Why dynamic posters are "based on vision but beyond vision"

Logo is a visual symbol for information dissemination, with symbolic graphic design, conveying specific information about a particular group, activity, thing, product, etc. Logo design involves aesthetics, advertising, semiotics, sociology, psychology, semantics and other related knowledge. Logo design involves aesthetics, advertising, semiotics, sociology, psychology, semantics and other related knowledge, and is a comprehensive and strong design classification. With the arrival of the information age and the accelerating pace of human life, how to make the logo show its unique personality in the complicated sea of information, and how to make the logo convey information more accurately and quickly has become an important subject of logo design. At present, through the practice and research of this subject, logo design presents numerous new trends, and dynamization is one of the important manifestations.

One, the specific performance of logo design dynamization

The performance of logo design dynamization in the information age lies in the fact that logo design is no longer confined to the use of any occasions must try to maintain all its appearance, and cannot change the so-called "design principles" easily. In design practice, designers begin to boldly try to break through the single, static, fixed shape and color of the logo, pay more attention to the use of the internal structure of the logo rhythm and dynamic balance to express the essence of the visual image, according to the corresponding visual principles, giving the work the mobility and flexibility of the external form, so as to make the logo visually produce very interesting dynamic changes, revealing visual imagery with infinite vitality, and make the deep meaning embedded in it. The deep meaning embedded in it can be accurately and effectively recognized in the visual extension of time and space.

The logo of Expo 2000 Hannover fully embodies this dynamic feature. The World Expo in Hannover, Germany, with the theme of "Man - Nature - Technology: A World in the Making", aims to provide a global exhibition and communication platform for the sustainable development of mankind, and the possible implementation of future response programs in the economic, social and ecological aspects. In the logo competition, the organizers required that the logo must fully reflect the theme, be unique, and be able to harmoniously integrate with the title of "Exp02000 Harmover"; the logo must be simple but not lacking in meaning, and must be suitable for animation production in addition to print and web. In the end, Quinn Studios was chosen for its organic-looking structure. Unlike traditional logos, the logo does not have a fixed structure; its shape and color can be formed into as many as 456 variations according to the needs of different applications, presenting people with an elusive, dynamic and extended visual effect full of aura, unknowns and uncertainties. As lead designer Michael Gds explains, "It contains the elements that keep it moving and energized, a kind of eternal energy. This is what the development of the 21st century requires of mankind: to stay in motion, to think flexibly, to innovate, and to use wisdom to move the world forward."

Another example is the logo design of Korea's Ilmin Museum of Art. The designer has geometrically processed the Korean consonants of "Ilmin" and combined them in the form of "Tian" composition, so that the overall image of the logo is full of changes in a stable way. In the practical application of the logo, this combination form is not always fixed, but can be broken down and recombined according to different factors such as background, media, and environment. Analyzing the above logo design cases together, it can be found that the recognition of the logo is not affected or impaired by the dynamic change of the shape, on the contrary, it is precisely because the designer has grasped the essence of the visual form during the creative process that different combinations and changes of the logo show the same or similar visual feeling, thus strengthening the recognition of the logo. In fact, this also reflects the theory of Gestalt's "variability", that is, "a Gestalt, even if its components (such as size, direction, position, etc.) are changed, the Gestalt still exists or remains unchanged". Therefore, in the design process of dynamic logo, designers should flexibly use symmetry, balance, contrast, unity, rhythm, rhyme and other formal beauty laws to fully display the internal characteristics of the logo shape, color and other aspects. Only in this way can the logo accurately convey information in dynamic changes.

Besides the external form, dynamization is also shown in the interrelationship between the logo and other visual design elements.

The logo usually plays an absolutely dominant role in the visual system structure. Other related elements, such as standard fonts and auxiliary graphics, are all designed to serve the absolute centrality of the logo, which creates a static, primary and secondary relationship between the logo and other visual design elements. The authors of this paper believe that the maintenance of this static relationship, although it can highlight the main visual image of the enterprise, but in a sense, it restricts the mobility of the elements of visual design, weakening the visual system of innovation and sustainable development, which in fact also caused a waste of visual resources packaging design. It is gratifying to see that, with the continuous deepening of design theory and practice, the dynamic trend between the logo and other visual design elements has gradually emerged in contemporary visual design. For example, between the logo and auxiliary graphics is not necessarily a primary and secondary relationship, but may be a complementary, mutual expansion of the dynamic relationship. U.S. Orrick Her-rington & Sutcliffe law firm (Orrick Her-rington & Sutcliffe) logo is a green ring-shaped graphics, auxiliary graphics is a series of similar to the logo and the ring-shaped shape of the round objects (such as gears, records, buttons, etc.). In practice, the auxiliary graphics in a large sense to expand the concept of the logo, through the people similar or similar associations and imagination triggered, so that the logo image breaks through the original ring shape, and its significance has become more far-reaching.

This shows that in the dynamic trend of the relationship between logo and other visual design elements, we can no longer take it for granted that the logo is the only center of visual design, and that other elements or combinations of elements may achieve the same or even exceed the significance of the logo itself. Of course, this dynamic relationship between the logo and other visual design elements is not without standard, in the process of logo design, designers have to maintain the overall visual impression of the product, enterprise, group or activity under the premise of maintaining a prominent, reasonable control of the interaction between the elements, so that the interface design elements to give full play to their role in order to accurately convey the visual information.

The significance and value of logo design dynamization

From the perspective of information communication, the dynamization of logo design conforms to the cognitive law of the audience, meets the requirements of the development of the new media and the general trend of visual communication design, and has important value and significance for the improvement of the efficiency of information communication.

First of all, the dynamicization of logo design is in line with human visual characteristics. The communication of visual information includes the party that produces and creates information, and also the party that receives information, which is what we usually call "audience". Although the audience is in a non-active position in the communication of graphic information, it plays a vital role in the final realization of information communication. When designing a logo, the designer should take into full consideration the needs and rules of the audience when reading the graphic in the physiological, psychological and even aesthetic levels, so that the pre-set information can be smoothly and accurately conveyed to the audience

.