1、2009 LOGO 设计趋势 (中英对照全)关键词： LOGO 趋势 设计 2009LOGO 设计趋势 (中英对照全)2008 年真是不平凡的一年， 现在终于尘垓落定，大家都翘首期盼着 2009 年的到来能有所不同。标志客网站也希望在这新的一年里和所有热爱标志设计的朋友一同进步。今天发现 2009 年的标志设计趋势一文已经在http:/ 放出，不过国内还没有翻译的。 所以我们有幸成为第一个翻译本文的网站。希望如果转载请注明出处: 标志客。 多谢大家。考虑到水平有限，决定保留原文做为参考，欢迎大家批评指正。To stand out and be refreshingly different at
2、 whatever cost -thatsthemessage were getting from todays logos.From an identitypoint ofview,web 2.0 logos failed miserably. Copycat websites may stillwork,butwhen it comes to identities, designers will have to rolluptheirsleeves and work much harder.从今天的标志设计中我们得到这样一个信息， 那就是为了脱颖而出与众不同，无论花费多少，都是值得的。如果
3、单从标识的角度来看，Web2.0 的标志无疑是一个失败。他们可能不会闹腾的太久。当然模仿性网站仍可能存在，但是当涉及到标识的问题，设计者将不得不卷起袖子付出更多的努力。Designers have become far more aware and sensitive todesignhistorymovements and styles than they were in previous years.Theyarediscovering ways to make logos reflect their roots.相比以往几年，设计师们已经变得越来越清楚和敏感的运用历史的轨迹和设计风格。他
4、们正在学会如何使标志反映其根源。Minimalism was a strong anchor for swooshes, sparkling littleballsandother accidental manifestations. But were witnessing a fadingoutofminimalism, and this weakness is paving the way forspectacularremixesto take over.在以往的标志设计中极简主义是各种表现形式强有力的支柱。但我们正在目睹它的淡出，而接管它的是繁复的混合主义。A particular s
5、tyle cant emerge and expect to stay atthetopindefinitely. Developments in logo design indicate that trendshaveashort lifespan, going through a “now-you-see-it-now-you-dont“kindofroller coaster.一个特定的风格不可能出现后期望它一直留在顶端。标志设计的发展趋势表明，任何一个趋势总是寿命很短，经历一个“来了，过去”类似于过山车似的情景。New trends emerge only to be contradi
6、cted by others that go the opposite direction.新的趋势的涌现总是与旧的冲突并朝着与之相反的方向发展。After the proliferation of “bastard“ icons, the new logos arehardertoreproduce given their solid sense of originality andcraftsmanship.随着这种“混血儿”风格的扩张，新的标志是很难在重现出那种坚固的独创性和工艺性的感觉。2009 ushers in something new, somethingexperimenta
7、l,somethingoutrageous. More will be the new less. Strongvisibility andpassionare the dictating themes.2009 年又将引进一些新的东西，可能是一些实验性的，可能是一些令人难以接受的。 “更多”将是新的“更少”。强的视觉冲击性和热情将是这一季的主题。Psychedelic Pop Backgrounds 迷幻 流行 背景A myriad of colours and shapes burst into the scene evenifdesignclasses still promote a d
8、ecrease in complexity in favourofconcept andessence. Again, this new development led to ano-hold*arred position,putting everything out in the open, concealingnothing.各种颜色和形状一古恼的涌入你的视线，即使设计课程上仍然提倡减少复杂性将有助于表现概念和实质。同样，这一新的发展趋势导致了一种“不受禁止”的立场，即把一切公开，什么都不隐藏。Every technological revolution inevitably gives
9、birth toaromanticcounter culture. But mixing these two by using1960spsychedelicpatterns as backgrounds for contemporary shapes isaspostmodern as itcan be.每一个技术性的革*不可避免地产生一个浪漫的反文化浪潮。但是，通过混合使用 20世纪 60 年代迷幻图案作为背景和现代的图形其实也是一种后现代主义。What do the backgrounds whisper to us? You have a message intwoparts:part
10、 60s psychedelic, part Optical Art. The use oflayeringrevealsPhotoshop taking the vector lane. This approach isfueled bymood andemotion.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。Psychedelic pop backgrounds are reminiscent of the flower powerera,butthey go bey
11、ond an ultra-modern, non-orthodoxmindset.Theyareunpretentious and democratic. There is no arrogance, nosnobbery.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。A good majority of this years trends do not translatewellinprint. Innovations in technology and the adoption of avarietyofto
12、ols have made black and white printing no longermandatory.Someclients are aware that when they choose a particulartrend, theyarepotentially removing their logos significant meaning andnibblingawayat their appearance when transformed into black and whiteor whenthelogo is faxed. What do they get? They
13、 get powerfulandcolorfulstriking images in 90% of the other media.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
14、 it to display their skills.渴望回归本质是折纸艺术反映的主题;设计者也用它来展示他们的技能。An increasing number of designers wish they have real objectstoworkwith when executing on their projects. The art of origamiisfragile,light and subtle and the digital process is the same.Itcloselyresembles minimal geometrical forms discusse
15、d earlierbutconstitutesmore of a sub-trend.越来越多的设计师希望执行他们的项目时，可以面对真正的实体。折纸艺术是脆弱的和微妙的这与数字化的过程是相同的。它非常类似于前面讨论过的最小几何形式，但是它更象是一个子趋势。Origami, however, evolved as a trend in its own way, because itwasaprocess that appealed to a broader range of designers.Thetrendwontlast too long, for the simple reason th
16、at the results are abittoosimilar.但是，折纸艺术，确实成为了一个发展趋势，以自己的方式，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。The advantage of this trend lies in the process.Designersneedexperience to get some of the process segments correctly.In spiteoftheir clarity and simplicity, the logos will makethedesignersprese
17、nce predominant.Origami-based logos are a goodchoiceforcorporate monograms.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。This trend brings back to mind the expression,“smallbutbeautiful“.Origami is the Japanese art of folding paper, butthegoalis to use small fol
18、ds and creases to bring about delicateandintricateobjects. This can be a challenge for logo designers andthisis whythey put in much time and effort to come up with a logothatrespectsthe objective of using small amounts to produce intricacy;thisis whydespite meager strokes, the designers presence is
19、stronglyfelt.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 letterinstallationscraftedout of a variety of materials and thenphotographed
20、? Does“cool“ cometo mind? How about “sensual“ ？ Tactilemeans relating totouch orinvoking the sense of touch. But tactile doesnot have totranslateinto tactless. What cant be absorbed by touch -texture -must becompensated for by the visual.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
21、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的，比如纹理，必须在视觉上得到补偿。Logo designers who like to experiment with tactile logos wanttochangecommon textures in the real world.They may work wellwiththeirpreferred software, but they also have no problem withthetraditionaltasks of cutting, painting and pasting. Actually it
22、doestake somesmart maneuvers to make tactile logos influence viewersatmore thanthe “touch“ level. The texture and quality have totranscendthefeeling of touch.喜欢尝试触感的标志设计者想要改变在现实世界中普通的纹理。他们可以在他们最爱的软件上工作的很好，但他们在传统的裁剪，绘画和粘贴等任务中也一样没有问题。实际上的确需要一些聪明的运用，才能使触感标志影响观众超过“触摸”的水平。这需要纹理和质量都必须超越触摸的感觉。The process i
23、s a huge challenge even for the mostexperiencedgraphicdesigners. Creating type from real materials is auniqueexperience.The possibilities are endless. Designers feel theyarewalking onalmost virgin ground and every creation looks likeasignificantbreakthrough Type installations are supposed to createa
24、special moodand atmosphere. . The results evoque craftmanshipandtangibility notoften seen in logo or type design.这一过程是一个巨大的挑战即使是经验丰富的平面设计师也不例外。创建类似于实际材料的过程是一个独特的体验。可能性是无穷无尽。设计师觉得他们几乎正走在一片处女地上，而每一个创造看起来都是一个重大突破。目的是为了建立一个特别的情感和氛围。这种对于技能和准确性的要求在标志设计领域并不常见。How designers cleverly manipulate this tangible
25、 aspect so thatitmakessense to even the untrained eye is pure talent.Tactilelogosnevercease to stimulate logo designers; these are the very typeoflogosthat force them to retreat into the inner sanctums oftheirmind,translating what resides mentally into concretestrokes,regardless ofwhether these stro
26、kes are on metal, paper or onothertypes ofmaterials.设计师是如何巧妙地操纵这一触感方面，以便让它即使是未经训练的眼睛也能立刻感知，这绝对是天才。触觉标志对于设计师的激励永不停止;它是那种典型的要求设计师反观他们思想的起源的设计，探询那些隐藏在固体的笔画之后的精神层面的东西。不管这些笔画是来自于金属，纸张或其他各种类型的材料。Arabesque 阿拉伯风Designing a corporate identity using a beautiful toollikeArabiccalligraphy may seem straightforwa
27、rd enough, but wait untilyouget tothe execution process and youll discover that it isatrickyundertaking.Why? Because this style inevitably requiresheavydoses ofgut instincts tempered with beauty. The designer has tomakehis logoecho the beautiful soul of the Middle East. The Arabesqueissynonymousto m
28、ajestic strokes that have to be delicately adapted tothedesiredcorporate image.使用一个美丽的工具比如阿拉伯文书法设计一个企业标志似乎足够直截了当，但等到你执行过程中，你才会发现这是一个棘手的任务。为什么？因为这种风格必然要求很强的千锤百炼的对于美的本能。设计师必须使他设计的标志回应来自中东的美丽灵魂。阿拉伯风是辉煌壮丽的代名词，它必须被小心地运用在令人期待的公司形象上。This trend goes hand in hand with the revival of thefigurativepatternthat
29、designers and non-designers have observed in thelast fewyears:complex patterns forming perfect illustrations thatexpresspassionboth on print and digital format. These beautifulcreationscomestraight from the Middle East, but American and Europeandesignersarequickly catching up. The Arabesque solution
30、 is the answertoadesigners desire for uniqueness. The harmonious blendofancientcalligraphy and modern sans serif fonts works like a charm.Whatdo youget? A surprisingly modern object with mass appeal; massappealthat isfar from cheap.与这种趋势一同复兴的是繁复模式，在过去的几年里设计人员和非设计人员都已经观察到了这种现象：无论对于印刷还是数字格式，复杂模式都完美体现出
31、热情的表达。这些美丽的作品来直接来自中东，但美国和欧洲的设计师正在迅速赶上来。阿拉伯风为设计师渴望独一无二给出了答案。古代书法和现代饰线字体的和谐融合充满魔力。你明白了什么？令人惊讶的现代模型充满群众诉求，而这群众诉求却远非要求廉价。Logo designers who use the Arabesque style often have to besensitivetoone of the defining characteristics of Arabcalligraphy:thickdownstrokes and thin upstrokes with in-betweengradati
32、ons. Theremustbe a fluid transition that communicates thedesigners hand. Nowonderthen that Arabic calligraphy is considered atrue art form. Thismeansonly one thing: there is no place forsloppiness and shoddiness,butthere is plenty of room for harmony andconnection.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
33、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 manyasafoolproof method, the “safe“ way to create logo design. 2009willtakeus back to its most genuine forms where everything issomber
34、andcalculated, white space is cleverly used, and everything lookslikeitwas done with ancient methods - like the computer was neverinvented.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。In classic modernism, we have fundament
35、al shapes, sharpcontrasts,thesmart use of white space and form following function (inan erawhereform tends to follow passion).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） 。The focus of modernist logos is on the essential, where theconceptandthe execution of that concept are first and foremo
36、sttheguidingprinciple.It can be diluted, no doubt, but the beauty of itisthere isplenty of room for interpretation. The colors and shapesareminimaland strong. Transparency and photoshop werent inventedyet.Thesemarks transmit a sense of trust, security and pragmatismandareaccomplished with minimal re
37、sources. This is the designerswayofdrawing attention to himself when everyone else in thedesigncommunityis promoting a “shout it out loud“ attitude.现代标志注重本质，概念与概念的执行是第一位的，也是指导原则。毫无疑问它可能会被稀释，但它的美丽有很多解释的余地。颜色和形状要少而强。透明度和 Photoshop还没有发明。这些商标传达了一种信任感，安全感和务实感，并以最少的资源做到。当设计圈里的其它人都在提倡一种“大声喊出来”的态度时，这是一个设计师提
38、请注意自己的方式。Whats surprising is that the absolute simplicity of thisstyleisembraced by the youngest generation of designers,and with goodreason.令人惊讶的是，有充足的理由显示这种绝对简单的风格正在被年轻一代的设计师所接受。If youre not sure how consumers will react to yourlogoidentity,modernism offers you a historically proven safe channel,o
39、nethats notfraught with conflicting messages, jarring colors andshapes.如果您不能确定消费者对您的标志标识做何反应，现代主义将为您提供一条由历史证明的安全通道，在那里没有充满相互矛盾的信息，与不和谐的颜色和形状。Pictograms 象形图Logo design must not only be an object or an image, a processoramixture of colors and shapes, but also a problem-solving process.标志设计不仅应该是一个对象或一个
40、图像，一个过程或混合的颜色和形状，而且也应该是解决问题的过程。Were seeing a strong trend towards integrating meaningfulicons,thekind of icons that encompass the essential values of thebrand,itsmessage and its market position - in condensed form.Pictograms arethebackbone of non-verbal multicultural communication. Asthey weretaught
41、in college, classically-designed pictograms are theperfectvehiclesfor companies desiring to communicate the message of“Here Iam“instead of “let me tell you about my company.“我们看到了一种强烈的集成有意义小图标的趋势，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
42、，是完美的工具。This trend became pronounced after web 2.0 logos faded awayfromthedesign arena. At that time, it was more important to payattentiontothe glitter and shine - the background on which the iconwasmounted,instead of putting emphasis on the icon itself.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
43、所在的背景，而不是把重点放在该图标本身。Sometimes the purpose of pictograms is to convey basic community values.有时，象形图的目的是要传达基本的社会价值观。Pictograms date back many years, but they became popular at atimewhenservice industries like aviation, urban planning and publicparkshadto provide citizens with important and helpful inf
44、ormationinalanguage that was universal. If logo designers made useofpictograms,they had to make sure that they were just as effective.象形图可以追溯到很多年，但他们变的流行，是因为服务行业如航空，城市规划和公共公园必须向以一种通用的语言为公民提供重要和有益的信息。如果标志设计者利用象形图，他们必须确保它们也同样有效。Visual cues are key in pictograms. The logo must project itselfasanatural
45、and clear message to audiences. It should notgivetheimpression that one needs a visual detective to de-codeitselements.Pictograms put less pressure on viewers when it comestodeciphering amessage; nevertheless logo designers must not neglecttheaspects ofaesthetics, originality and timelessness.在象形图中视
46、觉线索是关键。该标志必须证明自己本身能够传达一个自然和明确的信息给受众。它不应该给人的印象是，人们需要一种视觉辅助去解码它的内容。象形图给观众判读信息时更少的压力;然而标志设计者也决不能忽视美学，原创性和永恒性。80s 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.在平面设计中有一大禁忌，就是不该使用复杂的几何形状以全彩色光谱来创建标志。
47、As to whether the capability to fax a logo is good or baddoesnotmatter. This argument could persist through the years but onethingiscertain: this complex geometry will be here for awhile.至于传真标志的能力是好是坏并不重要。这种争论可能会持续几年，但有一点是肯定的：复杂的几何形状将会出现一段时间了。When this 80s trend first came out, it was a way ofcaptur
48、ingtheconsumers attention. The purpose was to designsomethingcompletelydifferent, regardless of costs.当这种 80 年代的趋势第一次出现时，它是一种引起消费者注意的办法。其目的是体现完全不同的设计，而无论其费用如何。Designers will not spare any effort; they will usetheirturbo-chargedMacs to prove that in todays over-saturated market,theyhavecarte-blanche
49、to attract the attention of consumers.设计者将不遗余力，他们将利用他们超强的苹果计算机去证明，在今天的过度饱和的市场，他们仍然有能力吸引消费者的注意。For years, monster-like geometrical logos have been usedbyaggressiveand self-centered companies to shout, instead ofpolitelyintroduce,their industry presence. These abominable images madetheirappearancea few years ago and the perception at that time was theywerenothingbut childs play and hence not to be taken seriously.Butobservantdesigners and brand developers began to recognize theirworthandstarted using them.多年来，怪物般的几何形状
