About the evaluation of logo design

Abstract: Based on the new trends in the development of logo design, this paper puts forward three criteria for evaluating the design of indicators: effective identification, postmodernism, and nationality. The key to the success of logo design is to see if this can be achieved. The requirements of the three evaluation criteria.

Keywords: logo design postmodernism characteristics nationality evaluation criteria

With a successful logo design, the strength, beliefs, and features it conveys will surely leave a deep impression on people. So, how to judge the success of a logo design? Is there a fixed evaluation standard to measure? Or is there any potential design criteria to follow? What is the guiding significance of the evaluation criteria of a logo design for design practice? This article is intended to provide a relatively complete answer by discussing these issues in depth and combining design examples for comparison and analysis. This will help us better grasp the development of the frontiers of disciplines and draw on nutrients from excellent logo design examples to guide our design practice. Before entering the theme, give a brief overview of the basic features of the logo design. In the sign form, the relationship between "shape" and "state" is a two-level community in a sign.

"A symbol is a mixture of a representation component (signifier) ​​and a representation component (reference). The representation component (signifier) ​​aspect constitutes the aspect of expression, while the component (indicated) aspect constitutes the content aspect. ".

[1] The shape of the "signifier" is an objective graphic, while the "signified" has the vitality and reflects the way of thinking of different societies. "The 'state' gives the 'form' to spirit, expression and life. It is the result of the active organization or construction of visual perception. The form is not limited to the object itself but is combined objectively and subjectively."

[2] From the perspective of effective visual communication, the primary evaluation criteria of logo design is whether it has distinctive personality characteristics, and its own clear information transmission is the key factor in shaping the sign recognition power and effective memory. The primary purpose of the logo design is to create a new visual identity for the client and create new value. Therefore, in the process of conveying information, the appearance and sign of the sign should be avoided to facilitate the identification. However, a large number of geometrically simple and boring institutional signs are still filled with us. Although these organizations' logos are simple in form, the effective visual communication results have weakened the original so-called easy-to-remember and memorable nature because of the lack of unique personality characteristics. Such institutions have certain “markets” on the mainland and are considered more suitable for the “national conditions” of the mainland. The author believes that the reasons for this phenomenon are many, but the fundamental reason reflects our old design concepts. And the lack of courage to break through the constraints. Whether the simple design of logo design is a potential design criterion to measure the success of logo design is the direct cause of this phenomenon. This just reveals that we did not seek understanding in previous studies, and realized it with pure sensibility, and lacked meticulous speculation. Simple and easy to remember, does not mean simple to memorize! Looking at the design of Europe, the United States and Japan in recent years, they will find that their design concepts have already undergone earth-shaking changes, and no longer adhere to the principle of "recognizing simplicity and function first" as a sticking to the dogma. In contrast, in the domestic design field, some logo designs have been painstakingly put together in several abstract elements. How can such a sign of fuzzy characteristics produce effective brand communication effects? In addition, there has been a growing number of dearly-designed works, and most of them lack innovations. The idea of ​​amazing creativity is even more embarrassing. For example, the cover of “New Weekly” once published the logo of all Chinese airlines. The logo design consisting of dragons, phoenixes, and birds as elemental graphics accounted for the vast majority, and the application of moire and Ruyi lines falling over was also seen everywhere. Another example is that since Mr. Qiang introduced the Bank of China logo, the "Fang Fangxiong" inside the outer circle seems to have become the only symbol of the image of the Chinese financial institution! The main reasons for the above-mentioned phenomena are as follows: Firstly, the designers and decision makers of the corporate image do not have an in-depth understanding of the company's unique business philosophy and the spirit of the company, ignoring the distinct personal characteristics of the company. The second is not designed according to the semiotic theory, and the existence of some symbols must have the function of forming a sign and creating awareness.

[3] From this we can see that we must break through the limitations imposed on the choice of "form" and fundamentally change the way of thinking. The evaluation benchmark for a clear and successful logo design is not based on whether its form is simple or not, but whether it has distinctive personality characteristics and its own clear information, such as the key factors that shape the sign recognition and effective memory. Its guiding significance for design practice lies in inspiring us to consider the diversity of shapes from the perspective of recognition. Break through our mindset and realize that there is a difference between “spiritual communication” and “visual performance”. The second “perceptual sketch” creative learning activity held in Guilin in July 2004 emphasized the cultivation of students in this area. Creative thinking ability. The success of the design will not leave an unforgettable impression on the design itself, but the strength, beliefs, and features it conveys will be impressive.

[4] Whether the graphic elements constituting the logo design have affinity or not, whether the use of visual vocabulary is unique in art, and whether the formed logo graphics are full of intelligent graphics, etc. The logo design with postmodern features is the second evaluation standard . Today we have already entered the era of “image consumption”. Consumers buy commodities in the market by adding value to brands, images, and products.

[5] Therefore, modern logo design should pay full attention to the interaction and communication between design and consumers, and fully respect consumer's emotional needs and self-worth. This is the embodiment of humanity design! Let us review the history and look at the German government during the Nazi period. They used visual language to talk to the people. It is clear that the way they used dialogue with the people is very cold. They also use visual communication languages ​​such as the Nazi logo and the Nazi flag. However, the dialogue with the public arising from this exchange is controlled and overwhelming. Yes, they have achieved the goal, but today’s society does not need such communication. This fully shows that the changes in social trends, values, and aesthetic concepts will inevitably affect the trend and style of design. With the development of the times, the perception of understanding and the expression of humanity in design have become more important. The signs of mechanicality and indifference clearly cannot. Get consumer recognition and resonance. When the designer of the 2008 Beijing Olympic Games, “China India”, Mr. Zhang Wu, came to lecture at our college, he pointed out that in the options for the logo of the 2008 Beijing Olympic Games, he had considered using the traditional symbol of the Great Wall, but In the end, the proposal was rejected. The answer lies in deep research. They think that the shape of the Great Wall is a relatively closed form. Such forms lack sufficient affinity. Another example is the recent launch of China Telecom’s new logo that has been criticized by the industry and consumers for its lack of affinity for the service industry. Although its 200-word logo indicates its various meanings, the audience is still unable to communicate with It resonates. On the other hand, British Telecom’s logo design is based on sketchy, light and fast birds. It is full of erotic and human sensibility. This artistic expression has brought us a fresh feeling, and it has also brought the distance between us closer to each other. .

The design of logos is of an era, and the criteria for the design of logos are also developing dynamically. With the development of society and culture, the new concept and new trend of logo design are constantly changing, and our logo design is also marked by the era. At the moment, logo designs with post-modern features such as artistic expression are constantly emerging around us. The so-called post-modern symbol is a rebellion against modernism. It upholds the humanities and history, respects emotions and individuation, opposes pure rationality in design, emphasizes less success, standardization, and systematization, emphasizing equality between human beings and all things, and humans and nature interacting with each other. Dependence, the pursuit of visual pleasure and emotional comfort. Anything perfect is not a direct expression of appearance, but should be a connotation of intrinsic life, the pursuit of emotional truth. For example, the French national park logo (pictured) designed by Pierre Bernal, which uses a high degree of artistic modern music to express itself freely, easily, and with true feelings, I have every corner, because of the youth, so the true colors. The visualized visual arts and vocabularies that have been summed up are the same as those of the artistic effects of sketches, involving countless exotic flowers and plants, rare birds and animals in the natural world, creating a thriving and endless atmosphere in the natural world.

[6] Do not use much words, you will understand the meaning and message conveyed by this sign. It conveys the subject's abstract information and emotions in the form of imagery. It pursues the true feeling of the object as a whole and does not pay attention to the details of the reasonableness. As far as the reality is concerned, beyond the perception of the eyes and the spiritual understanding of God, does it not reach the artistic conception of "only knowing what to say but not saying"? Coincidentally, the logo design of the Hanover World Expo in 2000 also penetrated this design concept. The logo has different application forms on different occasions, but it maintains the similarity of the charm. Whether it is possible to better integrate the cultural differences between the East and the West, effectively borrow cultural features of regionality and nationality, and apply it to design practice is the third evaluation criterion for logo design. Design is an integral part of national culture. The monopolistic development of internationalism naturally leads to the weakening of nationality and eventually its cancellation. Therefore, when the world is becoming more and more similar in graphic design, there are designers who are concerned about the individuality of the design and the national characteristics of the design. This problem has permeated the development of the entire graphic design from the 1960s to the present day. Never really got a solution.

[7] The essence of thinking about the design of nationality is the sublation of the long-term monopoly style of internationalism. For a long time, people have clearly noticed the homogenization and tradition of the global design style caused by the long-term “world style”. The disappearance of culture and local culture has brought about "emotional loss" to the world. Therefore, all countries and all nationalities should inherit the outstanding part of traditional culture in modern design has become a universal view in the world. To sum up, the criteria for measuring logo design are not stable, but they are developing dynamically. The criteria for evaluating the success of a logo design at the moment can be measured by the three points mentioned above, namely:

1. The primary evaluation criterion of logo design is whether it has distinctive personality characteristics, and its own clear information transmission is a key factor in shaping the sign recognition power and effective memory.

2. Whether the graphic elements constituting the logo design have affinity or not, whether the use of visual vocabulary is unique in art, and whether the formed logo graphics are full of intelligent graphics, etc. The logo design with post-modern features is the second evaluation criterion.

3. Whether it is possible to better integrate the cultural differences between the East and the West, effectively borrow cultural features of regional and national characteristics, and apply it to design practice is the fourth evaluation criterion for logo design. At the moment, for our designers, the higher the level of these three evaluation criteria is, the more deeply we understand and excavate the essential attributes and psychosocial attributes of logo design, and the more likely we are to create a flashy work. .

Jiangnan University School of Design Flying

Source: Art and Design - Theoretical Issues