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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, concelling 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 reminis- cent of the flower power era, but they go beyond an ultra-modern, non-orthodox mind set. 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 manda tory. 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 trans formed 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
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.
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.
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.
Corporate Identity Design
Total Design was established in 1963 by Friso Kramer, Ben Bos, Benno Wissing, Wim Crouwel and the Schwarz Brothers. This group of ambitious Dutch designers has set new benchmarks for product design, exhibition design, cultural design and identity design.The book written by Ben Bos presents the story of the studio’s golden period from 1963 to 1973 and it’s fundamental role in graphic design.
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