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[标志设计] 汽车标志的变化

汽车标志的变化

图形化繁为简
连续图像变成art line
修饰越来越精致
平面的变成立体的
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奥迪汽车
最初的由四家汽车公司合并而成的AUTO UNION逐步演变成了奥迪品牌。一成不变的四个圈圈代表了四家公司的精诚合作,亦代表了奥迪品牌独有的魅力。

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雷诺汽车
在上个世纪初,标徽多使用类似蔓草纹的文字。而之后的标徽也显示除了雷诺的军工背景。但是从1925年开始,菱形就成了雷诺坚守的风格。

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标致汽车
永恒的雄狮。不管是全身像还是半身像,不管是向左还是向右,威武的雄狮始终是标致标徽里的主角。

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三菱汽车
两家公司的合并促成了最初的三菱,这个标识似乎一直没有什么大的改变。

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梅赛德斯-奔驰汽车
其实三叉星外围图案的变化远不指这些,麦穗、双环、单环,等等。随着时间的流逝,人们还是牢牢的记住了这个三叉星。

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马自达汽车
如果幸运,你还能见到一些使用1992年标徽的马自达汽车。而新启用的标徽寓意为展翅的雄鹰。

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福特汽车
福特则是一成不变的福特先生的签名。这应该是这个星球上出现次数最多的签名了。

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菲亚特汽车
我只能说,第一个标徽真的不怎么样,因为它像是一块铁匠铺里面的废铁片儿。而之后的标徽也从复杂逐步走向简单,但是FIAT这四个字母一直都是中心。

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凯迪拉克汽车
自打凯迪拉克出生,这个盾牌就一直跟随着它。而2002启用的有史以来最简介、最漂亮的标徽象征着凯迪拉克复兴的决心。

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宝马汽车
蓝天白云螺旋桨。只有运动部的标徽有些不伦不类。不过还好,因为宝马运动部早就使用了那个三色的M作为新标徽。

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阿斯顿-马丁汽车
同样是从字母演变为图案。这个展翅的标徽同这些标徽下的车子一样迷人。

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阿尔法-罗密欧汽车
恩,也是由字母演变为图案。不过自从变为这个图案之后,阿尔法罗密欧标徽的标徽就没有大变过。

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大众汽车
无论是涡轮叶片还是后来的齿轮,都显得很复杂。而摆脱了纳粹背景的大众标徽就显得干净多了。

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有个更完整的介绍,还有些补充
不过是英文版的

http://www.neatorama.com/2008/02/18/evolution-of-car-logos/

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长见识了...
原本只看过最后几个...

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Opel to unveil a new logo

欧宝换了新标志~~~~~
根据品牌所走的路线~~对标志进行一个UPDATE~~不错!~~~
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According to Automotive News Europe's John Revill, General Motors' Opel brand will unveil a new version of its logo when it launches the Insignia upper-medium car later this year.
The new version of the lightning bolt badge, which has appeared on Opel cars since 1963, will be displayed in July at the London auto show.
Earlier this month, GM executives revealed how they wanted to reposition Opel and move the brand upmarket by emphasizing design and engineering superiority based on traditional German manufacturing attributes.
The change is part of boosting the image of the brand, which saw European sales fall by 8.2 percent in the first quarter to 342,991 units, according to JATO Dynamics.
"The Insignia embodies the confident, exciting direction we are taking at Opel," said Alain Visser, GM Europe's chief marketing officer.
"And this direction is immediately clear from the polished, even higher class brand emblem. We will naturally use the new emblem from now on in all future models."
The latest logo integrates the Opel name into a wider border that circles the trademark lightning bolt. It has a more sculpted design with spherical surfaces that give the emblem three-dimensional depth.
"Capturing that combination of beautifully-sculpted shapes together with German precision is very much consistent with the overall design language and philosophy of our vehicles," says Mark Adams, GM Europe's head of design, who led the team that re-designed the logo.
"The Opel Blitz evolved from a zeppelin – a symbol of progress at that time – which had been the radiator emblem of Opel vehicles since the beginning of the 1930s," said Heinz H. Zettl, manager of Opel Heritage & Institutional Communications.
In 1937, a circle was added – a wheel to symbolize mobility.
Zettl said: "This evolution was also influenced by the brand name of Opel's light commercial vehicles, which from 1930 to 1975 bore the name "Blitz" and featured a lightning bolt as a distinctive symbol." The company's sister brand Vauxhall will also display a new version of its Griffin badge at the London show.
The company's sister brand Vauxhall will also display a new version of its Griffin badge at the London show.

http://www.theautochannel.com/news/2008/05/20/087513.html

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今年gm大动干戈,把opel还有旗下另一个品牌的logo换成了3-d
反而奔弛却从原来的3dlogo换回了2d~~~

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How automobile logos define a brand
  • Source: Magazine
  • Publication date: 13 November 2008 11:31 AM
  • Author: John Stones
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Car logos are a bit like buses/ you wait a long time and nothing arrives, and then they all come at once. But rather than public transport, here we're talking about that increasingly controversial beast, the private motor car, or rather, its logo. In recent months, Fiat, Lancia, Mercedes, Opel, Vauxhall, Volvo and Chrysler have all tinkered with their holy of holies, their long-standing marques.



1The 1960 Lancia marque on the radiator grill of the Flaminia, here being

2The latest Lancia logo, symmetrically designed by Robilant Associati in

3The new Volvo logo, created by Bite

4Redesigned Vauxhall logo, created in-house at General Motors


5Redesigned Opel logos, created in-house at General Motors

6Fiat’s first badge, devised when the company was founded in 1899,

7Various incarnations of the Fiat logo

8Various incarnations of the Fiat logo


9Fiat’s new logo, designed by Robilant Associati, reintroduces the colour


Some of the most consistent, monolithic marketing of all time has meant automotive logos are among the most recognisable in existence. Look at a photomontage from 1919 by Dadaist artist Hannah Höch, and you see the famous BMW blue-and-white propeller roundel, almost indistinguishable from the design that adorns the 3 Series saloon you just saw drive past.

These famous badges are crucial in distinguishing one lump of metal from another, even more so now that so many parts are shared between rival manufacturers. Styling is one differentiator, but the main identifier is the primary brand or marque, which, apart from minor tweaks, seldom changes. Yet there has been a loosening of branding and a more flexible approach is hitting the car manufacturers, which are becoming more willing to play with their branding.

Fiat has been perhaps the most drastic, ignoring design and marketing convention by repeatedly redesigning its logo. Its classic Modernist blue logo was ditched in the late 1990s for a retro design with a laurel and typography drawn from pre-war iterations, only to be ditched again for a redesign in red with a chrome surround - both pieces of work were by Robilant Associati in Milan. 'Fiat has a totally different audience now, and its cars, such as the Fiat 500, are very different. The car badge must reflect that,' suggests Glenn Tutssel, executive creative director at The Brand Union. The historic Lancia brand, also part of the Fiat stable, has always had an asymmetric logo as quirky as its cars, but this was simplified and made symmetrical in a redesign, again carried out by Robilant Associati. The move is sacrilege for some. 'The new designs seem a bit more anodyne,' says Chris Wood, chairman of Corporate Edge. 'I am a petrol-head, and attached to the originals. But the 20- and 30-year-olds the car makers are targeting probably don't give a toss about heritage.'

When Corporate Edge worked on the identity for Triumph motorcycles four years ago, Wood says the main job was 'a cleaning up, in the context of wanting the marque to be seen as young, relevant and contemporary, not stuck in the 1970s as "the bike my uncle used to ride"'.

This summer Vauxhall was also treated to a logo redesign which is to be rolled across all the dealerships, printed materials and cars, starting with the appropriately named Vauxhall Insignia. A spokesman for the company says the existing griffin logo 'was fussy and couldn't be read from more than a foot away'. Unusually, the redesign, like that of European sister marque Opel, was carried out in-house by the car design team lead by Mark Adams, vice-president of design for General Motors Europe (and implemented in the UK by BMB).

'Since we were making such a big leap forward in terms of design and quality of execution with the Insignia, it was very important for us to give special attention to creating new emblems for Opel and Vauxhall,' says Adams. 'I refer to this as polishing the brand, as we worked very hard to achieve the precision and sculptural beauty in every detail.'

Like the Fiat and Lancia logos (and the Volvo redesign by Bite, now part of Loewy), it follows the lead set by Volkswagen in assuming a shiny, three-dimensional quality even in printed rather than badge form. 'Normally, I'm not fond of this kind of overblown glossiness - just look at what UPS has done to Paul Rand's original marque,' says Mike Dempsey, former head of graphic design consultancy CDT Design and founder of Studio Dempsey. 'But when it comes to car manufacturers, the approach seems highly appropriate because they reflect more faithfully what is actually applied to the cars. Even the glitzy naffness of the graphics seems right, too.'

Mercedes has, however, gone in a very different direction stylistically. While the 'gun sight' three-pointed star has been left well alone on the car, for its printed communications it has had a redesign, courtesy of Claus Koch, a brand consultancy based in Düsseldorf. As a result, there is only a simplified 'white out' of a star on its communications, eschewing any pretence at three-dimensionality. This rebrand was accompanied by Mercedes' first 'sound logo', or jingle.

The redesign was carried out following the divorce with US car brand Chrysler, which in turn reverted to a 'pentastar' for its corporate branding in a design that Pentagram's Michael Beirut has described as 'puke'. Like the Vauxhall and Opel redesigns, the Chrysler logo design was carried out in-house by its car designers, rather than by graphic or brand design specialists.

'People who design great cars don't necessarily design great identities,' says Tutssel, who is unenthusiastic about the Vauxhall logo. 'It is not adding any value and reflects the style of the car rather than the heritage.' Wood agrees, suggesting that a logo should have 'stand-out' of its own and not be tied too closely to passing design styles.

After all, the enduring badges are there partly to suggest that the car companies are going to be around for a long time to come. But it seems unlikely that all the brands will survive the current turmoil, and both General Motors and Ford have been forced into desperate moves to stay afloat, including, in Ford's case, mortgaging its family silver - its famous round blue logo.

Logo a-go-go
Italian car marque Fiat has always gone its own way. Its design and engineering innovations have been respected and widely imitated, but its flexible, almost flippant, approach to branding is quite unique. Founded in 1899 as Fabbrica Italiana di Automobili Torino (literally: Italian car manufacturer in Turin), within two years its initial parchment-like logo and prosaic name were changed. Abbreviated to Fiat, it now boasted an ornate logo heavily influenced - particularly in the asymmetric typography of the letter 'A' - by Art Nouveau (or Liberty style as it is known in Italy). By 1904 this had become ovoid in shape. In 1921 the typography was simplified, retaining the characteristic letter 'A' but the logo was now round, surrounded by laurel leaves and red to match the Italian national racing livery. Art Deco influences are apparent in the angular 1931 redesign, with elongated typography. The following year this assumes a more conventional badge-like shape, and is left alone. Its most radical redesign comes in 1968: returning to the colour blue, its four rhomboids matched the Modernist industrial design of its cars of the time perfectly. In the 1980s a simplified abstraction into five slashes was introduced, before the retro craze saw the 1920s design revived first in blue in 1999 and then reinterpreted and simplified again in red for 2006.

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