2008年真是不平凡的一年， 現在終于塵垓落定，大家都翹首期盼著2009年的到來能有所不同。 www.logoke.com也希望在這新的一年里和所有熱愛標志設計的朋友一同進步。
今天發現2009年的標志設計趨勢一文已經在http://www.logoorange.com/logo-design-09.php放出， 不過國內還沒有翻譯的。 所以我們有幸成為第一個翻譯本文的網站。希望如果轉載請注明出處: www.logoke.com標志客。 多謝大家。
考慮到水平有限，決定保留原文做為參考，歡迎大家批評指正。
To stand out and be refreshingly different at whatever cost - that's the message we're getting from today's logos.From an identity point of view, web 2.0 logos failed miserably. Copycat websites may still work, but when it comes to identities, designers will have to roll up their sleeves and work much harder.
從今天的標志設計中我們得到這樣一個信息， 那就是為了脫穎而出與眾不同，無論花費多少，都是值得的。 如果單從標識的角度來看， Web 2.0的標志無疑是一個失敗。他們可能不會鬧騰的太久。當然模仿性網站仍可能存在，但是當涉及到標識的問題，設計者將不得不卷起袖子付出更多的努力。
Designers have become far more aware and sensitive to design history movements and styles than they were in previous years. They are discovering ways to make logos reflect their roots.
相比以往幾年，設計師們已經變得越來越清楚和敏感的運用歷史的軌跡和設計風格。他們正在學會如何使標志反映其根源。
Minimalism was a strong anchor for swooshes, sparkling little balls and other accidental manifestations. But we're witnessing a fading out of minimalism, and this weakness is paving the way for spectacular remixes to take over.
在以往的標志設計中極簡主義是各種表現形式強有力的支柱。但我們正在目睹它的淡出，而接管它的是繁復的混合主義。
A particular style can't emerge and expect to stay at the top indefinitely. Developments in logo design indicate that trends have a short lifespan, going through a "now-you-see-it-now-you-don't" kind of roller coaster.
一個特定的風格不可能出現后期望它一直留在頂端。標志設計的發展趨勢表明，任何一個趨勢總是壽命很短，經歷一個“來了，過去”類似于過山車似的情景。
New trends emerge only to be contradicted by others that go the opposite direction.
新的趨勢的涌現總是與舊的沖突并朝著與之相反的方向發展。
After the proliferation of "bastard" icons, the new logos are harder to reproduce given their solid sense of originality and craftsmanship.
隨著這種“混血兒”風格的擴張，新的標志是很難在重現出那種堅固的獨創性和工藝性的感覺。
2009 ushers in something new, something experimental, something outrageous. More will be the new less. Strong visibility and passion are the dictating themes.
2009年又將引進一些新的東西，可能是一些實驗性的，可能是一些令人難以接受的。 “更多”將是新的“更少”。強的視覺沖擊性和熱情將是這一季的主題。
 
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.
各種顏色和形狀一古惱的涌入你的視線，即使設計課程上仍然提倡減少復雜性將有助于表現概念和實質。同樣，這一新的發展趨勢導致了一種“不受禁止”的立場，即把一切公開，什么都不隱藏。
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.
每一個技術性的革命不可避免地產生一個浪漫的反文化浪潮。但是，通過混合使用20世紀60年代迷幻圖案作為背景和現代的圖形其實也是一種后現代主義。
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.
這些背景在跟我們耳語些什么？您得到的答案包含兩個部分：60年代的迷幻，和光學藝術。使用分層技術的Photoshop取代了矢量圖。 這種做法受到情緒和情感的輔佐。
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.
迷幻流行背景會讓人聯想到那些如花般的權力時代，但他們超越了超現代的，非正統的心態。 他們是謙遜和民主的。是沒有傲慢的，不勢利的。
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.
這些年的趨勢中很多都是對于付諸印刷并不友好。技術的創新，和各種工具的采用使得黑白印刷不再是強制性的。有些客戶知道，當他們選擇某種特定的趨勢，他們的標志在被轉換成黑白色或者傳真的時候可能丟失一些重要的意義。而他們得到什么？他們得到了功能強大且多姿多彩的突出圖像的90 ％以上的其他媒體。
Origami折紙藝術 The desire to go back to basics is mirrored in the Origami theme; designers used it to display their skills.
渴望回歸本質是折紙藝術反映的主題;設計者也用它來展示他們的技能。
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.
越來越多的設計師希望執行他們的項目時，可以面對真正的實體。折紙藝術是脆弱的和微妙的這與數字化的過程是相同的。它非常類似于前面討論過的最小幾何形式，但是它更象是一個子趨勢。
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.
但是，折紙藝術，確實成為了一個發展趨勢，以自己的方式，因為它正被設計師所更廣泛呼吁。 這一趨勢不會持續太久，正如它簡單的原因那樣，結果有會類似。
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.
這一趨勢的優點在于過程。設計師可以在過程中體會到細節。鑒于他們的清晰性和簡潔性，設計師將使得標志展現的更加突出準確。 折紙形式對于字母組合型的企業標志是一個不錯的選擇。
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.
這種趨勢重新讓我們回想起“小但是很美” 。 折紙是一種折疊紙的古老中國藝術，目標是使用小褶皺和折痕來表現微妙和復雜的對象。這對于標志設計師來說可能是一個挑戰，這就是為什么他們花費了許多時間和精力設計一個能夠體現使用少量表現復雜的標志;這也是為什么即使有一些微弱的褶皺，依然能夠是強烈地感受到設計師的存在。
Tactile Logos觸感標志 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.
當你看見字母或者圖案從它在的介質中躍然而出是，你的第一感覺是什么？是不是會覺得很“酷”呢？會不會覺得很“感性”觸覺感就是要喚起你觸摸時的感受。但觸覺感并不代表這不得體。 如果在觸覺上無法吸引的，比如紋理，必須在視覺上得到補償。
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.
喜歡嘗試觸感的標志設計者想要改變在現實世界中普通的紋理。 他們可以在他們最愛的軟件上工作的很好，但他們在傳統的裁剪，繪畫和粘貼等任務中也一樣沒有問題。實際上的確需要一些聰明的運用，才能使觸感標志影響觀眾超過“觸摸”的水平。這需要紋理和質量都必須超越觸摸的感覺。
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.
這一過程是一個巨大的挑戰即使是經驗豐富的平面設計師也不例外。創建類似于實際材料的過程是一個獨特的體驗�？赡苄允菬o窮無盡。設計師覺得他們幾乎正走在一片處女地上，而每一個創造看起來都是一個重大突破。目的是為了建立一個特別的情感和氛圍。這種對于技能和準確性的要求在標志設計領域并不常見。
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.
設計師是如何巧妙地操縱這一觸感方面，以便讓它即使是未經訓練的眼睛也能立刻感知，這絕對是天才。 觸覺標志對于設計師的激勵永不停止; 它是那種典型的要求設計師反觀他們思想的起源的設計，探詢那些隱藏在固體的筆畫之后的精神層面的東西。 不管這些筆畫是來自于金屬，紙張或其他各種類型的材料。
Arabesque 阿拉伯風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.
使用一個美麗的工具比如阿拉伯文書法設計一個企業標志似乎足夠直截了當，但等到你執行過程中，你才會發現這是一個棘手的任務。為什么？因為這種風格必然要求很強的千錘百煉的對于美的本能。設計師必須使他設計的標志回應來自中東的美麗靈魂。阿拉伯風是輝煌壯麗的代名詞，它必須被小心地運用在令人期待的公司形象上。
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.
與這種趨勢一同復興的是繁復模式，在過去的幾年里設計人員和非設計人員都已經觀察到了這種現象：無論對于印刷還是數字格式，復雜模式都完美體現出熱情的表達。這些美麗的作品來直接來自中東，但美國和歐洲的設計師正在迅速趕上來。阿拉伯風為設計師渴望獨一無二給出了答案。古代書法和現代飾線字體的和諧融合充滿魔力。你明白了什么？令人驚訝的現代模型充滿群眾訴求，而這群眾訴求卻遠非要求廉價。
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.
使用阿拉伯風的標志設計者對于一個阿拉伯書法的特征必須很敏感：那就是厚的上行和薄的下行以及介于兩者之間的層次。設計師的手必須傳達一種流動的過渡。難怪阿拉伯文書法被認為是一種真正的藝術形式。這只意味著一件事： 沒有邋遢和混亂，只有和諧與聯通。
Classic Modernism經典現代主義 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.
在2008年經典現代主義風格又回來了，它被許多人認為是設計標志的一個最安全可靠的方法。 2009年將把我們帶回它最原始的形式，一切都是嚴謹的和精心計算過的，空白空間被巧妙地使用，所有這些看起來都像是使用了古老的方法，似乎計算機從未發明過。
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).
在經典現代主義中，我們掌握了基本形狀，強烈的對比，聰明的留白以及形成體現功能（在某一個時代的形式體現激情） 。
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.
現代標志注重本質，概念與概念的執行是第一位的，也是指導原則。毫無疑問它可能會被稀釋，但它的美麗有很多解釋的余地。顏色和形狀要少而強。透明度和Photoshop還沒有發明。這些商標傳達了一種信任感，安全感和務實感，并以最少的資源做到。當設計圈里的其它人都在提倡一種“大聲喊出來”的態度時，這是一個設計師提請注意自己的方式。
What's surprising is that the absolute simplicity of this style is embraced by the youngest generation of designers,and with good reason.
令人驚訝的是，有充足的理由顯示這種絕對簡單的風格正在被年輕一代的設計師所接受。
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.
如果您不能確定消費者對您的標志標識做何反應，現代主義將為您提供一條由歷史證明的安全通道，在那里沒有充滿相互矛盾的信息，與不和諧的顏色和形狀。
Pictograms象形圖 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.
標志設計不僅應該是一個對象或一個圖像，一個過程或混合的顏色和形狀，而且也應該是解決問題的過程。
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."
我們看到了一種強烈的集成有意義小圖標的趨勢，這些圖標以簡明的形式圍繞著品牌的核心價值，信息和市場定位。象形圖是非語言的多元文化溝通的骨干。正如在大學中所教的那樣，經典設計的象形圖對于希望傳達 “我就是這樣”而不是“讓我告訴你我的公司。 ”訊息的公司來說，是完美的工具。
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.
Web 2.0標志淡出設計舞臺后，這種趨勢變的明顯起來。在這個時候，更重要的是要注意圖標所在的背景，而不是把重點放在該圖標本身。
Sometimes the purpose of pictograms is to convey basic community values.
有時，象形圖的目的是要傳達基本的社會價值觀。
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.
象形圖可以追溯到很多年，但他們變的流行，是因為服務行業如航空，城市規劃和公共公園必須向以一種通用的語言為公民提供重要和有益的信息。如果標志設計者利用象形圖，他們必須確保它們也同樣有效。
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.
在象形圖中視覺線索是關鍵。該標志必須證明自己本身能夠傳達一個自然和明確的信息給受眾。它不應該給人的印象是，人們需要一種視覺輔助去解碼它的內容。象形圖給觀眾判讀信息時更少的壓力;然而標志設計者也決不能忽視美學，原創性和永恒性。
80's Geometry Lesson 80年代的幾何課 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.
在平面設計中有一大禁忌，就是不該使用復雜的幾何形狀以全彩色光譜來創建標志。
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.
至于傳真標志的能力是好是壞并不重要。這種爭論可能會持續幾年，但有一點是肯定的：復雜的幾何形狀將會出現一段時間了。
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.
當這種80年代的趨勢第一次出現時，它是一種引起消費者注意的辦法。其目的是體現完全不同的設計，而無論其費用如何。
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.
設計者將不遺余力，他們將利用他們超強的蘋果計算機去證明，在今天的過度飽和的市場，他們仍然有能力吸引消費者的注意。
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.
多年來，怪物般的幾何形狀標志被有侵略性的和以自我為中心的公司所采納以宣傳自我，取代了業界原本溫和的自我介紹。這些幾年前的低俗圖案使他們的外表和概念在當時顯得只是孩子們的游戲，因此沒有受到重視。但是敏銳的設計師和品牌開發商開始認識到他們的價值，并開始加以運用。
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!
這些作品使用全彩色光譜確實有點反常。20世紀80年代的幾何圖案標志的回歸正在全力反擊極簡主義，under-design，和簡單常識。 同樣反常的是，去年并沒有觀察到2008年高科技三維幾何設計的出現，取而代之的是廣受歡迎的魔方體幾何圖形！
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.
這是一個機會但是當然這可能不會蓬勃發展并被廣泛采用。 也許他們會引起轟動，或者給人們以視覺污染的暗示，加入非必需品可能是一種有效的方式去傳遞訊息。他們可能缺乏一些概念性的美感，但你不能否認的是-他們是和諧的，視感穩定的，很難復制的。
Typographic Logos印刷體標志 Somber and solemn? Yes. Trendy? No.
憂郁和莊嚴？是。流行嗎？不。
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.
印刷體標志永遠不會從設計師的視覺領域褪色，因為他們提供了一種不僅簡單，而且有吸引力的無聲的優雅。強大的字體組件，當用作裝飾時，是非常引人注目的。
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.
設計一個印刷體標志意味著要結合企業形象的本質和公司的使命，而這些只能通過字體傳達。這顯然不是一個為新手設計師準備的任務，因為在企業的理念和使用合適的字體呈現之間必須達到一種微妙的平衡。
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.
毫無疑問，有數以千計的字體提供給設計師，但一個好的設計師不會屈服于預先確定的字體。專業的標志設計師工作時從無到有，就如做糕點的方式。
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.
即使修改一個預定的字體不是一個好主意。但印刷體愛好者還是熱衷此道。印刷體標志一貫表現出彬彬有禮，有文化，和純潔性。選擇的字體必須有適應性的能力，尤其是當這一標志被設想運用在各種場合。不幸的是，當印刷體不再是技能和天才的體現，其他圖形元素也質量低下時，最好的商標也開始摻假。
Street Art街頭藝術 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.
當你聽到“街頭藝術”這個詞時，手繪就浮現在腦海中。具有街頭藝術背景的天才畫家使用特制的噴涂工具巧妙地改變了墻壁。
Many people think of street art as a breath of fresh air - a welcome relief from digital computer art.
許多人認為街頭藝術是一股新鮮空氣-是受歡迎的從電腦藝術的回歸 。
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.
街頭藝術標志已經大行其道。有跡象表明，他們還將會持續很長一段時間。他們是極限運動廠商以及體育用品制造商的的首選媒介。當理論性的東西開始衰退，但人們仍然期望標志能夠講述一個不錯的故事，街頭藝術將恢復其受歡迎的程度。當設計師想要創找一些原創性的東西，他們就可以借鑒近年來的一些時尚的街頭藝術。
Street art speaks for the souls of designers: there may be hints of urbanism and perhaps a speck of subversion and activism.
街頭藝術是設計師靈魂的代言人：可能是城市的暗示，也可能帶著點對傳統的顛覆和活動元素。
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.
當大膽和鮮明的街頭藝術反映在標志設計上，會讓您仿佛穿越了地理上的方位：從柏林東部的畫廊，到豐富多彩的墨爾本再到巴西圣保羅的壁畫，你會發現，街頭藝術的標志是一種對時間和地點的追憶，給予旁觀者非比尋常的印象。
Puzzle Patterns迷宮模式 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.當人們驚呼， “世界已經瘋了！ ”的時候，我們認為，標志也在如此。每天數以千計涌現的品牌都清楚地表明，他們的視覺沖擊力已大為下降。
How does one compensate for this diminished visual impact?
如何彌補這一視覺效果的下降？
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.
一個辦法就是品牌設計師踏入未知的領域，去那些他們做夢也沒有想到的地方。這在兩年前似乎不可能完成的任務現在是很平常的了 。
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.
這些迷宮模式必須喚起整個傳奇故事而不是減少內容只表達品牌本質。大部分模式突出本質，自從標志在機器上被設計出來后展示本質和遠離本質總是一種循環繁復的趨勢。
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.
與以往深入品牌本質不同，設計師使用復雜的矢量圖故意遠離規則。現在他們的口頭禪是： “設計無規則。 ”在這里不用遵守紀律，但憑技巧高超運用的字體，模式和圖像的相互結合�？酥剖遣豢赡艿摹Ｈ魏螙|西都圍著這些迷宮轉：動物，字母，植物，徽章或隨機幾何形式得到充分發揮。沒有人擔心意義，因為這自由的風格只為迎合嚴格的裝飾性目的。
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.
目前，迷宮模式打響了最終反企業的戰斗。如果在今后的歲月里，大公司打算整容，并決定他們絕對需要一些“不同”的東西，從而將跟上這一趨勢時，請不要感到驚訝。
后記
終于翻譯完了，感覺自己的水平確實有限。只當拋磚引玉給大家作為參考。
在翻譯過程中確實增長了知識， 對比國內的標志設計，外國的設計師無疑又走在我們前面許多。當我們還在可以模仿的時候， 他們正在嘗試創新。
無可否認，我們的設計要落后國外很多年，不過可以欣慰的是，從www.logoke.com中的原創標志作品上可以看出，國內的標志設計者正在跟上。我們已經可以看見一些可與國外設計師匹敵的作品。 但是只是停留在本文提到的某幾種風格上。換句話說，我們的標志設計還不成體系，標志設計者可能只是掌握了一到兩種設計風格。所以我們還需要更多地學習和借鑒。這也是我在翻譯本文時最大的體會。
[ 本帖最后由 zcuser 于 2009-2-9 14:26 編輯 ] |
發表于 2009-2-9 14:12
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