Branding
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Scout SUVs will be manufactured just north of my hometown – Columbia, South Carolina. ↩︎
- Dr. Pardun for supporting my bizarre little project, especially in the early days when the project was taking shape.
- All of the Ph.D. students in that content analysis class who helped me figure things out and took me under their wing.
- Dr. Mortensen for taking over as my thesis director and helping guide me through the publication process.
- Kevin Hull and Van Kornegay for serving on my committee and providing helpful feedback.
- Robert McKeever and Jacob Long for giving me an appropriate foundation for analyzing data.
- Editor Cleopatra Veloutsou who guided me through the process with the Journal of Product and Brand Management.
- All of the reviewers and discussants at the conference level for AEJMC and in the peer review process whose feedback legitimately made this paper better.
Honda shows off EV concepts – and two new logos
A new look and branding for Honda EVs
Honda showed off two new EV concepts under the new Honda Zero brand at CES — the Saloon and the Space-Hub. Most of the coverage is focused on the futuristic looks of the concept cars. As someone who grew up going to the Chicago Auto Show and seeing the cars of the future, I’d temper any expectations that the final designs will be this radical.
But as a branding researcher, what caught my attention is that they also rolled out a new Honda “flying H” logo to be used on all new electric cars. From the official Honda press release:
The current Honda “H mark” has a long history, dating back to 1981. In launching the next-generation EVs, Honda designed a new H mark, to express the company’s determination to undergo a historic transformation as well as the ability to constantly pursue new challenges and advancements. This new design expression, which symbolizes two outstretched hands, represents Honda’s commitment to expand the possibilities of mobility and continue to meet the needs of its customers. The new H mark will be applied on future Honda EV models, including the Honda 0 Series.
The logo simplifies Honda’s current H, removing the outer bounding box and reshaping the mark. It does feel like a more modern mark and seems appropriate on the futuristic vehicles. As logo introductions go, this might be the slowest roll out in the history of visual branding since the first Honda Zero cars won’t be released until 2026. And since the logo is intended for just electric vehicles, that means that Honda is choosing to fragment their brand for a period of time.
It’s worth noting that the Honda Zero brand had its own mark at introduction. I’d be surprised if this is used in marketing when the models debut in 2026. I’m not sure what’s going on here, since the elements don’t really match anything.
Electric car branding is fascinating to me. VW and BMW add a letter or letters to the model number. Hyundai is using the Ioniq brand name for most, but not all of their EVs. Many vendors are rolling out EVs alongside their internal combustion engine lineup. VW is resurrecting the old Scout brand for a line of electric SUVs.1 But to my knowledge, Honda is the first company to create a version of their corporate logo especially for electric vehicles. As the transition to electric vehicles continues, it will be interesting to see how EV branding continues to shift and evolve.
Bob Wertz is a creative director, type designer, Ph.D. student and researcher living in Columbia, South Carolina.
How NASA Learned to Love the Worm Logo - The New York Times
Now the worm is back. And the meatball is still there too, still the official insignia for NASA.
Enjoyed this article about the two NASA logos. As designers, we typically preach consistency. But in this case, having two logos seems to work.
Barnes & Noble Undergoes a Back-to-Basics Redesign - The New York Times:
Mr. Daunt has demonstrated that consistency doesn’t rank very high on his priority list. New York City has nine Barnes & Noble stores featuring four different logos above the front doors.
Milestone: My first published research paper is now online
I’ve reached a big milestone in my academic career: my first published research paper.
Brand new: How visual context shapes initial response to logos and corporate visual identity systems has bene published in the Journal of Product and Brand Management. It’s available now online and will eventually be assigned to an issue. If you have access to journal articles through a university or public library, you can access the article.
If you can’t access the article, here’s the abstract:
When a new logo is released, it does not have an established meaning in the mind of the viewer. As logos have become more highly scrutinized by consumers and critics, it has become more important to understand viewers’ initial response to logos. While other studies have researched the impact of aesthetic choices on viewer reaction to logos, this study aims to understand the effect of the surrounding visual identity system when a new logo is introduced. This study combines a content analysis of 335 posts on the logo review website Brand New with the voting data from their polls to understand how visual context correlates with a viewer’s initial response. Increased amounts of visual context correlate to an improved response from viewers. Different types of context that can be presented – from logo variations and environmental examples to videos and animation – have varied effects.
Basically, my study finds that people respond better to new logos when they are shown more examples of the logo in use. This is one of those things that seems intuitive to designers, but hasn’t been researched or quantified. Because I’m a designer, most people are surprised that my research includes a fair amount of statistical analysis, but I’ve really taken to the quantitive side of things. This paper has been in review for over a year, working it’s way through the revision process.
It’s fitting that this is my first paper to be published. When I started grad school, I didn’t really know anything about scholarly research. In the spring of 2019 — my second semester as a grad student — I took a content analysis class with Carol Pardun. I was the only master’s level student in a class full of Ph.D. students. I felt so overwhelmed by the pressure to come up with an idea and learn methods and theories on the fly. The paper I wrote for that class was the first version of this paper. It was accepted to the AEJMC Conference that August and I presented in Toronto — my first academic conference presentation. I loved the concept for the study and got great feedback, but I was still learning and felt like I could improve it. I scrapped everything, started over with a larger sample and better methodology. After Dr. Pardun retired, I started working with Tara Mortensen on the next evolution of this work, which turned into my thesis. And that thesis eventually became this paper.
Thanks go out to so many people who’ve help me along the way:
And of course, this couldn’t have happened without the rest of Team Wertz. Liz and the kids have been so supportive and patient while I have embarked on this grad school journey. (And occasionally, Norah and Jill even joined me at Starbucks when I had to write.) I simply could not have done it without them.
I’ve still got a few years left until I finish my classwork and dissertation, but I’m exceptionally proud of this milestone and excited to see where my research goes next.
Bob Wertz is a creative director, type designer, Ph.D. student and researcher living in Columbia, South Carolina.