Futbol California 2. Iconologic

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Futbol California 2. Iconologic

Postby w9bvy78os8 » Fri May 25, 2012 3:31 am

2010 logo design the trend
logolounge is the world's most famous landmark Design Forum. Integration of world-renowned / logo designer logo design trend is the important activities of the World logo design, once a year, played the role of a barometer of the industry .
It should be no surprise that designers have again gone to the well of fine arts to draw upon technique for inspiration. As Pablo Picasso and Georges Braque discovered as the founders of the Cubism movement, there is a certain visual pleasure in the reduction of images down to their essence. In logo design, this same tenet applies, and a good marriage of concept and style emerge. Illustrating an image in a simple series of facets is really a glorified and more aesthetically pleasing version of an image reduced to a handful of pixels.
Illustration software which uses the Delaunay Raster process automatically creates spatial and color averaging that makes this technique broadly accessible. Illustrator Jonathan Puckey uses this process with stunning results on photographic images, and a similar animation style has become a signature look for a number of companies in their commercials. In identity design, hand rendering of these facets is pure cubist eye candy.
1. Iconologic, US Virgin Islands 2. Z & G, Brandogolik 3. Gardner Design, Graphic Impressions 4. Andrei Bilan, Kubis
Microbial hitchhikers with all the tact of a sticker or cockle burr, these logos are a scaled-back version of a radiant star, and they typically start to take on three-dimensional qualities. They tend to be suspended in space or give the appearance of an underwater mine placidly floating in wait. (In fact, any of these logos could be a perfect candidate for animation.) Despite such dire comparisons, these logos still maintain an attractive, mathematical and mysterious quality that allows them to work well.
In some, the points emanating from the central object seem to have a tentacle-like quality, reaching out to convey a sense of connectivity and of serving multitudes. This same group of logos tends to exemplify how order can be applied to complexity. They show an ability to verge on the edge of chaos but still be held together with the perfection of nature. The aggressive surface of this style certainly requires a client that is able to be faithful to the complex nature of the forms.
1. MYDE, Smart Communication Technologies 2. KITA International | Visual Playground, KITA 3. Seamless Creative, 1025 Photography 4. BrandBerry, Anvexa
Attracting attention in a visual world is a designer's most challenging task. Encouraging someone to really look is hard; forcing them to engage is harder to the nth degree. These Gaussian-like logos compel the viewer to take the second look if for no other reason than to confirm what they are seeing. The effect of the soft-edged translucent nature of these marks could well be considered a subtle act of confrontation.
That an image is appropriate to the objective is imperative, so this is not permission to just make any logo fuzzy. Remember, however, that there is mystery in leaving something to the imagination. The slow reveal or partial reveal can be much more engaging than the literal, all-out full reveal. The technique seems to have its greatest success if the image in question is obvious enough through silhouette that the viewer is not left confounded. Color is also a critical clue as we tend to identify objects by color before shape.
1. Julian Peck, Futbol California 2. Iconologic, America's Natural Gas Alliance 3. Supersoon Good Design, Swiss Heat Transfer Technology 4. Strange Ideas, Shadow Farm
There is just the right amount of whimsy and human intervention in the draftsmanship of these logos to make them a pleasure to absorb. In past years, the LogoLounge trend reports have discussed logos with floral flourishes, dingbats and typographic elements bringing life to and skirting the edges of the mark. This group, however, helps place the Si Scott-inspired wisps of fancy into context. Far from being drafted with geometric perfection, these tendrils have a natural gnarl to their wandering, like a real vine.
Humans have been involved here, and that is the message. As beautiful as these logos are, they were not created by a soulless machine. They were created to glorify the brusque reality of imperfection. These marks are important because they show the importance of embellishment that customers associate as an above-and-beyond concept. At the same time, the hand-hewn message reinforces that this is an authentic offer, as different as a handwritten note is from spam.
1. Derrick Mitchell Design, LLC, Easthaven Baptist Church 2. RawType, Jacob's Well 3. Sabingrafik, Inc., Rosenblum Cellars 4. Dale Harris, Blank Expression
Perfection is highly overrated even when imperfections are crafted perfectly. Transparent overlays of color often resembling a misregistered CMYK or RGB letterforms are the hallmarks of this trend, although significantly overlapping kerning and turning on the transparent mode qualifies marks for this category as well. Colors are usually clear and clean to allow the murky overlaps to be even more evident. The purposeful layering gives a nod to connectivity between different entities as they come together for a common good.
This trend is a bit of the celebration of diversity that shows a merging for common good. From another perspective, it could be a single entity splitting out into multiples. Because these are brighter, with elements of pure chroma colors, they tend to occur often in the entertainment or literature corridors. Though the images are static, the shifting elements give a sense of motion to the viewer. This instability draws the eye and can create the impression that these marks represent a work in progress.
1. Asta form, Sheriff Studio 2. Go Welsh, Penn State Architecture 3. Effusion Creative Solutions, 4. Liska + Associates Communication Design, Becker and Becker
This trend give insight into the comment ugly, but many of something ugly is beautiful. goal. From a distance, the image is the larger whole. But on closer inspection the image is revealed to be an amalgam of molecular images.
A diverse group of logos here show some very different takes in achieving similar objectives. We the people form this nation a nice visual balance was found to help the reader make the jump from the whole to the parts that came together to compose the result.
1. Kuznetsov Evgeniy, Russian Team 2. Ten: pm Media, Advanced Armament Corp. 3. Chris Rooney Illustration / Design, Ramsell 4. Hand dizajn studio, Diving Club Big White
For your amusement, take a screen capture of the portrait favicon at the beginning of the address for . Then park the minute picture of Martha in Photoshop and enlarge to fill your screen. This view of a 16 x 16 square of pixels as if through a microscope can be revealing. Nothing is as it seems once you knock it down to its atomic core. In the world of RGB, on-screen images, the pixel is the lowest common denominator. So these are logos that speak to their digital pedigree, but which are willing to say, seem to be a natural building block when dealing with digital products. They convey naturally the concept of many elements coming together to create a larger result. Because of the medium, the colors are often high in chroma and representative of diversity, but even in the HD City logo, you can see the effective use of the subtle range of tints even within a single color. There is no mistaking the association, but the challenge is to avoid being trite and discovering a new way to present a solution crafted using these tiny tools.
1. Eight am Brand Design, C2 MEDICAL SPA 2. Eightday Studio, Antioch Community Church Norman Corp. 3. Gyula Nemeth, HD City 4. Andrei D. Popa, City Tower
Stephen Doyle created such an intelligent design with his new identity for The Cooper Union, and the attending animation of the elements tumbling together helps further sell the concept. It's just two cubes with three transparent, colored faces, representing the letters C and U. But a great sense of space is alluded to, which leaves the viewer with a sense you could navigate the space and imagine what this mark would look like from various angles. In short, it invites you to participate and become comfortable with it.
Other identities based on transparent cubes in various arrangements all have an implied sense of space and almost challenge us to interact with the marks. This may rise from the optical illusion aspect: The greater the participation level the design creates for the consumer, the more chances they have to buy into the ownership of the logo. The greater their level of ownership, the better the level of loyalty.
1. Doyle Partners, The Cooper Union 2. Kristin Spix Design, Phelps Stokes. 3. Tom Hughes Design, Zink, Inc. 4. Adstract Art, Civiquip Industries
When you speak loudly and fail to modulate your tone, your voice becomes a monotonous drone. When you lower your tone and speak in a hushed whisper, every head in proximity will turn an ear to pick up the conversation. This group of marks understands the importance of subtlety. The whisper is created by a stippled effect that, depending on its density, creates different levels of tone within the logo. Yet because each speck is a hard-edged vector image, any appearance of color gradation is only an illusion.
Again the eye is drawn to these not just for the design but because they are confronting the viewer with something they have not seen before. The soft feathering of edges lends a different tactile nature ...
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