Spanish illustrator Carlos Arrojo shared with us his latest project. A visual identity for restaurant La marmota respostrebar, and many illustrations to go along with it. Check it out! For more from Carlos Arrojo visit carlosarrojo.com/. Logo Logo (line version) Logo (letters version) Illustrations for menus and other applications Desserts, breakfast, afternoon snacks and cakes Drinks Starters Main dishes Card design Card (front and back side) Patterns Menu (front and back side)
Brand by Hand is an experimental lettering project by Sara Marshall, a designer and lettering artist from New Zealand. This project explores the defining attributes of select major brands. Check it out! For more from Sara Marshall visit itssaramarshall.com.
This is an amazing study about the new identity of the City of Porto in Portugal. In this post you will see all the notes that enforced the decisions taken on this new identity that now represents the entire city. Enjoy! For more from White Studio visit behance.net/whitestudiodesign. New identity for the city of Porto In June of 2014, we were invited to design the new identity for the city of Porto and its city hall. The challenge presented was very clear. The city needed a visual system, a visual identity that could organize and simplify communication with the citizens, and could at the same time define a clear hierarchy, bringing together the city and the city hall. We needed to represent Porto, a global city, the city for everyone. That city could never be an empty entity, or a mere geographic location, restrained by physical boundaries. It is filled with life, with character, with icons and symbols, with habits and ways of living, with landmarks, landscapes and a very particular horizon. It could not be summed up in a few buildings. It is alive, and its identity shouldn’t be fixed or closed. It needed to breathe and grow every day. Ancient, Very Noble, Always Loyal, Undefeated City of Porto. Porto has always been a very passionate city. It has a scale that allows for a relationship of proximity. Here we feel cozy, we feel at home. We develop a feeling a ownership with every landmark, with every street. The city is ours. And with each step we recognize its accent and its attitude. The cause is the city. The cause is Porto. This idea of ownership felt very important for us. This unique home that each one of us finds in the city needed to be represent. Everyone should have their own Porto. With this idea in mind, one of our first tasks was to understand how others view the city, and what comes out of that observation. It’s obvious and even cliché to identify the big icons like Torre dos Clérigos, Casa da Música, Ribeira, Fundação Serralves, the river. These icons go from the incredible gastronomy to the unmistakable accent of the north of Portugal. The Port wine, the São João festivities, the old and the contemporary, the landmarks and the familiar, the list of “Portos” continues. For each citizen Porto represents a different thing. If you ask someone “What is your Porto?” the number of answers is endless. We felt like we needed to give each citizen their own Porto. We needed to show all the cities that exist in this one territory. Thus it became clear to us that Porto needed to be much more than a single icon, much more than a single logo. It needed complexity. It needed life. It needed stories. It needed personality. The icons Looking at Porto from an aesthetic point of view we found the inspiration we were looking for in the blue tiles spread all across the city. Although the city is known for a wide range of colorful tiles, with patterns and drawings that go from the totally geometric to the fully illustrative, only the blue tiles were used to tell stories. The blue tiles show our history, talk about the city and its landmarks, they are narrative by nature. Inspired by the stories in the tiles we developed more than seventy geometric icons that represented the city and its people. The icons were designed based on a grid that could connect them with each other, creating a continuous network that evokes a tile panel. These icons became a visual code to represent the city. A code that can live by itself, viewing each symbol individually, or as a network of symbols that show the never-ending complexity of our city. The icons could also be more illustrative, telling stories, showing the landscape, translating our passions. Porto. Porto is a city with a strong personality. It has a recognizable attitude that is unmistakably ours. So living along the network of symbols, we needed a brand with a clear message, one that summed up our identity. The word was enough. In a simple direct affirmation of who we are and what we are. Nothing else but Porto. The city is undisputed, unavoidable, incomparable. It’s Porto. In the word, in the dot, we visualize the orality of the city. As if the attitude of Porto was just waiting to be revealed. It is the blunt affirmation of what we are. What now? One of the things we realized when designing the icons was that the list of things to represent was endless. To each person we talked to, a new possible icon came up. The list kept growing from an initial twenty icons, to the current seventy and counting. It is meant to be an open system. Through suggestions, drawing panels and interviews we are trying to collect as much input as possible, and every week a couple of new icons appear. We hope we can make this identity feel as much like home as possible to the citizens of Porto. We want it to be theirs. Their ideas and their participation will be taken into account and we’ll build these stories together. Porto is a shared identity. It is not meant to be done or closed. The openness and versatility of this system allows the identity to reveal its various stages of maturity, to grow and to develop in a dynamic, mutable environment. Our ultimate desire is that the identity can work for each Porto citizen, that they can relate to it and find themselves in it. In the diversity of the symbols we want to find unity. Porto. is the romantic feeling that shows loyalty until the end. Credits Client: Câmara Municipal do Porto Studio: White Studio Year: 2014 Art Direction: Eduardo Aires Design project: Ana Simões, Raquel Rei Designers: Raquel Rei, Ana Simões, Lucille Queriaud, Joana Mendes, Maria Sousa, Dário Cannatà Motion: Tiago Campeã Photography: Alexandre Delmar
Today we are going to look how Sedonna was branded. Sedonna is an upcoming clothing company, designed by the Brazilian branding studio IndustriaHED. Check it out! For more from IndustriaHED visit http://industriahed.com/.
Another awesome brand study by the Polish designer Lukasz Ruszel. This time is an indie beer visual identity where you can see all the steps of the process, from goal to final result. Enjoy! For more from Lukasz Ruszel visit behance.net/midgar. Goal Creating visual identity for a new brand of indie beer called Trzech Kumpli (meaning "three three friends" in Polish). We have started out with a few ideas for the brand's symbolism: Three buddies having a beer together. Depicting Svetovid - a four-headed, Slavic God of war, fertility and abundance. Client was a big fan of Art Deco style, so we needed to try it out as well. Sketches Proposals First concept is a simple geometric representation of three friends sitting at a table, having a beer. Second idea refers to Svetovid, the four-headed deity. The last one is a more radical and experimental solution, inspired by alchemical symbolism (the first shape stands for the creation of the Philosopher's Stone). At this point different beer styles were supposed to have names of chemical elements, so I thought it might be an interesting approach. Development The first proposal has ben selected for further exploration, due to its simplicity and clear representation of the company name. My client rightly pointed out that the initial draft was a little too heavy, and the surface of the beer is too dark for the first (and most important) brew of the company's light beverage. While working on these elements, I have also come up with the idea of encapsulation the whole logo with a cap-like shape, that would clearly suggest some king of beverage (hopefully, beer for the target audience). At this point lettering was far from satisfactory - glyphs were just placed on a curve, not following it, and they were not "open" enough for optimal readability at small sizes. Comparison of the logo-cap before and after changes to the lettering: Final Result
This project is by italian designer Manuel Bortoletti and it illustrates the brand identity of Tenuta Veneta, the name of a fictitious multifunctional structure which promotes the quality of the agri-food of the Italian region Veneto. Enjoy! For more from Manuel Bortoletti visit manuelbortoletti.com and behance.net/manuelbortoletti. The project starts with the logo analysis, whose purpose is giving the feeling of direct contact between the producer and the final consumer. Then, it continues with studying the labels of the products sold in the shop, trying to create a consistent visual identity, adhering to the values of the brand. Finally, the project takes into account a small informative booklet and the website. The first wants to communicate the face and the history of the products, while the second will give the possibility to subscribe to the events organized by Tenuta Veneta and buy products directly from the online shop.
Today we featured a visual identity project titled Patch designed by Warren Tey, a student in Visual Communication in Nanyang Technological University, School of Arts, Design and Media in Singapore. Patch is a psychological clinic. Patients are often known mentally ill but psychologists say they are emotionally wounded. To patch means to seal a wound or repair a computer glitch. To patch is the concept: patching mental glitches patching emotional wounds For more information visit https://www.behance.net/warrentey
Clifton Robert Dickens is a graphic designer from Nashville, USA and he’s also the creator of the Honest Slogans Project. A fun project where he portraits what people really think of their brand. Hope you’ll enjoy! A side project I started in 2011. HonestSlogans.com is a collection of well-known brands with more transparent, "honest" slogans that offer more of an insight into what people truly think of them. Links More info about Honest Slogans: http://honestslogans.com More info about Clifton Robert Dickens: http://clifwith1f.com/4806/gallery
Alex Register is a graphic designer graduating this month from the Iowa State University. Even though he is fresh out of school his work is very professional and really well designed. For more from Alex visit alexregisterdesign.com, and follow him on twitter @Alex_Register. I stumbled into design on accident and have been hooked ever since. The intersection of communication and creativity really energizes me and pushes me forward. I ground my work in strong conceptual thinking and an attention to detail. - Alex Register LOGAN CLEMENT PHOTOGRAPHY Branding for Iowa-based wedding photographer Logan Clement. The client wanted something that was reflective of both his personality and style. SAUCY SAM'S Branding and collateral for a liquor store that focuses on personal service and local community. Collateral includes business cards, promotional posters, coozies, coasters, and packaging for make your own sampler packs. FLOYD'S B&B A branding project done during my Junior year at Iowa State. Drawing on themes from 1950s America, my group and I developed an identity system for a quirky bed and breakfast located in San Francisco. This project received Best of Identity Development at the 2012 ADAI Student Design Exhibition. TAPER WEIGHT LOSS A satirical branding project for a corporation that helps people lose weight through the use of tapeworms. The project brief was to develop and brand a company as a parody of existing corporations. I analyzed companies and ads associated with personal image in order to isolate and exaggerate their messages. For more from Alex visit alexregisterdesign.com, @Alex_Register.
Every 5 years the design community get into a main trend, we had 80's comeback on the earlies 2000's and now we seem to be into a retro wave with the Instagram boom and all this things. I mean, that's really interesting, how the aesthetic can be retrofitted to every era and still maintain the original meaning, that what brand design is all about. You can see more samples of this funny experiment on their Tumblr.
So many of the best brands and icons we're familiar with today are cross-lingual, and are embedded in our minds, they were designed so that anyone can recognize & understand them. With these the shape and/or colour alone is enough to decipher what you are looking at. I took a series of photographs, putting the camera out of focus most of these images are as clear as they need to be to communicate the logo. Some of these are more obvious that others. Try standing back from your screen, it might take a while to get some of them, if you cant figure it out, click image and read the flickr description for answer.