【正文】 ials used for the 2021 Holiday presentation at Target. This layering of highly embellished anic lace has influenced identity design, especially in retail application. Firm: Shift Design Client: Charme Firm: Doug Beatty Client: Art for Aid Firm: Gardner Design Client: Holly Root Massage 4. Design Firm: Entermotion Design Studio Client: Marshmallow Kisses Half An 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 es 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 the other half and why? Has it been chopped off, is it just over the edge, or is it 8 submerging, or emerging? Simple word play or, in some events, image play allows the consumer to associate the product with an action. Cutting off part of an image can in some cases bee confrontational, however, and cutting a perfectly good number or letter in half is tantamount to heresy in some cases. Letters are sacred to consumers: Altering them is one thing, but removing their better half makes people look. Firm: Fresh Oil Client: Spats Logo Concept Firm: Thomas Manss amp。 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 intricate patterning like Victorian wallpaper. Firm: Office Client: Independent Studies/Target Firm: Reaves Design Client: JCPenny Nation Firm: Miles Design Client: 12 Gauge Wakeskates Firm: Launchpad Creative Client: Astonish Entertainment Urban Vinyl Charlie the 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 into logo design. These small vinyl characters are ubiquitous shelf clutter, enshrined in nearly every designer237。s little more than intelligent stage craft. These logos are not necessarily dimensional。 1 Logo design development We 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 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 3D logos that are designed to be in motion, never still or flat. These designs have pletely shaken the earthly bonds of CMYK and exist only in ethereal RGB: The old logo design rules just don39。ve seen logos crystal capped, light pinged, and puffed up like a silicone implant. The 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 twotone marks. Not subtle, but effective. Now enters subtlety via the welllit logo. Actors have been told for ions to step into the lights, and now logos are doing the same. It39。d never expect to find in Camelot. This is a youth anthem。s Embellish trend, or they could just be another subset of a larger trend. This would be a direction that uses borrowed 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 nonconfrontational fashion. A number of designers have been responsible for this tracerylike visual language, but the pioneering work of the Netherlands39。s time to purge. Fortunately, there are designers who have stepped in to offer CPR to this flagging icon. Many of the best logos that base themselves on the ribbon were created at the early end of this trend. There are still novel opportunities and unique application to be found with the ribbons, but they will be fewer and farther between. It will be interesting to see if the sustainability trend crosses paths with this trend. Then we39。過去的標(biāo)志設(shè)計規(guī)則已經(jīng)全然派不上用場。 同樣，你也會注意有些趨勢是跨界的。 橡皮圈 對于沒有經(jīng)過的訓(xùn)練的 眼睛來說， Invista, 這家全球纖維生意老大的標(biāo)志，簡直就像抽屜里幾個隨意擰在一起的幾個橡皮圈，然而，仔細(xì)看看，不難發(fā)現(xiàn)設(shè)計者的巧妙用心，象征著纖維的環(huán)，一分為二而又交織纏繞在一起，暗含著產(chǎn)品關(guān)聯(lián)和群策群力，配以外面的大環(huán)，揭示著該公司國際化的視野和作為。光芒萬丈本源自太陽，然而它也可以從水波、珍珠、書頁、甚至異化的 Xbox 中來。 14 還是那些樹和葉子，然而現(xiàn)在它們確有了更巧妙更廣闊的應(yīng)用和舞臺。 消逝的圓點(diǎn) 當(dāng)你開始詢問這種設(shè)計的概念，你會發(fā)現(xiàn)它無所不在 這份報告的其他類別中也有。 當(dāng)你 “ 哈 !原來如此 ”的時候，已經(jīng)不知不覺地上了勾了。雖不微妙，但是奏效。 重疊 在某種意義上來說，今年的重疊既是由去年的覆蓋趨勢演變而來，同時也是聲勢浩大的 “ 透明一派 ” 的直接延續(xù)。一旦標(biāo)志設(shè)計開始認(rèn)真的考慮三維的道路，就有一系列問題接踵而來：如果我把這個標(biāo)志旋轉(zhuǎn) 90 度，還是我的標(biāo)識嗎？如果我從一個模糊的角度向這個標(biāo)志慢慢推進(jìn)，看到的還是我的標(biāo)識嗎？如果我把標(biāo)志上的光去掉，還是原來的標(biāo)識嗎？ 而對于那些有意用三維標(biāo)志的公司來 說，挑戰(zhàn)在于，是否有合適的媒體來完整的展示這個標(biāo)志的各個角度。首字母做變幻處理是這種趨勢的常用手法。 此外，還有一些其他顯現(xiàn)出來的趨勢： 動畫：正如開頭指出的，這些標(biāo)志生來就是處于運(yùn)動中的，而不是先做出不動的，再讓它