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Traditional elements of Chinese culture in logo design

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China is rich in traditional culture elements, which have a long history. In this paper, they are divided into patterns, words, colors and so on according to the visual performance of the elements. The paper analyzes the combination of the traditional culture elements and modern culture with its modern symbols in outstanding works and personal logo designs. This article discusses the influence of the contemporary logo design on the inheritance, innovation and development of traditional culture, as well as on the culture characteristics of the logo design. The success of these designs, which are the essence of Chinese traditional culture, with the development of the entrepreneurship and brand all around the world, shows the deep and infinite charm of Chinese culture to the world.
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science and technology
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International Circular of Graphic Education and Research, No. 11, 2018
Traditional elements of Chinese culture in logo design
Jiangxin Liu , Tetyana Krotova , Olga Yezhova , Kalina Pashkevich 
Kyiv National University of Technologies and Design, Kyiv, Ukraine
Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Kropyvnytskyi, Ukraine
Keywords: Chinese traditional culture elements; logo design; innovation
Abstract
China is rich in traditional culture elements, which have a long history. In this paper, they are divided into patterns, words,
colors and so on according to the visual performance of the elements. The paper analyzes the combination of the traditional
culture elements and modern culture with its modern symbols in outstanding works and personal logo designs. This article
discusses the inuence of the contemporary logo design on the inheritance, innovation and development of traditional
culture, as well as on the culture characteristics of the logo design. The success of these designs, which are the essence of
Chinese traditional culture, with the development of the entrepreneurship and brand all around the world, shows the deep
and innite charm of Chinese culture to the world.
Introduction
The development of a successful logo is a complicated task
for designers. Its optimal solution is promoted both by the
qualication of the designer, and by the compliance of the
logo with the culture tradition of the customer company
and potential consumers of its products. The relevance of
this study is based on two factors. Firstly, logo is a symbol
that symbolizes a company, product or service by using let-
ters and graphic elements. Size, color and shape are three
important elements in the logo design. The second factor
is that logo has a concept that should take into acount cul-
tural values, the psychology of the consumer`s perseption
and other social factors. Simple and novel signs can be easily
identied and recognized by consumers.
In the article [1] it is provided that logo symbolizes a rm,
product or name of a service by using letter and image ele-
ments. Authors say that logo should reect the rm or prod-
uct’s properties. Selected or designed font should be suit-
able for the content of the institution. The logo should be
simple, easily understandable, rememberable and original.
It should neither be mixed with other rms logos nor even
remind them. In the article the authors outlined the method-
ology and stages of development of the Kastamonu Univer-
sity Forestry Faculty’s logo design, taking into consideration
dominant features of the Faculty. The developed logos were
evaluated by dierent experts and based on their evaluation
the optimal variant of the logo for the Forestry Faculty of the
Kastamonu University was selected.
The paper [2] presents the importance of the logo as a
graphic element to support a corporate identity. A logo is
a graphic identity vector and it has its place in communica-
tion strategy of a company. It is the signature of a company.
That is why it is very important to be able to create a har-
mony between colors and shapes concerning the variety of
logos. There are two stages: the rst stage is the research and
market projection, and the second stage – creative graphic
work. These two stages – the research and creative graphic
work – have to be passed by any logo designer to obtain the
best result.
Authors of the article [3] investigate the eect of the type of
logo used to promote co-products. In the case of an added
logo, the logos of the constituent brands are lined up next to
each other. An integrative logo is composed of the elements
of both original brand logos. A novel logo does not contain
any element of the original brand logos. Authors found that
the use of an integrative logo results in more favourable per-
ception of brand cooperation, higher perception of co-prod-
uct quality, more positive feelings and more favourable at-
titude towards the co-products in comparison with the use
of an added or novel logo. For a novel logo of co-products,
consumers reported feelings of irritation and frustration and
less favourable attitude in comparison with an added logo.
In the article [4] the authors conducted two experiments
and tested the eects of logo complexity and inuence on
brand recognition and brand attitude. It was supposed that
logo complexity moderates the eects of inuence on logo
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International Circular of Graphic Education and Research, No. 11, 2018
recognition and brand attitude, and such inuence increas-
es recognition and positively impacts the brand attitude, in
particular for complex logos. The results showed that the
increase of the inuence led to the increase of the brand rec-
ognition and to more positive attitude, in particular for com-
plex brand logos, suggesting short-term benets for simple
brand logos, and long-term benets for complex logos.
The purpose of the article: The purpose of the research is to
analyze the signicance of the inheritance, innovation and
development of traditional ethnic culture in the contempo-
rary logo design, and the cultural characteristics of national-
ization of logo design.
Materials and Methods
Materials
The purpose of these articles is to study the status quo of
corporate and brand logo design. These studies emphasize
the importance of the design elements of the logo. A good
sign is important for the establishment and recognition of
corporate or brand image in the mind of consumers. The re-
search is based on the study and analysis of the items of Chi-
nese material culture: dishwares, household items, national
clothes, furniture and architecture elements.
Logo is a kind of transmit symbol with symbolic meaning
that uses the brief image to express its meaning, and helps
to develop the people’ symbol recognition ability, imagina-
tion and other thinking abilities to convey a specic mes-
sage [5]. Logo has a strong information transfer function,
and in the ancient times, gure symbol was the medium
used to convey information, which is before the characters
being used many years. That is to say, the gure is the re-
ection of the human’s thoughts, but the characters using
to record human’s thoughts was produced after the gure.
In today’s information society, under the inuence of accel-
eration of industrialization progress and the trend of inter-
nationalization development, the corporate logo or brand
logo has been injected with the concept of enterprise and
brand, becoming the visual form of the enterprise or brand
image, and existing in all aspects of people’s life. The logos
have been chosen because they contain clear visual clues of
the traditional Chinese culture.
Methods
Research methodology: The methods of analysis and syn-
thesis are used in the research. The methodology of this
research is based on history-culture, socio-culture, time
sequence, retrospective methods, and historical research
methods.
Scientic novelty: This paper selects modern excellent logo
works and individual logo design works, in which tradition-
al culture elements are combined with modern corporate
culture to analyze, and the results of combination of culture
and modern logos are analyzed. Selected representative
brand is analyzed and studied from multiple categories of
activity logos, corporate logos, institutional logos and prod-
uct logos. These four logotypes were chosen by the author.
Results and Discussion
The Chinese Traditional Culture Elements
Chinese traditional culture and art has a long history, which
has existed for thousands of years. From the original color
pottery to the bright bronze ware, from the Chinese paint-
ing of splash-in Danqing and ravishing brushes, to the blue
and white porcelain with good body like jade and the rich
glaze color, it is too numerous to list. From the perspective
of visual expression, this paper can be divided into several
aspects: patterns, words, colors, and other traditional culture
elements.
The patterns
Long before the characters were born, our ancestors began
to use gures to convey thoughts and communication feel-
ings. In China, the symbolic gures representing traditional
culture from ancient times to the present can be divided into
primitive social patterns, classical patterns, folk and custom
patterns, and a few custom patterns [6]
The patterns of primitive society mainly included the pat-
terns of human, animals as well as plants, water patterns, re
patterns, woven patterns, abstract patterns and primitive
religious patterns. Many of these patterns were attached
to the pottery, which were simple but vivid, mysterious and
full of imagination. For example, the new Stone Age painted
pottery and cli stone carving showed our ancestors’ mas-
tery and the fear and control of nature, which also became
one of the earliest gures arts in China. In the archaeologi-
cal discovery of our country, the Hemudu historic site in the
Neolithic Age (more than seven thousand years ago), un-
earthed a large number of gures similar to the Yin Yang sh,
which were known as the earliest prototype of Yin Yang sh
gure by modern people.
The “A human face with a sh body” (Fig.1) basin was made
by the Banpo clan living in the present xi ‘an area. Banpo clan
was mainly living on shing and hunting, because of the
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International Circular of Graphic Education and Research, No. 11, 2018
worship of the sun and sh totem, and the facial features of
sun, sh and human became the main totem style of Banpo
clan, the two bilateral symmetry sh like the human’s ears
having echoes of the tail combined with the face’s lips and
headdress, the style and the black and white color combined
coordinately, so that the gures were the prototype of the tai
chi Yin Yang sh.
Figure 1: A human face with a sh body basin [7]
The Hemudu culture, discovered in Yuyao city, Zhejiang
province, was about 7,000 to 5,000 years ago. The Hemudu
historic site unearthed a large number of varieties of art, so
it can be seen that the ancients believed in and worshiped
the phoenix bird, and a lot of decorative pattern was the
combination of birds and the sun, and the emblazonry of
one of the exquisite culture relics “ivory carving the double
phoenix faced the sun”, which vividly reected the ances-
tors’ worship of the robins and the shining sun after the
original agriculture was invented (Figure 2)
Figure 2: Ivory carving the double phoenix faced the sun [8]
The original color pottery was the most systematic and com-
plete material cultural product in the prehistoric civilization.
In particular, in the late Neolithic period, with the appear-
ance of colored pottery, people painted images on pottery
consciously, and the materials from animals to plants, which
were inseparable from people’s living environment. The ba-
sic elements points in the decorative pattern of original color
pottery were point, line and space. These seemingly simple
patterns were endowed with plentiful constitutive language
by the original inhabitants, such as repetition and balance,
contrast and unity, rhythm and rhyme, conformal and in-
version. The points, lines and spaces in the various forms of
expression by the hands of the original inhabitants, leave us
with an innite variety of colored pottery works. There works
were full of the original residents’ reverence for nature, the
yearning for a better life, and the daily record of production
and life, which had exerted a profound inuence on the in-
heritance and development of traditional aesthetics.
The classical pattern refers to the pattern that has been pre-
served from the ancient inheritance, which is supported by
bronze ware, lacquer ware, clothing, tile, porcelain and so
on. For example, the Taotie pattern (Figure 3), Yun-lei pat-
tern (Figure 4), Fish pattern, Tiger patterwere all symbols of
bronze pattern [6].
Figure 3: The Taotie pattern [9]
Figure 4: Yun-lei pattern [9]
And in another carrier, the Chinese porcelain, its design was
more plentiful, which included tidy and exquisite clabo-
rate-style painting, as well as the splash-ink painting of great
momentum, and one of the most prestigious Chinese tradi-
tional decoration pattern was the twine lotus (Fig.5). In the
Chinese folk, at the same time of production and living, in
order to beautify and enrich life, people also created many
folk patterns, like embroidery, printed cloth, paper cutting,
New Year pictures, and decorated patterns and so on. These
folk and custom patterns were a vivid portrayal of the peo-
ple’s daily life, which contains the auspicious meaning of the
ancient people’s life, and had a strong decorative nature. For
example, the Flower Mission (Fig.6) in the folk paper-cut was
the symbol of the ancients’ expectation of “reunion, perfect
and complete” of life, which had been passed down to the
present day.
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Figure 5: To wrap a lotus ower pattern [10]
Figure 6: The Flower Mission [11]
Figure 7: Manchu’s Cheongsam, Uyghur ’s Qiapan, Mongolian’s Robe,
Image source (left to right): [12], [13], [14]
Chinese character
Chinese characters are by far the longest continuous use of
words, and the earliest unearthed cultural relics related to
characters were more than 7700 years ago, which were the
only inheritance character each character’s system in ancient
times, and Chinese characters were the ocial characters in
Chinese history. Chinese characters are hieroglyphs, and tra-
ditional calligraphy is written by calligraphy with typical ori-
ental cultural implication. The evolution of the generalized
Chinese characters is from Carapace-bone-script, Bronze
Inscriptions, Large Seal Script, Small Seal Script, Clerical
Script, Regular Script, Weibei, Cursive Script, running script,
Song Typeface (as well as derivative works), etc. (Fig.8). In the
narrow sense, it refers to the standard written forms of Chi-
nese characters from the Tang dynasty, and also the mod-
ern Chinese characters commonly used today [15]. There
are various types of character fonts that are suitable for ty-
pography, and the basic font are the “Boldface “and” Song
typeface”. The “Song typeface” was the font that appeared in
the woodblock printing in the Ming dynasty. Originally in re-
marking the Lin’an book sheds, strokes were linearized, and
presented a tough expression, and it is in the Mo-tse, being
inscribed in Jiajing 32 (1553) the basis of song typeface had
been formed [16]. Although the song typeface was named
after song typeface, it was born in the Ming dynasty (Fig.9).
Figure 8: Carapace-bone-script, Bronze Inscriptions, Large Seal
Script, Small Seal Script, Clerical Script, Regular Script, Weibei, Cur-
sive Script, running script [17]
Figure 9: Song Typeface [17]
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The song typeface is “horizontal Thin and vertical thick. Ac-
cording to the existing Chinese ancient engraving forms, the
book version of ancient book was usually cut along the ver-
tical section of the trunk, which is the same direction as the
carved wood ber, so it was not easy to be cut down. How-
ever, the vertical painting of the characters and the carved
wood ber were at right angles, so it was easy to be cut
down, and therefore the font before and after the Wanli was
‘horizontal Thin and vertical thick’ [18]. There are two main
types of song typeface in the Wanli period, of which the
more common type was longer, and the “horizontal Thin and
vertical thick” was more obvious, like the Thirteen Classics in
North JianBen in Wanli. The other type of song typeface still
continuing the characteristics of Suzhou area in Jiajing peri-
od was straight, and the font is square, such as the book of
Rites glosses in Wanli period [19].
At the end of Ming dynasty, there are still two types of song
typeface. More kinds of forms were also longer, which were
longer and narrower than the type of song typeface in the
Wanli period, such as the later Chong Zhen’s Mr. Song chu’s
famous minister’s words and records. The other kind of char-
acter was relatively at, such as MAO’s Kigu Ge engraving
word south history. In the Qing dynasty, the song typeface
was further developed, and the style of Qing dynasty grad-
ually formed after the middle of KangXi’s reign. The most
obvious feature of the style of the song typeface at that time
was squarer than that of the late Ming and early Qing dynas-
ty, which was closer to the printed body that we are familiar
with later. By the time of Qianlong period, the song typeface
had been nearly xed, which started and nished with the
triangular and vertical strokes, were basically the same as
that of the modern one [19].
The Colors
The use of color in the Chinese nation can be traced back to
the Paleolithic age of primitive society (3 million years ago
to about 10000 years ago), and from this period of the ar-
chaeological ndings you can see that the primitives at that
time used hematite powder extracted from natural to dye
clothes as well as the red powder to spread all around the
death of relatives. Chinese prefer warm colors, especially red
and gold. In the concept of Chinese, red is the symbol color
of auspicious festival, for example, the gate of red paint, red
wall of the Forbidden City, the pillars of red paint, moreover,
especially during the feast and the marriage, the application
of the red is more common. The “Red Dowry”(Fig.10) is the
description of the marriage, from Xijiao to bedding, cloth-
ing and footwear, jewelries and sewing supplies, and red
dowry team often extends from the women’s family to the
husband’s home, as if a golden dragon weared Dahongpao,
permeating with auspicious festive, showing o wealth rich,
therefore it calls the “Red Dowry”. Moreover, the red cou-
plets, red paper cuts and etc, has penetrated into every Chi-
nese heart after thousands of years of inheritance, and the
Chinese red has become the soul color of Chinese.
Figure 10: Red Dowry (partial) [20]
Besides red is the favorite color of Chinese people, yellow
also has the supreme status in the hearts of Chinese peo-
ple. Since Tang dynasty, yellow was only used by the royal
family, and in the traditional concept, “yellow” and “emperor”
pronounces same but spell dierently, which is a symbol of
imperial power, and because yellow color is close to gold
color, it is also a symbol of wealth and fortune. Therefore, the
color of the imperial palace since the Song dynasty had been
becomes the yellow glazed tiles and the red courtyard walls
had been used until the late feudal society. Under the sun,
the yellow glazed tile is glistened by the sun, and the red
courtyard is very solemn, which is the symbol of supreme
power and wealth, as well as the status symbol that ordinary
people couldn’t reach (Fig.11).
Figure 11: The Palace Museum [21]
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The Other Traditional Cultural Elements
Traditional Chinese cultural elements are diverse, and some
are familiar traditional visual symbols, or a style, or a kind of
behavior, or an idea. For example, traditional architectural
modeling, Chinese painting, seal cutting, drama, martial arts,
knitting, wine making, diet, tea ceremony, religious belief,
philosophy and so on. Each element has its own traditional
culture representative symbol, which is the huge treasure
house of Chinese culture, and provides supplies for design-
ers to create and to build the cultural foundation of the de-
sign style with its own cultural characteristics.
The Application of Traditional Chinese Cul-
ture Elements in Modern Logo Design
Contemporary enterprise or brand logo design not only fo-
cuses on innovation, but also pays more attention to cultural
inheritance. At present, the logo of the enterprise and the
logo of the brand are the visual business cards of the world.
Chinese traditional culture is the precipitation of the wisdom
and experience of the predecessors, which is the essence of
culture that has been veried for thousands of years. Tradi-
tional culture is the root of the Chinese nation, for the inher-
itance of traditional culture is the development, and there is
no tradition of innovation as no foundation of the building,
and the creative design is the inheritance and innovation of
culture. Under the soil of traditional culture, the logo design
with Chinese cultural characteristics emerges endlessly, and
the Chinese traditional culture is presented to the design in
a visual symbol. As an example, the article provides the re-
sults of logo development, which are based on the elements
of Chinese culture. They are chosen because they contain
clear visual clues of the traditional Chinese culture and they
have been referred to as successful logotypes by well-known
sources.
The Analysis of Chinese Cultural Elements in the Emblem De-
sign of the 2008 Beijing Olympic Games (Fig.12).
The emblem of Olympic Games in 2008, dancing Beijing,
its overall shape of the form is a “Chinese seal”, and its de-
tails are composed of three parts: the rst part is the variant
Chinese character “Jing” written by the Chinese calligraphy,
variant gure combined with dance movements, forming
the modeling of jumping and dancing, and is in the form of
intaglio present in the Chinese seal (Fig.13); the second part
is the “Beijing” and “2008” written by the writing brush; the
third part is the Olympic rings. This logo adopts the layout
of Zhu Wenyin’s composition art, which shows the feeling of
stable and shows great nation style. The logo not only re-
ects the charm of Chinese seal carving but also conveys the
brief process and unadorned beauty of Chinese traditional
writing. The color of the logo chooses Chinese red, convey-
ing the friendship, sincerity and enthusiasm of the Chinese
nation. The design of the Olympic emblem is dynamic, prim-
itive and vivid, showing both the profound heritage of an-
cient civilization and the modern Beijing that is full of youth.
The stretching of calligraphy combined with the spirit of the
Olympic Games, meaning “faster, higher, stronger”, which
not only is the rst Chinese city in the history of the Olympic,
but also is the perfect combination of Chinese civilization
and the modern sports spirit, presenting the Chinese an-
cient civilization and modern temperament to the people of
the world perfectly.
Figure 12: The emblem of Beijing Olympic Games [22]
Figure 13: The Chinese seal [23]
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The Analysis of Chinese culture Elements in
the Logo of China Unicom Company
The company logo of China Unicom was developed from
the pattern of “Panchang”, (Fig.15) which is an auspicious
graph in ancient China. Panchang, representing the bud-
dhist eight treasures, is woven from simulated ropes, and
the pattern is joined together, without head nor tail, with-
out end, implies long-standing, well-established and forever
auspicious, so it is called “Panchang”. The line is endless, and
the symbol is endless too. The “Panchang” gure is a symbol
of China Unicom’s orderly, unimpeded and unfettered com-
munication as well as the endless of China Unicom’s career.
The logo has two distinct connected “hearts”, which show
the communication and the service tenet of China Unicom,
meaning that it will always be for the user’s sake and con-
nect with the user’s heart [24].
Figure 14 (left): The logo of China Unicom Company [25]
Figure 15 (right): Panchang [26]
The choice of color is bright Chinese red and national ag
color, represent enthusiastic, unrestrained and alive, which
are the most representative color of China complex. The red
color that symbolizes happiness and good fortune increas-
es the anity of corporate image and gives people a strong
sense of visual impact, which is consistent with dynamic,
innovative and fashionable enterprise positioning. The char-
acters choose Shuimo black: the most inclusive color and full
of cohesive force, which is the symbol of nobility and steady.
The red and black collocation has steady, harmonious and
tensile visual aesthetic feeling [27].
The red double “I” in English like two people communicating
anytime or anywhere, which highlight the “let all freedoms
connected” spirit of the brand, constitute the auspicious ear
shape subtly in the vertical combination, and strengthen
the Unicom image in customers’ mind with good fortune as
well as happiness. “I”: its pronunciation is the same as “love”
in Chinese, extending the brand concept of “hear ts connect-
ed and communication connected”; In English, “ means”
I “,and “信息” means “information” catering to the “custom-
er-centric” marketing model as well as the general idea of
brand marketing “providing integrated communication and
information services to customers” [28].
The Analysis of Chinese Culture Elements in
the Logo Design of the Northeast National
Historical and Cultural Research Center
Figure 16: The logo of the Northeast National Historical and Cultural
Research Center (author Liu Jiangxin, 2011)
The center for the research of the northeast national history
and culture is a professional academic institution, and its
logo design is one of Liu Jiangxin’s logo design works . It is
conceived from the metal and stone seal, and the character
of the gure is “seal character, which means “culture”
and “history”. The two characters are in center alignment
visually, and the middle formation of the negative space
structure based on “the northeast” characters in the seal
character, with deformation of the seal character reecting
the characteristics of the research center, which shows the
research objects and elds of research center. The logo is
a square shape, taking the meaning of theory of “a square
earth and spherical heavens”, the other means that the
study of history and culture is not a single time and space,
but it also covers the study of historical time and space. By
the form of the seal, a solemn commitment to the results
of the study was made, which was established as evidence,
indicating the precise research attitude towards the culture
and history.
The color of the logo chooses the cool color system, and
the color of the Pulan indicates that the study is rigorous,
steady and modest. When using the research center logo at
academic conferences at home and abroad, it is rich in the
shape of Chinese traditional seal elements, which gives the
industry people a deep impression, with distinctive features
and obvious cultural features.
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The Analysis of Chinese Culture Elements
in the “Not Discard” Creative Brand Logo
Design
“Not Discard” Creation is one of Liu Jiangxin’s industrial
brand design logos, and the brand mainly develops cultural
and creative products, including furniture, tea sets, ower
implements and so on. The concept comes from the tradi-
tional Chinese toy “Kongming lock”(Fig.18). It is also known
as Lu ban lock. According to the legend, it is a kind of toy in-
vented by craftsmen from Lu during the spring and autumn
period, based on the Tenon structure of Chinese ancient
architecture. It looks like a solid cube, and it is easy to disas-
semble but hard to assemble. In addition to demonstrating
the wisdom of the Chinese ancient architecture, Lu ban lock
also embodies a spirit of craftsman, the spirit of excellence
and innovation. Combined with this concept, displayed the
“craftsmanship spirit” of “Not Discard “ brand, the Creation
strives for perfection and focuses on the quality of innova-
tion. For every product produced, they go for perfect. The
modeling element of logo uses the variant brand name “Not
Discard” in Chinese and makes it three-dimensional. Set up
by the horizontal and vertical lines and form the cubes out-
lines, to show that the brand is not blundering during the to-
day’s process of mechanization and paying attention to craft
as well as conveying the culture concept. In the logo design,
Chinese characters as the main body of the modeling, the
use of Chinese characters means the gure has a summary
and rening idea as well as the aesthetic advantages, creates
new meanings, and put the spirit of the Chinese characters
into the brand image, which makes the brand more wisdom
and socialized.
Figure 17 (left): The logo of “Not Discard” (author Liu Jiangxin, 2014)
Figure 18 (right): Kongming lock [29]
Conclusions
In the application of logo design in modern China, the em-
bodiment of the national culture elements, rst of all, is a
kind of the designer’s culture responsibility, which is not
single, but diversied, forming a unique style, dierent from
other culture, having a strong national spirit, turning the
spirit into the visual symbols, extending the design concept
as well as strengthening the visual infection. Secondly, the
Chinese ancient culture at the present times is developing
and changing constantly, and in a new era of constant com-
munication between the world’s cultures, tradition will bring
contemporary logo designer’s dierent feeling, helping
them really understand and inherit our ancient civilization,
grasp the core spirit of traditional culture, and then inject it
into the logo design. Based on the reintegration, they can
add the contemporary new form of art elements into the
logo design, and create the national and cultural visual
symbols conformed to the national industry and the brand.
Thirdly, the application of traditional culture in the modern
enterprise and brand logo design is another way to pro-
mote the culture development and spread the culture to the
world. Logo is the symbol of enterprise or brand, and the de-
velopment of enterprise and brand plays an important role
in the spread of culture. Both in depth and breadth, it has
expanded the new category for the culture development.
In a word, the integration of Chinese traditional culture and
logo design is a new process of inheritance, development
and innovation for both brands and culture.
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science and technology
75
International Circular of Graphic Education and Research, No. 11, 2018
Jiangxin Liu
Jiangxin Liu
PhD Studten
Kyiv National University of
Technologies and Design, Faculty
of Design, Kyiv, Ukraine
kathyliu511@aliyun.com
Tetyana Krotova
Tetyana Krotova
Associate Professor
Kyiv National University of
Technologies and Design, Faculty
of Design, Kyiv, Ukraine
krotova_t@ukr.net
Olga Yezhova
Olga Yezhova
Associate Professor
Volodymyr Vynnychenko Central
Ukrainian State Pedagogical
University, Kropyvnytskyi, Ukraine
oyezhova70@gmail.com
Kalina Pashkevich
Kalina Pashkevich
Associate Professor
Kyiv National University of
Technologies and Design, Kyiv,
Ukraine
pashkevich@gmail.com
... As a phenomenon and a necessary tool in the promotion of goods, advertising is considered by scientists of various fields, including social communications and publishing (V. Bondarenko [14]). ...
Article
Aim: to explore the means of artistic and graphic design of advertisements in periodicals of the late nineteenth – early twentieth century. Methodology. The historical, analytical, iconographic methods have been used in the research; the methods of formal, figurative-stylistic, and comparative analysis have been used for analyzing the samples of advertisements. Results. The analysis of advertisements of periodicals "Kyiv Calendar" of 1989 and "Kyiv Zemsky Calendar and reference book for 1911" is presented in the work in terms of artistic and graphic means (composition, fonts, stylistic features of fonts, images, the nature of images, graphic decorative elements) and terms of tools influencing consumer motivation. Advertisers have been found to use a variety of fonts, highlighting company and institution names, creating messages with textual information only, and combining text with an image to give a potential customer an associative view of the product. Logos and trademarks in this period in the published messages are almost not observed, the companies provided information with the name of the product, the name of the owner, and address. Scientific novelty. Abilities of print advertising at the end of XIX – the beginning of the XX centuries have been analyzed, the means of artistic and graphic design of advertisements and tools of influencing motivation of potential consumers have been revealed. Practical significance. The revealed peculiarities of artistic and graphic design of advertisements in periodicals of the end of XIX – beginning of XX centuries based on the materials of the Kyiv calendars provide an idea of the approaches and capabilities of artists and printing houses in creating advertising forms for the promotion of goods and services in the market. The analyzed samples of advertising introduce the variety, names, and characteristics of goods and services of the analyzed period.
Article
Full-text available
Logo is symbolising a firm, product or the name of a service by using letter and image elements. Logo should not reflect designer logo should reflect the firm or product's properties. Selected or designed font should be suitable with the content of institution. In addition to this; Knowing how the firm defines itself and its concept are important stages for the logo design. The logo should be; simple, easily understandable, rememberable and original. It should neither be mixed with other firms' logos nor even remind them. Hence; for the Kastamonu University Forestry Faculty's logo design, creating the appropriate logo was aimed. Because of this aim sketches, taking into consideration dominant features of Faculty, University and Kastamonu, were made by expert group of 5 person who has a enough knowledge for designing elements and principles. Suggestions were made 42 item. Suggestions were gotten pre-elimination by Landscape Architecture Faculty Staffs ( jure). After that, 30 sketches shared in user groups one to one and via e-mail in order to determine the percentage of preferation. They were asked to 3 choice of the most admired of these options and to comment on their favorite choice. Finally, results was evaluated by the same jure and was determinated 5 sketches that most voted. Having regard to the sketches, people who make up these alternative logos, developed the design again and they gave the final shape with using design principles and elements for the logo. 5 logo resent to user group. As a final evaluation, idea for leaving a trace on minds between Turkey's Forest Faculties and World's Forest Faculties, most suitable logo was selected for our faculty's identity. (C) 2012 Published by Elsevier Ltd. Selection and/or peer review under responsibility of Prof. Ayse Cakir Ilhan
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This study investigates the effect of the type of logo used to promote co-products. In the case of an added logo, the logos of the constituent brands are lined up next to each other. An integrative logo is composed of the elements of both original brand logos. A novel logo does not contain any elements of the original brand logos. We found that the use of an integrative logo results in more favourable perceptions of brand cooperation, higher perceptions of co-product quality, more positive feelings and a more favourable attitude towards the co-product compared to the use of an added or novel logo. For a novel logo of co-products, consumers reported feelings of irritation and frustration and a less favourable attitude compared to an added logo.
Logo design and the corporate identity
  • G Adîr
  • V Adîr
  • N E Pascu
Adîr, G., Adîr, V. Pascu, N.E. Logo design and the corporate identity. Procedia -Social and Behavioral Sciences, vol.51, p. 650-654, 2012
Logo Design in Marketing Communication: The Complexity of Brand Signs Eases the Impact on Brand Awareness and Brand Attitude
  • B V Grinsven
  • E Das
Grinsven, B.V., Das, E. Logo Design in Marketing Communication: The Complexity of Brand Signs Eases the Impact on Brand Awareness and Brand Attitude. Journal of Marketing Communications, vol. 22(3), p. 256, 2016, http://dx.doi.org/10.1080/13527266.2013 .866593
Introduction to design (Graphic Design
  • Li Wei
Li Wei. Introduction to design (Graphic Design: Chinese Edition), Southwestern Normal University Press, 2008
Into the tradition -modern logo design teaching research Science and technology information
  • L Keke
  • L Liangzhi
Keke, L., Liangzhi, L. Into the tradition -modern logo design teaching research Science and technology information, vol.5, p.89, 2009
An Analysis of Form, Sound and Meaning in the Design of Chinese Characters Graphic Signs
  • Li Xiaohong
Xiaohong, Li. An Analysis of Form, Sound and Meaning in the Design of Chinese Characters Graphic Signs. Packaging Engineering, vol.04, p.165, 2007