Graphic icons and symbols. Graphic symbols on tiles

Reading time: 4 min

This article contains the most popular and in-demand graphic characters from UTF-8 tables. You can add all of them to your website and, thus, diversify the information provided by “interspersing” pictures into orderly ☭ rows of letters. In addition, you can use these signs on your VKontakte page, or when commenting on third-party blogs.

Some webmasters add similar symbols to the Description of the page, which allows them to decorate the snippet and attract additional users to the site not due to a high position in search results, but by standing out from competitors.

In some browsers, some of the characters presented may not be displayed, but instead a square or an incomprehensible rectangle with a set of letters inside will be displayed. This is due to different technologies used by browser developers (Mozilla FireFox, Chrome, Opera and IE), as well as the version of Windows.

Read about how to decorate a snippet in search results on blogs dedicated to SEO (there will be no problems when searching, because almost every such site has an article on the topic). I offer you a collection of the most beautiful and original graphic pictures that You can use it by simply copying from this article via the clipboard and pasting it to the desired location. So bookmark this page (CTRL+D) and come back when you write a new article.

If the characters seem small to you, then it is enough to enlarge them in the same way as you enlarge the font on your website. Similarly with color - select and change in the article editing panel.

Alphabet symbols

Ⓐ Ⓑ Ⓒ Ⓓ Ⓔ Ⓕ Ⓖ Ⓗ Ⓘ Ⓙ Ⓚ Ⓛ Ⓜ Ⓝ Ⓞ Ⓟ Ⓠ Ⓡ Ⓢ Ⓣ Ⓤ Ⓥ Ⓦ Ⓧ Ⓨ Ⓩ ⓐ ⓑ ⓒ ⓓ ⓔ ⓕ ⓖ ⓗ ⓘ ⓙ ⓚ ⓛ ⓜ ⓝ ⓞ ⓟ ⓠ ⓡ ⓢ ⓣ ⓤ ⓥ ⓦ ⓧ ⓨ ⓩ

⒜ ⒝ ⒞ ⒟ ⒠ ⒡ ⒢ ⒣ ⒤ ⒥ ⒦ ⒧ ⒨ ⒩ ⒪ ⒫ ⒬ ⒭ ⒮ ⒯ ⒰ ⒱ ⒲ ⒳ ⒴ ⒵

Most often, these graphic drawings are used on VKontakte pages when they put their first or last name on them. Although, there are often cases of using the alphabet on commercial projects in order to focus attention on a certain part of the text (for example: PROMOTION! All December 0% discount).

Digital designation

⑴ ⑵ ⑶ ⑷ ⑸ ⑹ ⑺ ⑻ ⑼ ⑽ ⑾ ⑿ ⒀ ⒁ ⒂ ⒃ ⒄ ⒅ ⒆ ⒇

❶ ❷ ❸ ❹ ❺ ❻ ❼ ❽ ❾ ❿

Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ Ⅺ Ⅻ

⒈ ⒉ ⒊ ⒋ ⒌ ⒍ ⒎ ⒏ ⒐ ⒑ ⒒ ⒓ ⒔ ⒕ ⒖ ⒗ ⒘ ⒙ ⒚ ⒛

➀ ➁ ➂ ➃ ➄ ➅ ➆ ➇ ➈ ➊ ➋ ➌ ➍ ➎ ➏ ➐ ➑ ➒ ➓

♳ ♴ ♵ ♶ ♷ ♸ ♹

With numbers, everything is simple: indicate the address, telephone number or salary level. You can check with your friends where they will first pay attention when entering a page with graphic symbols of numbers. Therefore, we take it into account and increase sales through our online stores or corporate websites, where there is a lot of monotonous text.

Pointer symbols (arrows)

← → ↓ ↔ ↕ ↖ ↗ ↘ ↙ ↚ ↛ ↜ ↝ ↞ ↟ ↠ ↡ ↢ ↣ ↤ ↥ ↦ ↧ ↨ ↩ ↪ ↫ ↬ ↭ ↮ ↯ ↰ ↱ ↲ ↳ ↴ ↵ ↶ ↷ ↸ ↹ ↺ ↻ ↼ ↽ ↾ ↿ ⇀ ⇁ ⇂ ⇃ ⇄ ⇅ ⇆ ⇇ ⇈ ⇉ ⇊ ⇋ ⇌ ⇍ ⇎ ⇏ ⇐ ⇑ ⇒ ⇓ ⇔ ⇕ ⇖ ⇗ ⇘ ⇙ ⇚ ⇛ ⇜ ⇝ ⇞ ⇟ ⇠ ⇡ ⇢ ⇣ ⇤ ⇥ ⇦ ⇧ ⇨ ⇩ ⇪ ⇫ ⇬ ⇭ ⇮ ⇯ ⇰ ⇱ ⇲ ⇳ ⇴ ⇵ ⇶ ⇷ ⇸ ⇹ ⇺ ⇻ ⇼ ⇽ ⇾ ⇿ ⏎ ⟵ ⟶ ⟷ ⟸ ⟹ ⟺ ⟻ ⟼ ⟽ ⟾ ⟿ ⤀ ⤁ ⤂ ⤃ ⤄ ⤅ ⤆ ⤇ ⤈ ⤉ ⤊ ⤋ ⤌ ⤍ ⤎ ⤏ ⤐ ⤑ ⤒ ⤓ ⤔ ⤕ ⤖ ⤗ ⤘ ⤙ ⤚ ⤛ ⤜ ⤝ ⤞ ⤟ ⤠ ⤡ ⥚ ⥛ ⥜ ⥝ ⥞ ⥟ ⥠ ⥡ ⥢ ⥣ ⥤ ⥥ ⥦ ⥧ ⥨ ⥩ ⥪ ⥫ ⥬ ⥭ ⥮ ⥯ ⥰ ⥱ ⥲ ⥳ ⥴ ⥵ ⥶ ⥷ ⥸ ⥹ ⥺ ⥻ ⥼ ⥽ ⥾ ⥿ ➱ ➲ ➳ ➴ ➵ ➶ ➷ ➸ ➘ ➙ ➚ ➛ ➜ ➝ ➞ ➟ ➠ ➡ ➢ ➣ ➤ ➥ ➦ ➧ ➨ ➩ ➪ ➫ ➬ ➭ ➮ ➯ ➔ ➹ ➺ ➻ ➼ ➽ ➾ ⬄ ⬅ ⬆ ⬇

Using arrows and pointers, you can direct the site visitor's glance in the right direction. Moreover, you will not need to insert a picture, which will affect the page loading speed with all the ensuing consequences. We choose the color and size, as was said at the beginning of the article.

Figures

▀ ▁ ▂ ▃ ▄ ▅ ▆ ▇ █ ▉ ▊ ▋ ▌ ▍ ▎ ▏ ▐ ░ ▒ ▓ ▔ ▕ ■ □ ▢ ▣ ▤ ▥ ▦ ▧ ▨ ▩ ▪ ▫ ▬ ▭ ▮ ▯ ▰ ▱ ▲ △ ▴ ▵ ▷ ▸ ▹ ▻ ▼ ▽ ▾ ▿ ◀ ◁ ◂ ◃ ◄ ◅ ◆ ◇ ◈ ◉ ◊ ○ ◌ ◍ ◎ ● ◐ ◑ ◒ ◓ ◔ ◕ ◖ ◗ ◘ ◙ ◚ ◛ ◜ ◝ ◞ ◟ ◠ ◡ ◢ ◣ ◤ ◥ ◦ ◧ ◨ ◩ ◪ ◫ ◬ ◭ ◮

By combining the above characters from the UTF-8 table, you can come up with a truly unique design that will be distinguished by its originality. The main thing is not to overdo it.

Funny symbols

◯ ☀ ☁ ☂ ☃ ☄ ★ ☆ ☇ ☈ ☉ ☊ ☋ ☌ ☍ ☎ ☏ ☐ ☑ ☒ ☓ ☖ ☗ ☚ ☛ ☜ ☝ ☞ ☟ ☠ ☡ ☢ ☣ ☤ ☥ ☦ ☧ ☨ ☩ ☪ ☫ ☬ ☭ ☮ ☯ ♺ ♻ ♼ ♽ ✁ ✂ ✃ ✄ ✆ ✇ ✈ ✉ ✌ ✍ ✎ ✏ ✐ ✑ ✒ ✓ ✔ ✕ ✖ ✗ ✘ ✙ ✚ ✛ ✜ ✝ ✞ ✟ ✠ ✡ ✢ ✣ ✤ ✥ ✦ ✧ ✩ ✪ ✫ ✬ ✭ ✮ ✯ ✰ ✱ ✲ ✳ ✴ ✵ ✶ ✷ ✸ ✹ ✺ ✻ ✼ ✽ ✾ ✿ ❀ ❁ ❂ ❃ ❄ ❅ ❆ ❇ ❈ ❉ ❊ ❋ ❍ ❏ ❐ ❑ ❒ ❖ ❡ ❢ ❣ ❤ ❥ ❦ ❧ ൠ ൡ ອ ຮ ຯ 〄 ⃞ ⃟ ⨀ ⨁ ⨂ ❛ ❜ ❝ ❞ † ‡ ⊲ ⊳ ⊴ ⊵ ⚠ ♮ ♯ ♰ ♱ ♲ ٩(͡๏̯͡๏)۶ Ƹ̴Ӂ̴Ʒ ۩ ۞ ©

Really "funny" pictures. It’s convenient to place a telephone sign next to the number; an airplane is perfect for aviation-themed texts. “Weather” and religious pictures, stars and others, add variety to absolutely any text. Personally, I always use ☎.

Signs began to be used fully with the emergence of the communal system. In the book “Mysterious Signs of the Northern Black Sea Region” (1933) I.I. Meshchaninov claims that the signs were originally images of totems that protected the clan. Gradually, along with the development of cattle breeding and agriculture, people needed to mark their livestock, tools and protection, and then they began to apply tamgas. The process of applying a tamga or brand is called branding. Initially, the signs belonged to communities, then to individual clans, after which they were transformed into personal signs. In ancient Rus', princes had their own signs.

The signs that surround us now have different purposes. Conventionally, they can be divided into three types.

This group contains all the signs that are necessary for work or everyday activities. Educational signs include: all mathematical signs, musical notes, signs on textiles and household appliances, technology signs and orientation signs, and many others. The main function of educational signs is to specify the meanings used by people in the process of life. They usually do not require a high level of graphic and stylistic execution, such as decals.

This group includes pictograms and other orienting and clarifying symbols. Readable signs can sometimes be confused with educational ones. Many educational signs are legible. Readable signs are used in places with large crowds of people - shops, shopping centers, public catering places, markets, etc. Readable signs include safety signs: “dangerous”, “high voltage”, “entry prohibited”, etc. The main requirement for readable signs is clarity and speed of reading, regardless of age, gender or nationality.

This group includes all advertising signs. These are brand names and trademarks. Personal logos and publishing marks. A distinctive feature of these signs is the high requirements for graphic and compositional components. These requirements are due to the special functions of these signs. Signs in this category must quickly identify their owner, i.e. the sign must be original and easy to remember. In addition to the advertising function, they also have a protective function. These marks protect the rights to individual production, reproduction of goods or provision of services in any area.

Distinctive marks, in turn, are divided into pictorial, verbal, font and combined.

Verbal signs.

Verbal trademarks are words or combinations of letters, sometimes stylized or designed in separate compositional solutions. They are divided into two types:

1. Words of traditional, natural meaning

2. New, previously non-existent words and expressions denoting new devices, preparations and materials.

Font characters.

Font or letter characters consist of one, two or more letters. The letters are an abbreviation, or the beginning of the name of the enterprise or its location, and together they form a single, complete composition. Among the font characters we can highlight:

1. Letters-images

2. Monogram signs

3. Metaphor signs.

Combined signs.

These are signs in which several semantic and graphic meanings are linked. Signs displaying letters from the name or location, figurative elements indicating the nature of the business or service of the enterprise.

Figurative signs.

Figurative signs are signs depicting objects, symbols, ornaments and other abstract or animate forms and characters. This type of graphic symbols is one of the most ancient and frequently used.

Trademarks are classified in more detail in the article. It discusses the style features and the most common graphic solutions used in the construction of logos.

The sign can be classified according to various criteria. Semiotics suggests that we divide signs into three types: iconic, symbolic and indexical.

Semiotics - (Greek.semeion – sign) the science of signs. This science means by signs any possible means of communication: words, images, sounds, etc.

They directly reflect the item of consumption itself. Signs of this type do not carry dual meanings; they are simple and understandable, easily read and perceived by the consumer.

Index marks narrow the meaning of the depicted object to a few necessary qualities. Index signs are extremely concise and simple; all educational signs and most of the readable and distinctive ones can be classified as this type.

Index marks

Symbolic signs can carry many meanings. In most cases, these are abstract forms that do not limit their meaning to one object. This is very convenient if the company has several types of activities and it is necessary to avoid specifics in the schedule.

Symbolic signs

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Any graphic sign or symbol that represents an object using a specific thematic pattern rather than the sounds of a phonetic system is called an ideogram. It is a wordless representation of an idea. The usage is called ideography (from Greek, "idea" + "written").

Thus, some signs convey their meaning through a pictorial resemblance to a physical object, and therefore can also be described as pictograms. Ideograms are used in some writing systems such as Chinese and Japanese.

Examples of ideograms: concept

The image of a finger (pointer) is an ideogram. It is a concept, it is not a sequence of sounds and has the meaning: “go this way” or “in this direction” and so on. It can be used in combination with words or other ideograms, such as "stairs on the right" or "pick up your luggage at this place."

These are not necessarily images of objects. The arithmetic minus sign is also an ideogram that depicts a concept that translates to "minus" or "subtract the following from the previous" or "negative value".

Can an ideogram convey the meaning of a word?

The difference between an ideogram and a pictogram is not always clear. An ideogram is an image that looks more like a rebus. Pictograms tend to be more literal.

Ideograms and pictograms were used to create writing systems such as Egyptian hieroglyphs and Chinese characters. However, they are often still logograms, representing words or morphemes of a particular language, rather than objects or concepts. These writing systems used different strategies when designing logos. Pictographic symbols represent the object to which the word refers, such as the bull symbol representing the Semitic word aleph (bull).

Some words denoting abstract concepts can be represented by a symbol, but most others are represented using the rebus principle, borrowing a symbol from a similar-sounding word. Many characters in hieroglyphic as well as cuneiform writing can be used either logographically or phonetically.

A Brief History of Pictograms and Ideograms

Pictograms and ideograms were constantly evolving and were often associated with magical powers. They were used to convey religious ideas or even as a secret code.

These days, so-called icons serve a more utilitarian purpose. Due to the Industrial Revolution and globalization, people around the world are establishing themselves in foreign countries using the same technologies to work and communicate. These are a kind of universal images that help to communicate, regardless of language or culture.

Clear pictures

A pictogram is a symbol that conveys meaning by its resemblance to a physical object. Examples of pictograms include wayfinding signs, for example at airports or train stations, where many people may not be familiar with the local language.

In some cases, pictograms can be combined with ideograms. What these graphic symbols mean is clear to anyone. For example, a red circle means "not allowed" and an orange or yellow triangle means "attention" or "danger".

They're everywhere

We can see pictograms and ideograms everywhere. They are found on signs along roads, on buildings, train stations, in electronic devices, computers, etc. They convey the necessary information very simply and are understandable to everyone.

Today there are thousands of common pictograms and ideograms, and we recognize them at a glance. Popular examples are email icon, phone icon, play button, download button, etc. Some are pictograms, others are ideograms, and some are a combination of both.

Sometimes a pictogram plays the role of an ideogram. For example, an icon representing the meaning of an idea is represented by a light bulb. Even though the light bulb is actually a representation of an object (a pictogram), it conveys a message of an idea, a concept (an ideogram). The image can be enhanced by rays of light.

Creating an icon is not an easy task for a designer

Because the icon needs to be universal, it can be very difficult for a designer to create a working icon. There are so many things to take into account. For example, the presentation of something can be interpreted differently depending on culture, belief or religion. The use of color is also best avoided. In Europe, the color red is a common symbol of danger, while in China it symbolizes good luck and is believed to protect against evil.

Some ideas are considered impossible to fit into an ideogram without the help of text. Try to imagine the concept of "account manager" as an icon, it's really not an easy task at all. It's also very risky to try to do things differently when creating a new icon. If a triangle in a circle means a game, don't try to reinvent the wheel. It just confuses people. Icons are not always a place for creativity.

Current icons

Civilization does not stand still; the modern generation is practically born with tablets and smartphones. Will they really identify with the old-fashioned telephone we use to represent calls? Do they know that the voicemail icon used by Apple is actually a tape recorder? Do they know what a tape recorder is?

These are the kinds of questions you can ask while looking at your smartphone or computer. It seems that these types of icons are becoming ideograms instead of being pictograms - symbols that are finally universally accepted as the official representation of an idea or concept.

One ideogram is worth a thousand words

Updating or changing an already known icon is too risky, regardless of whether the current generation can identify the object represented or not. As long as people can immediately understand what it means, there is no reason to create confusion. It's like changing a language - a universal way of communicating. What does an ideogram mean? This is visual communication.

The most popular example is road signs: “construction work ahead”, “parking for disabled people”, “no stopping” and so on. An ideogram, unlike a pictogram, can denote not only the depicted object, but also indirectly related concepts. We can also say that an ideogram is a pictogram whose image is not interpreted literally. For example, a bicycle drawn in a circle does not represent the object itself, but a bike path.

So what is an ideogram? Iconic images have evolved over the centuries. Since the Industrial Revolution, at the dawn of globalization, icons have been popping up everywhere, and their popularity has grown as technology has advanced. Icons are increasingly becoming a universal language in which each symbol has a special meaning.

And there is a type of ceramics, only architectural and decorative. They were used for internal and external cladding, initially of temples, then of palaces. That is, the first manufacturers and customers of tiles as decorative elements were clergy. They also had the means to organize production, they had a strong motivation to equip their temple in the best possible way (so that there would be no similar ones in the area), and they knew how to accumulate, study and apply the knowledge and experience of folk craftsmen.

Like any decorative and applied art, the tile craft, which has a pronounced visual orientation, accumulated people’s knowledge and ideas about the world around them. Numerous archaeological finds confirm this.

The images on the tiles reflected not only the life, tastes and customs of the people, but also magical, secret knowledge about the world. Sacred images on tiles, with all their diversity, can be divided into several groups. The most mysterious and ancient is a group of geometric symbols.

It must be admitted that geometric ornament in its pure form is not typical for the Russian school (Suzdal, Pskov, Moscow, Vladimir, Ryazan, etc.). More often it is used in combination with plant motifs. A clear geometry can be seen in tiled ceramics in the western territories - Ukraine, Poland, Bulgaria. However, solar signs, knotted writing, and runic signs were reflected to a greater or lesser extent in the temple architecture of ancient Rus'.
So, graphic symbols in tiled art.

Solar signs

The appearance of solar signs, as such, dates back to a very long, pre-Christian period. People quickly realized that both the harvest and the life of the tribe depended on the Sun. Therefore, practically every community had its own set of “solar” signs, endowed with meaning, power and magic. By the way, Slavic solar symbolism does not contain a single sign that is “dark” in content. It reflects only light forces that assist a person in the process of survival.

Kolovrat- the main symbol of Slavic symbolism, numbering about 144 variants. This cult sign, the main talisman of the Slavs, easily converted to Christianity, but in a different interpretation (in the Christian religion the Sun is associated with Jesus Christ). Not only pagan, but also Orthodox ancient temples were decorated with solar signs. Thus, in the St. Sophia Cathedral you can see belts made of tiles depicting solar signs. You can find these magical symbols in the Hermitage. The ceiling in the throne room is decorated with ceramics depicting solar signs.

Runic symbols

It is not for nothing that tiled art is considered folk art. It literally captures historical and cultural milestones of development, which sometimes turn out to be much more ancient than we imagine. This fully applies to Slavic runic writing.
Numerous archaeological finds indicate the existence of written signs among the Slavs - runes (“traits and cuts”), which synthesized mythology, paganism, and magical art. Ceramic fragments with runic signs found by archaeologists date back to the 1st-4th centuries AD.

Echoes of knot writing

In the design of the tiles of ancient temples one can also find traces of knotted writing, the existence of which is perceived by researchers very cautiously, but echoes of which find numerous confirmations in folklore, in phraseological units that have survived to this day (a knot for memory, to wind on a mustache), in ornamentalism. It is believed that this type of writing was available to the priests, and was used in a sacred aspect as a sacred letter for decorating temples. The images of loops and weaving, which also contained a certain ideological interpretation, are distinguished by their smoothness, calmness, and symmetry.

Rhombo-meander motifs

Among the tiled ornaments one can find other symbolism of geometric signs.
The rhombic-meander pattern was widespread throughout Russia and is present on the most ancient examples of ceramics. Variations of the rhombus with numerous additions in the form of dots, hooks, crosses, and lines were sacred magical signs. For example, a rhombus divided into 4 parts in the middle of the sides symbolized the protection and well-being of the hearth, a rhombus with a dot inside - fertility, a pure rhombus meant Mother Earth.

Tiles with geometric patterns can be seen on such famous objects as the tent of St. Basil's Cathedral (rectangles, rhombuses with diagonals), churches of Yaroslavl (images of rhombuses), friezes of the Krutitsky tower (twisted lines of belts), tiles of the Alexander Sloboda (circles and rings) , St. Sophia Cathedral (circles, rhombuses, hexagons), etc.

In a word, ornaments on tiles- the topic is broad and deep. It is not possible to consider it in one article. However, the following conclusion can be drawn from the above: Slavic and Russian tiles are not characterized by a naturalistic image; they are characterized by such qualities as generality, conventionality, symbolism, reflecting the perception and understanding of the picture of the world.

You can read about zoo- and anthropomorphic symbols on the Vladimir-Suzdal tiles

Federal Agency for Education

Secondary vocational education

"Volgograd College of Technology"

Essay

discipline: “Graphic design”

on the topic of:

"Graphic signs and symbols"

Additional graphic characters

There are a number of graphic symbols that are not, strictly speaking, diacritics, but are used in scientific linguistic works for certain types of marking of the linguistic forms under consideration.

An asterisk, otherwise called an asterisk (*), when it appears before a word or letter, means that the word or the sound denoted by the corresponding letter is reconstructed, i.e. they were not actually discovered in any text or heard from any informant, but were inferred or reconstructed from other forms or data from other languages. Thus, Latin *retundus is a reconstructed form (sometimes called the asterisked form) that was derived from a comparison of Romanian ratund, Italian ritondo, Old French reond, Spanish redondo and other forms. Forms attributed to a Proto-Indo-European language always appear under an asterisk because the language itself is “reconstructed” from data from its descendant languages; thus, even forms like *esmi "I am" or *owis "sheep", which are found exactly in this form in one or more Indo-European languages ​​(esmi in cuneiform Hittite and in Lithuanian; owis, written as ouis or ovis - in Latin) are usually preceded by an asterisk if they are attributed to a Proto-Indo-European language. The reconstructed forms are not necessarily imaginary; the reality of many of them, including the three mentioned above, is beyond doubt. Unfortunately, however, the asterisk is also often used to mark forms that never actually existed but could logically exist, such as the Italian form *desceppio "disciple" instead of discépolo or the Latin form *uōs "bull" instead of bos. Further complicating matters is the fact that the same asterisk is used to mark non-existent forms and incorrect phrases (so-called negative language material). At the beginning of the 20th century. The German comparativist E. Hermann proposed the use of two different signs, a cross (†) for purely hypothetical forms and an asterisk (*) for reconstructed ones, but this practice found few followers.

The use of square brackets in published texts means that the words or letters enclosed in square brackets are missing or difficult to read in the original and have been added by the editor; to indicate dubious letters, dots are sometimes placed under them, for example. In linguistics, placing certain letters in a word in square brackets usually indicates that those letters are not pronounced, as in the English word lisn. Square brackets are also used to record phonetic transcription. Parentheses can be used to indicate that a word occurs in two forms, for example gray (gray), clerk (clark). A hyphen (-) before or after part of a word means that the word is not completely written down and, for research reasons, is devoid of some initial or final element or elements. This sign is often used when writing prefixes (prefixes) or suffixes, for example, ab-, un-, -ling or -less; the use of this sign in the middle of a word (for example, prince-ling “prince-ek”, in-come “profit”) indicates the division of the constituent elements of the word to indicate its so-called internal form.

The sign > appearing between two words, forms or letters indicates that the second word, form, or sound denoted by the second letter comes from the first, for example Lat. vīnum > English wine (or Russian wine).

The ability of a stimulus to attract and hold attention can be greatly enhanced by the correct use of color. According to studies of newspaper advertising, color advertisements increase sales by 41% more than their black and white counterparts. In addition, some colors attract more attention than others3. It is known that owners of red cars are fined for speeding more often than drivers of cars of any other color. The power of red is also demonstrated by the fact that companies that advertise in business directories often use this color as a way to attract attention.

High intensity of a stimulus often causes increased attention to it. For example, loud sounds and bright colors increase attention. Radio and television advertisements may start with loud sounds to attract attention. Quite often, bright colors are used in print advertising.

People tend to pay more attention to stimuli that contrast with their environment. Presenting stimuli that are inconsistent or contrasting with each other creates perceptual conflict, which increases attention.

In advertising activities, various techniques are used based on the use of the principle of contrast. For example, a black and white ad following a color ad may become more noticeable due to the contrast. Likewise, a TV ad with a louder sound than the preceding program may also attract more attention. Note that in both cases the level of adaptation is taken into account: consumers become accustomed to certain colors or volume levels, so their violation attracts attention.

Also, the salience of a stimulus can be affected by its position. Grocers know this all too well and compete for prime positions like the ends of store aisles and shelves at customer eye level. Likewise, products that are purchased on the spur of the moment are typically placed near checkout counters.

Placement is also important for print advertising. Advertisements that attract more attention are placed at the front of magazines, on the right-hand pages, and on the inside and back covers. This effect appears to be related to the way people typically view magazines.

Successful placement of an ad on a page can also increase attention to it. The basic rule is that the most favorable place to place an advertisement is the upper left corner, and the least favorable place is the lower right.

Researchers have paid less attention to the position of advertising on broadcast media, although it is generally accepted that advertising is more effective if it is placed inside a regular program rather than in an advertising block. Advertising at the beginning and end of the program suffers from a clutter of advertisements and other distracting, non-program material.

The human eye tends to move across an ad in a certain direction. Examples of directional stimuli include arrows and various pointing symbols.

Moving stimuli attract more attention than stationary ones.

The isolation method, which involves presenting a few stimuli in a relatively free environment, also helps to attract attention. Using the principle of isolation in print advertising means that instead of completely filling the advertisement with information and images, a significant portion of it remains “unused.”

The classic corporate identity layout scheme is built on two basic elements: a logo (a graphic representation of a brand) and a slogan (a motto that reflects the key idea of ​​a company, its focus). This division allows the impact to be divided into two levels: visual and verbal.

The significance of each element can be changed arbitrarily, for example, abandoning the slogan altogether, concentrating only on the visual impact, or using a descriptive company name instead of a slogan (AURORA Cigarette Factory, Mobile Technologies). Each element can receive additional forms of expression: slogan - in the form of auxiliary slogans inherent in a particular brand or advertising campaign, corporate philosophy, vision and mission of the company; logo - in the form of corporate colors, visuals, characters, various design solutions for advertising, souvenirs, documentation.

In a minimal solution, the corporate identity can consist of only one logo. Its placement on all company letterheads, advertising and souvenir products, signs, employee cars and office walls will already create a feeling of the company’s own identity, its uniqueness.

However, as soon as the logo begins to be used so actively and diversified, there is a need to constantly monitor the quality of its placement and support it with one or another private design solutions. Which entails more and more new costs, up to the need to keep your own designers on staff. But there is no need to pay for a design solution with each new printing order, or pay a salary to a full-time designer month after month just for the fact that he occasionally checks whether the logo colors are correctly observed in the layout of a new souvenir fountain pen. It is enough to once and for all determine a unified design for the internal and external documentation of the company, develop layouts of souvenir products, recommendations for the use of company symbols in advertising, come up with slogans and interior design...

This will be the finished corporate identity in all its splendor. It can be supplemented with new elements - for example, when creating your own football team, sewing a uniform with a logo in corporate colors for it - but its essence will remain unchanged, and it will serve the company for many years, until, due to significant market changes, it is decided develop a new corporate identity.

What is corporate identity

"Form style"- a concept introduced by advertising theorists. The terms “design coordination”, “designing the external appearance of an enterprise”, “identification system” are also used abroad.

Form style- this is a set of techniques (graphic, color, plastic, acoustic, video) that provide unity to all the company’s products and advertising events; improve the memorability and perception by customers, partners, and independent observers of not only the company’s products, but also its entire activity; and also allow you to contrast your products and activities with the products and activities of competitors. Form style- this is the individuality of the company, put on display.

Form style- this is both a means of forming a company’s image, as well as a certain “information carrier”, since the components of a corporate identity help the consumer find your product and your offers, forming in him a positive attitude towards your company, which took care of him, facilitating the process of selecting information or goods “High” corporate style indirectly confirms the reliability of the company, as if guaranteeing that the company observes exemplary order in everything, both in production and in any other activity. Concept corporate identity is closely related to the concept of image, since form style- it’s like a shell that is filled with specific content. And this filled shell plus Public Relations (PR) activities create the concept of the company’s image.

Company advertising symbol- a certain character or image speaking on behalf of the company during advertising and other (for example PR) events. It can be a representative of flora, fauna or Homo Capiens in a funny image. (see Appendix Fig. 3 - advertising symbol of the trading system - golden bull).

When should you develop a corporate identity?

There are two opinions about when to develop your own corporate identity:

·immediately as soon as the company was formed;

·as sufficient funds are accumulated and sustainable activities are consolidated.

It would be more correct to say that attention should ALWAYS be paid to corporate style, starting from the first days of creating a company. You register a company with a certain name, this name of the company is already a carrier of a certain style. Next, you order a company seal, which is a fontographic composition and can be a carrier of a corporate identity... and so on, at every step in creating your company you are faced with a dilemma: think about introducing a corporate style into what you create or postpone this headache for later? In fact, if you do not pay attention to creating a corporate style for your enterprise, the style will still develop, but unsystematically and chaotically. In other words, you are creating bad style in this case. The longer this goes on, the harder it will be to fix.

How to build a corporate identity

So, where to start for a company that is just establishing itself in the market? A start-up company is unlikely to really need folders with a corporate identity; you can get by with ordinary folders. But a trademark (Appendix Fig. 1) (graphic or verbal design) with mandatory registration is most likely necessary if the company is going, so to speak, on a long voyage on the stormy sea of ​​the market for goods and services. A trademark or logo is the starting point for the development of everything else. Marked with a company trademark, your business proposals will not remain faceless. So the next step is a business letter form and layout diagram for your advertisements (with a trademark). If you later change the layout of your advertisement or your corporate colors, your trademark will still remain and will remind customers and partners about your company.

When creating a corporate identity, you can adhere to the following principles. First, highlight the main thing, create a certain image by developing style-forming constants, and then (as necessary) develop new components of the corporate style and produce one or another of its carriers. The most important thing in the stage-by-stage ordering or production of elements and carriers of a corporate identity is to maintain a single style that would work for the chosen image of the company. To develop certain corporate identity media, it is better to use the services of the same designer or advertising agency. This is the surest way to achieve unity in the execution of all elements and carriers of the corporate identity. In the future, when a basic set of corporate identity media has been developed, you will be able to use the services of different agencies and printing houses for their production and reproduction.

Corporate identity in a narrow and broad sense

First of all, it should be noted that the concept of corporate identity has a narrow and broad interpretation.

Corporate style in the narrow sense means the totality of a trademark (and its inherent colors) and its use in the design of business papers and advertising messages (see Appendix Fig. 3: logo and its use in the design of a business letter form and business card).

Most companies limit themselves to the narrow concept of corporate identity.

Corporate identity in a broad sense is the use of uniform design principles, color combinations and images for all forms of advertising (print, radio, television), business papers, technical and other types of documentation, office, product packaging, and also, sometimes, clothing employees.

It is likely that a company that has just started its activities will not be able to cover the entirety of such a phenomenon as corporate identity. On the other hand, by starting to operate in the market without certain attributes of a corporate identity, the company will miss the necessary time, postponing “until later” the formation of the consumer’s image of the company. Moreover, a certain “advertising basis” accumulated by the company will be lost, since subsequently, having finally acquired a style, a completely different company with a different “face” will appear on the market.

What are the main components of a corporate identity? Here are some sample components of a corporate identity:

word mark;

graphic trademark;

color spectrum;

corporate font;

brand block;

layout scheme;

tagline;

publication formats;

audio image of the company.

Let's explain some of these concepts.

Word trademark- the name of the company (phrase), made in a certain graphic manner, in an unusual, memorable font. When approving a word trademark, it must be taken into account that the recognizability of letters made in special fonts varies depending on the size. Therefore, it is necessary to make it in several versions (from small - for business cards or letterheads, to large - for outdoor advertising) and check how well it performs the functions assigned to it.

Graphic trademark- some symbol belonging to this company (subject to its registration).

Color spectrum. Color is a powerful means of identification and therefore can be used as an essential component (style-forming constant) both in the construction of the actual sign or logo, and in the creation of a corporate or corporate style system. To design a verbal and graphic trademark, certain colors are selected, which, in combination with the first elements, create a certain image.

When developing corporate colors, it is necessary to take into account the printing capabilities of printing houses: newspapers, for example, convey only primary colors, or use two options: color (with a complex range of colors) and black and white.

Corporate font. A specific font can be selected for the design of printed materials.

Brand block may include a trademark, company name, postal and bank details, a list of goods and services, an advertising symbol of the company, a slogan. The brand block may include all of the listed elements or only some of them. The brand block is convenient to use in many cases: from designing letterheads to designing product packaging.

Layout scheme may include a specific layout of all printed products. It is especially important for a company to have a layout scheme for printed advertisements. The form of layout of advertisements that is used constantly and is familiar to buyers greatly increases the recognition and memorability of advertisements.

Publication format. All printed products can be distributed in a specific, original format, which also contributes to better recognition of information and advertising materials.

Tagline- a short phrase, the motto of a company or product. This is a verbal advertising symbol of the company. Unlike a figurative advertising symbol of a company (see below: advertising symbol of a company), a slogan is both a visual and an audio image, which gives it exceptional significance as an element of an image or an advertising device.

Up to 90% of the population uses various types of transport in any city. In large cities, a large number of visitors are added to them. Wherever a city resident goes or goes, he will never get rid of encounters with one or another type of transport. Standing at a stop and waiting for “his number” for a tram or bus, he will see a large number of vehicles with “other people’s license plates”. While traveling by car, he will also encounter a variety of types of ground transportation. So the advertising opportunities for various vehicles are very wide. Transport is a great opportunity for advertising consumer goods, stores, and services. Advertising on the sides of buses, trolleybuses, and trams must be visible and recognizable in traffic conditions. The letters should be large enough to be read from a distance, but not so large that they cannot be read at a glance. Advertising is made recognizable by its corporate identity, i.e. the use of the same design techniques in various types of advertising, logo, corporate colors, special lettering.

It should be remembered that some fonts are difficult to read and perceive, especially when traffic is moving: very slanted fonts, fonts with a continuous outline of letters, with a small distance between letters and words. This must also be taken into account when developing a corporate identity. Unfortunately, this is often forgotten. When accepting a particular brand name or corporate font, keep in mind that it can be easily read on a company letterhead, but when magnified several dozen times, it becomes difficult to recognize. It’s good if 90 percent of the city’s population is already familiar with your brand name, font and other attributes of your company from previous advertising in newspapers and on television, then recognizing your advertising on transport will not be difficult for them.

Another thing is if you are practically unknown to the general population of your city, then your logo and company name, made in a complex style, will remain unrecognized. And if this is so, then without being able to read the name of your company, they will not be able to relate your offers specifically to your company, and therefore the advertising will be ineffective.

The above also applies to forms of image advertising, where sometimes only the name of the company and the main directions of its activities are present without indicating the address or telephone number. Even if at the moment, the person reading your advertisement is not going to purchase the goods offered by your company or resort to your services, he involuntarily correlates the image of your company with certain images of goods or services. Such associative perception can tilt the opinion of a potential buyer in your favor when he has a need for a given product or service or when he encounters another type of your advertising (for example, in a newspaper).

It is necessary to take into account that in large cities there are more people with visual impairments, there are longer queues at bus stops, and crowded conditions in subway cars during rush hour. This is why advertisements must look bright and distinct.

This applies to advertisements in public transport. Unfortunately, most of these announcements can be read by standing directly in front of them at a distance of one meter, provided that the carriage is not fully “loaded”. Moreover, in 2 out of 5 advertisements the company name is written in such a stylized font that it is practically impossible to decipher. If, after all, such a stylized name is a “brand name”, registered, then in the ad it is necessary to give its easily readable equivalent in order to consolidate the logical chain in the minds of a potential buyer: company name - logo - product. Otherwise, with other forms of advertising (for example, on the radio), it will be perceived as completely new, since in this case the company name will drop out of the associative chain, and it is not yet possible to transmit the logo on the radio.

Souvenir products is a good advertising medium: it is “gifted” to a potential client or partner, trying to create positive emotions in him regarding the “giver”. Therefore, in an advertising campaign or in a system of measures to form a company’s image, souvenirs with corporate symbols applied to them become an important carrier of corporate identity.

The designer's task when developing corporate graphics for souvenir products comes down to the creation of a fontographic composition - a branded block, appropriate sizes and proportions, as well as the selection of color combinations of background graphics. It is difficult to create a single composition for different types of souvenirs, so the designer, when developing a corporate identity, must create a certain set of branded blocks and set a table of color combinations.

The designer's task when developing corporate graphics for souvenir products comes down to creating a font composition - a brand block, appropriate sizes and proportions, as well as selecting color combinations of background - graphics. It is difficult to create a single composition for different types of souvenirs, so the designer, when developing a corporate identity, must create a certain set of branded blocks and set a table of color combinations.

Conclusion

In my work, I examined issues such as the impact of advertising (in particular, graphic signs and symbols in the role of logos) on public opinion and how it influences the creation of new cultural values, image creation, children’s perception, and people of different ages , gender, education, income. How advertising influences our perception (worldview), habits, lifestyle, shopping motive, how public opinion is studied. How advertising attracts attention and influences public opinion. What is a person's reaction to advertising?

In my work, I also examined the issue of corporate identity: what it is, how it is developed, how it is created, what meaning we include in the concept of “advertising style,” what are its main components. What is a verbal, graphic, trademark, what influence does the color scheme and corporate font have on perception? What is meant by the concept of a proprietary unit, what components are included there. What can be a carrier of a corporate style, and why is a corporate style needed in general?

The issue of sponsorship was also considered: where does it begin, what benefits does it bring to sponsoring companies, when sponsorship brings success. What is included in the sponsorship package, what are their types, the preparation of sponsorship packages and the work of technology improves the channels for transmitting advertising information.

To summarize the work done, we can say that advertising plays an important role in shaping public opinion and studying it. In our country in the future, I think, more attention will be paid to this problem. It is possible that in the future, public opinion research will take new forms, become more attractive, and will have a greater impact on both consumers and producers.