Bibliographic citations
Delgado, C., (2023). El diseño minimalista de isotipos en la pregnancia visual de marcas automovilísticas. Casos Volkswagen, Mercedes Benz y Audi [Trabajo de investigación, Universidad Peruana de Ciencias Aplicadas (UPC)]. http://hdl.handle.net/10757/668984
Delgado, C., El diseño minimalista de isotipos en la pregnancia visual de marcas automovilísticas. Casos Volkswagen, Mercedes Benz y Audi [Trabajo de investigación]. PE: Universidad Peruana de Ciencias Aplicadas (UPC); 2023. http://hdl.handle.net/10757/668984
@misc{renati/407389,
title = "El diseño minimalista de isotipos en la pregnancia visual de marcas automovilísticas. Casos Volkswagen, Mercedes Benz y Audi",
author = "Delgado Tagle, Carlos Andres",
publisher = "Universidad Peruana de Ciencias Aplicadas (UPC)",
year = "2023"
}
The following research consisted of the study of the phenomenon of minimalism that, as one factor among many others, would generate a degree of relevant visual appeal in the graphic line of brand isotypes in the automotive sector. Therefore, we started from the hypothesis that minimalism, through two-dimensionality, monochrome, linearity and high contrast, would produce in the first instance a graphically responsive isotype design. To prove it, 3 symbolic identifying signs of great institutional hierarchy were analyzed. In addition, 3 experts in graphic identity design and consumer psychology were interviewed to understand the scope and limitations of the effects of this style on the functionality of an isotype. Likewise, 3 focus groups were conducted to discern and evaluate the visual attributes of minimalism in relation to memorability, recognition and semiotic associations. The results would show that the minimalist style in the design of isotypes had a positive perception of the youth target, expressing a timeless and modern image. Although, its contribution to visual appeal in the automotive industry would be limited to improve visual performance and reproducibility in digital formats and in the vehicles themselves; showing that the installation of arbitrary concepts would depend on a process of communicative anaphora and interaction with advertising elements such as sound, movement and image.
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