Corporate visual identity of nancial institutions in Spain: iconographic-
symbolic web content analysis
Identidad visual corporativa de las entidades nancieras en España: análisis de
contenido iconográco-simbólico en web
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ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Sanz Peralta, A.; Ortiz Ramos, M. and Romero-Rodríguez, L.M. (2023). Corporate visual identity of nancial institutions in Spain: iconographic-
symbolic web content analysis.
Doxa Comunicación
, 37, pp. 141-165.
https://doi.org/10.31921/doxacom.n37a1754
Arlen Sanz Peralta.
She holds a degree in Advertising and Public Relations and in Business Administration and
Management from the Rey Juan Carlos University (Madrid, Spain). From 2018 to 2020 she worked for the French
external communication group JCDecaux, and since 2021 in the media marketing area of GroupM (WPP), one of the
best renowned media agency groups worldwide.
Rey Juan Carlos University, Spain
[email protected]
ORCID: 0000-0002-1827-3010
Marta Ortiz Ramos.
She holds a degree in Advertising and Public Relations and in Business Administration and
Management from the Rey Juan Carlos University (Madrid, Spain). Master’s Degree in Graphic Design and Web Design
(2020) from the CEV Image School and the
Universidad a Distancia de Madrid
(UDIMA). During 2022 he has been
part of the National Tour of Young Talents of C de C,
Club de Creativos
. In terms of work experience, from 2019 to 2020
she worked in the Marketing Department of the multi-business restaurant group Alsea. Currently, she is part of the
advertising agency
Lady Brava
where she works as a junior creative
.
Rey Juan Carlos University, Spain
[email protected]
ORCID: 0000-0002-6112-1055
Luis M. Romero-Rodríguez.
Associate Professor of Strategic Communication at the Department of Communication
Sciences and Sociology, Universidad Rey Juan Carlos (Madrid, Spain). Visiting Professor at ESAI Business School,
Universidad Espíritu Santo
(Guayaquil, Ecuador). PhD in Communication from the universities of Huelva, Malaga,
Seville and Cadiz (Spain). Master in Social Communication from the University of Almeria (Spain). Associate Editor of
Comunicar Journal (JCR and Scopus Q1) and
Anàlisi Journal
(Scopus Q2).
Rey Juan Carlos University, Spain/ESAI Business School, Espiritu Santo University, Ecuador.
[email protected]
ORCID: 0000-0003-3924-1517
is content is published under Creative Commons Attribution Non-Commercial License. International License
Received: 31/08/2022 - Accepted: 23/01/2023 - Early access: 07/03/2023 - Published: 01/07/2023
Recibido: 31/08/2022 - Aceptado: 23/01/2023 - En edición: 07/03/2023 - Publicado: 01/07/2023
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1. Introduction
Corporate image is the public’s mental-perceptual construction of an organization that determines how they relate and act with
it (Capriotti, 2013; Romero-Rodríguez & Castillo-Abdul, 2023). e shaping of the corporate image is closely related to corporate
identity, which is conceived as the projection of the brand through three phases: rst, the desired image of the organization;
second, the image constructed by the organization; and nally, the actual image, which is the perceptual projection that the
stakeholders have of the organization (Capriotti, 2013; Romero-Rodríguez & Castillo-Abdul, 2023) (Romero Rodríguez, 2020).
e corporate identity of an organization is how it presents and identies itself to its internal and external stakeholders. ere
are two epistemological perspectives on it: the rst, from the graphic design or visual communication approach, whereby
corporate identity is understood as synonymous with Corporate Visual Identity (CVI), and the second, from the organizational or
communication management approach, a much more interdisciplinary and widespread concept, whereby corporate identity is
conceived as an “identity mix”, understood as the set of brand personality expression mechanisms used by the organization, that
is, all its component elements, in which CVI is integrated as one of them (Capriotti, 2009; Romero Rodríguez, 2020).
Corporate Visual Identity (CVI) is dened as the symbolic translation of the corporate identity, with the primary graphic identiers
being the logo, symbol, logo symbol, corporate colors, and typography (Villafañe, 2011). Other authors, such as Romero Rodríguez
Abstract:
is research examines the visual identity of the 72 leading nancial
institutions operating in Spain through an ad hoc analysis model of
iconographic-symbolic content. For this purpose, an analysis sheet is
designed and validated, with theoretical variables where each sample
object responds to categories grouped by similarity and under formal
criteria obtained from the study of all the literature related to the
fundamental graphic elements –iconic, linguistic, and plastic sign– and
their application to the virtual world. e results show that legibility
and modernity are priorities in the majority of the sample corpus, with
a typographic style without nials, simple strokes, capital, round and
medium-thickness characters. In addition, the entities prefer other
values apart from professionalism and stability, such as closeness or
trust, making use in the compositions of a quality range of 2-3 color
combinations in which the balance between cold and warm colors is
appreciable. For the sake of responsive web design, nancial institutions
are inclined to stay on the sidelines and not do without any elements in
their visual identities, leading the way in the use of logotypes.
Keywords:
Corporate visual identity; graphic identity; nancial sector; banking;
image.
Resumen:
La presente investigación examina la identidad visual de las 72
principales entidades nancieras que operan en España a través de
un modelo de análisis de contenido iconográco-simbólico construido
ad hoc. Para ello se diseña y valida una cha de análisis provista
de variables teóricas donde cada objeto de muestra responde a las
categorías agrupadas por razones de similitud y bajo criterios formales
obtenidos del estudio de toda la literatura relacionada con los elementos
grácos fundamentales –signo icónico, lingüístico y plástico– y su
aplicación al mundo virtual. Entre los resultados queda demostrado
que la legibilidad y modernidad son prioritarias en la mayoría del
corpus muestral, con un estilo de tipografía sin remates, trazos simples,
caracteres mayúsculos, redondos y de grosor medio. Además, las
entidades dan preferencia a otros valores aparte de la profesionalidad
y estabilidad, como lo es la cercanía o la conanza, haciendo uso en las
composiciones de un rango de calidad de 2-3 colores de combinación
cromática donde es apreciable la equidad entre cromáticas frías y
cálidas.
Palabras clave:
Identidad visual corporativa; identidad gráca; sector nanciero;
banca; imagen.
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(2020), including within the CVI other elements such as the name, slogan, stationery, e-mail signatures and web design, and even
jingles and packaging, aspects that externalize and make the brand visible to its stakeholders
.
e correct management of the attributes that make up an organization’s identity is known as branding. is tool works as a
dierentiating element that boosts brand awareness, its perceptive quality, loyalty, and the establishment of emotional ties with
stakeholders, creating an irreplaceable relationship and generating added value (Cabrera Martínez, 2018; Castillo-Abdul
et al
.,
2022).
In recent years, with the expansion of technology and the emergence of new design trends, many brands have considered the need
to relaunch their image proles through restyling or refreshing strategies, which focus solely on modifying the visual appearance
of the brand, i.e., its visual aspect, without going deeper into changes that require philosophical and business modications such
as the mission, vision or values (Kononenko, 2021), which would be a rebranding.
e presence of organizations in multiple online channels, such as web pages, landings, web apps, apps, and social networks,
congured the entry and popularization of the neologism “digital identity”. Today in this eld, the most used techniques are
responsive web layout and adaptive web design. e former consists of adapting a single web design to dierent screen sizes and
devices, while in the latter several graphic proposals are created, one for each type of device, with the aim of both techniques
being to oer the best user experience (UX), regardless of the connection device. Another method, design thinking, promotes
innovation through design to oer and generate solutions or ideas that are viable at a business level and feasible in terms of
technology (Meinel & von ienen, 2016).
Based on the above, it is not surprising that the concept of “responsive and adaptable brand identity” has become standardized,
reaching the most concise forms and eliminating certain elements while the iconic essence remains identiable with integrity.
ere are currently specic trends for the design of online graphic identity, such as opting for a rounder style that reects values
such as exibility, agility, and greater adaptability. In contrast, another style that is in consolidation is the animation of the graphic
identity through the animated transformation of the logo as a .gif le, being the minimalist design, simple geometric lines, witty,
with gradients or 3D gures, the most prevalent in the digital ecosystem.
1.1. Elements of the Corporate Visual Identity (CVI)
1.1.1. Iconographic sign
e logo symbol is a CVI element that consists of a verbal and visual sign simultaneously, i.e., the verbal sign that names and
designates something, to which it has been given a visual form and is identied as the basis of the graphic identity of the trademark.
Elements such as the symbol and the colors are the graphic signs that represent the name by substitution (Costa, 2007).
e codication of this identity through a physical name occurs through linguistic mechanisms. ere are ve types of naming
modalities in which organizations are congured (Chaves, 2008): i) descriptive –synthetic enunciation of attributes–, ii) symbolic
–alluding to a literary image–, iii) patronymic –using the proper name of a key personality–, iv) toponymic –referring to a
geographical area–, and v) contractions –articial constructions based on initials or word fragments–.
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Considering the capacity of designation using the physical name, and the subsequent taking of visual form, four types of graphic
identities can be distinguished: (i) logotype –formed only by the grouping of typographies and constitutes the corporate name
(Villafañe, 2011)–, (ii) symbol or isotype –formed only of the iconic part, the most recognizable part of the brand, and grouped in
typology by monogram, anagrams, acronyms, initials, signatures, and pictograms–, iii) imagotype –composed of two parts, the
textual element, and the symbolic image, but which are two independent units– and, iv) logo symbol or isologue –a normative
combination of the logotype and symbol that only together represent the visual identity (Villafañe, 2011)–.
e visual language is a specic code that allows the correct transmission and understanding of graphic messages (Acaso, 2006)
in which dierent sign systems are interrelated: iconic, plastic, and linguistic (Montes Vozmediano and Vizcaíno Laorga, 2015).
While the iconic sign is the visual iconic-symbolic representation, whose signier sustains a relationship of analogy with its
referent, thus allowing to recognize of some objects present in the real world through that similarity of conguration, the referent,
which is the reected object, is not a particular element but an identifying feature. is phenomenon of allusion covers both the
graphic and the linguistic sign (Joly, 2009).
Based on the concept of iconic modeling of reality
1
, the three functions that represent the relationship between images and their
objects of reference appear: representational function –the intention is that the object represented is as similar as possible to
the real model–, symbolic function –the images have a double referent, gurative and symbolic– and conventional function –the
image as a sign, there is no relationship between the referent and its visual representation (Villafañe, 2006)–.
On the other hand, to measure the degree of iconicity of an iconic sign, its isomorphism, i.e., the similarity of form between an
image and its referent, must be measured. In this context, Montes Vozmediano and Vizcaíno Laorga (2015) propose the following
taxonomy on the iconicity scale (Table 1):
Table 1. Iconicity levels
REALITY LEVELCATEGORY DEFINITION
TYPOLOGIES
HYPERREALIST
It includes all images that, in their
attempt to represent the properties of
the object, exceed the boundary of the
two-dimensional realm.
e object is visualized through a
frame that isolates it (like a product
in a showcase), sculptures, or
holograms.
REALISTIC
All those images that seek to reproduce
the referent with a high level of detail
are within the two-dimensional plane’s
limitations.
Photography (either color or black
and white) and realistic illustrations.
FIGURATIVE NON REALISTIC
ose two-dimensional images that
modify one or more of the sensitive or
spatial relations.
Non-realistic illustrations,
silhouettes.
SCHEMATIC
Two-dimensional images that do not
include any sensible property, but
there is some relationship criterion,
even if it is arbitrary.
Blueprints. Logotypes. Symbols.
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NON-FIGURATIVE
Two-dimensional images in which all
sensible or relational properties are
abstracted.
Illustration tending to pure
abstraction.
Source: own elaboration based on Montes Vozmediano and Vizcaíno Laorga (2015)
On its part, in web design, the favicon consists of the small icon of the web page that appears in the browser tabs and, therefore,
serves the brand as a visual sign to identify and dierentiate itself from other web brands in the browser tabs and improve the user
experience. e favicon should try to reduce the brand to its maximum unit of representativeness, giving preference to the symbol
before any other element of the graphic identity.
1.1.2. Linguistic sign
In graphic design, typography is conceived as the visual representation of letters and writing signs with a purely communicative
purpose. is means that its use has gone from being purely functional to providing extra value to the characters, giving rise to two
dierent types: editing typography, which alludes to more formal aspects, and creative typography, in which the text is treated as
an image and leads to new meanings and the transmission of ideas (Martínez, 2014).
About the graphic representation of the linguistic sign, some typographic families are divided into: Roman typefaces –identied
by strokes ending in nials and a visible modulation of these strokes (Martínez, 2014)–, Egyptian typefaces –characterized by a
modulation tending to uniformity, thickening of the stroke concerning the Roman typeface and wide quadrangular type nials–,
dry stick typefaces –dened by the total absence of modulation and nials in the strokes–, incised typefaces –with modulated
strokes and insinuated nials–, script typefaces –imitating the manual stroke and the characters can be linked or loose (Martín
Montesinos and Mas Hurtuna, 2009)– and design or ornamental typefaces –the result of a non-standard reinterpretation of the
xed elements of the characters–.
Regardless of the typeface family to which they belong, the characters may have a dierent representation and style. e variations
in the structure of the characters are determined by several aspects that, according to the location within the lines of reference,
are classied as high box, capital or uppercase, and low box or lowercase (Martínez, 2014), and, on the other hand, the small caps
style, which are capital letters but share the same height and thickness as the lowercase characters.
In typography, a type style is the name given to the variants found within the same typeface family. e dierent styles are
classied as follows (Martínez, 2014):
–
According to the inclination of the axis: they can be round or italic.
–
According to the thickness of the stroke: they are ne or bold.
–
According to the widening or narrowing of the character: condensed or expanded.
In terms of composition, not only of characters but also of text, a justied text is one in which there is uniformity in both margins
so that all the typographic or text lines that make up the composition have the same size (Martín Montesinos and Mas Hurtuna,
2009). Sometimes, to achieve this, it is necessary to modify the spacing, so some experts (e.g., Martín Montesinos and Mas
Hurtuna, 2009) propose basic justication methods to adjust the spacing, such as altering the space between words, rectifying the
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space between letters, inter letter or tracking, and correcting the kerning or adjustment between pairs, that is, the space between
pairs of specic characters (Martín Montesinos and Mas Hurtuna, 2009; Rodríguez, 2017).
Using dierent typographic resources makes it possible to obtain dierent receptions in the compositions, from the dynamism and
highlighted letters to new meanings and attraction. Among them are changes in the baseline, turns or ips, superimpositions or
transparencies, cuts, and fragmentations of the characters, distortions, digital lters such as blur (Martínez, 2014), counterforms
–which are composed of the space described or contained by the strokes of the form–, and substitutions.
In the case of web applications, Palo Seco families have, par excellence, the most used typefaces. eir clarity, neutrality, and
legibility make them perfect for online texts, even if the size is reduced as in mobile devices, as it reduces eyestrain. Even so, there
are more and more serif typefaces designed exclusively for use on the Internet by platforms such as Google or Adobe Fonts. In
addition to the typeface family, other factors directly aect the legibility of the characters: capital letters are more advisable for
single words, since in paragraphs they make reading dicult, and according to the style, a font of medium thickness for the text,
light for large and legible titles and bold in titles or body texts is the best choice.
1.1.3. Plastic sign
Plastic signs are those non-representational elements of the image. Two types are distinguished: the specic signs of the visual
message, such as the framing, which are the components that are part of the visual structure of the message, and the non-specic
plastic signs of the visual message, such as color, lines and shapes, spatiality, among others, which are the factors present in our
perception of the environment and, therefore, refer directly to the perceptual experience (Montes Vozmediano and Vizcaíno
Laorga, 2015).
According to Dondis (1995), the line is a visual element derived from two points so close to each other that they cannot be recognized
individually, and when a chain of several consecutive points is formed, a sensation of directionality is created. Considered the
basic visual element of the sketch because of its innity of dierent uses, it is a plastic element always in movement, but at the
same time precise, capable of connoting according to its presentation among others: curved lines –smoothness–, straight lines
–virility– and oblique lines –dynamism or fall according to their direction– (Joly, 2009).
When lines close in on themselves, they are creators of contours. e line articulates the complexity of the environment by
establishing the three basic contours that exist in nature from which the rest of the physical forms are built. ese are the square
–robustness, solidity, strength, and resistance–, the circle –perfection, precision, attention, dynamic stability, innity, and warmth
–and the triangle– stability and balance if it is not inverted–, the circle –perfection, precision, attention, dynamic stability, innity
and warmth –and the triangle– stability, and balance if it is not inverted (Montes Vozmediano and Vizcaíno Laorga, 2015).
While the gure is the mere area delimited with a line, the shape adds thickness and volume to this denition. Figures are shapes
represented from dierent distances and angles. Just as a shape can have many gures, they can be grouped into: i) gurative –with
identiable subject matter and classied into natural or organic (derived from nature), articial (derived from human creations)
(Wong, 2001), and verbal (derived from elements of language) –and ii) non-gurative or abstract forms– lacking identiable
subject matter and classied into calligraphic (freehand) gures, organic (curved) gures, and geometric gures.
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1.1.4. Chromaticism
Color is probably the rst element we perceptually register when we rst see something (Ambrose and Harris, 2006) and supports
the establishment of solid and recognizable entities.
ere are two main chromatic systems or color models that predominate. e RGB system –colors obtained by the emission of
light with red (R), green (G), and blue (B) as primaries–, which, when combined in light projection, will result in the secondary
colors and white (Ambrose and Harris, 2006) –and the CMYK four-color printing model– color is obtained by light absorption
with Cyan (C), Magenta (M) and Yellow (Y) as primaries, from which the secondaries, tertiaries and black (K) are obtained. For
easier recognition, in the subtractive system, the colors are represented in the chromatic circle, a basic tool for the representation
and identication of the colors of the chromatic spectrum that oers a reference of which are the primaries, secondaries, and
tertiaries.
In the eld of editing and web design, the most commonly used color model is the RGBs system, a variant of the RGB standard,
which allows the creation of the full spectrum of colors being wider (Ambrose and Harris, 2006), and also simplies the colors of
the images to reduce the weight of the le (Ambrose and Harris, 2006).
ere are many classications related to color theory, although one of the most basic and simple is the distinction between
chromatic and achromatic colors. In the rst instance, there are two types of colors, achromatic colors –black, white, and
grayscale– and chromatic colors, which are the rest of the colors in a color theory (Montes Vozmediano and Vizcaíno Laorga,
2015).
To describe color in a more detailed way, it is mainly composed of three basic aspects, called color dimensions, as follows:
–
Hue: Hue is the essential characteristic of all colors, allowing us to call them by their name and dierentiate them visually
from others. According to the hue, the colors are red, blue, yellow, etc. (Montes Vozmediano and Vizcaíno Laorga, 2015; Am
-
brose and Harris, 2006).
–
Saturation or intensity: is is the purity of the color concerning gray, as the saturation decreases, the colors contain a more
signicant proportion of grayish (Acaso, 2006).
–
Luminosity: e degree of lightness or darkness that a color can have.
e colors that make up the chromatic circle can be combined in numerous ways, thus generating innite possibilities. Among
the possible combinations that are applied to graphic design are:
–
Combination of various colors: primary, secondary, tertiary, and achromatic colors
2
. ese combinations can be of primary,
secondary, or tertiary colors, but there are also combinations of achromatic colors with each other or accompanying chroma
-
tic colors (Ambrose and Harris, 2006).
–
Combination of complementary colors: this is the conjunction of diametrically opposite tones in the chromatic circle that
provide a strong contrast and give a more lively and bright aspect to the composition (Montes Vozmediano and Vizcaíno
Laorga, 2015).
2
In addition to monochrome, dyads (2 colors) and triads (3 colors) are possible.
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–
Analogous color combinations, monochromatic and gamut harmony: Wong (1992) denes color harmony as those good co
-
lor combinations that atter the eye through analogous colors –which are close together on the color wheel– or by excitation
through contrasts.
anks to the remarkable symbolic charge implicit in color, derived from cultural and social connotations, it can transmit
information by itself (Acaso, 2006). Color is personal and universal (Whelan, 1994), has innumerable meanings in dierent
contexts, and can generate emotional reactions and sensations linked to temperature, being that warm sensations are created
with tones associated with re –red, yellow, and orange– and are comfortable, e thermal sensation of coldness refers to the
color blue in its maximum saturation, green and violet, and transmits at the same time remoteness, calm and condence (Heller,
2008), while, nally, neutral colors –browns and grays– are discreet, classic, exible and timeless (Heller, 2008), while neutral
colors –browns and grays– are discreet, classic, exible and timeless.
is study analyses in an iconographic way the CVI of banking institutions operating in Spain. is is a sector whose brand image
is still quite deteriorated by the eects of the previous economic crisis, which, in turn, is transitioning from a traditional activity
to a completely digital activity. is research is motivated by the emergence of a new way of banking through the Internet that
disassociates the usual way of providing this service to society.
is review aims to oer some graphic trends that may later be useful to graphic designers and professionals in the sector so
that this work may serve as a reference in the development of new CVI proposals for nancial brands as a result of the birth of
new companies in the sector, as well as the increasingly common merger of entities or, similarly, in the renovation (restyling and
rebranding) of existing identities.
2. Methods
is research is quantitative-qualitative, exploratory in scope, and employs inductive logic, by which general conclusions are
obtained from particular facts or observations (Hernández-Sampieri, Fernández-Collado and Baptista Lucio, 2014). In order to
achieve the objectives, the non-participant observation technique will be used, in which the researcher acts impartially and
outside the phenomenon studied to provide maximum objectivity and veracity to the data based on the theoretical constructs.
e emerging data is contrasted by methodological triangulation from the construction of a theoretical taxonomy of analysis,
non-participant observation, and content analysis, which will allow confronting the most important contributions of the state-of-
the-art in the discussion. is type of contrast between theoretical foundations and iconographic-symbolic praxis will provide a
sucient context for the phenomena studied (Calvo-Rubio and Ufarte-Ruiz, 2020) through interpretative practices (Denzin and
Lincoln, 2017).
2.1. Sample
For the present research, there is an obvious problem to be solved: the apparent lack of homogeneity in the visual identities of
Spanish banks within such a homogeneous market and the absence of any specic patterns to guide the creation of their CVI.
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According to the Central Bank of Spain, by 2020, 249 nancial institutions were operating in Spain (
Banco de España
[BE], n.d.),
including national, European, international, regional, and savings banks. For the sample, the Spanish Banking Association
(
Asociación Española de Banca
[AEB], 2020), formed by the 73 most important banking institutions operating in the country,
was used. Except for Deutsche Bank A.G., a subsidiary of Deutsche Bank (International) that shares a visual identity, it is decided
that these 72 companies make up the eective sample (M
E
), so the sample is equal to the total study population. In this sense,
the population includes national and international entities, making it convenient to study foreign banks for a later contrast of
co-variables.
For the analysis, it was not possible to study each of the versions of each entity, so only the graphic identity that appears on the
web page of each of the entities was considered as the object of study since it is understood that it is the most updated and that
the ocial nature of the brand governs it.
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Figure 1. Eective sample (M
E
)
Source: prepared by the authors
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2.2. Instrument and analysis
eoretical variables were dened from the literature examined, with categories that are grouped for reasons of similarity –these
variables will be related to the iconic, linguistic, and plastic sign–. Each sample object analyzed will have to respond to at least one
of them while preparing a composite iconographic analysis sheet. Subsequently, data and averages are calculated by counting
these categories. In this way, we propose to draw up a list of the most decisive nancial graphic elements nowadays.
e taxonomy is made up of ve dimensions, composed of a total of 29 indicators or dependent variables (Table 2):
Table 2. Analysis sheet based on theoretical constructs
DIMENSIONVARIABLESCATEGORIESDESCRIPTION
GENERIC
Source
Country of origin of the company
Portfolio
Diverse / Specic
Scope of application of the goods or services
of the brand
Visual identity format
Imagotype / Logo symbol
or isologotype / Logotype
/ Symbol or isotype
(Anagram / Initial /
Signature / Monogram /
Pictogram / Acronym)
Appearance or visual form that brand names
have, the dierent visual formats, in which
they can be represented.
Typology
Descriptive /
Contractions /
Patronymic / Symbolic /
Toponymic
Focused on the name itself of the brands. It
studies the origin and reference of the name,
answering the question of how the name of
the company has been formed: whether it is
the name of the founder, or a combination of
several words.
Layout of the elements
Sign below and text above
/ Sign above and text
below / Sign right and
text left / Sign left and text
right / Sign in the middle
of the text / Sign only /
Text only / Text inside
the sign
Visual order of the composition as a whole,
from the analysis of the arrangement of the
elements that form it.
Spatial dimension
1 Dimension / 2
Dimensions / 3
Dimensions
Spatial dimension presented by the dierent
designs of the identities on the surface of the
plane.
ICONOGRAPHIC
SYMBOL
Degree of iconicity
Schematic / Non-realistic
gurative / Non-gurative
/ Realistic
Degree of resemblance or similarity of graphic
representations to reality
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ICONOGRAPHIC
SYMBOL
Graphic allusion
Other / Product or service
(Medication, Health,
Pharmaceutical) / No
graphic allusion
Measures the degree to which the symbol of an
organisation’s visual identity is able to allude
to any aspect related to the sector.
Number of words in the main text0 / 1 / 2 / 3 or more
Number of words that make up the main text
of the visual identity
Family typology
typography
Decorative or fantasy /
Egyptian / Handwriting
/ Handwriting / Incised /
Roman / Palo Seco
Type of typeface family to which the main text
of the composition belongs, according to its
morphological characteristics.
LINGUISTIC SIGN
Representation of the typographic
character
Capitals / Uppercase /
Lowercase / Upper and
lowercase / Small Capitals
Manifestations that characters can take based
on their morphological characteristics of size
and shape. Applies to main and additional
text.
Additional text
Existing (Slogan
/ Descriptive or
explanatory text) / Non-
existent
It takes into account the existence or
non-existence of an additional text,
which accompanies the main text in the
composition. is can be a slogan or personal
claim.
Character size (main text)Large / Medium / Small
Scalable size that the characters of the main
text typography can have.
Character size (additional text)Large / Medium / Small
Scalable size that the characters of the
additional text typography can have.
Character style
(main text)
Depending on the
inclination of the
axis
Italic / Round
Typefaces that can take the characters of
the main text according to 3 fundamental
parameters: axis, width, and structure.
Depending on
thickness
Bold / Light / Regular
Depending on the
axle structure
Condensed / Balanced /
Expanded
Justication
resources
Space between
words
Balanced / Scarce /
Exaggerated / No 2 or
more words
Methods that were applied to the main text to
adjust the spacing of the composition.
Tracking
Positive / Negative / None
Kerning
Existing / Non-existing
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LINGUISTIC SIGN
Line spacing
Balanced / Scarce /
Excessive
Space between two lines of text.
Text alignment
Right Aligned / Left
Aligned / Centred /
Justied
Text alignment in the layout.
Additional typographic elements
Existing (Number
/ Punctuation and
miscellaneous characters
/ Diacritical marks) /
Non-existing
Existence or non-existence of additional
elements in the composition.
Additional typographic resources
Existing (Alteration of
character structure /
Typographic architectures
/ Change of baseline /
Counterform / Twists
and turns / Other /
Overlays / Substitution /
Transparencies /) / Non-
existent
Presence in the composition of dierent
techniques that enhance the qualities of
typography adding dynamism and value to
the whole.
Textual allusion
Health / Product or
service / Pharmaceutical
sector / Safety / No verbal
allusion
Presence of sectoral support words in the IVC
Text language
German / Spanish
/ French / English /
Portuguese / (Insert
another language)
Language in which the text is written in the
composition
PLASTIC SIGN
Type of line
(Existing /
Non-
existing)
According to its shapeCurves / Lines
Types of lines that may be present in the
composition.
According to its
disposition
Horizontal / Oblique /
Vertical
Graphic
sign
(Existing /
Non-
existing)
Type of shapes
Abstract / Basic Shapes
(Circle / Cross / Square
/ Arrow / Triangle) /
Figurative (Articial /
Natural / Verbal)
Types of shapes and forms that may be
present in the composition.
Type of gures
Calligraphic / Geometric
/ Organic
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CHROMATISM
Typology of
chromatic colours
(Hue)
Depending on the
shade
Primary (Insert Colours)
/ Secondary (Insert
Colours) / Tertiary (Insert
Colours)
Types of chromatic and special colours in
composition.
According to
saturation
Muted colours / Vivid
colours
Depending on the
brightness
Light colours /
Intermediate colours /
Dark colours
Chromatic
resources
Chromatic
adjustments
Other colour
combinations
Analogue /
Complementary /
Contrast / Neutrals
Chromatic combinations or adjustments
present in the composition to create contrast.
Range Harmony
(Warm / Cool)
/ Monochrome
Harmony
Number of colours
1 colour (Monochrome)
/ 2 colours (Dyad) / 3
colours (Triad) / 4 or
more colours
Total number of colours present in the
composition.
Combination of colours
Only achromatic /
Only chromatic /
Both achromatic and
chromatic
Combinations of colours that can occur in the
composition.
Achromatic colours
White / Greyscale / Black
Presence of colours that are not part of the
colour spectrum.
Colour location
Graphic elements /
Background and graphic
elements
e place in the composition where the colour
is present.
Source: prepared by the authors
3. Results
After analyzing the M
E
, it can be observed that the visual elements of banking entities seek to be simple and eective, although
there are exceptions for complex elements. An example of this is the use made by the Spanish banking sector of cold and warm
colors in their compositions, as the dierence is almost imperceptible. e presence of cold colors is 52%, which means that 48%
corresponds to warm colors.
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3.1. Chromaticism
e colors that were observed in most of the logos concerning the rest were cyan blue (cold), present in 34.4% of the sample, and
red (warm), which despite being far behind, with 18.2%, was the second most prevalent (Figure 2).
Figure 2. Chromatics
Source: prepared by the authors
While in the dyads, the combination of cyan or red with achromatic colors stands out in equal parts (54.54% of the occasions),
they are also leaders in the monochromatic compositions: cyan, which appears in 33.33% of the cases, does so by mixing two
shades of blue with dierent degrees of luminosity.
ese results show the virtual non-existence of any other type of color, such as uorescent or metallic colors, which, due to their
excessively ashy nature, could be out of tune with the conservative and traditional personality that denes the banking sector.
Moreover, the close association of some colors with other sectors or with certain qualities (gold=luxury) means that in this area of
visual identities, this type of color is mostly used in those sectors related to this quality.
For example, dark tones (15.2%), particularly blues, tend to create conservative, solid, and reliable identities, perceptual qualities
logically linked to the nancial sector (Ambrose and Harris, 2006), along with intermediate shades, present in 47%, being also one
of the colors par excellence in the digital world (Figure 3).
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Figure 3. Chromatic typology
Source: prepared by the authors
Regarding chromatic intensity, 96% of the corpus shows much vivacity and attracts attention, giving the brand attributes of power
and strength to the detriment of the muted tones (4.1%), which are much more challenging to show.
It can be said that this is a sector in progress, visually speaking, but this does not mean that it is a sector willing to take big risks. For
now, it dares to use chromatic combinations with achromatic, maintaining that point of neutrality, but an increasing number of
entities are being encouraged to use, for example, chromatic contrasts (16.4%) and harmonies of cold and warm ranges (13.91%)
(Figure 4).
Figure 4. Chromatic resources
Sources: prepared by the authors
In this sense, the sector shows a fairly clear inclination for combining several colors in its compositions (77.8%) compared to
20.8% of logos made of a single color. In terms of this type of combination, mixtures of chromatic and achromatic colors in the
same composition prevail (57%), to the detriment of visual identities composed solely of chromatic colors (34.7%).
Neutral or achromatic colors are discreet, classic, and timeless. eir reliability and exibility make them ideal for application
in all types of chromatic combinations as they neutralize the strength of the chromatic color, especially the more intense and
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aggressive ranges such as red, which they complement or soften, showing a more stabilized composition and greater contrast
(Ambrose and Harris, 2006). e combination with chromatic colors echoes those of chromatic compositions only, as shown in
Figure 5 in dyads, 63% compared to 37.1% of chromatic compositions only, and triads, 90%.
Figure 5. Achromatic colors
Source: prepared by the authors
Moreover, the three colors are found in almost equal proportions, although black is the achromatic color that appears most often
(36.2%), followed closely by white (34.5%) and grays (29.3%). eir appearances in combinations with chromatic colors exceed
80%, except for white, which appears 100% of the time.
White is always a good choice since it creates a strong contrast and keeps the design clean thanks to the conditions of cleanliness
and purity expressed by its maximum degree of brightness, so it is not surprising that in the study of the most used logo-typed
version in corporate websites, it has been almost unanimously (more than 90%) the background color chosen by the entities.
However, black also ts in as a background color. Conservative and serious, yet sophisticated and elegant, the colors on a black
background are perceived with greater luminosity than on a white background, sometimes being the priority choice among web
designers.
Other indicators of this evolution in progress in the sector are, on the one hand, the 7% of logos that have been encouraged
to simulate their three-dimensionality through elements or techniques that recreate the sensation of volume since two-
dimensionality is a quality that is very widespread and simple and direct at the same time, and on the other hand, the notable use
of contractions (34.6%) as the name of the corporate brand of the entities, moving away a little from the formality to which this
sector is accustomed to consumers.
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3.2. Linguistic sign
Regarding text, most Spanish banks opt for brief statements without additional text. is is shown by the fact that practically
half of the entities present a single word in their logos (16.6% correspond to acronyms and initials), and 32% are two words. e
variable “additional text” is reduced to only 36.1% of the representations, while they use a small size, which makes simplicity and
conciseness prevail. However, even 15.3% of logos have a high text length (3 or more words), usually the slogan (Figure 6).
Figure 6. Type of additional text
Source: prepared by the authors
e achievement of this readability and comprehension of the text is complemented by the priority use of sans serif and capital
letters in almost three-quarters of the sample, a rounded type style (95%), medium stroke thickness, and character width and
spacing.
e presence of sans serif typefaces calls into question the association that has commonly been made of this sector with the
value of the classic, especially in the digital scenario. e preference for these families, much more modern than the classic
Roman forms (presence of 25%), is due to the simplicity and neutrality characteristic of their clean, straight strokes and without
nials that make them more legible for short and large texts such as logos, which highlights the total absence of script and design
typographies indicating that the primordial thing is the legibility and comprehension of the text (Figure 7). A singularity worthy
of mention is the remaining 20% of entities that have opted for incised typefaces, a typeface not as well-known as the others but
of great expressive richness.
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Figure 7. Typology of typeface families
Source: prepared by the authors
Upper case characters (capitals) are used frequently to emphasize and attract attention, given their visibility and volume compared
to lower case and other typographic modalities such as small caps. However, the inclination at the same time of the entities for a
medium or regular stroke thickness (54.3%) instead of bold (22.9%), much more prominent and forceful, and in conjunction with
light (17.1%), perfect for large titles such as logos, is at rst glance an important nding (Figures 8 and 9).
Figure 8. Representation of the typographic character
Source: prepared by the authors
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Figure 9. Character style (main text)
Source: prepared by the authors
e appearance of elements related to character spacing is also a tool that provides information about the Spanish banking
sector’s tendency to prefer clarity in the textual message. Although 37.1% of the compositions present a negative tracking or
reduction of the space between characters in favor of more content in the message, more than 50% directly dispense with it,
translating into an adequate text space for its legibility.
Furthermore, the very occasional existence of additional typographic resources that add dynamism to the designs, such as the
change of base shown in the
BBVA
identity or ligatures such as that of
Banco Cooperativo Español
, together with the quite popular
use of linguistic allusions to the banking sector with terms such as “banco”, “banca” or “bank” (71%), reiterate once again that the
priority in the message is to be direct and without any ornamentation that disrupts the perceptive attention (Figure 10).
Figure 10. Justication resources
Source: prepared by the authors
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3.3. Iconographic sign
Another relevant result of the study is the unquestionable preference of 75% of the sample for logos, to the detriment of other
visual identity formats (Figure 11). Financial institutions may devote more eort to constructing their visual identity than is
apparent, being aware that using only text or signs is not favorable for any brand unless it has been established and consolidated
among its stakeholders for many years. However, this may be aected by the current revolution that is taking place in the design
of graphic identities with phenomena such as responsive and adaptable logos or interactive logos in dierent media and digital
platforms in which organizations should also be present.
Figure 11. Visual identity format
Source: prepared by the authors
e signs appearing in the visual identities are simple and without any type of complexity. Furthermore, the predominance
of linguistic allusion to the nancial sector over the graphic (explained in section 3.2), present in only 18% and totally non-
existent in more than half of the cases, is a clearly irrefutable fact since signs without graphic allusion prevail, composed mostly
of basic shapes and organic and geometric gures. However, unlike the verbal, it is worth mentioning that the remaining 23.6%
of entities, despite not being related to the banking theme, graphically suggest attributes that companies want to reect in their
compositions, as is the allusion to nobility through the gure of a horse, present in one of the cases.
e use of basic lines and shapes in logo designs may respond to a recent trend towards minimalism in digital design that an
increasing number of organizations are witnessing, as it oers the opportunity to express interesting qualities through a simple,
uncluttered design made up of only essential elements.
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Figure 12. Typology of shapes and gures
Source: prepared by the authors
In the identities analyzed, the use of shapes and gures (83.3%) prevails over the presence of lines (15.2%), mostly straight and
horizontal. Of the shapes, basic shapes (squares and circles) predominate in 32% and natural shapes (25%), although what stands
out is the combination of dierent typologies. Of the shapes, organic shapes stand out (47%), and undoubtedly geometric shapes
(44%) (Figure 12), due to the prevalence of basic shapes and because they indicate precision, trying to express the intention of the
entities to be direct, simple and concise, without ornamentation or adornment.
4. Conclusions and discussion
e value of this study as a means of dening the main trends currently taking place in the design of the Visual Identity (CVI) of
banking institutions operating in Spain is an interesting reference and practical implication for organizations when building their
identities in the online scenario
.
e research carried out by Bravo Gil et al. (2011) on CVI in the corporate websites of banks and savings banks in Spain shows
a signicant correlation between the colors of the company’s own visual identity format and those chosen for the digital media.
According to Villafañe’s (2011) concept of CVI, this requires having a single visual and graphic identity on all platforms where the
organization is present, thus achieving easy identication and trust in terms of user experience (UX). erefore, it is fundamental
that any modication of the core elements of the CVI appears homogeneously in all the organization’s communication channels.
After the analysis, it has been observed that, in part, the nancial sector uses some of the most common typographic and
chromatic resources of digital design. e sector’s priority to be direct and simple so as not to disconcert the user is achieved
mainly using typography without nials, simple strokes, and of medium thickness, as opposed to other more visual styles such
as bold, but which would overload the user’s sight more. e generalized use of chromatic dyads and triads was also clearly
evidenced, complying with the range of color quality recommended in web design so as not to overload the designs excessively.
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In addition, the equity between cold and warm tones, leaving absent the use of any other typology that could be out of tune with
the personality of the industry, such as metallic or uorescent colors, shows that banking institutions give more importance than
expected to other values apart from professionalism and stability, such as closeness and trust, psycho-chromatic sensations that
colors are capable of transmitting (Ambrose and Harris, 2006; Heller, 2008).
Concerning responsive web design and debranding, most nancial institutions seem inclined to stay on the sidelines and not
dispense with any of the essential elements in their visual identities. is may be because a reputation crisis is still present in
the sector and does not generate an excellent environment to face too risky changes in terms of corporate identity (Romero-
Rodríguez & Aguaded, 2016), although some entities have been in the market for years.
As a result, most of the entities have opted for the use of logos since combining both elements (text and image) can signicantly
reinforce the companies’ identication with the users. ey are accompanied by simple geometric shapes, few additional and
decorative resources, and the predominance of verbal allusions to the nancial sector. However, some companies have decided to
introduce more color in their visual identities, play with contrast, and use contractions; a recent trend towards minimalism based
on basic lines and shapes is increasingly present, which allows organizations and professionals to create simple but functional
logos, with a signicant load of meanings and implicit qualities that lines and shapes are capable of bringing to designs.
e inexistence of solid theories on the digitization of visual identity and the elements of graphic identities, added to the recent
global pandemic of COVID-19, are some of the limitations encountered during the preparation of this study.
However, this opens the door to some interesting lines of future research, such as the application of the taxonomy of analysis to
companies in dierent sectors to study their identities and verify their usefulness in various elds of action of organizations or
even extrapolate the study to international banking and obtain an accurate comparison between the two, which would also be a
revolution and signicant progress in the application of graphic design for the sector from all perspectives.
5. Acknowledgements
is manuscript has been translated and proofread by the translation service of University Rey Juan Carlos to whom we are
grateful for their work.
6. Specic contributions from each author
Name and Last Name
Work conception and designArlen Sanz Peralta and Marta Ortiz Ramos
Methodology
Arlen Sanz Peralta, Marta Ortiz Ramos
and
Luis M. Romero-Rodríguez
Data collection and analysisArlen Sanz Peralta
and
Marta Ortiz Ramos
Discussion and conclusionsArlen Sanz Peralta
and
Marta Ortiz Ramos
Drafting, formatting, version review and approvalLuis M. Romero-Rodríguez
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