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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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Embassy
Embassy, the miniature retailing empire of the König family, has stores in Lucerne and St. Moritz and is one of the first addresses in Switzerland for the beautiful things in lfe: watches, gemstones, antique jewellery and objects d´art – as well as Switzerland´s only independently run Hermès boutique. Embassy´s success is the fruit of vision, hard work and dedication. The König family´s latest venture, Max Chocolatier, is the embodiment of the Embassy Group´s highest standards of excellence.

Font used:
Logotype: Custom drawn / Primary typeface: Neutraface 2 / Secondary typeface for web: Georgia

Custom Lettering: Kris Sowersby/Klim Type Foundry under direction from MRDS

Mr. Muggie Ramadani is the Creative Director and founder of Copenhagen (Denmark) based interdisciplinary design studio of the same name: Muggie Ramadani Studio. Specialising in creating elegant, intelligent solutions for analog and digital media MRDS is experienced in developing effective visual concepts and information hierarchies to ensure clear communication of content, style and aesthetics.

muggieramadani.com

Out of Curiosity…

SI: Are you a one man army?

MRDS: Yep – I´m a one man army ;-) I have been in the business for approx 20 years now. I hire freelancers and use my network when it´s needed. I prefer to work like this instead of having full-time employees…

(Note to the readers: Muggie is working on 4 projects simultaneously at this time of writing. Three of those projects will be presented on the same day at the end of week!)

SI: May I ask why? ;)

MRDS: At this stage of life I prefer to be a free individual – I have clients in many countries and that requires some traveling where I´m away from the office. I used to have employees a couple of years ago – I had designers working for me full-time and since I was the creative mind behind my company it was required that I was present for the people working for me. But again, I might change my mind in the future and build up a larger setting. Today I´m working almost 24/7 on lots of big branding projects… Would be nice not to do all that work if you know what I mean :-)

Big thank you to Muggie for making this feature possible. You’re far too kind :)
Part 2 of this 2 part Muggie Ramadani Special, will be going live next week. Stay tuned folks…

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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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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.

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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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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The colour palette is black, white and silver. This monochromatic system again reflects the efficient approach of the new identity. This sets All About Tea apart from its competitors, in a landscape dominated by brown/green colors, tea leaves and tree huggers.

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The type is in Orator — a mono-spaced typeface. This reflects the uniform spacing of the mark as well as referencing the utilitarian info-graphics associated with import and export. The typeface strengthens the ideas behind the metronomic process of the companies offer. The secondary type, Garamond italic, is used to represent the founder’s expert voice. This is more fluid, more conversational and balances the strength of Orator. It also aims to bring out the quirks and passions of the All About Tea organisation.

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All About Tea is an expert wholesale tea distributor based in Portsmouth, UK. They source their tea from remote regions, to bring the best of the worlds flavours to a global audience. Their ambition was to hone their wholesale offer while satisfying the need to reach new audiences. They wanted to keep the warehouse feel but also establish a loyal consumer group who felt they were getting premium quality at wholesale prices.

Moving Brands were tasked with creating a new identity that would stand out in a “sea of sameness.” The identity needed to work effectively across their existing wholesale market, and enable them to grow into retail channels. It was also vital to communicate the founder’s passion for the art and intricacies of tea.

The final All About Tea identity system, currently being rolled out, incorporates a brand identity, brand architecture, guidelines, website, packaging, stationery, photography style, presentation and sales templates, mood film, and tone of voice.

Some delicious new work from the kind folks at Moving Brands makes it’s way onto SI today. I’ve actually been waiting to see this project since late last year and now that it has finally been shot, I can honestly say that the wait has definitely paid off. ;)

Thank you once again to the lovely Georgina at MB London for the super high-res images. I shall be adding the full 5000px versions to the SI Flickr shortly, so stay tuned people. ;)

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Design THIS IS Studio

Ladies and gents, It gives me great pleasure to introduce you to the work of THIS IS Studio a multi–disciplinary design practice based in London established in 2006 by Barney Beech, Richard Barnett and Dougal Burgess. They create work that sits across a wide range of platforms from moving image to print, engaging with each project without a preconceived style. In the process they collaborate with the most exciting photographers, animators, illustrators and copywriters, to make sure that whatever they do, they do the best job possible.

In the last 4 years they have “made all sorts of nice things for a great range of design conscious clients, from Victoria and Albert Museum, British Council, Harrods, Rankin to MUSE.”

Big thank you once again to Barney for sending the high-res images and project info.
Hope you enjoyed this feature and I wish you all a great weekend! ;)

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Intermission

Mr. Mads Perch, a Danish born London based photographer, just so happens to be a self-confessed fan of SI, so obviously I had to showcase his crisp, understated photography on the site one way or another. Whilst I was busy prepping his debut feature for SI, a certain Richard Robinson (art director & designer for small record labels such as Polydor and Island amongst others) gets in touch about his newly launched website and seeing as these two gentlemen have collaborated many times in the past, I felt it made sense to do SI’s first ever double feature. Enjoy!

Thank you once again to Mads and Richard for the nice big images, info and for supporting SeptemberIndustry. Legends, the both of you ;)