This study does not use a random sampling method. Therefore, the results may not be
generalized to the population. All results to the research questions revealed only a correlation and
not a causation of design elements that make a logo’s gender brand personality. However, due to
the lack of research within the visual communications field, this exploratory research still aided in
contributing to increasing the knowledge of visual communications.
The modifications of the Grohamm’s (2009) instrument used in this study could help
researchers distinguish gender brand personalities better. As mentioned before, feminine and
masculine variables were scaled down using factor analysis. The inclusion of androgynous
variables provided a more detailed reading to distinguish androgynous brands. However, only
four of the twenty androgynous variables from the BSRI (Bem, 1981) were tested in the study.
The researcher was limited in space by containing all the variables for each logo on one page for
respondents’ ease of use.
Also, revisions of Henderson and Cote’s (1998) design dimensions instrument were
intended to communicate more universally to a general public. The term “organic” was changed
to “curved” and on the opposing semantic differential side “angular” was kept. After finding
inconsistency in the rating of curved as it related to masculine traits in the Masculine logos, it
may have been more appropriate to keep “organic” and change “angular” to “synthetic” or
“geometric.” Including a scale that rates “organic to synthetic” or “organic to geometric” may
load more consistently within the Natural component. Also, when considering angularity in
relation to masculinity, the semantic differential rating system only allowed for rating the overall
form. It was difficult to distinguish statistically if the protruding angular aspects within the
masculine logos related to masculine ratings.