{"id":57870,"date":"2018-12-27T02:34:00","date_gmt":"2018-12-27T09:34:00","guid":{"rendered":"http:\/\/www.taterboy.com\/blog\/2018\/12\/6-huge-logo-trends-for-2019\/"},"modified":"2018-12-27T02:34:00","modified_gmt":"2018-12-27T09:34:00","slug":"6-huge-logo-trends-for-2019","status":"publish","type":"post","link":"https:\/\/www.taterboy.com\/blog\/2018\/12\/6-huge-logo-trends-for-2019\/","title":{"rendered":"6 huge logo trends for 2019"},"content":{"rendered":"

As humans, we naturally seek out and identify patterns; it\u2019s how we\u2019re programmed. So when it comes to logo design, as with all design work, it’s natural to look for identifiable trends.\u00a0But there\u2019s also a lot of confusion, and often wishful thinking, when it comes to identifying whether a trend actually exists or not.\u00a0<\/p>\n

What are logo design trends?<\/h3>\n

\u201cFinding trends in the vast sea of great work can be tricky,\u201d says Chris Harmon, creative director at Loyalkaspar<\/a>. \u201cSometimes you gravitate to your own taste, and trends become self-fulfilling prophecies.\u201d<\/p>\n

Take, for example, negative space. We\u2019ve seen a number of great examples of negative space being used in logo design this year, from Buzzfeed News to Jetsave Tours. But does that make it a trend, or just a timeless technique? We\u2019d argue the latter.<\/p>\n

At the same time, it\u2019s inarguable that some clear logo trends do exist. And although you shouldn\u2019t unthinkingly follow them, it\u2019s still useful to know what they are, even if it\u2019s for the express purpose of avoiding them.\u00a0<\/p>\n

Here, with one day left of 2018, we take a look back at the past year and identify six logo trends that look set to continue into 2019 and beyond. What you do with this knowledge is entirely up to you…<\/p>\n

01. Simplification<\/h3>\n
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\"American<\/p>

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Pentagram simplified the American Express logo even further in 2018<\/p>\n<\/figcaption><\/figure>\n

We\u2019ll start with a trend that\u2019s been popular for years now, but still shows no signs of abating: simplification. We\u2019re talking about, in the words of FINE<\/a>\u2019s design director Joe Flory: \u201can overarching trend to eschew extraneous ornamentation in favour of a simpler and uncompromising visual aesthetic\u201d.<\/p>\n

As Alastair Holmes, associate creative director at This Place<\/a>, explains: \u201cWhen it comes to logo design and branding, there seems to be a trend towards simplifying things, so either taking the existing brand or logo and simplifying it, or completely redesigning the logo to be cleaner.\u00a0<\/p>\n

“Good examples of this are Pentagram’s American Express rebrand<\/a>, which tweaked and cleaned up the original, and the Uber rebrand<\/a>, which was a total redesign in order to freshen up and simplify.\u201d\u00a0<\/p>\n

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\"US<\/p>

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The US Open emblem and wordmark got a reductionist makeover courtesy of Chermayeff & Geismar & Haviv<\/p>\n<\/figcaption><\/figure>\n

He notes that while the trend for simplification is all-pervading, the reasons for doing so can differ.\u00a0\u201cSome companies that have their logos and brands freshened up are happy with what they stand for,\u201d he says. \u201cIn the case of Uber, however, the redesign was part of them trying to move away from recent controversies and present themselves in a new light. In both cases, though, it’s an ongoing way of evolving an established brand to make it feel more current and contemporary.\u201d<\/p>\n

Other examples abound: Best Buy, Mills & Boon, the US Open, Santander, City Gateway, Ogilvy, Fat Face, MailChimp\u2026 the list goes on and on. And logos will likely continue to become simplified throughout 2019 and beyond, believes Holmes.\u00a0<\/p>\n

\u201cThis trend probably has a fair way to run,\u201d he says, \u201cbecause it’s at least in part a reflection of what’s been happening in the design of digital interfaces… and digital is only going to become more important for all big companies.\u201d<\/p>\n

02. Responsive logos<\/h3>\n
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\"Coke<\/p>

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The full versions of the Coke and Chanel logos<\/p>\n<\/figcaption><\/figure>\n

Beth Anderton-Allen, a creative at Amplify<\/a>, agrees that the needs of digital are having a big effect on how we design our logos, and points out that it goes beyond mere simplification. \u201cDue to the increase in mobile platforms, responsive logo design is becoming increasingly important,\u201d she says.\u00a0<\/p>\n

If you want to see what a responsive logo looks like in practice, just head to responsivelogos.co.uk<\/a>, resize your browser window and see what happens.<\/p>\n

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\"Coke<\/p>

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The logos become less embellished at smaller sizes to retain clarity and readability<\/p>\n<\/figcaption><\/figure>\n

A responsive logo is fully scalable for the modern web, but it\u2019s not just about size, says Yego Moravia, executive creative director at Stink Studios<\/a>. \u201cWe’re also seeing a trend in dynamic identity, where logos are beginning to behave differently than before by using data, and changing based on whether a user is signed in or out,\u201d he explains.\u00a0<\/p>\n

\u201cFor example, when a user logs into their Google mail inbox, there\u2019s an icon at the top-right corner that differs from their personal account to their business account. Between accessibility, tools, and photo, this is just one example of logos adapting their image depending on the data attached.”<\/p>\n

03. Authenticity<\/h3>\n
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\"Wahaca<\/p>

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The hand-drawn logo for Mexican chain Wahaca<\/a> is in keeping with its shabby-chic heritage \u00a0<\/p>\n<\/figcaption><\/figure>\n

Not every brand in 2018 has been trying to simplify its logo, and nor should they, says Holmes. \u201cThis idea of simplifying things is particularly relevant for any brand with a strong digital presence,\u201d he notes. \u201cBut where it might not be so relevant is for brands that perhaps want to communicate a more natural aesthetic.\u00a0<\/p>\n

“For example, consider wine labels and earthy food brands, such as the organic food retailer Abel & Cole. It does have a digital presence, but it also has a more rustic feel to its branding in order to reflect what it’s about.\u201d<\/p>\n

So what exactly does \u2018authenticity\u2019 mean in the context of identity design? \u201cIt means being yourself, and being honest about who you are,\u201d says Harmon. \u201cBrands are asking themselves: ‘How can I be myself if I\u2019m using the same font as a hundred other brands, especially when that other brand is a real asshole?’ In response, brands are making custom fonts that honestly feel like themselves, and no one can copy them.”<\/p>\n

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\"Shakespeare's<\/p>

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Superunion’s logo for Shakespeare’s Globe<\/a> (far right) was based on the shape of the original theatre, and crafted using real wood and ink<\/p>\n<\/figcaption><\/figure>\n

“Brands are asking how can I break through to millennials using the same pink everyone is using? Well, you can\u2019t, so they\u2019re finding new approaches to colour, taking steps to ensure that colour speaks to who they feel they are as a brand, and not viewing colour as data points to their target audience’s liking.\u201d<\/p>\n

In short, there\u2019s no one blueprint for being authentic with your logo design, but that\u2019s kind of the point. As Harmon explains, it\u2019s all about asking questions.\u00a0\u201cFor example, if our brand is brief and snappy, should we be using a bold and condensed font? If we\u2019re all about relaxation, should we open up our kerning and let our message breathe? A level of self-reflection is influencing every design decision being made, and if brands aren\u2019t asking those questions they\u2019ll soon be scrambling to catch up.\u201d<\/p>\n

04. Sustainable logo design<\/h3>\n
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\"Carlsberg<\/p>

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Taxi Studio aimed to give Carlsberg a logo that would be sustainable over the long term<\/p>\n<\/figcaption><\/figure>\n

Does the need for a brand to appear authentic conflict with the urge to simplify? In the eyes of Chris Maclean, creative director of Wolff Olins<\/a>, it doesn\u2019t have to. \u00a0<\/p>\n

\u201cA big reason for the simplification and graphic reduction of logos we\u2019re seeing is that whilst identity systems might evolve as design trends change, logos have a much longer timeline,\u201d he explains.\u00a0<\/p>\n

\u201cA more classic logo design will stand the test of time better than one tied to the stylistic trends of the day, while the surrounding identity can flex according to changing expression requirements. For this reason, we think we can expect to see more brands simplifying their logo in favour of expressive brand systems that can flex more rapidly.\u201d<\/p>\n

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\"Zocdoc<\/p>

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Healthcare app Zocdoc’s instant-classic of a logo won’t need to be redesigned for years\u00a0<\/p>\n<\/figcaption><\/figure>\n

In other words, rather than bringing out a totally different \u2018on trend\u2019 logo every couple of years, Maclean believes we\u2019re seeing a return to classic design values, where brand innovation comes from various touchpoints, but specifically not<\/em> the logo. He cites the 2018 logos for Uber, healthcare app Zocdoc, communication protocol Zigbee as examples of this trend.\u00a0<\/p>\n

Another recent example can be seen in Taxi Studio\u2019s rebrand of Carslberg<\/a>; on its launch, creative partner Spencer Buck told us: “The new design system is very much anti-trend. It’s designed to be permanent, or more permanent than any iteration of the design system has been before. There shouldn’t be any need to change this for a good long time. That’s part of the sustainable thinking that was built into the very core of the brief.”\u00a0<\/p>\n

\u201cTrends are short-term,\u201d points out Troy Wade, strategy head and co-founder, Brown&co<\/a>. \u201cAnd that\u2019s great if you\u2019re in advertising, but not if you\u2019re trying to create something that\u2019s going to last, and still look appropriate in the medium or long term. Think about Coca-Cola\u2019s identity, which transcends any trend, versus Pepsi, which keeps trying to change and be trendy.\u201d<\/p>\n

05. Getting playful with fashion logos<\/h3>\n
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\"T-shirt\"<\/p>

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Look what Virgil Abloh did with the classic Nike logo<\/p>\n<\/figcaption><\/figure>\n

If brands are becoming more focused on the long-term when it comes to their core logo designs, that doesn\u2019t mean there isn\u2019t room for fun and innovation in secondary or one-off logos. And the fashion world has been leading the way this year in getting playful with its once-sacred logos.<\/p>\n

\u201cOver the course of the past year, major brands have begun to engage heavily and publicly in creative collaboration, such as between US fashion designer Virgil Abloh and Nike,\u201d says Charley Lewis, executive creative director at Optimist Inc Los Angeles<\/a>. The latter, interestingly, includes a fun new take on the classic Nike logo, shown above, which might once have been considered too important to mess with.\u00a0<\/p>\n

Another example in 2018 was the collaboration between H&M and Moschino, with the resulting logo ‘H&MOSCHINO’ appearing on T-shirts, innerwear and accessories. There was also a similar mashup between Moschino and MTV, to create an ‘M[tv]OSCHINO’ logo.<\/p>\n

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\"Fashion<\/p>

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Moschino has been mashing up its logos with other brands including H&M and MTV<\/p>\n<\/figcaption><\/figure>\n

For a Swedish fast-fashion brand and a high-end Italian couture house to dilute their respective identities in this way might have been unthinkable a decade ago, but the pull of mashup culture is a strong one, believes Lewis.<\/p>\n

\u201cThese collaborations are at the core of how brands are connecting with a generation who are constantly trying to differentiate themselves,\u201d he explains.\u00a0\u201cFor Gen Z, personal style choices are not necessarily dictated by a particular subculture, as they once were, but rather by the amalgamation of all contemporary culture. What really matters is standing out as an individual with a unique perspective on style.\u201d<\/p>\n

06. Gradients<\/h3>\n
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\"Firefox<\/p>

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Mozilla asked for public feedback for these two logo designs<\/a> in July\u00a0<\/p>\n<\/figcaption><\/figure>\n

If core logo designs are being streamlined and simplified in 2018, then one way that designers have attempted to add a bit of added interest has been through colour.\u00a0<\/p>\n

\u201cThis year has seen a growing trend towards the use of gradients within logo design,\u201d says brand identity designer Helen Baker<\/a>. But while the use of gradients can be quite full-on, most notably in the branding of Apple and Sky, it can also be used more subtly.\u00a0<\/p>\n

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\"Waitrose<\/p>

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The Waitrose logo by Pentagram uses gradients in a subtle but effective fashion<\/p>\n<\/figcaption><\/figure>\n

\u201cThe John Lewis and Waitrose Partnership rebrand<\/a> by Pentagram earlier this year, shows the new Waitrose logo with different bands of green, a sort of deconstructed gradient,\u201d Baker notes.\u00a0\u201cThe spacing between the bands of the colours also achieves a feeling of transparency, a key feature brands want to portray.” Other notable brands to use gradients in their logo redesigns this year include Disney Plus, Firefox and Trivago.<\/p>\n

Read more:<\/strong><\/p>\n