LOGO RASMI AZIZIAN4EVER

blackcanary wrote:kahkahkah...zal...feninglah kepla mcm ni....

camtu le ghoper koje designer.....dia ni buat koje mcm main jingsaw puzzle.....ambik buah fikiran serta pandangan dan idea org lain..dicantumkan utk mendapat output yg betul betul menyelerakan org yg melihat...

tu yg kena simpan rambut pjg tu...sebab byk idea org kena simpan kat ghambut..jd storage area....

MR. OS wrote:

blackcanary wrote:kahkahkah...zal...feninglah kepla mcm ni....

camtu le ghoper koje designer.....dia ni buat koje mcm main jingsaw puzzle.....ambik buah fikiran serta pandangan dan idea org lain..dicantumkan utk mendapat output yg betul betul menyelerakan org yg melihat...

tu yg kena simpan rambut pjg tu...sebab byk idea org kena simpan kat ghambut..jd storage area....

kahkahkah...maknanya zul...kau punya storage area 0 (sifar) lah ye...sbb kau tak beRAMBUT...

sorrylah....kalau pendapat saya buat korang pening....tapi kalau x dicuba...kita x tahu hasilnyer....yang lain boleh jugak bagi pendapat...!!

tapi sebagai designer ko boleh jugak tengok komen orang dan kalau tak logik buat tak tahu...hehehe...macam aku tekankan dari dulu...tengok design tu dari segi dasar dulu...kalau mencukupi dan menepati kehendak baru kita mula komen. Dia kena ada persetujuan dulu yang mana satu nak dipilih...kalau tidak...kalau ada 72 kepala...72 ribu jenis logo le ada. As aku kata kalau nak tengok logo tu bior le tengok antaranya dari segi:

1. target audience
2. communication objective
3. Tone and manner
4. Application (website, press advertising, T-shirt, etc)
dan banyak lagi....

So apa kata kome define dulu menda empat tu...then kita carry on from there

and then logo pulak ada bermacam-macam jenis....
let me show u guys some:

Psychedelic Pop Backgrounds


A myriad of colours and shapes burst into the scene even if design
classes still promote a decrease in complexity in favour of concept and
essence. Again, this new development led to a no-holds barred position,
putting everything out in the open, concealing nothing.
Every technological revolution inevitably gives birth to a romantic
counter culture. But mixing these two by using 1960s psychedelic
patterns as backgrounds for contemporary shapes is as postmodern as it
can be.

What do the backgrounds whisper to us? You have a message in two
parts: part 60's psychedelic, part Optical Art. The use of layering
reveals Photoshop taking the vector lane. This approach is fueled by
mood and emotion.
Psychedelic pop backgrounds are reminiscent of the flower power era,
but they go beyond an ultra-modern, non-orthodox mindset. They are
unpretentious and democratic. There is no arrogance, no snobbery.

Origami


The desire to go back to basics is mirrored in the Origami theme; designers used it to display their skills.
An increasing number of designers wish they have real objects to
work with when executing on their projects. The art of origami is
fragile, light and subtle and the digital process is the same. It
closely resembles minimal geometrical forms discussed earlier but
constitutes more of a sub-trend.
Origami, however, evolved as a trend in its own way, because it was
a process that appealed to a broader range of designers. The trend
won't last too long, for the simple reason that the results are a bit
too similar.
The advantage of this trend lies in the process. Designers need
experience to get some of the process segments correctly. In spite of
their clarity and simplicity, the logos will make the designer's
presence predominant. Origami-based logos are a good choice for
corporate monograms.

This trend brings back to mind the expression, "small but
beautiful". Origami is the Japanese art of folding paper, but the goal
is to use small folds and creases to bring about delicate and intricate
objects. This can be a challenge for logo designers and this is why
they put in much time and effort to come up with a logo that respects
the objective of using small amounts to produce intricacy; this is why
despite meager strokes, the designer's presence is strongly felt.

Tactile Logos


What sensations are triggered when you see letter installations
crafted out of a variety of materials and then photographed? Does
"cool" come to mind? How about "sensual"? Tactile means relating to
touch or invoking the sense of touch. But tactile does not have to
translate into tactless. What can't be absorbed by touch - texture -
must be compensated for by the visual.
Logo designers who like to experiment with tactile logos want to
change common textures in the real world. They may work well with their
preferred software, but they also have no problem with the traditional
tasks of cutting, painting and pasting. Actually it does take some
smart maneuvers to make tactile logos influence viewers at more than
the "touch" level. The texture and quality have to transcend the
feeling of touch.
The process is a huge challenge even for the most experienced
graphic designers. Creating type from real materials is a unique
experience. The possibilities are endless. Designers feel they are
walking on almost virgin ground and every creation looks like a
significant breakthrough. Type installations are supposed to create a
special mood and atmosphere. The results evoque craftmanship and
tangibility not often seen in logo or type design.
How designers cleverly manipulate this tangible aspect so that it
makes sense to even the untrained eye is pure talent. Tactile logos
never cease to stimulate logo designers; these are the very type of
logos that force them to retreat into the inner sanctums of their mind,
translating what resides mentally into concrete strokes, regardless of
whether these strokes are on metal, paper or on other types of
materials.

Arabesque


Designing a corporate identity using a beautiful tool like Arabic
calligraphy may seem straightforward enough, but wait until you get to
the execution process and you'll discover that it is a tricky
undertaking. Why? Because this style inevitably requires heavy doses of
gut instincts tempered with beauty. The designer has to make his logo
echo the beautiful soul of the Middle East. The Arabesque is synonymous
to majestic strokes that have to be delicately adapted to the desired
corporate image.
This trend goes hand in hand with the revival of the figurative
pattern that designers and non-designers have observed in the last few
years: complex patterns forming perfect illustrations that express
passion both on print and digital format. These beautiful creations
come straight from the Middle East, but American and European designers
are quickly catching up. The Arabesque solution is the answer to a
designer's desire for uniqueness. The harmonious blend of ancient
calligraphy and modern sans serif fonts works like a charm. What do you
get? A surprisingly modern object with mass appeal; mass appeal that is
far from cheap.
Logo designers who use the Arabesque style often have to be
sensitive to one of the defining characteristics of Arab calligraphy:
thick downstrokes and thin upstrokes with in-between gradations. There
must be a fluid transition that communicates the designer's hand. No
wonder then that Arabic calligraphy is considered a true art form. This
means only one thing: there is no place for sloppiness and shoddiness,
but there is plenty of room for harmony and connection.

In 2008 classic modernism is back in style, considered by many as a
foolproof method, the "safe" way to create logo design. 2009 will take
us back to its most genuine forms where everything is somber and
calculated, white space is cleverly used, and everything looks like it
was done with ancient methods - like the computer was never invented.
In classic modernism, we have fundamental shapes, sharp contrasts,
the smart use of white space and form following function (in an era
where form tends to follow passion).

The focus of modernist logos is on the essential, where the concept
and the execution of that concept are first and foremost the guiding
principle. It can be diluted, no doubt, but the beauty of it is there
is plenty of room for interpretation. The colors and shapes are minimal
and strong. Transparency and photoshop weren't invented yet. These
marks transmit a sense of trust, security and pragmatism and are
accomplished with minimal resources. This is the designer's way of
drawing attention to himself when everyone else in the design community
is promoting a "shout it out loud" attitude.
What's surprising is that the absolute simplicity of this style is
embraced by the youngest generation of designers,and with good reason.
If you're not sure how consumers will react to your logo identity,
modernism offers you a historically proven safe channel, one that's not
fraught with conflicting messages, jarring colors and shapes.

Pictograms


Logo design must not only be an object or an image, a process or a
mixture of colors and shapes, but also a problem-solving process.
We're seeing a strong trend towards integrating meaningful icons,
the kind of icons that encompass the essential values of the brand, its
message and its market position - in condensed form. Pictograms are the
backbone of non-verbal multicultural communication. As they were taught
in college, classically-designed pictograms are the perfect vehicles
for companies desiring to communicate the message of "Here I am"
instead of "let me tell you about my company."
This trend became pronounced after web 2.0 logos faded away from the
design arena. At that time, it was more important to pay attention to
the glitter and shine - the background on which the icon was mounted,
instead of putting emphasis on the icon itself.
Sometimes the purpose of pictograms is to convey basic community values.

Pictograms date back many years, but they became popular at a time
when service industries like aviation, urban planning and public parks
had to provide citizens with important and helpful information in a
language that was universal. If logo designers made use of pictograms,
they had to make sure that they were just as effective.
Visual cues are key in pictograms. The logo must project itself as a
natural and clear message to audiences. It should not give the
impression that one needs a visual detective to de-code its elements.
Pictograms put less pressure on viewers when it comes to deciphering a
message; nevertheless logo designers must not neglect the aspects of
aesthetics, originality and timelessness.

80's Geometry Lesson


If there is one big no-no in graphic design, it is using complex
geometrical shapes with a full color spectrum to create a logo.
As to whether the capability to fax a logo is good or bad does not
matter. This argument could persist through the years but one thing is
certain: this complex geometry will be here for awhile.
When this 80s trend first came out, it was a way of capturing the
consumer's attention. The purpose was to design something completely
different, regardless of costs.
Designers will not spare any effort; they will use their
turbo-charged Macs to prove that in today's over-saturated market, they
have carte-blanche to attract the attention of consumers.
For years, monster-like geometrical logos have been used by
aggressive and self-centered companies to shout, instead of politely
introduce, their industry presence. These abominable images made their
appearance a few years ago and the perception at that time was they
were nothing but child's play and hence not to be taken seriously. But
observant designers and brand developers began to recognize their worth
and started using them.
There's a certain irony about using a full color spectrum for these
creations. The 1980s geometrical logos have come back in full force to
contradict minimalism, under-design, and common sense simplicity.
There's also irony in the fact that it's not the emergence of a 2008
high-tech 3D geometrical design observed last year; rather it's the
geometry of that ever-popular Rubik cube!

There's a chance of course that this may not thrive and be adopted
widely. Maybe they'll make a splash here and there to remind people
that a hint of visual pollution and the inclusion of non-essentials
could be an effective way of getting the message across. They may lack
some conceptual beauty but you have to agree - they are fine-tuned,
visually stable, and very difficult to reproduce.

Typographic Logos


Somber and solemn? Yes. Trendy? No.
Typographic logos will never fade from the designer's sphere of
vision because they deliver not only simplicity but also attractiveness
- a sort of silent elegance. The powerful component of type, when used
as an ornament, is highly visible.
Designing a typographic logo means combining the essence of
corporate identity and the company's mission statement which have to be
communicated through type only. This is not a task obviously for a
debutant logo designer because a delicate balance must be achieved
between corporate philosophies and the manner of projecting them with
the appropriate type treatment.
No doubt there are thousands of fonts offered to designers, but a
good designer will not succumb to the temptation of using
pre-established fonts. The professional logo designer works from
scratch, the way a patissier creates his ultimate signature
mille-feuille.
Even modifying a pre-made font is not an option. This is the niche
that typography enthusiasts guard with fervor. Typographic logos will
consistently demonstrate manners, culture, and purity. The type
selected must have the quality of adaptability, particularly when
numerous applications are envisioned for the logo. Sadly, the best
marks become adulterated when typographic support is not managed with
skill and talent, and the rest of the graphic elements tumble down in
quality.

Puzzle Patterns


When people exclaim, "the world's gone mad!" we think that logos
have also followed suit. The proliferation of brands and the thousands
more that emerge everyday make it clear that their visual impact has
diminished.
How does one compensate for this diminished visual impact?
One way is for brand designers to tread into uncharted territories,
going to places they never dreamed would be possible. What seemed like
mission impossible two years ago is now de rigueur.
These Puzzle Patterns must evoke entire sagas instead of reducing
elements to the essence of the brand. Most patterns highlight nature,
and bringing nature to the screen is a recurring trend for as long as
logos are designed on machines, away from nature itself.
Instead of going into the elemental essence of a brand, designers
are using complex vector graphics to intentionally veer away from the
rules. Their mantra these days is, "design has no rules." There is an
undisciplined but skilful interplay of type, patterns and images.
Restraint is out of the question. Anything goes with these puzzles:
animals, letters, plants, insignias or random geometric forms are given
full rein. No one's worried about meaning, because this unrestrained
m?lange caters to a purpose that is strictly decorative.

At present, Puzzle Patterns are the ultimate anti-corporate battle.
Don't be surprised however if in the years to come, big corporations
going through a face lift will decide that they definitely need
something DIFFERENT and hence will go with this trend.

Organic 3D



Let's take an example. You're seeing the Silverlight logo for
the first time. Your eyes are trying to absorb every feature and
then-you suddenly react. What's your first reaction? A breathless
"WOW"? Do you find yourself saying "aha"? Does the Silverlight logo
design trigger a feeling in you, arousing a desire to actually want to
see the product that's behind that logo? That reaction was what the
creators of this corporate logo were aiming for.

The logo designer starts with a very basic shape that is applied to a
simple transparency effect. This can lead to a more complicated
process, but one thing you must remember is that the end result should
look as organic as possible. Take your distortion tool for a good spin!


We welcome this type of logo design because it stands out and it tells
us that it's not "run of the mill." You see, the 3d bubbles and
transparency effects - which were overused - were getting really
boring. There is just one downside: ''eye catching '' logos were
appearing on the scene and becoming more sophisticated but they are not
necessarily the easiest to print.

In fact, the capability to print the logo exactly as it looks on screen
is a frequent request that stands at the basis of corporate logo
creation. Is it possible that the constant technological development
that now allows us to accurately reproduce a design on different
surfaces will generate changes in the classic laws of logo design?


Technology organizations that produce and market
groundbreaking products and services use this type of company logo
design. By using the "organic 3d" effect, logo creators avoid that cold
image look which is so typical of other companies' logos in the
technology field. This type of logo is not only eye catching, but is
also friendly. And here's a bonus: the lighting effect is fantastic!

Waves
Top graphic designers use them to inject more flexibility
and flow into the design. To highlight the idea of movement, logo
designers execute a fade technique from one color to another for this
type of logo design. It does not matter if a single wave is used or is
incorporated into the design; the round shapes give it flexibility so
that the viewer gets a sense of movement and of communication. "Waves"
are a good strategy to suggest the feelings of movement, transfer,
quickness and connection. They are not easy to use, but if you master
the technique, you can produce and optimize the effect. "Waves" are now
IN - they have replaced swooshes, swirls and other curves you find in
logo designs everywhere.

"Web 2.0" Logos
Designers
often hear the term "web 2.0" from their customers who ask for this
specific type of logo. The term Web 2.0 actually refers to certain
technologies (Ajax, Ruby, etc). The thing is, can we really say that
there's a new trend in graphic design, the web 2.0 design?


It seems to be the case these days. A web2.0 logo is now
synonymous to a modern and trendy logo, and this is why we find an
impressive number of tutorials on the Net that allow designers to
transform existing logos into web 2.0 logos. What characteristics do
web 2.0 logos have? They have bright colors, color levels, cute, icons,
3D effects, shiny surfaces, shadows and reflexions. The fonts are
simple and most of them rounded. In some cases the color levels, shines
and 3D effects are also applied to the lettering.


These effects must be used very carefully, because we have
seen countless cases where the logo designer uses these elements to
make a logo look good but neglects to give the concept the necessary
attention it deserves.


Some of these logos are beautiful. They catch your eye
instantly and give you the feeling of sophistication and technology.
But is the web 2.0 logo design trend strictly related to the current
popularity of web 2.0 technology? Will this trend fade when something
else replaces web 2.0 technology?


Interestingly enough, we are sure that this type of logo can
also be called the "apple type logo". We are all familiar with the
Apple logo; in fact we were astonished when in 1998, Apple gave up the
"rainbow logo" and launched the "glass Apple logo ". This logo has
turned out to be one of the most famous brands in the world, and it
"stirred up the crowd" without any doubt when it was first launched.
The fresh, innovative 3D technical image was one influential factor,
but its bright and warm qualities contributed to the evolution of logo
design and the way a brand should be perceived.

"Underground" Typography - Minimal Fonts
Examine
the logos above. Have you seen similar ones before? These are logos
that we have often found on the sites of Typographic Artists over the
last few years. Who would have thought, however, that they would become
mainstream by the year 2007?

These logos are based on minimal fonts that are achieved by using as
few elements as possible such as basic shapes (e.g. a circle arch for
the Wends logo). This technique is based on simple shapes, exact
proportions, and a boundless love for minimalist design. This type of
logo design will suit some people and companies perfectly but it
continues to create confusion among conservatives.

Here's a question: can this type of design lead to the development of a
good logo? Most people would be inclined to say no, especially if the
classic principles of logo design - Legibility and Readability - need
to be considered. It's true that logos based on the so- called Minimal
Fonts do not provide immediate conveyance of the message. However, most
agree that they do manage to catch the viewer's attention, provoking a
sentiment or desire to "figure out" what the message is.


Those who are looking at such logos will immediately want to
find out the name of the company and to grasp the meaning of these
logos. Furthermore, there is the element of shock when viewers see
something new and very different from what is usually seen on the web.

You could even say that this type of logo often proves to be more
efficient than a logo that merely conforms to classic rules. This
statement is relevant to a discussion on the emerging new rule: the
more a design is different to what is happening in the industry at a
given moment, the better and more efficient a logo is. Logo designs
based on minimal fonts require a long-term experience in graphic design
and typography; they are also not yet suited for all kinds of
customers. We see an increasing number of them being used on album
covers of good electronic music, on web sites that target the indie
audience, or on web sites of "cult" graphic design studios.

New Rainbow / Color Scale
We've
seen a thousand rainbows in our lifetime. Yet, each time we see one, we
can't help but stare admiringly at the sky even for just a few seconds.
We feel that sentiment of wanting to "chase rainbows" as the lyrics of
a song go.

Classic rainbow-colored semicircles have been widely used in the last
decade but alas, have quickly become passé. However, the fascination
with the full color scale continues. Lately, we have been seeing a lot
of "rainbow colors" that are being manipulated in a variety of ways.
Most designers will use transparency in order to highlight the visual
effects and to enable the fusion of colors, thus obtaining an
impressive shift from one color to another. Techniques like vivid
colors, shifting from shades of red to blue facilitated by an entire
spectrum of color, and especially the usage of a dark background to
highlight each color lead to outstanding logos that will always be
attractive to the human eye.

These logos convey the concepts of sophistication, technology and
freshness. With a nearly infinite number of possibilities for combining
colors, the visual effect is invariably special. What is really
spectacular is that although the classical rainbow representation has
come to an end, the message still remains the same: there are no
boundaries - nothing is impossible. This trend proves that using
classic elements will generate novelty and will also bring about
up-to-date and striking directions.

Sci-Fi Fonts
In
logo design the font frequently serves to strengthen the message as
conveyed by the image. But what about the typographic logos? In this
particular case, choosing the right font is crucial. Many of these
logos can be memorable. With the development of the number of personal
computers per capita, we are now witnessing the rise of a new category
of logos , using what the industry refers to as Sci-Fi fonts.

Whether they are the creation of famous designers such as RayLarabie
and Wim Crouwel or are projects produced in the typography classes of
some diligent students, we have seen an ever-increasing number of these
fonts over the last few years.

In the beginning of 2000 and later, we remember graphic design teachers
recommending infrequent usage of these fonts. Their reason was that it
was just a passing trend. What happened was the opposite. It seems
they're digging their feet in.

The frequent use of sci-fi fonts, with straight edges and simple shapes
has imposed itself as a new trend in logo design. We've seen various
designers "play" with these fonts in their logos: they either change
the font shape or create a new one in programs such as FontLab.

Let's take a look at the example of Compaq. Compaq chose this type of
font for its company logo redesign project in 2007. It clearly conveys
the company's new slogan: "See why Compaq gets people talking". See how
that slogan is conveyed in the shape of the Q? See the Talk Box? That's
an example of a logo that clearly conveys the core message by means of
wording only. After all, less is more, isn't it?

The New Crest
New
Crest logos have been around in the last few years. The year 2009
though will sound out the trumpets - New Crests go Mainstream!! With
the clever combination of medieval symbolism and urban culture graphic
elements, the New Crest logos appealed to the youth when they first
appeared. Eventually, they were also adopted and embraced by the
extreme sports and boarding communities everywhere. At the same time
they were used by well known graphic designers for big clients like MTV
etc.

Maybe it's the contrast between the old and new - novelty fonts against
medieval lions as an example; another example would be the ancient
decorations versus modern objects.

Collage is the main process behind these emblems, blending the right
elements to strike the right chord. And if you think about it, isn't
this what graphic design is all about anyway?

We tend to like new crests and think it's a good experiment to try with
the right client in 2009 and the years to come. One word of caution:
new crest logos are not for beginners. Designers need to get some
experience under their belt first before taking a crack at these logos.
It takes a trained eye and oodles of creativity and imagination to take
new crest logos into new highs!

Source: thanks to logoorange

and sesiapa nak try their hand at designing the logo can go here
http://www.aaa-logo.com/
kat sini tak slah aku ada free trial sofware untuk design the logo...
why not kome give it a go...

"See why Compaq gets people talking". See how
that slogan is conveyed in the shape of the Q? See the Talk Box? That's
an example of a logo that clearly conveys the core message by means of
wording only. After all, less is more, isn't it? ......................................

------- 1200% agreed.....less.. but more....

bro...berputar kepala membaca keterangan logo2 bro tu....huhhh....terbelet lah lidahnie,,....apa pun den follow yea...