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Alma Mater Studiorum - Università di Bologna
Visual Communication - Prof.ssa Giorgia Aiello - a.a. 2021-
Margherita Filippone - mat. 0001058866
VISUAL ANALYSIS OF AMAZON-LOGISTIC LOGOS
INTRODUCTION
“Amazon (...) creates emotional relationships with its customers by connecting them regularly and reliably to products, services and entertainment.” That's how E. West in “Buy Now” 1 defines what, from a simple bookseller, is today the biggest internet company in the world. In 1994 Jeff Bezos, a former Wall Street hedge fund executive, incorporated what would later be called Amazon.com, a digital platform that promised to "deliver any book to any reader anywhere.”^2 Amazon.com represents a winning example, despite all the controversy it brings with it, for everything related to communication and image. The name "Amazon" (not the first one, in fact the company initially was called “Cadabra”) was born as a citation of the Amazon River, the widest river in the world 3 as well as an incredible means of communication. It is from here that the colossus developed, passing first through a black and white lettering, with a stylized logo of the river from which it was inspired, and then arriving, in 2000, to a rebranding signed by Turner Duckworth. A smile from A to Z, because at Amazon you can find anything and palette of blue and orange with an essential but friendly character, just enough. Getting more in touch with the reality of the "amazonians", however, an element emerges that is little accessible to the uninformed consumer: the enormous variety of logos specific to each establishment. "Welcome to the United States Amazon," write L. DePillis and I. Sherman in an article for CNN Business 4 , and just as in a federal nation, here too each state has its own identity. Duckworth's logo is, thus, comparable to a national flag, which underneath includes a wide variety of smaller emblems. The primary function, in this case, is not communication but rather logistics. The "foundations" of societies of this size are, in fact, given by the extreme efficiency of means and ways of communication. Emily West 5 talks about how large-scale distribution such as that of Amazon, but also of its historic competitors Walmart or Sears, is due to two factors: transport and communication. As we know thanks to J.W. Carey, this is a well-established concept, arising after the birth and spread of the (^1) West, E. (2022). Buy Now. Amsterdam University Press. (^2) Amazon.com | History & Facts. (2022, April 2). Encyclopedia Britannica. https://www.britannica.com/topic/Amazoncom (^3) Hartmans, A. (2019, June 17). 15 fascinating facts you probably didn’t know about amazon. Business Insider Nederland. https://www.businessinsider.nl/jeff-bezos-amazon-history-facts-2017-4?international=true&r=US (^4) DePillis, L., & Sherman, I. (2021, February 3). Amazon’s extraordinary evolution. CNN. https://edition.cnn.com/ interactive/2018/10/business/amazon-history-timeline/index.html (^5) West, E. (2022). Buy Now. Amsterdam University Press.
telegraph 6. In the specific case of the brand taken into analysis, these two pillars can be summarized with the term "platformization", now common to several realities. With the launch of Amazon-Prime in 2005, and the promise to ship your order in two days (today directly the next day), it becomes impossible not to think of the enormous logistical revolution that has been put in place. Amazon manages over 138,825,900 active square feet of warehouse space in 28 states scattered around the World and, after years of outsourcing shipments to third parties (such as UPS, FedEx) having found a margin of error too high for internal standards, today the company has purchased thousands of trailers or "increase capacity for package delivery”. Amazon purchased thousands of semi-truck trailers "to transport packages between fulfillment and sort centers around the country” 7. RESEARCH QUESTIONS AND APPROACH This case study will examine some of the logos of Amazon establishments, taking into consideration the common characteristics among them. Expanding the research, it was interesting to ask what the most recurring characteristics were depending on the country of reference, observing how socio-cultural differences were reflected in the logos in question. The research questions around which the paper is developed are:
- From a semiotic point of view what characterizes an amazon logistic logo?
- How do logos vary based on the socio-cultural context in which they are found? In order to answer the first question, an analysis was conducted following a semiotic approach, taking as reference the analysis of IBM and Apple conducted by Floch* and the observations on visual semiotics by P. Polidoro. With the assumption that no logo exists in itself, but rather the semantic universe that gives it value and meaning should be analyzed, it is precisely this type of approach that allowed us to outline the main graphic characteristics and to study its meaning, with all the necessary observations regarding the context. Taking one of the logos belonging to the set of analysis we made a generalization, arriving at the definition of a generic structure. The decision to generalize the various graphical elements and define their constants in more macro categories follows the approach that F. Marsciani applies in “Tracciati di Etnosemiotica” 8. This is an ethnosemiotic approach used in the analysis of different spaces which, by summarizing the places in question in elementary plans, helps to bring out reflections common to the general category to which they belong (for example, to each dental office, in chapter one about the "places of care"). Considering the logo as a space, it is possible (^6) Carey, J. W. (n.d.). Technology and Ideology: The Case of the Telegraph. J.W. Carey. (^7) Yoonah, H., Dongho, K., & Myoung-Kil, Y. (2018). A Brief Analysis of Amazon and Distribution Strategy. Journal of Distribution Science ( ). https://www.koreascience.or.kr/article/JAKO201816357065337.view? orgId=anpor&hide=breadcrumb,journalinfo (^8) Marsciani, F. (2007). Tracciati di Etnosemiotica. Franco Angeli.
- A color palette characterized by Amazon blue, white (in most cases but varying depending on the background), black and Amazon orange.^10
- The now famous iconic "smile Wanting to address the logistics area, the characteristics in question will not be taken as the subject of analysis but, nevertheless, they will be useful elements to better understand the characteristics of secondary logos. By typing the initials of an establishment into the search bar, we will find ourselves in front of the screen alongside (imagine 3 and 4). (^10) Amazon.com. (2012). Amazon Display Advertising Style Guide [Ebook] (pp. 1-6). https://images-na.ssl-images- amazon.com/images/G/01/AdvertisingSite/pdfs/ Image 1 Image 2 Image 3 Image 4
The collected logos all present themselves in the same way, the only element that changes is, obviously, the content of the profile, which in this case is not relevant. These are the different logos considered:
Following Marsciani's ethnosemiotic method and Floch's plastic invariant analysis, we randomly took a logo (image 5) and proceeded with the analysis. As in an addition where the result is given by the sum of the addends, we see that the elements that make up the logo are:
- Acronym: DSC
- Central icon
- Script: Greenville, SC
- Lateral graphic elements
- Circularity The invariants, therefore, concern the chromatic aspects, the general trend and proportions of the logo and, finally, the font. We will now briefly describe the main features, so as to summarize the Image 5
B. CENTRAL ICON
The center icon in this case (image 5) consists of a small "composition" in which you see a bridge, a waterway, the skyline of buildings and trees. Searching on Google images of Greenville the first image to open on Wikipedia depicts the same landscape illustrated in the logo. (image 8) In reality, within the corpus, this aspect is quite variable, but we can tend to divide the icons into two macro-groups: the identifying ones, with two different sub-groups representing the Nation/ Region or the city, and the fantastic ones, which have no connection with the territory. The choice of inserting an icon with soft lines, without edges, outlined in blue, gives the logo an informal, almost playful connotation. This, in reality, could not be there, the logo could probably be reduced to two writings, but this would take away strength from the identity of the establishment, it would reduce competition and homologate Amazon to its competitors. In spite of the various researches made online, it has not been possible to know which are the choices that lead to choose what to represent but, without any doubt, the nationality and the parochialism or not of the various locations emerge. C. TEXT: GREENVILLE, SC The bottom of the logo shows the location of the plant, but just like the icon, this is a variable element. In every logo there is an inscription placed in the same spot, it simply changes the content. As you can see in the set of images the inscription can represent: the location, the type of plant, a motto. In the logos characterized by the motto or the name of the team it is even more evident the strong attachment that the working group has towards the plant. In image 9 it was decided to write “All Stars", almost a second name after the initials that refer to the airport. It's a bit as if the graphic scale represented the distance between the company and the person, the less pt. the writing has, the more personal the content. Image 8
D. LATERAL GRAPHIC ELEMENTS
On the sides of the logo, made up of curved blue lines, are the only two graphic elements whose purpose is purely decorative. Not coincidentally, these are also the only more immediate reference with the "general" brand of Amazon. The logo itself doesn't present anything that makes one think of Amazon, yet, even if implicitly, its connection with the company is clear. Together with the font, which will be discussed later, the two "brackets" refer to Amazon for two reasons: the color and the "curve", which in its own way recalls the iconic smile we are subjected to every time we order a product through the platform. E. CIRCULARITY The circularity of the logo, which can be summarized in a real circle, makes it even clearer how these are closely related to the use on Instagram profiles. Unlike the main logo, which unfolds horizontally, in this case everything revolves around the central icon. F. GENERAL OBSERVATIONS An interesting aspect of the object of analysis concerns the closeness that there is between this and employees. Despite the fact that it is a logo with a purely practical purpose, which serves to move, to ship quickly, to encourage an increasingly impeccable performance, we are in front of the only aspect that makes the huge logistics machine more "human". A font sticks, the main colors, few but essential, the pillars of the Amazon logo are re-proposed to make sure that there is no way to make a mistake company but, at the same time, is left open the possibility of a more independent use, if we return to the call state / city, more "regional". The logo, with a summary diagram, can therefore be represented as follows: Image 9
Analyzing the results, several observations can be made. The premise, which is already mentioned in the graphs, is that unfortunately we have not been able to collect sufficient data to arrive at results in the Italian context, which can, however, be considered in a larger scale division between America and Europe. The first table takes into consideration the variability of the "what" (ref. diagram) and the results are not very surprising. The choice of content to be included in the logo seems to be faithful to the territorial characteristics of the different states. We are faced with spaces of completely different sizes, from the vastness of the United States to the much more human dimensions of Spain, and this has an inevitable impact on logistics. The choice of Canada and the United States falls mostly on the wording of "location", highlighting the need to identify first of all the where, and then the rest. In Spain, on the other hand, we are faced with the exact opposite, probably because to identify the place, the initials of the airport are sufficient. The second table, on the other hand, represents the type of icons used most, highlighting the socio-cultural characteristics of the various countries. The logos of the United States, probably precisely because they are the "birthplace" of the giant Amazon, best represent the internal breakdown of the same company discussed above. In a vast nation, under whose name a variety of cultures are identified, the icons represent for 60% regional or citizen identifying elements, highlighting the strong regional and/or national attachment typical of the society to which they belong. The design, and consequently also the sensations conveyed, undeniably change from city to city. In Miami, a flamingo amidst flowers and sunshine makes us imagine slowly paced times, a friendly environment, in which competition and race seem to be absent, almost like an oxymoron; in New Orleans, the lobster is the protagonist, once again shifting the focus to what is beautiful, and for some good, the city offers; in Nashville, the profile of the buildings has a more serious and scientific flavor. Canada, in its own way, follows the same thread, using bears (image 10), never breaking away from national symbols. Spain, on the other hand, "plays" with fantasy, using (image 11) icons that are often imaginary and more symbolic, linked to the team and to the "mood" that characterizes it.
CONCLUSION The analysis conducted, with the application of a semiotic approach and content analysis, helps to understand what are the fundamental characteristics for an Amazon logo in the logistics field and how this is in some way a mirror of the place it represents. The semiotic approach highlighted the winning aspects of the company's logos, which compared to its competitors seems to have followed a very different path. If BRT or UPS, two different giants of the courier world, use a single logo for both logistics and communication, Amazon clearly divides the two "worlds", proving once again to be the most effective product in terms of functionality and logistics. E.West in “Buy Now” 14 talks about Amazon saying that it is primarily “a brand of distribution”. These are factors that have exponentially influenced the company's logic and, a bit like “a dog biting its own tail”, the impeccable efficiency that leads to impeccable results requires a lot of work (and employee stress). The playful icon has an immense amount of work behind it between couriers, engineers and workers, and aims to increase the work rate even more. The Amazon employee will be happy, of course, if the company's performance is positive, but what they will want, or might want, is also the “supremacy” of their warehouse over others. Although the variety of logos increases the competitiveness between establishments, it must be said that the possibility of using the logo in an unofficial way and through social is the only aspect that makes it possible to introduce a more personal and ironic point of view. There are establishments, like BLQ1, that have a page with memes dedicated to work gaffes, because at the end of the day, even if you're all under the Amazon name, the “family” is that of your team. The connotation that all in all transpires is that of an informal and fresh logo, characterized by a sticks font with soft lines (almost resembling Comic Sans). From a cognitive point of view, this is certainly a winning move, one that makes the working environment more comfortable and, not in the least, softens the impact that the colossus has in the city context in which it establishes itself. Especially in small states such as Italy or Spain, the establishment of these plants shakes up the economic and work balance of the place. This is precisely why designing a "tailor-made" logo is a useful action. As far as the change from one logo to another is concerned, this could serve to get closer to the local culture, or at least to create a more familiar atmosphere. The possibility of identifying oneself (^14) West, E. (2022). Buy Now. Amsterdam University Press. Image 10 Image 11
BIBLIOGRAPHY AND SITOGRAPHY:
- (^) West, E. (2022). Buy Now. Amsterdam University Press.
- (^) Amazon.com | History & Facts. (2022, April 2). Encyclopedia Britannica. https:// www.britannica.com/topic/Amazoncom
- (^) Hartmans, A. (2019, June 17). 15 fascinating facts you probably didn’t know about amazon. Business Insider Nederland. https://www.businessinsider.nl/jeff-bezos-amazon-history- facts-2017-4?international=true&r=US
- (^) DePillis, L., & Sherman, I. (2021, February 3). Amazon’s extraordinary evolution. CNN. https:// edition.cnn.com/interactive/2018/10/business/amazon-history-timeline/index.html
- (^) Carey, J. W. (n.d.). Technology and Ideology: The Case of the Telegraph. J.W. Carey.
- (^) Yoonah, H., Dongho, K., & Myoung-Kil, Y. (2018). A Brief Analysis of Amazon and Distribution Strategy. Journal of Distribution Science ( ). https://www.koreascience.or.kr/article/ JAKO201816357065337.view?orgId=anpor&hide=breadcrumb,journalinfo
- Marsciani, F. (2007). Tracciati di Etnosemiotica. Franco Angeli.
- (^) Bell, P. (2001). Content analysis of visual images. Handbook of Visual Analysis, 10–34.
- (^) Amazon.com. (2012). Amazon Display Advertising Style Guide [Ebook] (pp. 1-6). https:// images-na.ssl-images-amazon.com/images/G/01/AdvertisingSite/pdfs/
- Floch, J-M (1995/2000). “IBM and Apple’s logo-centrism” (pp. 33-62). In Visual Identities. London: Continuum.
