Pictograms象形图 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.
标志设计不仅应该是一个对象或一个图像，一个过程或混合的颜色和形状，而且也应该是解决问题的过程。
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."
我们看到了一种强烈的集成有意义小图标的趋势，这些图标以简明的形式围绕着品牌的核心价值，信息和市场定位。象形图是非语言的多元文化沟通的骨干。正如在大学中所教的那样，经典设计的象形图对于希望传达 “我就是这样”而不是“让我告诉你我的公司。 ”讯息的公司来说，是xx的工具。
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.
Web 2.0标志淡出设计舞台后，这种趋势变的明显起来。在这个时候，更重要的是要注意图标所在的背景，而不是把重点放在该图标本身。
Sometimes the purpose of pictograms is to convey basic community values.
有时，象形图的目的是要传达基本的社会价值观。
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.
象形图可以追溯到很多年，但他们变的流行，是因为服务行业如航空，城市规划和公共公园必须向以一种通用的语言为公民提供重要和有益的信息。如果标志设计者利用象形图，他们必须确保它们也同样有效。
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.
在象形图中视觉线索是关键。该标志必须证明自己本身能够传达一个自然和明确的信息给受众。它不应该给人的印象是，人们需要一种视觉辅助去解码它的内容。象形图给观众判读信息时更少的压力;然而标志设计者也决不能忽视美学，原创性和永恒性。

80's Geometry Lesson 80年代的几何课 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.
在平面设计中有一大禁忌，就是不该使用复杂的几何形状以全彩色光谱来创建标志。
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.
至于传真标志的能力是好是坏并不重要。这种争论可能会持续几年，但有一点是肯定的：复杂的几何形状将会出现一段时间了。
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.
当这种80年代的趋势{dy}次出现时，它是一种引起消费者注意的办法。其目的是体现xx不同的设计，而无论其费用如何。
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.
设计者将不遗余力，他们将利用他们超强的苹果计算机去证明，在今天的过度饱和的市场，他们仍然有能力吸引消费者的注意。
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.
多年来，怪物般的几何形状标志被有侵略性的和以自我为中心的公司所采纳以宣传自我，取代了业界原本温和的自我介绍。这些几年前的低俗图案使他们的外表和概 念在当时显得只是孩子们的游戏，因此没有受到重视。但是敏锐的设计师和品牌开发商开始认识到他们的价值，并开始加以运用。
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!
这些作品使用全彩色光谱确实有点反常。20世纪80年代的几何图案标志的回归正在全力反击极简主义，under-design，和简单常识。同样反常的是，去年并没有观察到2008年高科技三维几何设计的出现，取而代之的是广受欢迎的魔方体几何图形！
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.
这是一个机会但是当然这可能不会蓬勃发展并被广泛采用。也许他们会引起轰动，或者给人们以视觉污染的暗示，加入非必需品可能是一种有效的方式去传递讯息。他们可能缺乏一些概念性的美感，但你不能否认的是-他们是和谐的，视感稳定的，很难复制的。

Typographic Logos印刷体标志 Somber and solemn? Yes. Trendy? No.
忧郁和庄严？是。流行吗？不。
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.
印刷体标志永远不会从设计师的视觉领域褪色，因为他们提供了一种不仅简单，而且有吸引力的无声的优雅。强大的字体组件，当用作装饰时，是非常引人注目的。
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.
设计一个印刷体标志意味着要结合企业形象的本质和公司的使命，而这些只能通过字体传达。这显然不是一个为新手设计师准备的任务，因为在企业的理念和使用合适的字体呈现之间必须达到一种微妙的平衡。
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.
毫无疑问，有数以千计的字体提供给设计师，但一个好的设计师不会屈服于预先确定的字体。专业的标志设计师工作时从无到有，就如做糕点的方式。
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.
即使修改一个预定的字体不是一个好主意。但印刷体爱好者还是热衷此道。印刷体标志一贯表现出彬彬有礼，有文化，和纯洁性。选择的字体必须有适应性的能力， 尤其是当这一标志被设想运用在各种场合。不幸的是，当印刷体不再是技能和天才的体现，其他图形元素也质量低下时，{zh0}的商标也开始掺假。

Street Art街头艺术 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.
当你听到“街头艺术”这个词时，手绘就浮现在脑海中。具有街头艺术背景的天才画家使用特制的喷涂工具巧妙地改变了墙壁。
Many people think of street art as a breath of fresh air - a welcome relief from digital computer art.
许多人认为街头艺术是一股新鲜空气-是受欢迎的从电脑艺术的回归 。
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.
街头艺术标志已经大行其道。有迹象表明，他们还将会持续很长一段时间。他们是极限运动厂商以及体育用品制造商的的{sx}媒介。当理论性的东西开始衰退，但人 们仍然期望标志能够讲述一个不错的故事，街头艺术将恢复其受欢迎的程度。当设计师想要创找一些原创性的东西，他们就可以借鉴近年来的一些时尚的街头艺术。
Street art speaks for the souls of designers: there may be hints of urbanism and perhaps a speck of subversion and activism.
街头艺术是设计师灵魂的代言人：可能是城市的暗示，也可能带着点对传统的颠覆和活动元素。
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.
当大胆和鲜明的街头艺术反映在标志设计上，会让您仿佛穿越了地理上的方位：从柏林东部的画廊，到丰富多彩的墨尔本再到巴西圣保罗的壁画，你会发现，街头艺术的标志是一种对时间和地点的追忆，给予旁观者非比寻常的印象。

Puzzle Patterns迷宫模式 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.当人们惊呼， “世界已经疯了！ ”的时候，我们认为，标志也在如此。每天数以千计涌现的品牌都清楚地表明，他们的视觉冲击力已大为下降。
How does one compensate for this diminished visual impact?
如何弥补这一视觉效果的下降？
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.
一个办法就是品牌设计师踏入未知的领域，去那些他们做梦也没有想到的地方。这在两年前似乎不可能完成的任务现在是很平常的了 。
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.
这些迷宫模式必须唤起整个xx故事而不是减少内容只表达品牌本质。大部分模式突出本质，自从标志在机器上被设计出来后展示本质和远离本质总是一种循环繁复的趋势。
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.
与以往深入品牌本质不同，设计师使用复杂的矢量图故意远离规则。现在他们的口头禅是： “设计无规则。 ”在这里不用遵守纪律，但凭技巧高超运用的字体，模式和图像的相互结合。克制是不可能的。任何东西都围着这些迷宫转：动物，字母，植物，徽章或随机几何形式得到充分发挥。没有人担心意义，因为这自由的风格只为迎合严格的装饰性目的。
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.
目前，迷宫模式打响了最终反企业的战斗。如果在今后的岁月里，大公司打算整容，并决定他们{jd1}需要一些“不同”的东西，从而将跟上这一趋势时，请不要感到惊讶。
后记
终于翻译完了，感觉自己的水平确实有限。只当抛砖引玉给大家作为参考。
在翻译过程中确实增长了知识，对比国内的标志设计，外国的设计师无疑又走在我们前面许多。当我们还在可以模仿的时候，他们正在尝试创新。
无可否认，我们的设计要落后国外很多年，不过可以欣慰的是，从中 的原创标志作品上可以看出，国内的标志设计者正在跟上。我们已经可以看见一些可与国外设计师匹敌的作品。但是只是停留在本文提到的某几种风格上。换句话 说，我们的标志设计还不成体系，标志设计者可能只是掌握了一到两种设计风格。所以我们还需要更多地学习和借鉴。这也是我在翻译本文时{zd0}的体会。