Base Design – SI Special

Mar 25th, 2011
21 Comments

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


The Gwangju Biennale — Identity
The Gwangju Biennale, Asia’s first biennial of contemporary art, was launched in 1995 in Gwangju, South Korea. Base was brought on board to design the identity of the 2008 biennial, titled Titled Annual Report: A Year in Exhbitions. Based on the focus of this biennial—artwork from exhibitions staged between January 2007 and September 2008—we created a graphic “07” and “08” as bookends that can bring together of content of any type or size. In this way, the content of the expo becomes part of the identity itself.

Font: Galaxie Polaris

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


De Bijloke (Ghent) — Identity
De Bijloke is a music center in Ghent, Belgium hosting a variety of concerts, from ancient music to symphonic, from classical Western and Eastern music to jazz. Base created an identity for this music center, with the goal of reaching a new public and bringing classical music to life. A vibrant yellow dot enlivens the medieval building and the visuals expected of classical
music. This graphic element was applied to signage, and translated to typography.

Font: Bijloke Bold

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


Pantone Plus — Campaign Identity & Packaging
Approached by Pantone, the international standard for color, Base built and identity, packaging, and launch campaign for Pantone Plus, the successor to the Pantone Matching System. Using Helvetica, we designed a logo lockup with the new name and framed it in the context of the iconic Pantone chip. Photography and props by Maurice Scheltens & Liesbeth Abbens.

Font: Helvetica

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


XXL — Identity
XXL is a global communications company specializing in fashion and accessories, beauty, and lifestyle. Identity for this Spanish communication agency. It had to be as bold as the name. Starting with the idea of geometric pieces talking with each other, we constructed a logo with a stencil typeface, in extra, extra-large characters. The tagline “brands in action” clarifies XXL’s area of expertise.

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


La Force de l’Art, Grand Palais — Communications
The French government asked Base to develop a Communications package for La Force de l’Art, an exhaustive exhibition about French contemporary art, in 2006. The event took place in Paris’s Grand Palais, which was undergoing renovations at the time. We took advantage of the building renovations to create a youthful approach to the event. A dripping version of the stencil typeface by Milton Glaser was redesigned by BaseLab to give us the basis for a larger visual communications system.

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


Delvaux — Identity Development
Founded in 1829 in Brussels, Delvaux is the oldest fine leather luxury goods company in the world. Base was asked to develop and identity update on the occasion of Delvaux’s 175th anniversary presenting the brand as classic yet contemporary. Starting with the Delvaux logo elements (crown, typeface, date), we created a system of patterns and sublogos. We rejuvenated the look and feel of the campaigns’ art direction and incorporated the tagline “Today.”

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special

Base Design   SI Special


Piu — Identity
The Milan based architecture firm asked Base to develop an unique identity for the firm. We based this identity on a modular typography that originally consisted of plus signs (“piu” means “more”), but ultimately could include any character. Applied to stationery, this typographic system had the peculiarity of prolonging the texts from the face of the folder, cards…

For those of you that don’t know, cosmopolitan design studio Base “specializes in not specializing in graphic design, art direction, audiovisuals and typeface design,” put simply, they produce beautifully executed work no matter what discipline they are working in and it gives me great pleasure to finally share with you (dear reader) a generous selection of their work in high-res.

With 5 offices in 4 different countries, getting this feature together proved to be quite a logistical challenge because, not only was I unsure who to get in touch with, all the images you see above didn’t just come from one studio, they came from three! Nevertheless, this feature wouldn’t have been possible if it wasn’t for Mr. Geoff Cook (Base NY Partner) – Thank you sir – and of course, it wouldn’t be right if I didn’t give a big shout out to Alex (Barcelona), Laure-Anne (Brussels) and Aaron (NY) for sending the high-res images. Thank you guys and a girl ;)

www.basedesign.com

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21 Comments

  1. John

    I’m not sure I understand the legality behind modifying a font such as Glaser Stencil then re-naming it for a new purpose – particularly without reference to the original cut.

    This isn’t a criticism (the work is great), and I’m aware this is fairly common practice in the industry… I am just genuinely interested in knowing whether this kind of exercise is technically permitted.

    Would there need to be some sort of agreement (and remuneration) between BaseLab and one of the type foundries that license it?

  2. David

    Hi John
    Thank you for the comment. I’m honestly not sure about the legality behind the modification and renaming of existing typefaces. As a result, I’ve decided to reach out to Mr. Stephen Coles to see what his thoughts are on the matter. Stay tuned.

  3. James

    Hi David.

    Just wanted to say how much I love your blog and just cant get enough of it.

    Seeing such inspirational work and words keeps me grounded and focused in the direction I want my career to follow and recently turned down a job offer keeping this in mind.

    Like I say just wanted to say thanks for your hard work and effort that goes into this production and always look forward to the next post!

  4. David

    @James – Thank you for taking the time to drop by and leave a comment. As always, I really appreciate the kind words and the positivity – it makes running SI all the more worth while :)

  5. Nick

    Base are today, and have been for years now, the clear leaders of the pack. Such great projects and equally inspiring outcomes. If I was a graphic designer, I would want to work at this studio.

  6. There are many digital versions of Glaser Stencil so the technical legality of modifying the font software depends one which foundry it was licensed from. Every EULA is different.

    The ethical grounds are less defined. Glaser Stencil was originally released by Photo-Lettering (as a photocompositor font), so while some of these digitizations may be fully licensed reproductions, in my opinion it’s really up to the modifier to do the right thing and credit the original designer, publisher, and typeface name.

  7. If there are a set number of differences which escpes between two type designs then they are legally different i believe. Asked this question for a previous project.

  8. one of the best studio/agencies around by far…

  9. John

    Stephen, whilst I agree that every EULA is different, I don’t recall seeing any in the past that haven’t stipulated ‘no modifications’. This is why I assume there has been some sort of negotiation between BaseLab & one of the many foundries that license Glaser Stencil.

    James (Greenfield), this may be getting a bit technical – but wouldn’t the ‘drips’ be considered an addition rather than a difference? For example, someone doing a homage to Helvetica (with subtle differences in the characteristics of letterforms), the intention here was obviously to use a pre-existing typeface as a starting point.

  10. Tanner

    Piu Identity is flawless. Great stuff.

  11. The project for De Bijloke looks a whole lot like the work Because Studio did for The Bigger Picture (http://www.becausestudio.co.uk/projects/thebiggerpicture/). Not sure who got inspired by who, or if it’s just a coincidence, but it sure looks a lot alike.

    Really great work though!

  12. So many awesome things on this page. Really amazing work.

  13. Glaser Stencil was modified, of course, legally with an agreement with a foundry, and keeping all the credit of original designer (it would be silly don’t do it with a Milton Glaser’s font), it’s clear in every line we wrote about the project that it’s a derivative modification of Glaser Stencil. Just added drops and to the original font and made a couple of indesign scripts to make it work in a random sequence or sequentially.
    We’re very strict in following the legal issues in our type design, as it’s also our business and I’ll never steal other’s work as I’d like never to happen with mine.
    We’ve made some other derivative work and always has been with the right legal agreement with the appropiate rights owners.
    If anyone wants more details I’ll gladly answer by private email.

  14. Wow! I just love this studio. What an awesome work. Can you imagine working at a place like this?!

  15. Gorgeous work. Good to hear the background story of the drippy Stencil. But what about the Bijloke typeface? It looks a lot like Gotham Rounded, rendered in dots. Same thing?

  16. Nice Graphic Design work.

  17. Wow! Love the magazine for De Bijloke! Excellent work!

  18. Cool works and nice stencil redesign

  19. Love it !! All the work is so elegant !!

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