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Process Journal Edition Five

Process Journal Edition Five is the first edition to feature our design update. Comprising of a more flexible grid, updated captioning, new contents page and a brand new cover, the updated design still stays true to our original objective: ‘capturing beautiful work in a printed publication that allows the design to do the talking’. We feel these changes have made it that little bit easier to read and a touch more refined. As part of the update, we have also revised our structure. Now comprising two essays, ten interview features and two written profiles, we feel this adjusted structure allows us to include a greater diversity of content and assists us in defining what Process is really about.

Edition Five contributors include:
Christopher Doyle, Thomas Williams, Farrow, Aesop, Winkreative, Moving Brands, Holt Design, Gavillet & Rust, HORT, The International Office, L2M3, Xavier Encinas and Research & Development.

Now shipping worldwide from the Published by Process Online Store.
www.publishedbyprocess.com

Our new photo stream can be viewed at:
www.publishedbyprocess.com/process

Never hurts to have a bit of shameless promo on SI, especially when the product and the people behind it are top notch. I’m also fulfilling my promise of featuring more Australian talent – Process was produced and founded by two, fine Australian gents: Thomas Williams and Nicholas Cary

Thank you once again to Thomas for providing the high-res imagery and including two exclusive images as well. If that isn’t a good enough incentive to pick up a copy and support independent publishing, I don’t know what is ;)

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Architects EAT Profile

Architects EAT are a creative architecture and interior design practice with a growing reputation across Australia and Asia. This short-run portfolio of recent work reflects the firm’s increased focus on medium to large scale residential developments. A custom set of keyline numerals were developed to reflect the individual nature of the eight projects.

Design: Dominic Hofstede
Dimensions: 315mm x 240mm
Printing: HP Indigo digital & silkscreen
Typography: Bureau Grotesque & Pica 10 Pitch

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Les Mason / Epicurean Magazine 1966–1979

Les Mason is widely regarded as Australian graphic design’s most significant figure. This 116 page catalogue was published to accompany an exhibition of his work as art director of Epicurean, a seminal Australian food and wine magazine. All 77 covers designed by Mason are featured, as well as internal spreads, studio images and an essay by Dominic Hofstede.

Design: Dominic Hofstede
Dimensions: 240mm x 170mm
Printing: Offset litho
Typography: Lyon Text and Helvetica Textbook

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James Braund Photography

Hofstede Design has collaborated with James Braund for a number of years on a range of corporate and non-profit work. The opportunity to redesign his identity arose out of his desire for a more contemporary look aimed at designers and art directors. A neutral colour palette and clean typography are the cornerstones of a subtle, elegant identity where James’ work is the main focus.

Design: Hofstede Design
Typography: Akkurat

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The Australian Youth Orchestra

The Australian Youth Orchestra (AYO) is one of the world’s most prestigious and innovative training organisations for young pre-professional musicians. This booklet plays a key role in the AYO’s annual recruitment drive, and communicates its youthful and exuberant spirit. Hofstede Design’s scope for the project extended beyond design to art direction, styling and prop making.

Design: Hofstede Design
Dimensions: 315mm x 200mm
Printing: Offset litho
Typography: Lyon Text and National

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The Type Tablet

Inspired by the ubiquitous plastic drawing templates which were once commonplace in design studios, the Type Tablet was developed as an exclusive gift for current and prospective clients. Jan Tschichold’s quote ‘perfect typography is certainly the most elusive of all arts’ informed an admittedly subjective choice of ‘perfect’ glyphs.

Design: Hofstede Design
Dimensions: 210mm x 148mm
Embellishment: Laser etching

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Talking & Teaching Type

This double-sided poster promoted Tobias Frere-Jones’ visit to Melbourne for a conference and typographic masterclass. A staged photograph displays contextual examples of his typefaces in various printed material. The type designer is represented in a featureless portrait, a reference to the anonymity associated with his profession.

Design: Hofstede Design
Dimensions: 594mm x 420 mm
Printing: Offset litho
Typography: Mercury Text & Mercury Display

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Response

Initiated by the Australian Graphic Design Association, Response is a bi-annual journal exploring contemporary Antipodean graphic design. The launch issue is centred on the theme of ‘What’s Next?’ and features content from creatives including Garry Emery, John Warwicker, Fabio Ongarato Design, Spike Hibberd and New Zealand’s Alt Group.

Design: Dominic Hofstede with Paul Marcus Fuog (Coöp)
Dimensions: 315mm x 275mm
Printing: Offset litho
Typography: Neuzeit Grotesk and Monotype Plantin

In an effort to feature more great work from the lovely folks of Australia, it’s always good to start things off strong, which is why today’s feature is dedicated to the work of Victoria’s Hofstede Design a studio whom I have appreciated for quite some time now (you can find their well-written bio below). Big thank you once again to Dominic for providing all the images in high-res. :)

Next week on SI, more Australian talent and something else exciting is in the works – it is September after all… ;)

Established in 1996, Hofstede Design specialises in identity, publication and environmental graphic design. Their experience traverses the shift from analogue to digital, from the drawing board to the keyboard, and they appreciate that real originality exists in the hand and the head, and not the hard disk.

Whether the outcome is a publication, a business card or a directional sign, Hofstede Design’s approach is always consistent; rational, tailored and intelligent. In simple terms, they look to find the most efficient, engaging and appropriate method of connecting a message with a defined audience.

www.hofstede.com.au

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TEDxPortland

Client: TEDxPortland
Agency: Wieden+Kennedy
Creative direction: Susan Hoffman, Renny Gleeson
Art direction and design: Sarah Hollowood, Steve Denekas, Ken Berg, Derek Kim
Studio managers: Michael Frediani, Lisa Reinhardt, Lis Moran, Shari Eiesland
Production: Ademar Matinian, Walker Cahall
Photography: Kyle Pero
Interactive and technology direction: Dom Murphy, Igor Clark
UX design: Pete Hensing
Interactive production: Aubrey Dean
Interactive development and design: Josh Perez, Jason Strand, Mirtho Prepont
Motion and audio design: Peiter Hergert, Masataka Odaka

TEDxPortland approached Wieden+Kennedy to create a unique and memorable identity for their event, the first of its kind in Portland. W+K Studio designers Sarah Hollowood, Steve Denekas, Ken Berg, along with myself were tasked to art direct and design their entire identity from scratch. Our brief was simple: Crossroads. We decided to use a lenticular-effect as the unifying aesthetic for the identity. It was a simple and effective solution to our brief; it uses the motion of the lenticular to create a visual crossroad. The adaptability and versatility of the aesthetic we developed allowed us to easily translate it into different mediums ranging from print, to interactive and motion design.

Font used: DIN

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Stanford University

Client: Department of Medicine at Stanford University
Art direction and design: Derek Kim
Photography: Qiao Lin
Production: Fran Bittakis, Nick Bittakis

The Medicine 2.0 Fall Conference 2011 will be hosted in Silicon Valley, home to many of the world’s preeminent technology companies such as Google, Apple, Facebook, Yahoo, Intel, and others. Rather than focus on the presentation of research findings and scientific data, the Summit will present forecasts from luminaries—from e-patients and bloggers to executives and industry insiders—and ignite discussions about the development and use of technologies being built by academia and industry that will shape Medicine 2.0 in 2011 and beyond.

I was approached by Stanford University in order to create a poster that would create a greater awareness for this congress. My approach consisted of a simple depiction of connected patients with doctors and how this immediate connection could become much closer with the help of social media.

Font used: Helvetica Neue

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Departamento

Client: Departamento
Creative direction and editorial design: You vs. Me
Art direction and design: Derek Kim
Production: Gordon Hewitt

Departamento is a magazine centered on design, society and art. Several concept issues were created for their first editorial run. I was approached to concept an identity that would emphasize the creative nature of this magazine with intricate layouts and a flexible grid system. Therefore, the Departamento identity follows a playful aesthetic, where the main logotype is always able to be broken in different ways. This would allow designers to freely manipulate the identity into their own hands. Additional elements for promotional purposes were designed using a similar “broken-grid” system.

Font used: OCR B Regular

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Grafik Magazine

Client: Grafik Magazine
Co-editors: Caroline Roberts, Angharad Lewis
Photography: Derek Kim
Art direction and design: Michael Bojkowski, Derek Kim
Editorial design: Michael Bojkowski
Production: Deux Ponts

Grafik Magazine approached Michael Bojkowski and I to collaborate on an issue centered on design education. After several rounds of brainstorming, we ended up with a simple representation of books stacked upon each other and using a mix of graphic and photographic elements.

Font used: Neuzeit Textbook, BP Romain

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Kenya Hara

Agency: Wieden+Kennedy
Creative direction: John C. Jay
Art direction and design: Derek Kim
Production: Walker Cahall

Kenya Hara, MUJI’s design director, visited Portland and agency Wieden+Kennedy on May 2011. I was approached to design a poster in order to commemorate his visit to “Stumptown”. I tried to be as careful as possible when designing these posters as I was designing them for someone whom I admire to great heights. In addition to the main poster, two other supplemental posters were created as a personal homage for Hara-san.

Font used: Sabon and リュウミン (Morisawa Ryumin) Pro

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Canción Magazine

Client: Self-initiated
Art direction and design: Derek Kim

Canción Magazine is yet to be published and is an on-going personal effort. The magazine aims to cover the relationships between graphic designers and the music they listen to. I plan on launching this magazine sometime over the next 2 years and it will be completely free of charge.

Font used: Sabon

http://www.networkosaka.com/

I’m sure you’ll agree that Mr. Network Osaka AKA Derek Kim is producing some really interesting work (to say the least ;-) taking traditional modernist design principles and fusing them with his own contemporary sensibility. With clients including Nike, Esquire, Grafik and regular work with Wieden+Kennedy, the portfolio this “artist pretending to be a designer” is only getting better with age and it gives me great pleasure to feature a handful of Network Osaka‘s work in high-res; None of that, “clicking the expand image button on Flickr only to find that the image is 500px wide” ;)

www.networkosaka.com

A very big thank you once again to Derek for making this feature possible and for being a big supporter of SI :)

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THE VINYL FACTORY
The Vinyl Factory is a music and arts enterprise curating exhibitions and producing limited edition vinyl packaging in collaboration with artists and designers. Combining a logotype with a series of experimental mark making techniques Village Green created a simple identity system that is used across a number of
promotions and applications.

Fonts: Albertus

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NIKE USA
Images of Lebron James commissioned for Nike USA. These collages reflect the flash heavy, spontaneous nature of the photography using folded paper to create naive yet imposing imagery.

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MARK RONSON ‘VERSION’ CAMPAIGN
Posters were designed, printed, pasted and ripped before being re-photographed to create a visual language for the Mark Ronson’s ‘Version’ campaign. Original photography by David Hughes.

Fonts: Garage Gothic, Weidemann

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FAB AFRICA
Fab Africa make a line of home furnishings and clothing based on the use of authentic African fabrics. These illustrations were created to capture the bold and vibrant nature of traditional batik process used for the fabrics.

Village Green were featured way back in 2009 so it would be an understatement to call this feature long overdue ;) With that said, much of VG’s recent work resonates with me for effortlessly mixing restraint (which I love) with hand-made elements. Up until this point, I couldn’t name a site that featured their work at this kind of scale online, so someone (namely me) had to do it ;)

For those of you that don’t know, Village Green is a creative studio and workshop whose approach combines intuition, innovation and research underpinned by clear ideas and meticulous executions. Their disciplines include branding, graphic art, image making, art direction and moving image.

www.villagegreenstudio.com

Big thank you once again to Paul and Andrew @ Village Green for making this feature possible.

If you’re new here, don’t forget to Subscribe, FFFFOUND! & follow SI on Twitter for your weekly dose of visual crack. ;)

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Max Chocolatier – Project Notes
The process involved in creating the confectionery is unique, and the result will exceed anything you have ever tasted: at Max you will be savouring some of the best chocolate in the world.

Max Chocolatier offers a feast for all the senses. Your nose experiences the scent of truly great chocolate as you approach the shop. There, you can witness the care with which the staff create the products. Opening the exquisite packaging adds to the anticipation. Then, as the chocolate touches your tongue, it’s as if you were tasting chocolate for the very first time.

Fonts used: Logotype: Custom drawn / Primary typeface: Bodoni BE and Flama

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Mikael Simpson – Project Notes
Mikael Simpson is regarded as one of the most innovative artists in the field of Danish electronic music. The album is very dark and experimental with rhythmic melodies. Mikael Simpson does the vocals on all the tracks, and he has a strange voice that’s both eerie and uplifting at the same time, paired with dark orchestral melodies.

Fonts used: Logotype: Custom drawn / Primary typeface: Galaxie Polaris

Photography: Birds + Thailand: Mikkel Bache

As promised, here is part 2 of September Industry’s Muggie Ramadani Special. If, for some profound reason you missed the first installment of this series (complete with bio and mini-interview) you can check it out in all its high-res glory here ;)

As always, big thank you to Muggie for making this feature possible and I hope you (dear reader) enjoyed today’s helping of visual crack ;)

muggieramadani.com

If you’re new here, don’t forget to Subscribe, FFFFOUND! & follow SI on Twitter for your weekly dose of visual crack. ;)

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Design Museum -Young Designers Kit
Range of items for The Design Museum. Aimed at the younger visitor to the museum the range consists of Notebooks, Pen, Pencil, Rulers, Eraser, Sharpener & Tote-Bags. Wherever possible the items are manufactured in the UK, but all are carefully considered to have minimum impact- the bags are fully certified organic, including the printing, the rulers are recycled CD cases, the pens are biodegradable. This stylish range of Design Museum basics is ‘considered design with a low price point’.

Fonts: DM Schulbuch

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Generation Press Identity
A new identity to establish the printers Generation Press as ‘the designers printer’, whilst stressing its excellent environmental credentials. The identity includes extensive collateral for everyday use, new website (also optimised for the iPhone), environmental icons, and Colorplan Barry™, a custom-made paper exclusive to Generation Press. The logo is a simple marque based on paper moving through a printing press.
Client-Generation Press. Year-2009.

Fonts: Linotype Hollander, Neuzeit Neue

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Timothy Saccenti Identity
An ultra-flexible identity package for New York-based photographer Timothy Saccenti, based simply on printed pre-scored sheets and a rubber stamp. From these simple components a multitude of essentials can be made including business cards, DVD and CD inserts and compliment slips.
Client-Timothy Saccenti. Year-2009.

Fonts: Plantin BQ

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Simple 49+50
Gatefold sleeve design for Simple Records 50th release. Art direction/design by Build. The Simple records ‘strikethrough’ logo in photographic form as ‘Desire paths’. Photography by Michael Rolph
Client- Simple Records. Year-2011.

Fonts: OCR-B-10 Pitch

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T&Cake Identity
Identity design for T&Cake, a new Yorkshire based modern café. Consisting of stationery, packaging, website (content managed by T&Cake), signage and interior design input. Run by established restauranteurs Tracy & Stephen Jackson (previous owners of The Weavers Shed, former Yorkshire Restaurant of the Year) in the small northern town of Almondbury.

Fonts: Omnes, Custom

Save for last February’s beast of a special feature on Print-Process for which Build designed the identity, I don’t think I ever got round to showcasing some of Build’s more recent work ever since their 2010 website relaunch… That is until now. Fashionably late as is the SI way, but better late than never ;)

(And for all you font fiends out there, I included the names of all the typefaces used is each of the projects above!)

wearebuild.com
Print Process Special Feature

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Luxembourg & Dayan, Brand Identity Design
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Luxembourg & Dayan is a newly launched gallery located in the Upper East Side in Manhattan. Recent exhibitions include historical surveys of important works of major figures in art. Watson & Company branding the new partnership of Daniella Luxembourg and Amalia Dayan, two merger of widely successful art dealers. The solution is the result of combing both the partner’s previous logotypes and colors creating a restrained and classic new brand with a twist. The stationary is beautifully engraved and printed on 100% cotton paper and custom colored cloth was crafted in Milan, Italy to match the new color for a series of catalogues. For each catalogue the cloth is applied to spine so over time the brand is visible on a collector’s bookshelf. By only branding the spine each show’s cover can have an identity unique to the each individual artist.
Typefaces: Gotham Light and Baskerville Old Face with a custom ampersand.

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Luxembourg & Dayan, Alberto Burri Exhibition — Invitation & Book Design
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A survey of italian master Alberto Burri’s Cretti Neri paintings were exhibited in 2010. The exhibition’s print pieces have a subtle gloss foil on the textured, matte black board expressing the pressure and surface changes are the hallmark of this dark and masculine post-war series.

Typefaces: Franklin Gothic Demi, Akkurat Bold, and Akkurat Light

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Luxembourg & Dayan, Marcel Duchamp Exhibition — Invitation & Book Design
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Luxembourg & Dayan commissioned us to create invitations and book for the opening exhibition of Marcel Duchamp. Raw book board was selected to play off the notion of Marcel Duchamp’s ready mades. We directed the photography and layout of the interior to move the reader through the gallery’s space to helping to introduce collectors to Luxembourg & Dayan’s new space.

Typeface: New Caledonia

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Luxembourg & Dayan, Jeff Koons: Made in Heaven Paintings Exhibition — Invitation & Book Design
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Marking the 20th Anniversary of Jeff Koons’ shocking self-pornographic Made in Heaven series, Luxembourg & Dayan celebrated the work by re-exhibiting the paintings. With this series Koons bared it all with then wife, porn star Cicciolina, creating kitschy porn together. Because Koons is represented by other galleries and it was important to not brand his catalogue with the Luxembourg & Dayan’s yellow spine for this special edition. This allowed us to create a play on the title and it’s relation to the taboo subject matter the catalogue was designed to lead readers from an innocent fairytale cover that results ends with extremely pornographic artwork. We’d love to share with you more spreads, but we’ll try and keep it as tasteful as possible.

Typefaces: Custom Bodoni Script and Locator

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Luxembourg & Dayan, Surface and Structure — Brochure Design
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The group show “Surface and Structure” was installed by Luxembourg & Dayan at the TEFAF, Maastricht, Europe’s premiere art and antiquities fair. The installation – which included works by Gerhard Richter, Piero Manzoni, and Gunther Uecker – focused on mixed-media pieces and paintings with a particular emphasis surface materials and techniques. To engage collectors and dealers on the move, Watson & Company designed a more slim-lined catalog for easier distribution and portability.

Typefaces: Compacta, Lutz Headline, and Arnhem

As mentioned in 2 weeks go, I said there would be more top-notch american design on SI and today’s feature promises just that – at least I hope it does… ;)

Watson & Company is a hybrid boutique creative agency based in New York with a strategic approach; carefully crafting work for its clients. From branding and traditional print to web design and digital strategy W&Co create the tools companies need to stand out in today’s challenging media landscape.

Thank you once again to Jonathan for graciously sending over the images/info and FYI – you may be interested to know that all this work is for the Luxembourg & Dayan gallery.

www.watsonnyc.com

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For many of you who are subscribed to other blogs/sites that feature work of a similar aesthetic and quality to SI (they know who they are ;) you will no doubt already be familiar with Process Journal, their new website and the recent release of the 4th Edition of their handsome publication.

Now I could continue to spread the word, feature some images and leave it at that, but if you’re a regular here, you’ll know that SI never does things in halves ;) – so what I’ve done (or rather Mr. Thomas Williams has kindly done) is put together an exclusive extract (with images) from Edition 4 just to give you (dear reader) a better idea of what to expect in the current issue. :)

Proceed below to read a small section of Design Project’s feature and thank you once again to Mr. Thomas Williams for being a dude and making this feature possible.

www.publishedbyprocess.com

If you’re new here, don’t forget to Subscribe, FFFFOUND! & follow SI on Twitter for your weekly dose of visual crack. ;)

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Glass Shop
Role: Creative Director, Designer

A coffee shop in Brooklyn’s Crown Heights neighborhood, Glass Shop sought to establish itself by communicating its local, neighborhood commitment as well as its dedication to classically prepared espresso drinks. Catering to a younger demographic in this new and emerging area of the city, it was important for the venture to not appear overly polished or pristine – the antithesis to a Starbucks or conventional chain coffee house. A dual-sided poster distributed guerilla-style throughout all of the New York City boroughs helped launch Glass Shop – and once on the premises, clientele are discretely greeted with collateral, messaging and environmental design that strive to represent the retailer’s perspective and values.

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The Smiler
Role: Designer, Illustrator
- Creative Director / Adam Berninger

Distributed at the Florentine fashion trade show Pitti Immagine, ‘The Smiler’ is a promotional publication based on the lifestyle espoused by Jack Purcell, iconic badminton star and namesake of Converse’s premium shoe brand. Populated with fashion photography and illustrations, this broadside is comprised of tongue-in-cheek columns about style, sport and of course, Jack himself.

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Proximity Magazine & Identity
Role: Creative Director, Designer
- Senior Editor / Ed Marszewski, Mairead Case
- Designer / Rod Hunting
- Photographers / Joe Wigdahl, Daniel Everett, Matt Siber, James P. Morse,

A Chicago-based art journal providing an alternative review of contemporary art and culture, Proximity strives ‘to discover and map under-represented artistic endeavors in all locations and localities.’ An independent publication with a rapidly expanding reach, Proximity is currently available in bookstores and museums throughout North America and as of February 2010 can be found at select distributors in most major European cities.

The collateral material for this independent publication conveys its deep roots in the alternative art world. The design of each staff member’s business card is unique. One side features an exclusive artist contribution while contact information on the opposing side is handled in a distinctive yet familial manner for each staff member. As part of the larger identity, the Proximity ‘Cityguide’ publication provides a user-friendly census of U.S. art spaces and further reinforces the journal’s dedication to its primary subject.

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New York Times Magazine Cover, ‘Building A Green Economy’
Role: Designer, Illustrator
- Designer / Kyle Poff
- Design Director / Arem Duplessis
- Art Director / Gail Bichler

The New York Times Magazine is the weekly standard for editorial excellence in journalism. The April 11th, 2010 issue featured an extensive piece by Times columnist Paul Krugman, entitled ‘Building A Green Economy.’ The article outlines the need and opportunity for international cooperation to resolve the impasse between western and developing nations’ environmental policies.

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Matériel Magazine
Role: Creative Director, Designer
- Creative Director, Designer / Kyle Poff
- Contributing Designers, Illustrators, Photographers

An annual, short-run publication developed to unearth and showcase emerging artists, designers and writers working in the realms of photography, illustration, environmental, graphic and product design — Matériel strives to be an eclectic mix of perspectives and personalities. Though its offices are based in New York and Chicago, this newsprint broadside taps contributors from backgrounds as local as Brooklyn and Boston, to those as diverse as China, Denmark and Brazil.

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Matthieu K. Chardon, P.H.D.
Role: Creative Director, Designer
- Photographer / Bob Martus

A personal project created for a good friend of mine, Matthieu K. Chardon, strives to provide a personal identity system to compliment a contemporary renaissance man – with degrees to prove it. Lightly branded collateral, objects, apparel and accessories were crafted to fit the eclectic interests and personal style of this perpetual Parisian student, graduating and ready for the world in the summer of 2010. The project was a collaborative experiment with Brooklyn-based photographer Bob Martus.

It was only recently (2 weeks ago in fact) that SI was showing some love to the NY design scene by featuring the work of RoAndCo Studio. This week we head back to the Big Apple to feature the handsome work of Mr. Michael Freimuth, an award-winning art director, designer and illustrator who has worked with some of the top design agencies in the world; his clients have included Converse, IBM, Motorola, Microsoft, Nokia and Puma.

When he isn’t busy at Sagmeister Inc. he leads freelance creative engagements for a range of clients, and is the creative director at large for both Chicago-based Proximity Magazine, and the design journal Matériel (both of which can be seen above).

For those of you with a hunger for more top-notch american design, have no fear — next week promises some really great stuff… ;) Big thank you once again to Michael for providing all the high-res imagery and a shout out to Mr. Kyle Poff for his involvement in some of the projects featured above ;)

www.michaelfreimuth.com

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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

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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

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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

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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.

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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.

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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.”

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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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