Big, fat, burly Kevlar-plated line work is what happens when traditional monoline design starts bulking up for its next role in Logo the movie. Any assumption you’d escape this report without yet another evolution of the monoline aesthetic is wrong. Once, this fine outline started as the antithesis to areas of tone by describing perimeters as opposed to content. Now these lines are tipping the scale with a girth that’s turned the line into a field of its own. Frankly, it’s a good look as the faint haze of linework reduced has now been replaced by a bold undeniable mark reminiscent of past works that launched the golden era of logos.
Now, instead of squirming that the linework won’t stand up to reduction, we might find ourselves concerned the negative space is too fine to do the same. Loading up these marks with fields of color may be gilding the lily, which is why many of them don’t even try. The lines on these marks still maintain a consistent weight that continues to convey a measured, technical aesthetic. Finding the weight that creates a balanced contrast allows these to read well at a distance or when squeezed down for micro application.
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