The bar graph shows the distribution of
responses for which logos participants thought was the original. The image used in the
survey is to the right of this bar graph to relate to the numbers on the left side of the bar
graph. The table shows the various responses towards the degree of difficulty.
A-Town was the second logo that participants were introduced to in this survey. The
majority of participants (38.4%) chose symbol as the most defining characteristic of this
logo. However, the second highest pick, a combination, was not far behind with 27.9%.
The first alteration of this logo dealt with color, and more specifically, the arrangement
of color. Although 60.5% of participants were not fooled this easily and answered
correctly, there were still 39.5% that answered incorrectly. This color alteration received
the most varied results in answer choices for this particular logo. Color was also the
34
characteristic that participants had the hardest time recognizing a change in, thus making
it the most subtle – only 32.6% of participants had a good guess. These results can be
seen below in Figure 7. Symbol was the easiest characteristic for participants to notice a
change in. 95.3% chose symbol with 70.9% of participants knowing that they were
exactly right. However, these results could be invalid due to the fact that the majority of
participants answered that this alteration was not subtle at all. The form and font
Original
vs.
Altered
Figure 7: “A-Town” logo results. The top bar graph shows the distribution of responses
for what participants thought was altered. The original logo is compared with the
altered logo on the left. Below these images is a table, representing how difficult it was
to identify the transformation. Image from: http://mattsoncreative.com/#/work
35
alterations were similar in results, with the majority of participants knowing that they
were exactly right and answering that the change was not subtle at all.
The third logo that participants saw was Pocono Modern. Results of the survey revealed
that 55.3% of participants thought the symbol was the most important characteristic of
the logo. However, the second highest pick, a combination, was not far behind with
22.4%. The first alteration of this logo dealt with form. Although 84.7% of participants
answered correctly, there were still 15.3% that answered incorrectly. 62.4% of
participants knew exactly what was altered, which could be due to the fact that the
alteration was not subtle at all (40.0% answered this way). The symbol was the second
aspect of the logo that was altered. Although the answers were split between symbol and
form, 77.6% of participants knew exactly what was changed and 57.6% said that it was
not subtle at all. Symbol received the highest recognition level and lowest degree of
subtlety for this logo. Although these are very interesting results for a split between what
was altered, a bar graph of the answer choices next to the degree of subtlety can be seen
on the next page in Figure 8. The font alteration received the highest percent of correct
answers with color coming in second. However, the color change was the hardest to
recognize with an even distribution of answers for recognition and subtlety levels.
KASUT was the fourth logo that participants saw in this survey. The majority of
participants (52.4%) chose symbol as the most defining characteristic. However, the
36
Original
vs.
Altered
Figure 8: “Pocono Modern” logo results. The top bar graph shows the close split of
responses for what participants thought was altered. The original logo is compared with
the altered one on the right. A table depicting the subtlety level of this logo
transformation is directly above. Image from: http://www.poconomodern.com/
second highest pick, a combination, was not far behind with 24.4%. Two participants
specifically noted that the name and description of the logo is what caught their
attention. The sole characteristic that was altered for this logo was symbol. 74.4% of
participants chose the correct answer from the mix of logos with all other choices
coming in at 11.0% and below. Although the majority of participants guessed the correct
37
Figure 9: “KAUST” logo results. The bar graph shows the distribution of responses for
which logos participants thought was the original. The image used in the survey is to the
right of this bar graph to relate to the numbers on the left side of the bar graph. The
table shows the various responses towards the degree of difficulty. Image from:
http://www.kaust.edu.sa/
answer, I believe this was a successful logo alteration due to distribution of responses for
The fifth logo that participants were introduced to was Ideapark. Symbol was once again
chosen as the most defining characteristic of this logo (61.7%). However, a combination
of choices came in second place with 23.5% of participants‟ votes. The first alteration of
this logo dealt with color, and more specifically, the various shades of color. Although
38
80.2% of participants answered correctly, there were still 19.8% that answered
incorrectly. I would consider this another successful logo alteration because of the
distribution of responses for the recognition and subtlety levels. A mere 23.5% of
participants knew exactly what was changed, and only 28.4% thought the transformation
was kind of subtle. These specific results can be seen below in Figure 10. Although the
symbol alteration received the second highest percent of correct answers, it was also the
Original
vs.
Altered
Figure 10: “Ideapark” logo results. The top bar graph shows the large number of
correct responses for what participants thought was altered. The original logo is
compared with the altered one on the right. A table depicting the distribution of
responses for the subtlety level of this logo is directly above. Image from:
http://www.ideapark.fi/
39
easiest recognizable change and the least subtle. I would not characterize this as a
successful logo alteration. The majority of participants knew they were exactly right on
the form alteration even though the change was not subtle at all. The font alteration was
a little more varied with 34.6% of participants knowing they were exactly right and
17.3% having a good guess. There was also a wide distribution of answers on the
Figure 11: “How to Crack an Egg” logo results. The bar graph shows the distribution
of responses for which logos participants thought was the original. The image used in
the survey is to the right of this bar graph to relate to the numbers on the left side of the
bar graph. The table shows the various responses towards the degree of difficulty. Image
from: http://www.howtocrackanegg.com/home/
40
How to Crack an Egg was the sixth logo that participants saw in this survey. Results of
the survey revealed that 42.0% of participants thought the combination of elements was
the most important characteristic of the logo. Symbol came in second place with 30.9%
participants‟ votes while all others were split between the remaining four choices. Three
participants specifically noted that the name, phrase, and symbol immediately caught
their attention. The only characteristic that was altered for this logo was color. Only
33.3% of participants chose the correct answer from the mix of logos with all other
choices very close in rank. This most closely matches the degree of recognition with all
participants being evenly distributed over the scale. It is also important to point out that
this is where the first and only tie occurred in the results of the survey – 19.8% of
participants had no idea which logo was correct, while another 19.8% had a good guess.
These results can be seen on the previous page in Figure 11. I would consider this one of
the most successful logo alterations due to the varied responses from participants.
The seventh and final logo participants were introduced to was Ticklefish. Although the
combination of elements was very close behind with 37.0% of participants‟ votes. This
can be seen on the following page in Figure 12. The sole characteristic that was altered
for this logo was font. 87.7% of participants chose the correct answer from the mix of
logos with 23.5% knowing they were exactly right and 18.5% having a good guess.
41
Figure 12: “Ticklefish” logo results. The bar graph shows the distribution of responses
for what participants thought the most defining characteristic was. The image on the
right is the original logo. Image from:
http://www.yiustudio.com/portfolio/ticklefish/index.html
The last question of the survey dealing with logos was an ultimate memory game, which
included all the logos participants had seen on this survey. The four highest votes were
Ideapark with 97.5%, A-Town with 86.4%, Ticklefish with 82.7%, and KAUST with
81.3%. The only one of these that was an altered version of the original logo was
Ticklefish, which was a font change. The second highest score for altered logos was
Better ATM Services, symbol change, with 76.3%. For both of these altered logos,
participants felt they had a good idea of what was changed. An interesting fact should be
noted: the two altered logos that participants remember the best were the first and last
logos participants saw in the survey. I also did not expect that participants would find the
logos that were altered several different ways easier to identify at the very end. The two
42
highest ranking logos, Ideapark and A-Town, were altered four different ways (symbol,
color, form, and font). A chart of these results is depicted below in Figure 13.
Figure 13: Ultimate memory results. The table directly above shows the percentage of
participants that remembered each of the logos as original or altered. The logos shown
for this question are depicted above the chart. Images cited previously.
43
The final question of the survey asked participants to question or comment on anything
about the survey they had just taken. I want to include some of these in my results
because I believe they are important to take note of because some of them are things I
would like to address. The quoted question or comment is italicized and in quotation
“It was really hard to notice the color differences between the symbols.” It is always
hard to alter logos with the same degree of subtlety. This comment shows that the color
“This was fun. It shows that we really don’t memorize what we have seen.” This
stated that a well-designed identity is unforgettable and emotionally charged, much like
the Apple logo. It has vision, visualization, and emotional connection, which has been
“Noting that I am red/green color blind – the color differences sometimes escape my
altering the colors of logos. My goal was to make them very subtle; however, this is not
entirely fair for people who are color-blind. I believe this is also something that should
44
be considered when designing a logo. The shades and tones of colors really do make a
difference.
“I wonder why you didn't randomly select your participants on your own rather than
going through a third party. In any case, all good fortune to you!” I selected participants
that I knew would take my survey. There are only so many people I know of various
ages, ethnicities, and genders. Therefore, I asked some of them to pass the survey on to
others that would take it. This was the only way available to me of diversifying the
results.
“I loved all the logos! Did you design them yourself?” No, I did not design these logos.
Although that would have fully clarified that none of the participants had seen the logo
before, I simply did not have the time to do so. After scouring the internet, I believe I
found logos that none, if not most, of the participants had never seen before.
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CHAPTER IV
LOGO DESIGN
List of characteristics
After an intense analysis of the survey results, I created a list of characteristics that
The first characteristic is symbol. It needs to be bold and easily recognizable. The
symbol should set the logo apart, such as having a 3-dimensional look to it. A great idea
for a symbol is to represent something in an abstract way. This gives it personality and
originality.
The second characteristic is detail. It should not have small, intricate details. Instead, use
bold, simple details to make the logo really stand out. Think about the typeface being
used, symbolism of a word or image, and the meaning of the name. One must also work
with everything as one unit. The form and how pieces of a logo are arranged is highly
important. All these details make a huge impact in the realm of design.
The third characteristic is color. It is very important to have a unique color palette for
your company or organization – this gives it individuality. Take into consideration your
audience and what kinds of people will see your logo most. For instance, a color scheme
for kids is completely different than a color scheme for business, professional adults.
46
One should also use no more than two colors. While some logos benefit from multiple
The fourth characteristic is simplicity. Never use an actual photograph in a logo, but
rather simple vector art that can be easily manipulated. Our eyes seek a unified, whole
composition, which is known as the Gestalt Principle – we naturally look for simple,
easy relationships among parts of a logo. A logo should also be clean and uncluttered.
The fifth and final characteristic is versatility. A successful logo is versatile and can be
used in a variety of ways. It needs to be able to fit on different medias as well. A logo
should have the ability to be scaled to any size without losing the look of it.
The list of characteristics was then applied to the design of a logo for a nonprofit
organization. Ripple Africa is a charity based out of the United Kingdom that does work
throughout Africa. I contacted their representative and communicated with them back
and forth about what they wanted their identity to represent. They wanted a logo that did
not look like a large, corporate logo, but one that had a grassroots feel and look to it. The
organization also expressed that they wanted to use an African-inspired color scheme so
that it would relate more to the people of Africa. All this information was taken into
consideration when designing a logo for them. After several various ideas and
renditions, I finally tweaked a logo that the organization was very happy with. Not only
47
did I satisfy the client, but I also held on to the list of characteristics for designing a
memorable logo.
The symbol I created can be seen on the next page in Figure 14. It is bold and highly
original. I combined the first letters of the words “ripple” and “Africa” in a unique way.
representation of a tree and a water drop creating a ripple. This reflects one of the
organizations top priorities of aiding the country in sustainable practices in regards to the
earth. The typeface meets the grassroots look the client asked for, while separating itself
of other logos. It only uses two colors, each of which are very distinct. The logo is
simple and uncluttered – pure vector art. Lastly, it is versatile and can be used in several
ways. The client can use just the symbol, or just the name, or both.
I believe this research project was a success. I was able to clearly define a list of
valuable information, I gave back to others using my graphic design skill set. A
nonprofit organization now has a logo that is unique and inspiring. I hope Ripple Africa
will make an even greater impact in the world with their newly-designed logo.
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Figure 14:Ripple Africa logo. The logo was designed for the UK based nonprofit
organization Ripple Africa. A prominent symbol, typeface detail, color palette, simplistic
quality, and versatile ability make this an easily memorable. For more information on
Ripple Africa, please visit their website: http://www.rippleafrica.org/
49
CHAPTER V
CONCLUSIONS
Analysis
The overall results of this survey did not reveal as much as I had hoped they would. My
original purpose in using logos with a symbol and a name was so that I could better test
my hypothesis that symbol was the most defining characteristic. However, it would have
been interesting to see how well participants remembered logos that only had a symbol
or a name and not both. If I had included different types of logos, this might have been a
better test of memory. In a nutshell, I was trying to test Stephen Bleicher‟s idea that I
mentioned in Chapter Two: “when companies are successful, they no longer need to
have their names in their logo-the shape and color are all that are required” (Bleicher,
2005).
I also could have tested participants‟ memory with various surveys that were separated
by a few days. As participants worked through the survey, they began to realize that they
need to pay closer attention to every aspect of the logo. Therefore, by the end of the
survey, participants were training themselves to remember the images they saw on the
previous page. More than one survey would have required more participation by survey-
It is also important to point out the subtlety levels of my logo alterations. I tried to alter
them all with the same degree of subtlety, but this proved quite hard to do. Another way
of testing the difficultly level of recognizing logos would have been to include a timer on
each question. A running clock that participants were not aware of could have been a
very effective tool for revealing how hard it was to recognize subtle changes to logos.
Another type of survey could have measured the mood of participants when introduced
to particular logos. This is definitely something that should be taken into consideration
when designing a logo and could have helped me create my final list of design
characteristics. Mark Gobé describes the importance of logo personality like this: “a logo
without „heart‟ is like a person without „heart‟: cold, uninteresting, a robot” (Gobe,
2001).
Summary
As you can recall from Chapter I, my plan was to survey as many participants as
I‟m realizing there are several improvements that could have been made to my research
methods to achieve results with a higher degree of validity, the survey I used still
produced the answer to my original hypothesis that I had hoped for. The most defining
characteristic for six of the seven logos shown to participants was symbol. Although a
combination of elements was the second most defining characteristic, the next single
aspect after symbol was form – the arrangement of symbol and text. I had expected to
find color as one of the top two important aspects of a logo; however my survey revealed
51
otherwise. This information opened a new way of looking at logos. While before I
elements was extremely important as well. This shows that the unity of elements is a key
ingredient for a memorable logo. It also shows that an identity cannot be put together in
just a few minutes. It requires plenty of time to tweak the various elements that go into
the design of a logo. Joe Duffy stated that “brands, like people need to build
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