Teresa Sarmento and Pedro Quelhas-Brito
This paper aims to identify and compare the graphical shapes and meanings attributed to place/city by the designer/creative/author of a city visual identity (VI) and by the client…
Abstract
Purpose
This paper aims to identify and compare the graphical shapes and meanings attributed to place/city by the designer/creative/author of a city visual identity (VI) and by the client and designer’s peers.
Design/methodology/approach
To identify and compare the graphical shapes and meanings attributed to place/city by the designer/creative/author of a city VI and by the client and designer’s peers.
Findings
This paper analysed the way the visual culture of different stakeholders influenced the process and the construction of the iconographic meanings. Secondly, this paper assessed how the design tools impacted the creative process in that specific context.
Practical implications
A demanding involvement of more participants in the design process can be worthy for a VI outcome. Visual identity of a city is both designer’s creative as a political process. The several aesthetical options decisions implied adaptation, trade-offs and negotiations.
Originality/value
This research explains how the design tools and forms were used in the creative process of designers when conceiving the VI of a place. This research also reveals how a design work can have an effective impact on the sensory qualities emanating from city brands which are recognized by tourists and citizens. The consideration of the designer’s tools makes a relevant contribution to understand some underlying procedural issues.