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Teatre CCCB
The Centre of Contemporary Culture in Barcelona was expanded by the construction of a Theatre. We were asked to produce a typographically led design for the opening campaign. We created sentences based on the entertainment business onomatopoeias.

Typefaces: Benton Modern Two / Futura Bold

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Gandules’11
The Centre of Contemporary Culture in Barcelona contacted us three years ago in order to design the outdoor cinema season called Gandules; the campaign we designed in 2009 would set the basis for the following years.
This cinema season is based on a different topic every year and for Gandules 2011 the topic was based on ‘Action’ and how crisis generates new approaches and possibilities. Our illustration of a “new dawn” is representative of this idea.

Typefaces: Haas Unica

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Taurus Publishing
Every year we design several book covers for long-time client Taurus, a book publisher based in Madrid, Spain. We enjoy working with them because we are given a lot of creative freedom. As a result every book cover has a unique design and visual language that will continue to evolve in future publications.

Typefaces:
George Soros: Benton Modern One
Breve Historia de la corrupción: Beton SH
Peor que la Guerra: Plakat & Scout Condensed

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Projecta’t
Projecta’t is a program, which supports 1,000 entrepreneurs’ projects that have consolidation and growth potential, carried out by Catalonia’s Government. The briefing was quite simple and clear — they wanted an image that summarized their project. We expressed the idea of growth by means of an illustration consisting of a layered composition of squares that stress the idea of growth and expansion.

Typefaces: Helvetica Neue 75 Bold

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Monocle Illustrations
Some time ago we sent a PDF document with a selection of our illustration work to Monocle’s Art Director thinking that we would not get an answer. But after a few months we were asked to create a few illustrations for the magazine; we could not believe it! For us Monocle is top class in every sense of the word and to be able to work for them was such a great opportunity. The style of the illustrations themselves were created in collaboration with Monocle’s Art team and we continue to develop and refine this style with each issue.
We have had such a great experience working with Monocle so far and we thank them for the exposure the magazine has given us.

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Laus Bases
This brochure is part of the identity of the Spanish Laus Design Awards which turned 40 in 2010. When we were initially asked to design the campaign, we could not believe it — for us it was a real challenge to design something for designers because all eyes would be on our design. We created an abstract campaign that reflected the passing of time. The “L” that stands for “Laus” was represented in different color paper sheets in the shape of a die.

Typefaces: Benton Modern One

A Few Words from the Editor

Hot off the heels of Mucho’s SI Special, we head back to the vibrant, cosmopolitan city that is Barcelona, featuring the work of Hey, a small studio, with big ideas who are producing crisp, contemporary work that gives a nod to classic Modernist design principles: Asymmetry, geometric shapes, flat colours, considered typography, what’s not to like? :)

Estoy enormemente agradecido a Verònica for providing the high-res imagery, projects texts and for helping me brush up on my Spanish ;)

About the Studio

Hey is a multidisciplinary design studio based in Barcelona, Spain specializing in brand management and editorial design, packaging and interactive design.

They share the profound conviction that good design means combining content, functionality, graphical expression and strategy. As a result, they offer their clients a personal service based on mutual understanding and trust, working to innovate from rationality and directing advice to meet actual needs.

www.heystudio.es

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Primero Primera
Identity and stationery for a hotel.

This boutique hotel was the home for two generations of a family. When starting the project we realized that it would be nice to reflect all the memories of this 7 brother family. So we collected personal pictures in which parts of the house are in the background, or important events for them during the time they were living in the building. We based the identity in making collages with the images. For the brand and signage we designed a stencil font that contains special characters that allowed us to mix in a unique way certain characters like the “i” an the “m” in the word “primero”.

Typefaces used: Primero Roman, Helvetica

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Thinking Furniture by Pepe Andreu
Book Design

This book collects the work of Pepe Andreu, a furniture designer who came to the profession by carpentry. Pepe’s furniture and the way he think are full of details of functionality but they are very respectful with the tradition of artisan furniture. It is therefore that the design of the book should be viewed as an object consistent with his view, the form of binding, the pace of the book (not linear) and the typeface and colour choice breathe the idea of the reinvention of the classic.

The first part of the book is interspersed with ideas, thoughts and pieces from his collection (light green). In the last part the collection appears again but this time the furniture appears in lived, in-home environments. These photos are presented on cards with technical characteristics of the furniture. This card system allows us to produce new cards to complement the collection of Pepe as the production increases, thus making the book into a communication tool for the designer with his audience.

For this book we were interested in using an inline font and for the sake of consistency we decided to design a special cut of Akkurat Outline that for this book we called ‘Peppurat.’

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Escolà
Identity and packaging for a wine shop.

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Alma Hotels
Barcelona City Guide Book

Barcelona City Guide for Alma Hotels, a boutique hotel based in the exclusive Paseo de Gracia area. The content created by ‘It Comunicación’ is based on conversations among influential citizens from Barcelona, structured as Q&A’s. To link the image to that of the hotel (based on graphic drawings of the garden trees), a massive illustration of Barcelona was produced, portraying some key buildings, but also some hidden city treasures. This illustration was then used for the cover and inside dividers, giving identity to the publication. This was also brought to life by Rodrigo Diaz Wichmann’s fantastic photography of the conversations in a documentary and unforgiving manner that contrasts nicely with the graphic illustrations.

Fonts used were Alma’s own Helvetica Neue 75 Bold, plus DTL Fleischmann, in display and display italic versions for headlines and text version for the body copy.

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Buenas Migas (Focaccia) Restaurant
Corporate identity

Buenas Migas is a quality fast food chain of restaurants, which mixes Cornish with Genovese gastronomy to produce simple, fresh and tasty but healthy dishes at a value for money price. Their main distinctive trait when compared to their competitors is the high quality of their product, as a result of their artisan approach to their work.

When producing all of the communication materials: ranging from packaging pieces and poster promotions to signage, the main drive for the design was to show their core values of nature and craftsmanship. The idea is simple: everything they do is handmade, so all of the communication is handmade too—all of the products, the posters, the blackboards, the signage, the pricing tags, the service materials and any piece included in the restaurants is drawn by hand. Obviously, the pieces that are produced at a large scale are reproductions, but their initial design is handmade, and there is no serialized process allowed that can take away this truthful spirit to natural drawing, both of the type and the illustration.

A chunky, very commercial Futura Condensed Bold was chosen to complement this handmade approach. The use of this font tempers an otherwise ultra naturalistic view of the restaurant, and offers a commercial counterpoint which combined with the delicacy of watercolour illustrations we hope gives the whole image an edgy mainstream natural feel.

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‘Un año en Pago de los Capellanes’
DVD Packaging

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Andres Sarda: Fashion Love and Art
Book Design

Andres Sarda is a brand of lingerie and swimwear and a pioneer in haute couture and prêt-à-porter in Spain. After 50 years of life, they decided to publish a book containing photos, material fashion, editorials and highlights of its own history. This book consists of chapters, not organized in a linear way, opinion pieces relevant signatures and personal experiences of the designer in these 50 years. They asked us to design a series of pieces for an exhibition and book launch event. All pieces play with the sensuality of nudity in a graphic way, in the invitations and book, the cover paper can be unfolded to see the main image. In the pieces ‘Opi Totem and Bus’ we play more graphically with the number 50 so that it surrounds the picture and interacts with the silhouette of a woman.

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Murmuri
Identity and naming for hotel and restaurants

The identity plays with the repetitive character of the word ‘Murmuri’, using feminine typography but with attitude like the hotel. The graphic result is contemporary but respectful to the 19th century origin of the building. From there and based on that typography the identity of the restaurant and bar were created. The restaurant combines the two M’s and looks like an oriental ideogram, playing with superposition of grids. ‘Bar Marfil’ is the name of the bar and is rescued from a bar in Barcelona from the 50′s–60′s. This place was an icon of glamorous Barcelona. To visualize the identity we used a collage of old pictures saved from that period.

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Blau Restaurant
Menu design

Blau is a Mediterranean cuisine restaurant in Barcelona. For the menus, we based the idea on creating kinetic effects with the patterns inside the shape of the dishes. All the dishes are silkscreened on wood. We used the typeface: Calend (by atipo).

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Andres Sarda
Various Projects

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No Somos Hormigas: We Are No Ants
Book Design

This book dwells on the following idea: as a species, mankind is nowadays better off than ever, but there are certain issues unresolved which we have the obligation to address. It then shows a few initiatives, which are taking place, that to the author’s understanding are heading in the right direction towards social equilibrium and human relation with the environment.

The book is a compilation of strong concepts that are backed up by visual display of data. We had to create a visual language that was engaging enough, strong enough, and vindictive enough, but which kept the positive message that the book provides, while still being true to the statistics that illustrate each concept.

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Arte y Mecenazgo
Type Specimen

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Arte y Mecenazgo
Identity

An art foundation asked us for an identity. This foundation’s aim is to connect collectors, founders, galleries and artists in many different ways. As an important part of this project we created a typeface. The result consisted in designing a classic outline font using a geometric and rational approach often used in Sans Serif outline fonts but never in Serif. Based on the structure of a Didone typeface we designed a display and headline weight that could allow us to compose in a very classical way but with an edge, or be more daring in the composition and typesetting.

Some of the results of the type applied can be seen in these boards as well as a special edition type specimen designed for the board of trustees of this particular foundation. These pages also offer examples of the application of the typographical identity, event invitations and graphics.

A Few Words from the Editor

What better way to kick start the new year, than with a very generous selection of work (as is the SI way) from Mucho a studio that may come as a pleasant surprise to many who may not have been familiar with their work before. Project information and typefaces used are notably absent from today’s feature, but they’re on their way don’t you worry! :)

Big thank you to Pablo, Marc, Ximena and the team for making this feature possible and for supporting SI :)

About the Studio

Founded in 2003 by Marc Català and Pablo Juncadella having worked at Grafica (Madrid/Barcelona) and Pentagram (London) respectively, Mucho is a visual communication and graphics studio based in Barcelona, Spain.

Ideas are at the heart of every project they undertake and all work is done with the intention of it being unique, with a constant effort to avoid repetitive formulas. Mucho values the visual ambition of projects as much as the commercial will, and considers excellence its permanent objective.

The studio specializes in art direction, strategic and corporate identity, editorial design, packaging, graphic communications, digital design and motion graphics for small clients through to large brands.

mucho.ws

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Carte Blanche
Identity / Stationery / Brochure / Website / Advertising / Marketing

Based on our experience of the luxury travel sector, our client came to us with an idea for a boutique travel company that offered tailored travel in exclusive style. As well as naming the company, we produced an identity and supporting material that emphasised the ‘blank canvas’ approach of the company. Acting as the lynchpin of the brand, the brochure is an inspirational guide to the world’s most luxurious and unique destinations.

Typeface: Helvetica

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Land Securities Wellington House
Identity / Brochure / Website / Marketing & Exhibition Materials

Even in the heart of London some addresses stand out. Wellington House, situated
on Buckingham Gate, a few hundred yards from St James’s Park and Buckingham Palace
is one of them. We were appointed to deliver an identity and a comprehensive set of marketing materials by Land Securities.

The logo was applied to a number of materials and combined with a variety of finishes to create a truly unique identity. These included etching key messages on samples of the stone being used on the building itself, which we then photographed and incorporated into the designs. The marketing brochure is presented in a beautiful, laser-cut slipcase.

Display Face: Custom (inspired by Neu Alphabet)
Typeface: Helvetica

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Tang Dynasty Diary
Book Design

We were approached by a renowned art collector to produce a presentation diary showcasing the private collection of precious cups from the Tang Dynasty. Celebrating the new decade, the diary needed to present their annual calendar in a way that was both functional and a highly collectible item in its own right. The solution was a diary that doubles up as a beautiful art book. Each month highlights an individual cup, with high gloss images detailing these beautiful 7th/8th century objects.

The case-bound book was hand finished with the glossy pages tipped in to the book block and decorated with ribbon page markers. It was delivered in a magnificent presentation box containing a decorative pencil and accompanying laser cut card.

Typeface: Modern 880

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Ideas Factory
Poster

As part of our re-branding process, a test sheet, exploring colour, typography & layout was produced. Ever the conservationists, whilst rebranding ourselves, we turned the test sheet process into the perfect opportunity announce our new identity to the world. By using the reverse side, we created a poster that was sent out to past, present and future clients. Showing off our commitment to print & attention to detail, the poster perfectly summed up our ethos.

Typeface: Helvetica

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Westcity
Identity / Brochure / Marketing Material

Westcity Wates asked us to design a book to celebrate the completion of their latest landmark development. The book is structured around the characteristics of the building. Imagery is divided into Light+Space, reflecting the physicality of the building, and Form+Soul, focusing on architectural details and finishing. The typography ranges up and down the page, informing the reader as to which levels within the house the images are from.

The 148 page casebound book features a number of high quality finishes: Externally, the spine was left on show connecting the cover with the cloth end papers, while the blind-embossed cover was both bold and restrained. Internally there was a metallic ink overprinted throughout. This was used as a graphic treatment throughout the book, evoking the light that permeates the building so beautifully.

Typeface: Helvetica

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Roundhouse
Identity / Brochure / Website

The Roundhouse founders come from an architectural background, which taught them to value independent thinking and innovative solutions to design issues. Building on the success of our 2006 re-branding, we embarked on producing an image based, 100 page look-book.

A sense of confidence was built through minimal layout, conversational copy and attention to detail. Coated paper embellished the beautifully shot case studies, while the small information section was printed in the two brand colours on a tactile uncoated stock. Production values were extremely high and the cloth covered case bound tome was finished with foiled details to both sides.

Following the successful completion of the look-book, we have recently designed & launched the new Roundhouse website.

Typeface: Century Schoolbook

From the Editor

Making their SI debut this week with a brand new website and a clear, considered selection of new work is Ideas Factory, a London based studio who have carved a niche out for themselves in the lifestyle and property sectors. In their own words: “We’re not big, but our ideas are. Over our 25 year life-span, we have chosen independence and integrity over expansion and commercialism. Our approach to our business is one of collaboration, not opposition. Rather than employ accounts staff, our clients deal direct with designers,so they become part of the creative process, not a spectator.”

www.ideasfactory.co.uk

Thank you once again to Mr. Jonathan Davies @ Ideas Factory for the imagery and info. Hope you (dear SI reader) enjoyed this feature and have a great weekend :)

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

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Design Assembly – 3
Design: Matt Judge
Company: Assembly
Project website: da3.designassembly.org

Fonts Used: 
Book 01 — Hermes
Book 02 — Haas Unica and Austin
Book 03 — Georgia

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Limited Edition Print
To coincide with the release of the book, the illustrator Paul Davis has produced a unique Limited Edition artwork, Charlie, on the theme of 3 with the cause firmly in mind. Again, all proceeds will go to the chosen charities.

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Launch Invite

MATT JUDGE on ’3′

In October 2011 — 148 posts, 904 comments and over 2.5m visits later — Design Assembly celebrated it’s 3rd anniversary.

Spurred by losing my father to cancer last year, and the frightening statistic that 1-in-3 of us will be diagnosed with some form of cancer in our lifetime, I made the decision to donate the past 3 years of energy and effort to a greater cause — fighting cancer.

I did this by producing a book, 3 in fact, archiving the past 3 years of discourse, and showcasing new and exclusive material from leading industry professionals. Each book is distinct in content, design and form — joined together only by a unique binding, and a highlight colour palette of RGB.

Book 01: An Introduction to the project, the cause and its contributors
Book 02: New material, split into 4 sections — Design Discourse, Inspiration, Showcase and Good Design.
Book 03: An archive of the Design Assembly website, including user comments.

100% of the profits from the sale of this publication will be shared between 3 charities with a combined global reach:
—Cancer Research UK (United Kingdom)
—LIVESTRONG (N.America)
—WCRF International (Rest of world)

The total amount raised will be distributed proportionately between the charities, according to the percentage of profits generated by each catchment. For example, if 50% of profits are raised by pledges from US billing addresses, 50% of profits will be donated to LIVESTRONG, and so on.

da3.designassembly.org

Hat tip to Matt for providing the high-res imagery, but more importantly producing a great piece of design for a cause close to many our hearts. Design can make a positive difference in the world :)

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

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APA Identity
Font Used: Helvetica Neue

APA’s (Angus Pond Architects) aim is to be ‘independent, optimistic and free’. The practice has a unique approach, defined by the use of interesting materials and led by an ambition to ‘provide buildings, objects and spaces with a strong sense of purpose, meaning and emotion’. APA felt strongly that they did not want their practice represented by a traditional logo or wordmark, but instead, they were interested in the development of an ‘anti-logo’ which is dynamic and free to evolve and reflect their reactive working method.

Our solution was to develop a graphic pattern, based around geometrical interpretations of the lowercase letters ‘apa’. This pattern can be reconfigured in numerous different ways to create a flexible identity system. The challenge was to produce an ever-changing pattern while retaining a clear and recognisable identity. On letterheads and business cards the pattern is reproduced using a combination of blind embossing and delicate printed line. On the website the pattern comes alive as an animation. There are three variations of the animation which are linked to APA’s three key areas of work: buildings, objects and spaces.

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MoreySmith: Fifteen Newspaper
Fonts Used: Logotype – Bespoke, Body copy – Helvetica Neue

‘Fifteen’ is a newspaper designed for interior designers and architects MoreySmith in celebration of fifteen years of business. The newspaper consists of project highlights from the practice’s portfolio with client quotes. The cover contains a fold-out project timeline. The newspaper and its visual language is an important part of our identity for MoreySmith.

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Ellis Miller Architects Identity
Font Used: Helvetica Neue

Ellis Miller architects’ ethos is rooted in the modernist British architectural tradition. They design sustainable, humane buildings which are sensitive to their context. In our early discussions with the practice, key phrases used to describe their work emerged such as ‘brutal simplicity’ and ‘making the everyday beautiful’. These became drivers in our conceptual approach to the identity. We created a bold, typographic logotype based on vertical, structural connections between the letter forms.

We applied the logotype to various media in a number of ways. It is screen-printed onto raw cardboard CD covers, stencilled directly onto the weathered yard office doors and animated for digital use such as the website and screensavers. A bold colour palette and rigorous typography form the visual language which is applied across all office communication material. We also developed the website which forms an integral part of the identity.

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Stanton Williams: Volume
Font: Logotype: Bespoke, Body copy: Avant Garde

Volume is a book documenting the first 25 years of internationally renowned architects, Stanton Williams. The book was conceived to be forward-looking rather than retrospective and represents a shift in the work and working methods of the practice with the emergence, over recent years, of large-scale buildings and public realm projects. As well as presenting the practice to an external audience the book was also conceived as a ‘spiritual guide’ and manual for the Stanton Williams studio. Working closely with the directors throughout the entire process, we designed the book in parallel with the practice identity. This provided a unique opportunity to extend and develop the visual language beyond the basic communication requirements. The stencil font, that we created for the logotype, was extended into a full alphabet and is used for the front cover and chapter divider pages.

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Crafts Council: Japanese Jewellery exhibition
Font Used: Helvetica Neue

We designed the marketing identity, exhibition graphics and gallery guide for Contemporary Japanese Jewellery, an exhibition at the Crafts Council, London. The exhibition revealed the depth and development of contemporary jewellery-making in Japan. Working closely with Stickland Coombe architects, we produced a labelling system for the display cases that played on the sushi-style conveyor belt concept, this worked in conjunction with the printed gallery guide.

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Design Museum: Brit Insurance Designs of the Year Awards 2010
Font Used: Helvetica Neue

Designs of the Year is the Design Museum’s annual awards event. An exhibition showcases approximately one hundred of the most innovative and forward looking designs from around the world and the winners are announced at an event held at the Design Museum, London.

We were commissioned to design the exhibition and related graphic material for the 2010 awards which we applied to all communication materials including invitations, event graphics and the awards catalogue.

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Derwent London: The River & the Railway
Fonts Used: Le Corbusier, Helvetica Neue

The River and the Railway tells the story of property investment company Derwent London. The book outlines the 25 year history of Derwent Valley Holdings and its merger with London Merchant Securities in 2007 which has its origins in the nineteenth century. The book reveals Derwent’s philosophy and approach and how it works closely with leading architects, artists and designers to produce inspiring office spaces in London. The book consists of 160 pages with a case bound cloth cover and slipcase. Screen printed card dividers are inserted at the beginning of each chapter. A six page fold-out features a photo-montage of a fictitious street composed entirely of Derwent London buildings. We were involved in all stages of the process from planning and story-boarding to design. We worked closely with Derwent London and writer Hugh Pearman. The book was produced in an edition of 2,000 copies with a limited run of 100 slipcases.

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V&A Ceramics Galleries
Fonts Used: Helvetica Neue

The V&A’s ceramics collections are one of its greatest glories and unrivalled in the world. The galleries were purpose-built in 1909 and were refurbished and reconfigured by architects Stanton Williams in 2009. The display presents over 3,000 objects which tell the story of ceramics, from the earliest Chinese pottery to contemporary ceramic art. We designed the gallery identity and interpretation graphics, working closely with architects Stanton Williams and the V&A curatorial team. There is a sequence of seven connected galleries, each with an individual theme. At the heart of the display is a rigorous label information system which can be easily updated by the V&A. The labels are printed onto magnetic substrate which carefully integrates with the display cases. Large scale graphics, such as dates, are painted directly onto wall surfaces to provide narrative and aid navigation. Relief letters are inlaid into the ceiling cornicing listing the rich vocabulary of the ceramic process.

In the gallery devoted to materials and techniques, a unique piece of low-tech interactive furniture, ‘Basic Making’, explains the process of making ceramics. The display is designed to appeal to a family audience – engaging and educational without becoming over-simplistic.

From the Editor

It was only a matter of time before I featured the newly updated Cartlidge Levene website—because events like this only occur once every five or so years ;) They’ve gone out with the old flash site and in with html, oh and did I forget to mention that they have a plethora of new work as well? ;)

If you’re not familiar with Cartlidge Levene, let me break it down for you: Established in 1987, legends of British typographic design, a studio where some of the best got their start still going strong today. For more of their work head on over to the archives.

Thank you once again to Melissa and the rest of the Cartlidge Levene crew for making this feature possible and as always for the support :)

www.cartlidgelevene.co.uk

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

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Home Work Social Visit Listen

Posters x 6
Books x 2

A project to record certain aspects of what was happening in my life over five years. I made lists of where I lived, worked, socialised, traveled to, and what I listened to in that year. I also illustrated detailed maps of places in Scotland, where I’m originally from, that I had visited in those years. The texts and maps were used in various ways to create a series of posters and books. These where shown as an exhibition at Filesharing
in Berlin.

Font: Helvetica Neue, Bold

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You Me Him Her Them Us / In Out Up Down Left Right

Record Sleeves x 2

Font: Helvetica Neue, Medium

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Colouring Numbers

Booklet

As series of extruded number illustrations form multiple graphic shapes between their lines. This became a simple children’s colouring book. As they shapes were filled in with various coloured pencils and pens the booklets took on a further graphic richness.

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4 Fictional

Record Sleeves x 4

Font: Custom

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5 Mylo

Posters x 2

Two posters to celebrate the birth of my son, Mylo. His birthday is on 7/9/06 and the graphic shows his name with the date overprinted. In the second version of the poster his name and the date change position, colour, and being printed either solid or outline.

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One Two Three

Booklets x 2

I printed two versions of a custom typeface in English and German. The text was ascending numbers counting up, one, two, three, etc. This was a simple way to use most of the characters in the typeface with out any specific narrative. The solid version of the typeface was used for the English and the line version for German.

Hector Pottie is name that many of SI’s readers should be familiar with – not only has he worked at Cartlidge Levene for many years, MadeThought, Moving Brands and was the former Creative Director at Marque – but his personal work can be found in at least one design book on your shelf ;)

Today it gives me great pleasure to finally “immortalize” his work online with this special feature showcasing a fine selection of Hector’s personal work from past to present. Some of these pieces date back as early as 2003 and maybe even earlier, nevertheless it’s evident that a lot of craft and consideration went into each piece of work because nothing seems to have aged a day :)

Hector currently doesn’t have site of his own, but you can find him on Twitter and LinkedIn

Big thank you once again to Hector for giving SI the honour of featuring his work online for the first time. It certainly won’t be his last time either… ;)

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

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Golden Moments Volume 2

Client: Golden
Project: Golden Moments Volume 2
Concept & Design: Golden
Production: Team Impression
Fonts: Gotham, Caslon 224

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Self-Promotion Poster

Client: Golden
Project: Self-Promotion Poster
Concept & Design: Golden
Production: Team Impression

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Redblue Research

Client: Redblue Research Ltd.
Project: Brand identity
Concept & Design: Golden
Photography: Richard Moran
Hair & Make Up: Roxanne New
Fonts: Balloon, Foundry Plek

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Andy Snaith Photography

Client: Andy Snaith Photography
Project: Brand identity
Concept & Design: Golden
Production: Team Impression
Font: Knockout

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Richard Moran Photography

Client: Richard Moran Photography
Project: Richard Moran Photography Volume 2
Concept & Design: Golden
Production: Team Impression
Font: Avant Garde Bold

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Music Balloon

Client: Music Balloon
Project: Brand Identity
Concept & Design: Golden
Font: Avant Garde

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Nike Women’s Training Brand Book

Client: Nike Inc.
Project: Nike Women’s Training Brand Book
Concept & Design: Golden
Production: Metropolitan Fine Printers

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Nike Air Force One Reptile

Client: Nike Inc.
Project: Foot Locker European Retail Campaign/ Nike Air Force One Reptile
Concept & Design: Golden
Photography: Marcel Christ
Post-Production: Golden
Font: Nougat

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Air Force One White-Blue Spark

Client: Nike Inc.
Project: Foot Locker European Retail Campaign/ Nike Air Force One White-Blue Spark
Concept & Design: Golden
Illustration: Golden
Font: Nougat

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somethinksounds

Client: somethinksounds
Project: Brand identity
Concept & Design: Golden
Illustration: Golden

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Route Publishing

Client: Route Publishing
Projects: Book Cover (Various)
Concept & Design: Golden
Illustration: Golden
Photography: Golden

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Laura Wellington

Client: Laura Wellington
Project: Brand identity
Concept & Design: Golden
Production: Timothy Bone

Whilst I always insist that studios’s take the time to send in project information otherwise this site becomes nothing more than eye-candy (although one could argue that it is already, to a certain extent) exceptions to this unwritten rule are inevitable as is the case with today’s exclusive feature which is… Well… For lack of a better word, Golden.

Mr Frank Carolan of Leeds based design agency Golden has been kind enough to share the studio’s latest achievements with the readers of SI. This feature has been a year in the making literally — a year of email “ping-pong” with Frank regarding the status of the new work — nevertheless, it’s nice to know that the wait was well worth it. And why wouldn’t it be? :) Big thank you once again to Frank and the rest of the fine folk at Golden for making this feature happen.

Q: I really appreciate the quality of their work, but why is their website the way it is?

“The website – it’s just not a tactile channel for us, so therefore we wanted to do something that we enjoyed, that we liked,” says Carolan. “It was great fun to do, it looked great, and it’s got a great track over the top. It is just 90 seconds of us. If you like it get in touch, if not, drink up.”

In other words their work is more than just pixels on a screen – it’s an experience that requires more than one sense alone.

www.wearegolden.co.uk

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

During these Summer months things tend to get a little slower around here – studios go on holiday which generally means less updates; but you now what? Sometimes having less updates makes you appreciate the work even more especially if that work was designed by none other than North, a studio revered and respected for producing exceptional, thought-provoking design.

Now North have been perceived to carry an air of mystery and intrigue about them – they’re one of the hardest working studios in design, yet they generally prefer to stay under the publicity radar. With that said, I’m absolutely honored to be able to publish an Exclusive/Offical North feature for the very first time online. As Stephen (from North) explains:

In addition to these photographs of the book, the folks at North were kind enough to send in additional images that reference the other work they have been producing for Fourth Floor over the past 20 years. A sincere thank you goes out to Jeremy, Sean and Stephen for sharing all these images and for making this feature possible. :)

If you’re unfamiliar with the work of North I definitely suggest taking a look at this gargantuan feature that was posted back in January.

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

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Lugo Land
Cardboard box containing 60 postcards (5 per artist) and a 32 pages booklet (for the accompanying texts) 210 x 150 mm designed for the third year of the ‘Lugo Land’ project.

Typeface used: Univers

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Gli studenti progettano per i bambini (The students design for childrens)
Invite made out of a DIN A4 sheet folded in half with colored paper glued on the inside. The corner of the “cover” is folded to reveal the contents and form the basic graphic elements of triangle/square.

Typeface used: Frutiger

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Guy Tillim, Petros Village
BBook designed for South African photographer Guy Tillim. 60 pages, 160 x 220 mm, Accordion fold.

Typefaces used: Lucida Sans & Minion

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I tramonti della Marilena (Marilena’s Sunsets)
Invite designed for a photography workshop. The idea was to give the impression of a book: the A4 sheet folded to A5 with photograph glued on cover. The word “tramonti” sunset lyes under the picture.

Typeface used: Univers

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Lugo Land – Kelsey Halliday Johnson
Invite/poster designed for The University of Pennsylvania and photographer Kelsey Halliday Johnson. The A4 sheet is folded to obtain a 6×7 format as the one used by the artist. One side coated paper.

Typeface used: Univers

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Kaleidoscope Magazine
Design of the contemporary art and culture magazine from issue #5 to #10. The new structure, introduced in issue 5, is designed to better suit the contents and give the magazine greater clarity. Main changes are: the creation of a more flexible layout that can include a column containing additional information, typographical changes for the texts and change of paper for the cover.

Typefaces used: Minion & Berthold Akzidenz Grotesk

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Salvatore Arancio, Sentinel
Design of the catalogue for the artist printed in occasion of his exhibition at Kaleidoscope project space, Milan. 2 color printing, 24 pages, 220 x 287 mm.

Typefaces used: Futura & Scala Sans

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Riccardo Baruzzi Book
Book for artist Riccardo Baruzzi, printed on the occasion of his solo exhibition ‘Quando disegno non canto’.
The catalog is intended as a sort of address book: 4 sections A, B, C and D act as carriers of the artist’s various types of productions. Both the cover design (which simply offers all sections with their titles), and its construction (glued on back cover only), allow to see the entire structure of the book.

Typeface used: Arial

Introducing the crisp, clean, considered work of Studio Filippo Nostri, a small but perfectly formed graphic design studio based in Solarolo, Italy, specialising in paper and web based projects. With years of experience working for important museums, institutions, galleries and publishers, the studio has developed a deep knowledge of the entire design process and abides by set guidelines/principles for each project: relevance to the content, coherence in the structure and in the details, right typographic choices and optimization of materials.

www.filipponostri.com

Big thank you once again to Filippo 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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Esquire Magazine – Selection of invitations and brochures
The great thing about these was that they needed to feel “posh” so I could really explore different materials and print processes – such as getting bespoke envelopes with the ‘Esky’ repeat pattern on the iside, die-stamping, foil blocking and letterpress.

Fonts used: Display font custom drawn for Esquire by BP foundry, Mercury and Akkurat.

Design and Art direction: David Mckendrick/Stefi Orazi studio

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Phillips de Pury & Company
Selection of invitations for art auctioneers Phillips de Pury & Company.

Fonts used: Grotesque

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Brand Midwife Business card
This is a funny one! The client didn’t need a website or any other stationery. Just a really nice feeling business card.
Silver foil blocked onto 800gsm Colorplan with radius corners.

Fonts used: Plantin

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Universal Design Studio
The client wanted to be able to send a ‘lookbook’ of recent jobs to clients but it needed to be updatable and also had presence on a bookshelf. They wanted a slightly softer approach to previous material they had produced which reflected their interest in materials. I created a bespoke greyboard folder, screeprinted logo containing ‘oversize’ duplexed postcards.

Fonts used: Helvetica Neue

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Timothy Taylor Gallery
Selection of invitations, posters and catalogues for the Mayfair gallery.
(includes catalogue Alex Katz)

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Ringside
Posters, leaflets and props for performance artist Mem Morrison.
The show drew on a lifetime of remembered Turkish Cypriot family weddings, testing traditional values.

Fonts used: Caslon and Gotham

Photography: Dan Burn Forti

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Canteen Restaurants
Illustrations of all the their restaurants.

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Whitney McVeigh ‘New Work’ Catalogue
Whitney was very modest about her work and didn’t want a big showy book which suited me fine, my paired down clean design lets her work do the talking.

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Rick Owens
Invitation for Rick Owens’ furniture show at Sebastian + Barquet gallery. The image was a given – It was taken by Rick on his mobile phone so the quality was very poor so I reproduced it quite large (A3) in one colour on sugar paper, so it was forgiving and had an ephemeral feel/rawness to it.

Fonts used: Helvetica Neue

Stefi Orazi is a graphic designer based in Shoreditch, London. After working at Graphic Thought Facility, London, as senior designer for eight years, Stefi Orazi set up her own practice in 2006, specialising in print and web based projects for an eclectic range of clients.

www.stefiorazi.co.uk

I hope you (dear reader) enjoyed this feature and a big thank you once again to Stefi for making this feature possible and for re-shooting much of her portfolio for this feature ;)

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