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)
CENTER SERVICE
OLD LOGO
AUDIENCE
Others:
“Talk directly, passionately, and as uniquely as possible to your audience.”
Authors:
CLIENT
“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
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
“Shape can build on each other to tell a brand story and enhance the meaning of a brand identity.”[37]
IDEA:
NEUTRAL COLOR
COOL COLOR WARM COLOR
MIXEDCOOL &WRAM
COLOR
WHITE
BLACK
GREY
GREEN
PURPLE
ORANGER
BLUE
GREEN
RED
PASSION YELLOW
COWARDICE
“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.”
-$.',/0*12'3(!*
Hiragino Sans GB
Century Gothic
Helvetica Neue
This is an experiment with the category-font and its position next to the symbol. Different sizes, alignments and ratios allowed me to understand in a better way that how it .
!"#$%&'()*#%
")+!)&",*!+,)+%
*"-*!(&,.
!"#$%&'()*#%
")+!)&",*!+,)+%
*"-*!(&,.
! " # $ % & ' ( )*#%")+!) & ",*! + , ) + %*" -*! ( & , .
!"#$%&'()**#
%")+!
)&",**!+,)+%**"-**!
(&,.
!"#$%&'()*#%
")+!)&",*!+,)+%
*"-*!(&,.
!"#$%&'()*#%
")+!)&",*!+,)+%
*"-*!(&,.
! " # $ % & ' ( )*#%")+!) & ",*! + , ) + %*" -*! ( & , .
!"#$%&'()**#
%")+!
)&",**!+,)+%**"-**!
(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
!"#$%&'()*#%")+!)&",*!+,)+%*"-*!(&,.
IDEA:
-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: