So you think you can design a logo?


It takes a rare skill to graphically boil down the ethos of an organisation – consider some of the finest attempts


文章來源 :, Monday 28 March 2011 09.00 BST

How many logos have you seen today? Perhaps you maintain a lofty disdain for such things, but logos are unavoidable and, in their own way, quite remarkable. With a few lines, a good logo can articulate the aims of a charity or symbolise a city.


Deutsche Bank. Designer: Anton Stankowski, 1974
德意志銀行。設計師:安東 斯坦科斯基,1974

Logos today get a pretty bad press: “How much? My 12-year-old could have done that." Often, that’s true, sort of. Take the Deutsche Bank logo. Created in 1974 by artist and designer Anton Stankowski, it consists of a blue box with an oblique line inside: that’s it. And yet it represents a multibillion-pound business. Any self-respecting pre-teen with a ruler and a felt tip could have made a decent stab at it, a fact not lost on German newspaper Bild Zeitung which, at the time of the logo’s launch, wrote a disbelieving story headlined “Artist gets 100,000 Marks for five lines" (he didn’t get that much, by the way).

標識現今有一個相當負面的評論:即“一個商標究竟價值多少?我12歲的孩子自己都已這麼做了。”通常,這有點是事實吧。以德意志銀行標誌。1974年由藝術家暨設計師安東斯坦科斯基創建,它是由一個藍色方框內有一條斜線組成:謹此而已。然而,它代表一個數十億英鎊的生意。任何有自尊心的十歲青少年用尺和簽字筆筆頭可以做出一像樣的嘗試,事實上在當時的標識推出時,德國報紙的圖畫報切確寫了不可置信的故事標題為:“藝術家只用五個線條即獲得10萬馬克 “(附帶一提,他沒有得到那麼多)。

And yet such graphic devices can attain enormous power. So what makes a successful one? Simplicity helps. The Deutsche Bank square is neat visual shorthand for the type of values you might want in a bank security (the square) and growth (the oblique line) – hopefully of your savings and not just the employees’ bonuses. But its real power comes from repetition. A line in a box could represent any bank, but repeat it often enough (with a few million in marketing spend behind it) and it comes to be associated with just one.

然而,這樣的圖像設計可以獲得的巨大力量。如何設計一個成功的式樣?簡潔的協助。德意志銀行方形標識具有調理簡潔的視覺表達出你可能希望銀行安全(廣場)和成長(斜線)的價值 -您的儲蓄充滿希望,且不僅只是員工的獎金。但其真正的動力來自於重複性。盒子裡的線條可以代表任何銀行,但重複常已足夠(後面有幾百萬元的營銷費用),且它只涉及一個相關聯。

Woolmark. Officially designed by Francesco Saroglia but often credited to Franco Grignani, 1964
A bit of visual trickery works too. Take the Woolmark, the Op Art-inspired skein devised for the International Wool Secretariat in 1964. It’s a beautiful, timeless symbol abstracted just enough. Or, also from 1964, the British Rail logo, known variously as “the crows’ feet", “the barbed wire" or “the arrows of indecision". It replaced the old “ferret and dartboard" crest that had been in use since 1956, sweeping away pseudo-heraldic flummery with a bold modernism that promised a new “Age of the Train".

有點像視覺弄虛作假的作品。國際羊毛局於 1964年以歐普藝術靈感設計了絞紗毛線式樣的羊毛標誌。這是一個美麗的,適用的永恆抽象象徵。或者,從 1964年,英國鐵路的標誌,也被稱為“烏鴉的腳”,“鐵絲刺網”或“優柔寡斷的箭” 等多種名稱而聞名。它取代了自1956年以來一直在使用舊的“雪貂和飛鏢”的飾章,以’一個大膽的現代主義一掃偽紋章,承諾新的“時代列車”。

Logos can also be friendly, lovable even. Bibendum, aka the Michelin Man, first appeared in 1898. Legend has it that the Michelin brothers, Edward and André, were visiting the Lyon Universal Exhibition in 1894 when Edward noticed a pile of tyres on the company stand and declared “with arms, it would make a man". Compared with the grinning character that we are accustomed to, early versions depict an almost sinister figure, bespectacled and chomping permanently on a cigar. For a while, he was even known as the “road drunkard".

圖案也可呈現友善,甚至可愛。必比登,又名米其林輪胎人,最早出現於 1898年。傳說中,米其林兄弟,愛德華和安德烈,在1894年參觀里昂世界博覽會時,愛德華發現了一堆輪胎在公司的展位上,並宣稱“若有了手,它就便成一個人”。相較於現今我們習慣的齜牙咧嘴的笑臉象徵,,早期版本描繪幾近險惡的人物,戴著眼鏡和長期嚼帶著支雪茄。有一陣子,他甚至被稱為“馬路酒鬼”。

Michelin. Designer: O’Galop (Marius Rossillon), 1898
米其林。設計師:奧加羅普(馬呂斯 Rossillon),1898

Few logos today match the charm of a Bibendum or the simplicity of a Woolmark. Overcomplicated and overdesigned, they are the victims of endless research and managerial dithering, setting costs spiralling. But to take the ethos of an organisation and successfully boil it down into a simple mark takes rare skill. Think of the WWF Panda, the London Underground roundel or the Rolling Stones tongue. Logos carry the can for capitalism’s excesses but can also be adored elements of our visual culture.






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