Advances in Journalism and Communication
2013. Vol.1, No.4, 41-49
Published Online December 2013 in SciRes (http://www.scirp.org/journal/ajc) http://dx.doi.org/10.4236/ajc.2013.14005
Open Access 41
Annotation of Dynamic Identities in Interactive Aesthetics
Department of Information Communication, Y ua n Ze University, Chung-Li, Taiwan
Received August 26th, 2013; revised September 30th, 2013; accepted October 10th, 2013
Copyright © 2013 Ming-Chieh Hsu. This is an open access article distributed under the Creative Commons At-
tribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the
original work is properly cited. In accordance of the Creative Commons Attribution License all Copyrights ©
2013 are reserved for SCIRP and the owner of the intellectual property Ming-Chieh Hsu. All Copyright © 2013
are guarded by law and by SCIRP as a guardian.
With a variety of platforms and media vehicles, designers not only have a challenge on new concepts such
as varied expression forms, elements, principles, and aesthetic concepts, they also have to take into ac-
count users’ cognitive tendencies and social media aspects during the design thinking process, especially
in trying to enhance the user experience. Dynamic identities aim to improve a traditionally static visual
experience with a multi-dimensional angle. In addition, not only does interaction design express creativity
and cognitive philosophy via all senses: sight, touch, smell, hearing, and taste, it also combines psycho-
logical perception with aesthetics. “Interaction” is a process of communication, which influences both
cognition and mentality. This study is based on three key factors/aspects of interaction aesthetics: cogni-
tive level of recognition, physical level of functionality, and psychological level of emotion. Forty-four
dynamic identities from January 2011 to July 2012 were studied with a case study method, analyzing the
design process and related principles. Through focus groups and in-depth interviews, this study investi-
gates the concept of interaction design to classify three types of dynamic identities: “functionality”, “en-
tertainment”, and “identification”. Different characteristics of media and platforms are analyzed by fram-
ing the corporate identity system to form a unique dynamic identity. This paper proposes that functional-
ity dynamic identities give rise to the “customization” and “modularity” design principles; whereas enter-
tainment dynamic identities bring forth the “aesthetically pleasing” and “entertaining” design principles.
Moreover, through the user-centered design experience a “personalized” design principle is born.
Keywords: Dynamic Identity; Interactive Aesthetic; Interaction Design
Communication techniques experienced numerous revolu-
tionary changes. In the late 20th century, computers brought
forth the information revolution, which made the prospect of
information society more immediate. With the aid of digital
media, communication media has developed several variations
and this made people change the method of information-col-
lecting and reading, also change the channel for industry brand
communications, and marked a big step in identity strategy
(Wang, 2005). The creative process for brand identity needs to
combine investigation, tactical thinking, excellent design, and
management techniques, which is a scientific process (Wheeler,
2009). Digital media and interactive media are different from
traditional print media, the communication angle, method and
audience relationship are different as well. Therefore, a tradi-
tional static logo is harder to fulfill the need of multimedia
communication. Interaction and immediacy make a logo more
vital, and the relationship between the network and audience is
closer (Liu & Guan, 2009). The diversified form of digital me-
dia changes the techniques of brand identity design, and dy-
namic identity is one of the best applications to present a com-
pany’s brand image, and through the superiority of digital me-
dia, a company can more easily win the competition (Budel-
mann, Kim, & Wozniak, 2010; Wheeler, 2009). Therefore, the
influence of interactive design aesthetics on dynamic brand
identity, the research of design thinking and design principles
are the main motive of this study.
Brand Identity and Dynamic Brand Identity System
A successful industry brand always has an excellent industry
identity system, with the business activity and culture that sig-
nify this business, to increase symbol recognition through dif-
ferent media (Lin, 1985). Brand identity is a brand’s external
image which a business organization expects to represent itself,
it is able to make consumers easily identify its uniqueness,
significance, value, and personality (Kapferer, 1992; Aaker &
Joachimsthaler, 2002). Through products, or the function, name,
logo and visual system of service, marketing messages are sent,
consumers can see, touch, own, hear, and watch the logo mov-
ing, and all kinds of methods are used to establish it in different
media (Upshaw, 2000; Wheeler, 2009).
The dynamic identity shown in digital media almost has the
element of timeliness (animation and dynamic image), and in
its creation, the designer should notice if it definitely provides
the essence and character of the brand, and transfers the conno-
tation of a static image into a dynamic image presentation. In
presenting the dynamic identity, dynamic method should be
used to state and perform the brand, so the brand’s rhythm and
speed determine the result and also the identity’s appeal (Wang,
2005; Mollerup, 1999; Rawsthorn, 2008; Wheeler, 2009). With
the booming of mobile devices, the development of dynamic
brand identity will change along with the development of tech-
nology, furthermore, for customers, there is room to explore the
brand image from within the dynamic brand identity. In the
brand identity field, using animation or dynamic images com-
bined with trademarks for visual identity and image design, and
thinking of different communication media and platform’s
character while designing a whole brand identity concept will
create a dynamic identity with unique style (Hsu & Chen,
Based on many scholars’ research, including the analysis of
brand strategy of various industries, clarifying characteristics of
industry, consumer markets position, market segment analysis,
and strategic motivations, goals or market cycle targeting, etc.,
now is the age of diverse media and platforms, whether using
visual or tactile elements of the brand, cross-cultural issues
should be addressed, especially for the element of brand iden-
tity, such as naming, the difference between symbolic object
and brand attitude; the market segmentation positioning, color,
the difference of visual culture preferences; avoiding the con-
flict of pronunciation and homonyms; and the expression of
visual image across language barriers (Liu & Guan, 2009; Vaid,
2003; Wheeler, 2009).
Interactive Design Aesthetics and Dynamic Brand
Tremayne & Dunwoody (2001) found interactivity to be a
cognitive process, and the perceived interactivity has influenced
the effect of message-perceiving strategy in users. Understand-
ing the need of users confirms the main goal, usability is the
core of interactive design, and the goal of user experience is the
quality of defining the user experience, which is a subjective
experience containing the feeling within the interaction of users
and products. Many scholars brought up the theories that inter-
active design is not only concerned about the high efficiency or
high productivity of the design, but concerned more about the
characteristics of interactive design, such as being satisfying,
enjoyable, fun, entertaining, helpful, motivating, aesthetically-
pleasing, supportive of creativity, rewarding, emotionally-ful-
filling (Norman, 2007; Sharp, Rogers, & Preece, 2009).
In perceptual stimulation, everyone’s identity and interpreta-
tion is based on the scientific perception experiment, when
looking at the brand, we first recognize the shape. When type is
interpreted for its meaningfulness, the visual image is the first
to be remembered and recognized. The brain reads color after it
registers shape, and before it reads the form, therefore an
easy-to-recognize shape is necessary; color can arouse feelings
connecting to the brand; then comes the form, when brain is in
the p r oc e ss of d e al i ng w ith visual language over and o v e r a g a i n,
it will notice details in the content (Wheeler, 2009). Observing
from symbols’ alterability, in an identity system, every element
of symbolic expression could be highly stable, and could also
be altered randomly. However, a dynamic style often creates a
creative aesthetic, and provides a unique charm (Wang, 2005).
The scholar Wheeler further interpreted the brand identity de-
sign process as thinking of the visual dimension of the brand
trademark, such as a main color and any secondary color com-
binations, scale, proportion, typography, imagery and the per-
formance of motion, form, style, and focus in media like pho-
tography, illustration or iconography. And for the tactile di-
mension of the brand identity system, including experience and
emotion, one is media texture, hand touch, weight; the other are
interactive qualities such as package structure, or the sense of
hearing and smell, and how to arouse in people the association
and recognition of hearing and smelling (Vaid, 2003).
Stone (2010) specifically brought up the elements of design
aesthetics, he explained that design aesthetics is a design proc-
ess, meaning that design elements should thoughtfully fit with
public awareness and emotion. This study base on the theory of
Norman (2004), and also integrate the scholars’ discussion, the
interactive design aesthetics originates from user experience,
and its formed elements: 1) cognitive level of recognition; 2)
physical level of functionality; 3) psychological level of emo-
tion (Norman, 2007; Ross, Overbeek, Wensveen, & Hummels,
2008; Locher, Overbeeke, & Wensveen, 2010; Stone, 2010).
Further analyze the design thinking and principle of dynamic
Research Method and Case Analysis
This study mainly researches the influence of interactive de-
sign aesthetics on the dynamic brand identity system. It re-
searches and generalizes 44 cases of dynamic brand identity
around the world, analyzes the relationship between interactive
design aesthetics and design thinking, design principles; estab-
lishes the classification and the design thinking of the dynamic
brand identity system through three experts’ focus group semi-
nars (5 - 7 person). Preliminary data is based on the analysis of
the coding from document review, from exploratory research,
developing a more apparent concept, establishing priority, de-
veloping an operative definition, and expecting to have further
understanding of the study subject. This study uses case analy-
ses based on related literature in design aesthetics and interac-
tive design aesthetics, integrates the elements of interactive
design aesthetics, and analyzes the design thinking and design
principle of 44 cases of dynamic brand identity from a cogni-
tive level of recognition, a physical level of functionality, and
psychological level of emotion (see Figure 1).
The cognitive level of recognition which includes recogni-
The elements of interactive design aesthetics.
tion, familiarity and memorability; design aesthetics refers
to the relationship between various shapes, colors and ma-
terial, the interaction between proportion, contrast, and size,
also the visual balance of order, diversity, and rhythm
The physical level of functionality which includes customi-
zation, which should be rewarding, easy to use, motivating
and supportive of creativity; interactive design aesthetics is
visual, tactile perception is used at the same time, as a de-
signer we hope to understand how to achieve the goal of
usability (Locher et al., 2010; Stone, 2010).
The psychological level of emotion which includes enjoy-
able, fun, aesthetically pleasing, emotionally fulfilling and
entertaining qualities. Interactive design aesthetics means
pleasure and fun in aesthetics design, and designers design
to achieve interaction and integration (Norman, 2007).
In addition, this study is based on related literature for brand
identity system design principles, there are 16 design principles
for the dynamic brand system, which are simplicity, globaliza-
tion, sustainability, legibility, consistency, uniqueness, atten-
tion, description, repetition, flexibility, modernness, extendabil-
ity, systematics, aesthetics, renovation and understanding, and
will be clarified in these 44 cases.
Dynamic Brand Identity Case Analyses
Synthesizing 44 cases of dynamic brand system identity, and
analyzing by industry, which includes information industry,
such as cloud service, mobile device platform, mobile applica-
tion and information science, communications industry and
telecommunications industry; traditional industries such as the
wheel manufacturing industry and consumer goods company;
service industries, such as general merchandise, hair salon and
accounting firm, agencies and digital printing company; cul-
tural education industry, such as music hall, museum, exhibi-
tion, school and seminar, and emerging technology-based me-
dia lab; tourism industry, such as design of an international city
image and a tourist city image; the biotechnology industry,
welfare organization and political organization. In the global
dynamic trademark distribution, there is USA and Canada in
the USA & Canada area; Switzerland, Finland, UK, Norway,
Portugal, France, Spain, Netherlands and Germany in Europe;
Australia, India, Korea, and Russia in Asia; and Brazil in South
1) Cognitive level of recognition
As for cultural education industry, take the Finland Playlab
studio for an example. Playlab is a practical place for creation,
which focuses on fun and is the combination of community,
education, entertainment and activity. Their subtitle, “The
Imagination Gym” refers to devising activities which challenge
people to engage with both sides of their brains, and the full
scope of their creativity. With multi-disciplinary skills they
tackle marketing and promotion projects for business, retail,
museums, galleries and public organizations. The brand identity
uses words and symbols, Playlab is a workshop space aimed to
be a creative playground for stressed adults, and aimed at cre-
ating a playful space. Their identity system and website was
designed by Mind Design Company in London (2011). On the
envelope and letterhead the actual logo is just blind embossed,
and illustrations use a mixture of scientific elements and ran-
dom fun images. The stationery is printed in red, yellow and
blue, and the address details are filled in using a rubber stamp.
Logo changes when applied to different media (see Figure 2).
As for the telecommunications industry, take Nokia Siemens
Networks for an example, it is the second biggest mobile tele-
phone network equipment manufacturer in the world. The
merger of Nokia and Siemens’ network businesses presented a
uniquely challenging branding opportunity—that of creating an
entirely new identity for a brand that would be a €6 billion
market leader—Nokia Siemens Networks. For Nokia Siemens
Networks, an identity that thrives across all platforms was suc-
cessfully created—a living, breathing brand that is multi-senso-
rial, multi-dimensional and highly impactful. The brand was
launched in February 2007 with a film produced as part of the
branding process, which was lead-designed by Moving Brands
(2007). A full identity system was created that worked across
print, onscreen, audio and interactive media. Deliverables in-
cluded logo, mnemonic and Sonic Mnemonic® (moving and
audio logo), a suite of sonic assets (including music and ring-
tones), brand films, photography, stationery, typography, sign-
age, livery, environments, and pictograms, as well as look and
feel and usage guidelines across all touch-points (see Figure 3).
Design aesthetics is the recognition concept of sensory, is a
theory of free art, is art thinking of all kinds of beauty, a ra-
tional art, which is similar to philosophy thinking; moreover, it
is a science of sensory recognition (Baumgarten, 1987). From
the operational definition of the cognitive level of recognition
and design principles of the traditional brand identity system,
the identification, attentiveness, and visual consistence of brand
identity is noted, therefore, we classify this type of dynamic
identity as “identification” dynamic brand identity.
2) Physica l le vel of functionality
Take the MIT media lab for example. Its new visual identity
is inspired by the community it comprises: Highly creative
people from all kinds of backgrounds come together, inspire
each other and collaboratively develop a vision of the future.
Each of the three shapes stands for one individual’s contribu-
tion, and the resulting shape represents the outcome of this pro-
Playlab identity, mind design ( 2 011).
Nokia siemens networks identity, moving brands (2007).
Open Access 43
cess. Therefore, the brand identity has three intersecting spot-
lights and is based on a visual system and a custom algorithm
that can be set into 40,000 arrangements and 12 color-combi-
nations. This is meant to reflect the constant redefinition of
what media and technology means today. The algorithm pro-
duces a unique logo for each person. Each person can claim and
own an individual shape and can use it on their business card,
letterhead, web site, animations, a personal web site, signage,
etc. A custom web interface was developed to allow each per-
son at the Media Lab to choose and claim an own individual
logo for his/her business card, as well as a custom animation
software which allows the creation of custom animations for
any video content the lab produces. The intersecting spotlight
paths highlight the fluid collaborative approach that the institu-
tion takes in applying dynamic thinking to research and solu-
tions (Allen, 2011).
Headquartered in New York, Seed Media Group is a diversi-
fied media, technology, and professional services company
committed to advancing science and its potential to improve the
state of the world. The identity is designed by Sagmeister, and
the logo manifests science as looking at the world through the
lens of the phyllotaxis (Macnab, 2008). In 2006, Seed Media
Group commissioned Jonathan Harris to elaborate on this iden-
tity with digital media and information visualization. In 2008,
Seed Media Group brought designers and scientists together for
a conference organized in partnership with Parsons the New
School for Design, MoMA, and also collaborated with Toshiko
Mori and Michael Meredith at the Graduate School of Design at
Harvard on a real-time data visualization project for the World
Economic Forum. In 2009, Seed Visualization was founded and
began to develop data visualization projects for companies and
organizations. In 2010, Visualizing.org launched, the mission is
to help make data visualizations more prominent across the web
as a way of understanding complex world issues. The site is
open and free and operates under the Creative Commons non-
commercial license. It created a space for designers around the
world to regularly upload and share their public work with a
large audience and have it “used” by the public in discussions
about issues like health, energy, climate, cities, food, and glob-
alization (see Figure 4).
Cultural education industry: Take the Casa da Música (Porto
city, Portugal) for an example, designer Stefan Sagmeister cre-
ated the logo in a three dimensional form; it was then converted
into six different logo marks comprising the top, bottom, north,
south, east, and west views of the building. The Sagmeister
Seed media group identity, Sagmeister (2008).
team created seventeen points on the image, recording the color
values of each point in the image, then transferred onto the 17
facets of the logo (see Figure 5). This provides the colors to be
used in the logo, and creates an endless possibility. The archi-
tecture itself is a unique geometry, from different angles one
can create different requests. The building is a visual element,
and creates a dynamic, faceted and endlessly varied identity.
Avoiding another rendering of a building, the design developed
a system where this recognizable, unique, modern form trans-
formed itself like a chameleon from application to application,
where it changes from media to media, and where the physical
building itself is the ultimate rendering in a long line of logos.
Meanwhile, the goal was to show the many different kinds of
music performed in one house. Depending on the music playing
the house changes its character, and works dice-like by dis-
playing different views and facets of the music (Albinson &
The interactive design aesthetics operating process creates an
involved feeling in the user, which surpasses participation itself,
and through the result of chosen behavior reaches pleasure
(Norman, 2004). From the individual cases above, the design
thinking process integrates emerging technology, using the
concept of data’s automatic placement, mathematics, program
calculation, and system module, creating a result of data visu-
alization, and also derives unique design characteristics of cus-
tomization and personalization. From a physical level of func-
tionality in the definition of interactive design aesthetics, we
classify this type of dynamic identity as “functionality” dy-
namic brand identity.
3) Psychological level of emotion
The biotechnology industry: Take 23andMe as an example,
23andMe is a privately held personal genomics and biotech-
nology company, founded in 2007, it develops new technology
and methods in providing clients with genetic information. The
company is named for the 23 pairs of chromosomes in a normal
human cell. The variety of 23 distinct yet visually unified logos
plays conceptually on the human chromosome, good for pack-
aging and dynamic images. The visual space surrounding the
identity is bright, but not stark, as this is one of the most unique
visual elements, highlighting the boldness of 23andMe’s uni-
que immersion into consumer genetics. A single version is used
consistently with the company name, but different colors and
pattern variations can be used across application to create a
variety in print pieces and on the internet. The form in the logo
Casa da música identity, Sagmeister (2007).
represents chromosomes; their many and varied transparent
colors show up again and again in unique combinations. Every
one—that is, everyone—is different (Fishel & Gardner, 2011)
(see Figure 6).
Politic organizations: Take the 2008 American Democratic
Party’s Obama presidential campaign as an example. The logo
was designed by Sol Sender on assignment from Chicago-based
Mode Project motion design studio. The concept is the “O” of
his name and has the idea of a rising sun and a new day; the sun
rising over the horizon evokes a new sense of hope. In the 2008
Obama presidential campaign, different from the campaign
trademark used before, there are two constant components for
the Obama campaign identity. One is color (white and blue),
and the other is the symbol (a sunrise with red stripes of the US
flag at the base). Sender created a standard for a consistent
identity system, and there is cohesiveness throughout, from the
simple logo and how it expands and connects with people of
different areas, via different media to different groups, aimed at
different voters, such as Hispanic Americans, females, gays,
bisexuals, and voters of various beliefs (Rawsthorn, 2008; Go-
mez-Palacio & Vit, 2011) (see Figure 7).
Cultural education industry: Take the 17th biennale of Syd-
ney as an example, the visual identity was designed by London
designer Jonathan Bambrook, and the biennale’s subtitle was
inspired by American experimental filmmaker, anthropologist
and musicologist Harry Everett Smith. He released a boxed set
of historic recordings entitled The Anthology of American Folk
Music in 1952. Barnbrook took inspiration from Everett
Smith’s work to develop a modular identity system for the fes-
tival comprising of a “myriad” of typefaces, shapes, patterns
23andMe identity, meta design (2007).
Obama 2008 campaign identity, sender (2008).
and illustrations that can be combined and applied to several
activities. The identity is based around a modular system of
blocks, the modular blocks are uniform in shape to allow for
easy tessellation. There are two layers. One layer’s blocks are
of abstract shapes, and the other is of geometry and halftone
printing techniques. The design showed a disorderliness con-
taining word information and illustrations, drawn from old
medical reference books, stills from Smith's films, astrological
manuscripts, and the geometrical shapes from Victorian era
medical illustrations, crystal structures, and mathematical text
books. Many typefaces were designed by Bambrook himself;
using typography as a modern language, an important element
is the combined concept; using black, red and white, all the
designs still contain flexibility and recognizablity, and can be
applied to catalogue covers, websites, banners, posters and
signages (Albinson & Giampietro, 2011) (see Figure 8).
Interactive design aesthetics involves visual and tactile per-
ception used in the same time, through vision to reach interac-
tion, where interaction can surpass the visual contribution
(Locher et al., 2010). Design thinking in this kind of identity
system has diversity and extension, uses many collages, a mod-
ule concept, sometimes uses static visual elements as the base,
and uses different materials and art styles to change the visuals
and provide pleasure and fun. From a psychological level and
referencing interactive design aesthetics, we classify this type
of dynamic identity as the “aesthetically pleasing” dynamic
In the process of synthesizing and collecting data, it was hard
for this study to collect design related data in other languages,
especially Japanese and Spanish, therefore, this study can only
base conclusiongs on English-based data. Compiling data de-
manded accurate and definite brand identity system standards,
design concepts and designers related information. Compiling
44 cases of dynamic brand identity, categorized by industry,
information industry is 22.7%, communications industry is
15.95%, telecommunications industry is 6.8%, traditional in-
dustry is 6.8%, service industry is 11.36%, cultural education
industry is 20.5%, media lab is 4.54%, tourism industry is
4.54%, biotechnology, welfare organization and politics organi-
zation industry is 2.27%, Overall, telecommunications media
and emerging technology related industries are 34.04%. In
global distributions of dynamic trademarks, US and Canada is
31.8%, Europe is 54.59%, Australia is 4.54%, Asia is 6.8%,
South America is 2.27%. Overall, countries distributed in Eur-
ope and America are at 86.39%, the usage of dynamic brand
identity outside of the Europe and America area are still mostly
presented in the traditional static method (see Figure 9).
The study of interactive design aesthetics is divided into
The 17th biennale of Sydney identity, Bambrook (2010).
Open Access 45
experience and expression: studying someone using computa-
tional things (experience), and building computational things to
be used by someone (expression), interactive design aesthetics
holds a double focus on both issues, making the foundations
somewhat different from traditional product design (Petersen,
Hallnäs, & Jacob, 2008). In dynamic brand identity seen from
the viewpoint of “interactive design aesthetics”, the “identifica-
tion” is 20.5%, “functionality” is 27.27%, “aesthetically pleas-
ing” is 52.23%. For pleasure and entertainment the new media
brings, Kerr, Kücklich and Brereton (2006) thought the core
elements include control ability, situational immersion, story-
telling, and narrative ability (Schrepp, Held, & Laugwitz, 2006).
The attraction of a product or brand with entertaining character
has the same influence on the actual character, and the enter-
taining character is also an important element in creating fasci-
nation (Hassenzahl, Platz, Burmester, & Lehner, 2000). Based
on the analysis of 44 cases of dynamic brand identity and the
basic design principle of a traditional brand—from the “identi-
fication” dynamic brand identity system, “functionality” dy-
namic brand identity, and “aesthetically pleasing” dynamic
brand identity, we can also infer the design principle of the
dynamic brand identity (see Figure 10).
adds the design principle of “customization” and “modularity”;
and that entertainment could foster in people the desire of play,
and curiosity could bring the exploration of learning materials,
and that pleasure and entertaining elements exist in interactive
design aesthetics. Dynamic brand identity with the “aestheti-
cally pleasing”, concept in its design has diversity, extension,
and uses lots of collage and modular elements. Or it uses basic
static visual elements as base and different expressive materials
and artistic style to change the visualization, and to be aestheti-
cally pleasing and entertaining. Therefore, the emotion level
enhances the design principles of “aesthetically pleasing” and
“entertaining”, and a user’s unique personality makes the brand
identity have more emotions and activity, so the design prince-
ple o f “p er son a lized” becomes ever more important (Raw st ho rn ,
2008) (see Figure 11).
Conclusion and Suggestion
This study is based on the analysis of 44 cases (see Table 1),
which shows dynamic brand identity from the viewpoint of
“interactive design aesthetics”, and from recognition, function-
al ity, and emotion. There are the “identification” dy namic bra nd
identity, “functionality” dynamic brand identity, and “aesthe-
The case analyses of this study showed that functionality
44 cases of dynamic identity categorized by industry.
44 cases of dynamic identity categorized by interactive design a e s t he t i c s .
44 cases of dynamic identity.
MIT Media Lab
Nokia’s Internet Services
Mobile Media L ab
City of Melb o urne
D10 Nokia’s Siem ents Networks
D11 Multi-national Tyre Company D12
D13 Casa da Música D14 E DP Group Compa nies
Seed Media Group
D16 Cartoon Network
IBM Smarter Planet
Global Handwashing Da y
D19 Google D20 Channel 4
D22 Music Television
F i lm Equipment and Production Company
Unilever Global Company
Get Up Hair
D30 Brooklyn Museum
D31 17th Biennale of Sydney D32 Innovation Event 7 Days
D33 Gabia D34
Open Access 47
Moscow Design M useum
D37 Amsterdam School of Creative LeadershipD38
Vuture Univers i t y, Amsterd am
D39 Playlab D40
D43 Creative Applications Network—CAN D44
Design principlesof dyn amic identity.
tically pleasing” dynamic brand identity. In recent years, the
trend of “functionality” dynamic brand identity has flourished,
but the “aesthetically pleasing” dynamic brand identity, which
uses different media and art styles to change the visualization,
still has the largest percentage. Nowadays, designers face chal-
lenges in diverse expression, design elements and principles,
aesthetic concepts and trends, and the audience’s mentality and
social media. In creative thinking, we still need to note if the
design clearly fits the nature and personality of the brand, and
transfer contents from the static image to the dynamic image.
While considering different communication media and plat-
forms, we need to insert the whole brand identity concept, cre-
ate a unique style of dynamic brand identity design; for the
visual and tactile dimension of visual elements, we also have to
consider cross-cultural and cross-ethnic issues. Design thinking
should gradually integrate technology in the identity system,
using both the concept of automatic data placement, mathe-
matical operations, program algorithm, and system module, to
create data visualization, and to also maintain design aesthetics
from traditional brand identity, which is very important. More-
over, for different types of dynamic identities really convey the
implications of the corporate brand, or what differentiation
incognitive meaning there may be between various types of
dynamic brand identities, there could be further discussions.
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