Psychedelic Pop Backgrounds

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.

A good majority of this year's trends do not translate well in print. Innovations in technology and the adoption of a variety of tools have made black and white printing no longer mandatory. Some clients are aware that when they choose a particular trend, they are potentially removing their logo's significant meaning and nibbling away at their appearance when transformed into black and white or when the logo is faxed. What do they get? They get powerful and colorful striking images in 90% of the other media.



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

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.



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.

Classic Modernism

Classic Modernism

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.



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.

The Geometry Lesson

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

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.

Street Art

Street Art

When you hear the words "street art" handmade graphics come to mind. Talented illustrators with street art backgrounds have artfully changed the wall painting spray with the Illustrator bezier tool.

Many people think of street art as a breath of fresh air - a welcome relief from digital computer art.

Street art logos have always been around. Indications are that they will be for a long time. They are the preferred medium for producers of extreme sports and manufacturers of sports gear and clothing. When abstracts are on the decline, but people still expect a nice story from logos, street art will regain its popularity. When designers want to create something original, they may opt for some of the trendy street art seen in recent years.

Street art speaks for the souls of designers: there may be hints of urbanism and perhaps a speck of subversion and activism.

When bold and bright street art is reflected in logo design, just let your mind travel across geographical locations: from the East Side gallery of Berlin, to the diversity of Melbourne and to the murals of Sao Paulo, Brazil, you'll discover that logos with street art are reminiscent of a place and time that have made a distinct impression on the beholder.

Puzzle Patterns

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.

'09's going to be a very interesting year, design-wise. However, I also have a feeling we're going to see a few wild-card trends... the new Pepsi rebranding is what's triggering that thought.
Abhimanyu Ghoshal
7.01.2009 at 01:01
This is - politely speaking - crap. Real design and especially logos does not follow any trend. By definition, a trend is something that degrades/downgrades the design and it's impact.

Moreover, I don't know, how many trends are not included in this article? :) It seems 2009 will be the year when almost everything will work AND be trendy. Pfffft.
Alexandru SINOV
7.01.2009 at 05:01
Logo trends can change.... otherwise comanies wouldnt rebrand to make their business/product seem more modern.

One thing I have noticed thou.....bright colours...
8.01.2009 at 01:01
Aside from the typographic logos, it seems as if '09 is in stored for logos that don't read or reduce well.
Roy V.
8.01.2009 at 03:01
Not really agreeing with this list though. Also some were old trends few years back at Logolounge.
Chung Dha
8.01.2009 at 03:01
why not take a whole illustration and make it into a logo ? people might remember that as impressive too ...hahahaha !
Ioana Halunga
13.01.2009 at 08:01
This article comes off as being pretentious to me...not to mention misleading. Good design does not = trendy design. If that were the case, then your company would need a new logo every couple years. A logo should be iconic and timeless, and should reproduce well at any size, qualities that most of these logos do not possess. A "trendy" logo might get you noticed in 2009, but you'll look like a fool in 2011.
13.01.2009 at 02:01
great logos, i am a design studnet looking for resources-thank you

16.01.2009 at 12:01
Articles like this piss me off.

1. All the logo's here will change within a year or two as they are pretty poor.
2. There are a hell of a lot of trends here. Basically the trends for 2009 are: lots of very different logo's.
3. Design, ESPECIALLY logo design shouldn't really follow trends. they should SET them. Good visual communication is not about following fashion. It's about ideas and doing whats right for the client. Including typograhic logo's as a trend is plain daft. Logo's are typographic. That's what a logo is. If it's not made of type it's a symbol.

Inshort, I totally agree with Alexandru.
Lee Newham
23.01.2009 at 06:01
You make some interesting points, Lee, but your incorrect apostrophe usage really detracts from the message. It's so regrettable that there is an entire generation of people who were never taught grammar. Please everyone, especially those of you in the design and typography field - find a way to learn some basic grammar skills.
25.01.2009 at 05:01
I totaly agree with Lee and Ed....good logo-design should work and communicate with an lasting effect without the intention to change every year. Nike-Logo/Strategy still works....after years and years!
But I believe also in refreshing and updating the "stuff" around.
It is important to "go with the time" and create a sustainable foundation with an well-thought-out CD :O)

From Berlin, all the Best
Sabina Ahmetspahic, Berlin
26.01.2009 at 07:01
I like logo design. It's like giving birth… you never know for sure what will happen with your baby, if it will be successful or not, if people will like or not and so on… What you know is how other conceived their babies/logos and how they made them go big. It isn't a general rule, but a code of good behavior, a lot of common sense and plenty of talent. That is all what is needed for good logo design. Oohhh!!! And a good knowledge of the history of logos and a good knowledge of today’s logos.

Indeed, if you look back, you will see that they were some trends over the time, but they were walking side by side with the directions and trends set by arts and architecture and never the less, the industrial changes. And those trends were set for decades, not for one year. Today we just use the ideas and trends that other already “invented” and we mostly use all styles according to our needs and desires (actually client needs and desire).We have all kind of logos and the only ones today, that are a little bit innovative are the WEB 2.0 ones, but not 100%

Our lives are so complex and all the services that companies provide are so different that now everything is in fashion. The only thing you can talk about is the costumer and his needs and what abilities you have to comply with those needs.

All the best to u all and tons of inspiration
30.01.2009 at 11:01
I agree with a lot of the criticisms expressed here, especially taking issue with things like reproduction and scalability which, when ignored, make the designer responsible look quite the opposite. As for the term "trends," it does come off as a misnomer, these are more like predictions. Lastly, although I fundamentally agree with the so-called timeless argument, anyone who thinks that brands like nike, coca-cola, and the like don't update or alter their logos isn't paying much attention either and come off as rigid, ignorant and dogmatic.
3.02.2009 at 11:02
There are certain trends in effect at all times, yet I tend to believe that "nothing dulls faster than the cutting edge." I think there is a strong case for taking your audience, client and the soul of a brand into consideration, then let that lead to either a complex or minimalistic conclusion. If one follows trends, one is bound to be out of style at some point. Appropriate design never goes out of style, yet takes collaboration and lots of thought.
6.02.2009 at 12:02
Trends are followed by lazy designers. The brand and client should dictate the path you follow when developing an identity mark. If it requires something that happens to be a trend, so be it.
Nate S
6.02.2009 at 01:02
Im surprised to see the Obama effect was not noted among the logo trends here! The Obama campaign logo has proven to be quite a powerful force in the minds of non profits, and corporate behemoths alike (ie pepsi logo).

hard to quantify the exact qualities of this trend, but it is definitely an important psychological trend right now.

I'd also expect to see the work of grafitti artist shepard fairey to have an influence in all facets of design in the coming months.
Gregory Grigoriou
9.03.2009 at 04:03
This is sad...any logo that slavishly follows a trend is for a company that is expected to be short-lived. There really is no long-term vision anymore.
Anand Mani
3.04.2009 at 01:04
Apart from the list being filled with 90% crap.

You can't predict a trend by listing 3425 styles, that's like picking 7 thousand numbers in the lottery.

"Less being the new more" is retarded. I agree with what was stated numerous times in the comments. 'If a identity is done properly it never has to follow a trend, it will remain timeless and memorable for ever'

5.04.2009 at 04:04
Looks like you poked a raw nerve here! Touchy, touchy, fellow designers! "Trend" is not an evil word. Like it or not, we DO get influenced by what we see around us, and (NO!) even imitate it! We'd like to think of ourselves as purists, but even if the concept is original, often the execution is influenced by stuff that catches our eyes. Thanks for organizing this post.
9.04.2009 at 01:04
It seems to me that it's like every year since I've started this job. Same "trends" because it's basically simple principles of identity. Nothing really new to me.
9.04.2009 at 06:04
"Trends" aren't usually particularly good; but they will please my client. Thanks for a great post.
13.04.2009 at 07:04
This is just an opinion/prediction - it would have more value as a study at the end of 2009.

I hope this isn't what's in store as there's some real crap - Saffron's rebrand of Apollo tires would be a nice trend for '09...
Andy Talbot
15.04.2009 at 08:04
Mies van der Rohe once said that being good is more important than being original. Originality is a product, not an intention.
16.04.2009 at 03:04
design is the opposite of trend, everyone (in this area) should know that, that´s why we see really poor design nowadays.
If you follow Trends, you probably, are not a real designer, I can ensure that.

Regards from Portugal
17.04.2009 at 07:04
I really don’t agree that “more will be the new less.” I don’t see Target or Nike changing their simple logos this year. I’m seeing a lot more Obama-Warhol type of logos cropping up, but who knows how long those will be around? The simplest logos are the ones that people remember, and that’s why they have the best staying power no matter what anyone thinks the current trend is.
22.04.2009 at 05:04
Let me preface by saying that relatively speaking, I don't know the most about design. So feel free to disagree. No hurt feelings here :)

But i do want to say that yes, "trendy" things can be less than desirable but i don't think this article is meant to identify what is "trendy" in sense of the imitating for the sake of imitating or laziness to be more "creative" or "original." I think this is meant to trace trends in the sense of patterns and commonalities found among a wide range of designs that arise because because people are bound to think in similar ways (think, spending trends eg. how much money individuals spend in a given period). Of the thousands of designers and millions of people, is it that hard to believe that there wouldn't be some overlap?
simple thoughts
4.05.2009 at 02:05
For all those complaining about trendy and trends:

It's not about "treeeendy", I guess. (btw: I hate that word, as well as creative...)

Though I must say that there certainly are trends in designing logos. There are only very few people who really set trends... the others just follow. And there is indeed no need to complain about that.
Some companies want innovative stuff and pay a lot, others want cheap things and get trendy stuff. (sometimes a logo isnt even supposed to be too good like the me-too-brands)
Not everything is about inventing something new over and over again, sometimes copying serves your intent. Just when you see bad things you know what is good and vise versa.

5.05.2009 at 10:05
I am very concerned of the reduction possibilities of some brand designs that they show here... some of them are tottaly impossible to read or clearly distinguish and I think that a good brand exists to tell us what the company (or event, group, band etc) was put on this Earth to be... (LOL!!!) I think that, most of all, it must pass a clear image of what the company or project really represents.
Aline Ribeiro
1.06.2009 at 05:06
Trendy? I thought logo design is, at its best, a problem solving process that creates a unique and functional product, independent from trends. Clients who look upon logos as shopping expeditions get what they pay for. I think that trends are hindsight; I wonder if the Nike swoosh would ever be accepted by trendy clients if Nike never existed?
4.06.2009 at 10:06
Ahhh - moaning - the last bastion of the faded designers wimper.

One thing I am certain - design is changing, my clients are demanding more from me and colour, texture and creativity are on the up... I think any designer who ignores their client brief is doomed to failure, but our craft aims to produce some art. Whats wrong with 'logo art' for the masses, or to challenge pre-concieved ideas...

Why not have a logo that does not explain itself, just a jumble of used items in a bedroom scene.. Whats next for 2011 - modern art film logo's, half a dead cow?

Maybe the 'logo' as we know it is dead, and brandings on its way out. Maybe someone should just make a million logo designs, and website that sells them for a pound, just to make 10p loyalty.
6.06.2009 at 07:06
At the end of the day, as a designer, you have to ask yourself if the style and technique you are using for the logo fits the design business objectives for that client and can work in their marketing cycle for some time. That has to be the first priority. I read the article as just a "sampling" of what may currently be out there; not the golden rules on how to design for 2009.
Erin Freeman
16.06.2009 at 01:06
My god, these logos are absolutely horrible. Completely forgettable, overly-complicated. Yuck. Where in the world are the Paul Rand's of today... other than industrial designers such as Jony Ive, of course. Today's design is an utter disaster compared to the classic, long-lasting work of our graphic design forebears.
Tab Cocovillea
29.09.2009 at 01:09
As a lover of art, I couldn't help, but to get interested in this debate. I noticed a lot of complaints revolved around trends and copying other designs, but I wonder what form of art doesn't do this in some form or another.

In the movie industry, fashion industry, web designing industry, etc. There is always going to be someone using other people's ideas to make their own art. If there were not progress could not be made and new forms of art wouldn’t be discovered. While some people do create something original every once in a while that makes everyone stare and say "That's great!", these "wow" pieces comes in cycles and takes a great deal of time to create.

In a world where time seems to be short, logo designers struggle with not only keeping up with the times and getting a logo out into the public before the next designer does, but they do have to take into consideration what a client wants.

So from the artist’s stand point yes, I agree pieces should be original and timeless and not follow a trend of some sort; however, since logo designing is an art tied to the market, I also understand why people may say trends or not such a bad thing either.

Logos are in a market of competition and if you want to stay on top sometimes following along with others is wiser to do than to focus on originality, which takes loads of time. In a fast moving and changing market, time is not something that can be wasted if you want to keep up and stay on top.

This is not to say care and thought should be thrown out the window. They should be present always. If no thought or care was put into logo designs, then horrible logos would be everywhere.
2.10.2009 at 02:10
I think branding is important because it makes each company unique. You have to stand out from the competition in a positive way. The designs you have on your website are aesthetically pleasing to each viewer. I love the way the colors come out in each and every design, very captivating.
Emily Duque
5.10.2009 at 10:10
I wonder if the Zune "Cube" logo would stand in the 80's geometry lesson category.

A lot of good points have been brought up here. Logo Lounge's Bill Gardner uses the word "directions" instead of trends, and that might be a more suitable way to put it - trends, and maybe the article too, gives impression that these trends are what will dominate logos in 2009. Calling them directions leaves a little more room to note that they may be new, but are not necessarily the biggest trends, for better or for worse. I can see the problems with scaling and reproduction for Arabesque and puzzle pattern designs though.
6.10.2009 at 12:10
In order for a business to strive, there are a lot of things that must be in place to contribute to such success. While having a quality product is essential, that does not necessarily ensure or guarantee success. It is the long term impression that must be established with consumers. Central in defining the company and what it stands for can be interpreted through this impression. In order to create this, it is vital that a proper marketing strategy is in place in the form of something unique - a custom company logo and brand design.

I think it is absolutely important for all corporate bodies to realize the importance of having a custom designed logo. A professional logo design goes a long way to establish the identity and elicit the attitude of the company. A professionally designed custom logo can be very powerful in representing the company profile, the nature of job they do, and the attitude of the company. Furthermore, it helps to build the identity of the company and distinguishes your service from your competitors in the industry.

A logo, if done properly can leave a long and deep impression on your customers mind. They go a long way in depicting the image of your business. You can well understand, how powerful a logo can be if you think about the golden arches of McDonalds—the moment you see that, you know its’ them. Just think about the Swoosh of Nike, do you even take a moment to think, to whom does that logo belong? That shows how much of a powerful impact a logo can create in the mind of your customers.

Logos that catch my attention do not have to be the bright, vibrant, or colorful logos (which appear to be the norm) more importantly, they must be BOLDLY DEFIANT...not afraid to distinguish themselves from the societal trends.
Kevin A.
6.10.2009 at 02:10
These "trends," are horrible- they cerialise the world of design, i feel design should be in itself the ensance of what it is, by it i mean design so therefore the word design entails an image of self creativity that can only be seen from within the soul of an outward open individualist maker of items who can project an image from the mind to the canvas/screen or film. Trends are nolonger needed for someone to inspire ones self from the heart of which they can openly portray what it is they hope to open upon the world- in a can of beans fassion!!

My clients want design me from paper head.
Luigi Macerina
20.10.2009 at 10:10
Juste pour vous remercier pour le contenu de votre site. Je suis etudiante (francaise) en Design Graphique a Aberdeen et travaille en ce moment sur un projet de Corporate Identity. Vos pages sur le sujet sont de loin la meilleure presentation et analyse que j'ai trouvee sur le web. Merci !!
Charline Florival
9.11.2009 at 01:11
Real design follows no trend?!? Really? So "real" clothing, architecture, industrial design, and yes, even logo design, have not changed ever??? NO. You are an imbecile if you really believe that. Design evolves and changes as a product and result of these "design trends". It's why a good design in 1985 is typically NOT a good design in 2009. Sure, the dictionary definition of trends may be "in one day, out the other", but as a designer, you what he's talking about. Come on guys, get a clue.
1.12.2009 at 10:12
Nice everything. I agree with both: trends are essential to percieve but also I agree that too much following them can lead into cheap, quickly sharm loosing logo. So that is and allways was the most importnant task of creative process, that designer has to be the right one set the exact and perfect amount of each element used to do NOT degrade something that needs to be clear and perfect. Its hard to create a perfect house or car, but man can create a perfect logo. You have to feel it. Good luck to all
Martin Le Bawez
15.12.2009 at 09:12
Artists always have to have an opinion. Do not forget this is commercial art. It is not for YOU it is for your client. It is good to have passion, but you need to also be aware that the normal person will not look this deep into it. Akshay comments make no sense.
Judd Dunagan
9.01.2010 at 09:01

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