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2013 Logo Trendsurrent Logo Trends
y Bill Gardner
/17/2013
iew / Leave Comments (38)
Forecasting the near future in design is a reflection of societys
oncerns. With such rapid shifts in technology and social media,
onsumers react to a fear of being left behind. At one time, keeping
up with trends meant reading a monthly journal. Now, not only do we
have to read daily blogs, but we are expected to contribute as well.
Consumers who are not participating are growing ever more anxious
about the specter of being technically eclipsed.
his chasm is revealed in the decisions made daily by brand designers. More and more identity
esign is trying to find a way to span the gap or choose a side. This carries forward to products and
ervices that we build affinities with. Sports teams find themselves inventing updated generations
f mascots. Long standing consumables are reinventing themselves with new packaging and
roduct design.
Digital products and their user interfacesUIhave become major drivers in the identity field.
Consumers are predisposed to transfer confidence from one app or product to another if the
xperiences share a visual vernacular. Flat solid color is edging forward with momentum over
mages that mimic three-dimensional surfaces like glass, leather, or metal, for example. Simulating
urfaces like these in an environment out of context is referred to as skeuomorphism. Though it is
osing its grip, it is not going away: Clichs work because they are clichs.
maller companies are not afraid to adopt a logo that shows them at the size they are. More
pproachable is a good thing, if it is authentic. Larger companies are tending to loosen up a bit to
void pretensions and work multiple generations. Ebay, USA Today, Windows and many more over
he last year have adopted wordmarks and logos that eschew styles with shorter expiration dates.
ncreasingly, consumers have become comfortable in their role as contributors and not just
pectators. There is a universal desire to identify even the most niche elements. The ubiquitous
rofile pictures on Facebook, LinkedIn, or Twitter have turned into an opportunity to identify ones
elf. Personal logos and monograms have reached epidemic proportions. Avatars allow us to self-
dit and reinvent ourselves visually. This has become the micro-world of self-identification.
Designers are experimenting and making smart decisions for smart clients. Those satellite areas of
xploration that havent bloomed into trends yet will either be tremendously successful or tragic
ailures. (Look to next years trend report for the results.) In the meantime, there are always those
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nexplained clusters of visual flotsam that must be mentioned in the quit it column: There are too
many octopuses, snakes, elephants, peacocks, kangaroos, weathervanes, wheat stalks or heads,
nd anchors to count.
ow we come to the comments that are a mandatory opening to each years Trend Reportbut
hey are worth repeating. At this writing, we have just over 204,000 logos on the LogoLounge site,
ubmitted from designers in more than 100 countries worldwide. For this report, we examined more
han 20,000 marks.
When you cull through and organize this many logos, trends are observed. The intention of this
eport is to share with you what we see, not make suggestions for what you should do. It is always
asier to navigate to the future if you know where you have been. Seeing your trajectory allows you
o predict where you will end up.
s been suggested this might better be called an Evolution Report, because it is actually a report
n the evolution of our industry. Design is an evolving process. Its our hopes that you will use
hese observations, together with your own wit and perception, to advance the field of logo design
o the next level of brilliance.
his year we present you with the fifteen leading logo trends.
Here
he iconic map pin has given way to the ubiquitous digital version of itself. A generation that has no
se for an analog map also has no use for a tray full of stickpins with multicolored heads. Society
avigates with GPS, and it marks its destinations with an iconic inverted drop shape that nods an
omage to its predecessor. This icon has arguably entered the visual vocabulary of iconography as
ast as any in recent memory.
eed to let someone know they have arrived? Drop a marker. The equity in this symbol is prepped
or application and replaces the hackneyed iterations of an arrow, or an X, or a simple dot, to
ndicate that you have arrived. In logo design, place often is an important part of a story, and this
malleable symbol is finding itself merged and modified to convey an even deeper message. Its not
very day that designers are presented with a virgin icon fresh for appropriation but here it is.
Crossed
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s been less than a handful of years since designers went on a binge with circles containing
rossed anything, from arrows to lines to sticks. The standard solution usually involved a graphic
eing placed in each of the four quadrants formed by these itemsa clients initials, a foundation
ate, a name, a crown, a simple icon or symbol of some kind. The first few had a nice feel to them,
ut the proliferation of this kind of mark turned most of them into the punch line of their own joke.
he dust has cleared, and the frenetic pace of this designs creation has slowed to a trickle. Better
et, it has shifted to another variant that is not nearly as packed with information as the previous
models. These crossed components have a greater variety that often favors cooking utensils, tools,
porting equipment and the like. The X formed by these elements signifies a level of heritage
ormally associated with a pair of crossed swords. Its a technique that lifts the regal nature of the
lient it represents and implies a certain sophistication even if its a pair of crossed plungers.
Wave
ubtlety plays an important role in this group, and it may well take a second look to see the
onnections. Generally these marks have a volume to them, but you can assume the substance is
n flux. Imagine the simple motion of swirling wine in a glass and watching it stir from side to side in
settling fashion. It is a sign of movement but not in a rushed or torrid fashion. Rather, it is gentle
nd certainly under control.
Given time, these marks look as if they should come to rest, but the viewers better judgment
uggests that the rolling nature of these icons is ongoing, like the tides. Such a simple visual
esture thats pure in geometry and can express a complex rocking nature is refreshing. These
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ppear to have a liquid quality to them, but as a logo design, it demonstrates an entitys ability to
ontain a volatile substance and control the results.
Molecules
hink exacting and with specific purpose. Unlike cooking food, being off in a molecular recipe by
ne or two elements can kill you. This group of identities conveys concepts using a visual language
hat connotes an appreciation of precisioneverything in its place and a place for everything.
hough these identities may not represent a research lab or petrochemical endeavor, they do
xpress the understanding on the clients part for methodology.
he very geometric nature of these marks lets the consumer know that process is critical to
uccess. There are no elements left to chance, and with perfection comes results. The circles
onnected by lines can represent the aspects of a large business that works together in harmony,
r many coming together to create a greater whole. Variations in color demonstrate diversity or a
eamless blending of disparate elements. This is how subjective designers present objective
olutions to clients that demand a proof of outcome.
Nature Marks
ong before DNA, we knew that natures manifestation of individualism existed everywhere. A
humbprint certainly spoke to the uniqueness of a human being, but the rings of a tree or the
mapped topography of the land were equally effective marks of singularity. These patterns are
mmediately recognized for what they are even though each holds a clue to the originality of the
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ntity.
Combining these thumbprints of nature as a surface treatment on a mark is seen as a way to
ddress the unique and peculiar aspects of a client. Or it may be a way of indicating that every
lient or product or relationship is respected as individual. These prints are also the universal
eveler as everyone has one regardless of our station in life. The print of every individual,
egardless of wealth, religion, race, education, sex, or any other divisor, looks pretty much the
ame, but at the same time, each is uniquean imprimatur from Mother Nature.
Membrane
attern is no stranger to the world of logo design. Some of the most effective identities rely heavily
n pattern to tell a story. More often than not the pattern is geometric in origin and displays a
egular symmetry crafted from dots or squares or line work. The logos in this group are starting to
se an irregular pattern that appears to be much more organic in nature. There is a consistency of
ositive and negative space to the arrangement, but it was formed from similar yet unique
omponents.
magine the pattern created by camouflage, the epitome of regularity formed from irregularity. Or
icture an arrangement of stones that are all of the same approximate size, but each is individual in
orm. The name for this category was adopted as a reference to the microscopic appearance of a
ellular membrane that is constructed from similar units, connected in a random sequence, that
reates a consistent surface. These marks demonstrate order and harmony drawn from
issonance and an appreciation of the beauty of differences brought together for a common good.
Formula
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his, and this, and this, when brought together equals something much greater. Why not show
hose ingredients? Instead of showing smores, lets break it down and show graham crackers and
hocolate and marshmallows. The idea of stepping back from the finished product and showing the
quation or the components responsible for getting you to the solution is what this group is about.
he elements in the equation may be dramatically different but the combination tells the consumer
story and requires their participation to assemble a final conclusion.
hese logos appear in a variety of styles, and whether the formula is displayed vertically or
orizontally, there is usually a sequence to be followed for the result. Another connotation derived
om this category is simplicity, as if there is someone telling the consumer, Its not that hard to
nderstand. Breaking a process into steps or showing its transparency is a good method of
ngaging the consumer with an educational message that coincidentally is also used to identify.
Bracketing
As different as these marks appear, a square in a negative white space is the connecting tissue.
Generally, two elements of equal construction are pushed together to create a square- or diamond-
haped center which becomes the unwitting centerpiece of the logo. Its a bit like two brackets that
re uniquely designed and certainly have a message, but its never as much about the device as
what is between them.
ere, two pieces make a whole and create something greater in the central area. Remove one of
he pieces and there is no story, but squeezed together, they envelop one of the greatest of all
roducts, potential. It is the light that is captured between. It is the known or unknown. It is the
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lusive result that only this firm can define and manifest. The beauty of showing potential is that the
onsumer is able to dream and fill in the blank with the answer that best serves his objective.
Eyelet
magine a world where you are not allowed to make any hard right turns, and you pretty much have
he concept that leads to this genre of marks. Typically, these are built with a continuous motion
monoline weight that may or may not be capped with a feature, or it may terminate into itself.
Crossovers are certainly common, with a visual line break to convey dimension and continuity.
here are many variants, but the use of a loop is how you navigate a hard right angle.
here is a pleasure in tracing the line with your eyes as it takes us on a bit of a journey. It
emonstrates a sense of flow and flexibility and creates a solution that literally has an unexpected
wist to it. Were you given enough rope, you could no doubt design your logo with it. These marks
re approachable, friendly, and demonstrate a methodology by tracing a path from beginning to
nd.
Slash
he ubiquitous slash comes of age and has found a home in the realm of identity design. But what
oes it mean? The forward slash has tremendous flexibility and, aside from being a separator in
etworking or URL addresses, it is most commonly a symbol representing or in between two
ptions. It also is at home as a divider between initials such as b/w for black and white, or as a
ivider in a fraction, or even as the mark for a spare at your local bowling lane.
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n identity design, it is a clean visual substitute that allows us to connect or build separation
etween concepts or entities. The mark appears equally comfortable in a typographic solution or
maybe used with a bit more wit between icons/visual elements or both. The acceptance of the
lash is reminiscent of the avalanche of solutions using the @ symbol a number of years ago.
ecause of the almost invisible nature of the slash, it has much more utility and probably will be
iewed much more like an ampersand or another letter in our alpha-arsenal.
Written
As this trend developed this year, it started as a recognition of the abundance of logos
ncorporating handwriting. There were some A-plus examples of cursive, for sure, but no additional
heme was evident. The more I scrutinized the category, the more obvious the use of this script
ecame as it appeared in a supporting shape to complete the message. Most of these looked as if
blackboard had been created in the shape of a fill in the blank for whatever the topic was.
olks have been building type into shapes for years, and though that is a modest part of this
end, the overarching majority of these look like a barista at Starbucks has been busy designing
ogos when not filling out the menu boards at the store. This is an engaging way to tell a story, at a
istance from a shape silhouette, and up close where the consumer can read the details. The
andmade aspect of these solutions brings to the story a sense of care and attention to detail
missing from the competitors soulless entity.
Line Craft
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robably most evident of any trend this year is the aesthetic and beauty associated with these
marks and their understated elegance. The crafting of logos using a single stroke weight is not
ew, but it is in full display with nuances that keep the work fresh. These examples are mostly
lack on white, but there are exceptions with color that work as well. The illustration and the
ypography are both handled with even weights, which allows the copy to have a true sense of
lace.
nfluences may come from icon systems that have been developed over the last several years
sing a non-scalable line weight to build consistency. A Charley Harper influence seems to come
om the geometry applied to the illustrations. There is just enough line work to define shapes, but
ot enough to lay in tonality. A nod to the work of the 50s is also evident here, which is always a
leaser for generations still in love with that era.
Badges
A glance at this years logo crop turns up more crimped edges than a state fair pie contest. Badge
ogos are doing their best bottle cap impression with slow, wavy edges; tight, pointy, ziggurat
dges; and every combo in between. Its the diversity of filling that is keeping these interesting and
hat still allows the well-crafted version to stand out. Some of these are intended to be seal-like,
nd then others just use the shape as an enclosure.
here is an air of official-ese associated with these marks but also a wink that they can just as
asily be irreverent and light-hearted. Dating back to the irregular edge created by an impression in
wax seal, this shape over the years found regularity in shape. Reminiscent of the gold seal
pplied to any document of importance, the shape still denotes an official stamp of approval, and
esigners are glad to promote this school of thought.
Banners
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As a graphic device, the banner has enjoyed a significant ride with designers for a number of
ears. What was once a nice way to add a violator to a package or a website has this year found a
lace at the logo design table. An updated version of ribbons from years past, these banners only
xist in a sharply creased and highly starched variation from the past. Generally, the banners are
pped with a rise to the right, leaving the italic passenger type in a perfectly erect state.
Occasionally the banners exist by themselves, but they are more often incorporated on or around a
ignificant graphic element. Acting almost as a ribbon, these devices have the ability to serve as
he background for a text message and also as a gathering and bundling device. The ribbon-like
ps of the banners often are trimmed to contain a V tail evocative of an award. Because of the
ature of the product this emulates, it allows a designer to build depth and layers into an otherwise
at solution.
Monograms
he art of personal aggrandizement is alive and well, and designers are busy doing their part to
eep it fresh. Though monograms date back to 350 BC, they met their true renaissance starting in
he mid-eighteenth century. This is when family crests gave way to a more democratic identifying
motif that anyone could develop, regardless of his or her station in life. These solutions range from
verly ornate to incredibly spartan in appearance and have been the outgrowth of the desire for
veryone to have a mark of their own.
When there is little else to say about an individual, you can always bank on him having at least two
nitials you can rub together to create a monogram. There is a certain aura of elegance and
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Tweet 508 Tweet 508 254 254
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ormality that accompanies these, even though contemporary versions may not have the character
o pull off being stitched on your shirt cuff. Name a fashion designer who doesnt use a monogram
f some sort on his or her merchandise. Considering the enormous trade in counterfeit fashion
pparel and accessories, it helps prove the dollar value a logo can infuse in an industry.
ill Gardner is the principal of Gardner Design and creator of LogoLounge.com, a unique web site
where, in real-time, members can post their logo design work; study the work of others; search the
atabase by keyword, designers name, client type, and other attributes; learn from articles and
ews written expressly for logo designers; and much more. Bill can be contacted
ill Gardner has just completed a much-anticipated book on logo design titled LogoCreed, The
Mystery, Magic, and Method Behind Designing Great Logos. This book will be available starting
mid 2013 through the LogoLounge.comweb site, Rockport Publishersor other booksellers.
8 COMMENTS
mixidot
reat summary! Definitely food for thought ;0) Thank you!
kate
rime Ad I'm sorry to say this but I don't think you could! These are brilliant, thanks for the inspiration
kate
rime Ad I'm sorry to say this but I don't think you could! These are brilliant, thanks for the inspiration
TheWayIsForward
really like them this year, in particular the eyelet and bracketing ones. I'll use them as inspiration. thanks.
Kery
hank you very much, this is helping me on my research as well
Prime Ad
hese are awesome logos - but I guarantee we can give them a run for their money. Check us out at www.primeadvertising.com
Ez
his year's selection (the examples on show) is very American. And Bill "fifteen leading logo trends" is less about leading and
more documentary of all? i.e. Banners isn't a leading trend, surely, or maybe just in America?
Yael Miller
equired reading for every designer, no matter how experienced and skilled in logo design!
Milena Lyons
Where has this article been all of my life? Thank you!
509LikeLike
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Andrew MacDonnell
eeping ahead of the pack demands keeping one eye over your shoulder. The never ending search for 'enduring'
ontinues...Thanks for another great selection.
ogos With Soul
think I am guilty of a lot of them.
ang Clark
wesome about logo trend very nice designs you have shown and it's very inspirational design I have never seen before good work
eep it up
moenib
reat logo trend
Charmaine Beleele
nd you gave us all this information for free?/! Impressive. Thought-provoking. Stylish Article!
Tim
think another trend that should be listed should be "Using typefaces from Lost Type Co-Op." Helluva lot of them out there.
Billie Gaura
n awesome breakdown of what's trending. Thank you guys!
Omiga Pun
great annual must-read, thank you Bill!
ordi
hnanks Bill for the study. I posted an overview on my blog in Spanish.
aurel Wassell
wesome selection as usual. Thanks everyone
icelogo
lways spot on as usual. I look forward to this every year. Thank you! I like "jeron's" insightful comment the most.
RetroMetro/Steve
nother insightful (and inciteful) overview. Thankyou Bill!
Rami Kilani /overhaul
golounge, I felt that there is kind of affectation to bring those "trends" together, I was not convinced at all. Most of these "trends"
ave appeared in the constantly during the last 10 years!
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June 3, 7:20 PM
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Brooks Hassig
noticed that the Vote for Mark Huntley logo under Banners had not actually been used by the client. Does it count as a logo trend if
s not actually in use? Trends depend also on the mindsets of our clients.
The Mad Klingon
o, what's not trending then? What's out?
erron
big trend right now, especially with crowdsourcers is to find an existing logo on the internet and trace it. :)
Valerie
his seems to be a list of aesthetics used strongly throughout 2011-2012. I'm really curious about what's next in logo design,
ecause most of these approaches aren't new. Great collection nonetheless.
Moeed Mohammad
great list of 'what not to do'.
eighton Hubbell
lways good to keep up with what everyone is creating, and where it all seems to be headed. Glad to see my work in this feature,
oo.
David Springer
reat analysis, Thank you!
Brian Steely
reat read as usual! Thanks for featuring my work! Cheers!
Brian Steely
reat read as usual! Thanks for featuring my work! Cheers!
Michael Rylander
ery nice analysis and writing Bill. Thank you.
teve DeCusatis
reat overview of trends and congrats on yet another year compiled! Really looking forward to Bill's new book as well, LogoCreed.
ounds cool. Also, many, many thanks for the inclusion!
Mike Bruner
lad to have a couple logos selected into this feature. Some fine work shown and a nice read on the logo trends. (as usual.)
ean-Luc Slagle
ey guys, that's me up there!
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013logotrends
ype in 87040
May 21, 7:09 PM
May 21, 6:18 PM
May 21, 11:01 AM
ean-Luc Slagle
ey guys, that's me up there!
osh Hayes
extures on the way out? Could this really be true? I sincerely hope. Great read & thanks for featuring some of my work.
Troy Tabor
hese are awesome!
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