نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.
2 استادیار گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران، نویسنده مسئول.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Logos are tangible and special designs that are used to show a specific group, product, or service, which, in addition to referring to some concepts, sometimes also display the characteristics and identity of an institution or product, and for this reason, international companies use the company's logo to communicate effectively with their customers.
One of the media that plays a role in the formation of social identity, including national identity, ethnic identity, religious identity, and global identity, is instant messaging software such as Telegram, Instagram, WhatsApp, Eita, Soroush, etc. and the like that makes communication with virtual space possible.
Messaging software allows users to communicate in a task or activity or common goals and activities. Nowadays, the use of mobile phones and messaging software has affected all aspects of people's lives, and people prefer to use phones that support different softwares. This is the reason for the increasing use of smartphones and tablets. The emergence of these technologies provides new conditions for dialogue, understanding, and balance in the virtual and real world.
Therefore, the need for Iranian messengers is considered not only cultural but also social and political. In this way, the messenger can play a role in displaying the identity of a society. An identity that has been affected by the globalisation of cultures with the help of the mastery of new media and communication knowledge and has undergone continuous changes. Therefore, cultural symbols that are rooted in popular culture and beliefs can be used in the design of the logo of internal messengers. This material shows that the logo design of internal messengers requires an Iranian-Islamic design. The current research aims to identify the identity elements of the Iranian-Islamic sector in the logo of domestic messengers.
Based on this, the research questions are raised as follows: 1- What are the main design elements of the logo of internal messengers? 2- What is the extent of use of elements that show Iranian Islamic identity and culture in the logos of internal messengers? To answer these questions and based on the historical documents that exist about the rich Iranian culture, it is possible to find out what factors are effective in inducing Islamic Iranian identity in the logo of domestic messengers by analysing the logo of domestic messengers. For this purpose, first of all, it is necessary to identify the main design elements of the logo of internal messengers and also to determine how compatible the logo elements of domestic messengers are with Iranian-Islamic identity and culture. Messengers can be a tool to spread Iranian and Islamic values in society. Also, considering the widespread cultural attack of Western messengers and various advertising tools, which are mainly aimed at weakening the values and the identity of societies in general, it doubles the necessity of designing domestic messengers with Iranian-Islamic identity. And it shows the necessity of research in this case.
In terms of nature and method, the current research is an adaptation of a set of qualitative methods and by relying on the results obtained from observation and study, efforts have been made to answer the research questions. The collection of information was in the form of a library and observation. The body of the study includes the logo of 23 domestic messengers, which were examined and analysed using the full number method. The studied Iranian messengers are: Eita, Soroush, Bale, iGap, Hudhud, Anar, Saina, Dorna, Zalzalek, Nazdika, Lanzor, Aiwa, Noa, Abarak, Tebian, Fanus, Rubika, Shad, Bisphone, Salam, Ring and Visgun, which were used by Iranian users until the research was conducted.
Today, the role of messengers in social transformation cannot be denied. On the other hand, the dominance and influence of foreign messengers should not be neglected. Therefore, considering the risks that such messengers pose to the thoughts and culture of societies with the lack of continuity of content and Iranian visual elements, such concerns have led to the creation of internal messengers to prevent this cultural invasion and preserve the Iranian-Islamic identity. In this research, 23 logos of internal messengers were studied in terms of identity. One of the factors differentiating each logo from others is the quality of its design, and designers have used different design methods. One of the logo design techniques is using traditional motifs. As mentioned earlier, traditional motifs have various types, including (human, animal, vegetable, geometric, and written). Each of these motifs has many concepts that have always existed in Iranian culture and beliefs, which are derived from pre-Islamic and Islamic culture. Artists in logo design have tried to use these patterns and concepts in creating their works and create different patterns, some of which have symbolic meanings in their works. According to the analyses and investigations and according to the results of Table (1), in response to the first question of the research, it can be said that artists have used traditional motifs in designing the logo of domestic messengers. But among the types of these motifs, human motifs have not had any contribution and also from the other four types of motifs, geometric, written, vegital, and animal motifs have had a greater contribution in the design of internal messengers' logos. In the design of most of the mentioned logos, they have used a combination of several types of motifs. Except for the logo of 11 messengers, including (Nasdika, Wisgon, Noa, iGap, Rubika, Ring, Gap, Aiwa, Abarak, Bela, and Dorna) with a frequency of 47.82 that have used only one motif.
In response to the second question and according to the reviews of the visual elements of the logos of domestic messengers, these results were obtained that elements or symbols taken from Iranian identity, culture and art are used less in their design and only their practical aspects such as design principles has been considered by the designer. Meanwhile, efforts have been made to give identity to the logo of domestic messengers, and we can mention the logo of messengers such as "Soroush, Eita, Anar, Hudhud, Shad, Salam, and Lenzo" with themes related to Iranian motifs. Patterns are taken from rituals, epics, traditions, and personalities rooted in Iranian Islamic culture, religion, history, and identity. However, considering the existing capacities in Iranian art and culture, these efforts do not seem worthy of attention and sufficient. Therefore, in response to the second question of the research, it can be said that the visual elements of the logos of the domestic messengers do not match the capabilities of Iranian culture and identity. What is important is the introduction of some foreign elements (English letters) in the design of several logos, such as "the letter “E” in the design of the Eita Messenger logo, the word Salam in the Salam Messenger logo, the letter “Z” in the Zalzalak Messenger logo, and the letters “B” and “P” in the logo of Bisphone messenger and the letter "S" is in Soroush Messenger. Also, the use of European elements such as Exponential volume (the logo of Visgun and Anar messengers) and shading (the logo of Bale, Eva, Ring, iGap, Saina, and Anar messengers) cause the association of non-Iranian messengers. According to the information in Tables 3 and 5, the Europeanism index has the highest frequency with 65.21 and the Iranian index (Archaicism) has the lowest frequency with 17.39. Based on this, it can be said that the share of Iranian-Islamic identity indicators in the collection of logos of Iranian messengers is very small.
کلیدواژهها [English]
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