Spotify的綠是哪種綠？ Spotify logo evolution

耳機已經變成現代人不可或缺的配備，那耳機裡的音樂哪裡來的呢？如果你對這個logo有印象，那相信妳一定曾在這個應用程式裡播放過某個你喜愛的明星的單曲，或者是為了知道這首歌的製作故事而加入spotify家族，甚至因為它的視覺非常強烈大膽，而選擇了這個音樂平台。不論是哪種原因，相信Spotify的logo已深植在大家心中。

在Spotify現任CEO Daniel Ek當時要正式推出這個品牌時，設計師Christian Wilsson非常快速的設計出了一套識別系統，logo為主要的襯線字體並加上三條聲音符號在O上，並以三種色調作為變化，而成為了最初的視覺設定。

Earphones has become a necessity for citizens. Where does the music in your earphones come from? If you are familiar with the logo, then you must’ve played on some music produced from your favorite artist, for the behind lyrics, or even simply because of its bold identity and comp to join the Spotify family. No matter what reason you hold, Spotify is undoubtedly already an icon for the public.

Right about the time when the recent CEO Daniel Ek was about to lauch the product, Christian Wilsson, the designer of Spotify, had designed an identity system within a short period of time. The logo was made up of a main serif font and three wave symbols added on top of the O, with three color combinations being made to the primary visual preset.

往後，Christian Wilsson與公司內部重新審視了logo，並與紐約一家顧問公司合作，於2013年重新推出了目前我們所看到的標誌外觀：無襯線字體加上一個綠色圓形裡包覆著三條簡化過、並且加粗的音波造型。

2015年，圓圈的綠色做過些微調整（詳見新標誌之規範：https://developer.spotify.com/branding-guidelines/），從原本偏向青草之高亮度綠色變成明度較低的綠色(#1DB954 R30 G215 B96/C80 M0 Y80 K0)。這個轉變在當時造成了一些討論；雖然僅有少數人表達支持新顏色的誕生，但或許討論之激烈，也正代表了Spotify在大眾心中的地位：它不只是一個音樂交流品牌，更是有著一個自由、年輕與熱情的性格，在地鐵上、捷運、回家的路途上陪伴我們，讓我們擁有重新相信自我的價值的機會。又或許更是因為這樣的品牌價值，才造就了Spotify日益壯大的影響力。

Afterwards, Christian Wilsson revised the logo with a consultant company in New York, and announced the logo with what we ca see right now: Sans-serif font with a green circle surrounding three simplified and bolded wave symbols.

In 2015, the green was adjusted from a brighter green to a neo-like one. (#1DB954 R30 G215 B96/C80 M0 Y80 K0) The alteration caused several discussions on the Internet with only a few supporting voices online. The fierce debates happened at that time, however, that it means the importance of this brand for the users: it has surpassed mere brand but embedded a free, young, and enthusiastic symbol, which company us on subways, MRT, and the way back home; it enables us to believe in our own values via music. Or perhaps it is the bran value that makes Spotify who it is today.

See the identity system: https://developer.spotify.com/branding-guidelines/

更多與Spotify設計師訪談，請看這裡：

See more process details in the interview below:

http://www.howdesign.com/how-magazine/how-winter-2015/design-spotlight-the-transformative-journey-of-spotify/

咦，那個點呢？Where is the dot?

你知道Tumblr換logo了嗎？

不久之前，Tumblr的創意總監Doug Richard宣布了新logo的誕生，此舉除了為品牌的重新整理寫下第一章，更是因應這個世代，多機之視覺通用性的必要。

Have you noticed the Tumblr new logo?

Not long before, Doug Richard, the creative director of Tumblr, has announced the news, which not only turned a new leaf in the identity but also in corresponding to the multi media era we are living in.

位於瑞士的字體工作室DINAMO，則成為了這次品牌重塑的幕後功臣。除了進行這項計畫，DINAMO更是設計了專屬Tumblr的一套字體，強化品牌重塑的企圖，而這個字體叫做Favorit-Tumblr，其字母的x-height（小寫x的高度）跟設計的logo等高，而值得一提的是，除了基本的字重以及粗體斜體以外，更加上了「底線體」，讓這個線上分享平台更在現在的網路使用習慣中，奪得與其他品牌不同之識別度。

拉回來講新的logo設計，我們可以看見t跟r的明顯差異：原本是較偏向圓角的邊緣修正為銳利，並且去掉了許多細微的裝飾或是多餘之細節們，例如r向上彎曲的部分，本來會比直豎還要高一些些（原意是為了人類的視覺平衡而去做調整），經過調整之後，讓字母的邊緣更為銳利並不失其平衡及閱讀性。最後，大概最讓人驚訝的改變就是原本出現在最後的句點：經過團隊內部考量之後，決定去除；其實tumblr的這個句點無意間已成為其品牌定位：怪異、搞怪、創意性等等，這次拿掉，除了是方向調整之外，也是設計師想將這個logo能更無違和地放在網路內容中。

DINAMO, a typography studio based in Switzerland, is the most important team behind the redesign. Apart from the project, DINAMO also designed a type family specifically for Tumblr, emphasizing the intention of polishing the corporation, which is named Favorite-Tumblr, whose x-height is as tall as the logo alphabets. Another detail that worth mentioning is that apart from several font weights and sizes, Lining figures are featured in this family as well, which makes Tumblr to gain identification among the sea of brands.

Getting back to talk about the logo itself, we can easily observe the differences in t and r: the old one with more roundness are adjusted to sharp edges; a lot of slight details are also reduced, like the terminal of r, it is common default to be designed higher than x-height in order to be optically-balanced; after the adjustment, the edge are polished and maintains its balance in overall. Last but not least, the dot in the end of the logo is probably the most unexpected change. The dot actually has became part of the brand representing quirkiness, scanky personality, and creativeness, besides with the purpose of repositioning in its brand direction, designers aim to make the logo fit in online texts.

前面提到增加在logo多機使用下的閱讀性，就是在說現代人之使用網路的媒介多樣，大至液晶電視、桌上型電腦，小至個人的手機螢幕，也因此，品牌該如何在不同大小顯示器下能夠維持一樣的閱讀性，成為了極為重要之考量點。這個也帶到近幾年來歐美國家大品牌大規模改造自家logo識別，其中包括mastercard、airbnb、google等等，從先前之較為細緻、充滿細節或是運用襯線字體為主要識別，轉而成為無襯線字體，有些搭配簡單之幾何圖形。有些討論提到這樣的品牌重塑反而讓品牌更失去特色？事實上，或許有可能，但是總體而言，這樣的趨勢是可預見其他品牌跟進的，相信主要原因是剛剛提到的：使用者多機性使用習慣，讓logo必須重新思考自己的定位：要細節卻有使用者看不見，從而失去注意力的時刻；或是清晰簡單之線條圖形，使用者能輕易閱讀使哪個品牌，但卻有降低品牌辨識度的可能性。

As mentioned in the previous paragraphs, the new logo enhances the readability in the multi-media reading environment in this era, which includes the size from TV, personal computer, to your phone screen; consequently, whether a brand logo can be easily recognized and read in a short period of seconds couldn’t be overemphasized more. This brought us to recall the redesigning in well-known companies such as MasterCard, Airbnb and Google, they all came from a more delicate, full of details, or serifs to sans-serifs with basic vector shapes. There have been discussions about whether it enables the unity of logos and loses the specific identity for each company? In fact, it could happen, however, brands are likely to follow the trend. It is mostly because of the change for user experience in terms of media, which forces them to rethink their position: how to remain unique under the alteration in their clean, newly-designed logo?

更多有關tumblr的字體細節及改造過程，請見DINAMO官網

Please see more details for the Tumblr new logo via DINAMO’s website

https://www.abcdinamo.com/projects/tumblr

什麼 !? 動物園裡也有平面設計？Designs in Zoos.

「動物園」跟「平面設計」，在一般人聽來是兩碼子不相干的事兒，不過當我提到「視覺指標設計」，大家可能就能有一個模糊的想像了。

我猜正在看文章的你，已經好一陣子沒有去動物園走走了，更不用說對動物園中的「平面設計」有印象。以臺北的動物園的平面設計為例，它大致上是Logo、指標、地圖、標誌、警示等視覺設計，當然還包括解說牌，不過解說牌則歸類在「解釋設計」(interpretation design)，細節以後有空再來講講。

Zoos and graphic design, two things that people might considered unrelated in common sense. When I bring up, however, the way finding designs, people might have a rather ambiguous imagination.

A guess you, who’s reading the article right now, might haven’t been to any zoo for a long while, let alone having any impression on graphic designs in zoos. Take that in Taipei Zoo for example, it is basically an application for visual logo, wayfindingr, signage, warning, etc. Of course there is the interpretation board outside every exhibiting area, but that belongs to interpretation design. We will get to that in other discussion.

視覺指標設計重視資訊的順暢、顏色、辨識度、美感…，更可以定義空間、身份以及人群。不論在哪個領域，平面設計從不僅是裝飾，它更是品牌的展現方式。內含著品牌的個性、調性、質感、定位，除了滿足原本的「功能性」需求，還應該賦予更高的期待與要求。

Wayfinding system emphasizes mostly on the flow of information being read, colors, legibility, and the visual pleasantness. It can also define the space, identity, and the crowd. No matter which field it is discussed, graphic design is never merely a decoration, it is the disclaim for a particular brand. And it includes the personality, quality, and goals, which implies that apart from the aspect in function, it should be expected to have a higher goal and destination.

Lance Wyman

講一個有意思的動物園視覺設計，地點在美國的明尼蘇達動物園 (Minnesota Zoo)。園內的視覺指標是由美國人蘭斯維曼 (Lance Wyman) 設計，他最著名的設計還有1968墨西哥奧運會的主視覺、華盛頓地鐵圖等。他圖形中強烈的風格使他的作品極易辨認，也使他的地位在設計圈內屹立不搖，反正就很有名啦！

It is a really interesting visual design in a zoo in Minnesota, US. The way finding system in the zoo is designed and prganized by Mr. Wyman, whose other popular projects include the KV for 1968 Olympics in Mexico, and metro map for Washington State. The strong style in his works has became a trademark that makes him super famous in this field.

蘭斯維曼在1975年即設計過國家動物園的識別系統，所以當國家動物園的副園長被調往明尼蘇達動物園後馬上聯繫了蘭斯維曼，邀請蘭斯為園內製作視覺溝通的設計，希望能與先前他為國家動物園做的設計相坊。

Lance Wyman had already designed identity for National Zoo back in 1975; as a result, as the vice chairman of previous National Zoo was transferred to Minnesota Zoo, he instantly called Lance to work on the visual design within the zoo, hoping to achieve the level of his previous work.

相信有搜尋過「動物園指標」的人一定看過藍斯維曼的作品，嗯，我知道搜尋過的人很少。近日也有看到臺灣設計師設計的動物園視覺指標，在其中也可以看到蘭斯維曼的影子。

I believe people who have googled “zoo wayfinging system” must’ve seen his works. Well, I’m aware that there are only few people who have done that. I’ve seen from some Taiwanese designers who have the similar outcome nowadays.

Logo中融合了麋鹿與Minnesota的M，非常有創意地表達了動物園與在地動物的連結，也創造了難忘的視覺語言。同樣的概念也可以在其他動物園發現，例如臺北市立動物園的Logo就是臺北的「北」與梅花鹿結合。其實蘭斯維曼一開始選用的動物是角馬，不過沒多久就換成麋鹿了。麋鹿的意義不只是當地原生的物種，牠們更是明尼蘇達州最大的野生動物，明尼蘇達也是美國少數幾個還可以看到麋鹿的州，在物種的選用上跟在地形成非常強烈的連結。明尼蘇達動物園在定位上偏重於「北方物種」的展示及保育，其他不少動物園是利用「熱帶非洲風格」做為主視覺設計，相比之下顯得格外有特色及「接地氣」。

In the logo, we can see the M is derived from the moose, which exquisitely combines the zoo and regional characteristic, and also leaves an unforgettable visual impression. Similar concept can also be found in other zoos, such as Taipei Zoo in Taiwan, which has a logo with the form of a Chinese character and sika. Actually, in the beginning, Lance Wyman used Connochaetes instead, but soon changed it to moose. The meaning not only represents that it is a local species but the biggest wildlife animal in Minnesota, which in this case, the design gives a stronger connection between the decision of the animal and local residents. Minnesota Zoo is defined as a place displaying northern species among the system, while other zoos take tropical weather as main elements in such design, which in comparison, makes them more localized.

藍斯維曼也利用動物的icon來代表動物園中的不同區域，更厲害的是，他更將這些icon與數字連結，為地圖帶來更好的辨識效果。白鯨代表了「1.海洋區」、大犀鳥是「2.熱帶區」、水獺是「3.明尼蘇達區」、日本獼猴是「4.探險區」、雙蜂駱駝則是「5.北方區」。

Lance Wyman also uses icons in different animals to represent different areas in the zoo. What’s more, he also connected the icon with numbers to give to map a better understanding for visitors. Beluga represents 1 Oceanic region, hornbill for 2 tropical one, otter for 3 Minnesota, Japanese macaque for 4 adventurous, and bactrian camel for 5 northern area.

除了剛剛講的那些，蘭斯維曼還設計了一整套標準字，用在所有相關的平面設計上面。在之後幾年間也設計了動物園的海報，他先前是極少在設計中運用相片，格外具代表性。

Besides what I’ve mentioned, Lance Wyman also designed a set of typography, which is applies to all related graphic designs. He is one of the rare ones that uses photos in design, chi h makes him stand out form others.

這款視覺指標也被時代雜誌票選為1981年的最佳設計，不過現在明尼蘇達動物園再擴大與更新之後，視覺設計也改成由 Zubasti Interactive 所設計的老虎版本了。雖然在用色、字體的選擇上提升整體的視覺質感，不過似乎沒有之前蘭斯維曼那款設計來得有趣及經典。

The visual wayfaring system is awarded for Time Magazine for best design in 1981; however, after the expansion and renew of Minnesota Zoo, the design swaped to the tier version designed by Zubasti Interactive. Although its color and typography choices upgraded overall quality, it lost the fun and classic atmosphere.