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  • 名称: 万事达新logo:五角合伙人发声

“The design team here is so jazzed.”

我们的设计团队现在都炸开了锅。

 

在这个世界上,当你发布新的logo时,最糟心的不是被各种社交网络恶搞批评——而是根本没人注意到你的作品。

 

 

万事达新logo

五角为万事达做的全新品牌形象发布后的第二天,五角合伙人Michael Bierut发布了讲话。不出意外,这个项目发布后,就受到来自各界或赞或弹的评论。一边倒的批评声音质疑说五角的出品太过保守,配不上他们的昂贵的设计费;而也有赞赏的评论认为五角的作品简单、直接,与万事达的公众形象相符,体现了一种回归基本的优雅

Bierut说,我们非常清楚这次设计的logo只有两个圆圈和两种主要的颜色的确是这样,但这样的基本形状和色块的组合,正是如今世界上最深入人心的品牌标识之一

 

 

过去与现在

1968年创立至今,历经近半个世纪以来,万事达的logo除了曾经将Upright字体改成斜体以及在两个圈的重叠方式上做过几次微调外,就几乎没怎么变过。尽管如此,万事达也意识到从1996年起使用的这套形象系统已经有点过时,不再适应这个日益数字化的品牌了。

 

 

公司面向公众的媒体与生产技术已经发生了改变,”Bierut说,我认为像万事达这样的全球性大公司就应该使用这样简洁的视觉形象。在设计上,确保人们每次在看到这间公司的标志时不觉得复杂混乱,就已经足够了。

 

 

 

Logo将公司名改成了全小写的FF Mark无衬线字体,去掉了两个圆圈相交处的梳齿状设计,让整个logo无论是在巨大的广告牌上或是在苹果手表那样的小屏幕上,都能一眼看清。

 

Bierut说,我们的任务就是要调整这些基本的元素,让它们更加适应万事达如今的业务,让品牌看起来更现代、更符合潮流。

 

 

作为拥有全球超过20亿用户的品牌,从个人用户到最大的全球性银行,万事达的客户群非常广泛,而公司的logo应用也相应地多样化。而人们所熟知的万事达通常不是作为一个品牌,而是与各种各样的金融机构或供应商一起出现在公众眼前

 

 

 

随着年龄的增长,我开始对设计上的新奇和巧妙的东西越来越不感兴趣了,在我看来,那些东西并不是创造好设计的必要条件。当你费尽心思,想要做出与众不同的设计,却常常发现最终得出的结论并不那么的巧妙,这会令人感到很困扰。就如一家电脑公司叫做苹果,你就觉得那挺有趣的,而当这家苹果电脑公司的logo也是一个苹果,你就觉得那不巧妙——不就是纯粹的字面意思嘛。

 

万事达logo的色彩原理

保留万事达logo的基本元素,这一点是毋庸置疑的,而Bierut和他的团队的挑战就在于如何在原有的logo上加入一些独创性的设计。为此,他们运用了Joseph Albers在《色彩构成》一书中概述的M.E.谢弗勒尔的同时对比理论作为主要设计依据。

 

 

一种颜色看起来怎样,主要取决于它和什么颜色搭配在一起” Bierut说,在这个logo中,我们用扁平的形状创造出一种层次丰富和多维度的效果。还有一点是我们很喜欢的,那就是在这三种扁平的颜色中,两个圆圈的红色和黄色相互重叠,中间的橙色看起来却是比较淡的。

 

 

 

 

我们的设计团队现在都炸开了锅,那感觉就像我们创作了一件在平面设计界中惊天动地的神作。

但如果这个设计让你无感,Bierut也是能理解的。没有人会说这我怎么没想到呢,多妙啊。

 

 

 

 

 

 

 “We’re living in a world where getting nasty tweets about your work is the second worst thing that can happen to people launching new logos – the worst is that nobody notices.”

Michael Bierut is talking a day after the release of Pentagram’s Mastercard rebrand, to which the response has been predictably mixed. At one end of the spectrum sit naysayers decrying the agency’s conservative output and high fee-to-work ratio. At the other, those relishing the simplification of Mastercard’s public presence and celebrating an “elegant return to basics.”

As for Bierut, he’s “highly conscious that the thing we’re talking about is just two circles and two primary colors.” Perhaps, but this particular combination of shapes and primaries is one of the most recognized brand marks in the world today.

The Mastercard logo has hardly changed at all since its inception in 1968. A move from upright type to italics and slight variations on how those famous circles overlap have been the only tweaks made in almost half a century of service. Nevertheless, Mastercard was conscious that its current iteration, instated in 1996, was starting to look a little dated, and failed to serve the purposes of an increasingly digital brand.

 

 

 

 “The kinds of media and production techniques that have been used to represent the company to the public have changed,” says Bierut. “I think that big global enterprises are entitled to communicate on a simpler level. You’re doing them a huge service by making sure their mark’s not a complicated hot mess every time it appears.”

To wit, a lowercase sans serif word mark in FF Mark and two simplified circles (overlaid instead of interlocking) designed to read as sharply on giant billboards as on tiny Apple watch screens. 

 “The charge was to take these basic elements and make them fit the uses they’re subjected to today,” says Bierut, “to look like a more modern, contemporary expression of the brand.”

As a brand with over 2 billion global users, ranging from individual customers on up to the largest global banks, Mastercard’s client base is pretty diverse, and the applications of its logo understandably varied. Mastercard doesn’t often exist as a brand in isolation, but in partnership with an incredible number of financial institutions and vendors. As such, says Bierut, pushing simplicity was key.

 “As I’ve gotten older I’ve become less and less interested in novelty or cleverness as a really important attribute of good design. It’s disconcerting when you do this sort of work to see what kinds of things have truly endured, and a lot of the time they’re not clever. You can say that there’s something interesting about calling a computer company Apple, but when the logo for that computer company is a picture of an apple, that’s not clever—it’s deadeningly literal.”

With the basic elements of Mastercard’s logo non-negotiable, the challenge for Bierut and his team was to inject it with some stroke of ingenuity. For this they turned to a design theory mainstay, Michel Eugène Chevreul’s theory of simultaneous contrast as outlined in Joseph Albers’ Interaction of Color.

 “The way a color looks depends on what other colors are adjacent to it,” says Bierut. “What you learn is that you can create an illusion of gradation and dimensionality when in fact a shape is actually flat. We were so into that aspect of this mark: it’s three flat colors, but when you put them together the orange in the middle looks lighter when it’s touching the red and darker when it’s touching the yellow.

 “The design team here is so jazzed about this and felt like we’d created some unprecedented miracle of graphic design.”

But if it fails to excite you, Bierut understands. “Nobody’s going to say, I wish I’d thought of that, how clever.”

 

 

文章及图片由AIGA供稿,由《包装&设计》编辑部翻译整理,未经许可,禁止转载。

 
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