△
2012 Calendar
Studio Lin teamed up with our favorite NYC newspaper printer to create a 2012 calendar. Each of the 12 poster sized months features a different spot color and paper. All together, the package represents everything that Linco Printing is capable of and serves as a great reference for designers looking to see actual paper and color samples.

Typeface: AG Book

△
Fab Print Suite
Fab is an e-commerce site that features new designs every day. Fab commissioned us to come up with a set of printed materials to be used in each of their product shipments. We came up with a shortened “Fab” language and applied it in bold typographic way. The use of foil stamp on thick card stock and PVC helped elevate the print pieces into keepsakes.

Typeface: Avant Garde

△
Core 77 Design Awards Identity and Call for Entries
Core77 Design Awards is a newly launched competition for design. The brief called for an identity that felt established yet new. The logotype was created as a flexible system allowing various configurations of the name to function on different collateral. Once the full identity system was worked out, it was printed on the back of the very first call for entries, thereby revealing the entire process of the identity’s creation. Two versions of the call for entries were created, one was a luxurious cloth mounted piece and the other a more economical 1 color poster which was sent to everyone that registered for the competition.

Typeface: “Proficiat” by Dries Wiewauters, Dutch 801, AG Book

△
United Bamboo S/S & F/W Invitations
United Bamboo is a New York City and Tokyo based fashion house founded in 1998. We were commissioned to create invitations for their seasonal fashion shows. Our solution is based on only one design, which we produced in a different way for every season. For Spring/Summer the invitation took the form of an embroidered iron-on patch. After the show, it could be ironed on to clothing or bags. The shiny embroidered type and blue color scheme was reminiscent of a bright day on the ocean, the inspiration for the S/S collection. For Fall/Winter the invite was produced as a flexible refrigerator magnet to reflect that season’s masculine and somber mood.

Typeface: Custom “UB”

△
United Bamboo 2011 Cat Calendar
United Bamboo is a New York City and Tokyo based fashion house founded in 1998. We were asked to design their second annual Cat Calendar, featuring cats dressed in exact miniatures of their ready-to-wear collection. Our solution featured months which were blind embossed onto each page for a subtle effect allowing the cats to be the main focus. On the back of each page, there is a story about each cat model. Comes in a silkscreened sleeve with foil stamped backing. Photography by Noah Sheldon.

Typeface: Custom, FF Bau

△
Stampa Identity
A new e-commerce site created by the founder of the Illustration Division of Art Department. Stampa sells limited edition prints by artists. We were commissioned to create an identity and website that was bold, simple and functional. The logo is based on a rolled up print in an “S” formation. To keep the optical “vibration” in all sizes, we drew 4 versions accommodating a 2 inch logo all the way up to 10 inches.

Typeface: “Stampa” by Benjamin Critton/Colophon Foundry

△
Studio Museum in Harlem Artists in Residence Catalog
The Studio Museum in Harlem is the nexus for artists of African descent locally, nationally and internationally. This catalog was commissioned for their annual Artists-in-Residence program. The catalog’s content is split into 3 artists essays in 1 color and an insert of 4 color images from each artist.

Typeface: Raisonne, Dutch 801, Bau

△
AmDC DEMO Newsletter
A self published piece created with the American Design Club, a loose collective of New York’s leading young design talent. DEMO is a quarterly newsletter which highlights new products, up-and-coming designers, and influential industry professionals, offering news and insider details, all courtesy of the AmDC.
The first issue featured interviews with David Alhadeff/The Future Perfect, Artist; Glenn Ligon, and Rich Brilliant Willing. Primarily distributed as a PDF, it is also produced in a limited run on colored stock. Content and editorial completed in conjunction with AmDC, William Bostwick and Kelsey Keith.

Typeface: Trade Gothic, Adobe Caslon

△
Roll & Hill Catalog
Roll & Hill is a New York City based manufacturer of high end contemporary lighting which produces original lighting products by American and international designers. As part of a project involving various print materials and a website, we were asked to create their catalogs. The catalogs needed to function as individual spec sheets as well as one full catalog. By punching notches into each spec sheet, they could be used individually as well as collated and bound by a rubber band. The solution allowed the catalog to expand or be customized according to each customer’s needs. The deluxe version is enclosed in a foil stamped cloth cover.

Typeface: Plantin, Akkurat

A Few Words from the Editor

Believe it or not, this feature has been in the works for while now (many months in fact!) So it’s nice to finally get this piece out into the world alongside the launch of Alex’s shiny new website. Big thank you once again to Alex for making this feature happen :)

About the Studio

Before opening Studio Lin, Alex Lin laid the foundation for his own design practice by collaborating with some of the field’s greatest minds. After receiving an MFA in graphic design from Yale University, Alex spent six years at the design firm 2×4 and three years as a partner at Default.

The studio’s approach is founded on a desire to explore new territory through challenging collaborations with creative visionaries in the fields of architecture, industrial design, art and fashion. Behind every Studio Lin design is a highly defined rationale but not a singular style. The common denominator is a fresh, modern sensibility that eschews the overtly trendy in favor of lasting impact.

studiolin.org

△
Guy & Max

Typefaces used: Gotham & Fournier

Guy & Max is the product of two brothers’ quest to create a collection of faultless precious metal
and diamond jewellery. The brothers have very different yet complimentary skill sets: Max trained
as a contemporary furniture designer and uses that knowledge to create unique, creative, yet
timeless jewellery; whilst Guy is steeped in the family’s rich heritage in the diamond trade.

The brothers approached us with a brief to bring the branding up to luxury brand status. Through
discussion we began to draw more analogies with high end fashion brands than with jewellery
firms.

We created an elegant set of marques and brand attributes that can be engaged for different
applications; including a roundel based on Tolkowsky’s ‘Round Brilliant’ and a refracted word
marque. We collaborated with Jason Tozer to create some super-macro diamond photography for
an online lookbook and series of printed mailers. Other applications include website, packaging,
store front and stationery.

We wanted to reinforce the unique nature of their brand; in particular the way they design their
pieces. Max trained as a furniture designer and thinks about creating jewellery in a very non-
traditional way. We researched all sorts of existing jewellery brands and felt like the Guy&Max
identity should lean more towards fashion than the more traditional jewellery set. This opened the
door to other creative innovations like the collaboration with Jason Tozer. He created sumptuous
images that don’t show the jewellery at all, but instead reflect Guy&Max’s collective passion for
both creativity and diamonds.

guyandmax.com

△
Getty Images How

Typefaces used: Lubalin Graph + custom stencil version

The 2009 HOW Design Conference took place in Austin, Texas. HOW caters to all kinds of design
and media professionals – and as a recently appointed roster design agency of Getty Images, we
were asked to work on their presence at the event.

The stand aimed to capture the attention of the designer audience and drive new registrants to the
Getty Images website, whilst highlighting the Getty role as a creative partner – not just a supplier.

The concept for our visual campaign was informed by the five W’s; who? what? where? when?
why? (and the inevitable how? – an apt reference to the conference name). The five ‘W’s is a
concept used in journalism and research and is regarded as a key tool in information-gathering.
We used this to draw analogies with the Getty Images search engine and as a useful prompt for
sourcing media.

△
Kemistry Gallery

Typeface used: Sabon

Kemistry Gallery is a small independent gallery dedicated to exhibiting the work of outstanding
designers, curated by Dan Witchell of Proud. Shows have included Geoff McFetridge, Parra,
Gregory Gilbert-Lodge, Experimental Jetset, UVA, Eine and Daniel Eatock. We created a
straightforward identity that lets the artists work shine – monochromatic and understated.

△
Kemistry Gallery – Retrospective-One

Typeface used: Sabon

As part of Proud’s ongoing relationship with Kemistry Gallery, we were asked to design a poster to
coincide with the latest show: Retrospective-One. The double sided A1 poster also acts as a guide
to the exhibition; providing information about the artists. Printed with kind from Generation Press.

△
Promax: Beyond

Typeface used: Akzidenz Grotesk

Promax wanted the conference and awards to reflect the way in which those in branding, advertising, marketing and promotion are being asked to work beyond their normal comfort zones. The broad theme of the brief was Beyond the Box. Early on we decided to simplify the title to ‘Beyond’.

△
Proud Creative Volume 1

Typefaces used : Scala & Scala sans

Our first volume was designed to showcase the range of multidisciplinary work that we’d delivered
in our first two years. Dominated by the S4C project that first got us noticed, but also showing a
wide variation in the type of projects that we looked to take on then; and continue to seek out now.

Specifications:
Process: Cover Screen print + Litho
Cover stock: 4pp 300 gsm Arjo Wiggins Curious Touch Soft
Text stock: 36pp 120 gsm McNoughton Cyclus Offset
Finishing: Saddle stitched with hoops
Size: 220 x 300 mm
Edition: 500

△
Proud Creative Volume 2

Typeface used: Proxima Nova

The second in our on-going series of Volumes was designed to explain our working philosophies
of Optimism, Simplicity & Brand Ergonomics; as well as giving an overview of our projects. A clean
and simple illustrative style was developed and executed in house, supported by client testimonials
and short introductions to the studio’s approach.

Specifications:
Process: Litho
Cover stock: 4pp 330 gsm
(GF Smith Naturalis Absolute White Matt)
Text stock: 14pp 250 gsm
(GF Smith Naturalis Absolute White Matt)
Finishing: Singer Sewn
Size: 280 x 380 mm
Edition: 350

△ PROUD CREATIVE × SI GIVEAWAY

THE SWAG:
5 copies of Proud Creative’s self commissioned typetables poster. That includes the 4 you see above and a limited edition foil version

HOW TO WIN:
Follow SI on Twitter
Follow Proud Creative on Twitter

When we reach the “magic number” of followers, 5 winners will be picked at random or, according to the visual appeal of their Twitter avatar ;) Once 5 winners have been selected, the fine folk at Proud Creative will mail the posters to the 5 lucky winners.

Proud Creative in their own words…

We are a creatively led multidisciplinary design studio based in London. Founded in 2005 by Dan Witchell, Creative Director and joined by Roger Whittlesea, Partner & Head of Production. Our goal is to create work that makes our clients and everyone at the studio proud. It’s the reason for our name.

We understand that there’s always a story to tell and it’s rarely at the surface of the brief. To arrive at the true challenge we get below the surface; we interrogate, research and ask questions (lots of questions). More importantly, we listen.

We are a warm and optimistic bunch who will always go the extra mile (or late night) if that’s what it takes to make a job even the tiniest bit better.

www.proudcreative.com

Big thank you once again to Neşe, Dan & Roger for making this feature possible. Have a great weekend folks!

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

△
Golden Moments Volume 2

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

△
Self-Promotion Poster

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

△
Redblue Research

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

△
Andy Snaith Photography

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

△
Richard Moran Photography

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

△
Music Balloon

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

△
Nike Women’s Training Brand Book

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

△
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

△
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

△
somethinksounds

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

△
Route Publishing

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

△
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. ;)

△
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

△
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

△
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

△
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

△
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

△
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

△
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

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

△
John Lewis – Brand Positioning

(Larger Images to come shortly ;)

John Lewis wanted to create a new menswear range of authentic clothing with a heritage feel, timeless and classic. They approached Egelnick and Webb based on our reputation working with fashion brands; House of Holland, Matthew Williamson and Jaegar.

Our first step was to visit the John Lewis archive which holds a wealth of material which we were able to draw inspiration from: collections of hand-printed swing tickets, a Ticket writers guide from the 1950′s, the detailing and typesetting of past collections, brochures form various stores around the country. What struck us immediately was the genuine heritage and strength of the John Lewis brand, established in 1864, it sat along side brands like Burberry, Barbour and Hunter in its place in history.

We created a brand positioning based upon this credibility and provenance, which we then rolled out across a collection of garment labels and swing tickets and extended to the in-store concept and provided a starting point for the art direction.

Font used: Goudy Old Style

△
Matches Editions – Branding

Matches launched a capsule collection of limited edition pieces commissioned from a range of global fashion brands. We were asked to create a sub brand that would encourage sales at a higher price point than their core range, primarily online. We developed the name and reinforced the exclusivity of the products by developing a site that linked directly to sales and so counted down in real time as items started to sell out.

Given the premium product value, we elevated their usual, functional product photography to create a more aspirational level of beauty to the pieces that highlighted key detailing. The brand look and feel was then rolled out to offline application in-store and at launch events.

Font used: Firencil

△
Hub – Branding

‘Now celebrating the opening of their third store, North East London clothing boutique HUB approached us to refine their brand identity, in need of some TLC. We created a simple, iconic, ration book chic aesthetic. The brand identity developed for HUB was applied across all online and offline marketing materials and and post-sale merchandising; the bags and gift-wrap. Our primary focus for the store interior design was to ensure that the brand identity was delivered in-store.’

Font Used: AGBuch

△
Boutique by Jaeger – Identity

Boutique by Jaeger is a new younger, fashion-forward diffusion line launched in July 2010. The brand identity developed by Egelnick and Webb has been cohesively used across all communications, including advertising, look books, website, swing tickets, labels and in-store.

△
One Osnabugh Street – Identity

British Land is the UK’s second largest property developer. Following continued campaign success, we developed the brand identity for One Osnabugh Street. The identity and graphics communicated the reference and proximity to Regent’s Park. The strategic branding resulted in a unique identity with appropriate synergy when applied across online and offline communication.

Font Used: Archer

△
Aganovich Invitation & Lookbook

‘Fashion’s duo Aganovich opened Paris Fashion Week in March. For another consecutive season, Egelnick and Webb worked with the Parisian Label for their AW 2011 show.

The Rubik’s cube inspired invitations, designed by Egelnick and Webb echoed the shades of blue used to define the collection for AW 2011. The show demonstrated a clear progression from ‘Rhapsody in Blue’ SS 2011, lighter shades of blue against cerulean for added definition. The collection itself championed modernity, alluding to something out of this world.

Aganovich are recognized for bringing a cerebral and complex point of view to the runway. Egelnick and Webb successfully designed the Lookbook to celebrate this very point of view delivering Aganovich’s design philosophy; ‘anarchy through elegance.’

△
Luella – Brand Refresh

Luella appointed Egelnick and Webb to re-fresh the brand identity, which primarily focussed on the luxury product. We upgraded the format of the look books to reflect the more grownup collection and price architecture. Our art direction created a revised editorial focus and a shoot with increased commercial focus to maximise the sales potential of each collection.

△
House of Holland – Invitations & Lookbooks

House of Holland shot to fame when Gareth Pugh and Giles Deacon donned his t-shirts at the end of their SS 07 shows; now he not only has a diffusion collection in Debenhams but his London Fashion week reviews just keep getting better and better.

We have worked with Henry since 2008; first working on his show invites and look books. We have since designed and built his website, an app for Blackberry and work on his full social media strategy which involves both applications for Facebook and the iPhone; ensuring that all communication is succinct and relevant and irreverently Henry.

Font Used: Franklin Gothic

Hard to believe that it’s been nearly 3 whole years since Egelnick and Webb were featured on SI! In that time they’ve amassed a large collection of brand new work, much of which I’ve been given the pleasure of showcasing in today’s feature. There’s some really great pieces of work on display here and if I were to pick a favourite, it would probably be the banana-leaf invites :) – I don’t know about you, but there’s something about the contrast of the gold typography with the whimsical nature of the banana-leaf that I find so appealing :)

Nevertheless I hope you enjoyed this feature and thank you once again to Luke and Alex @ E+W for the imagery. A few more images will be added later on in the day, so keep your eyes peeled (no pun intended) ;)

Egelnick and Webb are a multi disciplinary design agency based in London, who work with a broad range of clients, mainly in the fashion and luxury sector. The launch of their new website is just around the corner!

www.egelnickandwebb.com

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

△
Falcon Enamelware

Falcon Enamelware has been an icon of British home life since the 1920s. The classic kitchenware brand has been revitalised with a new brand identity and updated ranges by Morse Studio & Kiwi & Pom.

We were commissioned to create a new brand identity including logotype, packaging, art direction and e-commerce website design. Our identity rigourously references Falcon’s distinctive blue rim, from the creation of a bespoke, inline typeface to the overhead food photography. The packaging takes the same uncomplicated approach. Simple half-tone illustrations are screen-printed on sturdy corrugated cardboard referencing the utility and charm of hardware shop packaging. An updated ‘falcon in flight’ crest acts as a seal of authenticity on every product.

—

Food photography by Sam Stowell. Food styling by Kate Mccullough. 
In collaboration with Kiwi & Pom. See also falconenamelware.com.

Fonts used: Falcon Inline and Falcon typewriter

△
Mooi

Mooi is a fashion boutique located in Kensington High Street offering an eclectic selection of luxurious textiles, hard-to-find designer labels and one-off designer womenswear pieces assembled from all over the world.

Morse Studio were commissioned to create a brand identity including logotype, signage, swing tags, website and launch material. Inspired by the elegance and quality of the boutique’s hand-crafted textiles, we created a bespoke marque which is screen-printed by hand on 100% cotton paper stocks.

—

See also mooilondon.com

Fonts used: H&FJ ‘Chronicle Display’

△
Morse Studio – Selected Work 1

‘Selected work 1′ is our first promotional piece showcasing a range
of the studio’s projects.
Available to buy from the Morse Studio Shop

Format: 170 x 240mm, 20pp with short cover
Print: 4 colour + white special
Stock: Pop’Set Storm 120gsm, Marazion Ultra 90gsm
Binding: Saddle-stitched

Fonts: Haas Unica and ITC Charter

△
Census & Society, British Library

To mark the 21st Census in Britain, The British Library curated and hosted, ‘Census & Society: Why Everyone Counts’.

Morse Studio, in collaboration with Lyn Atelier, were commissioned to design the exhibition space and graphics. Our response in designing the space and graphic treatment was inspired by the unprecedented scale and detail of data generation associated with the Census. Viewers are invited to explore six themed sections—each marked by a large-scale typographic totem and assigned a distinct colour—spread across a landscape of vertically stacked cubes featuring photographs, maps, public information broadcasts and cartoons, alongside insights from the census data itself. Entrances to the space feature census-related statistics with pictograms on back-lit panels.

—

In collaboration with Lyn Atelier. Photography Luke Hayes.

Font used: Hoefler & Frere-Jones ‘Knockout’ with Lineto ‘Akkurat’

△
Resemblance, Mikael Eliasson

Mikael Eliasson is a London-based portrait photographer.

Morse Studio was approached to produce a catalogue to accompany Eliasson’s solo exhibition entitled, ‘Resemblance’. The family portraits are printed on a rigid, uncoated card stock and arranged objectively across spreads. The catalogue is perfect bound with buckram book tape covering the spine allowing the spreads to lye flat when open.

—

See also mikaeleliasson.com

Font used: Helvetica Neue

The title of this feature is pretty self explanatory ;) But for those of you that don’t know Morse Studio is a London-based design consultancy specialising in 
brand identity, art direction, and graphic design for print, web and environments.

They are the studio that made McDonald’s look ‘visually appealing’ ;). If you’re wondering what I’m going on about, SI did a massive feature on Morse back in October 2010 featuring their entire back catalogue of work including the aforementioned McDonald’s stuff. You can check it out here.

Nevertheless, Morse Studio have “returned” after 10 months of hard work with a new website featuring the same, slick transition effects of the old flash-based site except this time it’s all done in html,css and jquery. And of course, they have a lovely selection of new work, all of which is chronicled here on SI in high-res, for your viewing pleasure :)

www.morsestudio.com

I hope you enjoy this feature and I wish you all a great weekend.
Thank you once again to Mr. Hugh Morse 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. ;)

△
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

△
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

△
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

△
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

△
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

△
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

△
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

△
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. ;)

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Aava, Identity
Growing IT company Aava needed an identity and basic sales tools that stand out. Minimalistic branding differentiates this Finnish company from its competitors. The letters of the logo – A A V A – are stylishly used in the graphics of Aava’s new look.

Font used: Lubalin Graph

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Pino, Retail Design and Branding
Pino is a market place for unique, functional and innovative design objects. The idea for the concept came from the name of the shop, Pino, which means a ‘pile’ or ‘stack’ in Finnish. That is taken visually into the new logo and the design of the shop fixtures. The interior concept with a subtle colour palette works as a background for thefresh, colourful identity and products.

Font used: Font Bureau Eagle (Customised)

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Harri Koskinen Works, Branding
The branding created for the Finnish designer Harri Koskinen and his own furniture collection, Works, is practical and innovative like the designer himself. We also wanted to reflect that in a handout that we prepared for a trade show in Japan. We wanted to present the collection in a cost-efficient manner. The handout can be used as a brochure, poster or a flyer, and it can be folded in various ways, changing its appearance.

Font used: Helvetica Neue

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Mark Mink Personal Branding, Personal Branding
A dignified brand identity with high quality materials and finishes, designed for an international businessman.

Font used: Gotham

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Kesko, Identity
Kesko is a leading provider of trading sector services. Company’s updated identity is colorful, simplified and positively happy. The elements are simple and time-resistant. As part of the identity update the corporate logo is modernized delicately. The colourful identity reflects corporation’s entrepreneurial culture and it’s versatile brands and services.

Font used: Klim – Karbon

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Kaufmann, Branding
The growth strategy of a communications agency ‘Writing Media’ lead to total re-branding. The new identity and name ‘Kaufmann’ communicate the new sales minded strategy of the agency: Kaufmann is the communications agency for sales and marketing people. The purpose of communications agency Kaufmann’s new logo was to differentiate the agency from its competitors. The dynamic and multifaceted logo presents the agency’s areas of expertise in a playful way. The logo can be varied in an infinite number of ways. Kaufmann wanted their visual identity to combine playfulness with more traditional elements, such as classical typography. To balance the traditional, we used a contemporary illustration style.

Font: Bodoni Std

Scandinavian graphic design has always been a hit on SeptemberIndustry (for obvious reasons) so the work of BOND should come as a pleasant surprise to many of you.

BOND is a Helsinki (Finland) based independent creative agency specialising in branding and design. Working for clients who value creative and practical ideas BOND design, visualize and define brands in a way that help companies differentiate themselves from the competition. They see design as a craft and as a result demonstrate their expertise through their work rather than through talking.

Thank you to the gracious folks @ BOND for letting me help myself to their images ;) I hope you (dear reader) enjoy this feature and have a great weekend.

www.bond-agency.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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GF Smith — Master Specifier 2011
The latest master specifier designed for GF Smith reflects varying priorities when selecting paper and is the ultimate toolkit for design and print professionals.

As a break from the hero imagery seen on previous selectors we focused our attention on the materials GF Smith offer, allowing their qualities to show by keeping print/finishing to single colour on and silver foil (with the exception of 4-colour break pages in the chip books).

Housed in a Pale Grey one-piece Clamshell box, six books guide the user through the paper selection process.

Select Colour
The entire collection of colour stocks shown as chips by colour and shade, with accompanying stock charts broken up by pages of photography.

Select Black+White
All black, white and every monochrome shade in-between shown as chips, with accompanying stock charts.

1 Colorplan/2 Smooths/3 Textures/4 Specials
Individual books showing every colour and weight as a large swatch, grouped by paper/brand type and interleaved with Factory Yellow spec pages that double as section dividers.

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GF Smith — Print Test: Digital paper promotion
Over the course of the last 15 years digital technology has been quietly revolutionising the print industry. Yet the limited potential of early digital equipment to handle a variety of quality papers hasn’t always lived up to a paper specifiers expectations. Recent advances have seen new digital presses handle a huge variety of textures, colours, recycled papers and non-paper-based substrates.

GF Smith approached us to create a Digital paper promotion to showcase their expansive portfolio of digital papers, as well as, the technological potential of the latest digital presses.

Without the restrictions posed by plates on lithographic machines, one of the most exciting possibilities offered by digital print technology is ‘personalisation’ or ‘variable imaging’ — allowing for unique prints to be produced from an established document framework. With that in mind we worked with digital artists FIELD to create a series of 10,000 unique abstract digital illustrations, drawing inspiration from the micro details of paper fibres.

Generative processes combined code with pre-determined colour palettes. The vibrance, colour and shapes of the resulting illustrations were caught in the dynamic digital print medium. Each highly detailed image shows a glimpse of the digital sculpture – but it’s entirety remains hidden.

We worked closely with Pure Print to produce all the elements of the swatch. Each sleeve was composed using an RGB variable data publishing workflow; a fusion of a 10,000 record CSV database, our Indesign layout and FIELD’s stream of unique digital illustrations. To reproduce each illustration’s on-screen vibrancy and saturation, the files were directed to a high-performance Production Pro RIP which converted each illustration from sRGB to a press profiled CMYK colour space. The final sheets were printed on Naturalis Absolute White Smooth 330gsm in CMYK from two HP Indigo 7500 digital presses, printing a classic 175 screen.

Samples
We worked with four different digital print suppliers to produce the samples folder, each printer specialising in a different digital print technology and techniques.

This week’s edition of SI is going to be a week of exclusives and to start things off the right way (before Friday comes along – you know what that usually means) we have some brand new work designed by SEA for GF Smith one of Europe’s leading paper specialists.

Now some of you may have already laid eyes upon the visually striking Print Test project – a collaboration between SEA and FIELD. But many of you have probably never seen the GF Smith: Master Specifier – a project that has been in development for over a year – and it gives me great pleasure to share these high-res images with you all before this handsome swatch book lands on every designers desk around the country!

Big thank you once again to Alex and Danny @ SEA 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. ;)