Business logo design teaching theory graphic class II

Section II Abstract Graphic Trademark Logo

The so-called abstract graphics refer to geometric shapes that do not represent any object image. The abstract shape has a certain degree of analogy and can lead people to a wide range of associations. For example, “points” occupy a very small area or volume relative to the existing space, and how their shape is often visually secondary. It can be a white sail in the sea, or it can be a person far from the boundless snowfield. In short, it is a point. This is the abstractness of the shape. In form, it has a similar universal significance. This form of high degree of simplification and generalization is just an abstract shape. Another content refers to the abstract manifestation of the nature of the form that is the inner tension. From the perspective of form perception and psychology, the viewer intentionally or unintentionally feels the change in the internal tension of the form as the vitality of life. Our use of abstract graphics for trademark design is an abstract form with both analogy and internal tension. Transform the abstract form into an artistic image that has vitality and can cause people to strongly associate and resonate.

Abstract graphic logo design features a little bit, line, face, body four categories. Each sculptural element is relative to each other and can be transformed with each other as they gather, divide, move, or change space. If the point gathers or the trajectory of the motion becomes a line, the accumulation or trajectory of the line becomes a surface, and the aggregation or motion trajectory of the surface becomes a body, and the body shrinks or transforms a space into a point, thereby repeating the cycle.

Because each styling element has its own sculptural significance, the appropriate styling elements are selected in the design of the logo according to the company's philosophy, characteristics of the operation, the focus of the performance, and the theme. Make the trademark mark has a unique appearance and artistic appeal.

First, the trademark mark of the point as a modeling element

Point is the basic unit of all forms in the modeling element and is the origin of all shapes. Lines, surfaces, and bodies can be constructed from points. The image of the point is relative, so the feeling of the point is also relative. It is a relatively small image. The shapes of the dots are varied and the dots are most typical. The feeling of dots gives people full, full, soft, light and dexterous. In addition, the linear point gives a feeling of sturdiness and rigour. The sensation of other shaped spots gives different impressions depending on the shape. The points are malleable and constructive, suitable for the use of various constituent principles and expressions. The combination of the size, shape, density, and distance between the points can form an ethereal and transparent visual art effect. With the development of modern computers and the telecommunications industry, points play an important role in the design of trademark marks.

The American VENTURE graphic design company's logo (Fig. 114) is arranged in a “v” shape with the size and number of dots; the European Golf Association’s logo (Fig. 15) also uses the gradient of the dots to compose the shape of the golf ball. Both of these signs give people a sense of flicker and ethereality.
The trademark of British men's men's fashion goods (figure 116) is arranged in square dots and consists of partial point mutations to form letters. "T", the shape is stable and changeable, suitable for men's temperament.

"BARIC" computer company logo (Figure 77), directly with their respective letters as points, arranged in the shape of the letter itself. Creative novelty and unique.

Second, the trademark symbol of the shape of the line

The length of the line is a modeling feature. Lines are divided into straight lines, curves, zigzag lines, etc., and various lines have different expression features. Such as: the vertical line has a direct, rising, falling, serious, strong feeling; the horizontal line has a sense of rest, stability; slashes with a leap, a sense of momentum; curve with indirect, elegant, soft and sporty sense; zigzag line with a stable Powerful visual effects from the forward. In addition, the line's expression depends on its thickness, width, length and length, as well as the direction of the line. Endpoints and sides of the shape. These factors can be used to shape the directionality, speed, sense of distance, and strength of the line.

The trademark of Brazilian Nova Textile Company (Fig. 17) uses the superposition of curves to express the soft and elegant features of textiles. The logo of the China Silk Industry Corporation (Figure 118) also uses the same technique. The logo of the US Ryder Advertising Company (Fig. 119) uses four lines of thick and thin lines to create four superimposed "R" models. The shape is full of sense of movement, speed, space, and sense of reality. It shows that the company's service is fast and famous. Far broadcast. The same applies to the 1984 Olympics (Figure 120).

The logo of the Italian space control company (Fig. 121) is a combination of linear and curved gradients. The curved gradient line symbolizes the distant space. There is a sense of movement and speed; the straight lines that are arranged symbolize stability and control. The logo shape and company name are linked together.

The BEST SET computer typography company's logo (Fig. 122) uses thick lines to shape the letter B, and thin lines shape the letter s. Thick and thin lines arranged in a row, modeling virtual reality and white, to achieve you have me, I have your space mixed effect. The logo itself is a good typesetting example.

Third, to the surface as a symbol of the brand logo

Surfaces are formed by the expansion, movement, and collection of points and lines, appearing in the form of two-dimensional space. People feel full, full, eye-catching, overall, and strong. There are three types of faces:

1. Geometry: It is constructed mathematically with the aid of a drawing instrument (Fig. 123).

2. Organic surface: Without the mathematical method, it consists of free lines (Figure 107).

3. Accidental; not intentionally drawn but obtained under unexpected conditions (see Figure 28).

Trademark designs using face shapes include methods such as separation, contact (including point contact and line contact), and overlap (including joints, stacking, overlap, overlap, and missing relationships). In the combined configuration, attention should be paid to the interrelation between the newly generated shape and the original shape, so as to examine the rules of equilibrium, rhythm, and reconciliation in the trademark modeling from the quantitative relationship, the primary and secondary relations, and the size relationship.

Such as the symbol of a theater factory in the Czech Republic (Figure 124). This configuration uses a combination of separation methods and uses the relationship between positive and negative shapes and semi-circular shapes. The BMW logo (Figure 125) is an image of a wheel. Using the point contact method of the surface in the configuration, the positive and negative, the actual and the actual relationship is balanced and harmonious, and the movement is calm. The trademark of Delevo Wood Industries of the Czech Republic (Fig. 126) uses the method of line contact in the semicircle and the square surface of the configuration, and forms the relationship between the size of the square and the circle. The logo of the American Book Fair (Figure 127) uses a face-to-face stacking relationship; the trademark of the German “MM” Plane Glass Factory (Figure 128) uses a face-to-face stacking relationship; the Beijing Arts and Crafts School logo (Figure 23) uses a differential stack. Method; German life insurance company's logo (Figure 99), the use of face reduction methods.

In addition, the combination and configuration of different shapes of the face can also result in a sense of motion, strength, expansibility, breakthrough, directionality, and the like. The combination of the Chinese Shanshan brand clothing brand (Figure 129) and the Taiwan China Life Care Development Association brand (Figure 130) uses a combination of curved surfaces to reflect soft movement. The emblem of the Bulgarian Control Panel Plant (Figure 131), which uses a combination of diamond-shaped surfaces, reflects a rigid dynamic. The trademark of the Czech Insulating Fabrics Factory (Fig. 132) reflects the vibration and tremor. The Kanto Automobile Industry Co., Ltd. logo (Figure 133) reflects the unidirectional dynamics. The flag of the American Pioneer Fruit Company (Figure 134) reflects the dynamics in many directions. The Dongfeng Motor Group's logo (Figure 135) reflects the sense of rolling. The trademarks of Gaoshiji Mosaic Factory (Figure 136) and the symbols of Taiwan Tourism Society (Figure 137). The use of facial construction language reflects the feeling of breakthrough and expansion. The logo of the British Society for the Promotion of Construction (Figure 138) and the logo of the China Automotive Trading Huadong Company (Figure 139) all reflect a certain sense of strength.
Fourth, the trademark symbol of the body as a modeling element

The body is a multidimensional extension of points, lines, and surfaces. It is a phantom representation of a three-dimensional space that transforms the modeling of a plane into a three-dimensional effect using the perspective principle in a two-dimensional plane. The styling elements of the body are applied in the design of the trademark logo in the following ways:

1. The trademark of the Ruitu Kupushi Paper Company (Fig. 140) was created using the transition of the graphic itself and the intersecting group to establish the trademark of the Ruitu Kupsch Paper Company (Fig. 140), which uses the graphic itself to bend and fold to create a three-dimensional effect.

2. Using shadows to create thickness creates a three-dimensional sense of Japan Indoor Industries's logo (Figure 141) and a financial institution logo (Figure 142). This method is used in the United States for an insurance broker logo (Figure 143) and for the American Karoka Video Publishing Company logo (Figure 144).

3. Use the perspective principle to create a reasonable space to create a three-dimensional sense of the trademarks of the U.S. independent investment company (Figure 145); the U.S. trademark of a towel company (Figure 146) is used by a U.K. gift company logo (Figure 147). The perspective principle makes it three-dimensional.

4. Using visual illusion methods, creating contradictory spaces, producing interesting three-dimensional sense of international foreign language teaching materials planning company's logo (Figure 148); the United States mobile art exhibition signs (Figure 149) 150 and Figure 151, etc., have created a conflict of space , with novelty, unique artistic taste.

V. Designing Trademarks with Comprehensive Modeling Elements

In order to emphasize the shape of the guest-host relationship, enhance the contrast effect and expressiveness, we can design a variety of modeling elements.

1. Combination of dots and lines

As shown in Figure 152 and 153, the combination of dot and line is a trademark. We know that the line has the role of affirmation, guiding sight and bone; the point has a dexterous dexterity and "finishing touch" effect. Purely line styling tends to give people a feeling of no visual center. After the combination of lines and points, it becomes agile; purely using point modeling, the point one is more likely to produce a sense of confusion, and after the series or guidance of warp threads, it will become complete and unified.

2. Combination of points and faces

See Figures 154, 155 and ROGOR Brothers Seed's trademark (Figure 156). The combination of points and faces is highly complementary. It is longer than building relationships and creates a strong sense of visual integrity; points are longer than the creation of visual centers to achieve vivid images and make the pictures rich and vivid.

3. Point and body combination

As shown in Figure 157 five. Points can act as visual centers in the body. You can also use points to create the side or projection of a body or to use points to create an illusory body.

4. Combination of line and face

As shown in the three diagrams in Figure 158, the line will often have a sense of body in the face, and it will have a background effect. The shape, length, straightness and direction of the line will directly affect the area, range and shape of the face.

5. Combination of line and body

As shown in the five diagrams in Figure 159. Lines can be used as a means of creating a body, and the shape can be normalized through perspective and projection connections. The combination of lines and bodies gives people a strong sense of spatial entity, transparency and layering.

6. Combination of face and body

As shown in Figure 160 and Figure 140. The superposition, turning, bending, or combination of different directions of the face forms a body-synthetic body with a sense of physicality and opacity.

7. Point, line, face combination

See Figure 161, Figure 162, and Figure 163. The combination of point and line faces - generally speaking, the face as a large subject relationship tends to play a role of background and set off, from the point of line and point to create a vivid image and expressive point of view.

8. Combination of dotted surface

See Figure 164 and Figure 165. The combination of points, lines, faces, and bodies - is generally made up of faces or lines. Dotted lines act as punctuation, embellishment, and expressiveness.