Psychedelic Pop Backgrounds  迷幻 流行 背景
A myriad of colours and shapes burst into the scene even if design classes still promote a decrease in complexity in favour of concept and essence. Again, this new development led to a no-holds barred position, putting everything out in the open, concealing nothing.
Every technological revolution inevitably gives birth to a romantic counter culture. But mixing these two by using 1960s psychedelic patterns as backgrounds for contemporary shapes is as postmodern as it can be.
What do the backgrounds whisper to us? You have a message in two parts: part 60’s psychedelic, part Optical Art. The use of layering reveals Photoshop taking the vector lane. This approach is fueled by mood and emotion.
Psychedelic pop backgrounds are reminiscent of the flower power era, but they go beyond an ultra-modern, non-orthodox mindset. They are unpretentious and democratic. There is no arrogance, no snobbery.
A good majority of this year’s trends do not translate well in print. Innovations in technology and the adoption of a variety of tools have made black and white printing no longer mandatory. Some clients are aware that when they choose a particular trend, they are potentially removing their logo’s significant meaning and nibbling away at their appearance when transformed into black and white or when the logo is faxed. What do they get? They get powerful and colorful striking images in 90% of the other media.

这些背景在跟我们耳语些什么?您得到的答案包含两个部分:60年代的迷幻,和光学艺术。使用分层技术的Photoshop取代了矢量图。 这种做法受到情绪和情感的辅佐。
迷幻流行背景会让人联想到那些如花般的权力时代,但他们超越了超现代的、非正统的心态。 他们是谦逊和民主的。是没有傲慢的,不势利的。
这些年的趋势中很多都是对于付诸印刷并不友好。技术的创新和各种工具的采用,使得黑白印刷不再是强制性的。有些客户知道,当他们选择某种特定的趋势,他们的标志在被转换成黑白色或者传真的时候可能丢失一些重要的意义。而他们得到什么?他们得到了功能强大且多姿多彩的突出图像的90 %以上的其他媒体。

Origami  折纸艺术
The desire to go back to basics is mirrored in the Origami theme; designers used it to display their skills.
An increasing number of designers wish they have real objects to work with when executing on their projects. The art of origami is fragile, light and subtle and the digital process is the same. It closely resembles minimal geometrical forms discussed earlier but constitutes more of a sub-trend.
Origami, however, evolved as a trend in its own way, because it was a process that appealed to a broader range of designers. The trend won’t last too long, for the simple reason that the results are a bit too similar.
The advantage of this trend lies in the process. Designers need experience to get some of the process segments correctly. In spite of their clarity and simplicity, the logos will make the designer’s presence predominant. Origami-based logos are a good choice for corporate monograms.
This trend brings back to mind the expression, "small but beautiful". Origami is the Japanese art of folding paper, but the goal is to use small folds and creases to bring about delicate and intricate objects. This can be a challenge for logo designers and this is why they put in much time and effort to come up with a logo that respects the objective of using small amounts to produce intricacy; this is why despite meager strokes, the designer’s presence is strongly felt.
但是,折纸艺术,以自己的方式确实成为了一个发展趋势。因为它正被设计师所更广泛呼吁。 这一趋势不会持续太久,正如它简单的原因那样,结果有会类似。
这一趋势的优点在于过程,设计师可以在过程中体会到细节。鉴于他们的清晰性和简洁性,设计师将使得标志展现的更加突出准确。 折纸形式对于字母组合型的企业标志是一个不错的选择。
这种趋势重新让我们回想起“小但是很美” 。折纸是一种折叠纸的古老中国艺术,目标是使用小褶皱和折痕来表现微妙和复杂的对象。这对于标志设计师来说可能是一个挑战,这就是为什么他们花费了许多时间和精力设计一个能够体现使用少量表现复杂的标志;这也是为什么即使有一些微弱的褶皱,依然能够是强烈地感受到设计师的存在。

Tactile Logos 触感标志
What sensations are triggered when you see letter installations crafted out of a variety of materials and then photographed? Does "cool" come to mind? How about "sensual"? Tactile means relating to touch or invoking the sense of touch. But tactile does not have to translate into tactless. What can’t be absorbed by touch – texture – must be compensated for by the visual.
Logo designers who like to experiment with tactile logos want to change common textures in the real world. They may work well with their preferred software, but they also have no problem with the traditional tasks of cutting, painting and pasting. Actually it does take some smart maneuvers to make tactile logos influence viewers at more than the "touch" level. The texture and quality have to transcend the feeling of touch.
The process is a huge challenge even for the most experienced graphic designers. Creating type from real materials is a unique experience. The possibilities are endless. Designers feel they are walking on almost virgin ground and every creation looks like a significant breakthrough. Type installations are supposed to create a special mood and atmosphere. The results evoque craftmanship and tangibility not often seen in logo or type design.
How designers cleverly manipulate this tangible aspect so that it makes sense to even the untrained eye is pure talent. Tactile logos never cease to stimulate logo designers; these are the very type of logos that force them to retreat into the inner sanctums of their mind, translating what resides mentally into concrete strokes, regardless of whether these strokes are on metal, paper or on other types of materials.
当你看见字母或者图案从它在的介质中跃然而出是,你的第一感觉是什么?是不是会觉得很“酷”呢?会不会觉得很“感性”。触觉感就是要唤起你触摸时的感受。但触觉感并不代表这不得体。 如果在触觉上无法吸引,比如纹理,必须在视觉上得到补偿。

Arabesque 阿拉伯风
Designing a corporate identity using a beautiful tool like Arabic calligraphy may seem straightforward enough, but wait until you get to the execution process and you’ll discover that it is a tricky undertaking. Why? Because this style inevitably requires heavy doses of gut instincts tempered with beauty. The designer has to make his logo echo the beautiful soul of the Middle East. The Arabesque is synonymous to majestic strokes that have to be delicately adapted to the desired corporate image.
This trend goes hand in hand with the revival of the figurative pattern that designers and non-designers have observed in the last few years: complex patterns forming perfect illustrations that express passion both on print and digital format. These beautiful creations come straight from the Middle East, but American and European designers are quickly catching up. The Arabesque solution is the answer to a designer’s desire for uniqueness. The harmonious blend of ancient calligraphy and modern sans serif fonts works like a charm. What do you get? A surprisingly modern object with mass appeal; mass appeal that is far from cheap.
Logo designers who use the Arabesque style often have to be sensitive to one of the defining characteristics of Arab calligraphy: thick downstrokes and thin upstrokes with in-between gradations. There must be a fluid transition that communicates the designer’s hand. No wonder then that Arabic calligraphy is considered a true art form. This means only one thing: there is no place for sloppiness and shoddiness, but there is plenty of room for harmony and connection.
使用阿拉伯风的标志设计者对于一个阿拉伯书法的特征必须很敏感:那就是厚的上行和薄的下行以及介于两者之间的层次。设计师的手必须传达一种流动的过渡。难怪阿拉伯文书法被认为是一种真正的艺术形式。这只意味着一件事: 没有邋遢和混乱,只有和谐与联通。

Classic Modernism  经典现代主义
In 2008 classic modernism is back in style, considered by many as a foolproof method, the "safe" way to create logo design. 2009 will take us back to its most genuine forms where everything is somber and calculated, white space is cleverly used, and everything looks like it was done with ancient methods – like the computer was never invented.
In classic modernism, we have fundamental shapes, sharp contrasts, the smart use of white space and form following function (in an era where form tends to follow passion).
The focus of modernist logos is on the essential, where the concept and the execution of that concept are first and foremost the guiding principle. It can be diluted, no doubt, but the beauty of it is there is plenty of room for interpretation. The colors and shapes are minimal and strong. Transparency and photoshop weren’t invented yet. These marks transmit a sense of trust, security and pragmatism and are accomplished with minimal resources. This is the designer’s way of drawing attention to himself when everyone else in the design community is promoting a "shout it out loud" attitude.
What’s surprising is that the absolute simplicity of this style is embraced by the youngest generation of designers,and with good reason.
If you’re not sure how consumers will react to your logo identity, modernism offers you a historically proven safe channel, one that’s not fraught with conflicting messages, jarring colors and shapes.
在2008年经典现代主义风格又回来了,它被许多人认为是设计标志的一个最安全可靠的方法。 2009年将把我们带回它最原始的形式,一切都是严谨的和精心计算过的,空白空间被巧妙地使用,所有这些看起来都像是使用了古老的方法,似乎计算机从未发明过。
在经典现代主义中,我们掌握了基本形状,强烈的对比,聪明的留白以及形成体现功能(在某一个时代的形式体现激情) 。

Pictograms  象形图
Logo design must not only be an object or an image, a process or a mixture of colors and shapes, but also a problem-solving process.
We’re seeing a strong trend towards integrating meaningful icons, the kind of icons that encompass the essential values of the brand, its message and its market position – in condensed form. Pictograms are the backbone of non-verbal multicultural communication. As they were taught in college, classically-designed pictograms are the perfect vehicles for companies desiring to communicate the message of "Here I am" instead of "let me tell you about my company."
This trend became pronounced after web 2.0 logos faded away from the design arena. At that time, it was more important to pay attention to the glitter and shine – the background on which the icon was mounted, instead of putting emphasis on the icon itself.
Sometimes the purpose of pictograms is to convey basic community values.
Pictograms date back many years, but they became popular at a time when service industries like aviation, urban planning and public parks had to provide citizens with important and helpful information in a language that was universal. If logo designers made use of pictograms, they had to make sure that they were just as effective.
Visual cues are key in pictograms. The logo must project itself as a natural and clear message to audiences. It should not give the impression that one needs a visual detective to de-code its elements. Pictograms put less pressure on viewers when it comes to deciphering a message; nevertheless logo designers must not neglect the aspects of aesthetics, originality and timelessness.
我们看到了一种强烈集成的、有意义的小图标的趋势。这些图标以简明的形式围绕着品牌的核心价值,信息和市场定位。象形图是非语言的多元文化沟通的骨干。正如在大学中所教的那样,经典设计的象形图对于希望传达 “我就是这样”而不是“让我告诉你我的公司。 ”讯息的公司来说,是完美的工具。
Web 2.0标志淡出设计舞台后,这种趋势变的明显起来。在这个时候,更重要的是要注意图标所在的背景,而不是把重点放在该图标本身。

80’s Geometry Lesson  80年代的几何课
If there is one big no-no in graphic design, it is using complex geometrical shapes with a full color spectrum to create a logo.
As to whether the capability to fax a logo is good or bad does not matter. This argument could persist through the years but one thing is certain: this complex geometry will be here for awhile.
When this 80s trend first came out, it was a way of capturing the consumer’s attention. The purpose was to design something completely different, regardless of costs.
Designers will not spare any effort; they will use their turbo-charged Macs to prove that in today’s over-saturated market, they have carte-blanche to attract the attention of consumers.
For years, monster-like geometrical logos have been used by aggressive and self-centered companies to shout, instead of politely introduce, their industry presence. These abominable images made their appearance a few years ago and the perception at that time was they were nothing but child’s play and hence not to be taken seriously. But observant designers and brand developers began to recognize their worth and started using them.
There’s a certain irony about using a full color spectrum for these creations. The 1980s geometrical logos have come back in full force to contradict minimalism, under-design, and common sense simplicity. There’s also irony in the fact that it’s not the emergence of a 2008 high-tech 3D geometrical design observed last year; rather it’s the geometry of that ever-popular Rubik cube!
There’s a chance of course that this may not thrive and be adopted widely. Maybe they’ll make a splash here and there to remind people that a hint of visual pollution and the inclusion of non-essentials could be an effective way of getting the message across. They may lack some conceptual beauty but you have to agree – they are fine-tuned, visually stable, and very difficult to reproduce.
这些作品使用全彩色光谱确实有点反常。20世纪80年代的几何图案标志的回归正在全力反击极简主义,under-design,和简单常识。 同样反常的是,去年并没有观察到2008年高科技三维几何设计的出现,取而代之的是广受欢迎的魔方体几何图形!
这是一个机会但是当然这可能不会蓬勃发展并被广泛采用。 也许他们会引起轰动,或者给人们以视觉污染的暗示,加入非必需品可能是一种有效的方式去传递讯息。他们可能缺乏一些概念性的美感,但你不能否认的是-他们是和谐的,视感稳定的,很难复制的。

Typographic Logos  印刷体标志
Somber and solemn? Yes. Trendy? No.
Typographic logos will never fade from the designer’s sphere of vision because they deliver not only simplicity but also attractiveness – a sort of silent elegance. The powerful component of type, when used as an ornament, is highly visible.
Designing a typographic logo means combining the essence of corporate identity and the company’s mission statement which have to be communicated through type only. This is not a task obviously for a debutant logo designer because a delicate balance must be achieved between corporate philosophies and the manner of projecting them with the appropriate type treatment.
No doubt there are thousands of fonts offered to designers, but a good designer will not succumb to the temptation of using pre-established fonts. The professional logo designer works from scratch, the way a patissier creates his ultimate signature mille-feuille.
Even modifying a pre-made font is not an option. This is the niche that typography enthusiasts guard with fervor. Typographic logos will consistently demonstrate manners, culture, and purity. The type selected must have the quality of adaptability, particularly when numerous applications are envisioned for the logo. Sadly, the best marks become adulterated when typographic support is not managed with skill and talent, and the rest of the graphic elements tumble down in quality.

Street Art  街头艺术
When you hear the words "street art" handmade graphics come to mind. Talented illustrators with street art backgrounds have artfully changed the wall painting spray with the Illustrator bezier tool.
Many people think of street art as a breath of fresh air – a welcome relief from digital computer art.
Street art logos have always been around. Indications are that they will be for a long time. They are the preferred medium for producers of extreme sports and manufacturers of sports gear and clothing. When abstracts are on the decline, but people still expect a nice story from logos, street art will regain its popularity. When designers want to create something original, they may opt for some of the trendy street art seen in recent years.
Street art speaks for the souls of designers: there may be hints of urbanism and perhaps a speck of subversion and activism.
When bold and bright street art is reflected in logo design, just let your mind travel across geographical locations: from the East Side gallery of Berlin, to the diversity of Melbourne and to the murals of Sao Paulo, Brazil, you’ll discover that logos with street art are reminiscent of a place and time that have made a distinct impression on the beholder.
许多人认为街头艺术是一股新鲜空气-是受欢迎的从电脑艺术的回归 。

Puzzle Patterns  迷宫模式
When people exclaim, "the world’s gone mad!" we think that logos have also followed suit. The proliferation of brands and the thousands more that emerge everyday make it clear that their visual impact has diminished.
How does one compensate for this diminished visual impact?
One way is for brand designers to tread into uncharted territories, going to places they never dreamed would be possible. What seemed like mission impossible two years ago is now de rigueur.
These Puzzle Patterns must evoke entire sagas instead of reducing elements to the essence of the brand. Most patterns highlight nature, and bringing nature to the screen is a recurring trend for as long as logos are designed on machines, away from nature itself.
Instead of going into the elemental essence of a brand, designers are using complex vector graphics to intentionally veer away from the rules. Their mantra these days is, "design has no rules." There is an undisciplined but skilful interplay of type, patterns and images. Restraint is out of the question. Anything goes with these puzzles: animals, letters, plants, insignias or random geometric forms are given full rein. No one’s worried about meaning, because this unrestrained m?lange caters to a purpose that is strictly decorative.
At present, Puzzle Patterns are the ultimate anti-corporate battle. Don’t be surprised however if in the years to come, big corporations going through a face lift will decide that they definitely need something DIFFERENT and hence will go with this trend.
当人们惊呼, “世界已经疯了!”的时候,我们认为,标志也在如此。每天数以千计涌现的品牌都清楚地表明,他们的视觉冲击力已大为下降。
一个办法就是品牌设计师踏入未知的领域,去那些他们做梦也没有想到的地方。这在两年前似乎不可能完成的任务现在是很平常的了 。
与以往深入品牌本质不同,设计师使用复杂的矢量图故意远离规则。现在他们的口头禅是: “设计无规则。 ”在这里不用遵守纪律,但凭技巧高超运用的字体,模式和图像的相互结合。克制是不可能的。任何东西都围着这些迷宫转:动物,字母,植物,徽章或随机几何形式得到充分发挥。没有人担心意义,因为这自由的风格只为迎合严格的装饰性目的。