【文章內(nèi)容簡(jiǎn)介】 m several of our previous categories. But one abundant group of 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 munication structure for any online munity. There is a central hub 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 munication tool or not, the distribution from a central point is usually key to the concept. The other aspect of this technique is many elements ing together for a greater mon good. As prolific a theme as this has bee, designers continue to build unique visual concepts. Firm: Selikoff+Co Client: Pomology Firm: Starlight Studio Client: RM Custom Creations 3. Design Firm: Brent Leland Design Client: Haciendo 4. Design Firm: Demasi Jones Client: Fibre Optic Australia Descending Dots Once you39。ve started looking for this concept, you will see it everywhere–including in other categories within this report. With very few exceptions, these logos are made out of a series of dots 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. It39。s basically the Eadweard Muybridge stopmotion freezeframesturnedlogo, except each earlier frame is a bit dimmer or smaller than the next. As we feel more pelled to explain motionrelated 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 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 7 declared loudly, I am moving. Firm: Ardoise Design Client: Raymond Engineering Firm: Aron Creative Client: Springboard 3. Design Firm: Glitschka Studios Client: Windows Gaming 4. Design Firm: Brand Bird Client: Arby39。s Franchise Association Flora Let39。s just make the assumption if you water a logo 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 year39。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 Tord Boontje has probably gained the greatest notoriety. Tord was responsible for the delicate, and intricately diecut POP materials 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。 Company Client: 3. Design Firm: Meme Design Client: Edge 4. Design Firm: Miles Design Client: Urban Forward Overlap In some respects, this is an evolution of last year237。s Overlay trend and a definite continuation of the strong transparency genre in logo design. While still relying on relatively flat color overlay–like so many layers of colored lighting gels–this direction is more concerned with linkage. These logos describe sets and subsets as an analogy for the literal connections within a corporation. Remember that transparency is a strong buzzword in the corporate world: The need to be fiscally and otherwise transparent to the public,