2013 Logo Trends on LogoLounge.com

7/27/2019 2013 Logo Trends on LogoLounge.com

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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

t [email protected].

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!


13/14

June 3, 7:20 PM

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May 21, 7:11 PM

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!


14/14

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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