gallery int'l edition vol. 02
ISSN 2074-496X
the world's best graphics
www.gallerymagazine.net
| Enviroment | gallery 02 |
Nørrebro Theater Client: Nørrebro Theatre Studio: Scandinavian DesignLab Creative Director: Per Madsen Strategic Creative Director: Jesper von Wieding Creative Responsible: Per Madsen Designers: Per Madsen, Robert Daniel Nagy, Claus Rysser Country: Denmark Link>>Identity, P60-61
| gallery | gallery | Identify | 02 |01Enviroment
| Identity | gallery 02 |
Mathias Dahlgren When creating the logotype, we played on symbolism that contained elements that are extremely obvious for a restaurant, a fork and spoon. The difference is that they took on more subtle import as the fork and spoon were shaped into the initials M and D. The Dining Room is the more traditional area in which meals are enjoyed with several courses over a long period of time. The menu was designed in a discrete and sober style to blend into the intimate setting. It was also adapted to enable changes to be made and new menus to be produced daily. The menu is classic white with a discretely impressed logotype. A band with a date stamp around the menu reinforces the feeling of absolutely fresh and intimate. The menu is used only once, and the guest can take it home in a handmade envelope together with a gift that might consist of carefully selected tea, for example, to enjoy after the dining experience. The Food Bar instils a more robust feeling by using heavier materials than The Dining Room does. We designed the menu to be placed on handmade trays that also serve as placemats. They are made of kraft paper with a brown colour scheme, which fits in with the somewhat coarser yet stylish mode of expression. Client: Mathias Dahlgren Grand Hotel Stockholm Studio: Dolhem Design Creative Director: Christophe Dolhem Designer: Jan Vana Country: Sweden
| gallery 02 | Identity |
Paristexas The visual identity springs from the contrast inherent in the name – the morphing of Paris and Texas. The logotype is simple and taut, while the colour palette is flexible and changes with the collections. Identity and uniqueness come to the fore when the store’s symphony of collections is juxtaposed with the austere underground and becomes a morphing of music instruments and earthly insects. With this contrast-filled universe, the solution seeks not only to break with the traditional perception of beauty and fashion – it also challenges the classic approach to working
with identity. The primary identity element is not only a logo, but also a symbolic universe with a life of its own. Client: Paristexas High End Fashion Store Studio: Scandinavian DesignLab Creative Director: Per Madsen Creative Responsible: Per Madsen Design: Per Madsen, ass. Robert Daniel Nagy Country: Denmark Link>>Enviroment, P34-35
| Identity | gallery 02 |
Okooko Based on the brand idea “replenishment for a better life”, the offering expanded from beds, to bedroom “sanctuaries”. All graphics for Okooko (A Maori word meaning “to cradle in arms”) are based around the idea of the forest as natures sanctuary. The four O’s in the logo design incorporate a cultural fern motif symbolic of life and growth, wrapped around a central circle symbolic of you. When used together they make the Okooko tree ring symbol. Client: Design Mobel Limited Studio: Saatchi Design Worldwide Creative Director: Blake Enting Designers: Andy Scarth, George Kivell Country: New Zealand
| gallery 02 | Packaging |
Happy Pills Product concept, creative strategy and integral store design. A kind investor proposed setting up a sweet shop that is situated in a narrowest venue and next to the Catedral square in Barcelona, between two large buildings, there was a really small place available. We found that there was no trace of any school nearby with their hordes of certain candy consumers. We just had a tiny premises in a central spot, the aim of setting up a sweet shop, few children and lots of tourists. Now that we would have to sell sweets to whomever walked by: adult Barcelona residents and tourists, we needed to make the sweets interesting for adults. We came up with the fact, more or less proven by all, that eating something sweet entails a slight improvement in mood. In this light, sweets are small
mouthfuls of happiness. Any today mouthfuls of happiness are most necessary for such serious setbacks as Sundays with no football or more trivial matters such as the unbearable lightness of being. Things being so, we had the name: Happy Pills. When it came time to put the idea into practice, we thought it was best to endow it with a “pharmaceutical” touch, so to speak, using vials we tend to associate with aspirin or vitamins. You fill the vial up with the sweeties you prefer and choose which label best suits your mood, in either Spanish or English. Client: Domingo Ojeda Studio: m Barcelona Designers/Creative Directors: Marion Dönneweg, Merche Alcalá, Mireia Roda Copywriter: Jorge Virgós Country: Spain Link>>Identity, P90-91
| Packaging | gallery 02 |
Coke VIS Over the years, Coke’s packaging had become covered in drips and bubbles, emulating the fizzy refreshment inside. But this is generic: every other soft drink can do the same. Moira Cullen asked Turner Duckworth to create a visual identity system in line with Coke’s "21st Century refreshment" strategy. Turner Duckworth responded by removing extraneous elements to reveal that which only Coke can have – the Spencerian script and the ribbon design – creating emotional resonance with the fewest possible elements. Client: The Coca-Cola Company Studio: Turner Duckworkth Creative Directors: David Turner, Bruce Duckworth Designer Director: Sarah Moffat Designers: Jonathan Warner, Radu Ranga, Josh Michels, Rebecca Williams, Chris Garvey Country: USA
| gallery 02 | Packaging |
| Packaging | gallery 02 |
Systembolaget Systembolaget, the Swedish alcohol retail monopoly, has one of the most comprehensive product ranges in the world and a vast knowledge about the products it sells. In everything they do they wish to share this knowledge with its customers. The design of the identity and its applications is inspired by the products: its ingredients, the way they are produced and packaged. Client: Systembolaget Studio: Happy F&B Illustrators: Klas FahlĂŠn, Lotta KĂźhlhorn, Hennie Haworth, Jenny Mortsell Country: Swenden
| gallery 02 | Packaging |
| Packaging | gallery 02 |
Silver Hills Bakery Silver Hills Bakery unveiled the new look its re-branded bags of sprouted whole grain bread and a first glimpse of its recharged brand personality developed by Karacters Design Group. The revitalized packaging and image makeover is designed to appeal to a wider, health-intending demographic to boost sales and broaden its customer base. The creative concept was prompted by an insight discovered during brand strategy development that the bakery’s “Squirrelly” bread had higher brand recognition and recall than the parent brand. This insight was used as a naming strategy for the other breads. The new packaging has a distinct shelf presence that beckons to be picked up. Using solid, matte colours, the biodegradable bags include witty illustrations that evoke the new names visually and cleverly incorporate captivating bread windows to display the product.
“The sliced bread category is dull and one dimensional with most brands sharing the same visual wheat sheafcues, functional descriptors and clichéd good-for-you health claims. Our goal was to develop new packaging that would break through the homogeneity and connect with consumers in a humanistic way,” says Creative Director James Bateman. “The witty illustrations and unique names engage customers on an emotional level that makes you want to smile, while the short stories reveal the authenticity and integrity behind each carefully crafted loaf.” Client: Silver Hills Bakery Studio: Karacters Design Group Creative Director: James Bateman Designers: Dan O'Leary, Jennifer Pratt Copywriter: Jeff Galbraith Illustrator: Robert Hanson Country: Canada
| gallery 02 | Packaging |
| Publication | gallery 02 |
Inside Magazine Design review is Australia’s premier journal for architects and designers, well known for highlighting a range of cutting edge local and international design projects, from architecture to graphic design. Each issue featured a custom typeface that was unique to the theme of that particular issue, thereby lending a tailored quality to each release. Furthermore, in addition to art directing, I would regularly illustrate feature and front-of-book articles. Client: Inside Magazine Art Director/Designer/Illustrator: Jeffrey Docherty Country: USA
| gallery 02 | Publication |
| Publication | gallery 02 |
Tomorrow The task: To create an internal Trendbook, published twice a year, which in both shape and content can be used as source of inspiration on trends in music, fashion, retail, art and sociology. The Concept: Just like a chameleon, the publication maintains its shape, although it constantly changes its appearance to fit into the surroundings. As the edition is limited, a special hand-made bookbinding is chosen, which gives unlimited possibilities to constantly experiment with new paper qualities and other materials like leather, making it possible to develop a unique product which offers the user a new sensual experience according to the overall theme through the many different articles. Client: Bestseller/Stylecounsel Studio: Scandinavian DesignLab Project: Trend publication Creative Director: Per Madsen Strategic Creative Director: Jesper von Wieding Creative Responsible: Per Madsen Designer: Per Madsen Country: Denmark
| gallery 02 | Publication |