標(biāo)志設(shè)計(jì)外文文獻(xiàn)翻譯譯文

1、開題報(bào)告 開題報(bào)告班級(jí) 學(xué)號(hào) 姓名摘要 關(guān)鍵詞研究背景文獻(xiàn)綜述技術(shù)路線 進(jìn)度安排參考文獻(xiàn)To stand out and be refreshingly different at whatever cost - that'sthe message we're getting from today's logos.From an identity point ofview, web 2.0 logos failed

2、 miserably. Copycat websites may still work,but when it comes to identities, designers will have to roll up theirsleeves and work much harder.從今天的標(biāo)志設(shè)計(jì)中我們得到這樣一個(gè)信息， 那就是為了脫穎而出與眾不同，無論花費(fèi)多少，都是值得的。 如果單從標(biāo)識(shí)的角度來看， Web2.0 的標(biāo)志無疑是一

3、個(gè)失敗。他們可能不會(huì)鬧騰的太久。當(dāng)然模仿性網(wǎng)站仍可能存在，但是當(dāng)涉及到標(biāo)識(shí)的問題，設(shè) 計(jì)者將不得不卷起袖子付出更多的努力。Designers have become far more aware and sensitive to design historymovements and styles than they were in previous years. They arediscovering ways to make log

4、os reflect their roots.相比以往幾年，設(shè)計(jì)師們已經(jīng)變得越來越清楚和敏感的運(yùn)用歷史的軌跡和設(shè)計(jì)風(fēng)格。他們正在學(xué)會(huì)如何使標(biāo)志反映其根源。Minimalism was a strong anchor for swooshes, sparkling little balls andother accidental manifestations. But we're witnessing a fading out

5、ofminimalism, and this weakness is paving the way for spectacular remixesto take over.在以往的標(biāo)志設(shè)計(jì)中極簡(jiǎn)主義是各種表現(xiàn)形式強(qiáng)有力的支柱。但我們正在目睹它的淡 出，而接管它的是繁復(fù)的混合主義。A particular style can't emerge and expect to stay at the topindefinitely.

6、Developments in logo design indicate that trends have ashort lifespan, going through a “now-you-see-it-now-you-don't“ kind ofroller coaster.一個(gè)特定的風(fēng)格不可能出現(xiàn)后期望它一直留在頂端。標(biāo)志設(shè)計(jì)的發(fā)展趨勢(shì)表明，任何 一個(gè)趨勢(shì)總是壽命很短，經(jīng)歷一個(gè)“來了，過去”類似于過山車似的情景。New t

7、rends emerge only to be contradicted by others that go the opposite direction.迷幻流行背景會(huì)讓人聯(lián)想到那些如花般的權(quán)力時(shí)代，但他們超越了超現(xiàn)代的，非正統(tǒng) 的心態(tài)。 他們是謙遜和民主的。是沒有傲慢的，不勢(shì)利的。A good majority of this year's trends do not translate well i

8、nprint. Innovations in technology and the adoption of a variety oftools have made black and white printing no longer mandatory. Someclients are aware that when they choose a particular trend, they arepotentially r

9、emoving their logo's significant meaning and nibbling awayat their appearance when transformed into black and white or when thelogo is faxed. What do they get? They get powerful and colorfulstriking images in 90

10、% of the other media.這些年的趨勢(shì)中很多都是對(duì)于付諸印刷并不友好。技術(shù)的創(chuàng)新，和各種工具的采用使得黑白印刷不再是強(qiáng)制性的。有些客戶知道，當(dāng)他們選擇某種特定的趨勢(shì)，他們的標(biāo) 志在被轉(zhuǎn)換成黑白色或者傳真的時(shí)候可能丟失一些重要的意義。而他們得到什么？他們得到了功能強(qiáng)大且多姿多彩的突出圖像的 90 ％以上的其他媒體。Origami 折紙藝術(shù)The desire to go back to basics is

11、mirrored in the Origami theme; designers used it to display their skills.渴望回歸本質(zhì)是折紙藝術(shù)反映的主題;設(shè)計(jì)者也用它來展示他們的技能。An increasing number of designers wish they have real objects to workwith when executing on their projects. T

12、he art of origami is fragile,light and subtle and the digital process is the same. It closelyresembles minimal geometrical forms discussed earlier but constitutesmore of a sub-trend.越來越多的設(shè)計(jì)師希望執(zhí)行他們的項(xiàng)目時(shí)，可以面對(duì)真正的實(shí)體。折紙藝術(shù)是脆弱的

13、 和微妙的這與數(shù)字化的過程是相同的。它非常類似于前面討論過的最小幾何形式，但是它更象是一個(gè)子趨勢(shì)。Origami, however, evolved as a trend in its own way, because it was aprocess that appealed to a broader range of designers.The trend won'tlast too long, for the simp

14、le reason that the results are a bit toosimilar.但是，折紙藝術(shù)，確實(shí)成為了一個(gè)發(fā)展趨勢(shì)，以自己的方式，因?yàn)樗辉O(shè)計(jì)師所更廣泛呼吁。 這一趨勢(shì)不會(huì)持續(xù)太久，正如它簡(jiǎn)單的原因那樣，結(jié)果有會(huì)類似。The advantage of this trend lies in the process. Designers needexperience to get some of the process