Excellent read and explains what all goes into logo design from a graphic designer!
MAY 7-10, 2019
Future Graphic Design Trends To Look For In 2019
The ball has dropped and now all eyes will be on the horizon and what trends we are seeing, anticipating and, perhaps, won’t ever come to fruition. Our HOW Brand panel of industry experts and leaders shared their trends-to-watch. In this piece, they take on everything from what’s going to be out in the upcoming year, where branding is going, industry changes facing designers, tech innovations impacting how we experience design and more.
Photo by NordWood Themes on Unsplash[/caption]
Tell Your (Real) Story
Consumers have reached a saturation point. Fatigued by an increasingly noisy, chaotic, and complex world, they will continue to invest in fewer brands. Constructed brand narratives will become less effective and outdated, as more informed consumers seek out labels and brands that bring real value to their lives. To be successful, brands will need to embrace authenticity, and commit to creating quality products that genuinely provide tangible benefits for their audience. — Joe Flory, Design Director – FINE
The Empowering Itch of the Creative Niche
To a zealous degree, curiosity is advertised as a cardinal quality to behold across design disciplines. A staple ingredient (in the steadfast portfolio of desired designerly traits) to generate creative ideas, tap into creative angles, embark on creative paths—all toward executing a creative vision.
On the job, curiosity is a designer’s intellectual edge. Beyond the job, curiosity is the compass pointing to new directions in the creative form of side projects.
Adjacent to their daytime roles, UX Designer, Liz Wells, collaborates with brand communications manager, Katie Puccio, to publish the newsletter “Desk Lunch,” issued to the communities of creative women and non-binary folks. Graphic designer, Matthew Wyne, seized his obsession with cocktails by illustrating the collection “Letters and Liquor,” where he dives into the history of lettering associated with cocktails, from the 1690s thru 1990s. Carissa Hempton, with her husband, Paul, co-launched “Print Prologue,” a series of tangible and web-based tools focused on the details of small-format printing.
Curiosity, paired with conviction, flows through these examples of designers exploring diverse interests. Along with scratching one’s itch, harvesting a creative niche helps keep one vital mission alive: to never stop learning and growing. For designers, side projects are not merely pet projects, they’re passion projects. Creative freedom maximized. — Nate Burgos, UX Designer & Content Strategist – 50000feet.com
Less Is Still More, But…
I see minimalism sticking around in print, packaging, and digital. It’s a classic design choice, and it’s not going anywhere, but I would like to see a resurgence of vivid color mixed in with minimalism. Typography is going in bolder directions with unexpected font pairings, and even messy typography looks are becoming the norm since they make people stop and pay attention in a world of waning attention spans. I also see more doodles and hand-drawn personal touches popping up in design, for a more friendly style (that I actually really like). — Ashley Milligan, Art Director – FINE
Is it just me or were we able to break more brands in 2018? I’d like to see this trend continue in 2019 as brands finally realize that they need to loosen up their rigid self-indulgence and become team players.
Consumers don’t buy a single brand anymore: they subscribe to a lifestyle, and a lifestyle will always demand more complexity than any single brand could ever provide. This means big brands need to rethink their traditional tactics and outdated campaign models (saying goodbye to the overpriced, overhyped ‘big ad’ moments), instead looking to interesting partnerships and curated collaborations that are born from the consumers integrated lifestyle.
Courtesy Stefan Tauber – Set Creative.[/caption]
Perfect example: Fendi’s collaboration with Fila. In the past, nobody would have expected an Italian high fashion house to collaborate with a sportswear brand like Fila. Yet “Fendi Mania” showed just how powerful a collaboration like this can be: this well-calculated move transcended hype by being anchored in the consumer’s lifestyle choice that sees them blend high fashion with streetwear seamlessly.
2019 will be all about curated brand partnerships, with agencies helping to define the best and most powerful ways to bring these curated partnerships to life through experiences like activations, pop-ups and live events. — Stefan Tauber – Set Creative.
In the last couple of years, with more and more advertising opportunities across all digital platforms, we’ve naturally seen an increase in delivery formats for the content we create. As designers, we are going to need to be extremely aware of this since, when we create a spot, we are no longer locked into a 16:9 aspect ratio for TV broadcast.
People are consuming and creating vertical video content on their smartphones, and this format has become a new way to look at the world (a narrower, less cinematic one, in my opinion). Naturally, both the entertainment and advertising industries have started generating content that’s going to be viewed that way and, as designers, we need to be as flexible as ever in regard to aspect ratio or even framing and composition. TV spots need to be easily adaptable for viewing in the 1:1 square format of a social feed, or the longer vertical formats of stories on Instagram, Facebook and Snapchat. Also, as VR and AR (which give viewers control over the point of view) steadily become more mainstream, designing without ties to a specific container is becoming key.
I have found this to be a significant change that requires a new approach from a design standpoint. One that we need to consider and be aware of from the concepting stage…relying more on procedural graphic languages and guidelines rather than on individual frame compositions. — Duarte Elvas, Creative Lead – Sarofsky
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5 Tried and True Design Devices for Logo Designers
Thanks to Bill Gardner and LogoLounge and judges Aaron Draplin (Draplin Design Co.), Von Glitschka (Glitschka Studios) Su Mathews Hale (Lippincott), Andreas Karl (Karl Design) Chad Michael (Chad Michael Studio), Emily Oberman (Pentagram), Yo Santosa (Ferroconcrete) Felix Sockwell, Alex Tass, and Alex Trochut for all their insights and opinions into the logo design trends and insights that tried-and-true as well as impacting design in a fresh way right now.
When applied appropriately, crests can convey a sense of tradition, whether the brand has a rich history or not, and they blend a variety of design elements to create a cohesive look. “I like them because they are complex but still simple to read and take in,” Glitschka says. “A handful of these were in my top-rated logos.”
Draplin adds, “I loved the ‘pack a bunch of stuff in’ crests I saw. But of course, those work best when you can read all the stuff, say, on a T-shirt. I just dug the detail, line consistency and overall spirit of how people packed in a ton of info to such beautiful lock-ups. That’s how we used to do it on the top of a barrel carrying—I don’t know—hard tack or some shit.”
“I have noticed the use of basic geometric elements—circles, squares, either on their own or involved in constructions where symmetry and logic were involved,” Tass explains. “It is definitely a classic direction, but one that never gets old.”
“The unified weight look has really caught fire over the past decade, where an image or typography is designed with a single stroke weight,” Michael observes. “I enjoy this approach, but it is difficult to master beautifully.”
With so many breweries and coffee shops popping up everywhere, it’s no surprise that hand-lettered, artisan logos are still relevant. People crave the details over the monotony. Sockwell thinks it’s simpler than that. “There’s a lot of digital stuff that looks impersonal, and this goes directly against that.”
In the same vein, seals and type on a curved baseline were prevalent. As Santosa notes, “They are classic devices, but I’m guessing it’s really popular because it gives a crafty/artisan feel.”
“The highlighted silhouette look has been around for over 100 years, so I found it comforting to know designers are still employing this and successfully so,” says Michael. “Of course, as with any style, it is all about execution and avoiding regurgitating a form we’ve all seen a hundred times. The highlighted silhouette is here to stay.”
FOR A COUPLE YEARS IN A ROW: I’d meet a kid who was a graphic designer at Subway. And in the frenzy of a merch table or sweaty meet-n-greet, he’d introduce himself, we’d get to bullshitting and when he’d tell me he worked in the art department for Subway, he’d kind of apologize for it. As if it wasn’t cool enough, or something? And it always crushed me.
I’d soothe the guy each time, “Hey man, I get a Subway sando ever four months. Some people, they live off the stuff. You are insured, right? You work on good machines, right? You like the job enough to stick around, right? Don’t beat yourself up, man. Subway customers deserve good design too! And that’s YOU. Hell yeah!” And we’d hug it out. And talk about BLTs and shit. And bread types. And extra meat options. And whatever else.
That’s what I think about when I drive past a Subway, or see someone demolishing one on a bus stop bench. That kid works on that experience, and it’s valid, and it matters…and holy fuck, I’m suddenly HUNGRY AS HELL.
David Nakamoto took the shot of the discarded Subway cup you are seeing here. What a beautiful mark on that thing! Such good moves. And, great colors. The lid? And the straw? All considered and done so well. (Thanks, @audraglint!)
So to all you in-house badasses out there, let this be known: The DDC tips it hat at you with respect. Anyone who looks down at those sorts of gigs can suck it.
#donotmesswith #thelittleguy #hattip#green #yellow #subway #suddenlyhungry
BY BILL GARDNER, PRESIDENT OF GARDNER DESIGN AND FOUNDER OF LOGOLOUNGE.COM
This year’s logo trends were influenced by a pendulum shift that’s starting to swing from clean, modern aesthetics toward curvy, retro designs that reflect a new attitude through color and embellishments.
Any time we look at trends, we tend to see that there is a pendulum that is swinging. For instance, it’s not uncommon to see an evolution from a flat logo to something dimensional or vice versa. But over the last three years in particular, from a typography standpoint, we’ve seen a transition toward very austere sans serif logos. Google flipped from a serif font to a sans serif, and other major brands like Verizon, Calvin Klein, and Century 21 did the same. Part of what’s going on here is this idea of clarifying the message and conveying transparency. Unfortunately, it also strips these brands of any personality when it becomes too sterile. However, this year, the pendulum is starting to swing in the other direction as a direct reaction.
When everyone moves to this level of simplicity, designers counter it with some embellishment. Very expressive logos are making a comeback, which is a direct result of nostalgia or reboots. We’ve seen it played out on the big screen in Ready Player One and on the small screen in Stranger Things. There’s a thirst for nostalgia and this hearkening to past decades. Designers are dusting off their old font folders, going back to designs that were popular in the ’70s, ’80s, and early ’90s. Letters with big, expressive serifs, similar to a man having a mustache — it’s an added embellishment that changes the viewer’s perspective, perhaps recalling a different time period, but done in a uniquely new way, with modern influences. Millennials are most responsible for bringing these trends back into play, and you see it everywhere with the resurgence of tiki bars and speakeasys, and custom products like shaving kits for men. By going backwards, you can pick and choose what you want to bring forward and blend it with contemporary aesthetics. I’ve seen a lot of brands doing this successfully, and I think it’s just the beginning.
Color expectations have also changed dramatically. Because color mostly lives onscreen, there is a greater intensity in color range because it’s being projected. Colors are merging and blending, and gradients are now part of our color dialogue. A lot of this has to do with apps like Instagram — which, in fact, has a gradation as part of its logo. That’s an extreme example, because it runs the gamut from yellow to pink to purple, but most gradients are very subtle like red shifting toward red-orange, in essence making a new color. People now recognize gradients as colors. This is a trend that will continue to shift and grow.
All three of these movements work together as nostalgia swings the pendulum through different decades and influences color choice and customization. You’ll see a vast array of these examples throughout the report.
It’s important to note that trend is not a bad word, and it doesn’t equate to trendy, as in here today, gone tomorrow. The logos featured here are on the outer-edge, influencing the next big thing. Much of it is experimental, which ultimately pushes design to the next evolution. We all live by trends — whether it’s fashion, food, or design. We like them and we adopt them because they make life more diverse and fun, even as they evolve and change. The key takeaway from this is not to imitate, but to find a way to push these ideas forward and make them your own.