REFLECTIVE CRITICAL

COMMENTARYLOGO DESIGN FOR CPCC (Copyright Protection Center of China)

LIU HaoLinStudent ID:08445795

BA Visual ComminicationBIAD(Birmingham Institute of Art and Design) 2011

RCCREFLECTIVE CRITICAL COMMENTARY

INTRODUCTION

THE BACKGROUND

THE RESEARCH

THE SOLUTION

THE DEVELOPMENT

CONCLUSION , REFERENCE & BIBLIOGRAPHY

CLIENT

CPCC

LOGO DESIGN FOR CPCC (Copyright Protection Center of China)

INTRODUCTION

To present design as a vocabulary is also a way of designing.

THE BACKGROUND

CENTER SERVICE

OLD LOGO

AUDIENCE

Others:

“Talk directly, passionately, and as uniquely as possible to your audience.”

Authors:

CLIENT

THE BRIEF

THE RESEARCH

OPYRIGHT

?WHAT

IS

COPYRIGHT?

Where did copyright come from?

COPYRIGHT IN UK & USA

COPYRIGHT IN CHINA

!WHY

COPYRIGHT

MATTERS?

!WHY

COPYRIGHT

MATTERS?

CPCCCCCPCC

“THE VALUE OF CPCC”

PROMOTEPROTECT PROFIT

MY DESIGN HER0: HOW TO THINK LIKE A GREAT GRAPHIC DESIGNER ?

“Everything should be made as simple as possible, but not simpler.”

How do I understand the way to design a good logo? APPROPRIATE

LEGIBLE

MEMORABLE

LASTING

CONSISTENT

FLEXIBLE

MY FAVORITE LOGOS?“I want a logo to be something that can be understood in less that a second. you see it and instantly know what it means.”

“A good logo is appropriate, distinctive and timeless. It bears the weight of its identity conclusively and indivisibly.”

京

文

“Flexibility is a major issue in logo design”

THE SOLUTION

VISUAL + DIALOGUE

Right Brain Thinking & left Brain Thinking

“VISUALOGUE”

LEFTBRAIN

LEFT BRAIN FUNCTIONS

RIGHTBRAIN

RIGHT BRAIN FUNCTIONS

LEFT BRAIN THINKING

“PROTECT, PROMOTE, PROFIT.”

FOR CLIENT

FOR AUDIENCE

PROFIT

DEVELOPMENT OF CREATIVE INDUSTRIES; DEVELOPMENT OF COPYRIGHT PROTECTION AWARENESS OF CHINESE CITIZENS

PROTECT

PROMOTE

CPCC

PROTECTION CENTER

CHINACOPYRIGHT

CONVERSATION INDIVIDUAL TO EACH PERSON

AUTHORITYTRUSTED

RESPONSIBLE PROFESSIONAL

PROTECT INTERESTS CREATING MORE INTEREST

USE VISUAL SYMBOLS ANDSYMBOLIC LANGUAGEOF COPYRIGT, OROTECT

USE VISUAL SYMBOLS ANDSYMBOLIC LANGUAGE

RIGHT BRAIN THINKING

ARE THREE ELEMENTS OF VISUAL COMMUNICATION.

LETTERS

IMAGES

WORDS

WORD-MARK

MONOGRAM

“Make more from less” - By Ed fELLA

SYMBOL

VS

FROM HEAD

TO

HEART

DETAILS

“DEVIL IS IN THE DETAILS”-- By Gregory Y. Titelman

DETAILS

“DEVIL IS IN THE DETAILS”-- By Gregory Y. Titelman

THE DEVELOPMENT

“Shape can build on each other to tell a brand story and enhance the meaning of a brand identity.”[37]

IDEA:

The advantage of this circle symbol is

The circle symbol stands for:

LINE WIDTH

COLOUR

Color Meanings

“Color is subjective.” [39]

NEUTRAL COLOR

COOL COLOR WARM COLOR

MIXEDCOOL &WRAM

COLOR

WHITE

BLACK

GREY

GREEN

PURPLE

ORANGER

BLUE

GREEN

RED

PASSION YELLOW

COWARDICE

SATURATION

THE PRIMARY CENTER COLORS

SATURATION

THE PRIMARY CENTER COLORS

LOGO (COLOR) FLEXIBILITY

IDEA:

TYPOGRAPHY

“Typography is pictures of words.”

cpcccpcc!"!!!"!!cpcccpcc!"!!!"!!!"!!!"!!cpcccpcccpcc

#!$%&'()*+,-$.&%)/*0)

#""1&)2('3415)

#-6$1)

#-6$1)71$!8)

#-6$1)9$--4:)

#-6$1);4<+%&%)=0)741%)

#-+4)>-4)

7$+8)?4@A6!)

cpcccpcc!pc"cpcccpcc

cpcccpcccpcccpcccpcccpcccpcc!"!!

7&11)?4@A6!)2@%)

71$!84$8)2@%)

B&+@<-()?4@A6!)

cpcc!"!!cpcc

cpcccpcc!"!!cpcccpcccpcccpcccpcccpcc

B4""&-"1$@&

cpcccpcccpcccpcccpcccpcc

!"!!cpcc!"!!cpcccpcccpcc

*<"A&'6$)CB#2)

D<@<-$)

#%43&)?$-$'4+%)>-4)

?&+&.$)

?&+&.$)BE)

?611)2$+5)

F&1.&@6!$

F&1.&@6!$)9&<&)

cpcccpcccpcc!"!!cpcccpcccpcccpcccpcccpcccpcccpcccpcc

G'"$!@)

G+$6=$@A6

/&@@&-)?4@A6!)2@%)

/6@A45)>-4)

=&+14

=&+14

cpcccpcccpcc!"!!cpcccpcc!"!!cpcc

cpcccpcccpcccpcccpcc

=(-6$%)>-4)

=4'4)

=(-6$%)>-4)

=(-6$%)H&3)>-4)

IB;)#)2@%)

I"@6'$

I-$@4-)2@%)

cpcccpcccpcc!"!!cpcccpcccpcccpcccpcccpcc

cpcccpcc

cpcc

cpcccpcc

cpcccpcccpcccpcc!"!!cpcccpcccpcccpcc!"!!!"!!

>4"1$-)2@%)

>-6+!&@4:+)/*0)

2$@A<

2614')

286$)

2@4+&)2$+5)G0B)00)

2@4+&)2$+5)2&')G0B)00)

0$A4'$)

0A4+3<-6)

0-$J$+)>-4)

0-$J$+)>-4)

K&-%$+$)

中国版权保护中心中国版权保护中心

中国版权保护中心中国版权保护中心中国版权保护中心

中国版权保护中心中国版权保护中心

中国版权保护中心中国版权保护中心

IDEA :

ATING LOGOS

# $%#&'()*+,-./0123456789:;<=>!?@A?BCDEFGHI"JKLMNOPQRS

TUVWXYZ[\]

#$%&$'(!)*+$,$*

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefdhijklmnopqrstuvwxyz

1234567890CABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefdhijklmnopqrstuvwxyz1234567890C

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefdhijklmnopqrstuvwxyz

1234567890CABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefdhijklmnopqrstuvwxyz1234567890C

Hiragino Sans GB

中国版权保护中心中国版权保护中心

“Type has personality.”

-$.',/0*12'3(!*

Hiragino Sans GB

Century Gothic

Helvetica Neue

LAYOUT

This is an experiment with the category-font and its position next to the symbol. Different sizes, alignments and ratios allowed me to understand in a better way that how it .

!"#$%&'()*#%

")+!)&",*!+,)+%

*"-*!(&,.

!"#$%&'()*#%

")+!)&",*!+,)+%

*"-*!(&,.

! " # $ % & ' ( )*#%")+!) & ",*! + , ) + %*" -*! ( & , .

!"#$%&'()**#

%")+!

)&",**!+,)+%**"-**!

(&,.

!"#$%&'()*#%

")+!)&",*!+,)+%

*"-*!(&,.

!"#$%&'()*#%

")+!)&",*!+,)+%

*"-*!(&,.

! " # $ % & ' ( )*#%")+!) & ",*! + , ) + %*" -*! ( & , .

!"#$%&'()**#

%")+!

)&",**!+,)+%**"-**!

(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.

IDEA:

T T

BRINGING IT TO LIFE

“LESS IS MORE.”

In the following pages, there are some concepts of basic applications.

CONCLUSION

-tary, I realized that it is not only a process of creating my Visual Identity, but also a process to make more pro-gress.

Through the establishment of this project, it helped me to understand visual identity in a better way and to prove my skills of presenting and designing. More than that, it was a chance for me to renew my knowledge about the

and during this systemic research, analysis and creating. I deeply felt the many challenges I need to face in or-der to be a great designer in modern society.

61

REFERENCE

ADAMS S

ADAMS S & MORIOKA N

ANDRES C & FISHEL C & KNAPP PM

BUDELMANN K & YANG K & WOZNIAK C

CHUA P & ILICIC D

GRADY KV & JENNIFER

HOLLIS R

MINICK S& PING J

MORGAN CL

POTTS ES

RIVERS C.

BOOK: WEBSITES:

COPYRIGHT PROTECTION CENTER OF CHINA.

COPYRIGHT-- WIKIPEDIA.

COPYRIGHT EDUCATION: COPYRIGHT LAW-- COPY-RIGHT CLEARANCE CENTER.

THE COPYRIGHT SYMBOL

History Of Copyright Law.

Copyright Law AND EDUCA-TION.

UNITED STATES COPYRIGHT OFFICE -- A BRIEF INTRO-DUCTION AND HISTORY

A BRIEF HISTORY OF COPY-RIGHT LAW -- BY GEORGE JOHNSON

WHAT IS A COPYRIGHT? WHO NEEDS IT? WHO HONORS IT?

COPYRIGHT/PUBLISHING LAW CENTER

COPYRIGHT, DESIGNS AND PATENTS ACT 1988

WHY COPYRIGHT?

JUDICIAL PROTECTION OF IPR IN CHINA

WHY COPYRIGHT MATTERS.

STUDY THIS: COPYRIGHT LAW HURTS, HELPS ECONOMY.

COPYRIGHT IN AMERICA.

ICONIC LOGO DESIGNERS

STEFF GEISSBUHLER.

20 FAMOUS LOGO DESIGNS.

CIRCLE MEANINGS AND SYMBOLISM.

LEFT BRAIN: RIGHT BRAIN

LESSONS FROM TOP 10 BEST LOGO DESIGNS IN THE WORLD.

C&G PARTNERSWHAT MAKES A GREAT MARK?

WORKS OF KEN TAI-KEUNG.

ALAN CHAN CREATIONS.

THE OLYMPIC EMBLEM.

VISUALOGUE

LEFT BRAIN: RIGHT BRAIN

LESSONS FROM TOP 10 BEST LOGO DESIGNS IN THE WORLD.

C&G PARTNERSWHAT MAKES A GREAT MARK?

WORKS OF KEN TAI-KEUNG.

ALAN CHAN CREATIONS.

THE OLYMPIC EMBLEM.

MOLLERUP P

HELVETICA -- WIKIPEDIA

CENTURY GOTHIC -- WIKIPE-DIA

HIRAGINO SANS GB

ANISTATIA RM & BROWN JM & CULLEN CD

HYLAND A & KING E.

KNIGHT C & GLASER J

JENYNS RS & WATSON W

MOLLERUP P

OLLINS W .

LIUY T & BATES BJ.

IMPLEMENTATION IS

MEDIA

PROFESSOR FITZGERALD B.

SHI XX.

TICIPATORY MEDIA AGE: AN OLD REGIME IN A NEW WORLD

XU C.

ZHANG F.

TREATISE STUDY:

BIBLIOGRAPHYBOOK: