On the Great Design of Brand Five

(12) Recognize the characteristics of change and practice the changes.
The circle is "folk-shaped," and it is so perfect that it has no vitality. The ellipse is more energetic than the perfect circle. But if a certain part of the ellipse changes, such as a small piece, then the circle is not only energetic but also personal. This means that there must be a change in the logo design so that it will have impact. But change can not be too much, if too much has lost its own "circle" concept, then it is not called a circle, so changes should be modest.

(13) Excavate the value selling point: Make a roof, but do not say it is the roof in the marketing, like this will be the same as others, the competition has many chances naturally less. If it is extended as the concept of "occlusion", it is not contrary to the essence and is different from others, increasing the chance of success. In fact, this example is not to let everyone exaggerate the facts, but to illustrate the value of a selling point. Every commodity, every brand has its value selling point, may be different, may also be the same as others, depends on how you dig, how to give it a different concept. Jia Pingwa said: The face does not show his chest, his chest is not a halter, his back is not exposed. It also said the same thing: Everything has its own unique thing, depending on how you use it.

(14) Design thinking is a key factor in logo design. A good symbol is not just plain reasonlessness. The designer may think that many of his logos are inspired by the moment. In fact, inspiration is only a small part of design thinking. A good mark is based on the designer's design thinking.

In fact, when the designer first accepted the task to design a certain sign, he had already started design thinking. He needs to understand the background information of the logo, the relevant information of the same industry logo, and then determine what is worth refining, learning from, and what should be avoided. Finally, based on these known visual information, whether it is thinking or inspiration, design A sign that meets the design requirements. In fact, this is a complete set of design thinking. Maybe you didn't realize it when designing, but you did do it, but the level was high or low.
How to form a level of design thinking?

Good design thinking requires many factors: knowledge and skills, intelligence factors, and non-intellectual factors. Among them, the last two are the key. Intelligence factors include attention, memory and operation as well as logical thinking, non-logical thinking and creative thinking. Among them are many, such as design expressiveness, computer operation, imagination, inspiration and so on. Non-intelligence factors include interests, motivation, emotions, will, and personality. It seems very complicated, in fact, it contains all aspects of the design process, is a sub-project in a visual identification system project.

Taking the Tsinghua Tongfang logo design case as an example, the perceptual component at that time was greater than rationality, but it was only thought how to express the concept of "same" and "square". "Same" thinks of concentric circles; "party" is rigorous and rules. Winning this form now is a combination of romance and rigour.
Here, the sensibility of art is also very important. Any shape gives people different feelings: fresh, enveloping, ancient, writing, wild, beautiful, strong, handsome, solemn, strange, unrestrained, mixed, magnificent, full, freehand, sloppy, transparent, ç‹¡Hao, Fang Jin, elegant, dignified, elegant and smooth. The aesthetic ability of art, that is, the aesthetic ability is firstly a skill, and it is a skill that needs training and training. Of course, this skill is not a general skill, but "a kind of overall ability to grasp complex visual and auditory patterns and their profound meanings."
In the end, the design of this logo must not only meet the company's market positioning, but also meet the audience's aesthetic, but also have artistic value. To achieve this, design thinking plays its due role in design.

(15) The twelve basic characteristics of the designer

Frank Barron once mentioned the twelve basic characteristics of the creator. I think it is particularly suitable for designers: 1. They are better at observing; 2. They only express part of the truth; 3. They see other people The things that I came across also saw things that others did not see, 4. They had independent cognitive abilities, and they gave them a high evaluation; 5. They were motivated by their talents and their own evaluation; 6. They were able to grasp many of them more quickly. Think and compare more ideas, so as to form a more comprehensive synthesis; 7. From a physical point of view, they have more internal drives and are more sensitive; 8. Have a more complex life and can see more. Complex universality; 9. Being more aware of unconscious motives and illusions; 10. Having stronger self so that returning them to regression can also restore them to normal; 11. Making subjective and objective differences possible within a certain period of time. Disappeared; 12, the creator's body is in a state of maximum objective freedom, and its creativity is such an objective and free function.

(16) Brand building is like building a building, how deep the foundation is, and how high the building can be built.

(17) Activate Old Brand

To stay ahead of the brand, we must first create a new image. There are two situations.

Firstly, the image is updated and evolved. The evolution is a roundabout way of updating the image of the brand step by step, for example: 3m; Shell Oil, which was adopted in 1897, has undergone 10 changes and has retained the shells. Although the changes are minor, they have changed.
The second situation is to completely change, take a completely different path from the past, and create a brand new logo and image system. All this shows the brand's new determination and direction.

Both of these situations are advancing with the times and the brand value has therefore been improved.

(18) Common methods for the use of colors and logos in graphic design:

First make a color ring, not necessarily full of color, but to understand: red, yellow and blue primary colors (triangles), red and green; yellow and purple; blue and orange (180 contrast), purple green and orange color.

When making a tone design, first determine whether you want to make a harmony or contrast. Harmony color (close to the color circle), such as yellow and orange, blue and green, certainly safe when used. The problem is that harmony is boring and lack of opposition leads to no visual impact. The solution is to add the relationship between lightness and purity, such as red, orange, black, and white. There is harmony and contrast to make the mark interesting. The contrast is based on the contrast of lightness. Contrast colors are also used in a variety of ways: primary color contrast (red, yellow, blue), contrast color (violet-green, orange), complementary color (red, green, yellow, blue, orange).
In fact, the use of complementary colors and primary colors in logos and graphic designs is the most common and the changes are subtle. When using contrasting colors, be careful to add reconciliation. Contrary to adding contrast when using contrasting colors. The way of reconciliation is to adjust the relationship between color and purity according to the size of the area, and at the same time reduce the increase in purity or lightness, while adding black and white. This is the case with Chinese painting. At the same time, we must also pay attention to the consistent trend of cold and warm, such as: McDonald's logo, red magenta, yellow lemon yellow, the whole is cold; there is the Chinese flag, the five-pointed star is yellow, the background red is red, warm; Medium color to distinguish, black, white, gray, gold, silver.

The above summary will yield some color combinations: For example, red and green plus black and white, there is a particularly simple way to master colors. But you can't copy color because the color is related to the structure and color quantity, and the structure and the color change the effect of the color.

Ways to enrich the colors: For example, look for the grayish red next to the red, and the warmer and brighter green next to the green, and the color will become thick. It is equal to adding a tone in the sketch, one more level. When you use several groups of colors, you must have a group of major contrasts. For example, there are three groups of contrasts. The main red and green, the second layer of yellow and purple, and the blue and orange are the third layer. There are three groups of contrast relationships in the picture, and it is particularly strong. . Because you treat it into different components, it is harmonious. For example, in the logo, mainly blue, add dark blue, or join the sky blue, if there is a contrast, it is certainly orange, the idea is clear, and then change.

(19) Why are signs, secondary graphics, and tertiary graphics deformed?

1, the summary is the deformation, the concise is the deformation. Summarizing and concise results in small things being omitted, which inevitably causes distortion.

2, exaggeration is the natural expression of personality. From the process of watching, sketching, and refining, we can discover this. Everyone feels different. Therefore, we must excavate our personality and exaggerate and distort what we feel.

3, there is a point of view of the deformation. For example, the metamorphosis of Picasso was based on personal conclusions, integrating African art, mathematics, and modernity, and then formed a geometric approach. This kind of deformation in his mind has conceptual ideas in it.

4, the need for composition. The exaggerated distortion makes the composition more complete and makes the space more comfortable, such as the deformation of Motiriani, which gives the graphic a better sense of order. (to be continued)