ON THE ISSUE OF IMAGE IDENTITY DEFINITION
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 19, Issue 1
Abstract
The study focuses on identifying contradictions regarding the use of a fairly common term “corporate identity” in the practice of design, and on identifying the significant differences in the requirements for the design of visual identification systems that cause the appearance of a relatively innovative definition of “image identity”. The methodology of the research is to apply methods of comparative and system analysis that allow to see contradic- tions in concerning the declared theoretical requirements for style formation and the level of their practical implemen- tation in the practice of designing carriers of corporate style. The scientific novelty of the study is to establish distinctive features between the definitions of corporate and image identity, which have been used almost synonymously until now. Based on the study on style in design, initiated by T. Bystrova, the author considers three approaches to the definition of style, that are conventionally marked as a descriptive approach, an approach that considers the relationship between form and content categories and the phenomenological approach. Considered style interpretation for each of the approaches convinces us that the corporate identity in most cases is realized as multiple replications of sign forms. Wherein, the system of composite construction of advertising appeals can be extremely diverse. Such diversity leads to the loss of structural and compositional unity, and hence the common stylistic features. This means that no components of the information code, besides the elements of identification, cannot claim a certain stylistic unity, and therefore it makes no sense to use the term “style” in relation to such advertising and graphic products. In this way, only the identification elements that are imposed on a set of printing products with visually distinct features of stylistic characteristics, play a role exclusively “stigma”, that marks their belonging to one owner. However, one such stigma is obviously not enough to confirm the style category in promotional products. It is proposed to highlight the image identity as the identification level on which the similarity of figurative artistic means of expressiveness is provided not only by the sign, logo and brand name, but by the whole set of elements of the information code. It is suggested that such level may become essential in the case when someone needs not only to identify the manufacturer among others who produce identical or approximate products but also in case of allocation of a par- ticular product among the similar ones. The introduction of the term “image identity” should become an indicator of the primary function of content in relation to the form in which the exponent of such content transmits information about the distinctive features of the product or its manufacturer, the culture of the company and its values.
Authors and Affiliations
Tatyana BOZHKO
Keywords
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