- - 66 Volume 10 • 2015 10 • Volume - - Volume 10 ic status of the Google logo as expressed in the doodles. On the basis in logo as expressed ic status of the Google of a multimodal typographic analysis of a sample of Google’s doodles from 1998 to 2013, the article identifies different types of between the well-known Google letters and the new relations graphic produce The article examines how these relations features. devel has iconicity this how and iconicity, brand communicate and a typographic perspective. oped from visual identity Keywords: doodle, Google, logo, typography, Introduction a stick man behind the logo on Google’s start page on drawing of A semiotic August 30, 1998, marks the beginning of a remarkable - re a been have logo Google well-known the of changes Provisional engine since of the search page curring phenomenon on the front theof variations are doodles The “doodles”. them calls Google 1998. individuals or cultural events,Google logo that celebrate famous aas of the Google logo iconic status the but the doodles also point to the icon The article explores and reinterpretation. locus of creativity Abstract PhD, Associate Professor of Media and Communication at and Communication at of Media PhD, Associate Professor Aal and Psychology, the Department of Communication market communi- addresses Her research University. borg cation Recent publications and aesthetics in digital media. communication (with N. J. include articles on cross-media and online testi 2013) Communication, in Visual Graakjær monial 2014). advertising Review, (in Advertising & Society quarterquarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Thus, the logo has main 1 searching as a “look into the past” (Zjawinski 2008a). Moreover, the as a “look into the past” (Zjawinski 2008a). Moreover, searching different colourings of the letters connect Google to ideas of play yel fulness and innovation. The use of primary colours (blue, red, letter instead of another yellow a green and the insertion of low) letter in the sequence of letters point to meaning potentials con nected to the mixing of new colours (cf. blue and yellow make and blue, red of colours from Likewise, changing the order green). (not yellow) in nor yellow) and red (not red, yellow to blue, green logo was designed by Ruth Kedar in 1999 using Catull typeface typeface Catull using 1999 Kedar in Ruth by designed logo was the shaded typography, to its original (Zjawinski 2008a). Compared logo has developed a towards flattenedmore typography due to but the logo still appears in the design changes in 2010 and 2013, same (but slightly modified) colours. the years, visual identity throughout tained an overall recognisable terms,semiotic In 33). 2001, (Floch “continuity” suggesting visually the logo is a visual sign “standing for the brand in some way” (Danesi 2013, 468), and at the same time differentiating the brand theof designer the to According 33). 2001, (Floch brands other from a link to logo, the “old style” serif typeface is intended to create neers and scientists” (Google 2014a). However, the doodles also the doodles also However, neers and scientists” (Google 2014a). the itself. This article explores seem to celebrate the Google logo an analysis of typographic vari iconic status of the Google logo by how understand to is article the of aim The doodles. in ations doodles iconicity. and communicate brand construct Google and the doodles “let a is logo Google’s logos, of categorisation Danesi’s Following of the brand name that stylizes ter logo”: “a visual iconic rendering of that name in some distinctive the letters (or one of the letters) way” (Danesi 2013, 469). The first version of the present Google phenomenon related to the Google logo, the so-called “doodles”. to the Google logo, the phenomenon related and Sergey founders Larry Page’s to Google refers The stick man 2014a). From in the Burning Man festival (Google Brin’s attendance fre more doodles Dennis Hwang begins to create 2000, webmaster to a full- is dedicated of doodles and today the creation quently, (Google designers, animators and engineers time team of graphic as “the fun, surprising and some 2014b). Google describes doodles to the Google logo to cel made times spontaneous changes that are the lives of famous artists, pioebrate holidays, anniversaries and quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations 2 Google’s archive is organised in reverse in reverse is organised Google’s archive 4 , which brought back the idea that Google doesn’t followback the idea that , which brought L Google’s “Doodle Archive” – comprising around 2,000 published – comprising around Archive” Google’s “Doodle about the celebrated event, date of publication and the geographi date of publication about the celebrated event, researcher’sthe to Due doodle. each of reach cal loca geographical Denmark. How in doodles published on focus will tion, the study out to this ‘centralised’, ‘small country’ starting point turned ever, strategy for identifying typographic variations be an appropriate in Den displayed doodles even in a global perspective, as most displayed in other countries as well. mark were Method the explore will now article the an empirical study, basis of the On in the doodles. The study Google logo’s iconic status as expressed sample of involves a multimodal typographic analysis of a large (https://www. doodles. The sampling is based on Google’s archive comprises the most com google.com/doodles), which presumably com on the web, accessible collection of doodles readily plete and such as doodles in wide-ranging web archives with captured pared the Internet Archive. information and, as a minimum, it provides order chronological logo in different ways, the doodlesrepresent a somewhat peculiar distract at hand, the doodles branding phenomenon. On the one to individuals or cultural refer the Google logo as they tention from the doodles func Moreover, to Google. events (mostly) not related the entries to what is celebrated (usually, tion as clickable search the other hand, the doodles seemGoogle logo is not clickable). On in its ‘capacity’ to logo inherent to point to the power of the Google to the function of also relates this power Yet, to something else. refer entries which demonstrate the use of the doodles as clickable search the nature demonstrate doodles the Accordingly, engine. search the of Google searching. However, being provisional logos that replace and alter the Googlethe alter and replace that logos provisional being However, dicates a brand that is full of surprises and inventive of new ways. is full of surprises and inventive dicates a brand that the primary colors, but ended up with Kedar: “We As explained by a secondary color we put the pattern go in order, instead of having on the (Zjawinski 2008b). the rules” – bears witness to the design of and onwards 1998 from doodles company. the within activity branding important an as doodles quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations The aim of this explorative approach is to identify variations in The aim of this explorative approach Since Google’s archive does not allow for country based brows does not allow for country based Since Google’s archive Elder, 2014), this study will concentrate on the doodles’ various ty 2014), this study will concentrate on the doodles’ various Elder, and their interplay. pographic features The sample As 1998 to 2013. from The sample comprises 439 doodles registered showed 1, only six doodles in the sample were illustrated in Table exclusively in Denmark. Most doodles showed in Denmark were showed in other parts of the world as well. the study will not take into account the reasons for particular events the reasons the study will not take into account being celebrated in specific geographical areas, orthe reasons why isstudy The particular ways. in represented are events particular as multimodal sign-making on typography by research inspired draw the study will (Stöckl 2005; van Leeuwen 2005). In particular, “mesotypog “microtypography”, on Stöckl’s framework proposing of de as levels and “paratypography” “macrotypography” raphy”, scription (Stöckl 2005). Compared with studies related to specific typographic elements, for example, the effects of animation (Malik, and Park Giese, 2009), typeface (Grohmann, Aitken, and Waalen, man, 2013), or the use of visual elements in logos (Cian, Krishna, and viewed focusing on typographic varia in a order, chronological tentative descriptions of included tions of the logo. This procedure of what doodles regardless the every new variation appearing in logo the how described was it specifically, More represented. was ‘overlapping graphic ele by means of, for example, was altered ments’, ‘letter or ‘logo in new colours’. Next,replaced by picture’ to detail in order in more analysed were variations the described enable the identification and grouping of more general types of ty appearing in the sample. variations pographic the sample, not to calculate on statistical significance. Furthermore, ing, nor provide effective searching by the country, registration of ar the browsing systematically by hand’ by ‘made was doodles of all At the outset, the unique URLs 2013. 1998 to chive from doodles and the events celebrated listed, in Denmark were showed of global reach document the To registered. were the doodles by displaying the doodles regions other the sampling procedure, were was subjected to Next, the collected material also registered. re doodles were registered First, all several selective reviews. quarter
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variations Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations . As exemplified by the first doo of doodles, but typographic types Letters together with illustrations Denmark and Asia Pacific Denmark and Regional reach of doodles in the sample (N=439) of doodles Regional reach Denmark only countries European Denmark and other America Denmark and North America Denmark and Latin Denmark and Africa Denmark and Middle East the described features. In the following, the identified typographic variations in the sample will be presented. variationtypographic Festival”), Man “Burning (the 1998 from dle appears as the use of the well-known Google letters together with to “macrotypogra graphic illustrations. This variation is related graphic or to the overall context refers phy”, which in the present ganisation of the logo, including constellations of letters and images Bohr’s ‘single’ 127th Birthday” (2012). Most doodles appear as doodles, example but the sample also includes ‘serial’ doodles, for (during the Olympic Games, fordoodles designed in the same style instance) or doodles forming a narrative. variations Typographic rela of types different identifying for basis the provides sample The new typographic features the and Google letters tions between the aim at de not analysis does the doodles. Thus, the in represented scribing different of doodles. This means that one doodle may include one or more Table 1: Regional reach of the doodles in the sample. 1: Regional reach Table celebrate a wide range of The doodles in the sample generally Day, of holidays (Valentine’s events, including the celebration Halloween), global sport events (the Olym Year, Christmas, New pic Games), of scientists, artists and writers. Em and the celebration to(and phenomenon doodle the to related playfulness the phasising anniversa ‘surprising’ celebrate often doodles the logo), Google the 161st Birthday” (2001) or “Nielsries, for example “Claude Monet’s quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Figure 2: “Ray Charles’ 74th 2: “Ray Figure Birthday” (2004). Google and the trade registered Google logo are marks of Google Inc., used with permission. Figure 1: “Happy New Year 2000”. Year 1: “Happy New Figure Google and the Google logo are of Google trademarks registered Inc., used with permission. Another ‘macrotypographic’ var Another ‘macrotypographic’
. More radical variants of this type of typographic change are regis radical variants of this type of typographic change are More 2006. In a doodle celebrating Louis Braille, in the sample from tered letters in Google colours by Braille replaced the Latin letters are repre the sample also 107th Birthday”). However, (“Louis Braille’s by illustrations replaced all the letters are in which doodles sents without colour As references. exemplified in Figures 3 and 4, the means of colours or shapes, for instance. In a doodle celebrating celebrating doodle a In instance. for shapes, or colours of means (re by two hearts replaced Day (2000), the two ‘o’s are Valentine’s of the Day), but the colours and ‘roundness’ ferring to Valentine’s 2, Likewise, in Figure they replace. to the letters hearts also refer the first ‘o’replaced is by a drawing of the celebrated person (Ray Charles), suggesting the shape of the missing letter. iation registered very early in the sample (from 2000) is the replace sample (from very early in the iation registered by graphic illustrations. of the Google letters ment of one or more to the celebrated primarily refer The inserted illustrations should letters by hint at the replaced events. But, at the same time, they Letter(s) replaced by illustration(s) by Letter(s) replaced (cf. Stöckl 2005, 209). The Google logo is accompanied by one or by one or 209). The Google logo is accompanied (cf. Stöckl 2005, The illustrations celebrated event. signifying the illustrations more the separated from the logo, either clearly from appear to be distinct or overlapping or above), behind the logo logo (beside, beneath illustrations sometimes repre logo. While the overlapping the in cloth for example ‘dressed’ partly covered, sent the Google letters the easy to distinguish from intact and ing or hats, the logo remains 1). image elements (see Figure quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 . Variations connected connected . Variations Variations of a brand logo of a brand Variations with permission. 5: “Invention of the Bar Figure Code” (2009). Google and the trade registered Google logo are marks of Google Inc., used with permission. Figure 4: “226th Birthday of John Figure Google Audubon” (2011). James registered and the Google logo are trademarks of Google Inc., used Figure 3: “Constantin Brancusi’s 3: “Constantin Figure Google 135th Birthday” (2011). registered and the Google logo are trademarks of Google Inc., used with permission. with new types of lightings and shades. Moreover, ‘microtypografic’ Moreover, shades. and lightings of types new with as “an considered as imitations of texture registered variations are in focus and colour and by by shifts illustration of tangibility, patterns 541). of lines and shapes” (Djonov and van Leeuwen 2011, the letters in a Google-like typeface These variations represent – other types of material substances, which imitate – or remediate Figure 7), drawn letters (see for example painted letters (see Figure 9). 8) or letters made of marble (see Figure Letters in new colours, textures and typefaces Letters in new colours, textures to “microtypography” the individual letters in the logo relate to are variations ‘microtypographic’ the sample, 209). In 2005, (Stöckl to the the year 2000 in a series of doodles referring from registered the Google let These doodles represent Olympic Games in Sydney. ters in the original typeface, but in the colours of the Olympic rings. illus patterned letters, as also includes ornamented or The sample 6, as well as letters trated in the Mondrian-style letters in Figure shapes and numbers of letters are only vaguely suggested. The The only vaguely suggested. of letters are shapes and numbers letters with of the Google is the replacement most radical example 5). Figure (see a black barcode quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Google logo are registered trade registered Google logo are marks of Google Inc., used with permission. Figure 10: “Invention of the First 10: “Invention Figure Laser” (2008). Google and the 553rd Birthday” (2005). Google and Birthday” (2005). 553rd registered the Google logo are trademarks of Google Inc., used with permission. 9: “Michelangelo’s 528th Figure Birthday” (2003). Google and the trade registered Google logo are marks of Google Inc., used with permission. Figure 6: “Piet Mondrian’s 130th 6: “Piet Figure Google and the Birthday” (2002). trade registered Google logo are used with marks of Google Inc., permission. 7: “Claude Monet’s 161st Figure Birthday” (2001). Google and the trade registered Google logo are marks of Google Inc., used with permission. da Vinci’s 8: “Leonardo Figure letter-like letter-like illustrations exemplifies the complete disappearance of 10). the typeface (see Figure Typographic variations on the typeface level are closely connected variations on the typeface level are Typographic of letters by illus and the replacement to the imitation of textures contours 7, the porous As illustrated in Figure trations (cf. above). of the painted letters even point to the disintegration of the type of letters with the replacement remarkably, more perhaps Yet, face. quarter
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marks of Google Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Figure 13: “Large Hadron Collider” Hadron 13: “Large Figure (2008). Google and the Google logo trade registered are Inc., used with permission. Figure 11: “Anniversary of the Ice 11: Figure and Google Sundae” (2011). Cream registered the Google logo are Inc., usedtrademarks of Google with permission. Figure 12: “2000 Summer Olympic Figure Games in Sydney – Gymnastics”. Google and the Google logo are trademarks of Google registered Inc., used with permission. . Logo variations in which the Google letters are letters are . Logo variations in which the Google . Inclusion of the Google letters in different types different in letters Google the of Inclusion . Reorganised letters Reorganised Letters in sceneries of sceneries shows early in the sample, for example in a doodle snow 1999 in which partly overlapping white shapes and from like qualities to the letters (the ‘l’ and the ‘e’ are ‘attracted to each and the ‘e’ are like qualities to the letters (the ‘l’ other’), of letters expressing 13 shows an example and Figure acceleration letters. spacing and reshaped by means of reduced is represented in a Pac-Man style typeface. The replacement of of typeface. The replacement in a Pac-Man style is represented conventional typefaces is illustrated Google’s typeface with more 11. in Figure their usual position in the from out’ or seem to ‘break reorganised 2000). These ‘mesoty the sample (from early in registered logo are pographic’ variations are related to “the configuration of typo (Stöckl 2005, 209) and appeargraphic signs in lines and text blocks” two to between space enlarged the 12, Figure In shapes. different in doo a In rings. gymnastic of illustrations as letters the redefines o’s human- adds font slanted a (2003), Day Valentine’s dle celebrating Replacements of the original Google typeface with other ‘real’ typeface with other ‘real’ Replacements of the original Google late in the sample. In a doodle relatively registered typefaces are of Pac Man, the Google logo 2010 celebrating the anniversary from quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 . Variations of a brand logo of a brand Variations , thus inverting or play with for Figure 16: “40th Anniversary of 16: “40th Figure Moon Landing” (2009). Google registered and the Google logo are trademarks of Google Inc., used with permission. 17: “Earth Day 2010”. Figure Google and the Google logo are trademarks of Google registered Inc., used with permission. Google and the Google logo are Google and the Google logo are of Google trademarks registered Inc., used with permission. Figure 15: “Halloween 2007”. Figure Figure 14: “Halloween 2003”. Figure Google and the Google logo are of Google trademarks registered Inc., used with permission. As is the case for the development characterising letters replaced by characterising letters replaced As is the case for the development in sceneries involves the blur illustrations, the inclusion of letters The17). and 16 Figures (see the letters of concealment total or ring search Google letters become objects to fully hinting at Google as a tool to search flakes make up a snow-covered landscape (“Happy Holidays from from Holidays (“Happy landscape snow-covered a up make flakes The registered. detailed sceneries are on, more Google”). Later appear illusions of depth, and the letters sceneries now represent 14 and (see Figures elements in the sceneries ‘integrated’ as more also involve Google logo, the sceneries 15). Unlike the non-framed 15). (see Figure distinct framings quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations . The first animated doodleregistered in the sample In the Pac-Man doodle, the user is performing movement performing is user the doodle, Pac-Man the In Movement 2012, in which the user can ‘compete’ in disciplines such as “hur dles”, “basketball” and “soccer”). User initiated movement is also byGoogle logo otherwise absent an of the disclosure as registered 19). opening ‘doors’ (see Figure Google logo and accompanied by electronic sounds, the Pac-Man by electronic accompanied logo and Google various moving game objects to 18) represents doodle (see Figure At the same time, the doodle exem be ‘eaten’ by the yellow circle. plifies movement initiated by user As interaction. in a computer yellow Pac-Manof the the course control user is able to game, the by using the keyboard. the logo letters. In other interactive doodles, the user’s perfor to the brand mance of movement implies other types of relations the logo of, or beside in front name, for example detached from, letters (cf. interactive doodles for the Olympics Games in London tions, moving (film),pictures sound and user input. In the follow of the Google logo will be ing, the “paratypographic” variations and transformation. to movement outlined in relation branch)(and its an apple with logo Google original the represents replacing the first ‘o’ (“Sir Isaac Newton’s 367th Birthday”, 2010). falling down – is connected toIn the doodle, movement – an apple Likewise, in interactive the letter. the illustration that replaces movement input), user of types doodlesdifferent for allow (which in combination with animated graphic elements sur registered is game setting formed by the the logo. In a Pac-Man style rounding From 2010, animated and interactive doodles are registered in the registered are animated and interactive doodles 2010, From reg images are doodles including moving 2011, sample, and from the afore of one or more doodles represent While these istered. logo, they also variations of the Google mentioned typographic to “materials, variations connected implicate ‘paratypographic’ 2005, of graphic sign-making” (Stöckl and techniques instruments material substance in terms with the imitation of 210). Compared ‘new’ technologies and (cf. above), these doodles involve of texture including graphic anima modes for typographic sign-making, quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Figure 19: “Halloween 2012”. Figure Google and the Google logo are of Google trademarks registered Inc., used with permission. Figure 18: “30th Anniversary of 18: “30th Figure and the (2010). Google PAC-MAN” trade registered Google logo are used withmarks of Google Inc., permission. . In the sample, two transformation variants are . In the sample, two transformation variants are requisites – as a type of ‘logo placement’), thus taking part in – as a type of ‘logo placement’), requisites as Transformation The various types of movements connected to the logo (or altered The various types of movements connected to the logo (or altered tified as multimodal processes of transformation in which ‘some as ‘something else’. thing’ turns into or emerges registered. The first variant isrelated to sequential representations such as animations. In a doodle celebrating John Lennon (2010), animated drawings of flowers, leaves and butterflies accompanied by music combine to form the brand name. This doodle represents from including changes transformation as a multimodal process, brand name appears in a rhythmic arrangement. An animated se animated An arrangement. rhythmic appears in a name brand the brand name represents quence accompanied by music playfully in at least seven different typefaces and colours. In this doodle, Google logo as a subject of con movement serves to focus on the tinuous remaking. versions of the logo) mentioned above differ from that which which in typography “fluid” or “temporal” as describes Brownie or objects, “letterforms transform to become other letters, pictures In 2013a, 168). hence altering their fundamental identity” (Brownie iden context, this type of typographic variation will be the present In filmic doodles, movement is connected to objects surrounding or surrounding objects to connected is movement doodles, filmic In carrying the logo in the film. In a silent film celebrating Charlie Chaplin the (2011), brand name appears in different typefaces as a on a carriage, and in a sculptures’ as ‘letter heading in a newspaper, ( setting filmic the in integrated fully is name brand The drawing. and the (2013), Bass Saul celebrating doodle animated an In narrative. a quarter
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Movement variations Transformation Paratypographic - Iben Bredahl Jessen Bredahl Iben Volume 10 Letter(s) replaced by by Letter(s) replaced Variations of a brand logo of a brand Variations tions variations illustration(s) Figure 20: “Les Paul’s 96th 20: “Les Figure and the Google Birthday” (2011). registered Google logo are trademarks of Google Inc., used with permission. Letters in sceneries Letters and illustra Letter(s) replaced by Letter(s) replaced Macrotypographic Macrotypographic variations Reorganised letters Reorganised Mesotypographic ) and letters with ‘image-like’ qualities (cf. ). Likewise, doodles in which all the letters are replaced by il replaced ). Likewise, doodles in which all the letters are typefaces variations Letters in new Summing up, the doodles in the sample include typographic sample include typographic Summing up, the doodles in the Microtypographic Microtypographic colours, textures and colours, textures Table 2: Overview of typographic variations of the Google logo. 2: Overview of Table variations of the Google logo at several levels (see Table 2). As the 2). several levels (see Table variations of the Google logo at one include may doodle each features, to refer variations identified may be related and these features of the described features, or more logo. In addition, to one (or a number of) letter(s), or to the entire clear may overlap, for example no some of the described features images (cf. line exists between ‘letter-like’ illustration(s) letters sceneries. lustrations may resemble The second variant of transformation registered in the sample is in the sample is registered The second variant of transformation celebrating Les Paul, the to interactive doodles. In a doodle related guitarforming a illustrations by graphic replaced Google letters are strings, the strings ‘touches’ the grey 20). When the user (see Figure The user thus be emerges. turn into Google colours and sound transformations in which colourscomes an initiator of multimodal as and graphic elements (also) emerge change into other colours, involves play with the logo assound elements. Hence, the doodle well as the guitar. lines to pictures to letters. A similar photographic variant of trans variant photographic similar A to letters. pictures to lines to Earth Day (2012). in a doodle referring formation is illustrated brandthe of sequence photo ‘fast-moving’ a of involves doodle This into bloom. by flowers bursting name represented quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations in which the Google logo is altered. The The logo is altered. in which the Google different ways idents, see Brownie 2013b). The iconic status of the Google logo can 2013b). The iconic status of the Google logo idents, see Brownie in or re be explained by the ‘multimodal work’ inherent therefore to translate or ‘tran prompted by the doodles. Users are quired while keeping one mode to another, scribe’ (cf. Stöckl 2009, 7) from this is possible because the the Google logo in mind. Probably, changes to a very stable and ‘con appear as provisional doodles designminor only undergone has which logo (everyday) tinuous’ surprising) recur (somewhat due to the However, far. so changes but it appears that typeface plays an important role in ‘maintaining’ an important role but it appears that typeface plays the during the years, However, especially in early doodles. logo, the theshapes in which taken on into new distinctive has Google logo This typefaces. different many in represented been has name brand of (a new to the creation related extensive typographic repertoire status of the to point to the iconic seems type of) distinctiveness logo. Likewise, the blurring and concealment of the logo registered later in the sample seem to emphasise the iconic status of the logo. for’ to ‘disclose’ or ‘search Promptings knowl the logo presuppose Thus, familiarity with the logo is implied edge of what to look for. or taken for granted (for a similar point in an analysis of television tion to the ‘micro-’, ‘meso-’ and ‘macrotypographic’ levels of vari and ‘macrotypographic’ ‘meso-’ tion to the ‘micro-’, ation, clear tendencies are identified. In the particular, degree to distinct seems important. While which the Google logo appears the very start, of the doodles from the distinct logo is characteristic of the doodles features logo are blurring and concealment of the later. introduced that are Communicating brand iconicity communicate about Google asWhat do the variations of the logo the the doodles represent As described in the analysis, brand? forms, many ways, also in altered Google logo’s distinctiveness in As already mentioned, the analytical procedure does not allow for mentioned, the analytical procedure As already generalisations related to the distributions of different types of the analysis has identi the years. However, logo variations over fied the ‘paratypographic’ variations appear as clearly different from the to the material related variations they involve as variations ‘still’ animation, moving images substance of the doodles, including ‘paratypographic’ notably, most and user interaction. Perhaps in rela also Yet, listen to. play with and to logos include variations quarter
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Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Illustrations of the design changes (and the logos preceding the version made by Illustrations of the design changes (and the logos preceding (accessed available at: http://en.wikipedia.org/wiki/Google_logo Kedar) are August 15, 2014). The most recent flattened logo used on Google’s start page is In the analysis, the ‘elasticity’ of the brand logo as a locus of crea ‘elasticity’ of the brand logo as In the analysis, the playful constructions of common search entries refer to the Google entries refer of common search constructions playful brand as a gathering point. Notes 1 reference points. reference Conclusion outlined developments are In the analysis of doodles, typographic as different types ofrelations to the well-known letter logo. The iconic status of the logo involves playing with the logo in several playing with the distinctive the doodles are ways. Most notably, in letter ness of the letters in the logo, on the one hand resulting involving hid logos in new typefaces and colours and on the other, den logos. Thus, the doodles become logos to play with, sometimes At the same time, the tactile ways as interactive logos. also in more engine. Compared to the fact that (in principle), ‘anything’ can be to the fact that (in engine. Compared the doodles represent the subject of a (Google) search, the variations of the Accordingly, points. entries or reference search in ‘community building’ by which Google logo function as features national events by means of global and around’ ‘gathered users are specific search entries. While some of these events (such as the known and recognised widely Olympic Games, holidays etc.) are as mentioned, are, events as ongoing events, many of the celebrated typo the Consequently, anniversaries. ‘surprising’ to referring and com in the doodles also create graphic variations represented shared and constructing municate brand iconicity by proposing rence of constitutelogo Google the in variations the even doodles, (…)seen be cannot “Continuity Floch: by described As ‘continuity’. ownits with ‘becoming’ kind of as a rather but repetition as mere sequence” (Floch 2001, 33). logic and directional per a typographic is demonstrated from tivity and reinterpretation the variations of the Google logo advertise generally, spective. More This means that the by Google. to searching the ‘varieties’ related to Google being a search doodle phenomenon is closely connected quarter
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10(4): 541-564. Visual Communi Visual Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Journal of Media Practice 20(5): 389-403. . London: Continuum Inter 27(2): 167-181. Visual Communication Visual Visual Identities Visual 51(2): 184-197. Journal of Brand Management 23(4): 464-476. Journal of Design History 8(4): 469-479. www.google.com/doodle4google/history.html new brand personality of to communicate font characteristics brands.” “Communicating emotion with animated text.” cation Logos Moves Me: Dynamic Imagery from Static Images.” from Logos Moves Me: Dynamic Imagery of Marketing Research Semiotics tactile to visual.” from ture: national Publishing. google.com/doodles/about phy.” phy.” in Channel 4 idents: Past and present.” 14(2): 93-109. create doodles. create Machine: https://archive.org/web/ Wayback Archive Cf. Internet not, however, used on all Google’s sites, see for example an earlier version of theof version earlier an example all Google’s sites, see for on used not, however, August 15, 2014). (accessed logo at: http://scholar.google.dk/ In Google’s com a similar exchange. from is resulting The brand name ’Google’ “goo on the word the brand name is explained as “a play pany presentation, term for a 1 followed by 100 zeros” gol,” the mathematical are users example, For users. with dialogue initiate to used also are Doodles na doodles, and Google organises encouraged to email suggestions for future invited to (co-) are school children tional “Doodle 4 Google” competitions where Danesi, Marcel. 2013. “Semiotizing a product into a brand.” a product 2013. “Semiotizing Danesi, Marcel. Grohmann, Bianca, Joan L. Giese, and Ian D. Parkman. “Using type Grohmann, 2009. Aitken, and Judith Kelly Waalen. Malik, Sabrina, and Jonathan Djonov, Emilia, and Theo van Leeuwen. 2011. “The semiotics of tex “The Emilia, and Theo van Leeuwen. 2011. Djonov, Floch, Jean-Marie. 2001. https://www. 2. June Accessed Doodles”. “Google 2014a. Google. Accessed July 10. http:// Google. 2014b. “History of Doodles”. 4 References Typogra New History of Temporal Barbara. 2013a. “A Brownie, and anamorphosis“Modular construction Barbara. 2013b. Brownie, 2014. “This S. Elder. Aradhna Krishna, and Ryan Cian, Luca, and 2 (https://www.google.dk/intl/eng/about/company/). 3 quarter
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Visual Commu Visual Visual Communica Visual Iben Bredahl Jessen Bredahl Iben Volume 10 Variations of a brand logo of a brand Variations Arbeiten aus Anglistik undArbeiten aus Anglistik , January 16. Accessed August 15, 2014. http:// Accessed , January 16. 34(1): 3-28. Wired 4(2): 137-143. , February 12. Accessed August 15, 2014. http://archive. Accessed 12. , February 4(2): 204-14. Logo.” www.wired.com/2008/01/the-brains-behi/ Wired wired.com/techbiz/startups/multimedia/2008/02/gallery_ google_logos?slide=8&slideView=11 signing mode between language and image.” language signing mode between tion LinksAdvertising.” Service of in the Amerikanistik nication Zjawinski, Sonia. 2008b. “How Google Got Its Colorful Logo.” Google Got Its Colorful Logo.” Zjawinski, Sonia. 2008b. “How Zjawinski, Sonia. 2008a. “The Brains Behind Google’s Primary Primary Google’s Behind Brains “The Zjawinski, Sonia. 2008a. Stöckl, Hartmut. 2005. “Typography: body and dress of a text – a body and dress 2005. “Typography: Stöckl, Hartmut. 2009. “Beyond Depicting. Language-Image- Stöckl, Hartmut. meaning.” “Typographic Theo. 2005. Leeuwen, Van quarter
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