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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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Teatre CCCB
Pilot issue newsletter for Deutsche Bank’s CSR activities in the US.

Format and materials:
Berliner, printed 4–colour on 52gsm improved newsprint.

Typeface:
Univers Deutsche Bank

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Frieze 2011 sponsorship campaign
Campaign identity and materials for Deutsche Bank’s sponsorship of the recent Frieze Art Fair. The idea was inspired by the bank’s commissioned artist who was to create an installation from yellow paint at the event itself.

Format and materials:
White e-flute box that housed a number of A5 pieces of communication. Box was printed 4–colour process plus two specials. A5 items were Chromolux 250 gsm; gloss laminated one side, printed 4–colour + one special. Pack also included unique digitally-printed security passes and lanyard.

Typeface:
Univers Deutsche Bank

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Forum
Deutsche Bank’s inhouse magazine. Published quarterly in English and German, and with a circulation of 112,000.

Format and materials:
237 x 300mm, 56pp, printed 4-colour in Switzerland

Typefaces:
Dalton Maag’s Lexia, including specially commissioned, super-heavy, all-caps weight
Univers Deutsche Bank

A Few Words from the Editor

Whenever Studio 2br inform me of new work they’ve recently completed, I always get excited like a kid that’s had too much sugar :). I guess you could say I have a strong appreciation for what they do, especially their rational approach to grids and typography. (Links to more of their work can be found at the bottom of this speil)

Much of Studio 2br’s output is for Deutsche Bank, a global banking and financial services company with German roots. Not only do they design many of the Bank’s corporate comms and publications but they were also behind the beautiful brand guidelines too which probably explains why everything looks so consistent! Thank you once again to Dave for making this feature possible :)

Links:
Deutsche Bank Guidelines
Deutsche Bank Corporate Comms

About the Studio

Studio 2br is an independent design consultancy working with clients in the UK, Europe and the US.
They provide large organisations with clear thinking, plain speaking and graphic design craft.

www.2br.com

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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

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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

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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

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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”

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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

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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

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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

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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

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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

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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 :)

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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

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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 :)

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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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

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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.

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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.

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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.

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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’.

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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

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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. ;)

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Sam Robinson Photography

Identity work for London and New York based photographer Sam Robinson created around a logotype that is used to play with light and shadow and as a window to highlight imagery.

The promotional postcard pack was lasercut allowing a different card selection to be tailored to each prospective client.

Typeface used: Georgia

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Studio Worldwide Self Promotional Poster No. 1 and Stationery

We produced this poster to let potential clients know that we had started our studio. One side was pretty descriptive, while the other was abstract. The poster was designed in November 2010 and so the geometry of a snowflake was used, although this has a more of a European ‘Christmas’ connotation than where we currently reside.

Typeface used: Helvetica Neue Bold

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Georgina Matherson

Georgina Matherson approached us as she was wanting to make the transition from Artist/Photographer to commercial photography. Georgina also wanted a way to make each piece of her collateral personal and therefore memorable to whoever she was communicating with.

The idea of artists editions and numbered prints became the cue for her identity combined with a series of lines on which to write her message. The same block was used to letterpress all collateral items and allowed us to produce the business card books with perforated cards.

Typeface Used: Gotham (Custom)

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4 Fictional

Format Furniture approached us to give their branding an update as they were moving premises. The many layers of painted concrete in the warehouse were reflected in the collateral which included screenprinted welcome cards. The flexible nature of the Format identity was explored by printing large sheets which when trimmed to size produced 135 different card options.

Typeface Used: DIN Next Rounded

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AGDA

‘Smile’ was our answer to the 2010 AGDA Poster Annual title of ‘Optimism’.
The poster was awarded Judges Choice.

136 vinyl cut curves were created in three sizes and two colours. These were added to any appropriately sized circles around the city of Melbourne and photographed in-situ. This poster is a selection of
these images. In adding one abstract shape to another in busy public places we hope to create a smile in what is normally a bland urban view. If the viewer is feeling optimistic, we hope they will recognise the optimism in this gesture, and smile.

Typeface Used: Akkurat Mono

Ladies and gents, may I introduce to you the work of Studio Worldwide a new multi-disciplinary design practice based in Victoria, Australia founded by British designer Joel Priestland who previously worked at some of London’s best design agencies including Egelnick and Webb and Dutch designer Thijs van Beijsterveldt, who previously worked at 75B as well as being an establishing member of Rotterdam based studio Almost Modern.

Since opening just under a year ago, the studio has produced some really promising work as you can see from the images above (and not a grey photographic background in sight!) Suffice to say it will be interesting to see what this British and Dutch duo produce in the future.

studioworldwide.net

Big thank you once again to Joel for the heads up and for providing the high-res imagery. Hope you enjoyed this feature folks and stay tuned for something pretty big coming in the next few weeks ;)

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