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

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

Typeface: Helvetica

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

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

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

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

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Tang Dynasty Diary
Book Design

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

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

Typeface: Modern 880

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Ideas Factory
Poster

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

Typeface: Helvetica

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Westcity
Identity / Brochure / Marketing Material

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

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

Typeface: Helvetica

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Roundhouse
Identity / Brochure / Website

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

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

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

Typeface: Century Schoolbook

From the Editor

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

www.ideasfactory.co.uk

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

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

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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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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 :)

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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Johanna Lenander
Johanna Lenander is a Writer & Editor, living and working in New York City. She is also the author of the book Hair Wars. Working for prestigious clients, such as Style Magazine (New York Times), Elle, Gucci and Karl Lagerfeld, Johanna needed a site that not only displayed her writing skills but also reflected her design sensibility. We were approached to design and build the site and to design Johanna Lenander’s identity and printed matter.

The site was built so that it would give the visitor a quick overview enabling them to assess the information of interest rapidly. The aesthetic, both of the identity and website, follows the editorial tradition of classic newspapers, but with a modern twist.

Printing techniques include relief and fluorescent inks and high quality paper stock such as the uncoated Munken Polar 400gsm was used for the stationery.

Fonts used: Helvetica Neue & Georgia

Art Direction, Design & Development: Lundgren+Lindqvist

Photography: Cora Hillebrand

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PAP Accessories
With a background as an interior designer, Ulf Pyk started PAP (Products And Philosophy), a leather goods company that features handmade products that are produced exclusively in Sweden. Believing that timeless design is always modern and that true beauty gets better with age, PAP’s products are made to facilitate, complement and improve contemporary lifestyles.

With local production, good values and an interesting background we identified an opportunity for building the website around story telling. We got in touch with NYC based copywriter Johanna Lenander to work with us on the project. After having split the main content into four sections (Story, Manufacturers, Philosophy & Places) we started working on gathering the needed material. The Places section is a visual journal documenting trips around the world that the PAP team make to find inspiration for their new products. The first trip being Svalbard, an isle at the northernmost tip of Norway and the most recent one a visit to the sandy deserts of Dubai.

A colour scheme, made up of five natural colours found in everyday PAP materials was chosen and used throughout the site. The overall design, as well as the photographic style, was kept light to give the products full focus. A display typeface, drawing inspiration from the PAP logotype, was drawn and used for headlines.

Fonts used: Custom drawn headline font, Gravur Condensed & Bodoni (Georgia for web)

Art Direction, Design & Development: Lundgren+Lindqvist

Photography: Ulf Pyk

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Loft Investments
Loft Investments is an exclusive holding company constructing new financial products that are better suited for the future than the conventional counterparts. Utilizing many years of experience within different parts of the financial sector they have developed a method of gaining more profit for investors through taking a higher, yet calculated, risk within the option.

Loft approached us to design their identity, stationery, website as well as digital presentation material. In a highly conservative market Loft needed an identity that, with subtle quirkiness, would separate them from the bulk without scaring anyone off. The logotype was designed in a constructed manner corresponding with the nature of Loft’s approach when developing new products. A bold graphical approach, with bright colours, strong typography and use of infographics, was chosen in order to establish a feel of trust and illustrate the steady hands (or analytic minds) of the individuals steering the company.

Fonts used: Akzidenz Grotesk, web: Arial & Lekton

Art Direction, Design & Development: Lundgren+Lindqvist

Photography: Cora Hillebrand

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Apple – ELS London
Each year Apple host their Education Leadership Summit in London, which co-insides with BETT, the largest education technology exhibition in the world. The summit focus on technology and learning and features high profile lecturers from around the world.

For Apple ELS 2011, we designed the invitations, the printed program and a website where the visitor could find the full program and also mark what lectures or seminars they would like to attend, which was then sent in a form along with their personal information.

The printed program was designed to work both as a teaser for the program and as an actual aid to the visitors when attending the summit. The 26 page folded program includes the program and information about the summit. It also includes a bespoke London map with the lecture venues marked out along with the location of the Apple headquarters and the May Fair Hotel, which is hosting some of the seminars as well as serving as the residence for some of the visitors. Four pages (the backsides of the day overviews), were separated into four stripes (one for each day) with the London skyline, the main graphic element of ELS 2011, moving from top to bottom to illustrate the impermanent state of the passing of time and its contrast to the fixed state of the skyline. Every other skyline has a striped sky illustrating the fact that it in London in January, according to statistics (BBC World Weather), rains every other day.

The pages of the program were perforated, so that the visitor would only need to bring the program for the current day along with them during each day of the summit. On the back of the program cards we designed a ruled blank page on which the attendees can take notes during lectures and seminars. This page also holds a space dedicated to web links.

The program was printed on sturdy (300gsm), uncoated Munken stock that would withstand the wear and tear during the four day long summit.

Fonts used: Myriad

Art Direction, Design & Development: Lundgren+Lindqvist

Photography: Cora Hillebrand

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Philip Ljungström
Philip Ljungström is a photographer based in Gothenburg, Sweden. He works in several different fields including fashion and extreme sports.

We designed Philip’s business cards and collaborated on a promotional poster for Victor Västernäs, a top sailor aiming for the London Olympics 2012. The poster was printed on Arctic Paper’s Munken Rough paper (a brand new Munken stock that was not officially released at the time we printed the poster).

Fonts used: Helvetica Neue (business card) & Univers (poster)

Art Direction & Design: Lundgren+Lindqvist

Photography: Cora Hillebrand

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Anton Kristiansson
Anton Kristiansson is a rising star on the Swedish music scene, blending hip hop with indie pop to great effect. He recently released his debut solo album ‘Och jag’ (‘And me’) and has already gained a growing fan-base as well as recognition from top music journalists. He is getting regular airplay on Swedish national radio.

Lundgren+Lindqvist designed Anton’s full identity, including logotype, custom typography, a promotional poster and the cover for his debut single.

Fonts used: Custom drawn font for headline & Univers

Art Direction & Design: Lundgren+Lindqvist

Photography: Philip Ljungström

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Lundgren+Lindqvist
Our business cards are triplexed GF Smith Colorplan (Cool Grey, Bright Red and Pristine White) and have debossing, foil blocking and UV-varnish. The letter paper is Colorplan Pristine White with debossing and the S65 window envelopes are Colorplan Cool Grey.

Fonts used: Helvetica Neue

Art Direction & Design: Lundgren+Lindqvist

Photography: Cora Hillebrand

It’s back to Scandinavia today as SI showcases a tasty selection of work from Lundgren+Lindqvist, a Sweden based design & development bureau offering services within branding, design for print, digital, illustration & Art Direction for a wide base of national and international clients.

With a firm belief that good design is more than ink or pixels on a surface, Lundgren+Lindqvist create efficient and interesting communication that is uniquely conceived for each project; embracing the constantly evolving possibilities of digital design.

www.lundgrenlindqvist.se

Big thank you to both Andreas and Carl-Johan @ Lundgren+Lindqvist for making this feature possible :)

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

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House of Propellers
We designed the identity for this Clerkenwell gallery space which showcases the work of designers, illustrators and photographers.

The traditional element suggested by the gallery’s name is visually communicated using lettering redolent of old shopfronts. This is produced in gold foil on cards, and gold lettering on the gallery window.

Typeface: Elementa [note logotype is not a working typeface]

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LSE Housing and the City
This publication contains research created by students over a period of one term. Hyperkit was invited to host a series of workshops with students to help them with the visual presentation of their research and we were then commissioned to design a book to publicise their findings and ideas.

Students worked together in groups of six, each focusing on a different aspect of housing within the London Borough of Southwark. The reader navigates the publication by black tabs which correlate with the contents page. The final publication is 164 pages, 200 x 270mm, and has a greyboard cover which has been foil-blocked.

Typefaces: Akkurat and Stymie

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Joe and Co.
Hyperkit looked to deconstruct the traditional barbershop situation and rebuild it for a contemporary audience with all its recognisable parts present.

Initial inspiration for Joe and Co came from looking at how objects are organised within the traditional barbershop, as well as workshops, sheds and garages. This led to us developing a collaged aesthetic when designing the space and the furniture within, combining materials and textures in a very straightforward and functional fashion.

The main materials used for bespoke furniture at the shop are solid English oak, oak-veneered plywood and powder-coated steel. We used oak as it is a warm, natural material that can be traditionally crafted. The coloured steel items were chosen to contrast with the wood. Throughout the construction it was important to us that  you would see how the furniture was made; this is mostly evident in the very visible joinery of the oak display frames and the inlaid metal shelves and troughs.

The graphic and geometric nature of the Joe and Co logo and printed material was conceived as a contemporary substitute to the traditional barbershop patterns such as the stripy red and white pole and the black and white checked lino floors.

Typeface: Akkurat [logotype is not a working typeface]

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Faye Toogood
We created the identity, print material and website for this interiors stylist. A bespoke pattern was created at A2 size that forms the back of the mailer. This same artwork was used to print the back of the stationery, resulting in 4 different letterheads and 48 different business cards.

As she works a lot with fabric, we wanted Faye’s stationery to reflect fabric swatches – when each small sample is a different part of a repeated pattern. This pattern endlessly repeats allowing Faye to use sheets of the paper to create her own wallpaper or hoarding whilst dressing a window for example.

We designed a website that Faye can update herself using a content management tool.

Typeface: Nobel Extra Light

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5th Studio
We designed the identity, website and stationery for this architecture practice based in Cambridge and London. Strong simple typography and a bold colour is employed across cards, letters and labels.

On the website – which is updated by staff inhouse using a content management tool – projects are navigated according to their scale.

Typefaces: Akkurat and Monospace 821

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Cupboard Love
We designed an identity, swing tags and website for this shop that sells clothes, toys and gifts for children. Illustration by Hennie Haworth.

Typefaces: Stymie [logotype is not a working typeface]

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V&A Friday Late
Hyperkit designed temporary signage for a Friday Late event curated by students from the the Royal College of Art’s Design Products course.

Corrugated cardboard signs with vinyl typography were attached to galvanised trestles using zip ties.

Typefaces: Balloon, Times Modern, Gill Sans Shadowed, Colonel, Pioneer

Established in 2001 by Kate Sclater and Tim Balaam, Hyperkit is a graphic design studio based in London. They produce good-natured, functional design, often bringing together a love of material, process and functionality. They like to create visual stories that help their clients connect with an audience or community and generate ideas by responding strategically and intuitively to any given situation. The studio members’ personal interests, fascinations and self-initiated projects inform their commissioned work, creating unique and effective solutions that reflect the sensibilities of their clients.

Projects are often multi-faceted in nature. To date the studio has produced graphic design for both print and websites (often building these in-house), as well as exhibitions, furniture and interiors. “We enjoy working with people that are as passionate about what they do as we are.”

www.hyperkit.co.uk

Big thank you once again to Kate @ Hyperkit for making this feature possible.

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

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

Fonts: DM Schulbuch

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

Fonts: Linotype Hollander, Neuzeit Neue

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

Fonts: Plantin BQ

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

Fonts: OCR-B-10 Pitch

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

Fonts: Omnes, Custom

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

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

wearebuild.com
Print Process Special Feature

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Project #1 — Another Country
Another Country is a new, contemporary craft furniture company whose brand values are sustainability, efficiency, utility and function – the furniture being made in a way that: limits waste of both material and time; is versatile and easy to transport; and is built to last both in terms of construction and design. All of the furniture is handmade in a workshop in Dorset from solid wood (oak, ash) and the primary focus for the company is its e-commerce platform.

Bravo Charlie Mike Hotel were commissioned to create Another Country’s identity and collateral, including the design and development of the e-commerce website. The logotype and brand typography uses a monospace font, Prestige Elite, to underline the values of efficiency, utility and function while the ‘ac’ ligature emblem was designed as an expression of craft, appearing to have been carved or hand-tooled.

The print collateral was designed with consideration to efficiency in mind – not just in terms of minimizing waste in production but also in design so that items such as business cards can be of generic use, rubber stamped or written by the company’s employees. All material was printed on 100% recycled board to match Another Country’s sustainability credentials but also to provide an aesthetic and tactile quality inferring the utilitarian aspects of the brand. The website has been built primarily to facilitate e-commerce but also to provide room for some of the story behind Another Country. We are currently working on some added functionality for the site including a really great full-bleed zoom feature to coincide with the launch of the new site with multiple stores.

anothercountry.com

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Project #2 — Them There
Last year Bravo Charlie Mike Hotel were approached by one of our long-standing clients to create an identity for a collective of small creative companies and freelancers that are based in and around East London. The idea was for the group to be made up of companies that are from different backgrounds or disciplines – graphic designers, architects, industrial designers, interior designers, etc. The group get together once a month to learn about each others’ businesses and benefit from the pooled knowledge and skills in the belief that the whole is greater than the sum of its parts so, by being part of Them There, we feel that makes our individual and collective offerings more interesting to the people we work for.

We came up with the name for the group which we felt had a nice visual quality to it and designed a simple typographic identity. This was then supported with imagery of hand-gestures from Bruno Munari’s ‘Supplement to the Italian Dictionary’ re-enacted by group members. This came about as a result of a nice coincidence when we found that the gesture used to ‘call friends together’ was effectively a ‘T’ and so we used it for the invitation to publicise our first public event held at the Kvadrat showrooms just over a year ago.

We design all of the print and promotional collateral for various shows and events that the group takes part in or initiates, and have developed a simple CMS site that can be administrated by all members of the group in order to update it regularly with each practice’s recent activity and any joint efforts by the group as a whole.

themthere.co.uk

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Project #3 — Brompton
Not the folding bicycles. Brompton is a district situated in west London, stretching from Harrods in Knightsbridge to the cultural centre of South Kensington. Together with institutions such as the V&A and the Royal College of Art, the area has long been known for its contribution to art, design and education. Today this is reflected in the mix of the museum culture, design shops, fashion and food that create a vibrant mix of contemporary and traditional local amenities.

South Kensington Estates took ownership of the Brompton property portfolio and has been working with local stakeholders to develop plans to enhance the area. As part of this renewal or reinvention Bravo Charlie Mike Hotel were commissioned to deliver the brand identity and art-direction for Brompton.

The mark is a reinterpretation of the wreath and tyre reliefs that are a key feature of Brompton’s signature building, Empire House. The logotype and display typography uses a modern sans-serif, Neutraface2, in order to reflect the contemporary outlook of Brompton. This is tempered by the use of a serif font, Publico to reinforce the client’s desire to acknowledge the design and architectural heritage of the area. A simple approach to the way in which the brand typography is styled was developed as a means of creating hierarchy and idiosyncrasy to the brand’s vocabulary.

As this project has only just been completed in November of last year, to date we have delivered all of the brand particulars including marks, pictograms, maps and goad plans of the area and a comprehensive style-guide detailing use of the various design assets. We also provided design direction for the website which was built by a third party (best viewed in Firefox).

We are now beginning to implement the identity across various platforms for which its use was intended. We have completed the marketing materials for 235 Brompton Road, an original Victorian shop unit dating back to 1886 when its ornate frontage and interior cabinets were installed, and are putting the finishing touches to the first window displays and hoardings that will be installed over the coming months.

www.bromptonquarter.com

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Project #3 — RCA Secret
Bravo Charlie Mike Hotel recently completed the campaign identity and marketing for RCA Secret, a unique annual exhibition and sale of around 2,800 original postcard-sized artworks, made and donated by professional artists, designers, illustrators, and RCA students.

Launched at the end of last year, the postcards were displayed anonymously and signed on the reverse, so that the artist remained a secret until after the cards had been purchased and their signature revealed. Over 1,000 artists donated work to RCA Secret 2010, including Tracey Emin, Grayson Perry, Yoko Ono, Jake Chapman, Olafur Eliasson, Yinka Shonibare, Sir Peter Blake, John Baldessari, fashion designers Manolo Blahnik, Mary Quant and Sir Paul Smith, animator Nick Park, photographer David Bailey, film maker Mike Leigh and designers Ron Arad and James Dyson.

Having developed a visual language for RCA Secret over the last 6 years, this year’s campaign continued to explore the theme of masking the individual’s identity in a bold and creative way.

Established by Ben Chatfield and Mark Hopkins straight after graduating from The Royal College of Art in 2004, Bravo Charlie Mike Hotel (or BCMH for short) is a London-based graphic design and branding consultancy whose work employs traditional design principles and craft whilst embracing current and future technologies to realise challenging work in appropriate mediums.

I’ve a been a fan of these gents for a while now (you can see some examples of their old work in the archives here) and after a year of waiting it looks like we’re finally going to see a brand new site complete with an updated portfolio. Whilst the latter is still “coming very soon” at this point, I obviously couldn’t bear the wait and as result I’ve managed to procure an exclusive selection of brand new work (in high-res, naturally) which all comes courtesy of the generous Mr. Chatfield. Enjoy.

www.bcmh.co.uk

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Davina Peace — Identity
Davina Peace is a luxurious and ethically responsible beauty brand for our times. We created her identity and packaging, which launched last November at Harrods.

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New Statesman Magazine Redesign

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Le Beauvallon — Marketing Materials
Le Beauvallon brings back La Belle Epoque to the bay of St.Tropez. The famous old estate has been returned to its former glory; we’ve created all the online and offline marketing materials to celebrate its opening later in 2011.

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Royal Academy of Arts magazine — Redesign & Art Direction
Last week the Modern British Sculpture show opened at the Royal Academy. Richard Long had no hand in our cover for this latest issue.

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Max Rollitt — Website
Max Rollitt is an antique dealer, upholsterer and interior designer known for his classically refined yet informal style. His new website we designed reflects his distinctive approach.

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Eadweard Muybridge — Exhibition Graphics
The Eadweard Muybridge show was one of the most popular exhibitions of last year. The Tate Britain commissioned us to design the campaign and the exhibition graphics.

A small but considered selection of new work from Mr. Weidmann makes its way onto SI today, imbued with his contemporary Swiss flavour and a keen eye for typography, art direction and layout.

I guess you could say this feature was kept deliberately short and sweet, so that you (dear reader) would be forced to check out this larger feature on Micha’s work which is packed with more branding and print projects. FYI – 18 images in a single feature was considered a lot back then ;)

Enjoy and thank you once again to Mr. Micha Weidmann for providing the high-res imagery.

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Woodhouse — Identity
New Identity, packaging and web for the norwegian wood supplier Woodhouse. Woodhouse has a strong focus on quality and product innovation. A family owned company run by the second generation. Woodhouse represents suppliers from all over europe to buy and sell timber, boards and construction materials.

We wanted to create a unique and down to earth identity that stood out in the B2B market they operate in. Our approach was to visualize a really close connection to they products they work with everyday, using selected wood materials and strong graphic images of base materials in different stages of the process. The logo and diagonal matching pattern creates associations with the wood boards (i.e. flooring, building materials) and holds everything togheter.

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Grip — Identity
Grip: kultur is a company that hold cultural and creative workshops to give new spark and provide a mental change to businesses. We were responsible for both the naming of the company and their visual identity. The logo is based on the idea of change %u2014 a movement from one place to another. All printed matter has been spot varnished to simulate a feel of paint (one of their workshops is art) and change of material, it also hints to the word ‘grip’.

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Anthon B Nilsen — Annual Report
Annual report for Anthon B Nilsen, an over 100 years old company that operates in the fields of property, education and recycling. What a man carry in his pockets can tell a lot about a person, and Anton B Nilsens largest resource is their employees, the individuals behind the scene. Documenting the company from the inside by showing their emplyees belongings, rather than just their faces, we learn to know the company at a personal level. Print finishing includes black foil blocking and mainly recycled paper stocks. Art direction and design in collaboration with Martine Holmsen and Berit Bakkerud at Plastelina.

Photography by Mathias Fossum

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Arena Afrika — Annual Book
The Norwegian Council for Africa has since 1967 spearheaded the Norwegian struggle against apartheid, and worked for democracy and justice in Africa. We were happy to help them by doing the art direction and editorial design for their annual book. The cover illustration is based on this years theme, reflecting the great power nations interests in Africa. Print finishing includes spot varnish and different coloured paper stocks.

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Vegard Kleven — Identity
Identity and website for photographer Vegard Kleven. The mark we made is inspired by the thumbnail — the representation of a picture. The mission was to make a versatile, but clear profile, that didn’t speak too loud. We decided to make a flexible system that would allow for implementation on many different surfaces. Therefore a variety of material and techniques was used — like offset, vinyl stickers and rubber stamp — applied on poly mailers, envelopes, super jewel box etc. All material is printed with silver ink.

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Westerdals — Brochure
We were commissioned by Dist Creative to create a small sub-identity for the Westerdals School of Communication 2010 admission. We saw no reason to change Westerdals profile font, Helvetica, but we did want to create a clearer separation between the different courses. We did this by utilizing only coloured paper, with black ink. The brochure utilizes nothing less than 8 different paper stocks in three different weights. We wanted to make a clear, grid-based work, that didn%u2019t overshadow the creative tasks that the applicants themselves were submitting. The profile was also used on other ranges of media. Photography by Yann Bougaran.

We’re still staying in Scandinavia today (that’s never a bad thing) moving from Stockholm (See Wednesday) all the way to Oslo and as you’d expect, the quality of the work is topnotch.

HEYDAYS have been up to quite a bit since they were last given the “SI treatment” back in May 2010. Included in this feature is the usual generous selection of recent work including an exclusive that you won’t find on their site, and a couple of older projects have been thrown in for good measure. If that isn’t a good way to end the week, I don’t know what is! ;)

Takk (Thank you) once again to Mathias @ HEYDAYS for all the high-res imagery and info.

heydays.info

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