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.
London type foundry Fontsmith has launched a print magazine dedicated to lettering and type design. Issue one of TypeNotes includes a look at great type for TV and film, choosing the right typeface for an ad campaign and the challenges of creating Cyrillic fonts.
The magazine was launched to mark Fontsmith’s 20th birthday. Founder Jason Smith says it celebrates the foundry’s love of type and the craft behind it. “TypeNotes is a collection of ideas about type and design that we hope will be something to keep and collect…. My ambition is to share our little world of craft – what we do and what makes us think,” he says.
Issue one is priced at £10 and each copy comes with a free poster of typographic terms designed by Exeter studio Believe.
You can order copies here.
“This deck of cards is a look at four specific moments in the history of art and design as it has wrestled to incorporate machine technology (or push against it). Each suit in the deck focuses on one of these four moments—the new typography of the Bauhaus era, mid-century book cover design, the late 20th century silk-screened poster aesthetic, and contemporary art & design in the age of mobile.”
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.
Less is more, especially when it comes to those who have sensitive skin. They need products without a bunch of chemicals or irritating ingredients, like the line of plant-based Peet Rivko products. Designed by Gunter Piekarski, the packaging expresses the simple, gentle formulas used in each item. Black and white packaging along with a bold, sans serif font look incredibly modern and sleek, appealing to those who need something different from what’s on the market.
Agata Jeziurska designed The Natco Company, a stunning conceptual brand for spice packaging. The Natco Company has a wide variety of spices, and each flavor is designed the reflect the specific flavor of the spices.
“The Natco Company packaging concept combines watercolor illustrations of each spice with geometric and abstract elements that are blended to create stunning collages. The concept is designed to appeal to artisanal food fans with an eye for design.”
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.
If you enjoy looking at logo designs, prepare to lose a few hours with a new website, Logobook, which collates identities going back to the 1950s.
Artist Gordon Young has unveiled a new public art project, Trading Words, which reflects the variety of goods imported into London over the last 400 years. It’s the latest in his large-scale typographic collaborations with designer Andy Altmann of Why Not Associates.
For Trading Words, St George approached Young to create a piece of public art in the capital’s London Dock development with the original idea being to establish some kind of “type trail”, says Altmann.
According to the designer, Young then came across an interesting publication in a second-hand bookshop that contained detailed lists of the types of goods that had been imported and exported via London over the last 400 years.“We took the lists from the original book [and St George] liked the idea of goods in and out,” says Altmann. “Then we did some proper research at the Museum of London Docklands – they have an original rates and charges book in there.” (Chris Ellmers, the founding director of the museum has contributed an essay to the book accompanying the project, detailing the history of the London Dock from its opening in 1805 until its closure to shipping in 1968.)“So for every elephant that was imported into the docks there was a particular price you had to pay,” Altmann continues.
“[There were] normal things in there – wool, tea, sugar – all those things you’d expect, but then as I started to read the books there were things like ‘dragon’s blood’, ‘divi divi’ and ‘whangees’. What the hell is all that?! They didn’t know what it was either.”
As with the Comedy Carpet, the new Wapping piece is made from granite and concrete, though the process itself proved much simpler, in part due to the wealth of material research and testing that went on to create the Blackpool work.
When completed, the London Dock installation will contain over 1,000 words that have come from the extensive lists of goods traded at the docks. “The joy of doing what I think of as a ‘graphic designer’ is that you’re moving from one subject to another,” says Altmann.
“For me it’s the learning of something. Doing a job like this, the enjoyment is in the research rather than the design, trying to figure out how to put that really simple idea of Gordon’s across. The joy we have together is doing the research, that’s when we both get really excited,” he adds. “And with time [the piece] is going to grow and become more powerful, hopefully.”