Log Review 2007
Holders of a huge repository Logolounge.com every day look at a variety of logos and can not ignore the trends - aesthetic, conceptual and cultural. Therefore, who does not know them all the news from the evolution of logos. The article below lists the most important ones.
Before our eyes, the unshakable foundations of the existence of logos in the CMYK color domain are crumbling - now designers increasingly refuse flat fixed forms and turn to three-dimensional objects, objects in motion that exist in the RGB ephemeral region.
Another important thing: for every trend now there is a counter-trend, and this concerns not only the design of logos. People’s preferences no longer revolve around a few basic styles and ideas, they are scattered evenly across logo diversity. Companies that need logos and designers who design these logos should take this into account. Now it is extremely difficult to focus only on one or another trend, we need a broader view of things.
')
In addition, an alarming trend is growing: logos are becoming something of a public sport. People are beginning to get used to the fact that they can control the media - all these multiplying blogs, Tivo, YouTube, Google and other interactive services give them more and more opportunities for individualization and control. Therefore, people no longer want to just look at what they slip: they have an opinion on this matter. So when another large corporation represents a new corporate identity, hundreds of sites begin to move around, actively presenting opinions and comments on this issue. Even when the village administration votes for a new sticker design for its two police cars, residents consider it their duty to go through the streets with their own design options on posters and traditional tools for greater persuasiveness. Inclusive engagement flourishes.
The report for 2007, as well as the previous ones, contains an analysis of the main, most striking trends in logo building, aesthetic, conceptual and cultural. It should be understood that all these trends do not arise from the air, they are in constant motion, grow and branch out, now they are rooting for new trends.
In addition, you may notice some intersections in the indicated trends. For example, Spirals and Ribbons are really similar. But in this case, as in all the others, we are more interested in the difference in fundamental approaches. The observations here are just observations, not recommendations. And they are presented randomly, without any particular order.
Deoxyribonucleic acid is probably the last thing you think about when you analyze design trends. This piece is more familiar to us in the abbreviation: DNA is the basis of all living things, the genetic code responsible for the past and the future of all living creatures. This double helix has already ceased to be something exclusively scientific - now it is the heritage of pop culture.
Hollywood actively exploits DNA as a symbol of mysterious corporations in science fiction scenery. The design community so often uses a double helix that this symbol no longer has an unambiguous meaning: it is the germ of life, health and longevity, family tree, code, riddle, or unbreakable sequence — all possible options are involved.
The most prominent representative of this trend, the Invista logo (“ring of innovation”), was made in 2003 by Enterprise IG . Invista is one of the world's largest fiber producers, and looking at such a logo, it is easy to get an idea of ​​the global nature of the company and the close relationship between products and research - all of which reflect intersecting fibrous rings. Although for an untrained look, this may look like an untidy handful of clerical gum.
This trend is directly related to the trends of previous years - Natural Spirals and Hollow Rings .
In general, all these intersecting ring-shaped structures tend to reflect the concept of a common product, employees, companies or divisions working together as a more comprehensive whole. And the density of the rings and the difference in their shape may reflect the corresponding parameters of communication of the parts of one whole in the company. Color usually reflects the individuality of individual components, but it also helps to understand the general idea that the whole being created is more than just the sum of its parts.
Extremely popular topic in the design industry: widespread illumination. The shining light penetrates everywhere, and it looks like he has found new outlets. The glow comes from sun-like things, but also from water, pearls, books, and even the X-Box glows with something alien. The shine effect is achieved in a variety of ways: transparent overlays, gradients, reflections, lens flare or even animation.
All these signs carry a certain warmth and comfort; psychologically, the effect of light is comparable to the effect of light at the end of the tunnel. Such light begins to prevail when we try to convey optimism, purity, warmth, or deliverance from something negative. But the reference position for glowing logos remains the symbol of a leading light or source of knowledge.
The main thing that has to keep pace with the entire corporate world is compliance with regulations related to the maintenance of the environment. In one form or another, the environmental trend appears in all LogoLounge reports. But now eco-style logos are becoming more elegant. Trees and leaves have not gone away, but they are applied more gracefully. Perhaps some of the previous fans of eco-themes just played in public. Now it is not just the use of green. Now logos take into account the environment and ethics, are more sensitive to the environment. They grew up, smarter and tell their stories in a low voice, rather than shouting them out.
Designers continue to mercilessly crush the rules, according to which logos are being created for an entire era. There are no more printing restrictions, the borders of chromaticity are overcome. In addition, many designers and their clients agreed that they would definitely never print their logos in the Yellow Pages in their lives, so there is no need to develop at least one version of the flat and monochrome logo.
Over the past few years, we have seen logos strewn with crystals, illuminated by rays of light, or supposedly inflated from the inside. The concept is the same - to achieve the degree of realism that will lift the logo from the plane of the sheet. This three-dimensionality allows the logo to break out of the mass of flat and monotonous colleagues. Not particularly elegant, but effective.
Another way to give a logo a visual volume is a powerful lighting effect. Logos come into the rays of light, like actors under theatrical spotlights. But there is a trick: almost all of these logos are flat in themselves, the illusion of proper lighting gives them volume. This is an underrated reception that nevertheless works well and attracts the attention of consumers.
Mix a few stylish curlicues, a unicorn and a rose, put a crown and a pair of birds unknown to science - and get something suitable under the definition of the Pseudo-coat of arms. These are not serious coats of arms, of course, pure fan, but with many clever details. Like, for example, the first in a row - a great example, was made in the studio of Jason Schulte, Office , for Target.
At first glance, the logos of this category look like something from the book 101 heraldic sign, something like that. But only until you start looking at the compositional elements: there you will find crossed guitars, penguins, boots, cell phones and all these incredible things that are certainly not from the era of Camelot. This is the lot of youth; Designers have chosen this style for the fashion and music industry. In fact, this is a fashion trend that can be seen now almost everywhere, despite such intricate heraldic and Victorian roots.
It's about advertising characters that are on the thin line between logos and talismans. This is a subculture of vinyl-molded figures, which begins to wade into logos. Almost every designer has a pair of these funny mini sculptures on the table.
Vinyl designer toys became popular in Hong Kong for the first time in the 90s thanks to Michael Lau. Now they have become a collectible, and they have their own stores, such as KidRobot , and magazines like Super 7 , entirely dedicated to vinyl figurines. This can be anything from fire-breathing dragons to alien cyclops. Of course, among the logos of companies belonging to the Fortune 500, there are hardly any similar ones, but these funny vinyl pieces are already well established in pop culture and are increasingly appearing in a two-dimensional logo form.
Last year, Apurba Sen from India assembled his own collection of several hundred web two-nol logos and highlighted several trends in it. Almost all of them coincided with those listed in the LogoLounge reports of previous years, except for one. These are logos consisting of a central, axial element and a multitude of “satellites”, located, as a rule, symmetrically in a circle around the center.
Such signs can serve as a model of the communication structure of any online community. There is a central axis that serves as a source of information. Without this axis, satellites lose contact with each other. So, regardless of whether these logos are a communication tool or not, the divergence from the central point is their main concept. And one more meaning that can be invested in such a graphic solution is the interaction of individual elements of a single structure to achieve a common good.
As soon as you begin to track this trend, you immediately begin to notice it everywhere - including in the other trends described in this report. With very few exceptions, these logos consist of a series of dots, increasing or decreasing in a clear mathematical sequence. Most of these signs seek to reflect the movement in order to better convey their meaning. You can call it a frozen animation. Each picture is a stopped motion, with elements of different caliber or color intensity depending on the time of their release to the viewer.
We tend to define concepts that imply movement as a separate branch in the logo fashion. In previous reports, we looked at other ways to convey motion in statics - Blur, Rumble and Blow. Diverging points rely on directional, vector-strung graphics to achieve their effect, as was the case with Robert Miles Runyon in the logo of the Olympic Games in Los Angeles in 1984 . The result was a whole decade of striped logos that loudly proclaim "I'm moving."
Let's assume that if you provide the logo with abundant watering and good lighting, it will begin to sprout with rhythmic sprouts, twigs, flowers and other botanical fantasies. This may be an evolution of last year's curl trend, or part of a more global trend that unites them. That same trend, which borrows the remains of a patterned Victorian era, to give a little more thin warm humanity solid shell of wiser sterile logos. This attracts the consumer to visual participation in the non-confrontational fashion stream.
Many designers use this visual language, but the first floral glory belongs to the Dutchman Tord Boontje . Tord made incredibly delicate materials for a festive presentation in Target in 2006. This botanical lace influenced the overall identity, especially when applied to various retail items.
If you look at these logos from an optimistic point of view, they are half full. Inviting the viewer to participate, self-complete logo is a powerful method of attracting attention. The very moment when “Aha!” - information manifests itself through a mixture of imperative and interactive - this is the moment of participation. The secret in this case is to cut off just enough to not enter the viewer into thinking too long. Then the missing part of the logo will easily tell your story.
Where is the second half and why? Was it cut off, crawls out of the limits of something, does it sink, or vice versa? A simple play on words, or in some cases images, allows the buyer to associate the product with an action. In some cases, the cut off part of the picture is something like a challenge to the viewer: a beautiful number or a letter is cut in half - this is akin to heresy! The letters for customers are holy: you can change them as you please, but completely removing a part is what makes people look.
In a sense, this is an evolution of last year’s trend called Overlays. And of course this is one of the sub-types of powerful multi-trend Transparency. Visually, this trend still relies on relatively flat blending of colors, but conceptually this is to a greater degree the interrelation between the elements. Superimposed pieces of these logos are a literal analogy of interconnected parts within a corporation. Here it must be emphasized that transparency is a very strong marketing concept in the corporate world: the need for financial and managerial transparency is a big part of the company's image.
The elements put together, which have nothing to hide at the same time - a symbol of a clearly built, diversified and at the same time transparent structure. Overlapping elements can tell a story about a company or explain its architecture. With the development of design software, creating images with transparencies has become simple and convenient - you can immediately see the result of various color overlays and easily adjust them.
For years, logos sought to volume, and found for this different ways: they became puffy, or reflecting light, or glass. But in general, all these transformations affected the surface rather than the volume as a whole. As soon as the logo becomes fully voluminous, unexpected questions begin to arise. If you turn it a quarter, will it still be my logo? And if you look at it from a different angle? And if you highlight it below? And will I be able to register it in the form that ordinary trademarks register?
Miles Newlyn, from London, presented the sophisticated three-dimensional logo of a large telecommunications company, <ahref = " www.b-telecom.be "> B. Myles is generally one of those designers that needs to be addressed if you need some incredible concept, something that no one else has done. Another concept of the volumetric logo is the ornament of leopard fur, recognizable instantly from any angle. The problem with using 3D-logos is that the company must have sufficient media resources to transfer its identity in full. That is why many 3D-logos only imitate the volume, but do not fully possess it.
Who will not hold the eye, seeing the optical illusion? We feel the involuntary need to look again and appreciate what is wrong, what is deception. And it doesn’t matter if we look at the picture as a challenge or entertainment, the desired effect has already been achieved: we kept our eyes on for a sufficient time. Most often these are Escher-style linear pictures that undermine the laws of physics. But there are completely innocent at first glance, which reveal their illusory essence only when we look at them again, with a new perspective.
The idea of ​​the possibility of the impossible - this is how designers characterize the attractiveness of such logos for their customers. The visual essence of illusions in this case is something like the statement "We do things that others cannot, we know special workarounds." Often in this category of logos draw initials, capital letters of the company name. Due to the volume effect, such signs are not uncommon among architectural companies or those who offer a view of something from a new point of view.
Surely in China, entire cities live off the production of these ribbons, which they don as a sign of belonging to sympathizers of a particular social problem. There is overproduction. Yes, we want to show that we are sympathetic and willing to help, but the whole rainbow of these colorful ribbons puts their very essence, their soul on the verge of extinction. We too zealously took up these ribbons and thereby devalued their social meaning.
Fortunately, there are designers who are ready to offer an alternative to the ribbon symbol that has already instilled eyes. Many of the best ribbon logos were created at the very beginning of the trend. And now there is still space for other ideas with ribbons, they are just smaller and they are farther apart. It will be interesting to see how the environmental trend clashes with this, the tape. Then we will have to develop a global plan for the disposal of all these magnetic tape badges, which we have already filled up.
Other trends that have already arisen and are developing:
Before our eyes, the unshakable foundations of the existence of logos in the CMYK color domain are crumbling - now designers increasingly refuse flat fixed forms and turn to three-dimensional objects, objects in motion that exist in the RGB ephemeral region.
Another important thing: for every trend now there is a counter-trend, and this concerns not only the design of logos. People’s preferences no longer revolve around a few basic styles and ideas, they are scattered evenly across logo diversity. Companies that need logos and designers who design these logos should take this into account. Now it is extremely difficult to focus only on one or another trend, we need a broader view of things.
')
In addition, an alarming trend is growing: logos are becoming something of a public sport. People are beginning to get used to the fact that they can control the media - all these multiplying blogs, Tivo, YouTube, Google and other interactive services give them more and more opportunities for individualization and control. Therefore, people no longer want to just look at what they slip: they have an opinion on this matter. So when another large corporation represents a new corporate identity, hundreds of sites begin to move around, actively presenting opinions and comments on this issue. Even when the village administration votes for a new sticker design for its two police cars, residents consider it their duty to go through the streets with their own design options on posters and traditional tools for greater persuasiveness. Inclusive engagement flourishes.
The report for 2007, as well as the previous ones, contains an analysis of the main, most striking trends in logo building, aesthetic, conceptual and cultural. It should be understood that all these trends do not arise from the air, they are in constant motion, grow and branch out, now they are rooting for new trends.
In addition, you may notice some intersections in the indicated trends. For example, Spirals and Ribbons are really similar. But in this case, as in all the others, we are more interested in the difference in fundamental approaches. The observations here are just observations, not recommendations. And they are presented randomly, without any particular order.
Spirals
Deoxyribonucleic acid is probably the last thing you think about when you analyze design trends. This piece is more familiar to us in the abbreviation: DNA is the basis of all living things, the genetic code responsible for the past and the future of all living creatures. This double helix has already ceased to be something exclusively scientific - now it is the heritage of pop culture.
Hollywood actively exploits DNA as a symbol of mysterious corporations in science fiction scenery. The design community so often uses a double helix that this symbol no longer has an unambiguous meaning: it is the germ of life, health and longevity, family tree, code, riddle, or unbreakable sequence — all possible options are involved.
1. design: lwdgraphics, client: Chillosophy 2. design: Sumo, client: Science City 3. design: Demasi Jones, client: RCRH 4. design: Gibson, client: Women for Women
Rubber bands
The most prominent representative of this trend, the Invista logo (“ring of innovation”), was made in 2003 by Enterprise IG . Invista is one of the world's largest fiber producers, and looking at such a logo, it is easy to get an idea of ​​the global nature of the company and the close relationship between products and research - all of which reflect intersecting fibrous rings. Although for an untrained look, this may look like an untidy handful of clerical gum.
This trend is directly related to the trends of previous years - Natural Spirals and Hollow Rings .
In general, all these intersecting ring-shaped structures tend to reflect the concept of a common product, employees, companies or divisions working together as a more comprehensive whole. And the density of the rings and the difference in their shape may reflect the corresponding parameters of communication of the parts of one whole in the company. Color usually reflects the individuality of individual components, but it also helps to understand the general idea that the whole being created is more than just the sum of its parts.
1. design: Koch Creative Group, client: MBM Study 5 2. design: Substrate, client: Zilo 3. design: Grafikonline, client: Guba 4. design: Enterprise IG, client: Invista
Radiance
Extremely popular topic in the design industry: widespread illumination. The shining light penetrates everywhere, and it looks like he has found new outlets. The glow comes from sun-like things, but also from water, pearls, books, and even the X-Box glows with something alien. The shine effect is achieved in a variety of ways: transparent overlays, gradients, reflections, lens flare or even animation.
All these signs carry a certain warmth and comfort; psychologically, the effect of light is comparable to the effect of light at the end of the tunnel. Such light begins to prevail when we try to convey optimism, purity, warmth, or deliverance from something negative. But the reference position for glowing logos remains the symbol of a leading light or source of knowledge.
1. design: Cato Purnell Partners, client: Skywest Airlines 2. design: Gardner Design, client: The Center 3. design: LandDesign, client: Sunhaven 4. design: Siegel + Gale, client: SunTrust
Ecology
The main thing that has to keep pace with the entire corporate world is compliance with regulations related to the maintenance of the environment. In one form or another, the environmental trend appears in all LogoLounge reports. But now eco-style logos are becoming more elegant. Trees and leaves have not gone away, but they are applied more gracefully. Perhaps some of the previous fans of eco-themes just played in public. Now it is not just the use of green. Now logos take into account the environment and ethics, are more sensitive to the environment. They grew up, smarter and tell their stories in a low voice, rather than shouting them out.
1. Design: Gardner Design, Client: Dandurand 2. Design: Ulrichpinciotti Design Group, Client: Resources for Healthy Living 3. Design: Eggnerd, Client: Greenhill Academy 4. Design: Steve's Portfolio, Client: Small Planet
Backlight
Designers continue to mercilessly crush the rules, according to which logos are being created for an entire era. There are no more printing restrictions, the borders of chromaticity are overcome. In addition, many designers and their clients agreed that they would definitely never print their logos in the Yellow Pages in their lives, so there is no need to develop at least one version of the flat and monochrome logo.
Over the past few years, we have seen logos strewn with crystals, illuminated by rays of light, or supposedly inflated from the inside. The concept is the same - to achieve the degree of realism that will lift the logo from the plane of the sheet. This three-dimensionality allows the logo to break out of the mass of flat and monotonous colleagues. Not particularly elegant, but effective.
Another way to give a logo a visual volume is a powerful lighting effect. Logos come into the rays of light, like actors under theatrical spotlights. But there is a trick: almost all of these logos are flat in themselves, the illusion of proper lighting gives them volume. This is an underrated reception that nevertheless works well and attracts the attention of consumers.
1. design: Zed + Zed + Eye Creative Communications, client: Ebert Pool Construction 2. design: FutureBrand, client: Pure Tasmania 3. design: Sebastiany Branding, client: Café ao Lar 4. design: Cato Purnell Partners, client: Flower Factory
Pseudo-coats of arms
Mix a few stylish curlicues, a unicorn and a rose, put a crown and a pair of birds unknown to science - and get something suitable under the definition of the Pseudo-coat of arms. These are not serious coats of arms, of course, pure fan, but with many clever details. Like, for example, the first in a row - a great example, was made in the studio of Jason Schulte, Office , for Target.
At first glance, the logos of this category look like something from the book 101 heraldic sign, something like that. But only until you start looking at the compositional elements: there you will find crossed guitars, penguins, boots, cell phones and all these incredible things that are certainly not from the era of Camelot. This is the lot of youth; Designers have chosen this style for the fashion and music industry. In fact, this is a fashion trend that can be seen now almost everywhere, despite such intricate heraldic and Victorian roots.
1. Design: Office, Client: Independent Studies / Target 2. Design: Reaves Design, Client: JCPenny Nation 3. Design: Miles Design, Client: 12 Gauge Wakeskates 4. Design: Launchpad Creative, Client: Astonish Entertainment
Vinyl toys
It's about advertising characters that are on the thin line between logos and talismans. This is a subculture of vinyl-molded figures, which begins to wade into logos. Almost every designer has a pair of these funny mini sculptures on the table.
Vinyl designer toys became popular in Hong Kong for the first time in the 90s thanks to Michael Lau. Now they have become a collectible, and they have their own stores, such as KidRobot , and magazines like Super 7 , entirely dedicated to vinyl figurines. This can be anything from fire-breathing dragons to alien cyclops. Of course, among the logos of companies belonging to the Fortune 500, there are hardly any similar ones, but these funny vinyl pieces are already well established in pop culture and are increasingly appearing in a two-dimensional logo form.
1. design: San Markos, client: webpublica 2. design: Innfusion Studios, client: Innfusor 3. design: Glitschka Studios, client: Fire Squad 4. design: Tactix Creative, client: Cyclops
Axles
Last year, Apurba Sen from India assembled his own collection of several hundred web two-nol logos and highlighted several trends in it. Almost all of them coincided with those listed in the LogoLounge reports of previous years, except for one. These are logos consisting of a central, axial element and a multitude of “satellites”, located, as a rule, symmetrically in a circle around the center.
Such signs can serve as a model of the communication structure of any online community. There is a central axis that serves as a source of information. Without this axis, satellites lose contact with each other. So, regardless of whether these logos are a communication tool or not, the divergence from the central point is their main concept. And one more meaning that can be invested in such a graphic solution is the interaction of individual elements of a single structure to achieve a common good.
1. Design: Ardoise Design, Client: Raymond Engineering 2. Design: Aron Creative, Client: Springboard 3. Design: Glitschka Studios, Client: Windows Gaming 4. Design: Brand Bird, Client: Arby's Franchise Association
Divergent points
As soon as you begin to track this trend, you immediately begin to notice it everywhere - including in the other trends described in this report. With very few exceptions, these logos consist of a series of dots, increasing or decreasing in a clear mathematical sequence. Most of these signs seek to reflect the movement in order to better convey their meaning. You can call it a frozen animation. Each picture is a stopped motion, with elements of different caliber or color intensity depending on the time of their release to the viewer.
We tend to define concepts that imply movement as a separate branch in the logo fashion. In previous reports, we looked at other ways to convey motion in statics - Blur, Rumble and Blow. Diverging points rely on directional, vector-strung graphics to achieve their effect, as was the case with Robert Miles Runyon in the logo of the Olympic Games in Los Angeles in 1984 . The result was a whole decade of striped logos that loudly proclaim "I'm moving."
1. Design: Ardoise Design, Client: Raymond Engineering 2. Design: Aron Creative, Client: Springboard 3. Design: Glitschka Studios, Client: Windows Gaming 4. Design: Brand Bird, Client: Arby's Franchise Association
Flora
Let's assume that if you provide the logo with abundant watering and good lighting, it will begin to sprout with rhythmic sprouts, twigs, flowers and other botanical fantasies. This may be an evolution of last year's curl trend, or part of a more global trend that unites them. That same trend, which borrows the remains of a patterned Victorian era, to give a little more thin warm humanity solid shell of wiser sterile logos. This attracts the consumer to visual participation in the non-confrontational fashion stream.
Many designers use this visual language, but the first floral glory belongs to the Dutchman Tord Boontje . Tord made incredibly delicate materials for a festive presentation in Target in 2006. This botanical lace influenced the overall identity, especially when applied to various retail items.
1. design: Shift Design, client: Charme 2. design: Doug Beatty, client: Art for Aid 3. design: Gardner Design, client: Holly Root Massage 4. design: Entermotion Design Studio, client: Marshmallow Kisses
Halves
If you look at these logos from an optimistic point of view, they are half full. Inviting the viewer to participate, self-complete logo is a powerful method of attracting attention. The very moment when “Aha!” - information manifests itself through a mixture of imperative and interactive - this is the moment of participation. The secret in this case is to cut off just enough to not enter the viewer into thinking too long. Then the missing part of the logo will easily tell your story.
Where is the second half and why? Was it cut off, crawls out of the limits of something, does it sink, or vice versa? A simple play on words, or in some cases images, allows the buyer to associate the product with an action. In some cases, the cut off part of the picture is something like a challenge to the viewer: a beautiful number or a letter is cut in half - this is akin to heresy! The letters for customers are holy: you can change them as you please, but completely removing a part is what makes people look.
1. Design: Fresh Oil, Client: Spats Logo Concept 2. Design: Thomas Manss & Company, Client: Cutcost.com 3. Design: Meme Design, Client: Edge 4. Design: Miles Design, Client: Urban Forward
Lapped
In a sense, this is an evolution of last year’s trend called Overlays. And of course this is one of the sub-types of powerful multi-trend Transparency. Visually, this trend still relies on relatively flat blending of colors, but conceptually this is to a greater degree the interrelation between the elements. Superimposed pieces of these logos are a literal analogy of interconnected parts within a corporation. Here it must be emphasized that transparency is a very strong marketing concept in the corporate world: the need for financial and managerial transparency is a big part of the company's image.
The elements put together, which have nothing to hide at the same time - a symbol of a clearly built, diversified and at the same time transparent structure. Overlapping elements can tell a story about a company or explain its architecture. With the development of design software, creating images with transparencies has become simple and convenient - you can immediately see the result of various color overlays and easily adjust them.
1. Design: Fitting Group, Client: i-Squared 2. Design: Cacao Design, Client: Renza Morello 3. Design: Matthew Schwart Design Studio, Client: Agency Access 4. Design: Gillen's Army, Client: The Electric Company
3D
For years, logos sought to volume, and found for this different ways: they became puffy, or reflecting light, or glass. But in general, all these transformations affected the surface rather than the volume as a whole. As soon as the logo becomes fully voluminous, unexpected questions begin to arise. If you turn it a quarter, will it still be my logo? And if you look at it from a different angle? And if you highlight it below? And will I be able to register it in the form that ordinary trademarks register?
Miles Newlyn, from London, presented the sophisticated three-dimensional logo of a large telecommunications company, <ahref = " www.b-telecom.be "> B. Myles is generally one of those designers that needs to be addressed if you need some incredible concept, something that no one else has done. Another concept of the volumetric logo is the ornament of leopard fur, recognizable instantly from any angle. The problem with using 3D-logos is that the company must have sufficient media resources to transfer its identity in full. That is why many 3D-logos only imitate the volume, but do not fully possess it.
1. design: Wolff Olins, client: djuice 2. design: Miles Newlyn, client: B 3. design: GrafikOnline, client: Aramova 4. design: Substrate, client: Palio
Optical illusions
Who will not hold the eye, seeing the optical illusion? We feel the involuntary need to look again and appreciate what is wrong, what is deception. And it doesn’t matter if we look at the picture as a challenge or entertainment, the desired effect has already been achieved: we kept our eyes on for a sufficient time. Most often these are Escher-style linear pictures that undermine the laws of physics. But there are completely innocent at first glance, which reveal their illusory essence only when we look at them again, with a new perspective.
The idea of ​​the possibility of the impossible - this is how designers characterize the attractiveness of such logos for their customers. The visual essence of illusions in this case is something like the statement "We do things that others cannot, we know special workarounds." Often in this category of logos draw initials, capital letters of the company name. Due to the volume effect, such signs are not uncommon among architectural companies or those who offer a view of something from a new point of view.
1. Design: MINE, Client: Paradox 2. Design: Face, Client: Institute of Cancer Therapeutics 3. Design: JDK Design, Client: Zune 4. Design: Elixer Design, Client: Perspecta, Inc.
Tapes
Surely in China, entire cities live off the production of these ribbons, which they don as a sign of belonging to sympathizers of a particular social problem. There is overproduction. Yes, we want to show that we are sympathetic and willing to help, but the whole rainbow of these colorful ribbons puts their very essence, their soul on the verge of extinction. We too zealously took up these ribbons and thereby devalued their social meaning.
Fortunately, there are designers who are ready to offer an alternative to the ribbon symbol that has already instilled eyes. Many of the best ribbon logos were created at the very beginning of the trend. And now there is still space for other ideas with ribbons, they are just smaller and they are farther apart. It will be interesting to see how the environmental trend clashes with this, the tape. Then we will have to develop a global plan for the disposal of all these magnetic tape badges, which we have already filled up.
1. Design: Seamer Design, Client: Motek Trading 2. Design: Ty Wilkins, Client: Tulsa AIDS Walk 3. Design: Square One, Client: Cinema Fighting Cancer 4. Design: Felix Sockwell, Client: AIDS National Quality Center
Other trends that have already arisen and are developing:
- Animated movement: already noted at the beginning of the article, these logos are made already in motion, unlike those that were originally drawn flat and later animated.
Wreaths: a variety of elements, sometimes so thin that before they would not be considered part of the logo design, assembled into a patterned whole.
Rainbows: a trend, perhaps born out of the popular all-in-one concept, supported by customer loyalty to bright colors, but nurtured definitely by the permissiveness of RGB.
Numbers: replacing letters with words similar in appearance or phonetically replacing part of the word figures - long live computer communication.
Holes: Designers play with the surface of the paper, driving logos under the cuts or letting them look out of all sorts of holes.
Dragons: many, many dragons.
Large tangirye points: very close ups on the tangible grid, the points blur and overlap each other.
Cartouches: more and more logos are supported by ornamental frames.Based on Bill Gardner's article from LogoLounge.com
Nata Class Translation
Source: https://habr.com/ru/post/14403/
All Articles