工业设计专业英语PDF

Unit O n e Design Fundam ental

Lesson1 Color Dr awing(1)

Markers and colored pencils are ideal for use during the design process as well as for final renderings or drawings.Since much rough drawing and sketch-work is done on thin tracing papers, brush media such as water-color and tempera are unusable,since they will buckle the paper. Makers dry quickly with no buckling and along with colored pencils,can be quickly used on almost any drawing surface.

Neither extensive practice nor a high level of skill is necessary with these two color media, since methods are simple and direct.By becoming familiar with the methods you will probably speed your work considerably.For most designers this approach to color is faster and easier to handle than brush media and one with which most students and professionals are to some degree familiar.Many of the advantages and subtleties of water-color and other brush media are attainable with markers and colored pencils.The mingling and graded washes of watercolor and airbrush techniques can be imitated,as can the highlighting achieved with opaque brush media such as casein and tempera.

Markers and colored pencils are readily available commercially and are probably the most widely used color media in professional design offices today—more so than the brush media of tempera and watercolor.

A variety of marker brands is available at stores that specialize in art or drafting supplies. Choose a marker brand with a full range of colors so that a wide choice is possible.Each of the brands offers between100and200different colors,many of which are variations of a single hue.It pays to use a high-quality colored pencil for this kind drawing.A soft,waxy pencil is preferable to a hard,brittle type,as it produces a more brilliant deposit of color,a necessary characteristic for effecting lighted surfaces on tracing or toned print paper.

Whether you are primarily involved with interiors,exteriors,or general color-work, black-line media in a variety of widths are necessary for texturing and outlining.Since technical pens often clog when used over waxy colored pencils,it is best to use felt-tipped and ordinary fountain pens.Of course,other types of line media that you find workable may be substituted for those suggested.The important point is to have a variety of line widths available.

As with the line media mentioned above,you will also need a palette of gray markers and colored pencils(including black and white),regardless of the type of color-work you are engaged in.Warm-gray pencils and markers are slightly reddish,while cool and cold-gray markers and pencils are slightly bluish.It is recommended that you obtain both a warm-gray pencil series and a cool gray marker series.With this variety neutral grays and neutralized reductions of color intensity may be mixed when desired.Cool-gray markers also seem to represent exterior windows more believably.If your design work primarily encompasses natural materials and outdoor design as does that of a landscape architect a natural palette of markers and colored pencils is recommended.These colors can be used to draw plant materials,various kinds of woods,bricks,a variety of stone types, and other related materials.

Lesson1 Color Dr awing(1)

Colored pencil is applied over a marker“base”for any or all of the following reasons:to alter the color of the marker base,to make a surface appear illuminated,or to give the effect of subtle texture with line patterns.

If an area of paper is covered with a transparent marker coating,the resultant color will be a blend of the paper color and the marker color.The marker color will appear most brilliant on white paper since a maximum amount of light will reflect from the paper’s surface through the marker coating to the viewer’s eye.On yellow tracing paper the color will appear lighter and more washed out and will change depending on the color of the surface.On toned paper the same marker coating will appear less brilliant,depending on the lightness or darkness of the tone,since less light will reflect from the paper’s surface.

Colored pencils leave a semiopaque coating on the paper’s surface.When used very lightly,the paper will still show between the minute spots of pencil deposit,since the pencil has coated only the highest grain of the surfaces.The result is a visual mixture of paper and pencil.

When used with more pressure,the pencil will eventually squash the grain and thoroughly coat paper,resulting in a solid,brilliant color.Note,however,that,even when applied with pressure, the resulting pencil color will be partially influenced by the color and tone of the paper beneath it.

When light-colored pencils(such as White Flesh,and Light Violet)are used on toned papers,the resulting color seems to glow.This is because the lightness and brilliance of the colors appear even greater in contrast to the dull-toned surface.A similar phenomenon occurs when light-colored pencils are applied to yellow tracing paper and placed over a darker surface.An even greater apparent brilliance is created when the drawing is placed almost parallel to the direction of the light.The use of light-colored pencil over a toned or marker surface is an especially effective way of making a surface appear illuminated.

From the above discussion,the effect of colored pencil applied over a marker base should be clear.Light reflects from the colored-pencil deposit,while the marker simultaneously shows through the minute particles.The result is a visual mixture of the two—a third color.The visual mix of separate colors is not new to color work.The neoimpressionist painters placed spots and lines of pure hue in close proximity to one another,thus forming medial mixtures when viewed from even a short distance.

New Words

1.rendering/rend ri/n.演出之方式;表现效果

2.sketch-work/sket-w k/n.草图

3.tempera/temp r/n.涂料加蛋黄以使色彩暗晦的画法

4.buckle/b kl/n.扣子;弯曲;使变形

5.subtlety/s tlti/n.精细;聪明;诡秘

6.airbrush/br/n.喷笔

7.mingling/mingli/adj.混和的

8.casein/keisi n/n.酪蛋白

Unit One Design Fundam ental

9.drafting/dra fti/n.起草;草拟

10.textile/tekstail/n.(织物的)密度;质地;结构

11.clog/kl g/vi.阻碍

12.felt-tipped/felt-tipt/adj.檀毛;笔尖的

13.encompass/in k mp s/vt.围绕;包围

14.palette/p lit/n.调色板

15.blend/blend/v t.混和

16.neoimpressionist/ni uim pre nist/n.新印象派主义者“neo-”前缀,意为“新”

17.proximity/pr k simiti/n.接近;近似

Phr ases and Expr essions

1.tracing paper描图纸

2.pay to use充分利用

3.be applied to应用于

Notes

If your design work primarily encompasses natural materials and outdoor design as does that of a landscape architect a natural palette of markers and colored pencils is recommended.

如果你的设计作品主要包括自然材料和象建筑风景这类的户外设计,那么最好用自然色彩的马克笔和色铅来作画。

Fr ee Reading

1.Color Dra wing(2)

Abstract Material,Indications

When you take drawing two points should be remembered.First,it is advisable to indicate in the drawing only those visual qualities needed to sufficiently suggest the material.Second,when materials are drawn in this abstract manner,the qualities of the material such as its texture,should be communicated with simple strokes of the marker and colored https://www.360docs.net/doc/9616012930.html,plicated or elaborate strokes are time-consuming,and it is not expected that your drawings be photographs but rather honest suggestions of the finished design.

What this means,then,is to present only the most obvious qualities of a material—its color,its illumination and its most conspicuous texture...When you look at photographs while squinting or slightly crossing your eyes,you will see these qualities.Your drawings should show these obvious qualities in drawn form,using simpler,quickly accomplished strokes.

The closer the view of the material in the drawing,the more obvious the material unit will be, and it should be drawn in accordingly.

Light,Shade,and Shadow

One of the most obvious advantages of using colored pencil with marker is the ease with which a

Lesson1 Color Dr awing(1)

surface in a drawing can be made to appear illuminated.The lightest-colored pencils are used to partially cover or wash a marker base coat.The pencils most commonly used to create light washes are Flesh,Cream,Sand,Canary Yellow,Light Blue,Light Violet,Warm Grey,Very Light,and White.The pencils are used with varying degrees of pressure,depending on the lightness required. Stroking the pencil evenly and consistently at a diagonal angle in relation to the plane of the surface will usually help to keep the pencil marks from interfering with any texture or material-unit indica-tions.

A wash with changing degrees of lightness over the same surface,accomplished by varying the pressure on the pencil,is called a graded wash.Graded wash can be seen in most water-color and airbrush work and is an affective color-drawing tool for a number of purposes.

First,it is used to differentiate surfaces that might otherwise be hard to distinguish from one another with subtle but effective contrasts of gradation.The use of such a gradual change in value to produce contract in changing or interrupted surfaces is also known as value opposition.Graded washes are also used to depict varying degrees of illumination on large surfaces,such as sloping roofs and high-rise buildings.As we scan these large surfaces,the angle between the sun and our sight line changes,usually producing a corresponding gradation in the value of the surface.

The absence of direct light,indicated by shade and shadow,is essential not only to finished, persuasive drawing but also to drawings done during the design process as well,since light,shade, and shadow are as much design materials as are brick or wood.Along with the phenomenon of perspective,shade and shadow are necessary ingredients for revealing space and form in a drawing. They give view an infinitely more“real”and three-dimensional appearance.

Shaded surfaces face in the opposite direction to the light source,while shadow denotes the absence of light on a surface that would otherwise be illuminated,due to an intervening object.Both shade and shadow result from the absence of direct light and appear as a single phenomenon.The degree of apparent lightness or darkness varies in direct relation to the lightness or darkness of the surfaces upon which the shadows occur.A shadow falling on a light surface,such as a sidewalk, will appear lighter than a shadow falling on a darker surface,such as grass.

We usually think of the shaded and shadowed portions of a surface simply as being darker than their sunlight counterparts.There is,however,another aspect of shade,and shadow.The color of the shade and shadow will seem to maintain approximately the same chrome(strength)as the sunlight portion of the same surface,with only the value(lightness)appearing lower.Shade and shadow,therefore,are not black or gray,as they are sometimes indicated in drawings.

Two ways of indicating shade and shadow are most appropriate to the marker colored-pencil method.First,a shade or shadow may be indicated by applying a darker-value gray marker over the colored-marker base or vice versa.It may sometimes be necessary to use black marker to indicate a shadow area,most probably on surfaces done in low-value colors.After the marker is applied to the shade and shadow areas,the appropriate colored pencil is applied over both the sunlight and the shaded areas to give their respective colors approximately equal chromes.Avoid using dark-colored pencils by themselves(without a marker base)to indicate shade and shadow

Unit One Design Fundam ental

areas(except for diffuse shadows),since they will often produce unwanted streaked or grainy effects.

A second way of indicating shade and shadow is to use a darker version of the marker color used for the surface base.If a sand marker is used as the base color,for example,a Burnt Umber marker might be selected for the shade and shadow area.The colors of both markers are about the same chrome(brilliance),while the Burnt Umber is darker in value(lightness).If you make the shade and shadow areas too dark,they can be lightened if necessary simply by applying the colored pencil used for washing the lighted areas of the same surface.

2.Inter ior Designer’s Showcase of Color

Color is the most powerful decorating element in our homes.Color is memorable.Color is above all personal.

Over the years,we have experienced great pleasure in planning colors for our living spaces.As young newlyweds we painted our first apartment white from corner to corer and hung a large oil painting in the middle of the living room.This became the color palette for that room.A blur damask fabric stretched across one wall of our bedroom established the color scheme for that space, and a hand-me-down kitchen table painted red became the color for the kitchen.A white background made all this improvisation possible and allowed us to evolve as our tastes developed. Our budget was less than＄1000,and it was probably the most satisfying home we have ever col-ored.

With today’s technology in paint mixing,our choices of paint color are infinite.The incredible shrinking globe has given us more fabrics from more fibers,more floor coverings and wall coverings and more decorative accessories available at every price level than ever before.Deciding exactly what we would like to come home to,how we will paint and arrange our very own cave is a much more complicated task than ever before.An understanding of color can really help us achieve the goal of a pleasant,personal and comfortable home.In chapter seven,we have given suggestions on how to create mood with color to help you achieve your own desired“look”.And it need not cost a king’s ransom to create original and impressive spaces.

Through our association with fine furniture,fabric and accessories marketers for over two decades,we have been able to witness the evolution of fashion trends from the top of the dilate trade—only furnishings industry to the retail floor.Our experiences working with color as a painter and as a ceramacist have contributed to our interest and response to color.Our work in the area of education has made us aware of how a little information on color theory can open the doors to the magnificent possibilities available to everyone.

Our point of view is that there are not any trends or rules that are more important than genuine personal expression.There are hundreds of options,but only one decision maker that matter—You. The people who eat and sleep,entertain,play and rejuvenate in the spaces are the ones whose well-being is affected.The examples of professional interior designers’work with color could be imitated but would better be used as a starting point for developing a genuine personal palette of your

Lesson 1 Color Dr awing (1)

own.

Enjoy color.Take these tips from the professionals and then be creative.Think about the people who will be in your home who matter the most.Imagine the things you will do together and a-lone.

Figure 1-1

Red fantasy finish on wall is off set by silk pillow s

in na tura l greens,yellow s and earth tones.A high style study in contrasts.-RITA ST.CIA IR.

3.Pr imar ily Red

Red is the most dramatic,emotional and active

of the three primaries.It is an especially versatile

color in its effects,enlivening interior spaces by

creating excitement,warmth and elegance.The use

of red suggests a bold and confident attitude.Living

with red can be satisfying in almost any space,but it

is less often used in sleeping areas because of its

energizing quality.When tinted,it becomes

disti-nctively feminine;when deepened,it is more

rich and masculine;when used with yellow,the

cheerful orange family is created,and when

combined with blue,the more dreamy and

mysterious violets are created.The complement of

red is green(Figure 9-1).Diverse cultures view red in very different ways.The Chinese have always favored red,traditionally using it for the bridal gown,a sign of longevity.The Romans used it to symbolize power,an association that has been continued in the rituals of the Catholic church.Many nations have chosen red for their flags.In recent political history,it has often been a symbol of more radical political activism.Emotionally,red is understood as a symbol of anger as well as embarrassment.In our culture,the attention -getting qualities of red are often used as an alert for danger.In nature,

Figure 1-2

A n airy blue and cloud w hite combine to life the easier wood tones

of this room in classic Sala dino style.red is associated with blood,the powerful

life -sustaining fluid and with the earth

where certain types of soil and rocks are

characterized by this distinctive color.

Fruit,flowers,foliage and many vegetables

tempt us with appealing red.Eve

succumbed to the charm of the color of the

forbidden fruit even before sampling the

taste.

4.Pr imar ily Blue

Of all the colors,blue is perhaps most

Unit Two Design Fundam ental

universally equated with beauty.It has remained popular from ancient times until the present throughout the world.Blue is timeless,linking the present with tradition and lasting values.One of the three primary hues,it is perhaps the most versatile in its expressive qualities.Its analogous families include greens when mixed with yellow,and violets when mixed with red.The complement of blue is orange(Figure9-2).

Blue is most commonly associated with the sky and the sea.Sky blue is sometimes called cerulean or azure,describing a vivid light blue.The blue of the sea is affected by sky.Depending on depth,time of day,weather conditions and type of ocean floor,the color may range from deep blue-violet to palest aqua.

Blur has the capacity to express the airiness of clouds and the solidity of slate,the calmness of a clear sky as well as electric energy.It can evoke clarity or mystery,joyfulness or sadness,broad daylight or deep night.These effects depend on the amount of white and black in the color,a quality called value;and on the amount of the complement in the color,a quality called intensity.Psychologically,blue is associated with tranquillity and contentment.deep blue is considered to be the optimum color for meditation,for slowing down the bodily processes to allow relaxation and recuperation.Blue often symbolizes femininity(the Virgin Mary is usually cloaked in blue),quality(blue ribbons)and loyalty(true blue).In interior design,softer and lighter blues are generally preferred for larger areas.Blue is especially effective as a ceiling color.Stronger and darker tones work well for accents and richness in smaller areas.Because of its calming effects,blue has long been a favorite for bedrooms.Its association with water,cleanliness and order make it popular in kitchens and bathrooms,particularly in combination with white.By itself,blue can seem a bit too cool,aloof and unstimulating.Knowledgeable designers counteract these effects by balancing blue with warmer colors such as red for a strong energizing effect,yellow for freshness and gaiety and peach for luxury and elegance.

Lesson 2 Photogra phy

Lesson 2 Photography

The word “photography ”means “drawing with light ”.Two things are essential —a source of light and a material that is sensitive to light called the film.A photograph is made when light reflected from an object falls on the film.A camera is used to control the amount of light that falls on the film.

Imagine that you are going to take a black and white photograph with a single camera.First,you have to load film into it.Once the film is inside the camera,you turn a lever or key.This winds the unexposed part of the film into the right position to receive the image.Now you are ready to take a photograph.You point the camera toward the subject of your choice ,and snap —you press the button working the shutter .The shutter is a mechanical device that can be moved very quickly in front of the film.It allows light to enter the camera for a fraction of a second.The light is usually focused onto the film by curved glass lens,which forms a sharp image.

Although you have taken your photographs,you cannot see them yet.There are several things that have to be done before the final pictures are ready .You cannot take the film out of the camera and look at it —it is still sensitive to https://www.360docs.net/doc/9616012930.html,ually,the film has to be wound back into the plastic container called a cartridge,before you can take it out of the camera.Because the cartridge can protect the film from light,the cartridge with the film can be unloaded in the light.

Next,the film must be processed or “developed ”with chemicals.Most films must be developed in total darkness or in dark green light to which they are not very sensitive,otherwise they would be spoiled by light before the process is complete.

Figure 2-1

Photography A rt I.

First the film is put into a liquid called the developer.The picture on the film starts to appear.Che-micals on the surface of the film are changed by the developer.They become visible,forming the picture.But the film is still sensitive to the light,so it needs to be dipped in a second kind of liquid,the fixer.It makes the film insensitive to light,and also makes the picture on the film permanent.Now,when the film has been washed

and dried,you can look at it in the

light.

But your photograph is still not

complete.The developed film is

only a “negative ”.If you hold a

film negative up to the light,you

will see that the light and dark parts

of the original subject are reversed

on the films .Light areas,such as

clouds,appear dark.Dark areas,

such as shadows,appear light.On a properly exposed film,most areas

Unit One Design Fundam ental

are various shades of grey.Only the lightest appear black.And only the darkest appear white(Figure10-1).

The negative must now be printed or enlarged to produce the final photograph.A contact print is model led by placing the negative in contact with the photographic paper.A contact print is the same size as the negative.To make an enlargement,the negative is placed in a device something like a slide projector.This is called an enlarger.The light that is shone through the negative passes through a lens in the enlarger.The lens focuses the light onto the paper below.The light spreads out from the enlarger lens.The farther the paper is placed from the lens,the larger the image formed.

Next the paper is developed and fixed.This is done with the same kind of chemicals that were used for processing the original negative(the chemicals are somewhat different).When it has been washed and dried,your contact print or enlargement is complete.

New Words

1.snap/sn p/vt.给…拍快照

2.focus/f uk s/n.焦点vt.调焦距

3.cartridge/ka trid/n.卡式胶卷盒

4.developer/di vel p/n.显像剂

5.projector/pr d ekt/n.幻灯机

Phr ases and Expr essions

load film into安装胶卷

Unit Two Pr oduct Design

Lesson3The Mobile Office

“That we endure the discomfort of stuffy,bana l meeting rooms and uncomforta ble furniture and cumbersome audio-visual technology remains a mystery to a ll but the Wilkhahn designers from Germa ny.This Wilkhahn honors face-to-face communica tion.At last!"—Bill Stumpf,IDSA Fla t-hierar ch y or ganizations,goa l-oriented confer encing and advanced technology ha ve r evolutionized the workpla ce,a nd the n ew breed of business just doesn’t fit into the same old office layout.Enter W ilkhahn,an inter nationa l m anufacturer of seating,ta bles a nd r ack systems for offices,confer en ce ar ea s and public and transpor tation buildings.

Design permeates every aspect of the company from its Frei Otto-and Thomas Herzog-designed manufacturing plant in Bad Munder,Germany,to its industry-leading ecology program and its many award-winning products.Each product design is based on criteria that stipulate the greatest possible conservation of resources,environmental compatibility,recyclability and structural de-mountability.

In that context,Wilkhahn initiated a basic research study regarding communication behaviors within changing corporate environments,in cooperation with a group of designers from Germany, Japan and the US.Systematic studies of meeting practices around the world revealed that clients today need a flexible solution to the design of conference space in layout,furnishings and technology.This need is particularly evident in the area of team environments,training rooms, continuing education classrooms and technology-intensive departments.

Among the many logical reasons cited for the changing needs were the growing flow of information and the fluctuating framework for economic decisions that have led to a noticeable increase in personal communications.Advanced technology has also had a profound effect on people’s ability to confer long distance.Whether classic conferencing or experimental workshop, group work or seminar,conferences take place anywhere,anytime and with ever-changing rules. Clearly,conventional conference furnishings failed to respond to these changing and growing needs.

Having identified the need in the marketplace,Wilkhahn commissioned its independent development company,Wiege,to design a line of flexible conference furniture that would meet the requirements for static,variable and dynamic conferencing.Wiege President Fritz Frenkler and two associates,Justus Kolberg and Jens Korte created the Confair line of conference furnishings(see Figure3-1),in association with Andreas Storiko,who designed the folding table.

According to Fritz,“Our objective was to design an interactive line of lightweight,affordable, conference furnishings that roll,fold and stack,allowing quick and easy reconfiguration.In fact, our original concept was to develop a‘kit of parts’or‘toolbox’of mobile,flexible conference area products where users can choose whatever tool they need to meet their specific conferencing needs. As those needs change or grow clients can add additional tools to meet their growing needs."The Confair line of furniture adapts to the people rather than asking people to conform to the furniture, supporting the new workplace.

The products in this line work together,or complement and augment a client’s existing furniture.Featuring clean,contemporary lines and a wide range of colors and materials that allow the products to work well in many different environments,the line includes:

●A folding table,which provides space for eight people with legs that provide unobstructed leg room,then folds in half and rolls away for easy storage;

●Mobile desks with a comfortably angled writing surface and horizontal surface at the top for coffee cups or supplies;

●Stack chairs with aluminum frame and black polypropylene seat shell and backrest;

●Mobile servers,which roll easily on casters,support a wide variety of accessories,office materials and AV equipment such as monitors,video recorders and overhead or slide projectors. They also can accommodate special catering needs during conferences;

●Pin boards,covered on both sides with gray felt in which pins leave

no trace;

a

The Confa ir collection

b

A ny type of presenta tion is possible w ith the F lip Cha t and Mobile

Server,which ca n a ccommoda te equipment,supplies or office ma-

terials.

Figure3-1

●Flip charts with work surface of laminated plywood,which can be attached at three different heights on a foldable easel;

●A lectern that glides easily on two casters.

Lesson3The Mobile O ffice

Unit Two Pr oduct Design

The designers paid special attention to comfort,safety and ease of use in the engineering of these products.They withstand heavy use,and the beautifully engineered mechanisms make them easy to roll,fold or stack,so they can be moved or reconfigured easily during a meeting,between sessions or from department to department,and then can be stored when not in use.Wiring access for telecommunications equipment is readily accommodated.

Constructed of aluminum,birch laminated plywood and polypropylene,the products are designed to last20to30years with parts the user can easily repair,thus providing increased value. Since ecological responsibility is a key element of Wilkhahn’s business philosophy,all materials in the Confair line can be fully recycled and are free of toxic ingredients and heavy metal.Wood surfaces are finished with water-based lacquer,or water-based stain.

Consumers are proving that the company’s instincts were on target.Diane Barnes,president of Wilkhahn,Inc.,in the US,says,"This new product line has enabled Wilkhahn’s trained sales staff and dealers to work with our customers—both end users and designers—to help them solve specific problems within the workplace.It provides a new approach to relationship-building and allows them to go beyond the straight selling process."

New wor ds

1.stuffy/′st fi/a.乏味的;闷热的,不通风的

2.cumbersome/′k mb s m/a.笨重的;麻烦的

3.flat-hierarchy/fl et-′hai r:ki/a.不分等级的,无等级制度的

4.rack/′r k/n.文件分类架

5.Bad Munder(德国下萨克森州的地名)巴特明德

6.ecology/i′k l i/n.生态学

7.stipulate/′stipjuleit/vi./vt.制定,规定

https://www.360docs.net/doc/9616012930.html,patibility/k m p t′biliti/n.协调,和谐

9.demountability/di:′maunt biliti/n.可拆卸

10.cite/′sait/v.引证;嘉奖

11.fluctuate/′fl ktjueit/vi.波动;涨落不定

12.confer/k n′f:/v i.交换意见;协商

13.folding/′f uldi/a.可折叠的

14.unobstructed/n b′str ktid/a.不妨碍,不阻挡

15.server/′s:v/n.托盘

16.polypropylene/p lipr u′pilen/n.聚丙烯

17.caster/′ka:st/n.小脚轮

18.projector/pr′d ekt/n.投影仪

19.cater/′keit/vt./vi.办酒席;就餐

20.felt/felt/n.毡制品;

https://www.360docs.net/doc/9616012930.html,minate/′l mineit/n./v t./v i.层压制品;由薄片叠成

22.plywood/′plaiwud/n.层压板;laminated～胶合板,层压板

Lesson3The Mobile O ffice

23.easel/′i:zl/n.画架,黑板架

24.lectern/′lekt:n/n.演讲用小讲台(常带放讲稿的小台)

25.birch/b:t/n.白桦

26.toxic/′t ksik/a.有毒的

https://www.360docs.net/doc/9616012930.html,cquer/′l k/n./vt.(涂)漆

Phr ases and Expr essions

1.in that(this)context就此而论;在那方面

2.flip chart活动挂图板

Lesson 4 Logo Design

The power of such corporate images,and their almost iconic ability to become part of the visual landscape,demonstrates that great brands and great logos often go hand in hand.And while it is difficult to measure the specific impact of even the most widely recognized logos (would Coca Cola have been any less popular and enduring with a different logo?),executives,marketers,and designers agree that the logo is often one of the most important elements in the marketing mix.“The logo is a point of entry to a brand,”says designer Milton Glaser.As such,it is not only the most immediate form of corporate communication,but also the most far reaching;even people who don’t bother to watch a company’s commercials or read its literature are apt to be exposed to the logo.It may represent the one opportunity a company has to say something to everyone in shorthand.“A logo must somehow manage to sum up the essence of a company in a single mark,”says designer Alexander Isley(figure 41).

Figure 41

logo Design sketches.

That is no easy task,and

the inherent conservatism of

many corporations often makes

the logo

designer’s job even more

difficult.“With logos,it is

often necessary to reinvest

cliche,to take something that is

very familiar and make it seem

fresh,”says Glaser,who

designed the immensely popular

“I Love New York ”logo a

couple of decades ago.On the

other hand,clients may not want it to seem too fresh.“

Companies don’t necessarily

want to seem unusual or out of the mainstream,”Glaser says.

As a result,“many companies resort to something geometric and formalistic such as a circle with stripes running through it which tends to blend in with all the other logos,”Glaser says.That became a particular problem with corporate logo design in the 1980s when individuality in logos practically vanished.“In the eighties,there was a trend toward being corporate and efficient and impersonal with logos,”says Kenneth Cooke,creative director at Siegel &Gale.“Corporations wanted something that looked big and important,but didn’t necessarily tell you anything about the company.”

At the same time,the marketplace was becoming more global,and that,too,had an impact on

Unit Gr aphic Design Thr ee

Lesson4Logo Design

logos.“Logos had to begin to appeal to different cultures,”says Clive Chajet,who heads Lippin& Margulies,a corporate identity firm.“Symbols became increasingly important,because they could be used to communicate internationally.”This fed into the“circles and stripes”trend that overtook logo design in the1980s.

But in the past few years,logo designers say,there has been a movement away from abstract and meaningless geometric symbols:Chahet says companies now increasingly understand that“for a symbol to be effective,it must express an idea,a proprietary element of the company.”Alexander Isley adds:“The trend now is toward instilling personality into the logo,instead of making it cold and clinical.And you should be able to look at a logo and get some idea of what that company is a-bout.”

Chajet,Cooke,Isley,and Landor Associates’Margo Zucker have each had a hand in this trend.In their recent re designs of logos for McGraw Hill,Dell Computers,the Museum of the Moving Image,and Xerox Corporation,these designers have attempted to reveal corporate personality through type and symbols.Each of these logos conveys a sense of where the company has been and what it stands for today.

Xerox’s new logo,designed by Landor Associates a year ago,is a case in point.It combines traditionalism(the classic lettering in the company name and tagline)with modernity(an X that appears to be digitized),which reflects a company that is trying to evolve beyond its traditional niche.“We’v e moved into the digital age in the1990s,”says Xerox corporate identity manager David Reyes Guerra,“but to many people we were still just a copier company.”The company’s existing type-only logo,didn’t help matters.“It suggested the kind of rigid duplication you’d expect from a copier company,”says Reyes Guerra.

Reyes Guerra says that Xerox wanted a change,but didn’t want to give up the equity invested in its old https://www.360docs.net/doc/9616012930.html,ndor arrived at a compromise,retaining the same typeface in the signature,while adding a bold new mark which took the form of a pixelized X.“The pixels in the X say that this company has moved in to digital age,”says Landor’s Margo Zucker.The designer also opted for a color change;“We changed the tranquil blue of the old logo to a more aggressive red to show that this is a company that is moving forward,”Zucker says.

Since the new logo was unveiled about a year ago,with the digital X appearing on all packaging of Xerox products,retail sales have been up significantly.It’s difficult to say what role the logo has played in that increase,but Reyes Guerra says dealers have been enthusiastic.“A lot of them have called us up and asked for new promotional displays featuring the X they want to put that in their stores.”And,he adds,“within the company the new logo has generated excitement,a sense that the company is changing and evolving.”

Similarly,the new logo for the publisher McGraw Hill is an attempt to bring an old, established corporate image up to date.In recent years,McGraw Hill has expanded beyond its traditional base of textbook publishing into new market areas such as magazines,television,and finance.Nevertheless,“our customer research showed that we were still perceived as only a textbook company,in spite of our diversification,”says Barbara Munder,a senior vice president at

the company.Lippincott &Margulies advised the client to change not just the logo but the company name from McGraw Hill Inc.to the McGraw Hill Companies.This helped convey the diversified nature of the company,says Chajet.At the same time,Chajet wanted the logo to show that McGraw Hill had become a growing global https://www.360docs.net/doc/9616012930.html,ing the M,C ,and G,from the company’s first name,the designer created a symbol resembling a globe that is being circled representing the information that McGraw Hill transmits around the world each day.

While Xerox and McGraw Hill have attempted to shift perceptions of their solid companies,two smaller,younger companies Dell Computers and the Museum of the moving Image have been trying to forge an identity in their respective fields.

In both cases,the logo designers felt that it was important to play up the style and personality of the two organizations.

Siegel &Gale’s logo for Dell Computers featuring an odd upside down E in the middle is an attempt to convey the brash iconoclasm or the young entrepreneur who started the company,Michael Dell.Interestingly,Dell had started out with a more conservative,serif type logo when the company was launched in the late 1980’s.“The old logo was stodgy on purpose,”says Siegel &Gale’s Cooke.“Dell had been started while Michael Dell was still in college,and they were trying to look serious and established,”he says.

But as the company grew,so did its confidence and its own sense of personality.Dell achieved rapid success in the computer business with a break the rules style.“In effect,Michael Dell turned the computer industry on its ear,”says Cooke.And so when Dell approached Siegel &Gale a couple of years ago,seeking a re designed logo that would more accurately reflect the company,the designer used a topsyturvy E.To balance that brashness,the logo achieves a sense of weight and solidity through its extra bold Futura type (which,from a practical standpoint,also reproduces well on tiny nameplates on computers).Has the new logo helped computer sales at Dell?Impossible to say;Dell’s roller coaster company continues to surge up and down in the volatile computer business.But anyone who now does business with Dell knows,upon seeing that logo,that they will not be dealing with a run of the mill conservative company.

Likewise,the current logo for the American Museum of the Moving Image re designed three years ago by Alex Isley attempts to convey to outsiders that this is no stodgy repository of old relics.In addition to injecting a sense of hipness,Isley’s design also attempts to explain what goes on at this somewhat obscure museum,which houses an impressive collection of sets,costumes,and artifacts from movies.

The museum,which opened about 10years ago in Astoria,Queens,was burdened by an unwieldy name,a fuzzy identity,and an off the beaten path location;Isley couldn’t do much about the location,but his design of the logo encourages the use of the acronym AMMI,while also giving hints as to the nature of the museum (the cross hatch evokes a camera viewfinder;the type circles the logo like a lens;the eye is that of movie star Audrey Hepburn).

Rochelle Slovin,director of AMMI,says the logo,with its modern treatment and use of an icon,has conveyed to people that “this is an unusual,forward looking museum.”She thinks it

Unit Gr aphic Design Thr ee

Lesson4Logo Design has been a contributing factor as the museum has seen attendance rise each of the past two years, with a number of sellouts on events.“Who can say what effect the logo has had?”she says.“It seems to be working so I’m going to stick with it.”

New Words

1.iconic/ai k nic/adj.图符的

2.logo/l g u/n.标识;标志

3.cliche/kli ei/n.老套;陈词滥调

4.clinical/klinik l/a dj.客观的;未牵扯在内的

5.equity/ekwiti/n.公平,公正(律)衡平法

6.brash/br/a dj.卤莽的;轻率的;n.残枝,骤雨

7.stodgy/st d i/adj.冗长无兴趣的

8.repository/ri p zit ri/n.仓库;贮藏物品的地方

9.acronym/kr nim/n.由字首字母组成的字

10.volatile/v l tail/a dj.快速的;易变的;反复无常的

11.diversification/daiv sifi kei n/n.不同,多样化

12.iconoclasm/ai k n l zm/n.反对偶像崇拜

13.topsyturvy/t psi t vi/a dj.a dv.(colloq)in confusion混乱的,颠倒的

Phr ases and Expr essions

1.feed into供以原料

2.opt for sth.选择;挑选

3.play sth.up特别重视;过度重视

4.in effect事实上,实际上,在实施中,有效的

5.stick with相当于support忠于;继续支持

Fr ee Reading

1.J AL

The basic requirements for the JAL’s logotype were elegance and dignity,as is appropriate to one of the leading airlines in the world,and a representative of its country.Thus,the new design was developed by incorporating such concepts as“sophistication”,“modern Japan”and an “internationally oriented approach”.JAL’s traditional logo of a crane is preserved on the tails of their planes.

The black color chosen for the letters“JAL”in the logotype signify sincerity and reliability. The red of the“JAL Square”,which is also their corporate color,is brighter than the existing red and is designed to symbolize“flaming passion”.The grey band demonstrates JAL’s speed and dynamism as well as its challenging spirit in facing the future(figure42).

2.Le Bon Ma rche Although Le Bon Marche is the oldest department store in Europe,it did not have the sophisticated image found in the other large,Parisian stores.Carre Noir is astute enough to suggest linking Le Bon Marche with the educated classes living on the left bank of the River Seine.She introduced a PR campaign associating Le Bon Marche with the classy image of “Le Rive Gauche ”for the simple reason that it is the only department

store there.

Figure 42

Japan A irline Design:Landor A ssociates.Client:Japa n A irlines Co.,Ltd.

Department stores are made up of various sections,and therefore their logos need to be designs which can express many variations.The logo of Le Bon Marche achieves those variations through the use of man colors,in addition to the two contrasting principal colors.

3.ABC

ABC Housing specializes in the exhibition of model houses.They were the first company in the Japanese housing industry to introduce energy saving measures for the home and to encourage the use of natural energy resources.Since then,they have continued to lead the industry through their creation of such concepts as “Outdoor Living ”,“Home Resort ”,“Two Generation Housing ”,etc.Their logo is an attempt to appeal to customers visually,focusing on their reliability,reputation and caliber.We are confident that we have succeeded in producing a logotype that can be used for any PR medium and one whose effectiveness will not be diminished by altering its size.

4.MO O

“Kushiro Fishermen’s Wharf ”,otherwise known as “MOO ”,opened in July,1989as one of the redevelopment projects undertaken by Kushiro City,Hokkaido.The nickname “MOO ”stands for “Marine Our Oasis ”,and in the logo,the “M ”is drawn as a lovable,fictitious monster,while

Unit Gr aphic Design

Thr ee

Figure 43

A D:Masa aki Hiromura

Designer:Masaaki Hiromura Client:kushiro Water Front Development

the O’s are its eggs.Matching characters have also

been as part of a promotion campaign to

popularize MOO among as wide an age group as

possible(figure 43).

Yellow and blue have been chosen as the

main colors in order to remove the gloomy image

often associated with Hokkaido due to its far

northern location.The bright yellow is to remind

you of the sun,and clear blue gives you the feel

of the blue water of the sea.These colors are not

only used for the logo and matching characters,

but also for the stationery and the interior,

exterior of the shops.

5.K yudenko Co.,Ltd

On the 45th anniversary of its founding,the

former “Kyushu Electrical Engineering Co.”

changed its name to the present name of

Kyudenko Co.,Ltd.Taking this opportunity,

they decided to introduce a new corporate identity.This logo represents the initial “K ”of Kyudenko in a stylized form and thereby symbolizes harmony among people (red),the environment (green)and technology (blue)which Kyudenko pursues as its ideal.The cube extending upwards to the right expresses Kyudenko’s determination for dynamic development.The three dimensional appearance of this logo distinguishes it from other corporate symbols which often tend to have a rather flat appearance.

6.O kam ura

In commemoration of the 25th anniversary of its foundation,Okamura Printing introduced an

Figure 44A D:shigeo katsuoka;Designer:Shigeo K a tsuoka,DF:shigeo K a tsuoka Design Studio.entirely new logotype.The dragonfly

symbolizes the wide range and high

standard of technology that Okamura has at

their command,while their initial “O ”,

represented through the random

arrangement of several different colors,

represents the integral components of the

company,such as information,

know how,human resources,etc.These elements are united in the form of an “O ”Lesson 4Logo Design

to demonstrate the positive and constructive approach of the company towards society,and their desire to contribute to society,through their work.They also convey the image of each employee displaying his/her own individual personality and the firm consolidating this through its united power.Visually,Okamura’s new logotype is lively,colorful and attractive,like a flower(figure 4

4).

Unit Gr aphic Design Thr ee