Hästi lihtne aga huvitav uurimisraamistik, mis on elegantselt realiseeritud ja demonstreerib organisatsiooniväliste spetsiifiliste teadmiste võimalikku mõju. Siin leidis see tekst aga oma koha põhjusel, et aitab ühendada siin voos leiduvaid tekste eeskätt sildavast professionalismist (vt nt siit).
Artikkel on vabalevis lugemiseks kättesaadav.
The logo style is claimed to be a symbol of universities as formal organizations, and as such no different from any other organization (cf. Kru¨cken and Meier 2006), as well as marking the incorporation of universities into a globalized marketing culture and the brand society (Drori, Delmestri and Oberg 2013, 2016).
we argue that universities’ change of visual identities toward the logo style largely reflects a strongly institutionalized professional logic shared by graphic designers
Selgitus graafika disainist:
Graphic design, which is a subdiscipline of the broader design discipline, is about arranging text, images, and symbols to illustrate, amplify, and communicate a message. According to Hollis (2016: 7), it is ‘the business of marking or choosing marks and arranging them on a surface to convey an idea’. It is understood as a discipline, which unites craft and art, and therefore seen as an applied art.
Milline on üks hea logo?
In the 1991, article Rand summed up the require- ments of the good or effective logo as the following: the effectiveness of a logo depends on it being distinct, visible, useful (easy to adapt), recognizable, universal, and timeless (see also Rand 1993: 58).
Our study of the two Norwegian universities indicates that this logic also has become widespread, as we found that it dominated the process of adopting the logo style. Furthermore, our study of the two universities shows that the supply-side logic has been adopted by like-minded professionals within the universities.
Moldenæs, T., & Pettersen, H. M. (2021). The professional project of graphic designers and universities’ visual identities. Journal of Professions and Organization