LogoArchive杂志探讨中世纪品牌的视觉语言

LogoArchive magazine explores the visual language of mid-century branding

由专筑网王帅，李韧编译

Richard Baird编纂了一本季刊，以此来赞颂世纪中叶的极简主义标志。在接受Dezeen记者的采访时，这位伦敦设计师选了他最喜欢的五个作品。

刊物名为“LogoArchive”，其来源于设计师的同名Instagram帐户，其中包含1,000多个世纪中期的标志设计示例。

Instagram账户的成功激发了Baird创建季刊的想法。第一期包括12页黑白商标，从1975年为一家加拿大建筑公司设计的“迷人”大象，到1965年为德国时尚品牌Vogel制作的V形鸟类图标。

Baird告诉Dezeen的记者说：“在本世纪中叶，正规的企业形象设计还处于起步阶段。我们有很多机会在保持不侵犯他人的商标版权同时，保持了商标的简单性和沟通即时性。”

LogoArchive杂志中的商标来源于Baird个人和其他设计师的作品。

Baird说：“很长一段时间以来，我一直在扫描和归档商标，我有与之合作的设计师网络，他们手上拥有珍贵的资料，特别是LogoBooks的Christophe de Pelsemaker和CanadaModern的Blair Thomson。

“对我个人来说，杂志上的所有标识都有隐喻的特征，既有识别性，也有记忆性，还有对家庭的巧妙理解。”

Baird解释了杂志中最有趣的以下五枚商标。

Richard Baird has created a quarterly magazine to celebrate minimalist mid-century logos. Speaking to Dezeen the London-based designer picks five of his favourite examples.

Called LogoArchive, the publication accompanies the designer’s popular Instagram account of the same name, which features over 1,000 examples of mid-century logo design.

The success of the Instagram account inspired Baird to create the quarterly magazine. The first issue includes 12 pages of black and white logos, ranging from a “charming” elephant created for a Canadian construction company in 1975 and a V-shaped bird icon made for German fashion brand Vogel in 1965.

“The formalisation of corporate identity design was in its infancy during the mid-century,” Baird told Dezeen. “There were a lot of opportunities to keep logos simple and communicatively immediate without the potential of infringing on the trademarks of others.”

The logos featured in LogoArchive have been taken from Baird’s personal archive and the collections of fellow designers.

“I have been scanning and archiving logos for a long time, and I have a network of designers with whom I collaborate with, who have access to an invaluable volume of historical artefacts, in particular, Christophe De Pelsemaker of LogoBooks and Blair Thomson of CanadaModern,” said Baird.

“All the logos featured in the zine speak to me personally, be that in the conviviality of a metaphor, the retention of a distinction and memorability, or a clever take on a family symbol.”

Baird explains five of the most interesting logos featured in the magazine below.

Patrick Dugast设计的加拿大航空企业建设公司，1976年

该标志运用极少的元素表达了极大的含义，设计师运用复合方法表达出分层的图形，并引入了形式语言两个瞬间的重叠。

优秀设计师能够挖掘图像的潜力，同时能够将两幅图像自然地合二为一，而该图像的设计师以有趣而富有创造性的方式捕捉了枫叶和鸟儿的位置。

Enterprise de Construction Aéronautique Canadienne by Patrick Dugast, 1976

Building on the maximum meaning with a minimum of means, compounding allows a designer to deliver a layered graphic expression and introduce two moments of form language.

Finding the potential for and being able to pull off a natural synthesis of two images is a mark of a good designer. Here, the bird and maple leaf capture location and flight in a playful and creative way.

Claude Plante设计的百合花商业中心， 1972年

这个标志极大地考验了设计师的观察能力，设计师对于链接形式的极大创造力，构思了简单而又独特的作品。

设计观念的核心是将一种事物转变为另一种形式，通过对百合花进行简单的几何渲染后形成完全不同的图像效果，这让人联想起鸟儿。

Place Fleur-de-Lys Centre Commercial by Claude Plante, 1972

This logo was selected for the designer’s capacity for observation, for link forming and effortless execution in the creation of something simple yet distinctive.

Recognising the potential of one form to become something else is the heart of this concept; a simple geometric rendering of a fleur-de-lys is given a completely different association through its rotation, calling to mind the shape of a bird.

Raymond Bellemare设计的MC设备公司商标，1975年

MC设备公司的商标有着愉悦的隐喻性，设计师将公司的实力通过大象展现出来。

图形的渲染、大面积的填充和细线的组合，让其拥有直接的外观，然而在当时的男权行业里，它却拥有儿童故事书般的品质，独特又不失平易近人的特质。

MC Equipment Inc by Raymond Bellemare, 1975

MC Equipment Inc’s logo stands out for its conviviality of metaphor – the strength and physicality associated with elephants applied to construction.

Its rendering, a combination of heavy fills and fine lines, gives it a graphic immediacy and yet, with its almost child-like story-book qualities, an approachable and distinctive quality within a typically technical and masculine industry.

Raymond Bellemare和Gilles Robert设计的Le Pussycat，1969年

该商标为电影院而设计，Bellemare和Robert设计的Le Pussycat商标彰显了他们的才华，商标像一只猫，辨别度很高。它的渲染与众不同，颜色填充平衡，此外，还有着协调的形状和比例。

象征性地说，商标有着神秘的潜力：蜷缩、好奇和舒适。

Le Pussycat by Raymond Bellemare and Gilles Robert, 1969

Designed for a cinema, Bellemare and Robert’s work for Le Pussycat is highly accomplished and identifiable as a cat. It is distinctive in its rendering, confident in its balancing of heavy fills, and has a satisfying geometry and proportionality.”

Figuratively speaking, it has mysterious potential: curled up, curious and cosy.

Patrick Dugast设计的Le Club de la Publicité de Québec，1974年

在策展LogoArchive Instagram时，设计师主要通过强有力的形式语言，以最小的手段获得最大的意义。

负空间是一种奇妙的方法。商标上的鸟从C和P的松散渲染中而展现出来。这种对墨水的敏感性和图像的拓卜关系形成独特而难忘的符号特征。

Le Club de la Publicité de Québec by Patrick Dugast, 1974

When curating the LogoArchive Instagram account, I’m primarily looking for a strong use of form language, but also maximum meaning with a minimum of means.

Negative space is a fantastic way of doing this. Here, a bird is drawn out of the loose rendering of a C and P. This sensitivity to ink and the absence of ink – in the use of dual imagery – serves to establish a distinctive and memorable symbol.