当我开始设计Logo的时候,我也运用了同样的规则来达到设计的一致性。然而,有些事情似乎不太对……有时候我的logo设计看起来没有那么专业。总而言之,我的工作没有达到标准,但我不知道出了什么问题……我的想法应该很好,但是执行起来总是有问题。
  When I started designing logos, I used the same rules to achieve consistency in design. However, some things don't seem right... Sometimes my logo design doesn't look so professional. All in all, my work is not up to standard, but I don't know what's wrong with it... My idea should be good, but it's always a problem to execute.
  就在这个时候,我遇到了一位Logo设计大师,他的作品质量非常好。他指出了我工作中的字体问题,并建议我在设计中应用“视觉校正”的规律。起初,我不知道自己在做什么,但现在回想起来,这些错误是如此明显,现在我经常看到其他设计师犯同样的错误,我做了。
  Just then, I met a master logo designer whose work was of excellent quality. He pointed out the font problems in my work and suggested that I apply the rule of "visual correction" in design. At first, I didn't know what I was doing, but now in retrospect, these mistakes are so obvious. Now I often see other designers make the same mistakes. I did.
  指南、规则和网格都很棒,但与此同时,我们需要使用“视觉校正”来打破规则。是的,有时候你确实需要忽略参考线,用你的眼睛来判断设计是否“看起来”像遵循网格系统(这听起来可能很奇怪,甚至违反直觉,但听我说完之后,它就完全说得通了)。
  Guidelines, rules and grids are great, but at the same time, we need to use "visual correction" to break the rules. Yes, sometimes you do need to ignore the reference line and use your eyes to determine whether the design "looks" like a grid system (which may sound strange or even counter-intuitive, but when I finish, it makes perfect sense).
  如果你看下面的图片,正方形和圆形是并排放置的。当圆圈和正方形的高度完全相同时,圆圈会显得小一些。为了避免这种情况,我们需要稍微增加圆的高度,使它看起来与正方形一样大。这种高度的增加被称为“超调”。
  If you look at the picture below, the square and the circle are side by side. When the height of a circle is exactly the same as that of a square, the circle will appear smaller. To avoid this, we need to slightly increase the height of the circle to make it look as big as a square. This increase in height is called overshoot.
  花点时间学习周围的字体……从现在开始,你会看到上面描述的情况,你永远不会停止……
  Take time to learn the fonts around you... From now on, you will see the situation described above. You will never stop...
  人类的大脑有一些惊人的功能。因为世界是如此复杂,我们的大脑聪明地试图将各种视觉元素组织成“整体”。在心理学中,有一个术语叫做格式塔。
  The human brain has some amazing functions. Because the world is so complex, our brains cleverly try to organize all kinds of visual elements into a "whole". In psychology, there is a term called gestalt.
  我们可以将格式塔的许多原则应用到标识设计中,例如相似性、连续性、封闭性、接近性以及图形与背景之间的关系。
济南logo设计
  We can apply many principles of Gestalt to logo design, such as similarity, continuity, closeness, proximity and the relationship between graphics and background.
  我喜欢的格式塔理论的例子是WWF标志中的熊猫图标,它使用格式塔“闭合原理”来完成熊猫形象。事实上,它只是一些分散的元素。
  My favorite example of Gestalt theory is the panda icon in the WWF logo, which uses the Gestalt "closure principle" to complete the panda image. In fact, it's just a few scattered elements.
  格式塔理论提醒我们不仅要考虑画面中有什么,还要考虑画面中没有什么……不是很容易?
  Gestalt theory reminds us to consider not only what is in the picture, but also what is in the picture... Not very easy?
  如果您在白色背景上设计一个黑色徽标,您还需要在白色背景上制作一个黑色反白色版本。
  If you design a black logo on a white background, you also need to make a black anti-white version on a white background.
  大多数人认为你只需要把logo的颜色换成白色,但其实并没有那么简单。你会发现一些神奇的东西……反白色的logo似乎更“胖”了一些,颜色对比让同样的logo看起来更胖一般!这不奇怪吗?这种错觉叫做放射性。
  Most people think you just need to change the color of logo to white, but it's not that simple. You'll find something amazing... Anti-white logos seem to be a little fatter, and color contrast makes the same logo look fatter! Isn't it strange? This illusion is called radioactivity.
  幸运的是,有一个简单的解决方案。当设计反白色版本的徽标时,您可以添加细笔画将其扩展为图形,然后使用Illustrator的pathfinder删除它。这取决于你的眼睛来决定减掉多少“重量”。我们的终目标是使反白色版本在视觉上与黑色版本完全相同。
  Fortunately, there is a simple solution. When designing an anti-white version of the logo, you can add fine strokes to extend it to graphics, and then use Illustrator's Pathfinder to delete it. It depends on your eyes to determine how much weight you lose. Our ultimate goal is to make the anti-white version visually identical to the black version.

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