What Makes a Presidential Campaign Logo Effective: Best Practices and a Semiotic Analysis of the Logos of Barack Obama,

George W. Bush and John McCain By: Carissa Mirasol Nee A Capstone Project Presented to The Faculty of the School of Communication In Partial Fulfillment of the Requirements For the Degree of Masters of Arts in Public Communication Supervisor: Professor Lauren Feldman, Ph.D. April 21, 20112 Nee What Makes a Presidential Campaign Logo Effective3 Nee What Makes a Presidential Campaign Logo Effective TABLE OF CONTENTS ABSTRACT 4 INTRODUCTION 5 BACKGROUND 9 THE LOGO AS A VISUALIZATION TOOL 9 DEFINING A LOGO VS. A BRAND 9 LITERATURE REVIEW 10 DEFINING THE ROLE OF THE TARGET AUDIENCE: THE VOTING PUBLIC 10 EFFECTIVE LOGO DESIGN PRINCIPLES 14 BEST PRACTICE #1: CREATE OR SELECT A MODERATELY ELABORATE LOGO 15 BEST PRACTICE #2: CREATE A LOGO WITH A NATURAL IMAGE 18 BEST PRACTICE #3: CREATE A LOGO WITH A HIGH LEVEL OF FAMILIAR MEANING 19 EMOTION IN LOGO INTERPRETATION 20 THEORETICAL APPLICATION: COLOR THEORY 22 THEORETICAL APPLICATION: APPRAISAL THEORY 24

THEORETICAL APPLICATION: AFFECTIVE INTELLIGENCE 25 LITERATURE REVIEW SUMMARY 26 CASE PROFILE 28 CHOICE OF LOGOS 28 SEMIOTIC ANALYSIS 29 DENOTATIVE VERSUS CONNOTATIVE RELATIONSHIPS 30 CASE ANALYSES AND DISCUSSION 35 DENOTATIONAL INVENTORY 35 HIGHER LEVELS OF SIGNIFICATION (CONNOTATIVE INVENTORY) 35 ELEMENT #1: TEXT 36 ELEMENT #2: INCLUSION OF A URL 39 ELEMENT #3: THE LOGO IMAGE 40 OBAMA/BIDEN LOGO IMAGE 40 BUSH/CHENEY LOGO IMAGE 44 MCCAIN/PALIN LOGO IMAGE 47 CONCLUSION 52 REFERENCES 54 APPENDIX 58 APPENDIX A:DENOTATIONAL INVENTORY 58 APPENDIX B:CONNOTATIVE INVENTORY OF THE OBAMA/BIDEN LOGO 59 APPENDIX C:CONNOTATIVE INVENTORY OF THE BUSH/CHENEY LOGO 60 APPENDIX D:CONNOTATIVE INVENTORY OF THE MCCAIN/PALIN LOGO 614 Nee What Makes a Presidential Campaign Logo Effective ABSTRACT Obamas 2008 election campaign marketing team seized an opportunity to do something

not previously done by past presidential candidates they made Obama a brand and created a strong logo as the face of that brand. As a result of this strategy, the marketing team became the recipient of Advertising Ages 2008 Marketer of the Year award. The U.S. 2008 presidential election demonstrated how visual communications could play a pivotal role in the promotion of a candidate and development of an effective campaign strategy. The capstones literature review summarizes extensive research and extracts what visual elements and strategies contribute to a well-designed logo. Although a logo design can be aesthetically pleasing and offers a certain appeal, it may not necessarily communicate the right or intended message about a presidential candidate in an effective manner. This capstone provides a framework of best practices in logo design and how they can be applied in creating political campaign logos that could positively impact the outcome of an election. From the results of the semiotic analysis of three political campaign logos: Obama, George W. Bush and John McCain, this capstone offers a clearer understanding of the process on how the public or target audience derives meaning from or interprets a logo image. The results shed insight into the possible meanings and interpretations of each logo and can serve as basis in evaluating their effectiveness. 5 Nee What Makes a Presidential Campaign Logo Effective INTRODUCTION

Written and oral communications are important tools in conveying thoughts, ideas and feelings to a target audience. Along with these, however, is the power of visual communication to strengthen and go beyond what one reads and hears. Just like literacy of the written and spoken language, the visual component of communication serves as a mode of discourse and is an instrument that provides clarity through the use of tangible elements. Visual design and imagery are often equated with art, decoration and creative presentation as well as entertainment; however, its place in the realm of effective public communication cannot afford to be overlooked. A visual image not only fortifies what the audience reads and hears, but also titillates and delights them. It is a persuasive vehicle that can make educating or creating an experience easier as the audience absorbs the visual information presented to them, thus resulting in prompt action and positive response to the message being conveyed. Therefore, it is important to select an appropriate visual image that can be combined and intricately woven with written and spoken words to form a unified communication unit effectively enhancing and refining the message(s) being conveyed (Horn, 1999). Past research in the realm of design and visual communications has indicated that there is a significant need to focus on the role of logos in branding and marketing campaigns. Todays society is extremely visually oriented and they use logos as a recognition aid, speeding selection

of the preferred product (Henderson & Cote, 1998, p.14). This consumerist nature of the public when selecting preferred products indeed translates to how citizens can operate as political consumers. In Dion Dennis (2002) Inventing W, The Presidential Brand: The Rise of QVC Politics, he makes this point by taking the following statement and substituting the word 6 Nee What Makes a Presidential Campaign Logo Effective politicians where the word companies is used and citizens where the word consumer is used: Todays society is undeniably brand conscious. Were attracted to brands that project messages we like Forward thinking companies [politicians] understand that if their brand carries a message, it carries equity. Companies [politicians] now are using that equity to deepen relationships with customers [citizens] by offering supporting products that reflect the personality of the brand. Its called relationship marketing and it works (Dennis, 2000, as cited in Hockett, 2005, p. 91). Furthermore, Johnson-Cartee and Copeland (1991) stated that voters no longer experience politics first-hand. Elements and pieces of knowledge are given to political consumers through the mass media system. Mass media has created symbols for the public to interpret on their own. Through these symbols, the voting public simplifies the political realities they should experience, e.g., the differences between Candidate X and Candidate Y, Democrats and Republicans, etc. (Johnson-Cartee & Copeland, 1991). Logos help create these simplified political realities and

enable the public to view the vast political landscape as knowable, understandable and easy to navigate through. The U.S. 2008 presidential campaign demonstrated how visual communications play a pivotal role in promoting and developing an effective campaign strategy. The 2008 presidential election was an election of many firsts. Not only did the nation elect its first AfricanAmerican president but it was also the first time that a relatively unknown candidate was catapulted to the front line for nomination by his party and unexpectedly bested the other candidate. In a time when Americans were frustrated with issues that plagued the Bush administration the war in Iraq, the banking and mortgage crisis, the rising cost of health care and energy, and unemployment Obamas overall campaign message communicated themes of change and a mandate for change (Organizing for America, 2010). Obamas marketing team seized the opportunity to enhance that focus not just in words and eloquent delivery of speeches and 7 Nee What Makes a Presidential Campaign Logo Effective messages by the candidate, but also by crafting a visual design concept that fit and was consistent with the theme of his campaign, all of which effectively helped in presenting him as a solid leader. It is interesting to note how the success of the Obama campaign triggered among many communication practitioners, graphic designers and political campaign strategists a renewed and

revitalized emphasis on the need for a comprehensive logo design that could serve as a cornerstone of a candidates brand. The Obama logo was featured consistently on all of the websites, signage, and marketing materials. Moreover, from a design standpoint, the Obama campaign logo was a complete and total departure from the stylistic norms of other presidential campaign logos, yet was one that resonated with millions of Americans (Heller, 2008). It would behoove campaign strategists and supporters to leverage party resources toward the development of a logo for a political candidate in future elections. This capstone focused specifically on the use of candidate logos as a political campaign tool. Understanding what has made other presidential campaign logos successful can equip designers with knowledge of what to incorporate and consider in future logo designs. The capstone begins by clearly delineating a logo versus a brand, explaining the purpose of logos and why they are integral in political campaigns. Next, the literature review looks at the role of the target audience (voters) when they view a logo/visual image. This section delineates different voter types and how each voter type would process visual information as it relate to logos. The literature review also examines several communication theories of emotion, information processing, appraisal and affective intelligence. Knowledge of the existing theoretical and empirical applications of communication and visual design concepts will be

useful for communications practitioners and designers in the creation, development and/or 8 Nee What Makes a Presidential Campaign Logo Effective selection of productive visual elements that would supplement, if not dominate, a political campaign. The sheer success of the 2008 Obama logo invites a systematic analysis of how a logo can be successfully used by a political candidate to convey key themes of his or her campaign, contribute to a candidates positive image and serve as a face of what the candidate represents. While for years, presidential candidates have employed political logos to supplement their campaign, it has only been in recent years that the use of campaign logos has garnered much attention from the general public. To accommodate this recent interest, this capstone conducts a semiotic analysis of three of the more recent presidential logos: Barack Obamas O, George W. Bushs W, and John McCains Naval Star (Figure 1). This semiotic analysis is important because it explores the various factors that render the meaning of a political logo effective. The analysis highlights the importance and degree of influence that these political logos had on the public. Discussing the strengths and weaknesses of each logo will ostensibly equip campaign strategists, designers and party affiliates with a foundational knowledge and a set of best practices on what characteristics to consider and

incorporate when creating a logo for future presidential candidates and their campaigns. Figure 1: Barack Obamas O, George W. Bush W and John McCains Naval Star (Source: 4.president.org).9 Nee What Makes a Presidential Campaign Logo Effective BACKGROUND: THE LOGO AS A VISUAL COMMUNICATION TOOL Defining a Logo vs. a Brand Politics is a symbolic world (Johnson-Cartee, 1991, p. 1). In the realm of politics, symbols and logos are widely used to represent political figures, ideologies and social issues (Young, 2009). For example, the donkey and elephant logos are symbols of the Democratic and Republican parties, respectively. To the American public, the donkey and the elephant serve as powerful reminders and are visual shorthand for all of the political ideologies that each of these parties represent. In essence, these animals are the visual representation of the Democratic and Republican brands. It is important to clarify and delineate between the terms logo and brand. While they are many times used interchangeably, logos and brands differ in their form and function even if they work in tandem to serve an important purpose in visual communications. A brand is a visual tool that serves as a companys/organizations perceived image and reputation. It is an emotional tie that visually exudes the intangible characteristics of an organizations overarching goals, beliefs, promises and purpose, making a connection with its audience

members (Pittard, Ewing & Jevons, 2007). Therefore, a brand is integral to instilling a positive image of the organization and the product/service they produce. Being that a brand is a type of visual tool, a logo functions as the face of a brand (Rand, 1991). Paul Rand (1991)further defines a logo as a flag, a signature, an escutcheon and is an identifier that derives its meaning from the quality of the thing it symbolizes, not the other way around. For all intents and purposes, a logo provides viewers with instant recognition of an organization. It directly influences the viewers impression of that organizations product or the service it provides (Gernsheimer, 2008).10 Nee What Makes a Presidential Campaign Logo Effective LITERATURE REVIEW Defining the Role of the Target Audience: The Voting Public In todays partisan society, the dissemination of a candidates ideologies and political stance is a complex and challenging task. For any presidential candidate, the overarching goal is to persuade voters to vote for him/her and get elected. In order to achieve that goal, the candidate must display mass appeal ostensibly be everything to everyone and properly communicate his/her ideals to the voting public. The development of a candidates image is critical during an election campaign period, for their projected image, which must be perceived as positive and all-embracing if not the ultimate candidate, is a large, determining factor of success. Previous research claims that the publics voting intentions are commonly focused on

the projected image of a candidate instead of a candidates policy concerns (Guzman, 2009). In such instances, utilizing a visual design system such as a logo to communicate a candidates political ideals, character and integrity is a practice that warrants further study and insight. As a whole, the general public is very aware of visual symbolsmost especially, an organizations logo. As graphic designer Paul Rand said, If in the business of communications, image is king, the essence of this image, the logo, is a jewel in its crown (Rand, 1991 as cited in Gernsheimer, 2008, p. 1). Existing theoretical literature on visual communication provides a high level view of its function and highlights its importance when considering a logo design in a political campaign. In visual communication, the role of the audience is central since the purpose of an image is to influence and persuade the audience about a belief of the past, present or future through the presentation of a two-dimensional object (Tyler, 1992, as cited in Bennett, 2006). Both the theories of semiotics and of rhetoric acknowledge that the audience plays a proactive, if not a 11 Nee What Makes a Presidential Campaign Logo Effective more dynamic role, in this process of persuasion. In semiotics (i.e. the study of signs, symbols and their interpretation), the audience holds or recognizes certain beliefs and reads messages based on these beliefs (Tyler, 1992, as cited in Bennett, 2006, p.37). Hence, the interpretation of a visual image is often specific to that individual. The rhetorical view of communication

design, on the other hand, categorizes the audience as a dynamic participant where with the designer they co-construct the meaning and interpretation of a visual image (Tyler, 1992, as cited in Bennett, 2006). As previously stated, the interpretation of a visual image is on the whole subjective making it even more imperative for any logo designer to capture a positive, allencompassing appeal that will achieve the goal of a candidates election, regardless of varying individual interpretations given to it. The theoretical foundations of semiotics and rhetoric discussed above are seen in Nimmo and Savages (1976) empirical findings regarding a voters interpretation of a candidates image. In their study, many respondents defined the term image as a mental construct, while others defined it as visible attributes of a product, object or personthat is projected or transmitted to the consciousness of an audience. Combining these definitions, Nimmo and Savage concluded that the process of image making is an interactive one, shared by the voter and candidate, and in any case a profoundly important occurrence in any campaign (Nimmo & Savage, 1976, as cited in Kendall & Paine, 1995, p. 26). They insinuate that the goal of a political candidate as a designer of his own logo image is to generate a favorable response of himself to his audience while still allowing that same audience to develop an independent, albeit, positive interpretation of the candidate. When the audience plays a proactive role in the

interpretation of the image, they get a sense of empowerment and ownership as a co-constructor or co-designer of the image with the candidate. This contributes to a more favorable view of the 12 Nee What Makes a Presidential Campaign Logo Effective candidate and is consistent with the rhetorical view of visual communication. A logo should not just be a means to an endi.e., a visual that lets voters know this is Candidate A and he/she is different from Candidate B. The development of a political campaign logo should be comprehensive a purposeful, visual representation of the candidate, and one that resonates with the public. To better understand the importance of a political logo and how a logo and image will positively resonate with the public, it is important to also understand voter types and how they process visual information. Kendall and Paine (1995) highlighted two models of voting publics: (1) the rational voter model and (2) the active voter model. The rational voter model assumes that voters will make their decisions under complete certainty, conduct the most comprehensive gathering of information on a candidate and take into account all other plausible alternatives by ordering them into some sort of evaluative criteria (Kendall & Paine, 1995). The rational voter model has limited empirical evidence since most voters do not have access to or even have the time to gather the most comprehensive information that enables them to exhaustively evaluate political candidates. The limitations of the rational model lead us to Nimmos (1978) review of

voter models focusing specifically on the active voter. As opposed to the rational model, the active voter model postulates that a person engages in voting as a minded behavior and not necessarily a rational one (Nimmo, 1978 as cited in Kendall & Pane, 1995). To clarify, the active voter model posits that the voting process is one where the audience receives and interprets symbols and campaign images in accordance with their own perspectives and opinions (Nimmo, 1978 as cited in Kendall & Pane, 1995). While rational voters aggressively and actively seek all information about the candidates, the active voters are also engaged, but differ from rational voters in that they seek information by selecting and sifting through the political 13 Nee What Makes a Presidential Campaign Logo Effective environment a barrage of information regarding a candidates policy positions, leadership qualities and character on top of prior performance and experience (Brader, 2006). Although these models present some accurate behavior on the part of the voting public, they are actually incomplete. Both the rational and active models focus only on a demographic of the voting public who are considered proactive on different levels. These models do not take into consideration a large amount of the voting population that would generally fall in a category of the apathetic voter or inattentive public (Kendall & Paine, 1995). In general, a lot of people do not focus on politics and issues that are remote to them, or only do so when the issues personally affect them. People are generally cognitive misers,

using shortcuts or heuristics when making voting decisions (Graber, 1985, as cited in Kendall & Paine, 1995, pg. 23). A campaign logo and the image that it projects is an example of such a heuristic. The public is selective in what they hear or read about the candidate and prefer to hear what they want to hear. So it is important that communication practitioners capture the publics interest in visuals, where one look captures all they want to know. A candidates political campaign logo should resonate not just among rational and active voters but also to a major section of the voting public that falls under the categories of apathetic and inattentive. It is this specific voter demographic where a logo can have a great impact and merits more focus and study. One should, however, remember that this large part of the voting population is not necessarily lacking in reason because many people are highly intelligent and capable. While they may not be actively seeking information about a candidate, they may rely on their ability to provide a more meaningful interpretation of a candidate through the logo, the visual image that was created to summarize a candidate. 14 Nee What Makes a Presidential Campaign Logo Effective Understanding the role of the audience and voter types puts the importance of logo development into perspective, as it is not beyond the apathetic/inattentive voter population to rely on and utilize a visual image to navigate through a busy political landscape. One characteristic that a logo must have is that it is aesthetically pleasing to the viewer. This next

section will discuss effective design principles to be considered when creating a logo. It will focus on the visual characteristics that can render a logo effective for the types of voters discussed above. Effective Logo Design Principles Verbally communicating a campaign message or a candidates brand may be quite a daunting task. This is where a logo design presented to the eyes of the voting public can help elucidate a more meaningful interpretation that message, consistent with the expected goal and objective of the political campaign or the candidate. Previous literature on the subject of logos have not determined a universal set of predictions on what types of designs should be selected and/or created in order to achieve the desired response for a logo specifically in a political campaign. However, this literature review looks to a study conducted by Henderson and Cote (1998) that involved an evaluation of two main dimensions of response and design of corporate/company logos. The analysis outlined the characteristics and principles of logo design that can powerfully increase a logos chances of being considered aesthetically pleasing to viewers, thus evoking a desired response from them. Henderson and Cote (1998) examined how variations in the design of a logo influenced individuals responses along a variety of response dimensions. The evaluated response

dimensions included: (1) correct recognition - respondents in the study correctly recognizing logos seen in the past; (2) false recognition - respondents believe they recognize a logo, although 15 Nee What Makes a Presidential Campaign Logo Effective have not seen it in the past; (3) affect- likability of the logo; and (4) familiar meaning - the logos ability to capture a clear connotation of the product, service or company the logo represents. The evaluated design elements included: (1) elaboration - complexity, activeness and depth of the logo; (2) naturalness- an accurate depiction of the product/service it is representing; (3) harmony and proportion - balance and the relationship between horizontal and vertical dimensions; (4) parallelism the placement of the images lines and elements being adjacent to each other; (5) repetition how similar elements are to each other within the image; and (6) roundness the use of circular elements (Kohli, Suri, & Thakor, 2002). Henderson and Cotes 1998 study recommends three best practices that communications practitioners and graphic designers should take into account when creating a strong and affective logo for their target audience: (1) create or select a moderately elaborate logo; (2) the logo should exhibit an element of naturalness; and (3) the logo should have a high level of meaning to its viewer. Descriptions of the three best practices are as follows: Best Practice #1: Create or Select a Moderately Elaborate Logo. The Henderson and Cote (1998) study found that a moderately elaborate logo design is

the most effective. With regards to design, an elaborate logo does not refer to the level of visual intricacy per se. It is comprised of characteristics such as complexity, activeness and depth and it is judged in its ability to utilize simpler design elements while capturing the concept or essence of the image (Henderson & Cote, 1998). A logo designer needs to achieve a moderate balance between too much and too little in order to sustain a viewers interest for a longer period of time. Therefore, a logo should strive for creative use of simplistic visual elements, but moderate elaboration in characteristics of complexity, activeness and depth so that regardless of repeated 16 Nee What Makes a Presidential Campaign Logo Effective exposure to the logo, the viewer remains interested and/or develops an increased likability of the logo with more frequent exposure. Applying this practice to a political logo, a logo that is visually too simple may not provoke the viewers internal desire to know the candidate better, may simply find the candidate boring, or even worsesimilar to his/her competitors. An overly complex logo, on the other hand, may ultimately leave the viewer confused about the candidate. Theoretical Application: Elaboration Likelihood Model (ELM). This practice of developing a moderate and yet elaborate logo has theoretical foundations rooted in the Elaboration Likelihood Model (ELM) of persuasion. In the ELM, elaboration refers to the generation of cognitive responses to communication messagesmessages that can include visual images such as a logo. The ELM asserts there are two routes to persuasion: (1) the

central/systematic route which is a process that requires a greater amount of thought with an individual having a high motivation and ability to process information; and (2) the peripheral/heuristic route which occurs when the individual has low motivation and ability to process information and obtains information by reliance on superficial cues, such as credibility of the source and source attractiveness, etc. (Petty, Priester, & Brinol, 2002). Therefore, a moderately elaborate logo can effectively satisfy both routes to persuasion and thus be more effective in persuading its audience regardless of how they process information presented to them. A moderately elaborate logo design perhaps can offer elements that deliberately provide an opportunity for several interpretations to the same image thereby enhancing cognitive activity of an audience who processes information through the central/systematic route. The central route audience draws their own conclusions from the logo, which would normally be in sync with the purpose of the logo. These audiences can find a direct intellectual connection with candidates through their logo. Individuals who are less inclined to do in-depth information 17 Nee What Makes a Presidential Campaign Logo Effective processing and would prefer to rely on heuristics, e.g. the superficial cues of a logo such as bright colors or the use of a familiar image, will likewise find satisfaction and a sense of identification as they quickly form their conclusions based on surface characteristics of the design -- what is presented to them in the logo. Drawing on the literature regarding the types of

voters, it appears that rational and active voters are more likely to follow the central/systematic route while apathetic/inattentive voters are more inclined to follow the peripheral/heuristic route. Theoretical Application: Motivation, Ability and Opportunity Framework. Another theoretical framework that supports Henderson and Cotes suggestion to use moderately elaborate logos is the Motivation, Ability and Opportunity (MAO) model. The MAO model tends to target members of the inactive public and attempts to engage them in a level of information processing that is higher than the superficial level. The motivation component is responsible for the heightening of arousal so audiences will allocate cognitive resources to process information or continue to process information (Hallahan, 2000). Within this framework, proposed techniques to enhance audience motivation include the use of novel stimuli, moderately complex messages, and sources that are attractive or similar to the audience (Hallahan, 2000). Therefore, a moderately elaborate logo should employ techniques that enhance a voters ability to process messages by tapping into the individuals schema and existing cognitive resources and appeal to his/her identity. One such way to accomplish this is to use a combination of graphics, text and narration, concrete words and images, and recognizable marks (logos, logotypes, trademarks and symbols). The logo designer should be visually creative while avoiding distractions or complex arguments that will take away from the message and

must include interactive illustrations or images (Hallahan, 2000). 18 Nee What Makes a Presidential Campaign Logo Effective Best Practice #2: Create a Logo with a Natural Image Another factor that contributes to positive affect for a logo is naturalness. Naturalness in a logo is the degree to how the design depicts the commonly experienced object (Henderson & Cote, 1998). Henderson and Cote (1998) determine that there are two ways naturalness can be achieved: representative (the degree of realism in a design) and organic (designs made of natural shapese.g., not geometric shapes but irregular curves). It is important to take into consideration that the concept of naturalness in a logo should not be as natural as an image as seen in a photograph. A simpler, yet accurate depiction of the intended object is appropriate and more satisfying to look at (Henderson & Cote, 1998). This complements Gernsheimers (2008) text that outlines ten elements to create an enduring logo. It states that a properly designed logo is one that is simple in its construction but not necessarily in concept (Gernsheimer, 2008). The concept should have depth and breadth with all its complexities, while projecting it in a logo image that is simple and easy to understand. When a logo has a simplistic level of natural and recognizable visual elements, it facilitates identification for its viewers. An example of simplistic naturalness is seen with the evolution of the Prudential logo (Figure 2). The logo was used to visually communicate that Prudential is the rock you can rely

on, (Prudential, 2010). Although the logos from 1870 to 1940 essentially exhibit a high level of representative naturalness, they are extremely detailed and visually busy in their design. In 1984, Prudential began simplifying the level of representative naturalness by employing basic geometric shapes to construct the rock image, which turned out to be abstract and almost unrecognizable as the well-known Prudential symbol. As such, in 1990, the logo was recreated with a more organic naturalness. In this case, it was Prudentials most effective logo. 19 Nee What Makes a Presidential Campaign Logo Effective The image remains that of a simplified, organic rock as a silhouetted familiar image connoting solidity, gracefulness and history (Prudential, 2010). Best Practice #3: Create a Logo with a High Level of Familiar Meaning. Another effective practice is to create a logo that displays a high level of familiar meaning to its viewers. The easier a logo is interpreted by its viewers, the higher the likelihood for recognition and being evaluated more favorably overall (Kohli, Suri, & Thakor, 2002). Henderson and Cote (1998) also found that logos which share similarities to popular, more well recognized logos while more likely to be falsely recognized can still be positively evaluated. Theoretical Application: Dual Process Theory. Empirical evidence that provides further explanation about the variances in logo preference is seen in Groves and Thompsons (1970) Dual Process Theory. This theory assumes that two underlying neural processes affect the

response to a stimulus: (1) habituation, a decrease in responsiveness and (2) sensitization, an increase in responsiveness (Janiszewski & Meyvis, 2001). Sensitization depends on stimulus intensity. For example, a high contrast stimulus is more interesting than a lowcontrast stimulus; a complex stimulus is more stimulating than a simple stimulus; and a significant stimulus is more stimulating than an irrelevant stimulus (Janiszewski & Meyvis, 2001). This assumption is in tandem with Henderson and Cotes findingssalient logos are more meaningful, are conceptually fluent and are more likely to be accepted by the viewer (Janiszewski & Meyvis, 2001). Factors of habituation are dependent on the intensity of a stimulus. Essentially, a less Figure 2: Evolution of the Prudential Logo. (Source: Prudential advertising campaign)20 Nee What Makes a Presidential Campaign Logo Effective intense stimulus will result in stronger habituation and thus a decrease in responsiveness and interest at a faster rate (Janiszewski & Meyvis, 2001). Habituation at a faster rate will result in loss of interest among viewers. For a logo to be effective, it should contain a meaningful design that conveys a message that will not dissipate too quickly and instead enhance or heighten the intensity of the viewers interest. After gaining a better understanding of successful design principles, it is also important to consider that an aesthetically pleasing logo may not always communicate the correct message. To understand this phenomenon, the next section of this literature review will look at how factors

of emotion can affect interpretation of a visual image and how a design should be visually structured to elicit the correct emotion or a positive interpretation. Emotion in Logo Interpretation Green and Loveluck (1992) laid out a psychological, theoretical framework that contributes to our knowledge of how individuals view and interpret a corporations logo. The findings from this reading merits inclusion in this literature review, as there are many aspects of corporate logo design that can translate to and inform design practice in the development of political logos. Green and Loveluck (1992) lay out three sources of information that contribute to a persons understanding of a symbol: (1) the purpose of the communication; (2) the properties of a symbol referential and graphical; and (3) the context in which the symbol is seen. To clarify the first source of information, it is extremely important for individuals to understand that properties of a symbol should be designed to communicate information about a corporation and/or organization and to treat the symbol as relevant to what the company wants to say about itself just as in a speech context we treat utterances of another person as relevant to that context (Green and Loveluck, 1992, p. 39). The second source of information that contributes 21 Nee What Makes a Presidential Campaign Logo Effective to a persons understanding of a symbol can be best described using the example of the most recent version of the Prudential Logo (Figure 2). The referential properties of a symbol allude

to what the symbol actually depicts. In this case, the symbol depicts a large rock the famous rock of Gibraltar. The graphical elements of the symbol refer to how the image is constructed for the viewer. Referencing the Prudential logo, the graphical elements of the logo incorporate the use of a two-toned image (light blue and white), where the rock image is circumscribed within a circle, using simple and bold lines to create the whole image. The use of these types of elements and the choice to incorporate the graphical elements in this way can connote different meanings to different people. To further clarify this concept, the use of simple and bold lines to create the rock logo can convey that the organization or company it stands for exhibits characteristics of strength and powerpositive attributes that exemplify a life insurance company dedicated to serving and protecting the wealth of both individual and institutional customers. To another person who may not be familiar with Prudential, the use of an icy blue color can be off-putting to a viewer. Icy blue can connote characteristics of being a company that is cold, not personable or not caring of their customers. In this instance, it is plausible that the same logo evoking a positive response in the first example, can elicit a negative response with another individual who had an unfavorable customer experience with Prudential. The graphical and referential properties of a symbol as well as the context in which a

symbol is seen can produce various interpretations of its message. This is because visual interpretations are almost always attached to emotion. Verbal communications tend to leave their audiences in a more rational, logical and linear pathway of thought, while visuals have the tendency to resonate with their audience on an emotional level, which in turn, can socially engineer change in beliefs and in attitudes (Joffe, 2008). Because emotions are affected by the 22 Nee What Makes a Presidential Campaign Logo Effective quality of visual materials, it is essential to look into literatures regarding theories of emotion on information processing and their application in order to help communication practitioners, communication strategists, visual designers and candidates alike understand what elements of emotion to consider when creating an meaningful political campaign logo. Theoretical Application: Color Theory. When a person sees a logo, they are essentially looking at the formation of carefully crafted colors and the shapes of those colors. The appropriate use of color therefore is a powerful tool that stirs the emotion of viewers and allows them to see in the logo the total expression of the candidates personality. Extensive literature on color theory provides a set of theoretical constructs and guiding principles that can be used to create harmonious color combinations that will render a logo as aesthetically pleasing or extremely relevant. The assumption that color is a tool to evoke emotion is seen in Johann Wolfgang von Goethes (1810) Zur Farbenlehre (Theory of Color.) In

Zur Farbenlehre, Goethe divided all colors into two separate groups believing that colors are linked to emotion. One group consisted of warm colors, i.e., red to orange to yellow, which normally produces excitement among their viewers. On the other hand, cool colors, i.e., green to blue to violet, produce unsettled feelings (Stone, Adams, & Morioka, 2006). Referring to Figure 3, Goethe claimed that the combinations of IC , IIC , IIIC , and IIA in his color triangle produced a serene color palette (Stone, Adams, & Morioka, 2006). In accordance with the previously discussed concept of subjectivity in visual communication, this color palette is interpreted as such by its viewer. Depending on how this color combination is used and what it is used for, will determine if this palette really is considered serene. 23 Nee What Makes a Presidential Campaign Logo Effective It is important to note this subjectivity exists because the human eye and brain experience color physically, mentally and emotionally (Stone, Adams, & Morioka, 2006). Consequently, colors themselves have meanings that are culturally defined and agreed upon, so it is important to have a grasp of the various meanings and investigate how colors differ culturally before selecting colors for a logo. Supplemental literature further shows colors effect on emotion through Braders (2000)

study in the use of emotional appeals and political ads in the 2000 election. One area of his study focused on color in political advertisements and found that color is related to emotional cues. While his study focused specifically on political advertisements cuing emotions of fear and enthusiasm, this can certainly be translated to the selection of colors in the development of a political logo. He found that specific color schemes appeal to primary emotions. For example, a black and white color scheme or a dim/dark color palette connote fear or anger, while bright and colorful imagery produces the opposite effect, by cuing emotions of enthusiasm or pride (Brader, 2006). Emotions are reactions that are short-lived, intense and directed to some sort of external stimuli, whether it be an event, object, image or person (Nabi, 2002). Therefore, in the realm of politics and political elections, evoking the right emotion at the right intensity and at the right Figure 3: Goethes Color Triangle. Color Mixing and Goethes Triangle.24 Nee What Makes a Presidential Campaign Logo Effective time can convince a voter to cast their vote for the candidate they emotionally connect with. The following theoretical applications contribute to understanding the role of emotion as it relates to the design realm. Theoretical Application: Appraisal Theory. The core tenet of appraisal theory is that emotions are drawn out by an individuals evaluations of events and situations (Roseman &

Smith, as cited in Scherer, Schorr and Johnstone, 2001). With regards to the development of an image such as a campaign logo, designers, communication practitioners and campaign strategists would aim to create an all-encompassing logo that elicits the proper emotion, ostensibly sending out the proper message about the candidate. It is plausible that an image deemed positive by one individual may evoke a negative emotion in another individual. Appraisal theory can provide an explanation for the differentiated nature of emotional responses to a visual image. While there is limited literature on the subject of logo design, Desmet (2002) examined how appraisal theory can inform practitioners on how the appearance of products (product design) can evoke specific emotions in the viewer (Demir, Desmet & Hekkert, 2009). In his assessment, he narrowed product appraisal (the effect of a product on ones well being) down to four main types: (1) relation of a product to ones goals; (2) sensorial appeal of the product; (3) the legitimacy of an action represented by the product; and (4) novelty of the product (Demir, Desmet & Hekkert, 2009). With the first product appraisal, the relation of a product to ones goals, the end user is concerned with how does this product meet my goals, beliefs, or standards? And how is it in line with my personal well being? The second appraisal, sensorial appeal, refers to our dispositional likes, tastes or attributes in a product. A product that is in line with our attitudes

will be appraised as appealing, while one that is not in line with our attitudes is unappealing. The third appraisal, the legitimacy of an action represented by the product, depends on whether a 25 Nee What Makes a Presidential Campaign Logo Effective product is perceived to meet our standards and reflect the norms and beliefs of how things should be. The fourth appraisal focuses on the novelty of the product. Novelty refers to how much a product deviates from the norm or from our expectations of how it should be. A product appraised as novel, will result in an emotion of pleasant surprise from the viewer. Another design study relying on the core assumptions of the appraisal theory were seen in Normans (2004) article that incorporated the role of mental processing and its effects on affective responses. He asserts that processing occurs on three different levels, and to complement each of these levels, he proposes three design strategies: (1) Visceral: governs responses through direct perception. Design strategy recommended: design for appearance. (2) Behavioral: involving learnt but automatic affective responses. Design strategy recommended: design for ease of use. (3) Reflective: involving affective responses due to conscious thinking. Design strategy recommended: design for reflective meaning. (Norman, as cited in Demir, Desmet & Hekkert, 2009, p.41). Theoretical Application: Affective Intelligence. For further insight and understanding into the role of emotion within visual images and its influence on political behavior, it is necessary to focus on Marcus, Neuman and MacKuens (2000) theory of affective intelligence

which states that there are two parallel emotional systems in operation that work to shape the voting citizens choices and political behavior (as cited in Brader, 2006). The first is the disposition system, which regulates the motivation of a person to act on their existing political habits, e.g., partisanship, prejudice toward a candidate, or predispositions. The second is the surveillance system, which is triggered by a threatening condition of awakening citizens into an anxious state that encourages them to consider other choices (Brader, 2006). With images that evoke a positive mood for the viewer or if a viewer is already in a positive state, viewers tend to engage in top-down processing, relying on pre-existing beliefs or heuristics such as a visual image. On the other hand, with images that evoke a negative mood, or if a viewer is in a 26 Nee What Makes a Presidential Campaign Logo Effective negative mood, viewers tend to engage in bottom-up systematic processing, where interpretation of an image comes from data or information given to the viewer (Schwartz, 2000 as cited in Brader, 2005). For the purposes of this literature review, it is important to focus specifically on positive emotional appeals that would help create an effective political logo because in a presidential election, a logo serves as the shorthand image of a presidential candidate. Braders (2005) research looked at enthusiasm (a positive emotional appeal) and its impact in an election campaign. He revealed that the findings were in accord with the theory of affective intelligence,

whereby enthusiasm appeals led viewers to rely on their pre-existing beliefs and preferences to choose a political candidate. In addition, enthusiasm appeals generated more overall interest in the candidates political campaign (Brader, 2005). Perhaps the theory of affective intelligence suggests that a logo might have the most positive effect on people who already hold the same views as the candidate, reinforcing their existing loyalties to that candidate and the party it represents. In order to garner a positive response across political party lines and resonate with others that many not hold the same pre-existing beliefs, the logo must be structured and designed in a way to positively promote the stability of the candidate to become the president. Literature Review Summary As discussed throughout this literature review, a political logo is an integral piece of communication when structuring a political marketing campaign. The design practices and principles as well as the theoretical foundations presented in this literature review are a summation of criteria and elements to be considered when creating an effective logo. This includes several design best practices such as: (1) the creation or selection of a moderately elaborate logo; (2) must exhibit an element of naturalness; and (3) have a high level of 27 Nee What Makes a Presidential Campaign Logo Effective meaning to its viewer. The first two practices lean more towards design principles and focus on graphical properties that render a logo aesthetically pleasing. While logos can be aesthetically

pleasing, that may not mean they are effective. Therefore, the third best practice suggests that designers and practitioners should greatly consider the referential properties of a logo, which warrants a strong focus on factors such as emotional elements in the processing of a visual image. This affects how a logo image is received and interpreted when viewed by the audience. While this literature review established criteria that were not specifically geared toward political logo design, this capstone will also investigate if such practices and principles are applicable to presidential campaign logos. Incorporating and adopting general best design practices as they relate to logos may contribute to an aesthetically pleasing political candidate logo. A logo can ostensibly serve as a powerful mode of political communication in a presidential campaign. The next section of this capstone will discuss the methods used in tandem with these best practices garnered from this literature review to analyze the effectiveness of three presidential logos. 28 Nee What Makes a Presidential Campaign Logo Effective CASE PROFILE The literature review focused on theories and principles of design that result in the production of an effective corporate or organization logo. It is noted, however, there is a lack of literature that zeroes in on the design of a political logo that is powerful and encompassing of a political candidate. It is therefore interesting to be able to see to what extent the best practices for

logo design by companies or other organizations can be applied to the logo design for a political candidate. How are the processes of creating a corporate logo similar or different from that of a political logo? Where are the points of convergence and divergence when it comes to best practices and principles of design? Will the same principles and practices applied in an effective or highly successful corporate logo design result in a successful political logo? Just as an effective corporate logo design translates into company profits, will an effective political logo translate into election of a political candidate? This capstone aims to investigate the principles and best practices in corporate logo design and how they can be successfully applied to creation of political logos. This capstone uses a semiotic analysis approach in order to inform our understanding of the effectiveness, strengths, weaknesses, and how an individual can derive meaning from a political logo image. Choice of Logos This capstone is timely in that both during and after the 2008 presidential election, political campaign strategists, marketers and graphic designers saw merit in Obamas implementation of a powerful and effective logo from the beginning of his campaign until after his election as president. Understanding the elements of what makes a political logo effective will be beneficial for future candidates announcing their intent to run for the 2012 presidential election and beyond. 29 Nee What Makes a Presidential Campaign Logo Effective

To satisfy the recent interest in this area, this capstone will look into the political campaign logos of two successful presidential candidates (Barack Obama [2008] and George W. Bush [2004]), and that of an unsuccessful candidate (John McCain [2008]). It is important to note that this capstone does not solely attribute the successful election of Presidents Obama and Bush to their respective logos, although the impact of their logo designs may be rendered effective and successful in highlighting the candidates that increased the public's interest in getting to know them more. Conducting a semiotic analysis on a logo used by a winning candidate versus that of candidate who did not win offers a contrast that provides context on how an aesthetically pleasing logo can sometimes convey unintended meaning. Although there are many variations of the presidential candidate logos (due to the voting public posting different iterations that may not have been the original version), this capstone chose to select logos from a presidential candidate logo and website repository called www.4president.org. Semiotic Analysis Semiology is essentially the study of "signs" and hence, semiotics can equip sign or logo analysts with the proper tools to enable them to systematically approach sign systems in order to understand how a sign or signal produces its meaning (Penn, 2000). The concept of semiotics has its foundation rooted in Ferdinand de Saussures work in structural linguistics. A linguistic

unit is called a sign, and a sign is divided into two parts: (1) a signifier the form it takes; and (2) the signified the concept it represents (Penn, 2000). These two concepts are closely related and inter-connected to each other. While the signifier and signified can be analyzed separately, they only exist as components of a total sign system and, therefore, they cannot exist without each other. It is important to keep in mind that in delving into the meaning of a sign, the 30 Nee What Makes a Presidential Campaign Logo Effective assessment of its two parts the signifier and the signified are taken together when in relation to their structures and their structural relationships with other signs (Dyer, 1986, p. 123). From Saussures foundation of semiotics, other scholars have developed different variations on how to analyze images. Images have a polysemic (ambiguous) nature, therefore variances in sign/symbol interpretation are influenced by factors such as: (1) culture; (2) the individual; and (3) elements of the image such as typography, captions and colors (Penn, 2000). Penn notes that because of their polysemic nature, images sometimes require accompanying text. The accompanying text, referred to as anchorage serves to clarify and disambiguate the image (2000). At other times, both the image and text are presented simultaneously to clarify the overall meaning of the image. This is what is referred to as relay. It is important to note that written and spoken communication differs from visual communication in that with written and spoken language,

signs appear to the audience in a controlled and carefully calculated sequence. However, in images, all elements of a visual sign are presented to the viewer simultaneously, where there is less control in dictating the message sequence to its viewer (Penn, 2000). Based on the foundations formed by Saussure and Pierce, other scholars have examined and focused on different aspects of sign relationships. Moriarty (2005) asserts that in the theory of signs there is a notion of oppositions and their role in creating meaning that should be considered. In this regard, a semiotic analysis would then consider the difference between the denotative and connotative meanings of signs. Denotative versus Connotative Relationships. When conducting a semiotic analysis of an image, a denotative inventory would consist of a direct and specific description of the signified. This inventory is a literal description of what the viewer sees. To conduct a 31 Nee What Makes a Presidential Campaign Logo Effective connotative inventory is to actually delineate what meaning the visual image evokes. Moriarty (2005) refers to this as the cultural baggage related to or associated with the visual image. Highlighting the cultural knowledges and syntagm associated with an image can provide the viewer with further insight and information into the images meaning. An example of cultural knowledges needed to provide context to an images meaning is seen in the selection of an eagle as American Universitys mascot. In order for a viewer to

properly draw a connection with the eagle representing American University, it is useful to know is that in the United States, the eagle is a symbol of America and patriotism. First President, George Washington expressed a dream of having a national university in Washington, D.C.the nations capital (American University: History, 2011). After understanding this context of why the university was built, American University can be meaningfully embodied in the form of an eagle. Exploring the syntagms or syntagmatic relations of a sign informs how the elements of a visual are juxtaposed and patterned can elicit various meanings and interpretations. Such elements include: color, size, positioning, cues of emphasis and relationships of the elements to each other (Penn, 2000). Penn (2000) demonstrates a syntagmatic relationship using a Givenchy perfume advertisements choice of typeface. She systematically outlines the elements of case, orientation, letter proportion and typeface style to derive visual meaning from the word Organza in the advertisement. (Refer to Figure 4 for an image of the advertisement and Table 1 for the results.) It is important to note her analysis included the unchosen syntagmatic elements in order to understand what other typeface options could have been incorporated into the image. Utilizing other syntagmatic elements would have changed the visual meaning of the typeface and the advertisement as a whole. 32 Nee What Makes a Presidential Campaign Logo Effective

Penn describes the font selection of the word Organza as handwritten suggests an afterthought: a caption supplied to the already complete image. The Z is drawn with a flourish and the letters are clearly formed italicized capitals, suggesting perhaps flair, optimism and extraversion (Penn, 2000, p. 235). Incorporating the other syntagmatic choices from Table 1 and manipulating the advertisement to display the word Organza in a form opposite from the advertisemente.g., using lowercase letters, roman orientation, expanded proportions and a serif font the visual meaning of the word Organza will ostensibly change. Figure 5 shows a mock Givenchy advertisement with a new set of syntagmatic elements. The manipulated advertisement loses the original suggestion of flair, optimism and extraversion. While the choice in typeface it is still visually appealing, the new font combined with the original image of the woman and the perfume bottle gives off a completely different vibe. The manipulated advertisement now seems to imply the perfume is for more conservative, subdued, classy and elegant types of women. Figure 4: Givenchy Organza advertisement.33 Nee What Makes a Presidential Campaign Logo Effective Semiology is applied to a variety of sign systems ranging from fashion, architecture, and consumer products to publicity methods (Penn, 2000). The goal of the semiotic analysis is to elicit the cultural knowledge that is required for the viewer to understand the image and its

intended meaning (Penn, 2000). Considering Moriartys notion of opposition, Penn outlines a semiotic analysis approach that is best applied to advertising images. This approach is most closely related to an analysis of logos, as logos are in essence, a form of an advertising image for a presidential candidate. This capstone models the semiotic analysis method created by Penn (2000) in the comparative study of the effectiveness or non-effectiveness of the political campaign logos of Obama, Bush and McCain. Each of the three presidential candidate logos was analyzed denotatively then connotatively, following the steps outlined in Figure 6. Figure 5: Typeface change in the word Organza 34 Nee What Makes a Presidential Campaign Logo Effective35 Nee What Makes a Presidential Campaign Logo Effective CASE ANALYSES &DISCUSSION Denotational Inventory The capstone used Penns (2000) semiological method of analysis. The analytical process began by conducting a denotational inventory of each presidential (Obama, G. W. Bush and McCain) candidate logo. The inventory focuses on the literal elements of the logo, which were grouped into two main components: text and images. The text inventory for each candidate logo took into account the location of text, the characteristics of the font and the color of text. The image inventory notes the use of colors, shapes and textures, and how these elements were combined to create an image. Appendix A (page 58) features a full table showcasing the

denotational inventorys findings. Higher Levels of Signification (Connotative Inventory) The connotative inventory builds on the groundwork laid out by the denotational inventory in order to create a more meaningful analysis of the elements used in the discussion. The connotative inventory asks a series of related questions for each specific element (Penn, 2000). Examples of questions in a connotative inventory are listed in Figure 6. Conducting a connotative inventory is essential because visual elements are polysemic and the various interpretations of a visual image can contribute to more than one higher order sign. Highlights of the connotative analysis of the three political logos derived from the discussions of several important elements of the logo are presented. Comprehensive tables (Appendices B, C and D on pages 59-61) showcase the full results of the connotative inventories conducted for each of the presidential candidate logos. 36 Nee What Makes a Presidential Campaign Logo Effective Element 1: Text. In all three of the presidential logos, the names of both the presidential candidate and their vice presidential running mate are featured, with the presidential candidates name listed on top. This connotes that the presidential candidate should be the viewers main focus. While their running mate remains important, the name rests below the presidential candidates name implying a more subordinate position and supporting role. This concept of primarysubordinate

positioning of the names in text is conveyed more effectively and clearly in the logos of both Obama and Bush than that of McCains. Although Biden's name utilizes the same typeface as that of Obamas name, the size of Obama's name is larger and more prominent, suggesting the more important role of a U.S. President. The same is observed in Bushs 2004 logo where Cheneys name is smaller than that of Bushs. On the other hand, the typeface and size of McCains name in his campaign logo is the same as his running mate, Palin. The similarity in typeface and size as a design choice can elicit varying interpretations from different viewers. It can connote equality in importance of McCain and Palin as candidates and the positions they are seeking. For voters who want to see a woman serving in a high position as the Vice President of the United States, this equal font size may be viewed favorably because it reinforces the idea that there is no reason why a woman cannot serve in a high political office as the presidents back up. The McCain/Palin logo suggests that McCain and Palin have equal abilities to run the country and strengthens the position of gender equality. Alternatively though, this logo may not sit well with viewers who want to see a distinction between the role of the president and vice president. It can run the risk of being counterproductive when other viewers and the media start to shift the attention to the vice presidential candidate and in his/her qualifications to the Presidents

successor should he become incapacitated. As can be seen throughout the campaign, the media 37 Nee What Makes a Presidential Campaign Logo Effective coverage portrayed Palin as unfit to serve as McCains backup. As seen in the unfortunate interview with Katie Couric and the Saturday Night Live parodies, Palins political inexperience and naivete became a source of humorous mockery of her capabilities and what she stands for. At a pivotal point in the campaign, Palin's lack of achievement became the center of focus instead of McCain's experience, abilities and achievements. The choice of the style of fonts/typefaces is another area of focus when it comes to designing of a political logo. The typeface style selected can have a direct or indirect impact on the viewer who can attach various meanings based on font used. As seen in the Givenchy Organza perfume logo example, the overall visual meaning of an image with supplemental text is guided by its typeface selection. Alterations in the formatting of letters the selection of a serif font versus a sans serif font have an impact in the connotation. Figure 7 offers the visible differences between the serif and sans serif fonts. The red lines in the last example indicate the location of the serifs on a letter. The denotational inventory (Appendix A) shows that each candidate utilized the following font types in their campaign logos: - Obama/Biden: Small capital letters, serif font38 Nee What Makes a Presidential Campaign Logo Effective - Bush/McCain04: Bold capital letters, sans serif font - McCain/Palin: Capital letters, (technically) a sans serif font

Many studies have been conducted regarding the readability of serif versus sans serif typefaces. Studies have shown that serif typefaces are more readable than sans serifs; however, other studies contradict those findings and found the reverse to be true. Regardless of the disparities in these findings, one result that was consistent across these studies was that viewers deem typefaces to be the most readable when exposed to typefaces that they are more accustomed to and are often seen (Felici, 2003). Typical texts (books, newspapers, magazines) traditionally utilize serif fonts for large amounts of text while a sans serif type is more often utilized in a display role making titles and headings in advertisements more prominent (Felici, 2003). Utilizing capital letters is a typical design choice for a typeface in a display role, and each candidate effectively does this. Bush follows the norm by using a bold, sans serif typeface which is a solid choice of lettering. This can connote the stance of business as usual, which may be acceptable but does not stand out as much to the viewer. Obama, on the other hand goes against the norm of display roles by using a serif font. Obamas typeface is different from the standard although it remains aesthetically pleasing and is an effective message conveyor of a promise of hope and change. Using a polished, contemporary and atypical font such as the serif font in the Obama/Biden logo is visually consistent with those themes, connoting to viewers

that Obama and Biden can provide a complete change from the Bush administration. McCain and Palins typeface selection seems to be indecisive. While it technically employs a sans serif font, there is some subtle making of serifs at the end of the character. This element of an inbetween font can come off as confusing leaving a question mark in the minds of the viewer and a degree of uncertainty that McCain/Palin may not be sure of their stance or goal. Such choice of an in-between typeface can be considered a safe font to use, where it may visually please a 39 Nee What Makes a Presidential Campaign Logo Effective wider audience but in reality convey the wrong meaning. The ambiguity in typeface selection may project the Republican candidates as having no strong stand on policies and issues and simply catering or accommodating to as many voters as possible. The McCain/Palin typeface selected was called Optima-- the same font used in the Vietnam Veterans Memorial in Washington, D.C. This design choice may have been deliberate for the purpose of highlighting McCain's prestigious military career and his heroism as a Prisoner of War. While this design choice most likely resonated well with McCains supporters, it may not have been a wise choice at a time when many other Americans expressed a wish to withdraw troops. The militaristic undertone of the logo can subliminally remind viewers of the fact that both McCain and Palin were advocates of the troop surge in the Middle East. Element 2: Inclusion of a URL. The denotational inventory shows that two of the three logos (Obama and McCain)

incorporated web URLs which direct viewers to the candidates official websites where they can obtain more information on the candidate, their political views and other campaign activities. Though adding the website URL on a logo does not serve any artistic purpose, incorporating it urges the viewer to take action in learning more about the candidate or gives voters an action outlet and means to be more proactive in supporting the candidate's campaign. Unlike that of Obama/Biden and McCain/Palin logos, the Bush/Cheney logo does not include a website URL. This may be attributed to the fact that that in the 2004 elections, the emphasis on social media was not as popular it was in the 2008 election. In 2008, Obama revolutionized his political campaign by blitzing the public with both traditional and social media tools e.g., blogging, Facebook, Twitter, and even iPhone Apps (Seidman, 2008). The success of Obamas campaign in the social media realm is undoubtedly a best practice and will likely be incorporated in all 40 Nee What Makes a Presidential Campaign Logo Effective future presidential campaigns. Hence, for any future presidential campaign logo, a web URL should be included in its design so that it promptsits audience to be more proactive and support the election of a candidate. Element 3: The logo image. Each presidential logo includes a visual piece that represents the candidate and possibly, their running mate. This area of discussion evaluated each visual in light of the three best

practices of logo design as outlined in the capstones literature review: (1) the creation or selection of a moderately elaborate logo; (2) exhibition of an element of naturalness; and (3) having a high level of meaning to its viewer which will be derived from the results of the semiotic analysis. The denotational inventorys findings indicate that each logo utilizes simple geometric shapes put together to create a meaningful image that is easily associated with the candidate. Obama and Bush select a color palette that is typical of U.S. political logos: red, white and blue. McCain uses blue, black and white which are also typical of political logos, however ventures out by incorporating a yellow/gold color which is a non-traditional color for a presidential logo. What follows is an explanation of how each logo incorporates aspects of the three best practices above, coupled with a semiotic analysis to understand how logos may produce meaning to its viewers. Obama/Biden Logo Image41 Nee What Makes a Presidential Campaign Logo Effective The Obama logo exhibits characteristics consistent with the three guiding principles of effective logo development: (1) It is a moderately elaborate logo. While the logo colors and the pictorial elements may be considered simple, it is presented in a creative and inventive way that renders it moderately elaborate. The logo represents a sun over the horizon but at the same time also

serves as a rendition of the American flag. For those inclined to actively process information, further scrutiny will show that the blue sky is the part of the arch that forms the letter O in Obama. The O pervades in the logo, thus echoing the first letter of the candidates name. This is a reminder to the viewer of who the presidential candidate is. Essentially, the logo may solely represent Obama, even if the words Obama Biden were not underneath the image. The image speaks for itself and stands for what Obama and Biden were campaigning for. For those who are not as motivated to process in-depth information, the logo remains to have a strong appeal, since it is an aesthetically pleasing logo. The moderately elaborate logo design offers some freshness and novelty that is pleasing to the eyes and can persuade even an apathetic voter to vote for Obama. (2) The logo displayed a level of naturalness with a simple design of the sun coming over the horizon, a scene with which most people can identify. The sun, which is a primary source of energy, presents a picture of the candidate as strong, energetic and environmentally conscious. The red stripes of the flag that help form the other half of "O" image can be viewed by the audience as the sun coming over rows of farmland. A piece of cultural knowledge that is important to know is that farmland is an image that is historically used to represent the American landscape. The use of color and basic shapes portray a concept of a

sunrise coming over the horizonwhich to some audiences is symbolic and an effective visual 42 Nee What Makes a Presidential Campaign Logo Effective representation of change and a new day. The political promise of a new day is a similar theme that resonated positively with voters in the 1980 election of Ronald Reagan as President. The theme was revived in the Obama logo in the form of a horizon image that effectively captured and conveyed to viewers Obamas campaign messages of hope and change (Seidman, 2010). (3) The logo offered a high level of meaning with its viewing audience. Starting with its color palette, the logo extracts the patriotic emotion of pride (a positive emotion) by using red, white and blue. This color palette is almost always personally relevant and displays a high level of meaning to Americans. With much hype and media coverage that questioned Obamas natural heritage and suggestions of not being American citizen, the decision to utilize the patriotic colors of red, white and blue, may have been a strategic decision by designers to allay any concerns of his citizenship or nationalistic leaning. The red, white and blue that formed the O presents him without doubt as an American citizen. The logos elements were visually broad, evoking and creating different levels of inspiration that reinforced to its viewers all the ideals and change that Obama stood for. In fact, it was broad enough that subgroups of Obama supportersincluding various cultural and minority groups such as the People of Faith for Obama, First Americans for Obama, Kids for Obama and

Women for Obama, etc. adapted the O in their logos. Likewise, the logo was adapted into the names of each of the 50 U.S. States (Figure 8). These adaptations of Obamas logo, has allowed audiences to attribute various meaning to Obamas ideologies by making the logo a part of their own individual initiatives that show support for their presidential candidate of choice Obama. Allowing the audience to be a co-designer of the Obama logo contributes to the appeal of the 43 Nee What Makes a Presidential Campaign Logo Effective image, rendering it more effective and meaningful to its viewers. The widespread use of the logo has undoubtedly contributed to Obamas level of exposure throughout the election campaign. Henderson and Cote (1998) found that logos which share similarities in design to popular and well-recognized logos not only have a higher likelihood of recognition, but also are more positively evaluated. The Obama logo bears some sort of resemblance to the most recent version of the Pepsi logo (Figure 9) in the overall shape, design concept and color selection. Pepsi, which is a popular and a positively regarded product, has been around for many years. The logo caters to the younger crowd or the older generation who wants to stay young it connotes innovation and yet remains a true classic. Throughout the years, Pepsi's marketing campaigns utilized themes and slogans such as, Be Young, Have Fun, Drink Pepsi; or Pepsi: The Next Generation, etc. Obama incorporated a Pepsi-like appeal to the youth of the country in his

campaign. In the 2008 election, one of Obamas target demographics was the young voter. His political logo image and design seem to have found its way to young voters who are partial to the 44 Nee What Makes a Presidential Campaign Logo Effective "Pepsi" appeal. In certain circumstances, familiarity breeds liking, and whether or not it was intentional to adopt a similar feel to the Pepsi logo the Obama logo gained an advantage. Bush/Cheney Logo Image The Bush/Cheney logo effectively incorporates aspects of each of the three design practices resulting in a powerful impact and positive resonance to the viewers. (1) It is a moderately elaborate logo. Like the Obama/Biden logo, Bush/Cheney utilizes the three most popular colors of red, white and blue in U.S. political campaign. While Obama logo presents more creativity through the subtle re-creation of the American flag, the Bush/Cheney logo incorporates this most patriotic symbol closer to its true form. Certain artistic elements are incorporated into the design that shows viewers more than just an American flag. Americans refer to George W. Bush as W. The W is abbreviated for George Bushs middle name Walker. In short, W was not only a nickname, but also a way for Americans to distinguish him from his father, George H.W. Bush, the 41st President of the United States. The formation of the letter W is hinted in the angle of the flags sharp creases and corners. The Figure 9: Obama Logo vs. Pepsi Logo45 Nee What Makes a Presidential Campaign Logo Effective moderately elaborate Bush/Cheney flag therefore represents not only America and patriotism,

but also specifically refers to George W. Bush through the W formation. Embracing the initial that was shorthand for Bush, there were other variations of the W visual. Figure 10 shows an example of how a group took the actual W logo and applied it to women who were Bush/Cheney supporters. The W gives an enhanced meaning where the letter W literally stands for women and thus George W. Bush supports women. Another way the W concept was popularly used was seen in the form of a square shaped, black bumper sticker. The simple black background featured a stark white, serif letter W and underneath it are the words in serif capital letters, THE PRESIDENT (Figure 11). The W branched out in ways that suited a variety of demographics. The www.GeorgeWBushStore.com created several departments that targeted specific demographics to sell W memorabilia to (Hockett, 2005). Departments such as the Farm Ranch Team and Across America Racing Team appealed to rural voters by creating W logos that displayed characteristics similar to the John Deere logo or the NASCAR racing logo. The W The President department applied the logo in Figure 10 onto memorabilia that was directed to those with more refined tastes and featured items like cufflinks, whiskey glasses, golf towels, golf balls and cigars (Hockett, 2005). While this attempt to brand George W. Bush as W and using a Figure 11: The W The President logo (GeorgeWBushStore.com)

Figure 10: The W The President logo (4president.org) 46 Nee What Makes a Presidential Campaign Logo Effective variety of W logos to appeal to different demographics was somewhat effective, Obamas logo proves to be more successful because his supporters utilize his actual, official campaign logo for each groups purposes. The strength of the logo helped establish visual consistency of Obamas campaign as opposed to the W logo. Obamas logo avoided confusion among viewers, provided cohesion among supporters and instilled a sense of solidarity throughout the campaign. (2) The logo displays a level of naturalness. The image of the American flag exhibits a high-level of naturalness, featuring the familiar red and white stripes as well as white stars on a blue background. One quick glance at the image is all the viewer requires in order to register that it is an American flag. It can be argued by some viewers that the wave of the flag looks rather unnatural and too contrived. The ripples in the flag take on sharp, upward facing folds versus exhibiting a more realistic, fluid motion as if the flag were actually flapping in the wind. Another point that can be contested is that after further scrutiny of the flag, the viewer may see that it is not accurately depicted. The flag displays only seven stripes instead of 13 and only 20 stars instead of 50. In the real American flag, the blue area with the stars only occupy the top left hand corner but the Bush/Cheney variation takes up the left third of the flag, expanding from top to bottom.

It is possible that there was an issue of space limitation or that putting 13 stripes and 50 stars would make the logo look overcrowded. While it is plausible that the flag for logo purposes was purely representational, it can be argued that the symbol is a misrepresentation of the real American flag. (3) The logo offers a high level of meaning with its viewing audience. This logo has several different meanings. A cultural knowledge that is important to know was at the time of the Bush/Cheney campaign, the terrorist attacks of September 11, 2001 remained fresh in the 47 Nee What Makes a Presidential Campaign Logo Effective American publics memory. As such, many Americans were not resistant to the idea of going to war in defense of their country. Bush was catapulted into the position of a wartime president. The overall political climate was focused primarily on issues of national security and being tough on terrorism. Understanding this cultural knowledge, viewers may see that the flag on the Bush/Cheney logo leans to the right, with the flags sharp creases coming forward, towards the viewer. This can connote the candidates are sharp and tough on issues dealing with national security and defending our nation from terrorist attacks. The rightward lean projected a sense of forward movement, and ultimately progress. In addition, the right leaning text and the right leaning flag tightly anchored against Bushs name can conjure up ideas of right wing and conservative ideologies which are extremely symbolic and meaningful to the Republican Party.

One way where the Bush/Cheney logo may have been unsuccessful wasthat during the 2004 campaign, many non-Bush supporting Americans believed that Bush did not have the intelligence to become President. Myriad late night jokes and satires were directed at him and to the non-supporters, the inaccurate depiction of the logos flag with 20 stars and 7 stripes exemplifies his lack of wisdom and intelligence. McCain/Palin Logo Image While the McCain/Palin logo was could be considered aesthetically pleasing to some, it failed to resonate well with many viewers. The logo follows some of the characteristics outlined in this capstone regarding best practices of logo design. Yet, it does not have the same 48 Nee What Makes a Presidential Campaign Logo Effective widespread appeal that the Obama and Bush logos have. The semiotic analysis highlights its shortcomings that can be attributed to its inability to satisfactorily reach a wider demographic of voters. (1) Level of elaboration. The McCain/Palin logo is simplistic and does not exhibit even a moderate level of elaboration. Although the image shows a naval star which may enhance the simple nature of the design, there remains one singular meaning: the star stands for someone who has heroically served in the United States Navy. Incorporating a star into the McCain/Palin logo may go far enough to allow people to further elaborate that McCain's star stands for excellence and has earned him the right and the qualifications to become the President

of the United States. However, because the star bears an exact resemblance to the U.S. Naval award of heroism, this symbol can only successfully depict McCain as a war hero. It is difficult to deviate from that meaning and most likely will not be interpreted in any other way. In a nation tired of war, it is possible that the war hero depiction of through the use of the star was not easily embraced. (2) The logo displays a level of naturalness. The image of the Naval star exhibits an extremely high-level of naturalness. It is exactly what a Naval star looks like and therefore, McCains logo adorns the most accurate representation of his service in the U.S. Navy. The color selection was also the most natural choice if the designers aim was to highlight McCains military career. Blue and gold are colors that are extremely reminiscent of Naval academy uniforms. 3) The logo offers a high level of meaning with its viewing audience. As discussed above, the McCain/Palin logo exudes much appreciation of the U.S. military culture and for McCains service as an officer. While this can be an admirable trait, it might not have 49 Nee What Makes a Presidential Campaign Logo Effective been the best image to set forth among the voters. For a logo that reminds voters that the Republican candidate is a glorified war veteran who wholeheartedly supported the troop surge, this visual may not serve as the best choice. The logo is more likely to be effective with people who were already McCain supporters and know him as a person other than as a military man. In

addition, the logo remains a true represenation of McCain but seems to be disconnected to Palin whose background is devoid of anything military. This implies that the presidential and vice presidential candidates are not in sync. As previously discussed, logos that share design similarities with a more recognized logo have a higher likelihood of recognition, and can be more positively evaluated. Alternatively, a logo can be negatively evaluated when a viewer falsely recognizes a logo and misinterprets its meaning. Figure 12 shows the comparison between another popular version of the McCain logo and the McCain foods company logo. While some of their syntagmatic elements are different, the overall color scheme, layout and selection of elements are extremely similar, not to mention, the names are exactly the same. This can lead to viewers becoming confused feeling as if that they have seen the McCain campaign logo elsewhere, or worse, believing his campaign logo was actually related to the food company. With the 2012 presidential election less than two years away, political candidates are now beginning to strategize their campaign approach. President Obama has recently announced his Figure 12: The McCain Foods logo and the McCain campaign logo50 Nee What Makes a Presidential Campaign Logo Effective intent to run for re-election. With the success of the 2008 logo, Obamas official website has been revitalized while retaining the features of the original Obama/Biden O image. The 2012

logo uses a new and bolder typeface that is laid out in a different format (Figure 13). The viewer sees some familiarity in the image and the bolder typeface emphasizes the partnership between the President and Vice President, this time on more equal footing. This new logo is visually strong but it would be interesting to see if it would undergo tweaks or changes when the actual campaign starts. Will the same O image be as successful for 2012s campaign purposes as it was during the 2008 election? This capstone provides a foundation of design best practices that can be utilized in future campaigns. It highlights insights on the varied ways that people can derive meaning from an image and looks into other syntagmatic properties that could be used in an image, all of which will give the logo designers and/or political marketing teams a better idea in developing and creating a political logo that would improve a candidates chance to get elected. The capstones qualitative study has identified several limitations. Identification of those limitations guides the direction and recommendations for future research in designing and adopting effective political campaign logos. Note that the capstone conducts a thorough, systematic semiotic analysis of three political campaign logos. The analysis, however, might benefit from a more enhanced independent analysis by holding several focus groups or conducting a qualitative survey to obtain a comparative point of view from others personal

experiences and individual cultural knowledges of events surrounding the political campaigns Figure 13: 2012 Obama/Biden Logo (www.barackobama.com)51 Nee What Makes a Presidential Campaign Logo Effective of Obama, Bush and McCain. Acknowledging the polysemic nature of images, obtaining actual responses from a variety of participants would have provided other interpretations that may not have been considered in this capstones analysis. Another limiting factor is that the political logos selected for the study reflect a snapshot in time. The capstone may have benefited from conducting an analysis of the designs based on a historical analysis of the political climate and cultural knowledges of presidential elections over time. Often, design trends are influenced by art, pop culture and current events and it would have been more useful if historical patterns of election victories or defeats are presented relative to logos or through the design of other campaign materials. The possible reason behind this lack of historical analysis is that emphasis on logos and branding of a candidate has not warranted much attention until the late 1990s or even mid 2000s when social media and other media campaign approaches have become critical in reaching the voting public. The study was also limited by the selection of only three political logos and its analysis for the capstone. With two logos producing two presidential winners and one logo for a

candidate that lost the election, there might have been implicit bias in the analysis of each political candidates logo. The logos of Obama and Bush may have gotten a more favorable analytical review than that of McCains logo. Of course, this cannot be specifically pinpointed since there is a high degree of probability that the loss in the election by McCain may be due to the ineffective logo he used. Time and resource constraints prevented a more indepth comparison that will ensure non-bias in the study. It would have been ideal to have a focus group where participants can look at different variations of each of the three candidates logos. Each of the logo designs would be manipulated and presented with different options of syntagmatic features, colors and changes in format in order to gain more insight as to why the 52 Nee What Makes a Presidential Campaign Logo Effective design choices for each presidential logo are more effective than others and how the logos could be improved. Another approach could involve conducting focus groups where respondents are presented with hypothetical presidential candidate profiles featuring information on a candidates background, political ideologies and stances. The next step would involve presenting the viewers a series of pre-designed logos for each candidate. Moderated discussions will elicit the focus groups perspective on a suitable logo design that fits the hypothetical candidate. Results could indicate what types of logo designs are stronger and more effective in portraying a presidential candidate.

CONCLUSION There is no question that a logo is an important tool in any political campaign because it is a vital form of political communication. However, the design of a strategic and effective political campaign logo merits further study. A political campaign logo is a visual piece that entices and lures an audience. It serves not only as an attention getter, but a way for constituents to identify with a candidate who holds the same ideals and for supporters to visually state their endorsement of a candidate. As seen with the Obama logo, a political logo can inspire people to become proactive in an election. This capstones research provides a platform in digesting how effective design principles can be applied to logos, and how a denotative and connotative analysis contributes to our understanding of how a viewer derives meaning from a political logos design. While design trends often change over the course of time, this capstone references a general framework of design best practices and its application in the design of a political logo. This capstone, however acknowledges the fact that even if a logo is considered aesthetically pleasing and follows facets of best design practices, it may not express the intended message or sentiment. For design or 53 Nee What Makes a Presidential Campaign Logo Effective campaign team members who are involved in the decision making process of selecting or creating an effective political logo, they should keep in mind to pick not only an attractive logo,

but one that best represents the candidate in light of the existing political climate and resonates with the wants and needs of the voters under circumstances that matter most to the public. A logo is a small element of a political marketing campaign, but when properly designed and used, it becomes a crucial element and an asset that could result in a candidates successful election into office. Simply put: when it comes to politics, image is truly everything and for that matter, a logo design may contribute to victory or defeat. 54 Nee What Makes a Presidential Campaign Logo Effective REFERENCES Bennett, A. (2006). Design studies: Theory and research in graphic design. New York: Princeton Architectural Press. Brader, T. (2006). Campaigning for hearts and minds. Chicago: University of Chicago Press. Brader, T. (2005). Striking a responsive chord: How political ads motivate and persuade voters by appealing to emotions. American Journal of Political Science, 49, 388-405. Demir, E., Desmet, P.M.A., & Hekkert, P. (2009). Appraisal patterns of emotions in humanproduct interaction. International Journal of Design, 3(2), 41-51. Dennis, D. (2002). Inventing W, the presidential brand. In Hockett, J. (2005). Brand W and the marketing of an American President: or, logos as logos. Westminister Papers in Communication and Culture, 2(2), 72-96. Dyer, G. (1982). Advertising as communication. London: Routledge. Felici, J. (2003). The complete manual of typography. Berkeley, CA: Peachpit Press. GeorgeWBushStore.com. (2011). Classic merchandise. Retrieved April 17, 2011 from

http://www.georgewbushstore.com/home.htm. Gernsheimer, J. (2008). Designing logos: The process of creating symbols that endure. New York: Allsworth Press. Guzman, F. (2009). A Political Candidates Brand Image Scale: Are Political Candidates Brands? Brand Management, 17, 207-217. Green, D. & Loveluck, V. (1992). Understanding a corporate symbol. Applied Cognitive Psychology, (8), 37-47. Hallahan, K. (2000). Enhancing motivation, ability and opportunity to process public relations messages. Public Relations Review, 26 (4), 463-480.55 Nee What Makes a Presidential Campaign Logo Effective Heller, S. (2008, 20 November). The O in Obama. New York Times. Retrieved November 15, 2010 from http://campaignstops.blogs.nytimes.com/2008/11/20/the-o-in-obama/ Henderson, P.W. & Cote, J. (1998). Guidelines for selecting or modifying logos. The Journal of Marketing, 62 (2), 14-30. Hockett, J. (2005). Brand W and the marketing of an American President: or, logos as logos. Westminister Papers in Communication and Culture, 2(2), 72-96. Horn, R.E. (1999). Visual Language: Global Communication for the 21st Century. Bainbridge Island: Macrovu, Inc. Janiszewski, C. & Meyvis, T. (2001). Effects of brand logo complexity, repetition, and spacing on processing fluency and judgment. Journal of Consumer Research, 28, 18-32. Joffe, H. (2008). The Power of Visual Material: Persuasion, Emotion and Identification.

Diogenes-Sage Publications, 217, 84-93. Johnson-Cartee, K.S., & Copeland, G.A. (1991). Negative political advertising - The coming of age. Hillsdale: Erlbaum. Kendall, K.E. & Paine, S.C. (1995). Political images and voting decisions. In K.L. Hacker (Ed.), Candidate images in presidential elections (pp. 19-36). Westport, CT: Praeger Publishers. Kohli, C., Suri, R., & Thakor, M. (2002). Creating effective logos: Insights from theory and practice. Business Horizons, May-June, 58-64. Moriarty, S. (2005). Visual semiotics theory. In K. Smith, S. Moriarty, G. Barbatsis & K. Kenney (Eds.), Handbook of Visual Communication: Theory, Methods and Media. (pp. 227-255). Mahwah, NJ: Lawrence Erlbaum Associates, Inc. Nabi, R. (2002). Discrete emotions and persuasion. In J.P. Dillard, J.P & M. Pfau (Eds.), The 56 Nee What Makes a Presidential Campaign Logo Effective persuasion handbook: Developments in theory and practice (pp.289-308). Thousand Oaks, CA: Sage Publications. Organizing for America. (2010). Retrieved February, 2010 from www.barackobama.com Penn, G. (2000). Semiotic analysis of still images. In M.W. Bauer & G. Gaskill (Eds.), Qualitative Researching With Text, Image and Sound. (pp. 227-245). Thousand Oaks, CA: Sage Publications, Inc. Petty, R.E., Priester, J.R. & Brinol, P. (2002). Mass media attitude change: Implications of the elaboration likelihood model of persuasion. In J. Bryant & D. Zillmann (Eds.), Media effects advances in theory research. (pp. 155-198). Mahwah, NJ: Lawrence Erlbaum

Associates, Publishers. Pittard, N., Ewing, M. & Jevons, C. (2007). Aesthetic theory and logo design: examining consumer response to proportion across cultures. International Marketing Review, 24 (4), 457-473. Prudential. (2010). Evolution of the rock. Retrieved December 1, 2010 from http://www.prudential.com/view/page/public/16618? seg=5&name=NewAdvertisingCam paign Rand, P. (1991). Logos, Flags, and Escutcheons. Retrieved October 30, 2010 from www.paul-rand.com Roseman, I.J., & Smith, C.A. (2001). Appraisal theory: Overview, assumptions, varieties, controversies. In K.R. Scherer, A. Schorr, & T. Johnstone (Eds.), Appraisal processes in emotion. (pp. 1-19). New York, NY: Oxford University Press. Seidman, S.A. (2010). Barack Obama's 2008 campaign for the U.S. presidency and visual design. Journal of Visual Literacy, 29 (1), 1-27.57 Nee What Makes a Presidential Campaign Logo Effective Stone, T.L., Adams, S. & Morioka, N. (2006). Color design workbook. Beverly, MA: Rockport Publisher. UnderConsideration, LLC. Speak up blog: The hardest working presidential campaign logo. Retrieved April 9, 2011 from http://www.underconsideration.com/speakup/archives/004262.html Young, C. (2009). The power of visual images: Constructions of Mexicans in two 1996

presidential advertisements. In S. Barnes (Ed.), Visual impact: The power of visual persuasion (pp. 117-134). Cresskill, NJ: Hampton Press, Inc.58 Nee What Makes a Presidential Campaign Logo Effective59 Nee What Makes a Presidential Campaign Logo Effective60 Nee What Makes a Presidential Campaign Logo Effective61 Nee What Makes a Presidential Campaign Logo Effective Ce face un logo campaniei prezideniale efectiv: Cele mai bune practici i un semiotice Analiza a Logosului lui Barack Obama, George W. Bush i John McCain De: Carissa Mirasol Nee Un proiect Capstone Prezentat la Facultatea de la Scoala de Comunicare n mplinire parial a cerinelor Pentru gradul de masterat de arte n comunicarea public Supervizor: Prof. Lauren Feldman, Ph.D. 21 aprilie 20112 Nee - Ce face un logo-ul campaniei prezideniale Effective3 Nee - Ce face un logo campaniei prezideniale eficient CUPRINS REZUMAT 4 Introducere 5 CONTEXT 9 Logo-ul ca un instrument de vizualizare 9 DEFINIREA O VS logo-ul. Un brand 9 CUNOATERII 10 Definirea rolului publicul int: sistemul public de vot 10 Eficiente Logo principiile de proiectare 14 CELE MAI BUNE PRACTICI # 1: Crearea sau selectai un LOGO moderat elaborate 15 CELE MAI BUNE PRACTICI # 2: a crea un logo cu un "Natural Image" 18

CELE MAI BUNE PRACTICI # 3: a crea un logo cu un nivel ridicat de sens FAMILIAR 19 EMOTION de interpretare LOGO 20 APLICARE TEORETIC: teoria culorilor 22 APLICARE TEORETIC: EVALUAREA TEORIEI 24 APLICARE TEORETIC: INTELLIGENCE AFECTIVE 25 CUNOATERII REZUMAT 26 CASE profil 28 ALEGEREA LOGOS 28 Analiz semiotic 29 Denotativ VERSUS conotativ RELATIILE 30 ANALIZE caz i DISCUII 35 INVENTAR denotative 35 Niveluri mai ridicate de semnificaie (stocuri conotativ) 35 ELEMENT # 1: TEXT 36 ELEMENT # 2: includerea unui URL 39 ELEMENT # 3: imaginea siglei 40 OBAMA / BIDEN logo Imagine 40 BUSH / CHENEY logo Imagine 44 McCain / Palin logo Imagine 47 CONCLUZIE 52 REFERINE 54 ANEXA 58 ANEXA A: INVENTAR denotative 58 ANEXA B: Inventarul conotative DE OBAMA / BIDEN LOGO 59 ANEXA C: Inventarul conotative de Bush / CHENEY LOGO 60 ANEXA D: Inventarul conotative A McCain / Palin LOGO 614

Nee - Ce face un logo campaniei prezideniale eficient REZUMAT 2008 campania electoral echipa de marketing a lui Obama confiscat o oportunitate de a face ceva nu fcut anterior de candidai ultimii prezideniale - au fcut Obama un brand i a creat un logo-ul puternic ca fata de acel brand. Ca urmare a acestei strategii, echipa de marketing a devenit beneficiarul de Advertising Age este "2008 Marketer Anului" de atribuire. Statele Unite prezideniale din 2008 alegerile au demonstrat ct de comunicatii vizuale ar putea juca un rol esenial n promovarea unui candidat i dezvoltarea unei strategii de campanie eficient. Literatura de specialitate Capstone a rezum ample de cercetare i extracte de ce vizual elemente i strategii contribuie la un logo bine conceput. Dei un design de logo-ul poate fi estetic plcut i ofer un anumit apel, acesta nu poate comunica n mod necesar dreptul sau Mesajul destinat despre un candidat la preedinie ntr-un mod eficient. Acest Capstone ofer un cadru de bune practici n designul de logo i modul n care acestea pot fi aplicate n crearea de politic logo-uri de campanie care ar putea avea un impact pozitiv rezultatul alegerilor. Din rezultatele Analiza semiotic a trei logo-uri de campanie politice: Obama, George W. Bush i John McCain, acest Capstone ofer o nelegere mai clar a procesului de modul n care publicul publicul sau tinta provine de la sensul sau interpreteaz o imagine de logo-ul. Rezultatele vrsat imagine de ansamblu asupra posibil

semnificaii i interpretri ale fiecrui logo-ul i pot servi ca baz pentru evaluarea lor eficacitate. 5 Nee - Ce face un logo campaniei prezideniale eficient INTRODUCERE Scris i comunicri orale sunt instrumente importante n gnduri de transport, idei i sentimente la un public int. Alturi de acestea, cu toate acestea, este puterea de comunicare vizual a consolida i merge dincolo de ceea ce citete i ascult. La fel ca alfabetizare a scris i vorbit limb, componenta vizual de comunicare servete ca un mod de discurs i este un instrument care aduce claritate, prin utilizarea unor elemente corporale. Design vizual i imagini sunt adesea echivalat cu arta, decor i de prezentare creative, precum i de divertisment; Cu toate acestea, locul su n domeniul comunicrii publice eficiente nu i pot permite s fie trecute cu vederea. O imagine vizual fortific nu numai ceea ce citete publicul i aude, dar, de asemenea, titillates i le ncnt. Este un vehicul convingtoare care pot face educarea sau crearea unui experienta mai usoara ca publicul absoarbe informaiile vizuale care le sunt prezentate, astfel rezultnd n aciune i pozitiv raspuns prompt la mesajul fiind transmis. De aceea, este important pentru a selecta o imagine vizual adecvat, care pot fi combinate i complicate esute cu scris i cuvintele rostite pentru a forma o "unitate de comunicare unificat" consolidarea n mod eficient i rafinarea Mesaj (e) a fi transmise (Horn, 1999).

Trecut de cercetare n domeniul de proiectare i comunicare vizual a indicat c exist o nevoie semnificativa de a se concentra asupra rolului de logo-uri in campaniile de branding i marketing. Astzi Societatea este extrem de orientat spre vizual i le folosesc logo-uri ca un "ajutor de recunoatere, accelerarea selecie din produsul preferat "(Henderson & Cote, 1998, p.14). Aceasta natura consumerist a publicului atunci cnd selectarea produselor "preferate", ntr-adevr se traduce la modul n care cetenii pot funciona ca "politic consumatorii "n Dion Dennis" (2002) Inventarea W, prezidenial Brand:. The Rise of QVC Politic, el face acest punct de a lua urmtoarea declaraie i nlocuind cuvntul 6 Nee - Ce face un logo campaniei prezideniale eficient "Politicieni" care "companii", cuvntul este folosit i "ceteni", n care cuvntul "consumator" este folosit: "Societatea de astzi este fr ndoial contient de brand. Suntem atrasi de branduri care Mesajele de proiect care ne plac ... Companiile transmite gndire [politicienii] s neleag c, dac brandul lor poarta un mesaj, ea poart capital. Companiile [Politicienii] sunt acum folosind acest capital pentru a aprofunda relaiile cu clienii [Cetenilor] prin oferirea de produse de sprijin care reflect personalitatea marca. Se numete relaie de marketing i funcioneaz " (Dennis, 2000, citat n Hockett, 2005, p.. 91). Mai mult, Johnson-Cartee i Copeland (1991) a afirmat c alegtorii experien nu mai Politica de prima mana. Elemente i piese de cunoatere sunt furnizate consumatorilor politice prin sistemul mass-media. Mass-media a creat simboluri pentru public de a interpreta pe cont propriu.

Prin aceste simboluri, sistemul public de vot simplific realitile politice ar trebui s experien, de exemplu, diferenele ntre rile candidate X i Y candidate, democrai i republicani, etc (Johnson-Cartee & Copeland, 1991). Logo-uri ajuta la crearea acestor realiti politice simplificate i permite publicului pentru a vedea marea peisajul politic ca poate fi cunoscut, neles i uor de naviga prin. US 2008 campaniei prezideniale a demonstrat ct de comunicatii vizuale joaca un rol esenial n promovarea i dezvoltarea unei strategii de campanie eficient. Prezideniale din 2008 Alegerea a fost o alegere de multe premiere. Nu numai a alege naiunii sale primul afro-american presedinte, dar a fost, de asemenea, pentru prima dat c un candidat relativ necunoscut, a fost catapultat prima linie pentru nominalizarea de ctre partidul su i neateptat invins alt candidat. ntr-un timp atunci cnd americanii au fost frustrat cu probleme care a nelinistit administraiei Bush-rzboi n Irak, criza bancar i ipotecare, cresterea costurilor de ingrijire a sanatatii si energiei, i Mesajul general de campanie a omajului, Obama a comunicat temele de "schimbare" i "o mandat pentru schimbare "(Organizarea pentru America, 2010). Echipa de marketing a lui Obama a profitat de posibilitatea de a spori c accentul nu doar n cuvinte i de livrare elocvent de discursuri i 7 Nee - Ce face un logo campaniei prezideniale eficient Mesajele de candidat, dar, de asemenea, prin crearea unui concept de design vizual care se potrivesc i a fost

n concordan cu tema campaniei sale, toate de care au ajutat efectiv n prezentndu-l ca un Liderul solid. Este interesant de observat modul n care succesul campaniei lui Obama a declanat printre multe altele practicieni de comunicare, graphic designeri i strategi de campanie politice o rennoit i accent revitalizat pe necesitatea unui logo design cuprinztor, care ar putea servi ca un piatra de temelie a unui candidat "de brand." logo-ul lui Obama a fost prezentat n mod constant pe toate site-uri web, semnalizare, i materiale de marketing. Mai mult dect att, din punct de vedere proiectare, Obama logo-ul campaniei a fost o plecare complet i total de la normele stilistice ale altor prezideniale logo-uri de campanie, dar a fost una care a rezonat cu milioane de americani (Heller, 2008). Acesta ar strategi de campanie de datoria cuiva i susintori la resurse de la teri prghie spre dezvoltarea de un logo pentru un candidat politic n alegerile viitoare. Acest Capstone sa concentrat n special pe utilizarea de logo-uri candidate ca o campanie politic instrument. nelegerea a ceea ce a fcut alte logo-uri de campanie prezideniale de succes poate dota designeri cu cunotine de ceea ce s includ i ia n considerare n viitor design logo. Capstone ncepe de delimiteaz n mod clar un logo fata de un brand, care explic scopul de logo-uri i de ce sunt parte integrant n campaniile politice. Apoi, literatura de specialitate se uit la Rolul publicului int (alegtori), atunci cnd vezi un logo / vizual imagine. Aceast seciune contureaz

diferite tipuri de alegtori i modul n care fiecare tip de alegtor va procesa informaiile vizuale, deoarece se refer la logo-uri. Literatura de specialitate analizeaza, de asemenea, mai multe teorii de comunicare de emoie, prelucrare a informaiilor, evaluare i inteligen afectiv. Cunoaterea existente aplicaii teoretice i empirice de comunicare i de concepte de design vizual va fi util pentru practicieni comunicaii i designeri n crearea, dezvoltarea i / sau 8 Nee - Ce face un logo campaniei prezideniale eficient selecie de elemente productive vizuale care vor completa, dac nu domina, o politic campanie. Succesul mare de Obama logo-2008 invit o analiz sistematic a modului n care un logo poate fi folosit cu succes de ctre un candidat politic pentru a transmite temele principale ale campaniei lui sau a ei, contribuie la imaginea pozitiv a unui candidat i va servi ca o fa de ceea ce reprezint candidatul. n timp ce de ani, candidaii la preedinie au angajat logo-uri politice pentru a suplimenta lor Campania, aceasta a fost doar n ultimii ani c utilizarea de logo-uri de campanie a atras mai mult atenie din partea publicului larg. Pentru a gzdui acest interes recent, acest Capstone conduce o Analiza semiotic a trei dintre cele mai recente logo-uri prezideniale: Barack Obama "O", George W. Bush "W", i John McCain "Naval Star" (Figura 1). Aceast analiz semiotic este important, deoarece exploreaz diveri factori care fac adic a unui logo politic eficient. Analiza subliniaz importana i gradul de Influena pe care aceste logo-uri politice au avut asupra publicului. Discutarea punctele forte i punctele slabe

de fiecare logo-ul va dota aparent strategii de campanie, designeri i filialele de partid cu o cunotine fundamentale i un set de bune practici privind ceea ce caracteristici s ia n considerare i include la crearea unui logo pentru candidatii la presedintie viitoare i campaniile lor. Figura 1: Barack Obama "O", George W. Bush "W" i John McCain "Naval Star" (Sursa: 4.president.org) .9 Nee - Ce face un logo campaniei prezideniale eficient Context: logo-ul ca un instrument de comunicare VISUAL Definirea unui Logo vs un brand "Politica este o lume simbolic" (Johnson-Cartee, 1991, p.. 1). n domeniul politicii, simboluri i logo-urile sunt utilizate pe scar larg pentru a reprezenta figuri politice, ideologii i probleme sociale (Young, 2009). De exemplu, magarul si elefantul logo-urile sunt simboluri ale Democratice i Partidul Republican, respectiv. Pentru publicul american, "mgar" i "elefant" servi ca memento-uri puternice i sunt prescurtare vizual de toate ideologiile politice pe care fiecare dintre aceste pri reprezint. n esen, aceste animale sunt reprezentarea vizual a Democratice i republican "branduri". Este important s se clarifice i delimita ntre termenii "logo-ul" i "marc". n timp ce ei sunt de multe ori folosite alternativ, "logos" i "branduri" difer n forma i funcia lor chiar dac acetia lucreaz n tandem pentru a servi un scop important in comunicatii vizuale. Un "brand" este un instrument vizual care servete ca imaginea i reputaia percepute unei companii / organizaii. Este

o legtur emoional care eman vizual caracteristicile intangibile ale unei organizaii Obiectivele generale, credine, promisiuni i scop, a face o conexiune cu publicul su membri (Pittard, Ewing & Jevons, 2007). Prin urmare, un brand este parte integrant a nrdcina o pozitiv imaginea organizaiei i produsul / serviciul pe care le produc. Fiind c un brand este un tip de instrument vizual, un "logo", funcioneaz ca "fata" a unui brand (Rand, 1991). Paul Rand (1991) definete n continuare un logo ca un "steag, o semntur, un blazon" i este un identificator care "capt sens din calitatea de lucru simbolizeaz, nu invers. "Pentru toate punctele de vedere, un logo-ul ofer telespectatorilor cu instantanee recunoaterea unei organizaii. Acesta influeneaz direct impresie telespectatorilor din care produs organizaiei sau serviciile pe care le ofer (Gernsheimer, 2008) .10 Nee - Ce face un logo campaniei prezideniale eficient Analiza literaturii de specialitate Definirea rolului publicului int: sistemul public de vot n societatea partizan de astzi, difuzarea ideologiilor unui candidat i politice atitudine este o sarcin complex i dificil. Pentru orice candidat prezidenial, obiectivul general este de pentru a convinge alegtorii s voteze pentru el / ea i de a fi ales. Pentru a atinge acest obiectiv, Candidatul trebuie s prezinte recurs n mas - fie aparent totul pentru toat lumea i n mod corespunztor comunica lui / ei de idealurile pentru sistemul public de vot. Dezvoltarea imaginii unui candidat este critice pe parcursul unei perioade de campanie electoral, pentru imaginea lor proiectat, care trebuie s fie perceput

ca pozitiv i atotcuprinztoare, dac nu cea mai bun "candidat" este un factor de mare, stabilirea de succes. Cercetare anterioare susine c inteniile de vot ale publicului sunt de obicei axate pe imaginea proiectat de un candidat n loc de probleme de politic a candidatului (Guzman, 2009). n astfel de cazuri, folosind un sistem de design vizual, cum ar fi un logo pentru a comunica unui candidat idealuri politice, caracterul i integritate este o practic care justific studiu ulterior i nelegere. Ca o ansamblu, publicul larg este foarte contient de simboluri vizuale, mai ales, o organizaie logo-ul. Aa cum a spus designer grafic Paul Rand, "Dac n afaceri de comunicaii," imaginea este rege, "esena acestei imagini, logo-ul, este o bijuterie n coroana sa" (Rand, 1991 citat n Gernsheimer, 2008, p.. 1). Literatura de specialitate existente pe comunicarea vizual ofer o vedere nivelul ridicat al acesteia Funcia i subliniaz importana acesteia atunci cnd se analizeaz un design de logo-ul ntr-o campanie politic. n comunicarea vizual, rolul publicului este esenial, deoarece scopul unei imagini este de a influenta si convinge audiena despre o credinta din trecut, prezent sau viitor prin prezentarea unui obiect bidimensional (Tyler, 1992, citat n Bennett, 2006). Att teorii ale semioticii i de retorica recunosc c publicul joac un proactiv, n cazul n care nu o 11 Nee - Ce face un logo campaniei prezideniale eficient rol mai dinamic, n acest proces de convingere. n semiotica (adic studiul de semne, simboluri i interpretarea lor), publicul "deine sau recunoaste anumite convingeri i citete mesajele

bazat pe aceste convingeri "(Tyler, 1992, citat n Bennett, 2006, p.37). Prin urmare, interpretarea de o imagine vizual este de multe ori specific de acea persoan. Punctul de vedere retoric de comunicare proiectare, pe de alt parte, clasific publicul ca un participant dinamic unde cu designer de ei co-construi sensul i interpretarea unei imagini vizuale (Tyler, 1992, apud n Bennett, 2006). Dup cum sa afirmat anterior, interpretarea de o imagine vizual este n general ceea ce face chiar mai imperativ pentru orice designer de logo-ul pentru a captura un apel pozitiv, allencompassing c va atinge obiectivul de alegerea unui candidat, indiferent subiectiv de diferite interpretri individuale dat acestora. Fundamentele teoretice ale semioticii i retorica discutate mai sus sunt vzute n Nimmo i (1976), rezultatele empirice Savage n ceea ce privete interpretarea unui alegtor a imaginii unui candidat. In studiul lor, muli respondeni au definit imaginea termenul ca "un construct mental," n timp ce alii definit-o ca "atribute vizibile ale unui produs, obiect sau persoana ... care este" proiectat "sau" transmise " la contiina unui public. "Combinnd aceste definiii, Nimmo i Savage ajuns la concluzia c procesul de luare a imaginii este "una interactiv, mprtit de ctre alegtor i candidat, i, n orice caz, un fenomen profund important n orice campanie "(Nimmo & Savage, 1976, citat n Kendall & Paine, 1995, p.. 26). Ei insinua c obiectivul de a candidat politic ca un "proiectant" de propria sa imagine logo-ul este de a genera un rspuns favorabil de se la publicul su n timp ce nc permind aceeai audien pentru a dezvolta un independent, dei, interpretare pozitiv a candidatului. Cnd publicul joac un rol activ n

interpretare a imaginii, ei a lua un sentiment de responsabilizare i de proprietate n calitate de co-constructor sau co-creator al imaginii cu candidatul. Acest lucru contribuie la o imagine mai favorabil din 12 Nee - Ce face un logo campaniei prezideniale eficient candidat i este n concordan cu punctul de vedere retoric de comunicare vizuala. Un logo-ul nu ar trebui s fie doar un mijloc pentru un scop, de exemplu, un vizual care v permite alegtorii tiu acest lucru este candidate i el / ea este diferit de candidat B. Dezvoltarea unui logo campanii politice ar trebui s fie cuprinztor - o reprezentare intenionat, vizual a candidatului, i una care rezoneaza cu publicul. Pentru a nelege mai bine importana unui logo-ul politic i modul n care un logo i imaginea se va pozitiv rezoneaz cu publicul, este important s se neleag, de asemenea, tipurile de alegtori i modul n care acestea procesa informaiile vizuale. Kendall i Paine (1995) a evideniat dou modele de publicuri cu drept de vot: (1) modelul de alegtor raional i (2) modelul de alegtor activ. Modelul alegtor raional presupune c alegtorii vor lua decizii n deplin siguran, conduce cea mai cuprinztoare colectarea de informaii cu privire la un candidat i s ia n considerare toate celelalte alternative plauzibile de poruncindu-le ntr-un fel de criterii de evaluare (Kendall & Paine, 1995). Alegtor raional Modelul a limitat dovezi empirice, deoarece majoritatea alegtorilor nu au acces sau au chiar timp pentru a aduna informaii mai cuprinztoare, care s le permit s evalueze exhaustiv candidaii politici. Limitrile modelului raional s ne conduc la (1978) revizuirea Nimmo de

modele electorale concentrndu-se n special pe "alegtor activ". Spre deosebire de modelul raional, Modelul alegtor activ postuleaz c o persoan "se angajeaz la vot ca un" comportament minte "i nu neaprat una raional "(Nimmo, 1978 citat n Kendall & Panoul, 1995). Pentru a clarifica, postuleaza activi model de alegtori c procesul de votare este una n care publicul primete i interpreteaz simboluri si imagini de campanie, n conformitate cu propriile lor opinii i perspective (Nimmo, 1978 citat n Kendall & Panoul, 1995). n timp ce alegtorii raionale agresiv i cuta n mod activ toate informaiile despre candidaii, alegtorii activi sunt de asemenea implicate, dar difer din alegtorii raionale n care au nevoie de informaii prin selectarea i "cernere prin" politic 13 Nee - Ce face un logo campaniei prezideniale eficient mediu - un baraj de informaii cu privire la poziiile politice ale unui candidat, conducerea calitile i caracterul pe partea de sus a performanelor i a experienei anterioare (Brader, 2006). Dei aceste modele prezint un comportament precis din partea publicului vot, ele sunt de fapt incomplet. Ambele modele raionale i activ se concentreze doar pe un segment demografic de vot publice care sunt considerate pro-activ pe diferite niveluri. Aceste modele nu iau n considerare o cantitate mare de populaie drept de vot care s-ar cdea, n general, ntr-o categorie de alegtorul apatic sau publice neatent (Kendall & Paine, 1995). n general, o mulime de oameni nu se concentreaz asupra politicii i probleme care sunt la distan de ei, sau face acest lucru doar n cazul n care problemele de personal i afecteaz. Oamenii sunt, n general, "avari cognitive,"

folosind comenzi rapide sau euristice la luarea deciziilor de vot (Graber, 1985, citat n Kendall & Paine, 1995, pg.. 23). Un logo campanie i imaginea pe care o proiecteaz este un exemplu de astfel de euristic. Publicul este selectiv n ceea ce aud sau citesc despre candidat i prefer s aud ceea ce vor s aud. Deci, este important ca medicii de comunicare capta publice de interes n efecte vizuale, unde "o privire", surprinde tot ce vrei s tii. Un candidat politic logo-ul de campanie ar trebui s rezoneze nu doar n rndul alegtorilor raionale i activ, dar, de asemenea, la o mai mare seciune de sistemul public de vot care se ncadreaz n categoriile de apatic i neatent. Este aceast demografice alegtor specifice n cazul n care un logo poate avea un impact mare i meritele se concentreze mai mult i studiu. Unul ar trebui, cu toate acestea, amintii-v c aceast mare parte a populaiei drept de vot nu este lipsit n mod necesar n motiv c muli oameni sunt foarte inteligent i capabil. n timp ce acestea nu pot fi caut n mod activ informaii despre un candidat, care se poate baza pe capacitatea lor de a ofer o interpretare mai clar a unui candidat prin logo-ul, imaginea vizual care a fost creat pentru a rezuma un candidat. 14 Nee - Ce face un logo campaniei prezideniale eficient Intelegerea rolului publicului i tipuri de alegtori pune importana de logodezvoltarea n perspectiv, deoarece nu este dincolo de apatic / neatent populaie alegtor a s se bazeze pe i s utilizeze o imagine vizual a naviga printr-un peisaj politic ocupat. Una caracteristic c un logo-ul trebuie s aib este c acesta este estetic plcut privitorului. Acest viitor

seciune va discuta principiile eficiente de proiectare pentru a fi luate n considerare atunci cnd crearea unui logo. Acesta va se concentreze pe caracteristicile vizuale care pot face un logo-ul eficient pentru tipurile de alegtori discutat mai sus. Principiile eficiente Logo Design Comunica verbal un mesaj de campanie sau brand un candidat poate fi destul de o sarcin descurajant. Acest lucru este n cazul n care un design de logo-ul prezentat la ochii publicului vot poate ajuta elucida o interpretare mai semnificativ ca mesaj, n conformitate cu obiectivul preconizat i Obiectivul acestei campanii politice sau candidat. Literatura de specialitate anterioare pe aceast tem de logo-uri Nu s-au stabilit un set universal de previziuni asupra a ceea ce ar trebui s fie selectate tipuri de modele i / sau create n scopul de a obine rspunsul dorit pentru un logo specific ntr-o politic campanie. Cu toate acestea, aceast revizuire literatura de specialitate arata un studiu realizat de Henderson i Cote (1998), care a implicat o evaluare de dou dimensiuni principale de rspuns i de proiectare a / logo-uri corporative. Analiza a subliniat caracteristicile i principiile de logo design care poate crete puternic sansele unui logo este de a fi considerat estetic plcut s telespectatorii, evocnd astfel un rspuns dorit de la ei. Henderson i Cote (1998) a examinat modul in care variatiile n proiectarea unui logo influenat Rspunsurile persoanelor lungul o varietate de dimensiuni de rspuns. Rspunsul evaluat Dimensiunile sunt incluse: (1) recunoaterea corect - intervievate n cadrul studiului recunoaterea corect

logo-uri vzut n trecut, (2) recunoaterea false - respondeni cred c recunosc un logo, dei 15 Nee - Ce face un logo campaniei prezideniale eficient nu au vzut-o n trecut, (3) afecteaz-likability din logo; i (4) sensul familiar capacitatea de logo-ul de a captura o conotaie clar a produs, serviciu sau companie logo-ul reprezint. Elementele de design evaluate au inclus: (1) elaborarea - complexitatea, activizat i adncimea logo, (2) naturaletea-o descriere exact a produsului / serviciului este reprezentnd, (3) armonie i proporia - echilibru i relaia dintre orizontal i Dimensiunile verticale; (4) paralelism - plasarea imaginilor liniilor si elemente fiind adiacent; (5) repetarea - cum elemente similare sunt reciproc n cadrul imaginii; i (6) rotunjime - utilizarea unor elemente circulare (Kohli, Suri, si Thakor, 2002). Henderson i Coasta de studiu din 1998 recomand trei "cele mai bune practici" care practicieni comunicaii i graphic designeri ar trebui s ia n considerare atunci cnd se creeaz o logo-ul puternic i afectiv pentru publicul lor int: (1) crearea sau selectai un moderat elaborat logo, (2) logo trebuie s prezinte un element de "natural", i (3) ar trebui s aib un logo mare Nivelul de ceea ce nseamn s viewer. Descrieri ale celor mai bune trei practici sunt dup cum urmeaz: Cele mai bune practici # 1: Crearea sau Selectai un Logo moderat elaborat. (1998) de studiu Henderson i Coasta de constatat c un design de logo moderat elaborat este cel mai eficient. n ceea ce privete designul, un logo elaborat nu se refer la nivelul de vizual complexitate n sine. Acesta este format din caracteristici, cum ar fi complexitatea, activizat i profunzimea i se consider c este n capacitatea sa de a utiliza elemente de design simple n timp ce capturarea conceptul sau esena

a imaginii (Henderson & Cote, 1998). Un designer de logo-ul are nevoie pentru a atinge un echilibru moderat ntre "prea mult" i "prea puin", n scopul de a susine interesul privitorului pentru o perioad mai lung de timp. Prin urmare, un logo ar trebui s depun eforturi pentru utilizarea creativ a elementelor vizuale simpliste, dar moderat elaborarea n caracteristicile de complexitate, activizat i adncime, astfel nct, indiferent de repetate 16 Nee - Ce face un logo campaniei prezideniale eficient expunerea la logo-ul, privitorul rmne interesat i / sau dezvolt o likability crescut de logo-ul cu expunere mai frecvente. Aplicnd aceast practic a unui logo-ul politic, un logo, care este vizual prea simplu nu pot provoca dorina intern a privitorului de a cunoate mai bine candidatul, poate gsi pur i simplu candidat plictisitoare, sau chiar mai ru, similar cu / concurenii sale. O prea logo complex, pe de alt parte, poate lsa n cele din urm privitor confuz despre candidat. Aplicarea teoretica: Elaborarea Probabilitatea Model (ELM). Aceast practic a n curs de dezvoltare un "moderat" i totui elaborat logo-ul are fundamentele teoretice nrdcinate n Elaborarea Probabilitatea Model (ELM) din convingere. n ulm, se refer la elaborarea generarea de rspunsuri cognitive a comunicrii mesaje-mesaje care pot include vizuale imagini, cum ar fi o sigl. ELM afirm exist dou rute spre convingere: (1) Central / traseu sistematic care este un proces care necesit o cantitate mai mare de gndire, cu un individ avnd o motivaie ridicat i capacitatea de a procesa informaiile i (2) traseu periferice / euristice care apare atunci cand individul are o motivaie slab i capacitatea de a

procesul de informare i obine informaii de ncredere pe indicii superficiale, cum ar fi credibilitatea a sursei i atractivitatea sursa, etc (Petty, Priester, si Brinol, 2002). Prin urmare, un moderat elaborat logo-ul poate satisface n mod eficient ambele rute de persuasiune i, astfel, s fie mai eficace n a convinge publicul su, indiferent de modul n care procesul de informaii prezentate de ele. Un design de logo-ul moderat elaborat, probabil, poate oferi elemente care furnizeaz n mod deliberat o oportunitate pentru mai multe interpretri cu aceeai imagine sporind astfel activitatea cognitiv de un public care proceseaz informaii pe cale central / sistematic. "Central traseu "publicul trage propriile concluzii din logo-ul, care ar fi n mod normal n sincronizare cu scopul de logo. Aceste publicul poate gsi o legtur direct cu intelectual candidaii prin logo-ul lor. Persoanele care sunt mai puin nclinai s fac informaii n profunzime 17 Nee - Ce face un logo campaniei prezideniale eficient prelucrare i ar prefera s se bazeze pe euristica, de exemplu, indicii superficiale ale unui logo, cum ar fi culori luminoase sau utilizarea unei imagini familiare, vei gsi, de asemenea, satisfacie i un sentiment de Identificarea ca acestea fac mai repede concluzii bazate pe caracteristicile suprafeei Design - ceea ce le este prezentat n logo-ul. Bazndu-se pe literatura privind tipurile de alegtorii, se pare c alegtorii raionali i activi sunt mult mai probabil s urmeze Central / sistematic traseu n timp ce alegtorii apatici / neatent sunt mai nclinai s urmeze traseul periferice / euristic. Aplicarea teoretic: Motivarea, capacitatea i cadru oportunitate. Un alt Cadrul teoretic care susine Henderson i Coasta de sugestia de a folosi moderat

logo-uri elaborate este (MAO) modelul Motivarea, capacitatea i posibilitatea. Modelul MAO tinde membrilor int publicului inactive i ncearc s-i angajeze ntr-un nivel de de prelucrare a informaiilor, care este mai mare dect nivelul superficial. Componenta motivaia este responsabil pentru "accentuarea excitare", astfel nct publicul va aloca resurse cognitive pentru a procesul de informare sau de a continua s proceseze informaiile (Hallahan, 2000). n cadrul acestei cadru, tehnicile propuse pentru a spori motivaia publicului includ utilizarea de noi stimuli, mesaje moderat complexe, i surse care sunt atractive sau similare cu audien (Hallahan, 2000). Prin urmare, un logo moderat elaborat ar trebui s foloseasc tehnici care spori capacitatea de alegator pentru a procesa mesajele apsnd n schema individului i resursele cognitive existente i apel la lui / ei de identitate. Un astfel de mod de a realiza acest lucru este de a folosesc o combinaie de grafic, text i naraiune, cuvintele concrete i imagini, i uor de recunoscut semne (logo-uri, logotipuri, mrci i simboluri). Logo-ul de designer ar trebui s fie vizual creativ evitnd n acelai timp distragere sau argumente complexe, care va lua departe de mesajul i trebuie s includ ilustraii "interactive", sau imagini (Hallahan, 2000). 18 Nee - Ce face un logo campaniei prezideniale eficient Cele mai bune practici # 2: a crea un logo cu un "Natural Image" Un alt factor care contribuie la efect pozitiv pentru crearea unui logo este naturalee. Naturalee n Un logo este "gradul n modul de proiectare descrie obiectul de obicei cu experien" (Henderson &

Cote, 1998). Henderson i Cote (1998) a stabili c exist dou moduri de naturalee poate fi realizat: reprezentant (gradul de realism ntr-un design) i modele organice (din piatr forme-de exemplu nu, forme geometrice dar curbe neregulate). Este important s se ia n vedere c noiunea de "naturalee", ntr-un logo nu ar trebui s fie la fel de natural ca o imagine ca vzut ntr-o fotografie. O reprezentare mai simpl, dar precis a obiectului dorit este adecvat i mai satisfacatoare s se uite la (Henderson & Cote, 1998). Aceasta completeaz lui Gernsheimer (2008) Text care prezint zece elemente pentru a crea un logo de durat. Acesta prevede c un logo-ul proiectat n mod corespunztor este una care este "simplu n construcie, dar nu neaprat n conceptul" (Gernsheimer, 2008). Conceptul ar trebui s aib profunzime i amploare, cu toate complexitatile sale, n timp ce se proiecteaz ntr-un logo Imaginea care este simplu i uor de neles. Cnd un logo-ul are un nivel simplist de naturale i elemente vizuale recognoscibile, se faciliteaz identificarea pentru telespectatorii si. Un exemplu de "naturalee simplist", este vzut cu evoluia logo Prudential (Figura 2). Logo-ul a fost folosit pentru a comunica vizual c Prudential este "piatra care v putei baza pe, "(Prudential, 2010). Cu toate logo-urile 1870-1940 expune n esen, un nivel ridicat de naturalee reprezentative, ele sunt extrem de detaliate i vizual ocupat n designul lor. n 1984, Prudential a nceput simplificarea nivelul de naturalee reprezentativ prin angajarea de baz forme geometrice pentru a construi imaginea de rock, care sa dovedit a fi abstract i aproape

nerecunoscut ca bine-cunoscut simbol "Prudential". Astfel, n 1990, logo-ul a fost recreat cu o naturalee mai organic. n acest caz, a fost cel mai eficient logo Prudential lui. 19 Nee - Ce face un logo campaniei prezideniale eficient Imaginea rmne c de o procedur simplificat, organic "piatr" ca un conotaia de imagine familiar siluetele soliditate, graia i istorie (Prudential, 2010). Cele mai bune practici # 3: a crea un logo cu un nivel ridicat de sens familiar. O alt practic eficient este de a crea un logo care afieaz un nivel ridicat de familiar adic la telespectatorii si. Mai uor un logo-ul este interpretat de telespectatorii si, cu att crete probabilitatea de recunoatere i de a fi evaluat mai general favorabil (Kohli, Suri, si Thakor, 2002). Henderson i Cote (1998), de asemenea, a constatat c logo-uri care sunt asemntoare cu populare, mai bine logo-uri recunoscute - n timp ce mai multe sanse de a fi recunoscut n mod fals pot fi nc evaluate pozitiv. Aplicarea teoretice: teoria dual proces. Dovezi empirice care ofer mai mult explicaie cu privire la diferenele din logo-ul preferin este vzut n Groves i Thompson (1970) Teoria dublu proces. Aceast teorie presupune c dou procese neuronale subiacente afecta rspuns la un stimul: (1) obinuin, o scdere de reacie i (2) sensibilizare, o cretere n reacie (Janiszewski & Meyvis, 2001). Sensibilizare depinde de stimul intensitate. De exemplu, un stimul mare contrast este mult mai interesant dect un stimul low-contrast; un stimul complex este mai stimulativ dect un stimul simplu, i un stimulent semnificativ este mai stimularea dect un stimul irelevant (Janiszewski & Meyvis, 2001). Aceasta presupunere este n

tandem cu Henderson i logo-uri concluziile-Cote importante sunt mult mai semnificative, sunt "Conceptual fluent", i sunt mai susceptibile de a fi acceptate de ctre privitorul (Janiszewski & Meyvis, 2001). Factori de obinuin sunt dependente de intensitatea unui stimul. n esen, o mai puin Figura 2: Evoluia Logo Prudential. (Sursa: campanie de publicitate Prudential) 20 Nee - Ce face un logo campaniei prezideniale eficient stimul intens va duce la obinuin mai puternic i astfel o scdere de reacie i dobnzii la un ritm mai rapid (Janiszewski & Meyvis, 2001). Acomodare la un ritm mai rapid va duce la pierderea de interes n rndul telespectatorilor. Pentru un logo pentru a fi eficiente, ar trebui s conin un design semnificativ care transmite un mesaj care nu se va risipi prea repede i n loc spori sau intensifica intensitatea de interesul telespectatorilor. Dup o mai bun nelegere a principiilor de proiectare de succes, este de asemenea important s consider c un logo estetic nu pot comunica ntotdeauna mesajul corect. Pentru a nelege acest fenomen, urmtoarea seciune a acestui literatura de specialitate se va uita la modul in care factorii de emoie poate afecta interpretarea unei imagini vizuale i modul n care un design ar trebui s fie vizual structurat pentru a obine emoia corect sau o interpretare pozitiv. Emoie n Logo Interpretare Verde i Loveluck (1992) a stabilit un cadru psihologic, teoretic care contribuie la cunostintele noastre de modul n care indivizii vedere i interpretarea logo-ul unei corporaii. Descoperirile din acest includerea merite citit n acest literatura de specialitate, deoarece exist multe aspecte ale

design de logo-ul companiei, care se poate traduce la i s informeze practica de proiectare n dezvoltarea de logo-uri politice. Verde i Loveluck (1992) expune trei surse de informaii care contribuie la nelegerea unei persoane de un simbol: "(1) n scopul comunicrii; (2) proprietile de un simbol - referenial i grafice, i (3), n contextul n care simbolul este vzut "Pentru a. clarifica prima surs de informaii, este extrem de important pentru persoanele fizice s neleag c Proprietile unui simbol trebuie s fie proiectate pentru a comunica informaii despre o societate i / sau organizaie i la "... trata simbolul ca fiind relevante pentru ceea ce compania vrea s spun despre sine, la fel ca ntr-un context discurs vom trata declaraiile de alt persoan relevant n care context "(verde i Loveluck, 1992, p. 39.). A doua surs de informaii care contribuie 21 Nee - Ce face un logo campaniei prezideniale eficient pentru nelegerea unei persoane de un simbol poate fi cel mai bine descris folosind exemplul mai recent versiune a logo Prudential (figura 2). Proprietile refereniale ale unui aluzie simbol n ce simbolul descrie efectiv. n acest caz, simbolul descrie o piatra mare celebru piatra de Gibraltar. Elementele grafice ale simbolului se refer la modul n care este construit imaginea pentru privitorul. Referindu-logo Prudential, elementele grafice ale logo-ul include utilizarea unei imagini cu dou culori (albastru i alb), unde imaginea roca este circumscris ntr-un cerc, cu linii simple i ndrznee pentru a crea imaginea de ansamblu. Utilizarea acestor tipuri de elemente, precum i posibilitatea de a ncorpora elemente grafice n acest mod poate nsemna diferite

sensuri pentru oameni diferii. Pentru a clarifica acest concept, folosirea de linii simple i ndrznee pentru a a crea logo-ul piatra poate transmite ca o organizatie sau companie este standuri pentru expozitii Caracteristicile de rezisten i de putere-pozitiv atribute care exemplifica o asigurare de viata companie dedicata de servire i protejarea bogia att la nivel individual i instituional clienii. Pentru o alt persoan care ar putea s nu fie familiarizai cu Prudential, folosirea unui albastru de ghea Culoarea poate fi off-punerea la un vizualizator. Ghea albastru poate nsemna caracteristicile de a fi o companie c este rece, nu artos sau nu grija de clientii lor. n acest exemplu, este plauzibil ca acelai logo evoca un rspuns pozitiv n primul exemplu, se poate obine un rspuns negativ cu o alt persoan care a avut o experien client nefavorabil cu Prudential. Proprietile grafice i referenial ale unui simbol, precum i contextul n care un simbol este vzut poate produce diferite interpretri ale mesajului su. Acest lucru se datoreaz faptului c vizual Interpretrile sunt aproape ntotdeauna ataat la emoie. Comunicaii verbale tendina de a lsa publicul lor intr-o cale mai raional, logic i liniar de gndire, n timp ce vizuale au tendina de a rezona cu publicul lor la un nivel emotional, care, la rndul lor, pot social schimbare inginer n credinele i atitudinile (Joffe, 2008). Pentru ca emotiile sunt afectate de 22 Nee - Ce face un logo campaniei prezideniale eficient calitatea materialelor vizuale, este esenial s se uite n literatura n ceea ce privete teoriile de emoie pe prelucrare a informaiilor i aplicarea lor, n scopul de a ajuta la practicantii de comunicare, strategii de comunicare, designeri vizuale i candidaii s neleag deopotriv ce elemente de

emoie s ia n considerare atunci cnd se creeaz un logo semnificativ campanie politic. Aplicarea teoretice: teoria culorilor. Atunci cnd o persoan vede un logo, care sunt n esen, uit la formarea de elaborare cu culori i forme ale acestor culori. utilizarea adecvat a culorilor, prin urmare, este un instrument puternic, care strnete emoie de telespectatori i permite le pentru a vedea n logo-ul expresia total a personalitii candidatului. Literatura de specialitate extinse pe teoria culorilor ofer un set de constructe teoretice i ghidare principii care pot fi utilizate pentru a crea combinaii de culori armonioase care va afia un logo cum punct de vedere estetic sau extrem de relevant. Presupunerea c de culoare este un instrument de a evoca emoie este vzut n Johann Wolfgang von Goethe (1810) Zur Farbenlehre (Teoria de culoare.) n Zur Farbenlehre, Goethe mprit toate culorile n dou grupuri separate, creznd c culorile sunt legate de emoie. Un grup format din culori calde, de exemplu, rou la portocaliu la galben, care produce n mod normal entuziasm n rndul telespectatorilor lor. Pe de alt parte, culori reci, adic, verde a albastru la violet, producerea "sentimente nerezolvate" (piatra, Adams, si Morioka, 2006). Referindu-se la Figura 3, Goethe a afirmat c combinaiile de IC , IIC , IIIC , i IIA n triunghi sau de culoare a produs un "senin" paleta de culori (Stone, Adams, si Morioka, 2006). n conformitate cu

discutate anterior, conceptul de subiectivitate n comunicare vizuala, aceasta paleta de culori este interpretat ca atare prin viewer. n funcie de modul n care este utilizat aceast combinaie de culori i ce se este utilizat pentru, va determina dac aceast palet ntr-adevr este considerat "senin". 23 Nee - Ce face un logo campaniei prezideniale eficient Este important de notat aceast subiectivitate exist pentru c "ochiul uman i creier Experiena culorilor punct de vedere fizic, mental si emotional "(piatr, Adams, si Morioka, 2006). Prin urmare, culorile propriu-zise au semnificaii care sunt cultural definite i convenite, aa c este important s aib o nelegere a diferitelor sensuri i s analizeze modul n care culorile difera cultural nainte de a selecta culori pentru un logo. Literatura Serviciul arata mai mult efectul de culoare asupra emotie prin intermediul lui Brader (2000) studia n utilizarea cilor de atac emoionale i anunuri politice n alegerile din 2000. Un domeniu de sale Studiul sa axat pe culoare n reclame politice i a constatat c culoarea este legat emoional repere. In timp ce studiul sa concentrat n special pe reclame politice cuing emotii de frica i entuziasm, acest lucru poate fi cu siguran tradus n selecia de culori n dezvoltarea unui logo-ul politic. El a descoperit c scheme de culori specifice apel la emotii primare. De exemplu, un schema de culori alb-negru sau o palet de culori dim / ntuneric implica frica sau furie, n timp ce luminos i imagini colorate produce efectul opus, de cuing emoii de entuziasm sau de mndrie (Brader, 2006).

Emoiile sunt reacii care sunt de scurt durat, intense i direcionate ctre un fel de externe stimuli, fie c este un eveniment, obiect, imagine sau persoana (Nabi, 2002). Prin urmare, n domeniul de politic i alegeri politice, evocnd emoie dreptul la o intensitate potrivit i la dreapta Figura 3: Triangle Color lui Goethe. Culoare amestecare i Goethe Triangle.24 Nee Ce face un logo campaniei prezideniale eficient timp poate convinge un alegtor s voteze pentru candidatul care conecta emotional cu. Urmtoarele aplicaii teoretice contribuie la intelegerea rolului de emoie care se refer la domeniul de proiectare. Aplicarea teoretic: Teoria evaluare. Principiul de baz al teoriei evaluare este c emoiile sunt trase de evaluri individuale de evenimente i situaii (Roseman & Smith, citat n Scherer, Schorr i Johnstone, 2001). n ceea ce privete dezvoltarea unei imagine, cum ar fi logo-ul de campanie, designeri, practicieni de comunicare i strategii de campanie ar avea ca scop de a crea un logo atotcuprinztoare care provoac emoie propriu, trimiterea aparent n mesajul propriu-zis despre candidat. Este plauzibil ca o imagine considerat pozitiv de ctre unul individ poate evoca o emoie negativ ntr-un alt individ. Teoria evaluare poate oferi o explicaie pentru natura difereniat a rspunsurilor emoionale la o imagine vizual. Dei nu exist literatura limitat pe aceast tem de logo design, Desmet (2002) a examinat modul n care teoria evaluare poate informa practicienii asupra modului n care aspectul de produse (design de produs) poate evoca specifice emoii n vizualizatorul (Demir, Desmet & Hekkert, 2009). n evaluarea sa, el a redus

evaluarea produsului (efectul unui produs pe una de bine a) pn la patru tipuri principale: (1) raport de un produs pentru scopurile cuiva, (2) recursul senzoriale a produsului; (3) legitimitatea unui aciune reprezentat de produs, i (4) de noutate al produsului (Demir, Desmet & Hekkert, 2009). Cu prima evaluare produsului, relaia dintre un produs pentru scopurile cuiva, utilizatorul final este preocupat de "cum acest produs atinge obiectivele mele, ideile, sau standarde? i cum se face n conformitate cu bine meu personal fiind? "A doua evaluare, recursul senzoriale, se refer la noastre place nclinaii, precum gusturi sau atribute ntr-un produs. Un produs care este n conformitate cu atitudinile noastre va fi evaluat ca atrgtoare, n timp ce una care nu este n concordan cu atitudinea noastr este de neatrgtoare. Cea de a treia evaluare, legitimitatea unei aciuni reprezentat de produs, depinde dac un 25 Nee - Ce face un logo campaniei prezideniale eficient Produsul este perceput pentru a satisface standardele noastre i reflect normele i credinele de modul n care lucrurile ar trebui s fie. A patra evaluare se concentreaz pe noutatea produsului. Noutate se refer la ct de mult o Produsul se abate de la norm sau de la asteptarile noastre de modul n care aceasta ar trebui s fie. Un produs apreciat ca roman, va duce la un sentiment de surpriz plcut din partea privitorului. Un alt studiu de design bazat pe ipotezele de baz ale teoriei evaluare au fost observate n (2004) Articolul lui Norman ca ncorporat rolul de procesare mental i efectele sale asupra rspunsuri afective. El afirm c prelucrarea are loc pe trei niveluri diferite, i pentru a completeaz fiecare dintre aceste niveluri, el propune trei strategii de proiectare:

(1) visceral: reglementeaz rspunsuri prin percepia direct. elaborarea de strategii recomandat: proiectare pentru aspect. (2) comportament: implicarea nvat, dar rspunsuri automate afective. Strategia de proiectare recomandat: de proiectare pentru uurina de utilizare. (3) reflectorizant: implicarea rspunsuri afective cauzate de gndirea contient. elaborarea de strategii recomandat: de proiectare pentru sensul reflexiv. (Norman, citat n Demir, Desmet & Hekkert, 2009, p.41). Aplicarea teoretic: Informaii afective. Pentru nelegere i nelegerea n rolul de emoie n imagini vizuale i influena acesteia asupra comportamentului politic, este este necesar s se concentreze pe Marcus, Neuman i (2000) teoria MacKuen de inteligen afectiv care afirm c exist dou sisteme paralele emoionale n exploatare care lucreaza pentru a modela opiunile cetenilor vot si comportamentul politic (apud Brader, 2006). Primul este Sistemul de dispoziie, care reglementeaz motivaia unei persoane s acioneze n politic existente obiceiurile, de exemplu, partizanatul, aduce fa de un candidat, sau predispoziii. Al doilea este sistem de supraveghere, care este declanat de o afeciune grav de "trezire" cetenilor n o stare de anxietate care i ncurajeaz s ia n considerare alte opiuni (Brader, 2006). Cu imagini care evoca o stare de spirit pozitiv pentru privitorul sau n cazul n care un telespectator este deja ntr-o stare pozitiva, telespectatorii au tendina de a se angaja n prelucrarea "de sus n jos", bazndu-se pe convingeri i euristici, cum ar fi o pre-existente imagine vizual. Pe de alt parte, cu imagini care evoc o stare de spirit negativ, sau n cazul n care un telespectator este ntr-o 26 Nee - Ce face un logo campaniei prezideniale eficient

starea de spirit negativa, telespectatorii au tendina de a se angaja n prelucrarea sistematic "bottom-up", unde interpretarea unei imagini provine de la datele sau informaiile furnizate privitorului (Schwartz, 2000 citat n Brader, 2005). Pentru scopurile acestei literatura de specialitate, este important s se concentreze n special asupra pozitiv apeluri emoionale, care ar ajuta la crearea unui logo politic eficient, deoarece ntrun prezideniale alegeri, un logo-ul servete ca imagine prescurtare a unui candidat la preedinie. A Brader (2005) cercetare uitat la entuziasm (un apel emoional pozitiv) i impactul su n alegeri campanie. El a artat c rezultatele au fost n acord cu teoria inteligenei afective, prin apel entuziasm au fcut ca telespectatorii s se bazeze pe convingerile lor i preferinele preexistente alege un candidat politic. n plus, apelurile entuziasmul generat un interes mai general, n Campania politic a candidatului (Brader, 2005). Poate c teoria inteligenei afective sugereaz c un logo-ul ar putea avea un efect mai pozitiv asupra oamenilor care deja dein acelai vederi n calitate de candidat, consolidarea loialitatea lor existente la acel candidat i partid reprezint. n scopul de a acumula un rspuns pozitiv n ntreaga liniilor de partid politic i rezona cu alii c nu muli dein aceleai credine pre-existente, logo-ul trebuie s fie structurat i concepute ntr-un mod pozitiv de a promova stabilitatea candidat pentru a deveni preedinte. Analiza literaturii de specialitate Rezumat Aa cum sa discutat pe parcursul acestui literatura de specialitate, un logo-ul politic este o pies integrant a

comunicare atunci cnd structurarea unei campanii de marketing politic. Practicile de proiectare i principii, precum i fundamentele teoretice prezentate n aceast revist literatura de specialitate sunt o nsumarea criteriile i elementele care trebuie luate n considerare atunci cnd se creeaz un logo-ul eficient. Acest include mai multe de proiectare cele mai bune practici, cum ar fi: (1) crearea sau selectarea unui moderat elaborate logo, (2) trebuie s prezinte un element de "naturalee", i (3) au un nivel ridicat de 27 Nee - Ce face un logo campaniei prezideniale eficient sensul de a viewer. Primele dou practici se aplece mai mult spre principiile de proiectare i s se concentreze asupra proprieti grafice care fac un logo estetic. n timp ce logo-uri poate fi estetic plcut, c nu poate nsemna c sunt eficiente. Prin urmare, a treia mai bune practici sugereaz c designeri i practicieni ar trebui s ia n considerare foarte mult proprietile refereniale de un logo, care garanteaz un puternic accent pe factori cum ar fi elemente emoionale n prelucrarea vizual imagine. Acest lucru afecteaz modul n care este primit i interpretat o imagine logo-ul cnd este privit de ctre public. n timp ce aceasta recenzie literatura de specialitate a stabilit criterii care nu au fost orientate n special spre design de logo-ul politic, acest Capstone va investiga, de asemenea, n cazul n care astfel de practici i principii sunt aplicabile logo-uri campaniei prezideniale. Incorporarea i adoptarea mai bun design general practici, acestea se refer la logo-uri ar putea contribui la un candidat politic estetic logo-ul. Un logo-ul poate servi aparent ca un mod puternic de comunicare politic ntr-un campania prezidenial. Urmtoarea seciune a acestui Capstone va discuta despre metodele folosite n

tandem cu aceste cele mai bune practici adunate din aceast revist a literaturii de a analiza eficiena de trei logo-uri prezideniale. 28 Nee - Ce face un logo campaniei prezideniale eficient PROFIL DE CAZ Literatura de specialitate sa axat pe teoriile i principiile de proiectare care au ca rezultat producie a unui logo-ul companiei sau organizaie eficient. Se observ, cu toate acestea, exist o lips de literatura de specialitate care zerouri n pe proiectarea unui logo-ul politic care este puternic i cuprinztoare a candidat politic. Prin urmare, este interesant de a putea vedea n ce msur cele mai bune practici pentru Logo Design de companii sau alte organizaii pot fi aplicate la proiectarea logo-ul pentru o politic candidat. Cum sunt procesele de creare sigla unei companii similar sau diferit de cea a unui logo-ul politic? Unde sunt punctele de convergen i divergen atunci cnd vine vorba de cel mai bun practicile i principiile de proiectare? Va aceleai principii i practici aplicate ntr-un mod eficient sau de mare succes logo-rezultat de design ntr-un logo-ul politic de succes? Aa cum un design eficient Logo-ul se traduce in profitul companiei, va fi un logo politic eficient traduce n alegerea unui candidat politic? Acest Capstone i propune s investigheze principiile i cele mai bune practici n design de logo-ul companiei i modul n care acestea pot fi aplicate cu succes la crearea de logo-uri politice. Aceasta Capstone folosete o abordare de analiz semiotic, n scopul de a informa noastre nelegere a eficacitii, punctele forte, punctele slabe, i modul n care o persoan poate obine

adic de la o imagine logo-ul politic. Alegerea Logos Acest Capstone este oportun n care att n timpul i dup alegerile prezidentiale din 2008, strategi de campanie politice, marketing si graphic designeri au vzut merit lui Obama punerea n aplicare a unui logo puternic i eficient de la nceputul campaniei sale pn dup alegerea sa ca preedinte. nelegerea elementele de ceea ce face un logo-ul politic eficient va fi benefic pentru viitorii candidai anun intenia de a candida la prezideniale din 2012 alegeri i dincolo. 29 Nee - Ce face un logo campaniei prezideniale eficient Pentru a satisface interesul recent n acest domeniu, aceasta Capstone va privi n politic logo-uri de campanie de doi candidai la preedinie de succes (Barack Obama [2008] i George W. Bush [2004]), i c de un candidat respins (John McCain [2008]). Este important s se reinei c acest lucru Capstone nu atribuie numai alegerea cu succes a preedinilor Obama i Bush a logo-urile lor respective, dei impactul design logo-ul lor poate fi redat "Eficient" i "de succes" n subliniind candidaii care au crescut interesul publicului n obtinerea s le cunoasc mai mult. Efectuarea unei analize de semiotic pe un logo utilizat de ctre un ctigtor candidat fa de cel de candidat care nu a ctigat ofera un contrast care ofer context cu privire la modul un logo estetic poate transmite uneori neles neintenionat. Dei exist mai multe variante de logo-urile candidate prezideniale (ca urmare a votului

postarea publica iteraii diferite, care nu ar fi putut fi versiunea original), acest Capstone ales pentru a alege logo-uri de la un logo candidat la preedinie i depozit de siteul web numit www.4president.org. Analiza semiotic Semiologie este n esen studiul de "semne" i, prin urmare, semiotica poate dota semn sau logo-ul analiti cu instrumentele adecvate pentru a le permite s abordeze sistematic sistemele de login pentru a nelege cum un semn sau semnal produce semnificaia sa (Penn, 2000). Conceptul de semiotic a de la nfiinarea sa nrdcinat n lucrarea Ferdinand de Saussure n lingvistica structural. Un lingvistic Unitatea este numit un "semn" i un semn este mprit n dou pri: (1) un semnificant - forma pe care o ia; i (2) semnificat - conceptul care o reprezint (Penn, 2000). Aceste dou concepte sunt strns legate i inter-conectate ntre ele. n timp ce semnificant i semnificat pot fi analizate separat, ele exist numai n calitate de componente ale unui sistem total semn i, prin urmare, ele nu pot exista fr reciproc. Este important s se in cont de faptul c, n intrand in sensul unui semn, 30 Nee - Ce face un logo campaniei prezideniale eficient Evaluarea de cele dou pri - semnificant i semnificat - sunt luate mpreun n cazul n "Referitoare la structurile i relaiile lor structurale cu alte semne" (Dyer, 1986, p.. 123). De la Fundaia lui Saussure a semioticii, ali cercettori au dezvoltat diferit variaii cu privire la modul de a analiza imaginilor. Imaginile au o "polisemic" (ambiguu) natura, prin urmare, diferenele n semn / simbol

interpretare sunt influenate de factori cum ar fi: (1) cultur; (2), persoana n cauz; i (3) elemente a imaginii, cum ar fi tipografie, legende i culori (Penn, 2000). Penn constat c, din cauza natura lor polisemic, imagini necesita uneori textul nsoitor. Textul nsoitor, denumite n continuare ancorare servete pentru a clarifica i ambiguitatea imaginea (2000). La alte ori, att imaginea i textul sunt prezentate simultan pentru a clarifica semnificaia general a imaginii. Aceasta este ceea ce este menionat ca releu. Este important s reinei c scris i vorbit comunicare difer de la comunicarea vizual n care cu limbajul scris i vorbit, semne apar la publicul ntr-o succesiune controlata si atent calculate. Cu toate acestea, n imagini, toate elementele unui semn vizual sunt prezentate la privitor simultan, n cazul n care nu exist Controlul mai puin n dicteze ordine mesaj viewer (Penn, 2000). Pe baza bazele formate de Saussure i Pierce, ali cercettori au examinat i sa axat pe diverse aspecte ale relaiilor semn. Moriarty (2005) afirm c, n teorie de semne este o "noiune de opoziii i rolul lor n crearea de sens", c ar trebui s fie luate n considerare. n aceast privin, o analiz semiotic ar considera apoi diferena ntre sensuri denotative i conotative de semne. Denotativ versus conotativ relatii. Atunci cnd efectueaz o analiz semiotic a o imagine, un inventar denotativ ar consta dintr-o descriere direct i specific a semnificat. Acest inventar este o descriere literal a ceea ce vede privitorului. Pentru a efectua un 31 Nee - Ce face un logo campaniei prezideniale eficient inventar conotativ este de a delimita, de fapt ceea ce sensul evoc imaginea vizual. Moriarty

(2005) se refer la acest lucru ca "bagaj cultural" legat sau asociat cu imaginea vizual. Evidenierea "cunotinelor culturale" i "sintagma" asociat cu o imagine poate oferi viewer cu perspectiva mai mult i informaii n sensul imaginii. Un exemplu de "cunostinte culturale" necesar pentru a oferi context la sensul unei imagini este vzut n selectarea unui vultur ca mascota Universitatea american. Pentru ca un vizualizator de trage n mod corespunztor o legtur cu vulturul reprezentnd Universitatea American, este util s tii este c n Statele Unite, Eagle este un simbol al Americii i patriotism. n primul rnd Presedinte, George Washington i-a exprimat o visul de a avea o "universitate naional" n Washington, DC, capitala naiunii (American University: Istorie, 2011). Dup nelegerea acest context, de ce universitatea a fost construit, American University poate fi semnificativ ntruchipat n forma unui vultur. Explorarea "sintagme" sau relaiile sintagmatice de un semn informeaz modul n care elementele de un vizual sunt juxtapuse i model poate provoca diverse semnificaii i interpretri. Astfel de elemente includ: culoare, dimensiune, poziionare, indicii de accent i relaiile dintre elementele care reciproc (Penn, 2000). Penn (2000) demonstreaz o relaie sintagmatic folosind un Givenchy alegerea parfum publicitate de caractere. Ea prezint sistematic elementele de caz, orientare, proporia scrisoare i stilul de font pentru a obine sensul vizual de la cuvntul "Organza" n publicitate. (Consultai Figura 4 pentru o imagine de publicitate i de mas

1 pentru rezultatele.) Este important de notat analiz ei inclus "unchosen" sintagmatic elemente, n scopul de a nelege ceea ce alte opiuni de font ar fi putut fi incluse n imaginii. Folosind alte elemente sintagmatice ar fi schimbat sensul vizual al caractere i publicitate ca un ntreg. 32 Nee - Ce face un logo campaniei prezideniale eficient Penn descrie alegerea fontului a cuvntului "organza" ca "mn ... sugereaz o concluzie: o legend furnizat la imaginea deja complet. Z este desenat cu o nflori i literele sunt formate n mod clar capitale scrise cu litere italice, sugernd probabil fler, optimism i extraversiune "(Penn, 2000, p.. 235). ncorporarea alte opiuni sintagmatice din tabelul 1 i manipularea publicitate pentru a afia cuvntul "organza", ntr-o form vizavi de publicitate, de exemplu, cu litere mici, orientare roman, proporiile extins i un serif font-semnificaia vizual a cuvntului "organza", se va schimba n mod ostentativ. Figura 5 prezint o publicitate Givenchy mostr cu un nou set de elemente sintagmatice. Manipulat publicitate pierde sugestia iniial de "fler, optimism i extraversiune." n timp ce Alegerea n font este nc atrgtor, noul font combinat cu imaginea original de femeia si sticla de parfum emite o vibraie cu totul diferit. Manipulat publicitate acum pare s sugereze parfum este mai conservator, supus, elegant i tipuri elegante de femei. Figura 4: Givenchy "organza" advertisement.33 Nee - Ce face un logo campaniei prezideniale eficient Semiologia este aplicat la o varietate de sisteme de semne de la moda, arhitectura, i produse de consum n metode de publicitate (Penn, 2000). Scopul este de a analiza semiotic obine cunotine culturale, care este necesar pentru privitorul s neleag imaginea i sa

nelesul intenionat (Penn, 2000). Avnd n vedere noiunea Moriarty de opoziie, Penn prezint un Abordarea analiza semiotic, care se aplic cel mai bine la imaginile publicitare. Aceast abordare este mai strns legat de o analiz de logo-uri, logo-urile sunt n esen, o form de "o imagine de publicitate" pentru un candidat la preedinie. Acest Capstone modeleaz metoda de analiz semiotic creat de Penn (2000) n studiul comparativ al eficacitii sau non-eficacitatea politic logo-urile de campanie ale lui Obama, Bush i McCain. Fiecare din cele trei logo-uri candidate prezideniale a fost analizat denotatively apoi connotatively, urmnd paii prezentate n Figura 6. Figura 5: schimbarea Caractere n cuvntul "organza" 34 Nee - Ce face un prezidenial sigla campaniei Effective35 Nee - Ce face un logo campaniei prezideniale eficient ANALIZE CASE si discutii Inventarul denotative Capstone utilizat (2000) metoda semiologic Penn de analiz. Procesul analitic a inceput prin efectuarea unui inventar denotativ de fiecare prezideniale (Obama, George W. Bush i McCain), logo-ul candidatului. Inventarul se concentreaz pe elementele literale ale logo-ul, care au fost grupate n dou componente principale: text i imagini. Inventarul de text pentru fiecare candidat logo a luat n considerare amplasarea textului, caracteristicile fontului i culoarea textului. inventar imagine ia act de utilizarea de culori, forme si texturi, precum i modul n care aceste elemente au fost combinate pentru a crea o imagine. Anexa A (pagina 58) are o mas plin simbolizeaz Constatarile inventar denotativ lui.

Niveluri mai ridicate de semnificaie (Inventarul conotativ) Inventarul conotativ se bazeaz pe bazele stabilite de ctre denotativ inventar, n scopul de a crea o analiz mai clar a elementelor utilizate n discuie. Inventarul conotativ pune o serie de ntrebri legate de fiecare element specific (Penn, 2000). Exemple de ntrebri ntr-un inventar conotativ sunt prezentate n figura 6. Efectuarea unui inventar conotativ este esenial pentru ca elementele vizuale sunt polisemic i diferitele interpretri de o imagine vizual poate contribui la mai mult de un semn de ordin superior. Repere ale analizei conotativ a celor trei logo-uri politice derivate din discuiile de mai multe elemente importante ale logo-ul sunt prezentate. Cuprinztoare tabele (Anexele B, C i D de la paginile 59-61), prezenta rezultatele complete ale stocurilor conotative realizat pentru fiecare dintre logo-urile candidate prezideniale. 36 Nee - Ce face un logo campaniei prezideniale eficient Elementul 1: Text. n toate cele trei logo-uri prezideniale, numele ambilor candidat la preedinie i de vice-prezideniale pereche de funcionare sunt prezentate, cu numele candidatului prezidenial listate pe top. Acest lucru semnific faptul c candidat la preedinie ar trebui s fie obiectivul principal privitorului. n timp ce partenerul lor de funcionare rmne important, numele revine sub numele candidatului prezidenial implicnd o poziie mai subordonat i rol de sprijin. Acest concept de primar, subordonat poziionarea numele din textul este transmis mai eficient i clar n logo-uri att Obama i Bush dect cel al lui McCain. Dei numele lui Biden utilizeaz acelai font ca i

c de numele lui Obama, dimensiunea de numele lui Obama este mai mare i mai proeminent, sugernd rol mai important al unui preedinte american. Acelai lucru se observ n 2004, logo-ul lui Bush unde Numele lui Cheney este mai mic dect cea a lui Bush. Pe de alt parte, aspectul i mrimea Numele lui McCain n logo-ul campaniei sale este acelai ca i colegul su de funcionare, Palin. Similitudine n font i dimensiune ca o alegere de design poate provoca interpretri diferite din diferite telespectatori. Ea poate nsemna egalitate n importan de McCain i Palin n calitate de candidai i poziiile pe care le caut. Pentru alegtorii care doresc s vad o femeie care servete ntr-o poziie de mare ca vicepreedinte al Statele Unite ale Americii, aceast dimensiune egal fontului poate fi privit favorabil, deoarece ntrete ideea c nu exist niciun motiv de ce o femeie nu poate servi ntr-un birou politic de mare ca Preedintelui napoi. McCain / Palin logo sugereaz c McCain i Palin au abiliti egale de a conduce ara i consolideaz poziia de egalitatea de gen. Alternativ, dei, acest logo nu poate sta bine cu telespectatorii care doresc s vad o distincie ntre rolul de preedinte i vicepreedinte. Se poate rula riscul de a fi contraproductiv n cazul altor telespectatori i massmedia ncepe s se schimbe atenie la candidatul la preedinie vice i n / calificrile sale pentru a preedintelui succesor ar trebui el s devin incapabil. Dup cum se poate observa de-a lungul campaniei, mass-media 37 Nee - Ce face un logo campaniei prezideniale eficient acoperire portretizat Palin ca nepotrivit pentru a servi ca rezerv McCain. Dup cum se vede n nefericita interviu cu Katie Couric, iar smbt noaptea parodii live, lipsa de experien politic Palin

i naivitate a devenit o surs de batjocur plin de umor a capacitilor ei i ce reprezint. La un punct central n campanie, lipsa de realizare Palin a devenit centrul ateniei n loc de McCain de experien, abiliti i realizri. Alegerea stilului de fonturi / fonturi este un alt domeniu de interes atunci cnd vine vorba de conceperea unui logo politic. Stilul font selectat poate avea un impact direct sau indirect asupra privitorul care se pot ataa mai multe sensuri, pe baza fontului utilizat. Dup cum se vede n Givenchy "Organza" parfum logo exemplu, sensul general vizual a unei imagini cu text suplimentar este ghidat de selecie caractere. Modificrile n formatarea de scrisori-selectarea unui font serif comparativ cu o sans serif font-au un impact n conotaia. Figura 7 ofer vizibil diferenele dintre serif i fonturile sans serif. Liniile roii n ultimul exemplu indic locaie de serif pe o scrisoare. Inventarul denotativ (Anexa A), arat c fiecare candidat utilizat Urmtoarele tipuri de fonturi n logo-urile lor de campanie: - Obama / Biden: litere mici de capital, Serif font38 Nee - Ce face un logo campaniei prezideniale eficient - Bush / McCain '04: majuscule Bold, sans serif font - McCain / Palin: litere de capital, (tehnic) un font sans serif S-au efectuat numeroase studii cu privire la lizibilitatea serif fa sans serif fonturi. Studiile au aratat ca fonturi serif sunt mult mai uor de citit dect sans serif, cu toate acestea, alte studii contrazic aceste constatri i a gsit invers s fie adevrat. Indiferent de diferenele n aceste constatari, un rezultat care a fost consecvent n aceste studii a fost c telespectatorii considera

tipuri de caractere pentru a fi mai uor de citit atunci cand este expusa la fonturi c acestea sunt mai obinuii s i sunt adesea vzute (Felici, 2003). Texte tipice (cri, ziare, reviste) n mod tradiional utilizeze fonturi serif pentru cantiti mari de text n timp ce un tip serif sans este mai des utilizat ntr-o "Afia rol" a face titlurile i poziiile n reclame mai proeminente (Felici, 2003). Utilizand majuscule este o alegere tipic de design pentru un tip de caractere ntr-un rol de ecran, i fiecare Candidatul face efectiv acest lucru. Bush urmeaz norma folosind un bold, sans serif care este o alegere solid de litere. Acest lucru poate nsemna poziia de afaceri, ca de obicei, care poate fi acceptabil, dar nu se opune la fel de mult pentru a privitorului. Obama, pe de alt parte, este mpotriva norma de "roluri de afiare", folosind un font serif. Caracterele lui Obama este diferit de Standardul dei rmne estetic plcut i este un mesaj transportor eficient a unui promisiune de "speran i schimbare." Folosind un font lustruit, contemporan i atipice, cum ar fi font serif din logo-ul lui Obama / Biden este vizual n concordan cu aceste teme, conotaia de telespectatori c Obama i Biden poate oferi o schimbare complet de la administraia Bush. McCain i selecie font Palin pare a fi indecis. Dei are punct de vedere tehnic un serif sans font, exist unele decizii subtil de serif la sfritul personajului. Acest element al unui font "intermediar potrivit" poate desprinde la fel de confuz lasand un semn de ntrebare n mintea privitorului i un grad de incertitudine care McCain / Palin nu poate fi sigur de poziia lor sau scop. O astfel de alegere de o n-ntre caractere poate fi considerat un font "sigur" de a folosi, n cazul n care se poate v rog vizual de 39 Nee - Ce face un logo campaniei prezideniale eficient

public mai larg, dar n realitate, transmite sensul greit. Ambiguitate n selecie font poate proiecta candidaii republicani ca avnd suport puternic pe politicile i problemele i pur i simplu de catering sau acomodarea la ct mai muli alegtori ar fi posibil. McCain / Palin caractere selectat a fost numit "Optima" - la fel fontului utilizat n Vietnam Veterans Memorial n Washington, DC Aceast alegere de design poate s fi fost n mod deliberat, n scopul de a evidenia Cariera lui McCain prestigiu militar i eroismul su ca un prizonier de rzboi. n timp ce acest design Alegerea cel mai probabil rezonat bine cu suporterii lui McCain, este posibil s nu fi fost o alegere neleapt la un moment n care multe alte americani au exprimat dorina de a retrage trupele. Militarist surdina de logo-ul poate aminti subliminal telespectatorilor de faptul c att McCain i Palin au fost avocai de creterea trupelor din Orientul Mijlociu. Elementul 2: Includerea unui URL. Inventarul denotativ arat c dou dintre cele trei logo-uri (Obama i McCain) ncorporat URL-uri web care telespectatorii directe la site-uri ale candidatului oficiale n cazul n care pot obine mai multe informaii cu privire la candidat, opiniile politice i alte activiti de campanie. Dei adugarea URL-ul site-ului pe un logo nu servete nici un scop artistic, ncorporarea ndeamn privitorul s ia msuri n procesul de nvare mai multe despre candidat sau ofer alegtorilor o aciune evacuare i mijloacele s fie mai proactiv n sprijinirea campaniei candidatului. Spre deosebire de cea a Obama / Biden si McCain / Palin logo-uri, Bush / Cheney logo-ul nu include un URL-ul site.

Acest lucru poate fi atribuit la faptul c la alegerile din 2004, accentul pe social media nu a fost la fel de popular a fost n alegerile din 2008. n 2008, Obama a revoluionat politica sa Campania de blitzing publicul cu instrumente tradiionale i sociale mass-media - de exemplu, blogging-ul, Facebook, Twitter, i chiar aplicaii pentru iPhone (Seidman, 2008). Succesul campaniei lui Obama n domeniul social media este, fr ndoial, o bun practic i vor fi probabil ncorporate n toate cele 40 Nee - Ce face un logo campaniei prezideniale eficient viitoarele campanii prezideniale. Prin urmare, pentru orice viitor logo-ul campaniei prezideniale, un URL web ar trebui s fie incluse n design-ul astfel nct s promptsits publicul s fie mai proactiv i sprijin alegerea unui candidat. Elementul 3: logo-ul imagine. Fiecare logo-ul prezidenial include o bucat vizual care reprezint candidat i, eventual, execut lor pereche. Aceast zon de discuie evaluate n fiecare vizual n funcie de cele trei cele mai bune practicile de logo design, definite n literatura de specialitate Capstone de: (1) crearea sau alegerea unui logo moderat elaborate, (2) expozitia de un element de "naturalee", i (3) avnd un nivel ridicat de sens viewer care vor fi derivate din rezultatele Analiza semiotic. Constatarile denotativ inventar indica faptul ca fiecare logo-ul utilizeaza simplu geometrice Forme puse mpreun pentru a crea o imagine semnificativ, care este uor de asociat cu candidat. Obama i Bush selectai o palet de culori care este tipic de logo-uri politice din SUA: rou, alb i albastru.

McCain foloseste albastru, negru i alb, care sunt, de asemenea, tipic de logo-uri politice, ns asociaii de care ncorporeaz o culoare galben / aur, care este o culoare non-tradiionale pentru un logo-ul prezidenial. Ceea ce urmeaz este o explicaie a modului n care fiecare logo-ul include aspecte legate de cele mai bune trei practici de mai sus, mpreun cu o analiz semiotic a nelege modul n care logo-uri poate produce sensul sale telespectatorii. Obama / Biden Logo Image41 Nee - Ce face un logo campaniei prezideniale eficient Obama logo prezinta caracteristici compatibile cu cele trei principii directoare ale dezvoltarea eficient logo-ul: (1) Este un logo moderat elaborat. n timp ce logo culorile i picturale elemente pot fi considerate simplu, este prezentat ntr-un mod creativ i inventiv, care-l face moderat elabora. Logo-ul reprezint un soare peste orizont, dar, n acelai timp, de asemenea, servete ca o predare a steagul american. Pentru cei nclinai s proceseze n mod activ informaii, control suplimentar va arata ca cerul albastru este o parte din arc care formeaz litera "O", n "Obama". "O" ptrunde n logo-ul, ca un ecou, astfel, prima liter a numelui candidatului. Aceasta este o reamintire a privitorului de care candidat la preedinie este. n esen, logo-ul poate reprezint exclusiv Obama, chiar dac cuvintele "Obama Biden" nu au fost sub imaginea. Imaginea vorbeste de la sine i standuri pentru ce Obama i Biden au fost campania pentru. Pentru cei care care nu sunt la fel de motivai pentru a procesa informaii n profunzime, logo-ul rmne de a avea un puternic

recursului, deoarece acesta este un logo estetic. Logo design moderat elaborat ofer unele prospeime i noutate, care este plcut la ochi i pot convinge chiar i un alegtor apatic s voteze pentru Obama. (2) logo afiat un nivel de naturalee, cu un design simplu de soare vine la orizont, o scen cu care majoritatea oamenilor pot identifica. Soare, care este un sursa primar de energie, prezint o imagine a candidatului la fel de puternic, energic i ecologic. Dungi rosii de pavilionul sub care ajuta la forma cealalt jumtate a imaginii "O" pot fi vizualizate de ctre public ca soarele vine peste rnduri de teren agricol. O bucat de culturale cunotin de faptul c este important de tiut este faptul c terenul agricol este o imagine care este folosit istoric pentru a reprezint peisajul american. Utilizarea de culoare i forme de baz prezinte un concept al unui rsrit vine la orizont, care la anumite categorii de public este simbolic i un efectiv vizual 42 Nee - Ce face un logo campaniei prezideniale eficient reprezentarea de "schimbare" i o nou zi. Promisiunea politic de o nou zi este o tem similar care a rezonat pozitiv cu alegtorii din 1980 alegerea lui Ronald Reagan ca preedinte. Tema a fost renviat n logo-ul Obama, sub forma unei imagini orizont care a captat n mod eficient i a transmis telespectatorilor lui Obama mesaje de campanie de "speranta" si "schimbare" (Seidman, 2010). (3) Logo-ul a oferit un nivel ridicat de ceea ce nseamn cu publicul su vizualizare. Pornire

cu paleta de culori, logo-ul extrage emoie patriotic de mndrie (o emoie pozitiv) de ctre cu rou, alb i albastru. Aceasta paleta de culori este aproape ntotdeauna personal relevante i afieaz un nivel ridicat de sens pentru americani. Cu mult hype i mass-media, care semnul ntrebrii Patrimoniului natural Obama i sugestii de a nu fi cetatean american, decizia de a utiliza culori patriotice de rou, alb i albastru, poate s fi fost o decizie strategic de designeri pentru a nltura orice probleme de cetenie sau naionaliste nclinat. Rou, alb i albastru, care format "O"-l prezint, fr ndoial, ca un cetean american. Elementele logo au fost vizual larg, evocnd i crearea de diferite niveluri de inspiraie care consolidat telespectatorilor toate idealurile i de a schimba c Obama a fost pentru. De fapt, a fost suficient de larg ca subgrupuri de supportersincluding Obama diverse culturale i minoritare grupuri, cum ar fi oamenii de credin pentru Obama, primii americani pentru Obama, copii pentru Obama i Femei pentru Obama, etc adaptat "O" n logo-urile lor. De asemenea, logo-ul a fost adaptat ntrnumele fiecruia dintre cele 50 de state din SUA (Figura 8). Aceste adaptri ale logo-ul lui Obama, a permis publicul a atribui diferite sens ideologii lui Obama de a face logo-ul o parte a lor iniiativele individuale proprii, care arat sprijinul pentru candidatul lor prezidenial a ales-Obama. Care permite publicului de a fi un "co-proiectant", a logo-Obama contribuie la recursul de 43 Nee - Ce face un logo campaniei prezideniale eficient imagine, fcndu-l mai eficient i semnificativ pentru telespectatorii si. Utilizarea pe scara larga a logo-

a contribuit, fr ndoial, la nivelul lui Obama de expunere de-a lungul campaniei electorale. Henderson i Cote (1998) a constatat c logo-uri care sunt asemntoare ca design populare i bine recunoscute logo-uri nu au doar o probabilitate mai mare de recunoatere, dar, de asemenea, sunt mult mai evaluat pozitiv. Logo Obama are un fel de asemnare cu cea mai recent versiune din logo-ul Pepsi (Figura 9), n forma de ansamblu, conceptul de design i culoare de selecie. Pepsi, care este un popular i un produs considerat pozitiv, a fost n jur de muli ani. Logo satisfac la mulimea tineri sau generaia mai n vrst, care vrea s rmn tnr acesta semnific inovare i totui rmne un adevrat clasic. De-a lungul anilor, campanii de marketing Pepsi temele utilizate i lozinci, cum ar fi, "fii tnr, Distreaza-te, bea Pepsi", sau "Pepsi: Urmatorul Generaie ", etc Obama a inclus un" Pepsi-cum ar fi "apel la tinerii din ara n lucrarea sa campanie. n alegerile din 2008, una dintre datele demografice tinta lui Obama a fost tnr alegtor. Lui politic imaginea logo-ul si design par s fi gsit calea spre alegtorii tineri, care sunt parial la 44 Nee - Ce face un logo campaniei prezideniale eficient "Pepsi" apel. n anumite circumstane, familiaritate rase plac, i dac este sau nu a fost intenionat s adopte o senzaie similar cu logo-ul Pepsi - logo Obama a ctigat un avantaj. Bush / Cheney Imaginea siglei Bush / Cheney logo ncorporeaz n mod eficient aspecte din fiecare dintre cele trei proiectare practicile ca rezultat un impact pozitiv i puternic rezonan a telespectatorilor. (1) Este un logo moderat elaborat. Cum ar fi logo-ul Obama / Biden, Bush / Cheney

utilizeaza cele trei culori cele mai populare de rou, alb i albastru, n campanii politice din SUA. n timp ce Obama logo prezint mai mult creativitate prin subtil re-crearea de steagul american, Bush / Cheney logo ncorporeaz acest simbol cel mai patriotic mai aproape de adevrata sa form. Anumite artistic Elementele sunt ncorporate n design care arata telespectatorilor mai mult dect doar un steag american. Americanii se refer la George W. Bush ca "W". "W" este abreviat pentru George Bush Numele mijlociu - Walker. Pe scurt, "W" a fost nu doar o porecla, dar, de asemenea, o modalitate de americani la l distinge de la tatl su, George H.W. Bush, preedintele a 41-a Statelor Unite. formarea de litera "W" este lsat s se neleag n unghiul de cute i coluri ascuite pavilion este. Figura 9: Obama Logo vs Pepsi Logo45 Nee - Ce face un logo campaniei prezideniale eficient Prin urmare, steagul moderat elaborat Bush / Cheney reprezint nu numai America i patriotism, dar, de asemenea, n mod specific se refer la Bush prin formarea "W". mbrind iniial c a fost prescurtarea de la Bush, au existat alte variante ale "W" vizual. Figura 10 prezint un exemplu de modul n care un grup a luat efectiv "W", logo-ul i a aplicat-o pentru a femeile care au fost Bush / Cheney suporterii. "W" d o semnificaie sporit n cazul n care litera "W" este pur i simplu pentru femei i, astfel, George W. Bush susine femeile. Un alt mod conceptul "W" a fost popular folosit a fost observat sub forma unei form, bara de protecie negru ptrat autocolant. Simplu fundal negru prezentat un puternic alb, serif litera "W" i dedesubt sunt cuvintele cu majuscule serif, "preedintele" (Figura 11).

"W", ramificat n moduri care sa se potriveasca o varietate de demografice. www.GeorgeWBushStore.com a creat mai multe departamente care au vizat demografice specifice s-i vnd "W" memorabilia la (Hockett, 2005). Departamente, cum ar fi "Ferma Ranch Team" i "Across America Racing Team" a fcut apel la alegtorii din mediul rural prin crearea de "W", logo-uri care afieaz caracteristici similare cu John Deere logo-ul sau logo-ul de curse NASCAR. "'W' Preedintele "departamentul de aplicat logo-ul n Figura 10 pe memorabilia, care a fost orientat spre cei cu gusturi mai rafinate si produse recomandate, cum ar fi butoni, pahare whisky, prosoape de golf, mingi de golf i trabucuri (Hockett, 2005). n timp ce aceast ncercare de a marca George W. Bush ca "W" i cu ajutorul unui Figura 11: "W Preedintele" logo-ul (GeorgeWBushStore.com) Figura 10: "W Preedintele" logo-ul (4president.org) 46 Nee - Ce face un logo campaniei prezideniale eficient varietate de "W", logo-uri pentru a face apel la demografice diferite a fost oarecum eficient, logo-ul lui Obama se dovedete a fi mai mult succes, deoarece susintorii si utiliza logo-ul su real, oficial al campaniei pentru scopuri de fiecare grup. Puterea de logo-ul a ajutat la crearea consistena vizual a lui Obama Campania spre deosebire de "W" logo-ul. Logo-ul lui Obama evita confuzia n rndul telespectatorilor, cu condiia coeziune ntre suporterii i a insuflat un sentiment de solidaritate pe tot parcursul campaniei. (2) logo afieaz un nivel de naturalee. Imaginea de steagul american prezint un nivel nalt de naturalete, oferind cele mai familiare dungi rosii si albe, precum alb

stele pe un fond albastru. O privire rapid la imaginea este tot privitorul necesit, n scopul de a nregistra c este un steag american. Se poate argumenta de unii privitori c "valul" de pavilion pare destul de nefireasc i prea contrived. Valuri n steagul ia pe ascuit, cu faa n sus falduri comparativ prezint o Propunerea mai realist, fluid ca i n cazul n care steagul au fost de fapt aripi n vnt. Un alt punct care poate fi atacat c, dup o analiz detaliat a drapelului, privitorul poate vedea c acesta nu este descris cu exactitate. Drapelul afieaz numai apte dungi n loc de 13 i doar 20 de stele n loc de 50. n steagul american adevrat, zona albastru cu stele ocup doar colul din stnga sus dar variaia Bush / Cheney ia de-al treilea stnga de pavilion, extinderea de sus n jos. Este posibil c a existat o problem de limitare spaiu sau care pun 13 dungi si 50 stele ar face logo-ul arata supraaglomerate. Dei este plauzibil ca steagul n scopuri logo fost pur de reprezentare, se poate argumenta c simbolul este o denaturare a reale Steag american. (3) Logo-ul ofera un nivel ridicat de ceea ce nseamn cu publicul su vizualizare. Acest logo are mai multe sensuri diferite. Un cunotine culturale, care este important s se tie a fost, la momentul a campaniei Bush / Cheney, atacurile teroriste de la 11 septembrie 2001 au rmas proaspete n 47 Nee - Ce face un logo campaniei prezideniale eficient Memoria american publicului. Ca atare, multi americani nu au fost rezistente la ideea de a merge la

rzboi n aprarea rii lor. Bush a fost catapultat n poziia de preedinte timp de rzboi. Climatul politic general sa concentrat n principal pe probleme de securitate naional i de a fi "Dure mpotriva terorismului". nelegerea acestor cunotine culturale, telespectatorii pot vedea c steagul pe Bush / Cheney logo-ul nclin spre dreapta, cu cute ascuite pavilion vine nainte, spre privitorul. Acest lucru poate nsemna candidaii sunt ascuite i dure pe probleme de care se ocup cu autoritile naionale securitatea i aprarea neamului nostru de la atacurile teroriste. La dreapta slab proiectat un sentiment de "Micare nainte", i n cele din urm "progres". n plus, textul dreapta sprijinindu-i dreptul de steag sprijinindu-se strns ancorate de numele lui Bush poate evoca idei de dreapta, ideologii conservatoare, care sunt extrem de simbolic i semnificativ pentru Partidul Republican. O modalitate unde Bush / Cheney logo poate s fi fost wasthat pretenii n timpul Campania din 2004, muli non-Bush americani de sprijin crede c Bush nu avea inteligenta pentru a deveni preedinte. Nenumrate glume noapte trziu i satire sau ndreptat spre el i a non-suporteri, Reprezentarea inexacte de pavilion logo-ul cu 20 de stele i dungi 7 exemplific lipsa lui de nelepciune i inteligen. McCain / Palin Imaginea siglei n timp ce logo-ul McCain / Palin a fost poate fi considerat estetic plcut pentru unii, nu a reuit s rezoneze bine cu muli spectatori. Logo urmeaz unele dintre caracteristicile descrise n acest Capstone n ceea ce privete cele mai bune practici de logo design. Cu toate acestea, ea nu are aceleai 48 Nee - Ce face un logo campaniei prezideniale eficient

apel larg rspndit c Logosul Obama i Bush au. Analiza semiotic evideniaz sale neajunsuri care pot fi atribuite la incapacitatea sa de a ajunge n mod satisfctor un segment demografic mai larg de alegtori. (1) Nivelul de elaborare. McCain / Palin logo-ul este simplist i nu prezint chiar un nivel moderat de elaborare. Dei imaginea prezint o stea naval care poate spori caracterul simplu de proiectare, rmne un sens singular: stele standuri pentru cineva care a servit eroic n Statele Unite Marinei. ncorporeaz o stea n McCain / Palin logo-ul poate merge suficient de departe pentru a permite oamenilor s mai elaborat, care stea McCain standuri pentru excelen i-a ctigat-l dreptul i calificrile pentru a deveni preedinte din Statele Unite. Cu toate acestea, deoarece stea poart o asemnare exact a US Naval acordarea de eroism, acest simbol poate doar descrie cu succes McCain ca un erou de rzboi. Este dificil s se abat de la acel sens i cel mai probabil nu va fi interpretat n nici un alt mod. ntr-un naiune obosit de rzboi, este posibil ca eroul descrierea rzboi de prin utilizarea de "stele" a fost nu este uor de acceptat. (2) logo afieaz un nivel de naturalee. Imaginea de exponate Naval stele o extrem de mare la nivel de naturalee. Este exact ceea ce o stea Naval arat ca i prin urmare, Logo-ul lui McCain mpodobete mai precis reprezentare a serviciului su n Marina SUA. selecie de culoare a fost, de asemenea, alegerea cea mai naturala dac obiectivul proiectantul a fost de a evidenia lui McCain

cariera militar. Albastru i auriu sunt culorile, care sunt extrem de amintete de Academia Naval uniforme. 3) Logo-ul ofera un nivel ridicat de ceea ce nseamn cu publicul su vizualizare. Ca discutat mai sus, logo-ul McCain / Palin emana multa apreciere a culturii militare americane i pentru serviciul lui McCain ca un ofier. n timp ce acest lucru poate fi o trstur admirabil, nu ar putea avea 49 Nee - Ce face un logo campaniei prezideniale eficient a fost cea mai bun imagine a stabilit n rndul alegtorilor. Pentru un logo care amintete alegtorilor care Candidatul republican este un veteran de rzboi glorificat care au sprijinit din toat inima val de trupe, acest vizual nu poate servi drept cea mai bun alegere. Logo-ul este mult mai probabil s fie eficient cu oamenii care au fost deja suporteri McCain si-l cunosc ca o alt form dect ca un om militar persoane. n plus, logo-ul rmne o adevrat represenation de McCain, dar pare s fie deconectat de la Palin al crui fundal este lipsit de orice militar. Acest lucru implic faptul c prezideniale i vicecandidai la preedinie nu sunt n sincronizare. Aa cum sa discutat anterior, logo-uri care sunt asemntoare de design, cu un logo mai recunoscut au o probabilitate mai mare de recunoatere, i pot fi evaluate mai pozitiv. Alternativ, un logo-ul poate fi evaluat negativ atunci cnd un vizualizator recunoate n mod fals un logo si interpreteaza gresit sa ceea ce nseamn. Figura 12 prezint o comparaie ntre o alt versiune popular a logo-McCain i alimente McCain logo-ul companiei. n timp ce unele dintre elementele lor sintagmatice sunt diferite,

schema de culori de ansamblu, aspectul i selecie de elemente sunt extrem de similare, s nu mai vorbim, numele sunt exact la fel. Acest lucru poate duce la telespectatorii devin sentimentul confuz ca n cazul n care ei au vzut logo-ul campaniei lui McCain n alt parte, sau mai ru, crede logo-ul campaniei sale a fost de fapt legate de companie alimentar. Cu alegerile prezideniale din 2012 mai puin de doi ani distan, candidaii politici sunt acum ncep s strategii abordarea campaniei lor. Preedintele Obama a anuntat recent sale Figura 12: McCain Foods logo-ul i Campania lui McCain logo50 Nee - Ce face un logo campaniei prezideniale eficient intenia de a candida pentru a fi reales. Odata cu succesul din 2008 logo-ul, site-ul oficial al lui Obama a a fost revitalizat pstrnd n acelai timp caracteristicile originale Obama / Biden imagine "O". 2012 logo-ul foloseste un font nou i ndrzne, care este stabilit ntr-un format diferit (Figura 13). Privitorul vede unele familiaritate n imagine i caractere mai ndrznee evideniaz parteneriatul ntre Preedintele i Vice President, de data aceasta pe picior de egalitate. Acest nou logo este puternic, dar ar fi interesant pentru a vedea dac acesta va suferi ajustri sau modificri atunci cnd real Campania ncepe. Va fi aceeai imagine "O", la fel de succes n scop electoral 2012, aa cum a a fost n alegerile din 2008? Acest Capstone ofera o baza de proiectare cele mai bune practici care pot fi utilizate n viitor campanii. Acesta subliniaz perspective cu privire la modalitile variate pe care oamenii pot obine sensul de la un

imagine i analizeaz alte proprieti sintagmatice care ar putea fi folosite ntr-o imagine, toate din care va da de logo designeri i / sau a echipelor de marketing politice o idee mai bun n curs de dezvoltare i crearea unui logo-ul politic care ar mbunti ansa unui candidat de a fi ales. Studiul calitativ Capstone a identificat mai multe limitri. Identificarea celor limitri ghideaz direcia i recomandri pentru cercetrile viitoare n proiectarea i adoptarea logo-uri eficiente campanii politice. Reinei c Capstone conduce o temeinic, Analiza semiotic sistematic a trei logo-uri de campanie politice. Analiza, cu toate acestea, s-ar putea beneficiaz de o analiz mai sporit independenta prin organizarea mai multor focus grupuri sau efectuarea unui studiu calitativ pentru a obine un punct de vedere comparativ de personal altora " experiene i "cunostinte culturale" individuale ale evenimentelor legate de campaniile politice Figura 13: 2012 Obama / Biden Logo (Www.barackobama.com) 51 Nee - Ce face un logo campaniei prezideniale eficient de Obama, Bush i McCain. Recunoscnd natura polisemic de imagini, obinerea efectiv rspunsuri la o varietate de participanti s-ar fi oferit alte interpretri, care nu pot au fost luate n considerare n analiza acest Capstone lui. Un alt factor de limitare este c logo-urile politice selectate pentru studiul reflect un instantaneu n timp. Capstone ar fi beneficiat de efectuarea unei analize de modele bazate pe o Analiza istoric a cunotinelor climatice politice i culturale ale alegerilor prezideniale de peste timp. De multe ori, tendinele de design sunt influenate de arta, cultura pop i evenimentele curente i ar

au fost mult mai util dac modelele istorice de victorii electorale sau infrangeri sunt prezentate relativ pentru logo-uri sau prin proiectarea de alte materiale de campanie. Posibil motiv din spatele acestei lipse de analiz istoric este c accentul pus pe logo-uri i branding de un candidat nu a justificat mult atenie pn la sfritul anilor 1990 sau chiar mijlocul anilor 2000 cnd massmedia sociale i alte mass-media abordri de campanie au devenit critic n atingerea sistemul public de vot. Studiul a fost, de asemenea, limitat de selecie de doar trei logo-uri politice i analiza acesteia pentru Capstone. Cu dou logo-uri care produc doi ctigtori prezideniale i un logo pentru o candidat care a pierdut alegerile, ar fi existat prtinire implicit n analiza fiecrui logo candidat politic. Logo-urile de Obama i Bush ar fi ajuns o mai favorabil revizuire analitic dect cea din logo-ul lui McCain. Desigur, acest lucru nu poate fi identificate n mod specific deoarece exist un grad ridicat de probabilitate c pierderea n alegerile de McCain ar putea fi cauza logo ineficiente a folosit. Timp i resurse constrngerile mpiedicat o mai n profunzime comparare care s asigure non-bias n studiu. Ar fi fost ideal pentru a avea un accent grup unde participanii se pot uita la diferite variante de logo-uri pentru fiecare dintre cele trei candidai ". Fiecare dintre modele logo-ar fi manipulat i prezentate cu diferite opiuni de Caracteristici sintagmatice, culori i modificri n format cu scopul de a dobndi mai multe informaii cu privire la motivul 52 Nee - Ce face un logo campaniei prezideniale eficient opiuni de design pentru fiecare logo prezideniale sunt mai eficiente dect altele i modul n care logo-urile ar putea

fi mbuntit. O alt abordare ar putea implica efectuarea de focus grupuri n care respondenii sunt prezentat cu ipotetice "profiluri de candidat la preedinie", oferind informaii cu privire la o fundal candidatului, ideologiile politice i poziii. Urmtorul pas ar implica prezint telespectatorilor o serie de logo-uri pre-proiectate pentru fiecare candidat. Discuii moderate va obtine perspectiva focus-grupuri "pe un design de logo-ul adecvat care se potrivete ipotetic candidat. Rezultatele ar putea indica ce tipuri de design logo-ul sunt mai puternice i mai eficiente n nfind un candidat la preedinie. CONCLUZIE Nu exist nici o ndoial c un logo-ul este un instrument important n orice campanie politic, deoarece este o form esenial de comunicare politic. Cu toate acestea, proiectarea unui strategic i eficient campanii politice logo merit un studiu ulterior. Un logo-ul de campanie politic este o pies vizual care ademenete i atrage o audien. Aceasta servete nu numai ca un carierist atenie, ci un mod de componente s se identifice cu un candidat care deine aceleai idealuri i pentru suporteri s declare vizual lor aprobare a unui candidat. Dup cum se vede, cu logo-ul Obama, un logo politic poate inspira oamenii s devin proactive n alegeri. Cercetare Acest Capstone ofer o platform n digestia ct de eficiente principiile de proiectare pot fi aplicate la logo-uri, i cum o analiz denotativ i conotativ contribuie la noastre nelegere a modului n care un vizualizator de capt sens de design de logo-ul politic. n timp ce design-

tendine adesea schimba de-a lungul timpului, aceast Capstone referinele unui cadru general de proiecta cele mai bune practici i aplicarea acesteia n proiectarea unui logo-ul politic. Acest Capstone, ns recunoate faptul c, chiar dac un logo este considerat punct de vedere estetic i urmeaz faete de cele mai bune practici de proiectare, aceasta nu poate exprima mesajul intenionat sau sentiment. Pentru proiectarea sau 53 Nee - Ce face un logo campaniei prezideniale eficient membrii echipei de campanie, care sunt implicai n procesul decizional de selectare a face sau crearea unui logo-ul politic eficient, ar trebui s pstreze n minte pentru a alege nu doar un logo atractiv, dar cel care reprezint cel mai bine candidatul, n lumina climatului politic existent i rezoneaza cu dorinele i nevoile alegtorilor n circumstane care conteaz cel mai mult pentru public. Un logo este un mic element al unei campanii de marketing politic, dar atunci cnd sunt concepute n mod corespunztor i folosit, acesta devine un element esenial i un activ care ar putea duce la succesul unui candidat alegeri n birou. Pur i simplu pune: atunci cnd vine vorba de politic, imaginea este cu adevrat tot ceea ce i pentru ce materie, un design de logo-ul poate contribui la victoria sau nfrngerea. 54 Nee Ce face un logo campaniei prezideniale eficient REFERINE Bennett, A. (2006). Studii de proiectare: teorie i cercetare n design grafic. New York: Princeton Architectural Press. Brader, T. (2006). Militeaz pentru inimile i minile. Chicago: University of Chicago Press. Brader, T. (2005). Lovirea o coard sensibil: Cum anunuri politice motiva i convinge alegtorii

prin apel la emotii. Jurnalul American de Stiinte Politice, 49, 388-405. Demir, E., Desmet, P.M.A., si Hekkert, P. (2009). Modele de evaluare de emoii n interaciune humanproduct. Jurnalul International de Design, 3 (2), 41-51. Dennis, D. (2002). Inventarea "W, marca prezideniale". n Hockett, J. (2005). Marca "W" i introducerea pe pia a unui preedinte american: sau, logo-uri, ca logo-uri. Lucrari Westminister n Comunicare i Cultur, 2 (2), 72-96. Dyer, G. (1982). Publicitate, comunicare. London: Routledge. Felici, J. (2003). Manualul complet de tipografie. Berkeley, CA: Peachpit Press. GeorgeWBushStore.com. (2011). Marfa clasic. Adus de 17 aprilie 2011 de http://www.georgewbushstore.com/home.htm. Gernsheimer, J. (2008). Logo-uri de proiectare: Procesul de creare a simbolurilor pe care le ndur. Nou York: Allsworth de pres. Guzman, F. (2009). Un candidaii politici Marc Imagine Scala: sunt candidai politice Brands? Brand Management, 17, 207-217. Verde, D. & Loveluck, V. (1992). nelegerea un simbol corporative. Cognitiv Aplicat Psihologie, (8), 37-47. Hallahan, K. (2000). Creterea motivaiei, capacitatea i posibilitatea de a procesa publice Mesajele relaii. Relaii publice Review, 26 (4), 463 - 480.55 Nee - Ce face un logo campaniei prezideniale eficient Heller, S. (2008, 20 de noiembrie). "O", n Obama. New York Times. Adus de 15 noiembrie, 2010 din http://campaignstops.blogs.nytimes.com/2008/11/20/the-o-in-obama/ Henderson, P.W. & Cote, J. (1998). Linii directoare pentru selectarea sau modificarea logo-uri. Jurnalul de

Marketing, 62 (2), 14-30. Hockett, J. (2005). Marca "W" i introducerea pe pia a unui preedinte american: sau, logo-uri, ca logo-uri. Lucrri Westminister n Comunicare i Cultur, 2 (2), 72-96. Corn, R. E. (1999). Limbaj vizual: global de comunicare pentru secolul 21. Bainbridge Island: Macrovu, Inc Janiszewski, C. & Meyvis, T. (2001). Efectele marca complexitate logo, repetiie, i spaierea cu privire la prelucrarea fluenta si judecata. Journal of Consumer Research, 28, 1832. Joffe, H. (2008). Puterea de Visual Material: persuasiune, Emotion si de identificare. Diogene-Sage Publications, 217, 84-93. Johnson-Cartee, K.S., si Copeland, G. A. (1991). Publicitate politic negativ - Venirea vrst. Hillsdale: Erlbaum. Kendall, K.E. & Paine, S.C. (1995). Imagini politice i decizii de vot. n K.L. Hacker (Ed.), imagini candida la alegerile prezideniale (pp. 19-36). Westport, CT: Praeger Editorii. Kohli, C., Suri, R., si Thakor, M. (2002). Crearea de logo-uri eficiente: Insights de la teorie i practic. Orizonturi de afaceri, mai-iunie, 58-64. Moriarty, S. (2005). Teoria semiotic vizual. n K. Smith, S. Moriarty, G. Barbatsis & K. Kenney (editori), Manualul de comunicare vizual: Teoria, Metode i mass-media. (Pp. 227-255). Mahwah, NJ: Lawrence Erlbaum Associates, Inc Nabi, R. (2002). Emotii discrete i convingere. In JP Dillard, JP & M. Pfau (eds.), 56 Nee - Ce face un logo campaniei prezideniale eficient persuasiune Manual: Evoluii n teorie i practic (pp.289-308). Mie

Oaks, CA: Sage Publications. Organizarea pentru America. (2010). Adus februarie 2010 de la www.barackobama.com Penn, G. (2000). Analiza semiotic a imaginilor statice. n greutate molecular Bauer & G. Gaskill (eds.), Cercetarea calitativ cu text, imagine i sunet. (Pp. 227-245). Thousand Oaks, CA: Sage Publications, Inc Petty, R.E., Priester, J.R. & Brinol, P. (2002). Mass-media schimbarea atitudinii: Implicaii ale Modelul probabilitatea elaborarea de convingere. n J. Bryant & D. Zillmann (eds.), mass-media progrese efecte n cercetare teorie. (Pp. 155-198). Mahwah, NJ: Lawrence Erlbaum Associates, editori. Pittard, N., Ewing, M. & Jevons, C. (2007). Teoria estetic i logo-ul de design: examinarea Rspunsul consumatorilor la proporia ntre diferitele culturi. International Marketing Review, 24 (4), 457-473. Prudential. (2010). Evoluia de rock. Adus de 01 decembrie 2010 din http://www.prudential.com/view/page/public/16618? seg=5&name=NewAdvertisingCam paign Rand, P. (1991). Logo-uri, Steaguri, i ecusoane. Adus de 30 octombrie 2010 la www.paul-rand.com Roseman, I.J., & Smith, C.A. (2001). Teoria evaluare: Prezentare general, ipoteze, soiuri, controverse. n K.R. Scherer, A. Schorr, i T. Johnstone (eds.), procesele de evaluare n emoie. (Pp. 1-19). New York, NY: Oxford University Press.

Seidman, S.A. (2010). 2008 campania lui Barack Obama pentru preedinia SUA i vizual de design. Journal of Visual alfabetizare, 29 (1), 1-27.57 Nee - Ce face un logo campaniei prezideniale eficient Piatr, T.L., Adams, S. & Morioka, N. (2006). Registru de lucru de design de culoare. Beverly, MA: Rockport Publisher. UnderConsideration, LLC. Vorbete blog: Cel mai greu logo lucru campaniei prezideniale. Adus de 09 aprilie 2011 de http://www.underconsideration.com/speakup/archives/004262.html Young, C. (2009). Puterea de imagini vizuale: Constructii de mexicani n dou 1996 reclame prezideniale. n S. Barnes (Ed.), impactul vizual: Puterea de vizual persuasiune (pp. 117-134). Cresskill, NJ: Hampton Press, Inc.58 Nee - Ce face un prezidenial sigla campaniei Effective59 Nee - Ce face un prezidenial sigla campaniei Effective60 Nee - Ce face un prezidenial sigla campaniei Effective61 Nee - Ce face un logo campaniei prezideniale eficient