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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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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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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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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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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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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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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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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