美国Logo设计潮流经典点评.docx

1、美国Logo设计潮流经典点评2008年美国Logo设计潮流经典点评(设计师值得一看)默认分类 2008-11-03 11:15:24 阅读137 评论1 字号：大中小订阅 前言:本文是从别出找的，放在我这里，只是让更多的人能看到好的作品，让大家能从中得到一些启示，版权归别作者所有！Trend-watching, until recently, has largely been an exercise in watching connections form between direct associations. Photoshop releases a new filter, and voi

2、la - entire raft of logos take on that effect. A particular illustration style is featured in a successful advertising campaign or movie, and in what seems like minutes, the flavor of that art starts to enhance corporate identities. 直到最近，潮流观察还主要是观察一个公司的设计是如何影响另一个公司的。如今PS成了新型过滤器，结果所有的Logo都呈现出PS的效果。只要

3、某一成功的广告或者电影包含了某种特别的图案风格，那么仿佛在一瞬间这种风格便会传播开来，成为提升公司形象的利器。 Periodically, something truly surprising and unexpected pops up. Finding those little treasures are one of the great perks of categorizing 27,000 logos, as LogoLounge and a talented panel of judges just did in preparation for our fourth book. B

4、ut theres always that natural undercurrent of influence that touches this design and that, a drift of scent, a faint change in air temperature. Its there, but almost not. 每过一段时间总会涌现出一些让人眼前一亮的作品。当Logolounge的评审们为了我们的第四本书而给27000个Logo分类的时候，发掘这些 可遇而不可求的杰作也算是给他们的另一种回报吧。但总有一些涌动的暗流影响着设计的走向，仿佛一缕清香，抑或是气温的一丝变化

5、，若即若离，你能感觉得到、 但又好像感觉不到它的存在。This year, however, it seems as though there has been a change in the nature of trends themselves. Instead of a hub-to-spoke relationship in which trends fan out from a central source, prevailing tendencies in logo design now seem to send out long underground runners that

6、poke through the dirt in unrelated, unexpected places, anywhere in the world. Its harder and harder to trace the rhizomatous spread of ideas anymore - which truly is a good thing. 然而，今年的情况却大不相同，因为潮流本身的性质发生了变化。潮流不再是涟漪式地传播，从一个源头渐渐扩散到整个领域；相反，当今Logo设计的风 尚似乎源自那些默默无闻的无名小辈，他们不分地域，来自世界的各个角落。如今去探究设计理念这种盘根错节、

7、无声无息的传播途径已经越来越难，而这也是一件 好事。 What follows are 15 trends that have indeed popped up all over the world. Overcasting them all are prevailing winds that are worth noting first: 接下来我们将展示15种来自世界各地的设计潮流。首先值得一提的是一些主流趋势：1.We saw less emphasis on sustainability or general greenness in logo design. Theres plent

8、y of natural imagery, but being green doesnt seem all that unique anymore. Logo设计师们不再一味强调可持续性或者笼统的“绿色”。依然有众多的自然图案，但“绿色”不再那么特别。2.Colors are becoming more vivid. Desaturation has drained away, and the chroma factor pumped up. 色彩越来越生动。不饱和理论退潮，取而代之的是色彩浓度。 3。Theres an overall move toward cleanliness - in

9、 type, in line, in color - as if ideas are getting more and more succinct. It may be an indication of the degree of seriousness with which branding is now regarded.总体风格趋向简洁类型简洁、线条简洁、色彩简洁就好像理念越来越简单明了。简洁可能已经成为衡量品牌意识强弱的尺度。 4.Less is more common: less calligraphy, less Photoshop tricks, less artificial

10、highlights.越少越好：少一点美术字，少一点PS处理，少一点矫揉造作的雕琢。 5. Found pattern and illustration hang on and on and on. With a bottomless treasure chest of visual history constantly at the ready through retail collections and over the internet, its a direction thats not likely to run its course soon, if ever. 现有风格和图案将一

11、直发挥用武之地。漫长的视觉历史积淀了丰富的素材，无论是个人收藏还是网络传播，这些素材都随时可以为人所用。 And now, the trends. Please remember that they are gathered here to chart long-term movement or change, not to offer design suggestions. Its a living history. The key is to study the trends, then evolve forward - as far forward as you can leap - f

12、rom them.现在开始谈论潮流。请记住，这里的潮流记录的是Logo设计长期的演化和变迁，而并不是提出设计建议。它是一部活的历史，我们关键是要研究它，并在它的基础上不断演进，从而尽可能不受这些潮流的影响。 1、超星体（Supernova） 想象一下天文学家们会怎样标记超新星或者一颗恒星的爆炸。多年来我们看到的一些标识都给我们留下了这样的印象利用条纹或糊化来体现一种速度感。 Imagine what astrophysicists would label a supernova or the eruption and attendant explosion of a star. In a li

13、ght show reminiscent of the jump to hyperdrive in the original Star Wars, these logos attack the challenge of motion head on. For years weve seen marks that have created the impression of motion from a profile perspective using streaks or blurs to signify speed. These examples drive a field of eleme

14、nts toward or away from the viewer using a variety of methods. The LodgeNet logo (by Jerry Kuyper) advertises the companys in-room movie service by flying a picture at you with a smart explosive technique. This blast is simple in construction and void of halftone - particularly interesting consideri

15、ng the product is an online commodity that could easily have justified overboard solutions replete with RGB trickery. 1. Jerry Kuyper for LodgeNet 2. Gabi Toth for Halo Consulting 3. Crave Inc. for IQ Beverage Group 4. Mirko Ilic Corp. for Dr. Zoran Djindjic Fund2、优美线条（Fine Line） 线条粗细的连贯性是决定Logo设计好坏

16、的标准之一，因为它构成了作品的视觉节奏，并确保人们看到作品就一目了然。但在这里，忘记这条定律吧。用极细的线条开始作画。这一类Logo大部分包含两个层次第一眼感知和第二眼感知。典型的情况是，厚重的形象包含第一层信息，并充当背景，而更深刻的第二层信息就建立在这一形象之上。 Consistency of line weight is one of the tenants of good logo design. It builds rhythm and ensures legibility at first glance. Forget this rule for this category. Tu

17、rn your line weight down to hairline and start drawing. Most of these logos live on two levels: first glance, and then second glance, with reader glasses. Typically, a heavier image with message one serves as a background field. The more profound message two is generally encrypted over the top of or

18、 knocked out of the heavier image. Fine strokes weights may read as no more than pattern initially, but they can also carry the dichotomy of a counter message. A variation on this is the use of linear art en masse to create enough weight to define a message as in the PULSE logo. This yin yang proces

19、s tends to captivate the viewer and lends a sense of intelligence to a mark that doesnt require a hammer to impart a subtle message. 1. Louis Fili for The Mermaid Inn 2. Hula + Hula for Cartoon Network Lainamerica 3. Unit for Artists for Peace 4. Point Blank Collection for Pulse3、折叠及叠影（FoldOver） 试想一

20、下有人要求你仅仅用一长条纸设计一个Logo。这些准折纸风格的设计展现出一种立体感，似乎传递出一种灵巧、干练的信息。营造出这种风格的材质可以是透明胶片、金属以及纸张。 Imagine being asked to design a logo with a long strip of paper as your only tool. These quasi origami style solutions craft out a sense of dimensionality despite staying relatively flat. The material from which these

21、 are created range from (but are not limited to) transparent film, metal, and paper. There seems to be a message of cleverness and economy of stroke in many of these. Sometimes the simplicity of the folds takes on additional meaning when the substrates demonstrate unique properties. Note how the opp

22、osite side of the material changes to a different color at every fold in the TURN logo. Or see how transparency enforces the visual overlap of material. In some ways, this technique creates a bit of a puzzle effect. It engages the viewer as it tempts them into tracing out the path of the mark or try

23、ing to determine if the folds could really occur as offered. 1. PMKFA for Yes King 2. Gardner Design for Liberty Capital 3. A3 Design for Urban Architectural Group 4. Addis Creson for Turn4、扩张的球体（Global Expansion） 这一风格让人耳目一新，当时，凡是有国际业务的企业都会考虑用球体作为他们的Logo。所有这些标识都有一个固定模式边缘渐渐缩小，然后弯曲包裹整个球体，象征着膨胀与扩张。 Wha

24、t a refreshing outlook this trend presents. Time was that any company involved in international commerce gave some passing consideration to a globe as their logo. Its a solution that has become terribly challenging to address with an original perspective. These logos at least have the honesty to ste

25、p back and say, Hey, we may not be fully global yet, but give us time. All of these marks rely on a centric pattern that diminishes at the edge and then warps out to wrap the sphere in symbolic expansion. Cato Purnell Partners diverse group of solutions for Dubai Airport succinctly communicates a ke

26、y message. Commerce, travel, and tourism have made Dubai a true crossroad for international travelers, and this world-class logo has found a unique way to express the point. Using the Islamic sacred symbol of an octagram, or eight-pointed star, the logo starts to envelope the global sphere with its

27、spreading tile mosaic. The dissemination of a culture is no accidental message in this mark. 1. Lippincott for XOHM 2. Cato Purnell Partners for Dubai International 3. Futurebrand BC&H for Transpiratininga 4. FIRON for Novatel5、封闭的环形（Loops） 这组Logo似乎在强调一个封闭圈子内的循环，很显然，设计的灵感来自橡皮圈，但类似的带状物却并不是这一风格的全部。比如，

28、标致307的那个环形Logo描绘出标致车的轮廓，但似乎又轻盈地悬停于空中，在表现出超现实主义特质的同时展示了该车某种无与伦比的技术优势。 Continuous bands, yes, but not all of these marks have that certain mojo of the Mobius strip. Moving away from the universal sign of infinity, this group of logos seems to celebrate the flow of a closed cycle. No doubt more than a

29、few rubber bands were called into action for their modeling services, but a ribbon-like figure was not mandatory. There is something personal about the lack of perfect symmetry displayed here. The flexible nature of these logos signifies the ability to transform to meet the needs of the moment. Some

30、 appear to be snapshots of motion captured in a millisecond, of an object tense with energy. The Peugeot 307 loop reflects the profile of that specific car but also seems to hover weightlessly above the ground. The chromed appearance of the mark takes on a surrealistic quality while conveying a cert

31、ain technical prowess as well. 1. Lippincott for IBM & Freescale 2. Angelini Design for Peugeot International 3. Miriello Grafico, Inc. for Qualcomm 4. Double Brand for Long term car rent6、硬球糖（Jawbreakers） 只要是咬硬果糖咬到下颚酸痛的人都会清楚地记得糖果横截面上的同心彩虹图案。把糖果球完美地拨开是我们孩提时的乐趣，丝毫不亚于寻宝游戏。（小编注：这只是美国人的童年）70年代的欧普艺术对调色板的

32、运用毫不吝啬。总体而言，明亮的色彩必不可少，而横截面的运用也常常有其独到之处。 这种Logo流露着一种年轻有活力的气息，让你体会到愉悦的视觉感受，情不自禁地会心一笑。 Anyone whos ever torn up his or her mouth grazing on a jawbreaker or Gobstopper can attest to the concentric rainbow displayed on a perfect cross-section of the confection. There is a certain childhood joy associated with the perfect cleaving of these orbs that is akin to discovering hidden treasure. The 70s op-art quality of these marks is accomplished with little regard for a reserved palette. Generally, brilliant color is a must and