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1、Logo design developmentWe all know, makes the design is basic is the creativity, the creativity is basic is the characteristic, the characteristic is basic is original, must think the unique creativity certainly is not good which everybody does, must achieve each person all accepts, I think such is
2、not too possible. I think, the design certainly does not have the success, similarly does not have the defeat, because design is live, the very many things are contradictory, certainly may not depend on personally makes the accurate appraisal.For instance, we have seen many more 3-D logos that are d
3、esigned to be in motion, never still or flat. These designs have completely shaken the earthly bonds of CMYK and exist only in ethereal RGB: The old logo design rules just dont apply to them.Another development: Today, for many trends there is now a countertrend and this is not only the case for log
4、o design. The public and its likes and dislikes have become fragmented across the spectrum. Companies who need logos and designer who create logos are forced to respond accordingly. It has become increasingly difficult to simply look in one direction or the other.It is also becoming disturbingly cle
5、ar that logo design has become a public sport. As the public controls their own media more and moreTivo-ing this, blogging that, YouTube-ing and Googling everything elsepeople are no longer satisfied to simply consume what is placed before them: They have opinions they want to share. So when a large
6、 corporation reveals its new identity, there are hundreds of internet sites flinging their opinions back at it. Even when the village board of Remote votes on a new logo for its two police cars, citizens take to the streets waving pitchforks and copies of their own designs. Committeecide seems to be
7、 rampant.The full 2007 trend report follows. Whether we are noting social, conceptual or aesthetic trends, remember that none of them exist in a vacuum or in a single moment in time. They are results of many trends before them and are developing taproots as we speak.Also, you will note some amount o
8、f aesthetic crossover between trends. For instance, the Dos Helix and Ribbon trends do show similarities. But with these categories and all others, we are more interested in the difference between their fundamental concepts. Our observations are just thatobservations. They are not recommendations. F
9、inally, they are presented in no particular order.Dos HelixDeoxyribonucleic acid really sounds like the last thing that could influence design until you knock it down to the initials DNA. Its the root of life and the code responsible for the past and the future of any living entity. The double helix
10、 strand has now transcended the field of science and, over the last generation, moved comfortably into the field of pop culture.Hollywood has turned DNA into the glow-in-the-dark plot twist of CSI insert city here. The design community has latched onto the twisting double helix structure as the publ
11、ic now sees this shape as a spark of life or the signature of an individual. Representing the genus or the seed of life, health and longevity, a family tree, a code, a mystery, or an unbroken sequence, these strands have a certain symbolic power that can be agreed upon by science or religion alike.1
12、.Design Firm: lwdgraphics Client: Chillosophy 2.Design Firm: Sumo Client: Science City 3.Design Firm: Demasi Jones Client: RCRH 4.Design Firm: Gibson Client: Women for WomenRubber BandsInvista, one of the worlds largest integrated fiber businesses, most succinctly laid claim to this look in 2003 wit
13、h the rings of innovation designed by Enterprise IG. Its easy to imagine the global aspect of the company and the interlinking products and efforts with the bisecting fiber like rings. (though to the public or an untrained eye, this may well look like a random assembly of rubber bands in your top de
14、sk drawer).This is a trend that connects directly to directions from previous yearsNatural Spirals and Cave Rings, specifically. This is chaos and geometry coming together.These linking rings tend to express the concept of a collective of product, employees, companies, or divisions that work togethe
15、r as a larger whole. They may appear to have varying degrees of autonomy or flexibility based on the tightness or shape of their configurations. Color is generally the marker that defines individuality, but it also helps us grasp the concept of the whole being greater than the sum of the parts.1.Des
16、ign Firm: Koch Creative Group Client: MBM Study 5 2.Design Firm: Substrate Client: Zilo 3.Design Firm: Grafikonline Client: Guba 4.Design Firm: Enterprise IG Client: InvistaRadianceNot since the introduction of day-glow ink has there been this kind of illumination in the design industry. The brillia
17、nce of light is pervasive, and it seems to have found new ways to manifest itself. Radiance comes from the sun, but it is also beaming from water, pearls, books, and even the X-Box in an alien sort of way. The diversity of application ranges broadly from transparent overlays, gradients, and reflecti
18、ons, to lens flares, and animation.These marks have a certain warmth that conveys comfort not to dissimilar from the light at the end of the tunnel. This glow may become more prevalent as we try to convey optimism, purity, warmth or escape. But the fallback position for this much wattage is still a
19、guiding light or source of knowledge.1.Design Firm: Cato Purnell Partners Client: Skywest Airlines 2.Design Firm: Gardner Design Client: The Center 3.Design Firm: LandDesign Client: Sunhaven 4.Design Firm: Siegel+Gale Client: SunTrustEco SmartThe loudest drum for the corporate world to stay in step
20、with continues to be sustainability. In one form or another, our ecological welfare has been the crux of a trend in every report LogoLounge has released. The fact that we are still reporting its influence is not an agenda but is testament to the sustainability of sustainability.These Eco Smart ident
21、ities are simply getting smarter. Trees and leaves are still there, but the application has taken a more intelligent approach. It could be that some prior adopters of green identities were merely giving lip service to the cause. Its not just about adopting the color green. These logos are blended wi
22、th an application and an ethos, more sensitive to the environment. The marks have grown up and seem to be telling stories with a softer voice, not with a piercing shrill.1.Design Firm: Gardner Design Client: Dandurand 2.Design Firm: Ulrichpinciotti Design Group Client: Resources for Healthy Living 3
23、.Design Firm: Eggnerd Client: Greenhill Academy 4.Design Firm: Steves Portfolio Client: Small PlanetLitDesigners continue to play havoc with the remnants of the rules set forth years ago for logo design. Production limitations are no longer relevant as marks vault into CMYK. In addition, many design
24、ers and clients have figured out that they will never, ever print their logos in the Yellow Pages so producing at least one version that is 2-D and one-color is not necessary at all.Over the last several years, weve seen logos crystal capped, light pinged, and puffed up like a silicone implant. The
25、concept is simple: Create a degree of reality that allows an image to lift off of the page. This dimensionality lets the logo play on a different field than the world of flat one- and two-tone marks. Not subtle, but effective.Now enters subtlety via the well-lit logo. Actors have been told for ions
26、to step into the lights, and now logos are doing the same. Its little more than intelligent stage craft. These logos are not necessarily dimensional; in fact, most are relatively unassuming. The primary difference is the illusion of good lighting. Its an understated effect that pays off well in capt
27、uring the consumers eye.1.Design Firm: Zed+Zed+Eye Creative Communications Client: Ebert Pool Construction 2.Design Firm: FutureBrand Client: Pure Tasmania 3.Design Firm: Sebastiany Branding Client: Caf ao Lar 4.Design Firm: Cato Purnell Partners Client: Flower Factory Pseudo CrestMix a little nose-
28、in-the-air, overly stodgy, family coat of arms with a sharp tongue-in-the-cheek, Napoleon Dynamite liger, and you have something that approximates a Pseudo Crest. These are fun, and packed with detail that sticks it to the man at every opportunity. For the high school and college market, Jason Schul
29、tes firm, Office, built a best-of-class brand for Target with the Independent Studies line.At first glance, most of these look like theyve been lifted from a heraldry 101 style book, until you scrutinize the composition elements. Only at this point are you likely to see wrenches, guitars, penguins,
30、shoes, cell phones and anything else youd never expect to find in Camelot. This is a youth anthem; and designers have identified this as a source language for fashion culture and the music industry. In fact, this is a modern trend you will see everywhere, despite its roots in heraldry and even other
31、 intricate patterning like Victorian wallpaper.1.Design Firm: Office Client: Independent Studies/Target 2.Design Firm: Reaves Design Client: JCPenny Nation 3.Design Firm: Miles Design Client: 12 Gauge Wakeskates 4.Design Firm: Launchpad Creative Client: Astonish Entertainment Urban VinylCharlie the
32、Tuna and the Jolly Green Giant, these are not. Advertising characters have danced the line between logos and mascot for years. Even the Cingular Jack was a bit of a hybrid with a personality that animation played out beyond the printed page. Urban vinyl is a subculture that is starting to cross over
33、 into logo design. These small vinyl characters are ubiquitous shelf clutter, enshrined in nearly every designers desk collection.First made popular in Hong Kong by Michael Lau in the 90s, these imaginative imps have become highly collectable and have entire stores, KidRobot and magazines, Super 7,
34、dedicated to their notoriety. The art of Tim Biskup may start on canvas but it soon translates to designer vinyl characters. Usually they can be as mundane as fire breathers to as outlandish as slimy cyclops ghost aliens. Though not a serious influence on Fortune 500 identities, urban vinyl has its
35、place in pop culture, and that has translated to two-dimensional applications in logo design.1.Design Firm: San Markos Client: webpublica 2.Design Firm: Innfusion Studios Client: Innfusor 3.Design Firm: Glitschka Studios Client: Fire Squad 4.Design Firm: Tactix Creative Client: CyclopsHubsLast year,
36、 Apurba Sen from India contacted LogoLounge after he had taken a few hundred Web 2.0 logos and arranged them based on the trends recognized in LogoLounge reports over the last 3 years. It was an interesting experiment and served to confirm several of our previous categories. But one abundant group o
37、f these logos that found no harbor with previous trends was the Hub. These logos have a central element that serves as the core with many satellite elements, often orbiting symmetrically.These logos could serve as the model of a communication structure for any online community. There is a central hu
38、b that serves as the dissemination point for information. Without the hub, the satellites lose their ability to make contact with the other members of the group. So whether these logos are for a communication tool or not, the distribution from a central point is usually key to the concept. The other
39、 aspect of this technique is many elements coming together for a greater common good. As prolific a theme as this has become, designers continue to build unique visual concepts.1.Design Firm: Selikoff+Co Client: Pomology 2.Design Firm: Starlight Studio Client: RM Custom Creations 3. Design Firm: Bre
40、nt Leland Design Client: Haciendo 4. Design Firm: Demasi Jones Client: Fibre Optic Australia Descending DotsOnce youve started looking for this concept, you will see it everywhereincluding in other categories within this report. With very few exceptions, these logos are made out of a series of dots
41、either ascending or descending in scale consecutively. Most of these logos depict motion to help advance their message. Imagine using this language as a shorthand for static animation. Its basically the Eadweard Muybridge stop-motion freeze-frames-turned-logo, except each earlier frame is a bit dimm
42、er or smaller than the next.As we feel more compelled to explain motion-related concepts in a unique fashion, we will discover new visual language that will help us achieve this. In previous reports, we discussed the use of less traditional techniques to define motion, including, Blur, Dot Fuzz, and
43、 Blow out. Descending Dots rely on vector edge graphics to achieve their effect, much as Robert Miles Runyon used stripes to help define his Stars in Motion for the 1984 Los Angeles Olympics. The fallout of this era was a decade or more of logos that, by virtue of their sweeping stripes, all declare
44、d loudly, I am moving.1.Design Firm: Ardoise Design Client: Raymond Engineering 2.Design Firm: Aron Creative Client: Springboard 3. Design Firm: Glitschka Studios Client: Windows Gaming 4. Design Firm: Brand Bird Client: Arbys Franchise AssociationFloraLets just make the assumption if you water a lo
45、go and give it adequate sunlight, it will start to grow a rhythmic crop of vines, buds, blooms and other fantasies of a botanical nature. These may be further evolution of last years Embellish trend, or they could just be another subset of a larger trend. This would be a direction that uses borrowed
46、 remnants of a patterned, Victorian era to attach a delicate human quality to the hard outer shell of an other wise sterile logo. Detail of this nature is inherently engaging and asks the consumer to participate visually in a non-confrontational fashion.A number of designers have been responsible fo
47、r this tracery-like visual language, but the pioneering work of the Netherlandss Tord Boontje has probably gained the greatest notoriety. Tord was responsible for the delicate, and intricately diecut POP materials used for the 2006 Holiday presentation at Target. This layering of highly embellished
48、organic lace has influenced identity design, especially in retail application.1.Design Firm: Shift Design Client: Charme 2.Design Firm: Doug Beatty Client: Art for Aid 3.Design Firm: Gardner Design Client: Holly Root Massage 4. Design Firm: Entermotion Design Studio Client: Marshmallow KissesHalfAn
49、optimistic outlook will assure us these logos are half full. Engaging the public to participate with the identity has always been a strong method of building a tie to a logo. That aha! moment, when clever information assimilates and comes into focus, is the moment we take ownership in an entity. The secret here is not to bury the punch line so deeply that the consumer never gets to it. Here, the missing half of a visual element tells the story.Where is th
