As President Nelson began introducing the Church’s new symbol, it gave me a little designer anxiety. Mainly because he introduced the first of multiple concepts infused into the symbol, the first being Christ as the Cornerstone.

纳尔逊总统开始介绍教堂的新符号时，它给了我一些设计师的焦虑感。 主要是因为他引入了注入符号的多个概念中的第一个，第一个是基督作为基石。

I thought, “Please tell me there’s more…” I wouldn’t consider this any sort of progression in terms of the church’s visual identity.

我以为，“请告诉我还有更多……”就教会的视觉形象而言，我不会考虑这种进展。

Then he introduced the full symbol. My heart felt relieved to see more thought went into a “logo” for the church than a mere rectangle around 3 lines of justified text.

然后他介绍了完整的符号。 看到教堂的“徽标”上的想法比仅仅围绕三行合理文本的矩形更让我感到欣慰。

Let me clarify though, President Nelson did not call it a logo. And that’s the truth, it’s not a logo in modern terms. It is a symbol. That doesn’t detract from its usefulness though.

不过，让我澄清一下，纳尔逊总统没有将其称为徽标。 事实就是如此，这不是现代意义上的徽标。 这是一个象征。 但这并没有减损它的用处。

A note–a logo only has the meaning we prescribe it. In that vein, I want to walk you through an analysis of the symbol which hopefully will give it more meaning for you.

注释–徽标仅具有我们规定的含义。 本着这种精神，我想带您分析一下该符号，以期为您提供更多的含义。

插图 (THE ILLUSTRATION)

A logo is different from an illustrationTake a look at the detail as you zoom into the Cristus statue. Notice the stippling (tiny dots), hatching (repetitive straight lines), and cross-hatching (crossing of straight lines)? Those are techniques for providing texture and shading to a form.

徽标与插图不同。放大Cristus雕像时，请仔细查看细节。 注意点画(小点)，阴影线(重复直线)和交叉阴影线(直线交叉)吗？ 这些是用于为表单提供纹理和阴影的技术。

Does this style look familiar? Sure it does! Go look at your cash money. Look closely. It’s the same style. This style is rooted in old printmaking techniques.

这种风格看起来很熟悉吗？ 当然可以！ 去看看你的现金钱。 仔细看。 是一样的风格 这种风格源于旧版画技术。

This style can also be seen in what I would consider the style of logos pre 1900. Take Apple’s first logo. Sure it wasn’t from the 1800s, but the style sure was.

在我认为1900年以前的徽标样式时，也可以看到这种样式。以Apple的第一个徽标为例。 当然不是从1800年代开始的，但是风格肯定是。

It uses centuries-old printmaking techniques to convey a concept. The story behind Apple’s first symbol was about discovery. It’s a picture of Isaac Newton under a tree. The apple fell from the tree and he discovered gravity. It’s a symbol for what Apple stands for–their computers are vehicles for discovering.

它使用了数百年的版画技术来传达这一概念。 苹果公司第一个标志背后的故事是关于发现的。 这是艾萨克·牛顿在树下的照片。 苹果从树上掉下来，他发现了引力。 这是Apple所代表的象征–他们的计算机是发现的工具。

Take a look at Levi Strauss’s original symbol. Again, this can’t be a logo in terms of what a logo needs to be today. It’s got a pretty intricate illustration right in the middle using similar printmaking techniques. The story behind this symbol is about the strength of denim, a novel material at the time.

看看Levi Strauss的原始符号。 同样，就今天的徽标而言，这不能是徽标。 使用类似的版画技术，中间有一个非常复杂的插图。 这个符号背后的故事是关于牛仔布的力量，当时是一种新型材料。

This style of illustration can be seen in old texts as well like the Biblia Pauperum, or The Bible of the Poor. Poor people of past centuries were often illiterate due to the lack of opportunities to be schooled. These illustrations were key to helping them understand key theological concepts.

这种插图风格可以在旧书中看到，例如《 Biblia Pauperum》或《穷人的圣经》。 由于缺乏受教育的机会，过去几个世纪的穷人常常是文盲。 这些插图是帮助他们理解关键神学概念的关键。

Most books centuries ago were religious in nature because the Church was the only entity that could afford to produce books. Monks and Nuns often created copies of texts through manual processes. Part of the production of these religious texts incorporated woodblock illustrations.

几个世纪以前，大多数书籍本质上都是宗教性的，因为教会是唯一负担得起书籍的实体。 僧侣和修女经常通过手动程序创建文本的副本。 这些宗教文本的部分制作内容包含木版插图。

In case you were wondering, here’s what that process looks like. A block of wood or carvable material would be used to etch away a relief which the ink would adhere to. Basically, where there is no ink in the illustration, that’s where the artist carved away.

如果您想知道，以下是该过程的样子。 一块木头或可雕刻的材料将用来蚀刻掉浮雕，油墨会粘附在该浮雕上。 基本上，插图中没有墨水，那是艺术家雕刻掉的地方。

The style of illustration in the new symbol helps us feel the historicity of it all. This was the style of printing when the Bible and Book of Mormon were printed.

新符号中的插图样式帮助我们感受到这一切的历史性。 这是印刷《圣经》和《摩尔门经》时的印刷风格。

主题 (THE MOTIF)

Logos are scalable, illustrations are notThe way that brands have to represent themselves is very different today than it was even 10 years ago, much less decades ago. Today, the digital landscape requires a logo to be versatile in the number of sizes it can be displayed in.

徽标具有可扩展性，插图可扩展性如今 ，品牌代表自己的方式与10年前相比已经大不相同了，更不用说几十年前了。 如今，数字景观要求徽标在其可以显示的尺寸上具有多种用途。

For example, here’s the new symbol at 600 x 600 pixels. The Favicon that displays in your browser is 16 x 16 pixels. The new symbol cannot scale to that size and remain recognizable. In this sense, I don’t consider the symbol to be a logo.

例如，这是600 x 600像素的新符号。 浏览器中显示的Favicon为16 x 16像素。 新符号无法缩放到该大小，并且仍然可以识别。 从这个意义上说，我不认为该符号是徽标。

Other Visual ElementsThis is where supporting visual elements have already been introduced in the Church’s new branding. This theme, or motif, is conceptual. Notice these 3 apps I have on my phone, which have slightly transparent white layers at the top. Each one is slightly angled.

其他视觉元素这是教会的新品牌中已经引入辅助视觉元素的位置。 这个主题或主题是概念性的。 请注意我手机上的这3个应用程序，它们的顶部有一些透明的白色层。 每一个都稍微倾斜。

This represents light being added line upon line, layer up layer. The angle references the direction that light is coming from, top to bottom. From heaven to earth. Look at this rendering of Joseph Smith’s first vision as an example.

这表示光线被逐行添加，逐层增加。 该角度从上到下指的是光从那里来的方向。 从天堂到地球。 以约瑟夫·史密斯的第一个愿景的渲染为例。

If you’ve ever mixed all colors of paint together, it turns black. When you mix all colors of light, however, you get white. We receive knowledge line upon line until we arrive at perfect brightness (or whiteness) of hope.

如果您曾经将所有颜色的颜料混合在一起，它将变成黑色。 但是，当您混合所有颜色的光时，您会得到白色。 我们不断地接受知识，直到我们达到希望的完美亮度(或白色)。

字体(印刷术) (THE FONT (TYPOGRAPHY))

Finally, we’ve arrived at the font, the best part in my opinion. Or at least, my favorite part.

最后，我们找到了字体，这是我认为最好的部分。 或者至少是我最喜欢的部分。

When I was studying graphic design at Brigham Young University, I had the privilege of learning from Adrian Pulfer. He helped direct the Church’s logo change that happened in 1995.

在杨百翰大学学习平面设计时，我有幸向Adrian Pulfer学习。 他帮助指导了1995年发生的教堂徽标更改。

And the change was necessary. The old logo did not translate well into other languages. And we are a worldwide church. The new logo fixed that.

并且更改是必要的。 旧徽标无法很好地翻译成其他语言。 我们是世界各地的教会。 新徽标解决了该问题。

My professor, Adrian, shared the following with our class about the creation of that logo update.

我的教授Adrian与我们的班级分享了有关创建徽标更新的以下内容。

He told us that he proposed that the Church commission a professional typographer to create a proprietary typeface. They agreed and they commissioned none other than Jonathan Hoefler. If you don’t know who he is, and I assume you don’t, he’s very well-known for his font work. For example, he was commissioned by GQ to design their proprietary typeface now released to the public under the name Gotham. You will find used in the Obama logo and campaign from 2008, the SNL Logo, and of course the GQ logo. He was also commissioned by Martha Stewart to design a proprietary typeface for her magazine now released for public purchase under the name Archer.

他告诉我们，他建议教会委托一位专业的排版师来制作一种专有的字体。 他们同意了，他们委托了Jonathan Hoefler。 如果您不知道他是谁，而我想您也不知道，那么他就以他的字体作品而闻名。 例如，他受GQ委托设计了他们专有的字体，现在以Gotham的名称向公众发布。 您会发现2008年的奥巴马徽标和竞选活动中使用了SNL徽标，当然还有GQ徽标。 他还受到玛莎·斯图尔特(Martha Stewart)的委托，为她的杂志设计了一种专有字体，该杂志现已以Archer的名称公开发售。

Hoefler was hired and proposed a design which he called Deseret, based on his own research. With modifications to the font, it was released for public purchase under the name Requiem. Here’s a little look into the inspiration for the Deseret typeface used in new church logo.

Hoefler被聘用并根据自己的研究提出了一个名为Deseret的设计。 对字体进行了修改，以Requiem的名称发布供公众购买。 以下是新教堂徽标中使用的Deseret字体的灵感来源。

A lot of inspiration came from the Trajan typeface. Here’s a comparison:

Trajan字体带来了很多启发。 比较一下：

The Trajan font was originally inspired by this column in Rome. “It is a triumphal column in Rome, Italy, that commemorates Roman emperor Trajan’s victory in the Dacian Wars.”-wikipedia:)

Trajan字体最初是受罗马这一专栏的启发而设计的。 “这是意大利罗马的一个凯旋门柱，纪念罗马皇帝图拉真在达契亚战争中的胜利。”-维基百科：

Here’s a closeup of the text engraved at the base of the column. Look at that R. It’s very similar to what you see in the church logo.

这是刻在专栏底部的文字的特写。 看看那个R。它与您在教堂徽标中看到的非常相似。

Isn’t that fitting? The font that the official name of Jesus Christ is set in, is derived from the Roman empire that crucified Him. And it’s no accident that the Victory in war column it’s derived from symbolizes the victory Christ has in the war against evil.

那不合身吗？ 耶稣基督的正式名字所用的字体来自将他钉在十字架上的罗马帝国。 战争胜利专栏象征着基督在反邪恶的战争中所取得的胜利，这绝非偶然。

I heard a quote years ago that I have adopted as one of my life’s axioms, “The way you do anything is the way you do everything.” Branding is no different. For those that take the time, branding can be an incredibly rewarding and revelatory experience full of meaning. In reality, branding is a belief system. It’s about creating a system by which your audience can identify you and relate to you. Can your audience believe in what you are trying to say? A symbol is just a small part of that system, but an essential one nonetheless.

几年前，我曾引用一句名言，这是我一生的公理：“做任何事情的方式就是做一切的方式。” 品牌也没有什么不同。 对于那些花时间的人来说，品牌推广可以是一次有意义而又有意义的，有意义的体验。 实际上，品牌推广是一种信念体系。 这是关于创建一个系统，观众可以通过它识别您并与您建立联系。 听众可以相信您要说的话吗？ 符号只是该系统的一小部分，但仍然是必不可少的。