Branding project by Dmowski&Co for the Lui art and fashion concept store in Warsaw.
London based design studio Spy have updated Bristol’s oldest art gallery the RWA with a new visual identity that respects the history of the space yet embraces the future.
“Nourish had already carved out a piece of that market, but the brand had been launched principally for online sales. Now that it’s competing in the grocery aisle, clamoring for attention with more established names, the challenge for Nourish will be differentiating itself from the zillion other choices out there.
That was one reason Joy Bauer had her brand’s packaging completely redone. Most snack-food containers follow the time-worn strategy of slapping a huge brand name on the front along with a (usually idealized) photograph of the food. In fact, that’s pretty much the approach Nourish took when it first launched in 2014.”
“This time, the brand threw out the rule book in favor of a design that looks like a melding of carnival signage with 1970s TV game-show set, heavy on the browns and oranges, with the letters spelling ‘Nourish’ each sitting in a circle floating above a field of stripes. (There is a photo of the snack on the front, but it’s very small.) The snack bag is the work of legendary graphic designer Brian Collins, whose client list includes the likes of Nike, Google, Chobani and Facebook.
‘The crazy, bold diagonals on the front of of the Nourish package are inspired by the colorful stripes on snacks sold at the circus—popcorn, peanuts, cotton candy,’ Collins explained. ‘All those striped containers held the promise of fun and delight.’”
Christos Zafeiriadis designed the branding and packaging for Tap Espresso & Salad Bar, a hidden gem tucked away in the lobby of a high-rise commercial building in Sydney, Australia. Tap is proud to source local coffees and provide delicious lunch options, which even includes a salad bar with over 40 different fresh ingredients.
The identity and all the applications consist of illustrated elements that one can find in the cafe. The color and material selection alongside the industrial space create a friendly atmosphere, helping customers wind down and relax.
The illustrations and typography styles are flashy, fun, and reminiscent of retro diner graphics one might find in the 50s. The illustrations of business people also add a nice personalized touch to the overall branding and illustration. The fresh colors pop against the muted backgrounds to allow overall for an eye-catching design.
ManvsMachine created animations and graphics using retro patterns and a custom font inspired by the bubble in Nike’s famous shoe. Films and graphics combine witty one liners with photography and illustrations that hint at the history of the Air Max.
The campaign is one of a series of projects commissioned by Nike to mark the 30th anniversary of Air Max. The company teamed up with Unit 9 to broadcast a short animation on to the facade of the Pompidou Centre in Paris last month and ran a series of creative workshops for young people in London.
Nike also released a series of limited edition Air Max styles in the run-up to the event – from ‘remixes’ of classic styles to new designs.
Bibliothèque has designed the identity and communications material for Mere, the new London restaurant from Monica and David Galetti. The name and logo of the restaurant link directly to Monica and her family: the establishment is named after her mother Mere (pronounced ‘Mary in Samoan’), while also the French for ‘mother’. The ‘M’ logotype is apparently inspired by part of a Samoan tattoo as worn by the chef.
The identity uses a bespoke cut of the typeface Ratio by Clement Rouzaud. “Monica is a details person and our working relationship has been a close one to ensure that her exacting standards are met,” says Bibliothèque’s Tim Beard.
Bibliothèque worked with Imprimerie du Marais in Paris on the design of three ‘Food’, ‘Bar’ and ‘Wine’ menus and receipt folders. Each menu uses a combination of three inlaid materials, inspired by the restaurant’s interior design by Monica and architecture/design practice Softroom.
The Virgin V Festival has unveiled a brand new look for its 22nd incarnation this coming August created by studio Form. The redesigned logo and identity have just been rolled out in advance of the festival and will form part of the onsite design of the event.
The project has also resulted in series of additional graphic motifs – from various shapes and arrows to background patterns – which can be used in announcements in print and on social media in the lead up to V Festival 2017.
Tanssin Talo which translates to Dance House, is an ambitious €35 million project which will see the construction of a dance training and performance space in Helsinki. Development of the project began last year, and the venue is due to open in 2020. The space hopes to make dance a central part of Helsinki’s cultural offering. Studio Prakt were tasked with designing the identity for Tansin Talo; they’ve created a building-block inspired monogram which became the starting point for a visual language which will be adapted across promotional material, merchandise and more. The branding is distinct, yet subtle and versatile.
Internet advocacy and software group Mozilla has revealed its new logo and brand assets – including a bespoke typeface, colour palette and proposed approach to imagery – following a seven-month “open design” process documented on its blog
Today – after seven months, thousands of emails, hundreds of meetings and three rounds of research – the company has finally revealed its new logo, along with a proposed colour palette, language architecture and approach to imagery. Mozilla is now inviting feedback on the branding and says it will continue to share updates as final guidelines are developed.
Peter Bil’ak of Dutch type foundry Typotheque has created a bespoke font, Zilla, for the wordmark and accompanying copy. The font is reminiscent of Courier – the default font used for coding – and was selected for its “journalistic feel”, reflecting Mozilla’s internet advocacy work. It is open-source and will be available to download for free.
Mozilla creative director Tim Murray says the company chose to work with Typotheque because of the foundry’s expertise in “localisation” and creating fonts in various languages. As Murray points out, the design bucks the current trend for sans serif fonts in favour of something rooted in the visual language of the internet.
Kinnersley Kent designed around 80 items for the hotel, from menus and coasters to luggage tags, door key-cards and umbrellas. The ‘A’ brand marque is inspired by the art deco era and the building’s architecture – “specifically, by the hard lines of the building combined with the softness of the hotel’s famous external planting,” says director of graphics Kenny Sum. The agency also created postcards for the hotel bar’s signature cocktails and invitation cards for the General Manager to use when inviting guests for a drink. Cards feature a rose gold A and an image of a man in a suit.
Typefaces Romain and Brown were chosen for their mix of “heritage and modernity” and a herringbone pattern is inspired by oak floors in the building’s lobby. Gold foil detailing and deep colours add a touch of luxury – the colour palette includes deep blue, purple and green alongside mustard, bright orange and lighter neutral shades. Colours are used to signify different spaces in the hotel: blue represents lobby activities such as checking in, purple is used for the restaurant and green for the bar.
Copywriting aims to reflect a “tongue-in-cheek British sense of humour”. A welcome mat for guests leaving the building reads Toodle Pip while breakfast order cards feature the phrase ‘Rise and Shine’.
This rebrand reminds me for my Design Museum brand