下面是小编为大家整理的2020年LOG设计趋势报告（2022年）,供大家参考。
2020
LOGOLOUNGE
TREND
REPORT
By
Bill
Gardner
As
with every
logo
trend
report
I
write,
I
look
to
the
past
before
looking
ahead.
You
can’t
tell
where
something
is going
if you
don’t
know where
it’s
been.
There’s
always
a
reason
something
goes
viral
or
takes
off—something
set it
in
motion,
good or
bad.
So
let’s start
by addressing
the
white
elephant
on
the
planet:
COVID-19.
Crises
often
accelerate
trends
in
society
and
design.
It’s
very
reactive
and
rushed—i.e.
if there
were
a
ten-step program
that we
typically
follow to
get
from
point A
to
point B,
we
skipped steps
six
through
nine
to
get
there during
a
crisis.
Next
year,
we’re
probably
going
to
see
a
lot
of logos
that came
as
a
result—some
will
be
brilliant, while
many
more
probably
won’t.
No
matter
what,
I
believe
the
design
industry
is
going
to
come
out of this
better than
we
were.
Some
firms
will
not recover.
It’s
going
to
be
survival
of the
fittest, but
having
said
that,
we’ll see
an emergence
of little
start-ups and
uncover
some
talent
we’ve
never
seen
before.
People
will
regroup,
find their
niche and
come
out of this
with a
new
resilience.
We’re
going
to
see
a
new
way
of working
and
doing
business.
While
working
remotely,
we’ve
also
come
together and
grown
closer
with a
new
kind
of face-to-face—something
we
probably
weren’t
doing
anyway.
Just
because people
work in
close
proximity,
doesn’t mean
they’re
connecting
or
talking.
Zoom
and
Facetime
have
become
the new
norm
in
business
as
companies
work with offsite
pods of people
with different
skillsets.
We’re
talking
to
each other
more
now
than
before.
Another
offshoot of this,
is
that we’re
seeing
the
big telecom
and
technology
companies
step
up and
lead,
offering expanded
services
to
help
students
with e-learning,
keep
remote
workers
working
and
provide
more
entertainment options than
ever
before.
Sometimes
the
price
of doing
business
means
being
a
good citizen.
This
is
a
shared
generational
experience
that we’ll never
forget
and
hopefully,
we’ll all
learn
from.
Next
year’s
batch of logos
will
surely
reflect
this!
As
for this
year’s
trends,
we’re
seeing
some
intriguing
clusters
of design
innovation
driven
by technology
and
tools. For
instance,
there
are
a
lot
of logos
this
year
that employ
variable
fonts and
effects
filters,
maybe
for no
other reason
than
we
have
the
capabilities
to
do it. As
designers,
when
new
tools are
introduced,
we
start
with the obvious
effects
and
objectify the
coolness
(which
gets
tired
after
a
while).
Fortunately,
there
were
many
great examples
by designers
who
took these
tools to
the
next
level,
exploiting
their
capabilities
and
creating
new
logo experiences
that we’ve
never
seen
before.
We’re
also
seeing
two
opposite trends
that hearken
back to
the
best
of the
1970s.
Wordmarks
with big fat fonts came
out roaring
this
year
(think
bell
bottoms and
afros),
perhaps
as
a
counter
to
the
minimalist
sans
serif
aesthet - ic we’ve
gotten used
to
the
last
five
or
six
years.
At
the
same
time,
there
are
a
lot
of ultra-minimalist
vector
images with clean
positive/negative
fields
that may
have
resulted
from
a
desire
to
return
to
clarity
and
simplicity,
ala
Saul Bass
and
Paul
Rand—the
pendulum
swings
both ways.
There’s
also
a
tendency
toward minimalist
effects
using
transparencies,
where
one
surface
hovers
closely
to another.
It’s
getting
tiresome
and
I
see
a
movement
away
from
this.
On
the
other
hand,
we
have
what
I
like
to
call “Potter Pics,” which
reference
the
little
animated
movements
in
some
logos,
like
the
wink
of an
eye.
They’re
subtle and
clever.
Hand-drawn
naïve
symbols
that are
more
crude
are
emerging.
They’re
kind
of a
New
Age
throwback. In
a
similar vein,
there
are
logos
with flowers
and
leaves
referencing
organics
and
natural
products. Expect
to
see
more
of this as
the
cannabis
market
expands
in
the
next
few
years.
Bolts and
Twinkles
have
reached
a
place
of critical mass
this
year
and
they
are
far-reaching.
The
mystical
and lighthearted
applications
have
a
level
of charm
that can
be
seen
in
conservative
business
to
business
brands
as well
as
little
boutiques—ie
They
are
equally
at
home
in
the
boardroom
as
they
are
on
the
boardwalk,
and
that’s not something
you
can
say
about
a
lot
of things!
Gradient
solutions
are
rampant,
but
it’s
taken
on
a
new
level
and
being
applied
in
novel
ways.
The
simple
ways
of washing
green
to
blue
or
red
to
orange
are
tired,
so
now
there
are
more
fashionable
applications.
For
instance, there
are
waves
of purple
to
pink,
then
zooming
into a
blackhole
or
interacting
with colors
that aren’t
necessarily adjacent
to
each
other
on
the
color wheel.
It’s
quick and
busy
and
interactive.
And,
of course,
in
the
opposite corner
there
is
a
trend
toward intricate
linework
that is
so
fine
it’s
taking
on
a halftone
effect
by default
when
it’s
scaled
down.
Things
that have
gone
rampant
include
kettle
weights,
anvils,
Legos
and
animals
like
foxes
and
tigers—but
not Tiger
Kings.
Wait
‘til
next
year!
There
are
also
a
lot
of logos
with a
third eye
thrown
in.
The
third eye
is
supposed
to indicate
self-actualization,
but
I
don’t
think
that was
taken
into consideration
so
much
on
a
lot
of these.
It just
felt like
a
weird
element
that was
added
as
an
after-thought.
I
never
grow tired
of reviewing
the
thousands
of logos
we
receive
every
year.
It’s
always
a
fascinating
study of creativity
and
innovation.
These
trends
come
and
go and
then
come
back again.
I’m grateful
to
the
logo
design community
for bringing
their
best
to
LogoLounge
each
year.
This
report
is
an
observation
on
the
logo
industry
and
isn’t
meant
as
a
guide
for best
practices.
Trends
are
trajecto - ries
that will
evolve
and
modify over
time,
not a
passing
fad.
Use
the
ideas
here
to
push
your
design
skills
to
the next
level
and
keep
the
trajectory
moving
to
the
next
iteration.
COUNTERS
There
are
more
than
enough
idioms
in
our
language
that lambast
the
individual
that can’t
spot the
obvious:
They can’t
see
the
forest
for the
trees;
Couldn’t see
it
if it
hit you;
Hidden
in
plain
sight;
or
a
personal
favorite,
Can’t see a
hole
in
a
ladder.
Though
questioning
a
designer’s
perspective
can
be
treacherous,
their
personal
use
of these phrases
is
less
an
insult
to
the
viewer
than
an
attempt to
brag.
They
themselves
have
seen
the
obvious
and
if you were
equally
as
smart
you’d see
it
too. These
logos
are
less
about
the
colorfully
arranged
elements
floating
on
the background
but
more
about
the
negative
counter
space
created
between
them.
There’s
no
better
way
to
endear
the
public to
a
mark
than
to
build margin
in
the
design
for them
to
participate. Recognizing
the
consumer’s
intelligence
and
leaving
room
for discovery
and
the
aha
moment
in
these
logos
allow them
to
live
on
multiple
levels.
A
tread
forms
an
S,
as
well
as
a
pair
of arrows
intersecting
where
diverse
content joins
together.
A
series
of parallelograms
represent
structures
with a
sunset
gradient
on
the
horizon
crafting
a mnemonic
reminder
of the
letter
H.
These
marks
tend
to
work best
when
simple
and
relatively
geometric
in construction.
... But who
can’t
see
that?
RENTSCH DESIGN SPEED
ZEN K
ARROW
ANGELO
VITO 44ELEMENT W20
HORIZON THERAPEUTICS
MAZES Mazes
and
their
inception
have
always
puzzled
me.
In
classical
times,
I
can
imagine
them
being
laid
out and
pruned within
an
inch
of their
life
to
amuse
the
owner
of some
well-healed
estate.
On
the
other
hand,
I
can
see
that they
could have
been
a
way
for the
elite
to
dispose
of boorish
guests
that had
tested
their
limits.
Whether
you
look
at
a
maze
as
a
delight,
a
mystery,
or
a
punishment
it
is
a
challenge
that visually
represents
many
of the
objectives
a
client
may
wish
to
associate
with their
brand.
As
a
rule
these
marks
are
a
continuation
of the
mono - line
aesthetic
with an
even
distribution of positive
and
negative
weight.
Some
of these
marks
identify
a
path
that enters
at
point A
and
exits
at
point B,
while
others
guide
you
directly
into a blind dead
end
or
a
goal
or
starting
point, depending
on
the
perspective.
Either
way
there
is
a
specific pathway
that leads
you
to
a
timely
completion
of your
task.
Having
a
guide
for the
journey
that might
otherwise
be
interminable
is the
underlying
promise
these
marks
address.
As
addictive
as
click bait,
they
invite
a
consumer
to
visually
trace
their route,
demonstrating
it’s
much
easier
to
find your
way
to
freedom
with a
birds eye-perspective
of the
challenge.
MIHAI
DOLGANIUC DESIGN Y MONOGRAM DESIGNER
UNKNOWN TRAINLINE
ABO
AGENCY SONIA
COLOMBO CHRISTOPHER REED VOLANTUM
SISTERS Humans
have
a
desire
to
achieve
a
level
of balance
and
harmony.
We
like
to
create
order.
As
a
rule,
order
can
give
us a
sense
of wellbeing.
This
is
all
part of a
much
bigger
psychological
conversation
associated
with the
Gestalt
theory, but
for the
purpose
of this
trend
it’s
driven
by our
comfort with symmetry.
This
group
of logos
are
most often
crafted from
two
identical
elements
either
mirrored
or
rotatio...
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