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楼主| 发表于 2012-5-2 15:26:00 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:50 编辑

We'll start this trends report—LogoLounge's 10th annual

missive—with an admonishment that is repeated each year:

If you're searching for how-to information,

please stop reading now.

In addition, if you anticipate your reaction to reviewing these trends is to dismiss every one of them as yesterday's news,
you also may as well walk away right now.

There's plenty to be learned here, but you need to be looking for the right thing. After a decade of studying logos from around the world—32,000
alone for this report—I can say with absolute confidence that the true benefit of studying logo design trends is that they invariably identify
trajectories. Once you can see the path a trend starts to take, once you can see its arc and velocity, it's very possible for you to know where to
take it next. You get to steer. You can find your own forward direction.

How To Identify a Trend
As I review logos that are entered onto the LogoLounge site, three distinct categories start to emerge. The first and largest category is replete
with trends that already have reached saturation. They may be well-rendered and serve their clients very well. Any would have been excellent
candidates for trend reports in past years, but they just don't move our field forward.
Leaders in the "done to death" category for this year include designs that include birds, dinosaurs, monsters, people as trees, transparent flip
books (actually, flipping or stacked see-through pages of any kind), transparent lotus blossoms, fruit, and X's (this final tribe where two crossed
arrows or lines have words or icons in each of the four quadrants is so overdone that designers themselves have begun to parody it).

Another category is on the opposite side of the universe. Here, you might see two and maybe three logos that indicate a brewing trend with
promise. But there's no critical mass here yet, and certainly no guarantees that these will eventually grow into something bigger.

标志网站LogoLounge近日发布了《2012年标志设计趋势报告》，在今年的趋势报告中，标志设计呈现出“多彩、多维、多元”的整体倾向。

此外，如果您预计检讨这些趋势的反应是解雇他们每个人都为昨天的新闻，你也可能以及步行路程现在。
可以在这里学到很多，但你需要寻找正确的事情。经过十年研究这份报告，我可以说有绝对的信心，标志设计趋势研究的真正的好处是，他们都不约而同地确定
轨迹，来自世界32，000单左右的标志。一旦你可以看到一种趋势开始采取的路径，一旦你可以看到它的弧线和速度，这很可能让你知道下。你引导。你可以
找到自己的前进方向。

如何确定一个趋势

正如我检讨到输入的LogoLounge网站的标志，三个不同的类别开始出现。最早，规模最大的类别是充满了，已经达到饱和的趋势。他们可能会呈现，并为他们的
客户服务非常好。的任何一个优秀的候选人在过去几年的趋势报告，但他们就是不动我们的领域前进。

“做死”的类别，今年的领导人，包括设计，包括鸟类，恐龙，怪物，树木的人，透明翻盖书籍（实际上，翻转或堆放看到通过任何形式的网页），透明的荷花
盛开，水果，和X的（这最后的部落，其中两个交叉的箭头或线中的四个象限中的每个单词或图标是如此过头，设计师本身也开始模仿它）。

另一类是对宇宙的对面。在这里，你可能会看到两个，两种可能三个标志，表明酝酿趋势与承诺。但是，这里没有临界质量，当然也没有保证，这些最终会发展成
更大的东西。

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楼主| 发表于 2012-5-2 15:31:27 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:33 编辑

Some Examples From This Year's Study
Twixt – These contain odd little interlinks between points that suggest connectivity.

Angle bombs – These contain highly angled geometric shapes, oftentimes triangles, and are usually chaotic and without symmetry, like an explosion of sharp pieces from a central explosion.

Leaf amalgams – Leaves used to build cars, people, other leaves, whatever.

Copy – These designs use minute words as a graphic component, but the words could never be read. It is texture, not text.

Penumbra – Think of a halo of layered and colored light circles that are not quite centered on each other.

Monoliths – Squares or rectangles that are in perspective and that appear to be drifting.
The third category reveals the solid trends for the year. Within these groups, ten to twelve logos will emerge as either completely new in direction or as having successfully grown out of a previously
existing trend. A dozen logos may seem like a small sampling, but time has proven this method works with uncanny accuracy. These pioneers set the course for what is to come.

An interesting fact about these emergent directions: They come from anywhere and everywhere. When we started this report, it wasn't too hard to spot a Minneapolis "look," to name one example.
Good samples might be emerging from that city, or there could be imitators doing the same basic look elsewhere. That is not the truth anymore: The internet's global visual community can cause the
very same idea to pop up in very different places simultaneously, quite unrelated to each other.
Other Design Drivers

What is it?
There has begun to be a real sense of confusion about the cognizant differences between logos, favicons, app buttons, and icons. For instance, if you show most consumers the Google favicon, they
will identify it as Google's logo. This is not technically correct, but emotionally it certainly seems to be.
Even designers are letting that line blur. More than ever before, we create families of icons and symbols for use on electronic devices. More and more, we must design to fit the shape of a logo/icon/favicon
into a tiny, round-cornered square. Detail is necessarily lost. Function is completely driving form.

Return of the classics
Monograms are coming back. Initials are being reworked and recombined. Some are classic, some are contemporary.

A clearer choice
There is so much use of transparency in logo design today that color choices, by necessity, are becoming lighter. Where areas of a design overlap, the new resulting color needs to be readable, not just mud.
As a result, color values have been cranked back.

Me too
Dribbble and other portfolio sites are great tools but a proliferation of look-alike styles tend to flatten out (and devalue) illustration. As designers' involvement in icon design grows, the influence of illustration
on designers grows. So style saturation has also started to affect logo design as well.

Mirror, mirror
A more positive affect of the tightened relationship between logo design and illustration: When unique styles emerge in one field, they quickly bounce to the other.

The 2012 Trend Report
At this writing, there are nearly 175,000 logos on the LogoLounge site. Each design represents hundreds if not thousands of hours of thought and struggle on behalf of designers around the world. It's
testament to their dedication that we're able to create these reports. So thank you to all of the designers who have contributed to the Trend Reports over the past decade.

从今年的研究的一些例子

变成往返 - 这些包含奇怪的小点与点之间，建议连接互连。
角炸弹 - 这些含有高角度的几何形状，常常三角形，通常是混乱和不匀称，像一个从中央爆炸的尖锐碎片的爆炸，。
叶汞合金 - 叶片，用于造车人，其他的叶子，不管。

副本 - 这些设计使用图形组件分钟的话，但绝不能读的话。它是质地，而不是文本。

半影 - 想想分层和彩色光圈不太互相中心的光环。

石柱 - 正方形或长方形，在角度，似乎可以漂流。

第三类是揭示了今年固体趋势。在这些群体中，十至十二标识将出现要么完全新的方向，或成功地种植了原有的趋势。十几标志可能看起来像一个小样本，但时间已经证明这种方法具有不可思议的准确性。这些
先驱者是什么来设置课程。
一个有趣的事实：这些新兴的方向，他们来自任何地方。当我们开始这个报告，这是不是太难发现明尼阿波利斯市“的样子，”来命名的一个例子。良好的样品可能会出现，从城市，或有可能是模仿其他地方做同样
的基本外观。这是不是事实了：全球互联网的视觉社区可以导致同样的想法非常不同的地方弹出的同时，彼此相当无关。
其他设计驱动程序

这是什么？
目前已开始成为一个真正意义上的标志的话，favicons，应用程序按钮和图标之间的认识差异的混乱。例如，如果谷歌的favicon显示大多数消费者，他们将确定它作为谷歌的标志。这不是技术上是正确的，但感情上，它肯定似乎是。
即使是设计师让该行模糊。我们比以往任何时候，建立在电子设备上使用的图标和符号的家庭。越来越多的，我们必须设计适合的一个标志/图标/的favicon到一个微小的，圆角方形的形状。细节不一定丢失。功能完全的驱动形式。

返回经典
印章回来。缩写改造和重组。一些经典的，有些是当代的。
一个更清晰的选择

有这么多的使用透明度，在今天的标志设计，色彩的选择，根据需要，成为更轻。凡设计重叠的领域，产生新的颜色必须是可读的，不只是泥。因此，颜色值已回到手摇。

我太
dribbble和其他投资组合的网站是伟大的工具，但的扩散极为相象风格趋向扁平化了（贬值）的画像。作为设计师参与图标设计的增长，说明对设计师的影响力增长。因此，风格饱和度也已开始影响到标志设计，以及。

镜子，镜子
收紧的标志设计和插图之间关系的一个更积极的影响：当独特的风格出现在一个领域，他们很快反弹的。

2012年趋势报告
在写这篇文章，有近175000上LogoLounge网站徽标。每个设计都代表了数百小时的思想斗争和代表世界各地的设计师，如果不是数以千计。这证明了他们的奉献精神，我们可以创建这些报告。所以，谢谢你，所有的人
在过去十年的趋势报告作出了贡献的设计师。

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楼主| 发表于 2012-5-2 15:34:30 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:59 编辑

2012标志趋势之一：符号集群（Icon Clusters）

Icon Clusters
Iconic symbols with a universal feel—such as the crosswalk man or the restroom lady—have long been a mainstay of graphic
language. They are very useful in their directness. Both icons and logos are used as a pictorial solution reduced to their bare
essence to convey a message, but there has always been a fine line between them in that icons are purposely anonymous
whereas logos could not be more personalized (or should be, at least).

But as symbols, icons are so ubiquitous that it's probably on natural that they would eventually start to jump the track from the
world of giving directions into the world of corporate representation. The question is: How do you send a message with an icon
that you are something much more?

The solution: Merge multiple icons together with transparent linkage. Bundling several messages into a single unit demonstrates
simplicity and clarity of image but also indicates the depth of a concept. This is managed in the same way you might express a
thought by linking several words into a phrase, except with this technique, designers are using icons as if spelling out a rebus.
AT&T uses this technique effectively as the visual centerpiece of its current Rethink Possible marketing campaign.

与圆锥人行横道人或淑女早已图形语言的中流砥柱厕所作为一个普遍的感觉，这种符号。他们是非常有用的，在他们的直接。图标和徽标是作为
一个图案的解决方案，减少他们裸露的本质传达一个信息，但一直存在他们之间的细线，在该图标是故意匿名而标志不能更加个性化的（或应该，至少）。

但作为符号，图标是无处不在，它可能是对自然，他们最终将开始跳的方向进入世界企业代表给世界的轨道。问题是：你怎么一个图标
发送一条消息，你的东西更？

解决方案：合并多个图标，透明的联动。捆绑成一个单一的单位数的消息表明简单和清晰的图像，但也表明了一个概念的深度。这是在
相同的方式，你可能会由几个单词连接成一个短语来表达思想，除了用这种方法，管理，设计人员使用的图标，如果拼写出1画谜。 AT＆T公司有效
地使用这项技术作为其目前的反思可能的市场营销活动的可视化的核心。

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楼主| 发表于 2012-5-2 15:36:06 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:59 编辑

2012标志趋势之二：透明叠加（Transparent Links ）

Transparent Links
Demonstrating strength in numbers by constructing a logo from multiple elements is a long-standing formula. Linking these
elements together in a transparent chain-like fashion is new, however. Whether elements are joined in a circle or a linear band
is irrelevant as the concept is the same: Diversity finds a common bond and creates synergy from a stronger union. Color is
used to demonstrate variety in these samples, and proof of connectivity is demonstrated by tonal shift where elements overlap.

Though nothing is new about the use of transparencies, the increasing use of this technique is now at critical mass. A sense
of lightness is prevalent with the use of clear, clean, pure chroma colors that sometimes produce a rainbow palette. These
signature colors are likely used as darker or desaturated tones will create muddy overlaps. It's hard not to gain an optimistic
perspective when you look at these bright solutions.

人多力量大示范建设，从多个元素的一个标志，是一个长期的公式。一起连接在一个透明的连锁时尚这些元素是新的，但是。元素是否加入了
一圈或线性带是无关紧要的概念是相同的：多样性发现一个共同的纽带，并创建一个更强有力的工会协同。颜色是用来证明这些样品中的多种
元素重叠的色调转变的证明，证明连接。

虽然没有什么新的有关使用透明胶片，现在越来越多地使用这种技术是在关键质量。轻盈感是普遍使用清晰，干净，纯洁，有时会产生彩虹调
色板色度的颜色。这些签名的颜色很可能作为较暗或不饱和的色调，将创建泥泞重叠。很难获得乐观的角度看，当你看这些明亮的解决方案。

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楼主| 发表于 2012-5-2 15:37:21 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 16:00 编辑

2012标志趋势之三：水彩（Watercolor）

Watercolor
Every year, there is at least one trend that does its best to build a bridge away from technology and back to the human touch. And
whether this is achieved with a red sable hair brush or a digital filter, the tactile essence of watercolor is marking its territory in this
year's trend set. More than just a textured background, this painting technique usually defines the logo's shape, form, and highlights
as well. Conveying moisture or a water origin is a common but not a mandate in these solutions.

CooperVision, the world's third largest contact lens manufacturer, recently launched its new identity, created by Siegel+Gale.
Design team members wanted to convey the duality of technology alongside the tactile and intimate experience of wearing
the lens. Siegel+Gale's Howard Belk notes, "We love the humanity it conveys, the purity of color it makes possible, and how
it comes alive in digital, illuminated environments."

每年，有至少有一个趋势，它的最好建一座桥，离技术和人情味。这是否是一个红色紫貂毛刷或一个数字滤波器，水彩的触觉本质取得
标志着其在今年的趋势，集境内。不仅仅是一个纹理背景，这幅画的技术通常定义标志的形状，形式，突出作为。输送水分或水的来源，
是一种常见的，但不是在这些解决方案的任务。

CooperVision，世界第三大隐形眼镜制造商，最近推出了其新的身份，由西格尔+烈风创建。想传达设计团队成员一起穿的镜头的触觉和
亲密的经验技术的二重性。西格尔+烈风的霍华德贝尔克指出，“我们爱它传达的人性，使色纯度，以及如何活在谈到数字，照明环境。”

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楼主| 发表于 2012-5-2 15:38:31 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 16:00 编辑

2012标志趋势之四：土豆片（Potato Chip）

Potato Chip
Anyone who has ever wolfed his way through a stack of Pringles chips can relate to this shape, better known to the
geometry world as a hyperbolic paraboloid. To categorize the appearance of this shape in the world of identity, we'll call it a
potato chip as the form of each instance tends to vary a bit, much like the chips in a bag. Flattened out, most of these shapes
would look like a circle or an ellipse, but with a gentle twist they occupy a unique three-dimensional space.

The shift to a greater use of surface gradient to define shape is critical to the success of these images: If viewed with just a flat
tone, they would appear as the twisted loop of an infinity sign. There is a certain tension that permeates these marks, as if
releasing torque would allow the shape to relax back into a flat disk. Flexibility and elasticity come to mind as defining attributes.
Being able to simultaneously show both sides of an otherwise two-dimensional shape brings forth even more conceptual opportunities
(as well as an excellent bar bet).

任何谁曾经狼吞虎咽通过他的品客薯片芯片堆栈的方式可以涉及到这种形状，更好地称为双曲抛物面几何世界。归类在世界的身份，这种形状的外观，我们
称之为马铃薯片，每个实例的形式往往改变了一下，就像在一个袋子芯片。夷为平地了，这些形状看起来像一个圆形或椭圆形，但与一个温柔的扭曲，他们
占据了独特的三维空间。

转移到更大的表面梯度定义形状使用这些图像的成功是至关重要的：如果只是一个平调看，他们会出现一个无穷大符号的扭曲循环。是有一定的张力，渗透
这些标志，如果释放扭矩将允许放宽到平盘形状。柔韧性和弹性来定义属性介意。能够同时显示双方另有两维形状带来了更概念性的机会（以及作为一个
优秀的酒吧赌注）。

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楼主| 发表于 2012-5-2 15:39:37 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 16:00 编辑

2012标志趋势之五：色彩浮雕（Anaglyphs）

Anaglyphs
Never have two colors carried such a universal set of directions. An offset red and cyan overprint sends the public scrambling for a set
of old-school 3-D glasses. This technique was originally developed by a Frenchman to create dimensional stereoscopic imagery in the
1850s. Today, modern iterations of this effect overprint divergent imagery and make one or the other visible depending on the color
of lens selected for viewing.

Messaging from these marks creates a dichotomy of choice. They are obvious enough that certainly no special glasses are required
to grasp the intent. This technique tells the viewer they may make the choice of this or that but not both. But they also convey that
the viewer is responsible for her own selection. Because this is a novel and interactive technique, it commands a response which
ensures a few additional milliseconds of attention while the consumer deciphers her options.

从来没有两种颜色进行这样的一套通用的方向。偏移的红色和青色套印发送市民争先恐后为3-D眼镜一套老学校。这种技术最初是由法国在19世纪
50年代创建的三维立体图像。今天，这种效果不同的图像套印现代迭代和一个或其他可见的，取决于观看的镜头选择的颜色。

从这些商标的消息，创建了一个选择的二分法。他们是很明显的，当然也没有特殊的眼镜都必须掌握的意图。这项技术告诉观众，他们可能会作出
这样或那样的选择，但不能同时。但他们也转达观众是她自己的选择负责。因为这是一种新的交互技术，它的命令响应，确保消费者的关注，一些额外
的毫秒解密她的选择。

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楼主| 发表于 2012-5-2 15:40:33 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 16:00 编辑

2012标志趋势之六：虚实结合（Selective Focus）

Selective Focus
Digital and technical advancements now allow almost anyone with a camera or the most basic apps and software to create
dramatic imagery through field of focus contortions. Layers of crispness in an image can become paper-thin with everything
else wracked by distortion or blur. Even items in the same focal plain can be selectively focused (or not) at will. No surprise to
see this effect translate to the field of identity design.

The subtle misty qualities of these logos can create an entrancing effect as the soft edges of the mark seem to vanish into the
surface. This technique gives a soft dream-like quality that engages the viewer by demanding a second look if for no other reason
than to confirm they are not going blind. This sharp versus fuzzy look is a perfect example of the design industry emulating
effects from other visual sectors of the consumer's life.

数字技术的进步，现在几乎允许任何人用相机或最基本的应用程序和软件创建生动的图片，通过重点扭曲的领域。脆层在图像失真或模糊
毁坏一切变得薄如纸。即使在同一个焦点平原的项目可以有选择地重点（或）意愿。没有惊喜地看到这种效果转化为形象设计领域。

这些标志的微妙蒙蒙素质可以创建一个令人着迷的效果，作为该商标的软边似乎消失到表面。这项技术使柔软梦幻般的质量要求第二次看，如果
没有其他原因，比对，确认他们不会盲目从事观众。这清晰与模糊的外观设计行业仿效其他视觉行业的影响消费者的生活是完美的例子。

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楼主| 发表于 2012-5-2 15:41:37 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 16:00 编辑

2012标志趋势之七：编织（Woven）

Woven
Certainly this is anything but new, and it's becoming even more pervasive in the last year. These are coarsely woven patches reminiscent
of a caned chair seat from another era or maybe micro-shots of an amazing wonder fabric. A sense of strength or an impenetrable bond
is created by the interlacing of warp and weft. The interlocking nature of this process can also indicate a union of elements that a ravel-proof.

The concept of taking separate components merging from divergent directions and blending them together to create greater strength is
one of an identity designer's oldest stories. This concept is carried to its visual extreme when the combining strands are a Technicolor
array of diversity. Curiously, this technique is rendered in a flat, two-dimensional manner as if constructed from ribbon. It will be no
surprise if this direction evolves forward with more dimensional strands.

当然，这是什么，但新的，而且它成为在去年更是深入人心。这些都让人联想到的罐装椅子座位从另一个时代或可能是一个惊人的奇迹面料
微型镜头的粗织的补丁。创建经纬交错感的强度或坚不可摧的债券。在这个过程中环环相扣的性质，也表明工会的元素，拉威尔的证明。

采取单独的组件，从不同的方向合并和融合在一起，以创造更大的力量的概念是一个标识设计师的最古老的故事。这个概念进行视觉极端时，
结合股的Technicolor阵列的多样性。奇怪的是，这种技术是在一个平面，二维的方式呈现，仿佛从带状构造。这将是毫不奇怪，如果这个方向
发展，更立体股。

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楼主| 发表于 2012-5-2 15:42:33 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:56 编辑

2012标志趋势之八：搓线（Twined）

Twined
There is something about these designs that is reminiscent of a skillfully tied beef tenderloin, all ready for roasting. Hopefully, it will
stay together once cooked, and then the string will be removed, but there is always the possibility it might unceremoniously unfurl
as soon as the binding is snipped.

The defining white channel between elements in these logos serves as both a connecting and a bisecting agent at the same time. The
randomness of their lines seems to generate just a touch of whimsy.

Circumnavigating lines give the appearance of three dimensions to most of these logos, whether rendered with flat color or gradations.
To break up monotony or to demonstrate diversity, some examples use a varied color palette to define the unique segments created
by the string. Generally, the deliberateness of the line placement keeps these one step away from a shape that has been scribbled on by a young child.

有这些设计是回忆1巧妙地绑牛柳，所有准备烧烤的东西。希望，它会在一起一次熟，然后该字符串将被删除，但始终存在的可能性，它可能会毫不客气地高举尽快绑定被剪断。

定义这些标志中的元素之间的白色通道，作为一个连接，并在相同的时间平分代理。其生产线的随机性，似乎只是一个生成触摸奇思妙想。

绕着线提供三个方面的外观大多数这些标志，无论是平坦的颜色或渐变呈现。打破了单调或展示的多样性，一些例子使用各种不同的颜色调色板定义
的字符串创建独特的分部。一般而言，蓄意行的位置，使这些只有一步之遥从形状已经由一个年轻的孩子潦草。

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楼主| 发表于 2012-5-2 15:43:53 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:57 编辑

2012标志趋势之九：发芽（Sprout）

Sprout
Sustainability oriented design is a perennial theme, and designers continue to grow new niches—this despite an impending sense that the
realm has been so heavily harvested that the soil is near barren. This solution is focused on the seminal moment of green birth,
that moment when a seed that has been planted first breaks its coating and a minute green leaf springs out of the ground.

A sprout is indicative of the beginning of a new cycle of life. The spiral nature of this growth is so wonderfully generic: It's hard to say
at this stage if the seed is birthing a flower, a tree, a crop, or a weed. It simply represents the green birth. It's a bit like looking at an egg
being cracked open by its baby resident and not being quite sure what is coming out. At that moment, it is promise enough of a new day.

面向可持续发展的设计是一种多年生的主题，设计师继续长出新的龛这个领域已大量收获，附近贫瘠土壤，尽管即将到来的意义。这个解决
方案是侧重于绿色出生开创性的时刻，那一刻时，已种植的第一颗种子打破其涂层和绿色一分钟掉在了地上板簧。

一个萌芽，是表明一个新的生命周期的开始。这一增长的螺旋性质是如此奇妙的通用：很难说在这个阶段，如果种子分娩一朵花，一棵树，一种
作物，或杂草。它只是代表了绿色的诞生。这是一个有点像看着一个鸡蛋被破解，其婴儿的居民，不十分清楚什么是未来的开放。在那一刻，它是新的一天有足够的承诺。

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楼主| 发表于 2012-5-2 15:44:46 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:58 编辑

2012标志趋势之十：揭皮（Peel）

Peel
2007 marked the graphic invasion of the peeling trompe l'oeil sticker. These graphic devices, usually referred to as violators,
held a revered spot in the packaging industry and usually held copy such as "new and improved" or "30% more detergent."
Often as simple as a laid-back shape on a round background, these designs gave the appearance of a sticker with poor adhesion.
Used on web interfaces and print, alike the proliferation of these violators reached saturation levels by 2010.

The old faux tactile effect, which had completely run its course, is reincarnated now as a reveal. The effect is incorporated into identities
set to unveil or expose an inner value or underlying trait. The rendered shadow implying that the peeling back of layers is occurring in
real time gives you an immediate peek behind the scenes. DC Comics uses a family of solutions, each pulling back the curtain on a graphic
representing a different super hero.

2007年剥离错“视画贴纸图形入侵。这些图形设备，通常指为违法，举行了在包装行业的崇敬的现货和通常举行的副本，如“新的和改进”或
“30％以上的洗涤剂。”往往作为一个圆形背景上悠闲的形状简单，这些设计了外观贴纸与附着力差。网络接口和打印使用，无论这些违规的
扩散，到2010年达到饱和程度。

旧的人造触觉效果，这已经完全自生自灭，现在是转世作为一种揭示。效果纳入推出或暴露的内在价值或基本特征的身份。这意味着层剥落回发生
在实时渲染的阴影，让你立即幕后偷看。 DC漫画使用的解决方案的家庭，每一个图形代表不同的超级英雄的窗帘拉了回来。

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楼主| 发表于 2012-5-2 15:45:17 | 显示全部楼层

本帖最后由三千院凪于 2012-5-2 15:58 编辑

2012标志趋势之十一：球形雕刻（Sphere Carving）

Sphere Carving
Imagine you were told to design a logo and then, for tools, you were given a wooden bead and a fine point Dremel. Some of these logos remind me of
intricate ivory puzzle orbs created in China. Here a sphere is meticulously carved away, creating a series of delicate, lace-like balls nested inside of each other.

It is the idea of taking an orb with obvious highlights and shadows and tooling out enough of the element to create a secondary level of meaning. This
might be a letterform or a shape indicative of a process or even a color treatment of the new surfaces to describe a corporate spirit.

Consumers already have a reference for the sphere and whether they imagine it to say "global" or "self-contained" or "precise," they understand the
message of the identity is created by what is not there as opposed to what has been added.

试想一下，告诉你设计一个标志，然后，工具，你被给予了木珠和精细点的Dremel。这些标志提醒我错综复杂的象牙之谜，在中国创建的球体。这里一个球
是精心雕琢了，创造了一系列细腻，花边状的球，对方内部嵌套。

这是一个明显的亮点和阴影ORB和工装出足够的元素，以创建一个二级意义的想法。这可能是一个信纸或指示的过程中，或形状甚至一个新的表面颜色来描述
一个企业的精神治疗。

消费者已经有一个球体的参考，无论他们想象它说，“全球”或“自足”或“精确”，他们了解什么是不存在，而不是已加入创建身份的消息。

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本帖最后由三千院凪于 2012-5-2 15:59 编辑

2012标志趋势之十二：图标程序（Apps）

Apps
Mobile devices and the visual language of apps may well have the single largest impact on how we design identity over the next decade. We are entering
a period where the lines of differentiation between logos, icons, symbols, favicons, and app buttons are completely blurred. These elements have always
been visual cousins, but the results of their inbreeding is creating some new strains of solutions that don't fit with conventional branding models.

Are these app buttons or are these logos? Designers are tasked with creating identities for entities that may only live in the virtual world. If a mark is to
primarily live on the menu of a mobile device, do you design a logo and place it on a button or is it best to integrate the two from inception? Is it
imperative to use the glossy reflective visual vernacular for a button, and if you do, is that effect part of the actual logo or does it just appear when the
mark is used for that purpose? Expect to see many more of these app logos appearing off-device in unnatural surroundings.

移动设备和应用程序的视觉语言，可能有上单一最大的影响，我们如何设计在未来十年的身份。我们正在进入一个完全模糊，标识，图标，符号的话，favicons，应用
程序按钮之间的分化线期间。这些元素一直是视觉的堂兄弟，但其近亲繁殖的结果是创造一些新的品种，与传统的品牌模式，不适合的解决方案。

这些应用程序的按钮，或者是这些标志？设计师的任务是创造可能只能活在虚拟世界中的实体的身份。如果商标是主要生活在移动设备的菜单，你设计一个徽标和上放置
一个按钮，或者是最好的整合从一开始的两个吗？这是必须使用一个按钮的光泽反射的视觉白话，如果这样做，是实际标识的影响部分或它刚出现时的成绩是用于这一目
的呢？希望看到这些应用程序的标志出现在非自然的环境设备。

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