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El Camino

Husky Rescue and El Camino are both projects by Marko Nyberg, an artist and a producer. Husky Rescue is a well-known music group with a strong visual language, which we wanted to remain on the foreground throughout the website. El Camino Helsinki is Marko Nyberg’s audio design studio. Tsto based El Camino’s identity around an embossing stamp and a custom typeface, which was used for both projects. The forms of the typeface were shaped from ten geometric modules, resulting in a geometric sans with characteristic faults.

Typefaces: Custom, Neuzeit Grotesk

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Minni f. Ronya

Minni f. Ronya is a ready-to-wear women’s label from Helsinki. A mix of functionality and spontaneity, the label pays attention to detail in fit and finish while introducing wild printed patterns and avant-garde shapes in ultimately wearable garments.

Typefaces: P22 Underground, Linotype Brewery

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Flow

The identity for Flow Festival builds on the idea of the festival crowd as an urban tribe, united by a metaphorical mantra of a visual wordplay set in the bespoke Flow-typeface influenced by contemporary central European trends of postmodern craftsmanship. We see the font as smart, approachable, and humorous. Together with the amulet-like illustrations of Santtu Mustonen, the repetition of letters and images resembles the rhythm of music and creates the core visual language and imagery for the project. This arrangement of elements was used across all media platforms, from web and print to motion graphics, and from venue signage to office stationery.

Illustrator Santtu Mustonen, digital agency Byroo, video production Beige/Harmaa, and musician Matti Pentikäinen worked as Tsto’s key collaborators.

Typeface: Custom

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Regina

Regina is a three-piece band consisting of husband and wife duo Mikko and Iisa, and a third wheel also going by the name Mikko. Soita mulle is their fourth album and is heavily influenced by the youth and indie music of the 90′s. The band gave us a few iconic music videos of that era as a reference point. Being Boring by Pet Shop Boys struck us the most. The video is directed by fashion photographer Bruce Weber. After digging more into Mr. Weber’s body of work, we came across the 90′s Calvin Klein advertisements shot by him. So you may notice the slight resemblance between Calvin Klein’s Eternity and Regina logotypes. The photo is by Megan McIsaacs.

Typefaces: Futura, Custom

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Vuoden Huiput

With Vuoden Huiput (The Best of the Year in Finnish advertising and design) we wanted to experiment with the relatively dubious and unpredictable nature of crowdsourcing and the visual language of anonymous internet users. Together with a programmer we created an application that transformed any written word or sentence into a rebus, an allusional device that uses pictures to represent words or parts of words. In English, a rebus often uses homonyms, as seen in the classic IBM logo consisting of a picture of an eye, a picture of a bee and the letter M. However, homonyms are rare in Finnish language, therefore a rebus was constructed from a list of some 5000 words with the most used syllables and matched with an image search result from Google. The combinations of images and letters may seem just a visual gimmick at first glance, but challenged the audience to look beneath the mere surface.

Typeface: Sofia

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Duotone

Duotone is a photography bureau founded by photographers Taavetti Alin and Juho Huttunen. The brand was based on the dualism found in the focusing lenses of vintage cameras.

Typeface: Sofia

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We Are Helsinki

We Are Helsinki is a free city magazine. It is published six times a year and distributed to nearly 200 distribution spots in Helsinki. In connection with our redesign of We Are Helsinki, the magazine grew in content as well. New sections include the Product Placement spread (a conceptual photographic story connected with the different theme of each issue), the Portfolio section, articles by think tank duo OK-Do, and a follow up series on Helsinki World Design Capital.

Typeface: P22 Underground, Custom, Linotype Gneisenauette

From the Editor

This week on SI we continue the Scandinavian theme, moving from Heydays in Oslo last week to Tsto in Helsinki this week. It would have been nice to have gone full circle and include Stockholm and Copenhagen, but I guess that will have to wait until next time wont it? ;)

Tsto is a (one year old) creative agency founded by six designers. Their approach is thorough and hands-on, they tackle projects by first taking it apart to its bare essentials, and then building it in a new way that best serves the client. This design philosophy allows Tsto to go deeper than the surface, to the essence of each case.

Besides having a great selection of work, Tsto have a equally impressive website to showcase their work on. It’s colourful, functional, distinctive and just like Heydays’ website last week, it’s built entirely on WordPress!

It’ll certainly be interesting to see what this studio produces next year (provided we’re all still here) ;)

Kiitos to Antti and the rest of the lovely crew @ Tsto for supporting SI, providing all the high-res imagery and I hope you (discerning SI reader) enjoyed what you saw in today’s feature :)

tsto.org

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Blokk – Identity

Blokk provides full architecture and interior design services. We created their identity and wanted to reflect their philosophy on embracing openness, a straightforward attitude and clear communication with their clients. With a bold word mark as a base, we wanted to investigate how typography could translate into architectonic shapes and landscapes. Creating a reference to light and shadows hitting the surface, and how the relationship between typography and printed material created hints to landscapes and architectural compositions.

Typeface: Neuzeit

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Heydays – identity

Our own identity comments on our own design principles. A development from the start in 2008, the identity is based on a dividing line half way through every surface, emphasizing a new period in time and a more confident studio. Paper stock, materials and print methods are carefully selected to make every surface a crafted production, with a feeling of quality and timelessness. Beneath, our logotype remains the same, accompanied by the single ‘H’.

Typeface: Univers

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Anorak – Identity

Anorak is a creative agency developing strategies and solutions for ad campaigns. They pride themselves on being creatives first, working close with their clients throughout their projects. We wanted to visualize the cut-through attitude that represents their approach towards their clients. An energetic green line divides every surface, creating to equal surfaces – Anorak and the client they’re working with. This green line appears in numerous ways, making each surface a new representation of this relationship.

Typeface: Trade Gothic

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Snitt – Magazine Redesign

Magazine on visual communication by Grafill, the norwegian trade organization. Snitts purpose was to raise the professional standard of visual communication in Norway and raise awareness by providing inspiration, information and grounds for debate. We were assigned to redesign Snitt. Our goal was to create a open layout, but maintain a good structure for the reader throughout. The purpose was to facilitate the reading flow, but create more room for experimenting in the layout and interpretations of the editorial content. We divided Snitt into three sections and used various paper stock to highlight these. The masthead reflects the name. We wanted the circular shape, inspired by a cross-section, to follow the reader in both section pages, detailing and iconography.

Typefaces: Aperçu, ITC Pacella

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Holien Mo – Identity

A young norwegian photographer with an eye for documenting stories and moments between people. Our task was to create a versatile identity that communicated his craftsmanship and sense of presence in his images. We created a solution based on a simple wordmark, a distinctive triangular shape later used in patterns, stamping and embossing. This, implemented on various tactile paper stocks, creating a warm, but sophisticated feel.

Typeface: Grotesque MT

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OD 2011 – Campaign Identity

Operation Day’s Work is today Norway’s largest solidarity campaign for youth, gathering students to collect funds for an elected international cause. Since 1964 ODW has grown to over 62 countries under slogans such as “Youth, Regardless”. The 2011 campaign were aimed at norwegian youth, challenging the negative perceptions many have on opportunities in Africa. The identity is based on visualizing a strong contrast between the negative and the positive through typography. This years funds were given to Plan Norway, working for better educational opportunities for youth in Rwanda.

Typeface: LL Brown

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Kibsgaard-Petersen – Identity

A full range architecture company that work on both public as well as private housing, founded in Ålesund 1966. The identity, based on the hyphen, communicates a bold and strong architectural language and visualizes the energy that represents Kibsgaard-Petersen, through young innovation combined with years of experience. Their solid red color combined with stamping and embossing tools tells a story of a modern company with solid traditions.

Typeface: DIN

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The Schmucks – Record Sleeve

The Schmucks is a punk band from Oslo. We did the art direction for their EP – Axes of Evil. We contacted illustrator Kristian Hammerstad to do the illustrations, as we felt his style matched both the genre and the title. Evil yet humorous. Togheter we came up with the idea and concept for the cover. Based on the title, it was only right that the cover typography got chopped off, just like in the illustration.

Typefaces: Helvetica Black Condensed, Times

From the Editor

It’s been a pretty eventful month to say the least, life has thrown some unexpected curve balls my way, but I’ve already started to throw a few of those balls back ;) More importantly SI is finally back in business and if you (dear reader) thought for a second that this was might have been the end, you’re sadly mistaken – this is only at the beginning as cliché as that sounds… ;)

Onto today’s main event: Heydays launched their new website a few days ago containing a plethora of new work and sporting a slick, new interface that ditches flash in favour of html – wise decision gents ;) Their work, both the new stuff and the old, speaks for itself the same way it always does and once again reaffirms their commitment to creative excellence. As a result they still have the most popular feature on SI and it wouldn’t surprise me if it happens again with this one too :)

Takk once again to Mathias and Lars @ HEYDAYS for making this feature possible and I hope you (discerning SI reader) enjoyed this visual treat and have a great a weekend :)

heydays.no

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Loft 37 – Visual Identity

‘Minimalism, plus some great details’ was the brief from the award winning web agency Loft 37 when they asked for a rejuvenation of their visual identity. BRUNSWICKER delivered a simple design with high-end production to meet the company’s needs.

Printed on: Grey stock with embossed silver-foil logo
Fonts used: Helvetica Neue and Foundry Wilson

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Made – Visual identity

Made is a newly established communication unit, focusing on custom publishing for Scandinavian lifestyle brands. Besides the logo and visual identity the work included stationery and promotional material.

Printed on: White stock mixed with kraft paper
Fonts used: Replica (Lineto)

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The Vision Paper – Art Direction

Art direction of the bi-annual newspaper aimed for fashion buyers and professional’s attending Copenhagen Fashion Week and fashion fairs: CPH Vision and Terminal 2. BRUNSWICKER were tasked with finding a balance with fashion’s lavishness with the industry’s professionalism.

Printed on: 70 g white newspaper stock
Fonts used: Gotham and Austin

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Work&Play – Visual identity

Visual identity for Work&Play that translates the Danish brand’s ambition to reach young and creative customers internationally. Besides logo and identity BRUNSWICKER also created packaging for the brand.

Printed on: White stock mixed with kraft paper and cardboard
Fonts used: Neutraface No. 2

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Alexandra Nora – Visual identity

Visual identity for jewellery brand Alexandra Nora who creates pieces made from African wood and always works from a morbid theme. BRUNSWICKER created a logo, stationery and promotional material for the Danish/South African brand.

Printed on: White stock mixed with kraft paper and snazzybag envelopes
Fonts used: EF Promotor and Helvetica Neue

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byKATO – Visual identity

The Danish furniture design studio byKATO wished to reinforce their Scandinavian roots and a design philosophy called ‘Everyday object solutions’. In this case, BRUNSWICKER created logo, visual identity and the overall creative direction for the brand.

Printed on: Industrial green paper mixed with nature elements.
Fonts used: URW Typewriter

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Fritz Hansen – Art direction

For the Danish furniture company Fritz Hansen, BRUNSWICKER designed ‘Republic’ an amalgamation of brand book and editorial content. The design and content needed to respect the long history of the brand, but also show the innovation within the company. 


Fonts used: Futura and Garamond Pro

About the Studio

Founded in 1998 by art director Mark Brunswicker (born 1968), Brunswicker is an independent, multidisciplinary design studio with a direction that flows seamlessly from commercial projects and magazine design to overall visual brand management.

Based in the heart of Copenhagen, Brunswicker works primarily with art direction, identity design and graphic communication for brands within the fashion, lifestyle, design and media industries. The studio cooperates closely with major players in communication and product development to ensure a streamlined process and a cohesive result.

brunswicker.dk

Thank you once again to Mr Brunswicker for providing the high-res imagery for this feature. Hope you (dear reader) enjoyed this post and have a great a weekend :)

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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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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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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.

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Together No. 2
Together No2 is the second in our series of occasional publications of work and collaborative projects, showcasing some of our best work from 2008. Featuring articles, interviews and commissioned work from some of the talented people we’ve worked with, the magazine offers an alternative insight into our agency.

Font: Akzidenz, Bureau, AG Book

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Residents CD Michael Woods
The world’s most famous club announced its new Saturday residents at the beginning of 2011 and to mark the arrival we created an identity for use on all promotions. Taking a lead from the Saturday Sessions logo we produced a while back, the distinctive ‘Residents’ word mark is based on a stylised signature. The residents are now bursting out of the club as Ministry of Sound Recordings release a series of albums dedicated to them. First to plate is DJ & producer Michael Woods and alongside his remix & production work, the release showcases the programming of Michael’s Saturday night set.

Tasked with creating artwork in line with the club’s unique aesthetic while incorporating a shot of the DJ, we explored the idea of sound affecting the image as a filter. The repetitive nature of dance rhythm creates a mechanical echo that fractures the image into stepped parts. A polarised colour spectrum represents the depth of the music to create an interesting take on the straight DJ shot.

Font: Lineto Replica / & mono

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MOS – Mixtapes
Our quarterly brief for Ministry of Sound’s ‘Saturday Sessions’ is always relatively straightforward: represent the experience of visiting the world’s favourite nightclub. This time, the death of the cassette was our starting point.

For older readers, the mixtape reminds us of the excitement we once felt at hearing music from another world. For everyone else, it’s an analogue curiosity piece from another age; an archaic relative of the iPod playlist.

Each image, hand-painted and shot in a homemade studio, features a cassette which has undergone an intervention. Whether painted, melted or drenched in the contents of a glow-stick, each process is a celebration of a different lifestyle.

Font: Lubalin Graph

NOTE: – Lubalin Graph was the house font used at the period. We then undertook a rebrand for the Club and the Lineto Replica family have been used since.

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Wax Jambu
When the lovely people at Wax Jambu asked us to design a brand identity for their new bar, they knew the people of Islington were ready for a boutique venue with a difference.

With an interior and decor that changes seasonally, customers are invited to interact with the environment and give it a ‘lived in’ feel. We reflected this idea of changing seasons in our approach, combining botanical drawings with gridded typography and a friendly brand identity.

This chirpy little chap was applied to uncoated stocks and recycled board in bronze foil, giving the print a warm, textured feel that translates well into a content-managed website at waxjambu.co.uk

Font: Elderkin

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MOS – Quotes
Imperative commands for demanding clubbers form the basis of this campaign, the latest in our ongoing art direction for Saturday Sessions at Ministry of Sound. Uplifting statements of ‘Let’s Dance’, ‘Drop the Bass’ and ‘Get Higher’ transcribe the experience of a great night out onto the flyers, posters and print ads. These quotes are disguised within complex, colourful collages, with Ministry’s very own clubbers taking centre stage.

Font: Various for the illustration, Lubalin Graph for the body.

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MOS – Style of Eye album
This is the first release in a new double mix CD format for Ministry of Sound Club, showcasing upcoming talent from around the world, with all imagery shot inside the world-famous club.

Swedish producer and DJ Style of Eye opens the series. Working alongside the artist and label we developed a concept for the album that loosely combines woodland fairytales, handmade mechanical objects and the clubbers themselves (represented by origami birds and animals). The set was built in-house, with invaluable help from sculptor and illustrator Jethro Haynes (who created our in-club forest). The images were shot by Steve Braiden.

Font: Lubalin Replica / & mono

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MOS – Jethro Haynes
Continuing our new proposition for the Ministry of Sound Club – ‘anything can happen’ – we were delighted to get the opportunity to work with talented illustrator and model maker Jethro Haynes, for this latest series of folding Saturday Sessions posters.

Starting with the premise that the legendary MOS sound system was created as a mutant strain on a lost tropical island (you’ve seen King Kong, right?) the three images track the progress of the giant bass-bins as they break free and start their epic journey to the Elephant & Castle, SE1. The stunning set was sketched, built and photographed over a period of days. It was also featured as the cover image of Design Week, fronting an article about the sophistication of current club flyers.

Font: Lineto Replica / & mono

Making their SI debut today is none other than Studio Output, a diverse team of inspired, inspiring and creative people operating as one team across two friendly, thriving studios in London and Nottingham. They produce well-considered creative solutions across all media, working with high-profile, interesting and innovative clients around, who appreciate their collaborative approach and the stunning results it achieves.

The primary focus of today’s special feature is Studio Output’s work and ongoing relationship with Ministry of Sound. And to shake things up a little I’ve also included a few pleasant surprises from Studio Output’s diverse and eclectic portfolio. Enjoy ;)

Big thank you once again to Gemma @ Studio Output for making this feature possible.

www.studio-output.com

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Give & Go
Deutsche Bank wanted to talk to staff about a wide range of CSR-related activities, from volunteering and charitable giving to exhibitions and events at galleries and museums. We created ‘Give & Go’ as an overarching theme to promote any CSR project or event, using familiar, direct language to convey how easy it is for employees to get involved. To promote ‘Give & Go’ we produced a campaign including direct mail, a travelcard wallet containing details of the venues offering free access to Deutsche Bank employees, posters and web banners.

All Deutsche Banks work uses a custom cut of Univers.

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Forum magazine
Published quarterly in English and German, Deutsche Bank’s inhouse magazine continues to prove its worth as an internal communications channel by uniting and informing staff around the world. It uses a specially commissioned ultra bold weight of Dalton Maag’s Lexia font family. Studio 2br commissions illustrators and photographers from around the world adding to the global personality of the magazine.

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Ernst & Young Global Review
Everything EY does is considered. The global review uses unexpected photography, relaxed portraiture and information graphics to capture the attitude of the firm, create a snapshot of the business and underline its strategy.

Ernst and Young’s corporate typeface is Interstate.

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Deutsche Bank Guidelines
Deutsche Bank agreed that it’s new brand and visual identity guidelines should exist physically as well as digitally. Having developed the new system over 12+ months, Studio 2br designed the new Deutsche Bank Brand Portal and produced an 80-page A3 guidelines book.

I’ve been a fan of Studio 2br’s clean, considered approach to corporate graphic design ever since I discovered them last May – I highly recommend you check out the beautiful guidelines they designed for Deutsche Bank here if you haven’t already. I’ve included a few images from that particular feature above, just to whet your appetite!

One year later they’ve updated their website with a couple of new projects with promise of even more to come in the next few months. Dave @ 2br was kind enough to send high-res images of the new work and I also insisted he include a generous selection of images of Deutsche Bank’s inhouse magazine ‘Forum’ which they continue to design, simply because I have a craving for editorial design which needs to be effectively satisfied ;)

Enjoy and be prepared for more great design next week – the line-up has already been confirmed!

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Process 4.5
The first in a series of special edition Process publications, printed in only black on lightweight 70gsm Bond, Process 4.5 purposely contrasts the usual high production qualities of the quarterly journal, as well acting as a platform to experiment with different formats and production techniques. The publication’s content is a reflection and retrospective of the first four editions of Process Journal. Consisting of three major parts, the first a comprehensive essay written by typographer and design-lecturer Brad Haylock. The second a typographic analysis of each of the typefaces featured in editions one to four, including type samples and specimens. And finally, we asked a selection of contributors from editions one to four the simple question: ‘what is your process’. Including responses from Brett Phillips (3 Deep Design), Michael C. Place (Build), Mason Wells (Bibliothèque), Tom Crabtree (Manual),Tony Brook (Spin) and more.

Every now and then I feel obliged to do more press orientated features but I guess that comes with territory of running of running a site like SI. ;) Thank you once again to Mr. Thomas Williams @ Process for the high-res imagery and for consistently putting out beautifully tactile, fine-smelling publications! To purchase a copy of Process 4.5, visit the link below:

www.publishedbyprocess.com/store/

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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Andrea Rüeger
Business Card

Logo and business cards for Andrea Rüeger, CNC production.
Silk screened on green paper.

In collaboration with Larissa Kasper (www.larissakasper.ch).

Fonts: Apercu (Colophon Foundry)

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Orgel Klang Elektro Tanz
Flyer
148 x 210 mm

Flyer for a special event in a church. In addition to guides and speeches there will be a musical entertainment from organ to electronic music played by DJ’s.
For the visual language we chose to fragment some typical elements from songbooks, rearrange them in a new way and give them a new meaning. This way it is possible to combine church music with electronic music through an own visual language. Some texts and words are disconnected in a way it is done in songbooks to extend the pronounce in a singing way.

In collaboration with Larissa Kasper (www.larissakasper.ch).

Fonts: Maria Alternate & Cg Triplett (AGFA/Monotype)

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A—Z
Flyer
105 x 148 mm

Postcard flyer announcing a party at the club ‘Zukunft’ in Zurich organised by the label ‘Abbruchhaus’, which means ‘condemned house’. The front side of the flyer deals with the topic of demolition by experimenting with eroded and destructed type.

Fonts: ITC New Johnston (customized)

Designed by Larissa Kasper

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Freshcuts Recordings
We love it (Series)
Vinyl 12″

Record cover for “We love it”. A series of exclusive releases pressed on vinyl by Freshcuts Recordings. Limited to 300 copies. This is the first 12″ of the series. The photography concept is based on an evolution of the picture. With every release an object or something else from the artist or the song will be placed in the picture. So the content grows until the last release. The finished series with all releases will be available in a wooden box.

In collaboration with Larissa Kasper (www.larissakasper.ch).

Fonts: Apercu (customized)

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Printed in
Magazine
218 pages
200 x 270 mm

«Printed in» – The spontaneous appearance of similar opinions» is a magazine, which intends to bring blogs and printed media together and shows that these two medias can be combined. Both of them have some qualities to exploit. In different chapters, instead of posted in, called printed in, the magazine shows how blog articles can be designed on paper and in a professional way.
A magazine made from Blog entries. Why this? To collect, to feel, to make time for it, to give an answer to the daily speed of blogging and the internet, to slow things down and to give the reproduction of type and photography its perfect medium: paper.

Fonts: Larish Neue (Radim Pesko), Client Mono (Gestalten) & Johnston Neue (Customized New Johnston)

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Visuelle Dialoge
Flyer
Poster
420 x 594 mm

«Visuelle Dialoge» which means «Visual Dialogs», is the exhibition title of the diploma projects and other final works of the art school in St.Gallen. We used different quotes for the posters which related to graphic design and communication or to the graduation and the students itselves.
The flyer is foldable from A2 to A6 and contains all the informations of the different exhibitions. On the backside is one of the quotes which can be used as poster.

In collaboration with Ollie Schaich (www.ollie.ch)

Fonts: GT Walsheim (Grillitype)

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Bon Voyage
Flyer
297 x 420 mm

Foldable Poster for a concert and party night with french artists dOP. Printed on Chromolux. The idea was to use some typical elements from maps and combine them in a new way. The folding remembers of a map too. We used flowchart-looking graphics to let the reader travel through the sentence.

In collaboration with Larissa Kasper (www.larissakasper.ch).

Fonts: Apercu (Colophon Foundry), ITC Bodoni SvtyTwo

Rosario Florio and Larissa Kasper are 2 talented designers from St. Gallen Switzerland that form part of a design collective called Bureau Collective. With a shared passion of typography, print and editorial design, both Rosario and Larissa’s frequent collaborations lay the groundwork for building their own studio in the near future.

Suffice to say, if their talent is anything to go by their future work (as a studio) should be pretty interesting to say the least – I always find it refreshing to see designers use typefaces in ways and circumstances I could never imagine ;)

Thank you once again to Rosario and Larissa for making this feature possible. Just in case you’re wondering: Larissa is currently working at OK-RM, whilst Rosario is doing what he does best in Zürich.

www.rosarioflorio.ch
www.larissakasper.ch

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