Branding elements logos vol2 by Eman Abdelghany

BRANDING ELEMENT

LOGOS

BRANDING ELEMENT

LOGOS

Publisher: Lin Gengli Editor in Chief: Lin Shijian Executive Editor: Jasmine Tam, Casey Kwan, Cody Chen Design Director: Lin Shijian Executive Designer: Yu Kai Address: Room 15A Block 9 Tsui Chuk Garden, Wong Tai Sin, Kowloon, Hongkong Tel: +852-35832323 Fax: +852-35832448 Email: info@sendpoint.com.cn Website: www.sendpoint.com.cn Distributed by Guangzhou Sendpoints Book Co., Ltd. Sales Manager: Peng Yanghui(China) Limbo(International) Guangzhou Tel: (86)-20-89095121 Beijing Tel: (86)-10-84139071 Shanghai Tel: (86)-21-63523469 Email: export@sendpoint.com.cn Website: www.sendpoint.com.cn ISBN: 978-988-15625-9-3 Printed and bound in China ©All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.

Eugene Yakushev, Creative Director of branding agency CETIS

Introduction

Every day we interact with dozens or even hundreds of companies: goods, services, products. Each of them is a universe where thousands of people, thoughts and ideas make our lives easier, faster, more comfortable and exciting. Often we do not even think of why we have chosen this or that company, or why we trust some product or service. But you can be sure, right now, when you are reading this, someone is seriously concerned about you choosing their product. At the heart of this major work lies a visual communications system, its main components being certainly the logo and the corporate identity. Design and branding agencies are making great efforts to build and integrate the images that will help their clients to attract consumers as quickly, safely and efficiently as possible. In this book you will find many examples of how many brands around us were created, how their visual systems look now and what ideas their images are based on. But what's the difficulty of this project? To understand this, we must examine the entire process of designing a logo and corporate identity from scratch. Creation The Client Brief Working on the logo begins well before it appears on paper. Within the brief the agency analyzes the target audience, the competitors, the preferences of the business owners, the nature of the promoted product, the media bearing the logo and many other extra options that have no direct relation to the logo itself, but are important to create the cornerstone, the idea.

One would think, why such efforts only for a small image with the inscription of the corporate name? But since the creation of the first logos, long time has passed, there have been launched hundreds of thousands of brands, and the need to be different now is particularly crucial. However, the diversification is not the main target, because the objective of any business is to offer their customers a bit more than just a product – it's important to offer also a philosophy, the idea of the brand. The client and their vision, their position and the nature of the business at this stage play a key role; in the end it will be their task to navigate their ship in the tumultuous waves of the ocean of business. Business Research Analysts, marketing experts, focus groups, designers and illustrators are only a small part of the experts involved in the process of creating a logo. Their common objective is to accommodate in a small shape the whole stratum of ideas, thoughts and concepts, carried by the client company, while maintaining the simplicity of shapes and clarity of the logo. At the first step of creating a logo there comes a combination of knowledge of the developers and the client. Developers try to see and analyze the nearest future of the company, to simulate the picture of the target audience, to find the most accurate reflection of the visual image of the company, which will meet the preferences of the target audience and the client. On the first step a basis is provided which will be subsequently expresses in the shapes and the graphics. Image Research Here the fun begins. This is exactly the moment when a simple image turns into a symbol, a sign, the future reflection of the company

ideology in its dialogue with consumers. At this step, the designer transforms the theoretical knowledge into shapes. He is looking for a very clear, minimalistic, accessible shape, which can without further explanation deliver the key message of the company. The work on the sketch is completed only when the designer can virtually foresee the shape, the type, the color, the texture of the future logo. Design This step is, perhaps, the most interesting, it is now when all the ideas and concepts previously expressed only in general outline and sketches, finally gain the shape and the look that is closest to the target. In the hands of the designer paper sketches and drafts are converted into a completed shape of the logo. This is how it will be presented to the client and the audience. In addition, the step is the starting point in creating the future visual identification system. In today's world the role of the logo can even fade into insignificance. The Internet, interactive television, mobile technology - all this creates a common informational space, where the modern brand is necessarily present. All these technologies make it possible to surround the consumer with the brand attributes for a long time, and the visibility of the service or product provided is often even higher than the recognition of its logo. That's why the task of modern designers is not so much in creating a logo but in creation of a system of visual identification.

The system of visual identification comprises a set of stylistic elements interaction with which forms recognition and habituation to the brand. Here everything is important: colors, patterns, the image library, copywriting, fonts, as well as combinations of all these. This range of components determines the communication system in which the logo plays a leading role. We draw the sketch of the logo - creating a business card, see the flaws in the logo, or in color, or font - correct the logo - again make a business card, well, we did it! We create a letterhead, we see some flaws again, make adjustments in the sketch and come back to the module. Advertising layouts, web banners, souvenirs - each of these and many other items contribute to the style being created, and only after going through all these steps, we can get a guaranteed outcome that meets all the requirements of the technological society. Presentation to Client The most exciting and important moment. We all know how it is sometimes difficult to convey our thoughts and ideas even to someone close to us, because everybody has their own vision, values and affection, which, of course, must be respected. And here comes the day when the results of our research, work and sleepless nights are to be presented to those for whom it was intended. Believe me strong and worthy ideas are obvious, so, before the presentation, the designer or the agency should ask themselves only one question, "Does the product we have created match the task?" And if the answer is - yes, don't be afraid of anything. You will have success. Integration The logo can be compared with an expensive suit, which is tailored for

your shape and fits perfectly, no matter what you do. It is extremely difficult to create a perfect suit, but if you did, the result is worth it. A project becomes successful not only when the agency sees the development of the visual communication system, but also when the client likes the idea and sees how the proposed concept can be implemented. In this case, you can be sure that you have created a long-living product. Trends Think of the associations with: •Apple •McDonald's •Adidas What comes to your mind? •Innovations, something metallic, glassy. •Cheap and fast, something yellow-red, even smells like French fries. •Sport challenge or something dark with texts encouraging you to challenge yourself and the others. As you can see the logos play a big role in the associations, of course. But not the most important one. The trend of leveling out the significance of the logo and coming to the front of the whole cluster of components of corporate identity is a characteristic feature of the future visual communications. Mixing of the offline and online parts of business, the time when brands are tightly integrated into our environment at all stages of human life, expands the boundaries of user interaction. Today's brand is not just a logo, it's an ideology that welcomes you in social networks, on the screens of your tablets,

phones and computers. The key difference of the development methods for this approach lies in the fact that the main object of brand recognition is the system of visual communication as a whole, which includes the logo and colors, and fonts, and the opportunity of using additional elements: patterns, fills, and image libraries - as well as a number of other features reflected in the package (paper, shape) and related products, various marketing materials and souvenirs.

TYPOGRAPHIC

G'DAY DESIGN AND CREATIVE - 2011

114

C2 – Cultural Center

WILD CHEKHOV

116

OHM INSTITUT

Alex Poulsen Arkitekter

118

PECHA KUCHA NIGHT MONTRÉAL

UK JAPAN

120

IGET.IT

ATELIER PUNKT

123

SOUTHEASTERN CENTER FOR CONTEMPORARY ART

RÉALISONS MONTRÉAL

124

LA BOQUERIA MONTRÉ AL

NUMERISSIMO

126

PINO

COFFEE & KITCHEN

129

IMPERIAL WAR MUSEUMS IDENTITY

SPAIN ARTS & CULTURE

130

MOMENT FACTORY

RAVENSBOURNE

132

RUI MARINHO

PEW CENTER FOR ARTS & HERITAGE

133

I DEPEND ON ME

MOBILE MEDIA LAB

134

TRINITY LABAN

VOLUNTEER UNIVERSIADE SHENZHEN 2011

135

BROWN & HOBBS

FADU IDENTITY

136

SELF PROMOTION

THE NATIONAL (.РФ) DOMAIN LOGO

137

GREAT BRITISH CHEFS IDENTITY

URAL ART WEEK 2010

138

FORMULABRUTA

RUSSIAN COMMUNICATION GROUP LOGO

139

TENTH CHURCH

SPRITECS

140

L'É LOI

ESPAÇ O

141

SJ OPTIONS

KERNEL FESTIVAL

142

LIUSHI BAMBOOWEAVE BRAND DESIGN

UADE ART INSTITUTE

143

LEIAMAIS – ART and design books

BRANTONY CAFÉ

144

DOUBLE ONE

SABADÌ – CIOCCOLATO DI MODICA

145

HD LIVE

UPIN

146

AND SO I WATCH YOU FROM AFAR - BRAND DEVELOPMENT

INNO - LAB VET.

147

MODILA

NOISE ASIA

147

ALGA

VERDARIUM

147

ANIMAX REBRANDING

NO BRAND

147

VIVERO ANTONIUCCI

STIX RESTAURANT

148

N2N

NOKIA NEX BRAND

148

MEDIATISER.TV

TRIANGLE PROJECT PART 3

148

ONETWOFIVE

THE HILL STATION

148

DESIGNTEKA.PL

SCIENCE MUSEUM

149

MUG-MODER URBAN GALLERY

KAUFMANN

149

Bibib.kz

MARIA PAPOILA

149

SAN LISANDER

MARK

149

SLON.KZ

MONZA. ULTIMATE DETAILING & PROTECTION

150

HEUB

BARD OF BRAY IDENTITY

150

MUSEUMS ANTWERP

Jacu Coffee Roastery

150

PIN UP POLLY

100

ACTION ON HEARING LOSS IDENTITY

150

HOTFRIDGE REBRAND

102

THE CITY OF KYIV IDENTITY

151

OK CENTER

Belmacz

151

CORE - SPIRITUAL VODKA

108

Black Magic and The Days & Nights Festival

151

BELL & LOXTON RAPE SEED OIL

110

Wo Hing General Store

151

AVA BATH ACCESSORIES

113

Le Buro

Contents

106

SYMBOLIC

154

COMMUNITY FACEGALLERY.RU ID

249

RUSSIA INSURANCE COMPANY LOGO

300

SUPERBA COFFEE

156

CARDINAL CAFE

250

BIG GROUP

301

PINKORRIERE LOGO

158

MIT MEDIA LAB IDENTITY

252

TURKISH AIRLINES FINAL FOUR BARCELONA 2011

301

GRS IDENTITY

161

OCAD UNIVERSITY IDENTITY

254

FINAL FOUR ISTANBUL 2012

301

BEEBOX!

164

PERSONAL BRANDING

256

VIRGIN ATLANTIC

301

THE PIXEL SYNDICATE

166

YOMAJIK

259

SOCIAL NETWORK GAMER.RU ID

302

BRANDING ASSISTAREFA

169

BARCELONA REBRANDING

260

HOSPITAL DE BRAGA

302

FISH AND EXPLORE

170

CorporaciÓn Audiovisual

262

KAVIART

302

ALMATY METROPOLITAN

172

BUDAPESTURISM

264

"The LOOP Staff" Identity

302

SEA SENTINEL

174

GXY Search

266

FAIRPLAY CONSEIL

303

SIMPLY CROW KNOKET THE CALEB COMPANIES

176

MTV Style Guide 2010

268

KATONA JOZSEF THEATRE INSTITUTE IDENTITY

303

178

A-5

271

C - CONVENIENCE WITH CARE

303

180

Dilibag

273

ZAMTEL REBRANDING

303

MI DULCE MARÍ A

182

Latvia for World EXPO 2010

274

LOS BARBEROS IDENTITY

304

MARKETING HOUSE SOLUTIONS & RESULTS

184

B. Wolf's Pork Shop

277

ARCO RIBEIRINHO SUL

304

FROGSTIGER

186

Aernout Mik Exhibition

278

S7TART LOGO

304

ROSSATE ENGENHARIA

188

DIMISIANOS COIFFURES

280

BESSER AUTOMOTIVE

304

BREAD & BREAKFAST

190

Aava

281

OFFSETTERS

305

AVADORA

193

MAREINER HOLZ

282

Meteophoric Brand

305

PROXIMA EVENTS

194

AVELIER

283

What Happens When

305

A.COM RUN & BIKE

196

IDENTITY FOR MOSCOW

284

KNUCKLEHEAD MUSIK

305

OCHO CEVICHE BAR

199

QUEEN RANIA FOUNDATION

285

MAD museum

306

KSS SECURITY SYSTEMS YAAWAY.COM

201

CORNWALL DESIGN SEASON

286

EYE-CANDY TATTOO AND ART STUDIO

306

202

ICELAND - DRIVEN BY NATURE

287

LE CABARET

306

SOCIETY OF GI ENDOSCOPY OF INDIA

204

GIVING SMILES BTL BRAND CONCEPT

288

THE FLOWER COMPANY

306

TAG ART SHOP GALLERY

208

Marina Port Vell

289

LIZARD SQUASH

307

WHITESCAPE ASSISI MOSAIC

210

SALES DESK POLEN

290

INNERVISION

307

212

PROSPECTACY

291

ORGANIC TRADE

307

LAKEN IDENTITY

214

MILESTONE CONSULTING

292

SCORPAENIDAE

307

JIU-JITUS FEDERATION OF KAZAKHSTAN

216

INTERNATIONAL LOW-CARBON GARDEN

293

ZUPPER

308

Index

218

CHELYABINSK REGION

294

MACACO GORDO

220

GRÚAS LOS CAMPONES

295

MILLER & GREEN IDENTITY

222

MEP

296

NINJA TUNE

224

DEEPSOUL KOLLEKTIV

297

EXCELLENT SMOKE

226

ROYAL OPERA HOUSE REBRAND

298

FILIP LE FRICK REBRAND

228

PUNTO TAPIZADOS

298

BHURATNA MICRO NUTRIENT FERTILIZER IDENTITY

230

MAGYAR MADÁ RTANI INTÉ ZET INSTITUTE IDENTITY

298

DJ WILL CLARKE REBRAND

232

LOOKIN ROOMS

298

ECOTRAVEL DESIGN

234

NATIONAL MARITIME MUSEUM REBRAND

299

XTREM MAN LOGO

236

TEXTSCHMIEDE

299

REGIONAL ENERGY HOLDING LOGO

238

APARTES

299

GOGO

240

LOVE 22

299

ESTÚ DIO VII VISUAL IDENTITY

243

PLUSONE AMSTERDAM

300

DURALED

244

HUBRECHT INSTITUTE

300

BILLY THE GROUP

247

EXPODIUM

300

ECONOGREEN

TYPOGRAPHIC

This is a brand identity you designed for your own studio. What make you think of using the basic triangles, circles, squares to make up the brand image? Do they have any special meaning to your studio? Lots of complex shapes consist of dot, line and cover, and circles, triangles as well as squares become the initial visual elements. I think such kind of variation will influence our designs all the time. The design concept of our studio mainly focuses on vision that we generally figure out the design meaning of the logo through the initial patterns.

Logo design becomes more diverse. What do you think the trend of logo design today? Logo will be more and more abundant in its design by the development of printing, craftsmanship, logo carrier and so on. For example, logo can be dynamic in multimedia while it varies under some lively images. Logo may vary by the change of the aesthetic appreciation from public designer. However, this trend is unable to prove the change is well. In my opinion, logo is not only a pattern, but also a richer conceptual sign that can be used to communicate by people.

Logo

G'DAY DESIGN AND CREATIVE - 2011 This is a type of special font which is made up of circle, triangle, square and line, and these original elements will always influence the process of design. STUDIO: G'day design [China] DESIGNER: Jiasheng Chen

How do you understand logo design? Please share your experience in logo design? Logo is regarded as an event, an object and a dominant mark of a company or a brand. It can exist in a visible or invisible way and represent a visual pattern that is apt to memorize, spread and appeal.

Process

16 #1

WILD CHEKHOV W Ч

W Ч

Wild Chekhov is the creative agency, specializing on exclusive events. "Be Wild" is the position of the company. Chekhov is the Russian writer, generally recognized classic of the world literature. His exposed way opens the creative and non-standard approach of the company. Details of the image and creativity of Chekhov became firm elements of identity system.

STUDIO: Who make it? [Russia] DESIGNER: Erohnovich Roma

Logo

Process

Logo

Process

ALEX POULSEN ARKITEKTER Alex Poulsen Arkitekter (APA) was founded in 1944 by Alex Poulsen (1910-1999), one of the most advanced and sought after architects of his time. In working with the new identity, Re-public has set themselves in the place of the architect and experimented with the use of space and building blocks as a foundation for the logo. The individual letterforms can be deconstructed and re-assembled in different ways. The result is a solid, yet light and playful visual expression, in-line with the architectural premise. Representation, statement, and dynamics complement each other to form a harmonious unit. The complete identity combines all the elements that make up Alex Poulsen Arkitekter: a Nordic, old-established corporate philosophy with a high level of professionalism and innovative power. STUDIO: Re-public [Denmark] CREATIVE DIRECTOR: Romeo Vidner, Morten Windelev DESIGNER: Romeo Vidner

We can see that the individual letterforms can be deconstructed and re-assembled in different ways to form the logo and the client name. It creates a diverse and dynamic visual effect. Where does your inspiration come from? In this design, how did you come to the perfect balance of visual charm and functionality of the design? Being curious and fascinated by the subject, is ultimately what led us to this design solution and the initial idea was the strongest and the one that made it all the way through the design process. The main source of inspiration for this project has been different impressions of architecture and building, so it quickly came natural to work with the concept of building blocks. The first thing we did was to shorten the relatively long company name from Alex Poulsen Architects to APA, a practice that is common in the naming of Danish architecture firms. Having the short name in place, the initial sketch work was about searching for a visual language in the typography that would reflect the aesthetics of Scandinavian architecture. At the same time we experimented with the letterforms, trying to find an interesting and harmonious balance between the individual graphic shapes.

We also know that ALEX POULSEN ARKITEKTER helped you win Red Dot Award 2011. What are your views on the future development trend of logo design? Like with every other aspect of contemporary visual culture, there are of course trends in the aesthetics of logo design. But it is not very interesting to comment on or pay attention to the most apparent and characteristic trends. Instead, we aspire to maintain a contemporary and fresh style, and we think it is more interesting to always experiment and push the boundaries of the visual language, than to simply adapt current trends. Taking functionality and concept as an example, there is an interesting development going on, that the traditional static logo no longer has to be the anchor of a visual identity. Fueled by technological advances in new media, other aspects like typography, color, composition and dynamic symbolism are strong tools that can establish a strong and characteristic visual expression, without the need for a conventional logo mark.

How do you understand logo design? Please share your experience or thought in logo design? Mr. Jean Jaques Schaffner, juror of the Red Dot Award 2011, summarizes it well in the explanation for choosing the APA logo for the Red Dot: Grand Prix: "The logo is reduced to the max. The design is explaining the meaning of architecture itself even not mentioning architecture. This is what a good brand is."

How do you think the value of typeface in logo design? The typface is visual attire for words. It defines the look and feel of a word or brand name, so it is of great significance in logo design. In the past, a logo has traditionally been thought of as a figurative symbol of emblematic character. Today, corporate logos are more often based on a typographic wordmark, which promotes the typeface to be the primary expressive visual element, responsible of communicating brand history, values and tone of voice. Besides, when designing a wordmark, there are a progressively vast number of typefaces available to choose from.

Logo

UK JAPAN The British Embassy in Japan asked johnson banks to think about a symbol they could use for a series of events celebrating projects carried out jointly between British and Japanese companies. "As we experimented with ways to sum up the UK and Japan in one single symbol, we wondered if we could find a typographic solution to what seemed a very tricky conundrum. We looked to see if we could take the letters for 'UK' and combine them with the kanji for Japan. At first sight, this seemed almost impossible - we could see how it might be possible to combine the first kanji with a 'U', but the other character was much more challenging. By spinning the characters in both languages left and right, we began to make some headway. Luckily, we had managed to find a genuinely bilingual symbol to sum up the collaboration." Designers say so. STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Julia Woollams Process

What is the purpose of a logo?

What's your design philosophy in brand design?

Originally, at a very basic level, a logo was a unique way of writing yours or a company's name – a kind of signature and way of making your individual mark on the world. Over the last decade brands are being using more as entire communications toolkits, to the degree now where many companies and organisations are thinking much harder about their brand, and how they use it, than they are about their advertising strategy.

Our design philosophy is to try not to repeat ourselves; to do something memorable and unique, whilst finding something that solves our client's design problem. However, it is more difficult to do than it sounds.

What do you think the values and effects of logo?

What's your design philosophy in brand design?

There are two clear trends emerging. The first is towards more and more flexible systems, of which johnson banks has done several including Pew Center for Arts and Heritage, Guggenheim UBS MAP Global Art Initiative and Ravensbourne. The second trend is towards identities that work across multiple platforms at different scales and perform different functions in the way that the Twitter system has its full name, its "t" and also its bird symbol. Conversely in the future there may be a backlash against flexible and multi-platform brands and a return towards simplicity. For example Starbucks' recent rebrand dropped the name "Starbucks Coffee" from their logo altogether, giving the "siren" more prominence.

A good logo should be either compelling in its simplicity or confounding in its complexity. A great name helps, of course - a bad name needs an interesting graphic identity just to get it to stand out.

ATELIER PUNKT This is a visual identity for Atelier Punkt, a space devoted to show graphic and object design, architecture, photography and illustration. Atelier Punkt's logo refers to the space's role as a meeting point for people from different practices and the stencil typeface evokes the building of this inter-disciplinary community. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

Logo

Process

What do you think the value of typeface in logo design? The value of a typeface in logo design cannot be underestimated as it immediately gives an impression of the character and personality of the entity it represents. It is an opportunity to set the tone of voice with which it will speak, and as logos are often called upon to act as sole representatives of these entities, it is important to consider this properly. In the case of Atelier Punkt, a stencil typeface was chosen to reflect the industrial physical context of the space itself, as well as the notion of building—a community built by assembling disparate fields of practices together. The choice of typeface also plays a major role in the rest of Atelier Punkt's visual identity. While the various promotional pieces are all built around the logo and an unchanging grid, a different headline typeface is especially created every year—a simple device making every season stand out from the previous.

Feed studio has lots of excellent brand design works. Would you please share your experience and thought with us in logo design? We strive for the simplest, clearest solutions in all of our branding work. After a careful analysis of the client's needs and the nature of their work, we can usually synthesize an essential gesture, an elemental graphic device which becomes the pillar from which the entire visual identity can

be built. Instead of presenting an exhaustive array of applications to the client, we work to explain the reasoning behind this gesture. Once that is communicated, it is then quite easy for anyone to imagine the device applied to a range of applications often exceeding even the client's initial needs.

RÉALISONS MONTRÉAL This is a visual identity for Réalisons Montréal, a project aiming to draw attention to design in Montreal and raise the profile of its designers. The logo evokes the map of a city, the intricacies of a finger-print and the potential of building blocks. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

Logo

Process

How do you think the effects of typeface in logo design?

How do you understand logo design? Please share your experience in logo design?

Typeface design is an essential part of a logo for us, and maybe the most strategic. It requires some specific skills, culture and passion. While the symbol often tells directly the meaning of the brand, typeface has the subtle role of transmitting a spirit and a state of mind.

Our experience in logo design has shown us that firstly, a brand designer will getting better and better through the years. He has to get more and more experience, to have a wide culture of brand design and must continually feed himself of a natural curiosity.

What do you think the trends of future logo design?

Logo design for us is a discipline that doesn't lie. And it is also an essential step in the life of a company, that can't be overlooked. But strangely, we think that a wide education work is still necessary to make every company, from small to big ones, understand how important a strong branding work is.

Logo

NUMERISSIMO Brand Brothers designed the graphic identity and branding of this print company, with a logotype that reminds technicality and graphic works in a simple, pure and creative spirit. STUDIO: Brand Brothers [France] DESIGNER: Johan Debit

I think that we are reaching an age when the word "trend" has completely lost its meaning, because everything is going faster than before. Today, in logo design, many trends are mixing each other. That's why we believe at Brand Brothers that it is necessary to come back to the original meaning of a logotype. The future "right trend" will be to avoid short-term trends, avoid over-arty and about-fashioned identities, and be simple and efficient and always trying to be inside the head of your client's clients.

What are the necessary qualities of a good logo? The qualities of a good logo are the same than 40 years ago. A design that must be essentially timeless, simple, relevant, perfectly in phase with the positioning of the brand you are working for, and that has the most complete meaning with the less graphic elements. Don't try to make in 2012 identities that say "I was created in 2012"!

Process

As we all known, the quality of applications play an important role in whether a logo success or not. What are your views on the applications of logo? In our experience, a qualitative use of logo can enhance the value of a brand. The more selective one is about a logo, the more it will be noticed. It's about filtering out the touchpoints of a brand and using these in an innovative way.

What kind of role do you think typeface plays in logo design? I think typeface is meaningful in logo design. And more and more companies are selecting a proper logotype for their companies. Logo

I n consideration of the relations between logo and design industry, would you please share your experience and thought in logo design? Although the graphic corporate design concept is also important, logo design considerably shapes the overall image of a brand. After all, a good brand should also be recognisable by the significant manipulation of color, shape, image and materials even without the logo.

STEP 01

Coffee & Kitchen essen.trinken.catering

Coffee Kitchen&

Coffee & Kitchen

& COFFEE & KITCHEN

STEP 02

Situated in a business district of Austria's second biggest city, Graz the new restaurant Coffee & Kitchen restaurant brings culinary pleasures to the daily office life. The color world in black and white (logo) combined with brown (wrapping papers, menu cards, food packaging) determines the interior design as well as the corporate design. moodley brand identity has consciously

avoided the branding printed material. However, there are different logo stickers that convey the image of a relaxed and informal restaurant atmosphere (even the signboard symbolizes a sticker). The used handwriting font intensifies this feeling even more. STUDIO: moodley brand identity [Austria] CREATIVE DIRECTOR: Mike Fuisz DESIGNER: Nicole Lugitsch

Process

Logo

SPAIN ARTS & CULTURE Spain arts & culture is a new brand born to reflect all the expressions of Spain, and conveys the cultural variety of the country. The project includes identity, stationary and the first program with all the events across the US. STUDIO: Toormix [Spain] CREATIVE DIRECTOR: Oriol armengou, Ferran mitjans

Process

Logo

RAVENSBOURNE This famous digital media and design institution has recently undertaken one of the biggest transformations as an educational institution. johnson banks' task, with both words and pictures, was to find a way to reposition the institution externally whilst bringing the internal community on board. At the same time they were pitching their positioning into the future and reflecting all of this with an identity change. After discussion and research, johnson banks began the design process. Following the tessellating patterns of Roger Penrose, the visual statement of the tiles was too powerful to ignore. The fact that, from just three shapes, so many permutations were possible seemed to nicely echo the education process. STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Pali Palavathanan

Process

PEW CENTER FOR ARTS & HERITAGE The Pew Center needed the benefits of one unified identity, whilst somehow recognising its work in dance, exhibitions, fellowships, theatres, management, heritage and music. To make it trickier, they wanted to let the initiatives retain their current names. After lengthy discussions, and several unsuccessful design presentations, johnson banks started to think of the center and its constituent parts a little like "cards" that could shuffle and reorganise. The next step was building a uniquely fluid identity system that allows flexibility in the core mark and then completely inverted logos for the divisions. STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Pali Palavathanan

Logo

Process

Logo

MOBILE MEDIA LAB Visual identity for the Mobile Media Lab, an inter-disciplinary team split between Toronto's York University and Montreal's Concordia University. A generative approach creates a visually recognisable identity in constant movement. Three symbol typefaces were designed to produce thousands of possible logos. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

Process

VOLUNTEER UNIVERSIADE SHENZHEN 2011 The symbol of the 26th Shenzhen Universiade volunteers is titled "Window of the World - Embrace World with Heart". The symbol is composed of the letters "V" "U" and "S", which is the initial letters of "volunteer" "Universiade" and "Shenzhen." The symbol represents the passion, dedication and honesty of the volunteers and hopes of Shenzhen residents for the success of the Universiade. The three letters are in red, yellow and blue, representing youth, energy and passion.

STUDIO: G'day design [China] DESIGNER: Jiasheng Chen

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FADU IDENTITY FADU represents dynamism, union, strength, intelligence, competitiveness, and challenge. Gen Design Studio proposed to create a system that structures FADU and conveys professionalism, dedication and seriousness. Each modality has a signature attached, creating a structure to the level of an Olympic organization. Such approach, allows growing this identity communicating efficiently in internal and external fronts. Combining those concepts above with a representative element of sport and success, they were able to develop a strength and dynamic shape inspired by laurel wreath geometry. They also studied mathematical systems to create rules that would unify all the elements. STUDIO: Gen Design Studio [Portugal] CREATIVE DIRECTOR: Leandro Veloso DESIGNER: Catarina Correia

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BASI C VARI A N T S 50

Full-color logo For all communication environments

Black logo For colored backgrounds and background images

White logo For colored backgrounds and background images

VAR I AT I O N

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THE NATIONAL (.РФ) DOMAIN LOGO The national (.РФ) domain's logo consists of original font and a set of supplementary visual images associating worldwide with Russia, its traditions, culture, history and achievements. The visual images of the four principal logo variants turn to original Russian arts - khokhloma, gzhel and traditional Russian embroidery. Recognizable, hallmark and reflecting Russian distinctive character, they serve to express the main idea of the РФ .domain - striving for identity in the common information space. This logo together with a supplementary set of branded patterns can be easily adapted to any advertising media. The logo is available for free use by Internet users and media under Creative Commons noncommercial license (CC BY-NC-ND 3.0). STUDIO: CETIS [Russia]

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CREATIVE DIRECTOR: Eugene Yakushev

DESIGNER: Olga Kozlova, Eugene Sadovsky, Oleg Koposov METRI C

Dark Gold CMYK 10/30/100/0 RGB 230/178/35

Red CMYK 0/100/100/0 RGB 255/0/0

Light Gold CMYK 5/20/60/0 RGB 240/200/125

Black CMYK 0/0/0/100 RGB 0/0/0

Red CMYK 0/100/100/0 RGB 255/0/0

Black CMYK 0/0/0/100 RGB 0/0/0

Dark Blue CMYK 100/70/10/0 RGB 0/90/160

Blue CMYK 25/0/0/0 RGB 185/230/250

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URAL ART WEEK 2010 This is the corporate identity of Arts and Design festival. In order to maintain continuity, it was decided to leave the form and composition of the logo, but dramatically change the lettering solution. The font was based on three simple shapes: circle, square and triangle, which represented the major forms of the entire system of visual identification. The whole style of the festival was also based on the use of these elements. The logo was simplified yet modernistic. DESIGNER: Daniil Shumakov [Russia]

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RUSSIAN COMMUNICATION GROUP LOGO The logo of Russian Communication Group (RCG) reflects the profile of a company that provides complex services of PR enhancement, image and reputation management, development and implementation of marketing programs. Due to its typography, the logo developed for RCG inspires a feeling of confidence and stability, yet with

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clearly distinguished development dynamics expressed through the color scheme. When working at this logo it was important to highlight that RCG is a company with an understanding of special nature and objectives of the Russian business. RCG logo is designed to provide effective interaction with any-size company, as among its clients are both industry-leaders and start-ups.

STUDIO: CETIS [Russia] CREATIVE DIRECTOR: Eugene Yakushev DESIGNER: Dmitry Bykov

Primitive crystal lattice

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Complex lattice

Solid body communications icon

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SPRITECS The customer company located in Switzerland and concentrated its attention on development software solutions for healthcare and insurance companies. The idea of logo design was inspired by the company name and colors of Swiss flag. The design is reflected in lines, shapes and rhythm. SPRITECS turned to designers for complex corporate identity design. STUDIO: Brandsmithy [Ukraine] DESIGNER: Oleg Olashin

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ESPAÇO This project is part of a bar visual identity. The client didn't have many restriction or strict intentions. They just wanted a loud logo, and ideally the identity would be hip, relaxed and easy applicable in a relaxed environment. The result was a nice and simple logo with a rusty texture which creates a cool empathy. Translating to English, the name means the third space, and the logo is rounded edges square with a number "3" shaped hole.

DESIGNER: António Pona [Portugal]

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KERNEL FESTIVAL First edition of Kernel Festival, a 3-day mixed, shared and immersive art experience in the unique neoclassical location of Villa Tittoni Traversi. La Tigre is working on the visual identity and the overall look of the event, starting with logo, cards and website. STUDIO: La Tigre [Italy] DESIGNER: Luisa Milani, Margherita Paleari, Walter Molteni

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UADE ART INSTITUTE Uade Art Institute is an institute of art in the Universidad Argentina de la Empresa (UADE). DESIGNER: Mariana Rodriguez [Argentina]

BRANTONY CAFÉ The designer played with forms and elements that will help to communicate the needs of the client - "We want everyone to know what we sell, the minute they see our logo." STUDIO: estudio ochenta Branding & Web [Mexico] DESIGNER: Alberto Casillas Leon, Patricia Yáñez Moreno

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SABADÌ – CIOCCOLATO DI MODICA Sabadì is a chocolate brand. The first product that came out of this brand is a "cioccolato di Modica", a typical Sicilian way of making chocolate, in this case made by extraordinary cocoa selected in Ecuador, in six combinations with strong personality. Happycentro started by studying and designing the logo and entire brand identity that had to match owner's mood about business and life in general. Then 6 characters, 6 packages and a crowner were developed for its first chocolate collection. Since Happycentro is managing an Italian, Sicilian brand, whose ambition is top level food environment they decided to mix inspirations back from the glorious Italian 50s and 60s advertising both for type and characters, clean and everlasting pagination and funny ironic copywriting and graphical mood.

STUDIO: Happycentro [Italy] CREATIVE DIRECTOR: Federico Galvani DESIGNER: Andrea Manzati

UPIN G'day designed the first letter "U" which comes from the cultural company's brand - UPIN, and then a Chinese character "Pin" has been evolved. The core logo of this brand is consisting of Chinese and English two languages. Plus, the brand theories are using some hollows to extend UPIN's brand identity. People can touch the element from outside and learn how to enjoy the life style through the window of Pin. STUDIO: G'day design [China] DESIGNER: You Li, Jiasheng Chen

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INNO - LAB VET. Biologic technology, innovation, accuracy, credibility, character, and veterinary medicine were the main ideas underlying the development of the visual identity INNO. The representation of the bee conveys values such as creation, pollination, hard work and biodiversity. This image emphasizes the natural posture of the company and reinforces the idea of planning and organized work. The bee is also recognized for creating products with therapeutic properties. The brief highlighted the importance of the INNO word and the letter "O" came up has the opportune element to introduce the bee. STUDIO: Gen Design Studio [Portugal] CREATIVE DIRECTOR: Leandro Veloso DESIGNER: Leonel Ribeiro, Leandro Veloso

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NOISE ASIA This is a brand designed for Noise Asia Ltd., an independent record company based in Hong Kong, with its interest focuses on the publishing, distribution and promotion of all kinds of independent music around the world. STUDIO: 2M2 Design UN [China] DESIGNER: Wang Lingyuan

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VERDARIUM An Austrian environmental planning office fulfilled its dream by opening "the Verdarium" in a little town near Vienna. With a very subtle, atmospheric and, most importantly, individual design, the special character of the Verdarium has been captured and a logo which lives up to the expectations of the special place has been created. Clients are able to experience the atmosphere, materials and spacial reference for themselves. This experimental component was conveyed by creating a playful logo - the digitalisation of the customer's handwriting. STUDIO: moodley brand identity [Austria] CREATIVE DIRECTOR: Albert Handler DESIGNER: Anouk Rehorek

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NO BRAND No Brand is an ambient effects band. When listening to their music the first and most influential thought was the idea of movement. The designer wanted to portray this in their logo, and it can be seen in the many waving lines that cross over each other. DESIGNER: Ryan Atkinson [South Africa]

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STIX RESTAURANT A fine-dining establishment at the heart of Saigon. Stix brings the gourmet taste and style of Vietnamese cuisine to both local and foreign foodies. The scope of work ranged from brand story-telling to graphic design development.

STUDIO: Studio Egregius [Vietnam] CREATIVE DIRECTOR: Le Huy Anh DESIGNER: Le Huy Anh, Doan Thanh Quynh

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NOKIA NEX BRAND Method has been working with Nokia on a multi-phase, multi-year engagement to help re-envision their end-to-end customer journey that is informed by the current out-of-box experience of Nokia products, competitive products, and real user's needs and experiences. Method has worked closely with their client to create an overall customer journey framework for use by multiple divisions. Through this experience framework, the goal is for Nokia to be able to ideate on how specific areas (architectural, packaging, UX/UI) can be re-envisioned based on the Nokia's brand DNA and the customer lifecycle to evaluate and improve out-of-box and set-up experiences for new products, and to help rationalize their overall product offering across devices and services. STUDIO: Method [USA] CREATIVE DIRECTOR: Robert Murdock DESIGNER: Baykal Askar, Sean McGrath Process

TRIANGLE PROJECT PART 3 The Triangle Project is an ongoing process-based cultural exchange project between New York, Istanbul and Copenhagen. The purpose of the projects is to create a sustainable creative and constructive interaction and dialogue between cultures and ways of thinking. Re-public has designed a new identity for the project based on the geometric form, the triangle - in all its shapes and forms. To be true to the divine form, the triangle has exactly the same position and size on all the posters. Also Re-public gave the flyers different folding techniques inspired by the De Divina Proportione, the pyramids and the way a gentlemen wears a handkerchief in his jacket. Re-public developed The Triangle Project part 1, 2 and 3. STUDIO: Re-public [Denmark] CREATIVE DIRECTOR: Romeo Vidner, Morten Windelev DESIGNER: Romeo Vidner

As we all knowN, the quality of applications play an important role in whether a logo SUCCEED or not. What are your views on the applications of the logo? We always aim to maintain the highest level of finish in the implementation of any project – whether it is commissioned with a design brief for commercial use, or a project that is more artistic in nature. The Triangle Project was a non-commercial project, which allowed for a higher degree of artistic freedom and experimental implementation. The concept of the identity dictates that the execution of the logo is reinterpreted every year, which allows for continually reinvention and updating of the identity. Therefore it is the style of the implementation that really creates the look and feel of the identity, rather than just the name and logo. Applying and implementing a logo is everything for a successful identity. It is a discipline in itself. We love to experiment and challenge ourselves, our clients and especially our suppliers, to see what they can do with different media and techniques. Talking implementation, our starting point is always that everything is possible.

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Please share your own ideas on the significance of a triangle and the role it plays in your logo design. The idea was to assume the same form in all parts of the Triangle Project, but changing the design of each arrangement. It creates a contemporary expression while it challenged us to be innovative. And it was liberating to be allowed to re-think the visual identity every time.

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PART 3

THE HILL STATION The Hill Station is a business marriage of fine dining restaurant and deli/boutique, located in Sapa, Vietnam's highest region. The client wanted a brand which both reminisces the essence of French Indochina days while stands independently as a contemporary identity. The design is inspired from Indochina's visual cultures, like photographs, drawings, literary, cinema, and architecture, etc. and executed in a uniformed minimalist style. It is a fusion of the past and the current.

STUDIO: Studio Egregius [Vietnam] CREATIVE DIRECTOR: Le Huy Anh DESIGNER: Le Huy Anh, Tran Ly Ngoc Nguyen, Le Trong Duong, Doan Thanh Quynh, Bui Thi Huynh Ly

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SCIENCE MUSEUM No-one would ever doubt that for schoolchildren, families and tourists. London's Science Museum is a great day out. But its identity was lagging far behind, with a recessive house-style that was failing to encapsulate the museum's fantastic collection. After a long audit and design investigation, a route began to take shape using the two-word name. johnson banks created a unique arrangement of the characters into a four-line block that took its cue from code and digital typefaces. It takes a little bit of working out, but "decoding and sharing" seemed an apt analogy for the museum itself. It also provided them with what they've never had a unique word mark to identify them which can be literally "stamped" onto everything they do. STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Kath Tudball, Miho Aishima

KAUFMANN The growth strategy of a communications agency Writing Media lead to total rebranding. The new identity and name Kaufmann communicate the new sales minded strategy of the agency: Kaufmann is the communications agency for sales and marketing people. The identity combines playful illustration that demonstrates agency's areas of expertise with traditional elements, such as classical typography. The logo can be varied in an infinite number of ways.

STUDIO: Bond [Finland] CREATIVE DIRECTOR: Jesper Bange DESIGNER: Ilari Laitinen, Tuukka Koivisto

What's the design concept of your logo?

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We wanted to achieve a traditional company feeling by designing a traditional logo, but with a contemporar y touch. The dynamic logo represents different aspects of the communication agency's expertise.

We can see that the letter "f" can be changed in the logo. Does this variation enrich the logo design concept? And what significance does it produce? Yes, it does. The changing f-letter gives us more freedom to play with logo, and it also represents the dynamic industry the client operates in.

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MARIA PAPOILA Maria Papoila (1937) is a Portuguese film by Leitão de Barros. The name was adopted for an image consulting company. The logo concept illustrates a popular Portuguese saying: "have you seen the green bird?" This saying is typically used in a teasing way to ask women if they are in love (when one acts happy). The representation of a green bird is combined with a lettering that reveals a world of innocence and playfulness.

STUDIO: Gen Design Studio [Portugal] CREATIVE DIRECTOR: Pedro Gonçalves DESIGNER: Leonel Ribeiro, Leandro Veloso

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MARK MARK is a dynamic new furniture and lifestyle brand from Cornwall. Working with both the traditional craft skills and hi-tech innovations coming out of this most creative of counties, MARK's mission is to raise the profile of the quality of design, skills and manufacturing in Cornwall by taking them to a national and international market. MARK's products are built to last - environmentally, socially, ethically and economically. The MARK range of furniture and lighting is designed for home, work and leisure. Each item combines quality in design, manufacture and innovation to meet their exacting standards of practicality and sustainability. A-Side was commissioned to develop a brand package that reflects MARK's ethos. STUDIO: A-Side Studio [UK] CREATIVE DIRECTOR: Ross Imms, Alex Rowse

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U LT I M AT E D ETAI L I N G & PROT ECTION

U LT I M AT E DE TA I L I N G & P ROT ECTION

U LT I M AT E DE TA I L I N G & P ROT ECTIO N

U LT I M AT E D ETAI L I N G & PROT ECTIO N

U LT I M AT E D ETAI L I N G & PROTECTION

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MONZA. ULTIMATE DETAILING & PROTECTION Monza is one of the most expensive detailing centers in Dubai providing ultimate quality services. Monza targets only luxury cars like Lamborghini, Ferrari and Bentley and provides such services as polishing, paint correction, interior

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cleaning, leather reconditioning, paint protection, interior protection, and headlight restoration. The Monza name is derived from the Monza race circuit and city in Italy. This theme must be presented in new brand identity. STUDIO: Higher [Czech Republic] CREATIVE DIRECTOR: Victor Novak DESIGNER: Kostadin Kostadinov, Victor Novak

BARD OF BRAY IDENTITY Hat-trick Design was tasked with creating an identity for a design and advertising copywriter, Scott Perry, who works under the pseudonym "Bard of Bray". The aim was to reflect Scott's personality and his approach to writing. Hat-trick Design wanted him to get noticed in an engaging way, and to animate and bring his words to life. As a writer Scott loves playing with words. His other love is food. As part of a series of short films created for Scott's website, Hat-trick Design had used alphabet spaghetti to spell out one of his golden rules for writing. It struck Hat-trick Design that this was the best combination of Scott's two passions, and could be used as an unusual but distinctive typeface for icons. Scott works under the pseudonym "Bard of Bray". The alphabet spaghetti "B" was therefore chosen to represent him. A further range of letters, such as "NB", "EG and "PS" were then created and photographed, to be used to illustrate topics Scott might need to talk about. STUDIO: Hat-trick Design [UK] CREATIVE DIRECTOR: Jim Sutherland, Gareth Howat DESIGNER: Gareth Howat, Jim Sutherland, Laura Bowman

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JACU COFFEE ROASTERY Jacu Coffee Roastery was established in 2011. Like the jacu bird, they pick and roast only the best beans. They look for great plantations, optimal processing, and the roasting profiles which will make the most out of each bean. They work with passion, patience, and without compromise. The Jacu bird lives in South America and is known for something quite extraordinary; it flies from coffee plantation to coffee plantation and picks and eats the tastiest coffee cherries. The fruit makes its way through the bird's digestive system, and the seeds of the fruit - coffee beans - come out perfectly processed. These coffee beans are among the most exclusive in the world. This story has inspired the designer, and the bird has lent its name to the new microroastery in Ålesund, Norway. STUDIO: Havnevik Advertising Agency [Norway] DESIGNER: Tom Emil Olsen

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ACTION ON HEARING LOSS IDENTITY Hat-trick Design was asked to create a bold new identity "Action on Hearing Loss" for celebrating RNID's centenary in 2011. During the two-year project, extensive research discovered that, despite its 100-year history, RNID's name had very low recognition, was often confused with other organisations with similar names/acronyms and did not reflect the full spectrum of the charity's support and services. Action on Hearing Loss established a clearer position about the charity's mission, which was clearly demonstrated in the research. The rebrand also marked the charity's shift towards a more campaigning stance and a strategy defined as "challenging attitudes and inspiring action". The new underline/strikethrough design centres on the idea of "underlining the positive" and "striking out the negative" to emphasize a flexible range of key messages about eradicating the negative impacts of hearing loss. STUDIO: Hat-trick Design [UK] CREATIVE DIRECTOR: Jim Sutherland, Gareth Howat DESIGNER: Gareth Howat, Jim Sutherland, Tim Donaldson, Alex Jurva

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THE CITY OF KYIV IDENTITY Kyiv is the capital and the largest city of Ukraine, located in the north central part of the country on the Dnieper River. The aim of the city identity is to attract the tourists to visit and experience again the enjoyable trip, to "replay" the great impressions. The idea of the emblem is the letter "K" , which is stylized as the rewind button. The visual realization is achieved by the recognizable shape of the letter "K" with various fillings and emotions. DESIGNER: Viktor Konovalov, Nataliya Strelchenko, Yuriy Husinskiy [Ukraine]

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Nowadays, more and more transferable or adaptable logos have emerged, what effects will bring for the diversification of the whole brand? What do you think about this trend of logo design? I'm sure that this is not just a trend but mostly necessity. It will be nearly impossible for static identity to be recognizable nowadays with so huge amount of competitors. Every day we are changing. Everything is changing dramatically fast. To survive you need to adapt. To be adaptable you need to be flexible but keeping your essence. This is all about nowadays transferable branding.

What's your favorite brand case? Well, it is hard to define the most favorite, every day something inspiring by fresh solution, revolutionizing ideas. The world is changing every minute. Well-known cases usually are not the most innovative, that's why my collection of respect will say nothing to the main audience.

How do you think the design meets the clients' requirements? The most important task was to find a solution that will be efficient for the various sub-target audiences, from the city citizens to the tourists. Due to the reason that many different happenings take place in this city, from touristic promotions, special events, international meetings to special government programs, I needed to take into account of the required diversity of the identity, which means the logo should be easily transformed for every known and unknown purposes. So we did massive international research to find out the different sides of Kyiv that will be apprehended by different target groups, meeting the client's requirement of creating a touristic brand of the city that will inspire.

What made you not to choose the color fills? To you, how are the patterns, picture fills different from the color fills? What are the influences or effects having on the brand values? Colors are running out. You could easily remember a huge amount of red brands, black brands, and yellow brands. Therefore, it is quite impossible to be different by using just colors. Target audience will not be able to differentiate your brand by colors, but for patterns it might still be possible for the next two years. The most important thing is not only to create patterns, but to generate patterns in a recognisable way with ideas. This trend enables the brands to be "smart and cute", at the same time, to be different, to be more expressive and attractive.

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BELMACZ Belmacz is a London based jewelry company. The identity re-design relates to the process in which raw minerals and diamonds are more and more refined until they become a piece of jewelry. On their journey between from the mine to the jewelry shop those materials go through many hands and constantly change location. Not only the raw materials travel also the final pieces of jewelry are often passed on from one generation to the next, given away as presents, get stolen or auctioned. For this reason the new Belmacz identity works across may different items and media. Every shape that has been cut out on one item of communication re-appears on another. For example a shape missing on a business card can re-appear on a carrier bag. STUDIO: Mind Design [UK] CREATIVE DIRECTOR: Holger Jacobs DESIGNER: Mind Design

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BLACK MAGIC AND THE DAYS & NIGHTS FESTIVAL Art gallery Serieuze Zaken Studioos Amsterdam asked OK200 to design an exhibition- and festival identity for the New York Photographer Maxwell Snow combined with a concert by the world famous composer Philip Glass. To counter the visually strong black and white photography, OK200 added a layer of “in your face” typography. They personalized the typeface Futura, by customizing a few key letters. The identity consists of a logo, poster, flyers, a brochure, and exhibition lettering. STUDIO: OK200 [the Netherlands] DESIGNER: Koen Knevel, Mattijs de Wit

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WO HING GENERAL STORE Wo Hing General Store is a contemporary restaurant in Mission district of San Francisco, presenting a unique take on Chinese street-food. The identity references the delicate nature of noodles, a main staple on the restaurant's menu. In addition to the logo, Manual created a rich, colorful visual language using only the aforementioned humble noodle. Using a scanner, designers experimented with raw and cooked noodles to create a number of flowing, abstract images. As a departure from the ubiquitoous neon sign seen in many Chinese restaurants, Manual designed a lightweight transparent window sign, screen printed with electroluminescent ink. STUDIO: Manual [USA] CREATIVE DIRECTOR: Tom Crabtree DESIGNER: Tom Crabtree, Dante Iniguez, Eileen Lee

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LE BURO Logo

For this unique restaurant, which marries clean architectural lines with an early XXe century structure, Inventaire opted for the warmth and accessibility of a hand-written logo. The restaurant has the goal and ability to attract a diverse clientele. From this, Inventaire created a sober graphic line using massive typographic compositions which could easily spark the clients' attention and curiosity. These compositions were also conceived as an element of decoration giving the walls depth as well as a dynamic feel. Therefore, Inventaire used typographical compositions as a basis for the restaurant's range of informative and promotional materials.

STUDIO: Inventaire [Switzerland] DESIGNER: Thomas Verdu, Estève Despond

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C2 – CULTURAL CENTER The city of Torcy, Burgundy, France recently built a great complex dedicated to the promotion of culture & Arts, highlighting local and national artists. The main goal was to create a total new and innovative entity, as much by its program as by its branding and communication. C2 was chosen from a couple of hundred names for its international recognition, pronunciation and readability. It stands simply for cultural center or the two initials 2c reversed. The logotype guidelines show a slight dipping of the "c" and the "." to create the optical illusion that all characters are aligned on the same baseline. Minimalism was then kept for the whole visual identity. The diagonal axis (45°) of the "2" was used to display information on every print document.

DESIGNER: Franck Juillot [France]

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OHM INSTITUT Brand Brothers created a premium but accessible visual world, with an identity and a territory of expression playing on retro or modern codes, simple and colorful, wise and impertinent. The logo was designed as a timeless monogram, statutory and elegant. Brand Brothers declined the brand identity on innovative communication media, on prints, online and retail outlets. STUDIO: Brand Brothers [France] CREATIVE DIRECTOR: Johan Debit DESIGNER: Johan Debit

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PECHA KUCHA NIGHT MONTRÉAL The visual identity was created for Montréal's Pecha Kucha Night. A low-cost solution was devised to produce event posters and flyers for numerous editions from a single sheet, overprinting punctual information on a photocopier. Keeping the same setup every time, a different headline typeface keeps every piece fresh. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

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IGET.IT Logo

The visual identity was designed for an online purchasing group. Premium consumer goods are offered to members, with prices reduced according to the number of purchasing members. A sleek, airy and modern approach was taken to reflect this innovative model.

STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

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SOUTHEASTERN CENTER FOR CONTEMPORARY ART Luke Hayman and his team at Pentagram have created a new identity for the Southeastern Center for Contemporary Art (SECCA). The design emphasizes the institution's commitment to change. "Flux" became an important key word during design explorations. The final identity conveys a continuing flow; the logo literally moves and fluctuates, echoing the constant change of SECCA's galleries and community programs. The idea of motion is even found in the print materials of SECCA's identity. Though the presentation is static, the logo imparts the Logo

constant movement of the animated mark by appearing in different configurations in each application. These varied stills suggest movement across stationery, collateral materials, banners and signage. STUDIO: Pentagram [USA] DESIGNER: Luke Hayman

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LA BOQUERIA MONTRÉAL La Boqueria is a Basque and Spanish restaurant. The logo consists of a yellow "B" letter, using the depth of an ancient lettering. The font was redesigned using Basque symbols. The two clean horns on the sides are here as a reference to bullfights, which are very popular in the Spanish culture. Finally, the yellow color is a reference to the sun, always shining in this part of Europe.

STUDIO: Brand Brothers [France] CREATIVE DIRECTOR: Johan Debit,Jean-rémi Massery DESIGNER: Johan Debit

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PINO The concept for interior decoration shop Pino is based on its name, which means a "pile" or "stack" in Finnish. That is taken visually into the new logo and the design of the shop fixtures. The interior design concept, with its subtle palette, works as a neutral background for the fresh, colorful products. STUDIO: Bond [Finland] CREATIVE DIRECTOR: Jesper Bange, Aleksi Hautamäki

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IMPERIAL WAR MUSEUMS IDENTITY IWM (Imperial War Museums) is the world's leading authority on conflict and its impact. The new brand was developed following an extensive review of the existing IWM brand in order to build a stronger and more focused identity for IWM to increase its presence and power in the marketplace. A distinctive and flexible new mark and visual identity were developed. The split blocks, or fragments of the new mark, reflect the force of war to shape people's lives. The mark also strongly emphasized the IWM name and tied each of the branch names to the IWM master brand. The graphic angles taken from the mark helped create a powerful visual language, a refreshed color palette, more coherent typographic style and clearly defined imagery guidelines. STUDIO: Hat-trick Design [UK] CREATIVE DIRECTOR: Jim Sutherland, Gareth Howat DESIGNER: Gareth Howat, Jim Sutherland, Kirsty Whittaker, Rory Brady

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MOMENT FACTORY This is a visual identity for Moment Factory, a motion/interactive/event design studio. A bold logo, luminous colors and distorted visuals reflect their innovative and mesmerizing work. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

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RUI MARINHO Rui Marinho is a .NET developer. He is a big fan of the so called "Metro" design, that will be seen in the newer versions of Microsoft Windows devices. The designer has incorporated his fondness of Metro UI Design with a little playful logo that uses his initials (r.m.) in a stylistic manner. DESIGNER: Richard de Ruijter [the Netherlands]

I DEPEND ON ME Black Diamonds are extremely rare and are sought by collectors all over the world. Deep dark inside, they can shine in to the darkness reflecting every ray of light. Studying their cutting shapes, this project is an attempt to imprint their beauty on a piece of dark paper. STUDIO: I Depend On Me [Italy] DESIGNER: Federico Landini

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TRINITY LABAN Trinity Laban were an agglomeration of one of London's top music colleges (Trinity College of Music), a world-famous specialist dance school (Laban) and a merged "umbrella" organisation that in theory glued all the elements together. The only problem was, they didn't seem to be much linked. So the designer took the unusual step of designing an identity for Trinity Laban that can be seen from different angles – tilting one way then the other for different parts of the organisation. For Laban, the symbol turns down and appears like a floor, for Trinity it reverses and appears as a roof, they can then place dancers and musicians into the space between and bring the logo to life with relatively fewer elements. The logo can either be used in a simple way, as a "flat" element (albeit at a specific angle), or as if it is viewed from above. STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Julia Woollams

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BROWN & HOBBS Brown & Hobbs is a highly integrated and full service agency specializing in campaign development, media production and placement, digital production and development, and research derived marketing and PR campaigns. Logo

STUDIO: Higher [Czech Republic] CREATIVE DIRECTOR: Victor Novak DESIGNER: Kostadin Kostadinov, Victor Novak

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SELF PROMOTION The stationery was completely hand crafted, and no new paper stock, print and harmful varnishes were used in the process. The idea of using stamps to craft the stationery was also great because it was a wonderful way to illustrate the studio's concept where every material is designed and tailored to the clients' taste. STUDIO: Dona Baronesa [Brazil] DESIGNER: Ale Buika, Pablo Brandon Logo Logo

GREAT BRITISH CHEFS IDENTITY Hat-trick Design was asked to create the identity for Great British Chefs, a new brand that brings together the culinary expertise and menus of 12 of Britain's most celebrated chefs, including Marcus Wareing and Tom Aikens. The identity was a very simple idea, based on a collection of chefs. It has 5 variations of the mark to add flexibility and freshness. The core color palette of black and white acts as a neutral background foil to the colorful food and the atmospheric editorial-style shots of the chefs themselves. STUDIO: Hat-trick Design [UK] CREATIVE DIRECTOR: Jim Sutherland, Gareth Howat DESIGNER: Gareth Howat, Jim Sutherland, Kirsty Whittaker

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FORMULABRUTA

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TENTH CHURCH

This is a visual code for Formulabruta, a logical way to communicate. STUDIO: La Tigre [Italy]

Tenth Church is a community of people from many

DESIGNER: Luisa Milani, Margherita Paleari, Walter Molteni

different cultural, social, and spiritual backgrounds. Serving for over 70 years in the Vancouver area (with rapid change within the last decade), a bold modern approach was taken to reflect its inclusive personality. A simple word mark was designed The formula

Projects

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Morellato Time

incorporating a graphic icon with conceptual themes of worship, welcome, transformation, outreach, and the cross.

Client: Lorem Ipsum Year: 2010 Media: Print, Web, Radio +: La Tigre, Maki Gherzi

STUDIO: Nancy Wu Design [Canada]

Formulabruta via Savona,79 20100 Milano T. +39 02 123456 F. +39 02 1234556 formula@formulabruta.com

CREATIVE DIRECTOR: Nancy Wu

Blog Micol Angeleri Executive Creative Direction micol.angeleri@formulabruta.com

Photography / D.O.P. Direction Graphic Design

Process

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Copywriting Production Partners

>> Client

>> Date

>> Description

Formulabruta / Via Savona 97 (20144) Milan / www.formulabruta.com / formula@formulabruta.com

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SJ OPTIONS SJ Options is options trading course and mentoring based on Max Safety, Max Reward option trading strategies. Their options training addresses today's volatile and fast-moving market conditions based on unique and innovative option trading strategies that provide much more safety protection against sudden losses. STUDIO: Higher [Czech Republic] DESIGNER: Kostadin Kostadinov, Victor Novak

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L'ÉLOI L'Éloi is a photography agency specializing in fashion. A bold logo reflects the personality of the client, and a correlation is drawn between the letter "o" and the camera's lens. A clean, minimalist approach for the rest of the applications lets the photographs speak for themselves. STUDIO: Feed [Canada] DESIGNER: Anouk Pennel, Raphaël Daudelin

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LIUSHI BAMBOOWEAVE BRAND DESIGN Liushi Bambooweave is widely used in daily life. It focuses on keeping improving its products to explore a new field of

LEIAMAIS – ART AND DESIGN BOOKS Leiamais is an online book shop specialized in art and design books. STUDIO: Hidroponie [Brazil] DESIGNER: Erico Amorim

bambooweave, and provides a Chinese luxury life experience to consumers. In order to manifest the particular crafts of Liushi Bambooweave, the logo should be cultural and traditional that seal cutting is employed in it.

STUDIO: Zou Yu Design Studio [China] DESIGNER: Zou Yu

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How did you combine the traditional elements and modern designs together in this logo design?

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It is so particular that Liushi Bambooweave can use hairlike bamboo filaments to weave various vivid patterns. And exquisite workmanship must be highlighted in the products. As creating the logo, the designer has taken intuitiveness and identifiability into consideration, employed seal character in editing and combined the logo with the products. The shape of the logo is similar to seal, manifesting the combination of traditional element and modern design.

L ots of yo u r designs have applied the traditional elements, how do you understand it ? W hat are yo u r views of traditional elements? It is related to our culture. In China, no matter what we design, we should respect the traditional culture and cannot abandon the classic to recreate. It is really a pity that the long history cannot keep steps with the modern world. So the modern design should focus on how discovering rather than creating.

Would you please share your experience and thought in logo design? Logo design should be simple and intelligible. In my opinion, solving problems is more important than designing a logo. And the logo design should be diverse in that people can accept new things more than ever before. Therefore, we should be bold to create and never giver up until we can satisfy.

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DOUBLE ONE HD LIVE

This is a concept and design for Double One, which is a photography studio based in Moscow, Russia.

This is a logo design for an internet services company (HD LIVE STREAM), DESIGNER: Alexey Malina [Russia]

Hungary. STUDIO: ACTUART LP. [Hungary] DESIGNER: Peter Vasvari PHOTOGRAPHY: Akos Gabor Varga

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AND SO I WATCH YOU FROM AFAR - BRAND DEVELOPMENT

MODILA

ANIMAX REBRANDING

STUDIO: Ateljee [South Africa]

DESIGNER: Matteo Del Nero [Italy]

DESIGNER: Jaco Burger

Known as one of the hardest working bands in the music industry, ASIWYFA needed an identity that was as powerful as their sound. This mark has been become the cornerstone of their brand, gaining a cult following amongst fans.

DESIGNER: Timothy Farrell [UK]

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ALGA

VIVERO ANTONIUCCI

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STUDIO: Amolisboadesign [Portugal] DESIGNER: Pedro Machado

STUDIO: Smart! Grupo Creativo [Argentina] CREATIVE DIRECTOR: Francisco Sassano DESIGNER: Ignacio Casareto, Jose Ostachi, Francisco Sassano

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N2N

ONETWOFIVE

MUG-MODER URBAN GALLERY SAN LISANDER

DESIGNER: Rafael Fagulha Santos [Portugal]

DESIGNER: Andrea Mantuano [Italy]

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MEDIATISER.TV

DESIGNTEKA.PL

BIBIB.KZ

SLON.KZ

STUDIO: Brand Brothers [France]

STUDIO: Artentiko [Poland]

STUDIO: Akhmatov Studio [Kazakhstan]

CREATIVE DIRECTOR: Johan Debit, Jean-remi Masery

DESIGNER: Marcin Kaczmarek

DESIGNER: Anton Akhmatov

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DESIGNER: Johan Debit

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HEUB

PIN UP POLLY

OK CENTER

DESIGNER: Rafael Fagulha Santos [Portugal]

STUDIO: Logo Design Limited [UK]

STUDIO: Industria High End Design [Brazil]

STUDIO: Logo Design Limited [UK]

DESIGNER: Matt Van der Wolf

DESIGNER: Eduardo Andrade

DESIGNER: Giles MacKlay

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BELL & LOXTON RAPE SEED OIL

DEVON COLD PRESSED RAPESEED OIL

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MUSEUMS ANTWERP

HOTFRIDGE REBRAND

CORE - SPIRITUAL VODKA

AVA BATH ACCESSORIES

DESIGNER: Laura Vandenbergh [Belgium]

STUDIO: Superfried [UK]

STUDIO: 8 Bis Studio [Canada]

DESIGNER: Jean-Maxime Brais

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SYMBOLIC

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How do you understand logo design? Please share your experience in logo design.

Logo design becomes more diverse. What do you think is the trend of current logo design?

Logo is regarded as an event, an object and a dominant mark of a company or a brand. It can exist in a visible or invisible way and represent a visual pattern that is apt to memorize, spread and appeal.

Logo will be more and more abundant in its design by the development of printing, craftsmanship, logo carrier and so on. For example, logo can be dynamic in multimedia while it varies under some lively images. Logo may vary by the change of the aesthetic appreciation from public designer. However, this trend is unable to prove the change is well. In my opinion, logo is not only a pattern, but also a richer conceptual sign that can be used to communicate by people.

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COMMUNITY FACEGALLERY.RU ID Face Gallery is a symbiosis of web site, club of successful and progressive people. This identity underlines the main value of this project: people. Code "FG" in couple with photo image makes the logo unique, personalized symbol, and it accents audience's attention on relationship between human and society. This principle allows us to construct different logos, remaining symbol "FG". STUDIO: Who make it? [Russia] DESIGNER: Erohnovich Roma

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CARDINAL CAFE Cardinal Place, a large commercial development in Victoria (500,000 Sq Ft) opposite Westminster Cathedral, has a vast reception area, within which a café was built for the workers on the entire estate. The brief was to create the name and branding for this café, including signage, wall graphics, crockery and other collateral. STUDIO: Hat-trick Design [UK] CREATIVE DIRECTOR: Jim Sutherland, Gareth Howat DESIGNER: Gareth Howat, Jim Sutherland, Adam Giles

What do you think the values and effects of logo? A logo can reflect the values of an organisation. It has the potential power to inform, entertain, engage, challenge, influence and interest. It's not just about the mark itself, but how it's used in context, with colors, imagery and language.

How do you understand logo design? Please share your experience in logo design. Keep things simple and uncluttered. Make it interesting and engaging. Stand out from the crowd. Be appropriate but surprising.

What are the necessary qualities of a good logo? Ideas, simplicity, engagement, strength, intelligence, interest are the qualities. It's quite a long list of things to get in a simple marque.

What do you think the trend of future logo design? I think logos may become more changing and flexible, less rigid and formal, more colors and formats.

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What inspired you of such a dynamic and interactive way to present the entire visual identity? Borne out of the intersection of broadcast and computation, the Media Lab has been reinventing what Media is since 1984. However, today the Media Lab has outgrown this notion of traditional media, with researchers working in areas ranging from Human Computer Interaction to Neurobiology or Nanotechnology. Whatever "Media" means, it has been and will be defined at this place, in the next 5, 10, 20 years. The algorithmic logo is an effort to capture this dynamism.

What is the role of color in this case? How do you think colors assist the expression of brand values? The colors in this case are based on the original identity designed in 1984 by Jaqueline Casey, which was in turn inspired by the Kenneth Noland mural in the Media Lab building. Furthermore it allowed us to create more customizations for each logo.

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In recent years, fluid logos have become a new trend. how did you combine the visu al design style and practical function together in this brand design? It was and interesting progress where we iterated both on the generative side as well as in the graphic, formal realm. While computer algorithms allow for endless possibilities you have to apply knowledge about graphic design, form and counter form, shapes, etc in order to make the logo visually pleasing. It is easy to come up with a system that generates pictures, but it is very hard to come up with a system that generates good logos all the time. That means we introduced many logos which were "only" introduced to ensure a good visual outcome.

MIT MEDIA LAB IDENTITY The new visual identity of the MIT Media Lab is inspired by the community it comprising highly creative people from all kinds of backgrounds, inspiring each other and collaboratively developing a vision of the future. This unique offering of the MIT Media Lab is reflected in the logo design. Each of the three shapes stands for one individual's contribution; the resulting shape represents the outcome of this process: a constant redefinition of what media and technology means today. The logo is based on a visual system, an algorithm that produces a unique logo for each person, for faculty, staff and students. Each person can claim and own an individual shape and can use it on their business card a personal website. The design encompasses all collateral, business cards, letterhead, website, animations, signage, etc. STUDIO: TheGreenEyl [USA] DESIGNER: Richard The, E Roon Kang, Willy Sengewald

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OCAD UNIVERSITY IDENTITY OCAD University (OCAD U), Canada's pre-eminent art and design school, had achieved degree-granting status and with that, a new name reflecting that status. They needed a new visual identity that would reflect the path of 135 years old institution moving into the future. The BMD team worked together with OCAD U in an intensive research and engagement phase, in which students, alumni, faculty and staff were involved by facilitating interviews, designing multiple workshops, disseminating questionnaires, leading classroom discussions, and connecting through social media with the goal of excavating the stories and spirit of OCAD U. The synthesis of these materials led them to a robust set of design principles that would help guide work. The visual identity needed to be a true reflection of what people heard and saw - an inclusive, vibrant and vital institution built on creativity, risk and innovation. STUDIO: Bruce Mau Design [Canada] CREATIVE DIRECTOR: Laura Stein DESIGNER: Chris Braden, Mike Dudek, Greg Judelman

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Did you have any pre-consideration about color before you started the proposal? We went into the project with an open mind. We typically don't come at projects with preconceived notions about design elements such as color; we start with research and let that guide and inform later design decisions.

With the biggest frame for various elements, the visual presentation becomes diversified. Is the decision based on the client's requirements and characteristics? We designed a system not a single mark. We developed guidelines regarding size and placement, but the curation of the artwork featured in the logo over the years will be OCAD's responsibility. The goal is that the logo always represents the best visual work being done at OCAD.

In the past, color dominates the theme of design, but now what made you not to choose just color fills? To you, how are the patterns, picture fills different from the color fills? There is nothing to say that a future iteration of the logo won't be a solid color fill. Selected students are trusted to create artworks they think are beautiful, daring and representative of OCAD, and if they feel that will be a solid color we also welcome it.

As we discover, enriching visual impact in logo design becomes m u ch easier once we u se more comple x patterns or pictures than just colors. What are the cultural communication considerations you have regarding to this? We would like to consider our audiences carefully and think about the number of times that different people will interact with the identity. We designed a very clean and clear base mark that is flexible enough to communicate in other countries where people don't live alongside the brand on a daily basis. The more local or national audience has the opportunity to experience the full breadth of the system; more moments of contact with the variety of different marks (or artists) come within the system.

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PERSONAL BRANDING This is a dignified brand identity with high quality materials and finishes, designed for an international businessman. STUDIO: Bond [Finland] CREATIVE DIRECTOR: Jesper Bange

How did you take the client's characteristics into account to do the logo design? The identity and logo were made for an international business man. The client's initials are M.M., so it felt as a natural decision to start from these letters. The stylized letters also symbolize to people shaking hands.

There are many minimalistic designs in Bond studio. Does it influenced by the Finland design style – Practical and Functional? Generally, we at Bond do not limit ourselves to a certain style. However, many of our designers and clients do like practical and functional style. Thus, most of our design inspiration comes from our Nordic heritage.

How do you understand logo design? Please share your experience in logo design. A good logo is easy to remember, and has a strong idea behind it. That's always our aim. The FedEx logo with the arrow is my favorite example.

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What's the design concept of your logo? The basis of the logo is a woman's face, which represents an artistic and creative person, while multiple colors represent a large number of creative people, who are very different in their creative approaches to work.

YOMAJIK The social network based on web platform established with an objective of allowing creative people to share their works. STUDIO: Akhmatov Studio [Kazakhstan] DESIGNER: Anton Akhmatov

What's your idea on using multi-color in the logo design? And what kind of effect does this collocation produce? I can design both monochrome and multi-color logos. However, when creating multi-color logos I always remember that they can also be used in monochrome. Effects can be very different depending on a logo type, a company, etc. Each logo, be it in color or monochrome, should satisfy the main objective, which is to identify a brand.

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What comments on your logo design you get from your clients? During any project implementation I receive different comments - some are appropriate, some are silly. They all are very different; however I do reflect on and try to consider all of them. The main thing for me is to fulfill the assigned task.

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BARCELONA REBRANDING For the brand transformation of the major European city of Barcelona, Spain, Lauren Manning focused on creating an identity that would represent both the residents and tourists of the city. Steeped in history, the city embraces both the old and the new. The primary visual element used in the new mark is based on city block. The block is formed by many pieces, or shards, taken from both the famous Gaudi tiling around the city and the streets of the Barri Gotic area. To allow for the ultimate flexibility in use, images may be masked within the logo form to reflect different aspects of the city. An advertising system was developed for the city, meant to be found in other international cities. A packet was developed with a City Pass, metro pass, map and museum booklet for tourists to use. As a final piece, the logo would be installed at a 3D seating element on the Barcelona beachfront in the summer. Tourists and locals alike could enjoy it during the busy season. After a few months, the logo would be dispersed around the city, recognizable as part of the new city brand for the residents themselves.

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DESIGNER: Lauren Manning [USA]

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What ideas does your logo convey? The logotype conveys seriousness, reliability and versatility to be adapted to different projects related to any project of audiovisual communication. Besides, the logo is able to incorporate new services or products without losing coherence.

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We can see that your logo design is like an eye. Please share your opinions on the relationship between them. The eye works like logo synthesis with reference to the visual and with a degree of authenticity as to maintain consistency in its different variants of use.

CORPORACIÓN AUDIOVISUAL This brand design was developed with the aim of creating an image that was able to synthesize the versatility of the company and its diverse services. Using of a simple icon realized a reinforcement of the colors, creating a sufficiently strong conceptual base while giving the brand a vast and heterogeneous communication. STUDIO: Smart! Grupo Creativo [Argentina] CREATIVE DIRECTOR: Francisco Sassano DESIGNER: Ignacio Casareto, Jose Ostachi, Francisco Sassano

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BUDAPESTURISM The subject of graduation thesis is the modernization of Budapest's turism. Tímea Mónus attempted to create a new system which allows visitors to see what Budapest means and represents from an entirely new perspective. This system helps the visitor discover the city the way they want to. Tímea Mónus' goal was making visits customizable to personal tastes and needs, thus making the city a more personal experience. she'd like this system to allow each visitor to find quickly and effectively the things that can bring them closer

What do you think the values and effects of logo? A logo creates a unique visual identity for a given product, which makes it stand out due to a characteristic color, shape, form or typography. From a marketing point of view, its effect is realized in its marketability and attractiveness.

to Budapest, so that they will be inclined to visit again. STUDIO: Tímea Mónus [Hungary] CREATIVE DIRECTOR: Andrea Brittnek DESIGNER: Tímea Mónus

Traditionally, people always thought the logo design should be minimalistic rather than complex, what is your view on this issue? In principle I agree that a logo should be simple. However, when I was designing a touristic image for Budapest, I realized that it's impossible to describe with one symbol all that the city represents. It's an amazingly exciting and colorful city, so the logo had to reflect this.

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GXY SEARCH From sport to fashion, lifestyle to advertising, GXY's clients all offer "excitement jobs" – the type of jobs many Gen X&Yers dream about. One of the defining attributes of Gen X&Y is they see themselves as distinct individuals who belong to a range of overlapping tribes. GXY genuinely has a right to lead those tribes as it is authentically Gen X&Y itself. From the way it thinks to how it behaves and where it parties, GXY is Gen X&Y through and through. The brand identity we designed for GXY was a reflection of their own status within the Gen X&Y tribes they belong to. The brand identity concept was developed through the creative brand design process and was applied to business stationery, signage and website. STUDIO: Truly Deeply [Australia] DESIGNER: Lachlan McDougall

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MTV STYLE GUIDE 2010 The studio Pianofuzz has developed one of the collections of licensed products for MTV for the year 2010. The challenge was to develop a geometric aesthetic line, such as the sixties Optical Art, but on contemporary style, were created for the collection prints, patterns, icons, and type families. STUDIO: Pianofuzz design studio [Brazil] DESIGNER: Edmarlon Semprebom, Rafael Botti, Maikon Nery

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A-5 A-5 is a dynamic youth program for towns in the Region of Murcia (Spain) with less than five thousand inhabitants. The purpose of this project is to create a general brand for the program and one brand for each of those nine municipalities. DESIGNER: Romualdo Faura [Spain]

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DILIBAG It's a fun and colorful identity for a store that sells stationery for children. As the support graphics, some quirky characters have been created with the brand concept to attract the young target market.

STUDIO: Black Squid Design [Australia] DESIGNER: Melanie Terrett

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LATVIA FOR WORLD EXPO 2010 Moving away from the old and worn-out traditional patterns, designers have taken a different look at their nation and ignited a new spirit of happiness into Latvia's visual identity to help present the country in a fresh way according to the overall concept of Latvia's pavilion -- Technology of Happiness. STUDIO: Asketic design studio [Latvia] DESIGNER: Aigars Mamis

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B. WOLF'S PORK SHOP This identity is based on the desire to merge fantasy and reality. It is a playful reinterpretation of the classic fairy tale, "The Three Little Pigs". In this concept, it is suggested that the wolf hunts pigs for the shop that sells and cooks quality cuts of pork. The shop decor is mainly made of elements that are inspired by the

HUFF & PUFF

your way to

story. It is also situated in an old restored brick house. The colors used in the identity are reminiscent of straw and brick. Nostalgia, humour and fantasy are combined to enhance the atmosphere of the shop and bring the story to life. STUDIO: Alex Kwan [UK]

B.WOLF’S Pork Shop

we scour the land to find the

FINEST PORK

L F’S .WOShop BPork Bar - Restaurant - Butcher

HOUSED IN A

beautfully

restored Old

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BRICK HOUSE

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Aernout Mik Exhibition : Identity

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AERNOUT MIK EXHIBITION The artist’s intention for this exhibition was to “intrude” on the Museum unexpectedly by installing his videos in various locations throughout the Museum. MoMA designers needed to create a wayfinding system that would allow people to recognize the installments, and to make clear visual connections among these video locations. They decided to “overprint” MoMA’s existing floor plan, which was heavily utilized by visitors, with a unique visual identifier, a big green X, to indicate each video’s location. The "X" is a universal icon for indicating locations and for signifying danger; it’s also an element of the flag of Amsterdam, which touched upon this Dutch artist’s cultural identity. Furthermore, designers carried this 2-D visual identity into the environmental space at a larger scale by creating a connection between the floor plan and the actual installation. The intense green color was rather an alarming color for the space. STUDIO: The Museum of Modern Art [USA] DESIGNER: Hsien-yin Ingrid Chou, Samuel Sherman

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DIMISIANOS COIFFURES Dimisianos coiffures is a chain of 3 fashion hair salons in Patras, Greece and has managed to change the scenery in Hair Art. Haircut, hair-styling, dye, make-up, manicure and pedicure, whatever you choose, you will be fully satisfied. In each coiffure, there are separate sections for men and children. In a high-tech setting of modernbaroque design, the client can trust himself in the hands of Dimisianos' experienced associates and enjoy the excellent service, the friendly environment, the unique conveniences offered to him/her.

STUDIO: Kommigraphics [Greece] DESIGNER: Kosmas Apatangelos

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AAVA A growing IT company Aava needed an identity and basic sales tools that stand out. Minimalistic branding that stylishly uses the letters from the logo differentiates Aava from its competitors. STUDIO: Bond [Finland] CREATIVE DIRECTOR: Jesper Bange

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MAREINER HOLZ Mareiner Holz has developed a whole range of techniques for finishing untreated wooden boards in an environmentally friendly way. When "Mareiner Holzindustrie" became simply "Mareiner Holz" it marked not only the adoption of a clear positioning strategy but also the establishment of "Wood Treatment" as a new market category. In addition, an emotional world was created by this courageous brand personality, which is especially evident in the aesthetics of the company's products: 100% natural beauty.

STUDIO: moodley brand identity [Austria] CREATIVE DIRECTOR: Mike Fuisz DESIGNER: Wolfgang Niederl

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AVELIER AVELIER is a real estate investment house, which specializes in investing in unusual high-class architectures. The minimalist, monochrome symbol, combining the most important elements of the brand, was complemented by individually tailored and modern typography with a subtle, classic accent. Artentiko decided to develop the symbol of logo, creating the distinctive pattern on letterhead and enriching it with the bold color of "lime". STUDIO: Artentiko [Poland] DESIGNER: Marcin Kaczmarek

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IDENTITY FOR MOSCOW

This is a proposed identity and execution for the city of Moscow. After research, Jonathan picked up cues like the Kremlin, pattern work and some of the cathedrals, however, it didn't seem enough to capture the identity of Moscow. From there he delved into the history of Moscow, focusing more on design history and iconography. Knowing that constructivism (as well as Russian aesthetic) is very geometric, he felt that the hexagon shape made the most sense in that it resembled a simplified Kremlin structure. After realizing that one logo couldn't suffice for a whole city's identity he concluded that there was enough material to create a set. DESIGNER: Jonathan Carreon [USA]

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QUEEN RANIA FOUNDATION This is a creative proposal for the Queen Rania Foundation identity competition. STUDIO: Toormix [Spain] CREATIVE DIRECTOR: Oriol armengou, Ferran mitjans

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CORNWALL DESIGN SEASON This is a visual identity for the Mobile Media Lab, an inter-disciplinary team split between Toronto's York University and Montreal's Concordia University. A generative approach creates a visually recognisable identity in constant movement. The three symbol typefaces were designed to produce thousands of possible logos.

STUDIO: A-Side Studio [UK] CREATIVE DIRECTOR: Ross Imms, Alex Rowse

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ICELAND - DRIVEN BY NATURE Iceland-Driven by Nature is a concept based on three core values: contrast (based on an unpredictable and yet powerful nature), together (based on a close relationship between people, nature and craft heritage) and powerful (green/volcanic energy). The solution is an interactive brand that renders live in a 3D shape, data generated according to volcanic activity, wind, weather and humidity, and an organic and ever changing symbol that shows how dramatic Icelandic nature can be. Energy is represented by a fluorescent color palette, while the cooler colors and handwriting typography tell a story about the Icelandic culture and craft heritage. STUDIO: Hyper Island [Sweden] CREATIVE DIRECTOR: Klara Lindberg, Victor Roa DESIGNER: Fernanda Barbato

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GIVING SMILES BTL BRAND CONCEPT

Monochrome logo Designed for specific media, when 3D logo cannot be used

3D logo Can be used in the majority of communications

Event logo Designed for special events and holidays

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Giving smiles is an innovative BTL channel for brand communications, with nothing similar around the globe. The main idea of this project is to present people with beautiful memories - with bright and happy moments of their lives captured by professional photographers. Its main distinguishing feature is that brand's interaction with the audience takes place in the exclusively effective communication moment. And no newsbreak is required to establish this contact with consumers! CETIS Agency has developed the project logo, corporate identity, visual identification system, official website, corporate wear and Pos. STUDIO: CETIS [Russia] CREATIVE DIRECTOR: Eugene Yakushev DESIGNER: Olga Kozlova, Eugene Sadovsky, Alina Matiushyna, Dmitry Bykov Process

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MARINA PORT VELL The identity reflects an "M", and the sleek shapes cut out of the square to form this "M" evoke the hulls of boats lined up along pontoons. Instead of being filled with a fixed color, the identity is an aperture through which elements of the city can be glimpsed. Any of 20 specially commissioned photographs can fill the symbol, from architectural details to natural features in the city, increasing the icon's versatility and reflecting the diversity of the marina and the culture of Barcelona. Because there is no strict color palette, and the only constricting factor is that the imagery must fit the aperture, the city's vibrant colors and textures are allowed to flourish. The inherent richness in these colors and textures conveys a striking and authentic sense of place, reflecting the reasons why Marina Port Vell is such a desirable homeport for super yacht owners, captains and their crew. STUDIO: Aesop Agency [UK] DESIGNER: Dan Calderwood

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SALES DESK POLEN Sales Desk Polen is a company offering complex range of services to foreign companies wishing to operate in Poland. The company has emerged from several years of professional experience of the company founder (Patrycja Kosta) in assisting German companies in Poland. Hence, the logo's development was based on the characteristic Lower Saxony Land symbol - red horse. The final result is in a modern, minimalistic way, concentrating on upper part of the horse. STUDIO: Artentiko [Poland] DESIGNER: Marcin Kaczmarek

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PROSPECTACY Established in Cyprus, Prospectacy offers insightful solutions, expert advice and results in the global business sector that all delivered with unmatched client service. Client asked about new brand identity that will help to stand out and deliver services with pride, passion and excellence. Since Prospectacy worked with many Russian clients, they wanted to incorporate a twoheaded eagle as a sign of brand, but at the same time do it in "different" way for reduce similarity with Cypriot National Guard emblem.

STUDIO: Higher [Czech Republic] CREATIVE DIRECTOR: Victor Novak DESIGNER: Kostadin Kostadinov, Alex Veresovich

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MILESTONE CONSULTING Milestone Consulting is a Budapest-based consultancy dedicated to helping students find the right path in the global higher education market, empowering them to build the foundations of success in a dynamic and rapidly changing world. The idea for the logo featuring Laika, the dog propelled into space by the Sovient Union, came about as the result of a half-serious brainstorming session among the team that initially yielded an image of catapults and Logo

swallows. Yet the logo's symbolic value should not be underestimated. It is an ironic reference both to an icon of socialist progress and to the alienation and wonder of space travel, used here as an analogy for the experience of studying abroad. It aims to capture the notion of the "great leap forward" made by Milestone's students as they leave the comfort of their home environment to discover the larger world around them.

DESIGNER: Anna Kasnyik [Austria]

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INTERNATIONAL LOW-CARBON GARDEN This is the proposal for the International Low-Carbon Garden identity competition. STUDIO: Matox Design [China] DESIGNER: Mengqiao Miao

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CHELYABINSK REGION The design concept is for a tourist brand of Chelyabinsk region. The symbol is associated with ancient petroglyphs, thereby reflects the long history and culture of the region. The chosen style makes the sign unique, and it reflects the significant role – natural factors: the presence of mountains, lakes, nature, ethnic and cultural diversity of the region. The color scheme reflects the character of its semantics. And its structure allows arbitrary change colors depending on the objectives, environment in which it is placed. DESIGNER: Daniil shumakov [Russia]

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GRÚAS LOS CAMPONES Grúas Los Campones is an Asturian company of road assistance and vehicles rescue, awarded the Best Road Assistance Company in 2007 by Mondial Assistance. The main element in this brand is the hook, which catches the vehicles to the tow truck, like letter "g" in "grúas", which catches "Los Campones". STUDIO: G:lou creatividad [Spain] DESIGNER: Mario G Loureiro

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MEP This is an identity redesign of "International Center of Photography". DESIGNER: Lionel Rousseau [France]

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DEEPSOUL KOLLEKTIV Logo

Deepsoul Kollektiv is a team that brings artists together, collaborates with the local and national community and is also open to any suggestions and support by its funs. The design is vibrant, young, dynamic and forward thinking. STUDIO: Kommigraphics [Greece] DESIGNER: Kosmas Apatangelos

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ROYAL OPERA HOUSE REBRAND SomeOne was asked to rebuild the Royal Opera House identity for 21st Century communications. The Royal coat of arms now appears detailed and beautiful at large sizes, whilst still retaining its "iconic crest" visual at small sizes. Re-creating the crest, opening up the spaces around the detail slightly, still keeping the inherent detail and ensuring the individual elements are more distinctive at small sizes. Stacking the words, SomeOne addressed the hierarchy of information, by using the "Gotham" font. Also it provided a set of bold and distinctive colors, and tones. STUDIO: The Agency of SomeOne Limited [UK] CREATIVE DIRECTOR: Gary Holt DESIGNER: Therese Severinsen

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PUNTO TAPIZADOS The visual identity was for Punto Tapizados, a new Spanish company of upholstered furniture, which understand the value of coherent identity in a business badly beaten by the economical crisis. The result is an easy, warm and optimistic identity. It is not intended to condense a lot of concepts and ideas, but to simplify the graphic representation of the company and the function, to show a consistent relationship between all the applications developed from the core brand. STUDIO: Kingdom Pixels [Spain] DESIGNER: Jose Antonio Puche

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MAGYAR MADÁRTANI INTÉZET INSTITUTE IDENTITY Magyar Madártani Intézet is the Hungarian Institute of Ornithology, its logo design is based upon the flying Pegasus. The logo is strictly illustrated in black color, due to the strictness and seriousness of an institution. Professionalism is best represented by black color. It emanates reliability and seriousness. The logo illustrated in black preserves harmony with its background. STUDIO: PELTAN DESIGN [Romania] DESIGNER: Peltan-Brosz Roland

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LOOKIN ROOMS Lookin Rooms two-story is in the style metropolis – the guests are immersed in an atmosphere of a night in New York with its skyscrapers and towers. The graphical solution is combine a sound wave with the silhouettes of the city in a bright, vibrant and visually interesting way to decorate the graphical image of any element of corporate identity. DESIGNER: Daniil Shumakov [Russia]

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NATIONAL MARITIME MUSEUM REBRAND The National Maritime Museum is one of the largest museums in the world on this theme and one of the most popular attractions in the UK. The identity uses a splash image to reflect the global reach of discoveries about navigation, timekeeping, astronomy and technology made in Greenwich. The splash has different color variations to denote the Museum's different sites, using sea-blue for the Maritime Museum, gold for the Queen's House and Royal purple for the Royal Observatory. STUDIO: The Agency of SomeOne Limited [UK] CREATIVE DIRECTOR: David Law DESIGNER: Karl Randall

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TEXTSCHMIEDE Textschmiede is a modern and determined copywriter agency based in Germany. DESIGNER: Malwin Béla Hürkey [Germany]

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APARTES The concept was based on the idea of youth style, freshness and simplicity. This logo had to sparkle exactly what the designer intended. The black and white color would fulfill the designer's desire, whereas the cost of print would be lower. DESIGNER: António Pona [Portugal]

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LOVE 22 Love 22 is a fashion label for young people who are interested in interpolating modern (& post modern) graphic aesthetics into their everyday wear. Designer drew inspiration from the interesting name and began design with the number 2 with the Helvetica typeface which would be the perfect base for the heart motif of the icon. DESIGNER: Ryan Atkinson [South Africa]

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PLUSONE AMSTERDAM PlusOne is an Amsterdam based creative production studio that creates hybrid content in which animation is combined with live action and digital media. PlusOne wanted the logo to be a minimalistic and elegant visualisation of "+1", but with a twist. Furthermore, the logo needed to visualize the studio's expertise in 2D and 3D graphic animation. The logo solely consists of triangles, which creates the suggestion of (isometric) depth, where the actual "+" and "1" are transparent. DESIGNER: Harold van Velsen [the Netherlands]

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HUBRECHT INSTITUTE The most elementary form from developmental biology is chosen as the foundation for the design of the new identity: the stem cell. Different circles represent the stem cells and are used as the "building blocks" for the new identity. In the logo they develop into an abstract form which represents an embryo. The basic form from the previous logo was maintained for the recognizability of the institute. In all of the corporate identity's communication tools the further development - from embryo to living being - is represented through the circular pattern. Each becomes three embryonic stages in different print layers superimposed to form an illusion of depth. Every layer is superimposed in one of the three corporate identity colors. STUDIO: CLEVER°FRANKE [the Netherlands]

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EXPODIUM As the point of departure designer formulated the idea "Expodium: mark your space". With this idea they searched for tools that are needed to achieve the idea of "marking''. Thus a tape was designed which serves as the "sender" on envelopes and stationary, is used to highlight areas, and serves as signage. Based on the idea of a highlighter and marking, the flyers and posters are printed in fluorescent colors in order to stand out in the dark. In the typography the emphasis lies on the words through the dispositive printing, also a derivative of the highlighter idea. STUDIO: CLEVER°FRANKE [the Netherlands]

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RUSSIA INSURANCE COMPANY LOGO When developing this logo CETIS Agency faced the challenge of preserving continuity and

Original logo in outline Original logo with fill Used in corporate business documents Used in all marketing materials.and marketing materials. Black-and-white variant used for simple print.

recognizability of the brand with a most rich history. The logo traces its roots to the symbol of pre-revolutionary Russia company, the basic element of which was an orthodox icon "The Burning Bush". The underlying idea of this logo is many-sidedness of life as the greatest value that should be safe and protected. These sides, or faces, symbolize everything that fills human life with meaning. The outline logo can be used with a background of any color, thus providing extensive interaction opportunities for the brand and its consumer. The logo is integrated into the company's corporate communications: from office decoration to advertising materials and corporate gifts.

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STUDIO: CETIS [Russia]

Additional logo Original logo in outline Intended for complex application methods Used in corporate business documents such as pressing, hot stamping, etc. and marketing materials. Black-and-white variant used for simple print.

The black or white logo in outline can be used with a background CREATIVE DIRECTOR: Eugene Yakushev of any color, thus providing extensive interaction opportunities DESIGNER: Equgene Sadovsky, Dmitry Bykov, Olga Kozlova, Sergey Ubaidullaev for the brand and its consumer.

H I S TO RY H I S TO RY Additional logo Intended for complex application methods such as pressing, hot stamping, etc.

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The black or white logo in outline can be used with a background of any color, thus providing extensive interaction opportunities for the brand and its consumer.

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BIG GROUP Big ideas need big spaces. Artentiko developed complete visual identification of the Big Group Company which build and lease large-format advertising space. Artentiko started in full vigor, then a colorful, expressive, and to the point logo was created.

STUDIO: Artentiko [Poland] DESIGNER: Marcin Kaczmarek

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TURKISH AIRLINES FINAL FOUR BARCELONA 2011 The Final Four Basketball euroleague 2011 was held in Barcelona. The image of the event was inspired on the artistic richness of the city focusing on two very influential artists such as Antoni Gaudi and Joan Miro. With this in mind, undulating outlines and the shape of the famous Gaudi's mosaics were used to create the logo as well as the range of colors used in paintings by Miró. To represent the basketball, the figure of a player was chosen. Using as a starting point the head of the figures of "warriors" located on the roof of "La Pedrera" (Gaudi's architectural work), and the silhouette of the player was extracted. This was then painted with colors associated with Miro. For applications mosaic techniques were used to draw the players of the finalist teams in different play situations. This concept was used for all the event-related designs, outdoor advertising, event decoration, graphic images, etc. STUDIO: Ospedrer Studio [Spain] DESIGNER: Joan Bagan

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FINAL FOUR ISTANBUL 2012 The Euroleague Final Four Basketball 2012 is going to held in Istanbul. The image of the event was inspired on the artistic richness of the city, the country's history and geographical location. The idea was to evoke the sea with blue colors and the characteristic ornaments of Turkish and Ottoman culture. The logo depicts a basketball player. The union of upper and lower limbs expresses the union between Europe and Asia which means Istanbul. STUDIO: Ospedrer Studio [Spain] DESIGNER: Joan Bagan

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VIRGIN ATLANTIC STUDIO: johnson banks [UK] CREATIVE DIRECTOR: Michael Johnson DESIGNER: Pali Palavathanan

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In peoples' minds, and in research, Virgin Atlantic was the most admired brand in the vast Virgin stable of companies. But, oddly, when you looked hard at the brand, both its words and its visuals lagged behind. The challenge with this project was how far to take the brand, whether to attempt wholesale revolution or carefully evolve the brand elements that were already there. After exhaustive audit stages and a detailed process to define what the company stood for, verbally, the time had come to look at the visuals. From even the earliest designs, johnson banks agreed that the time had come to write the company's name in full again (ie "Virgin Atlantic"), and as large as they could get it down the fuselage. Following that, they decided that the red tailfin containing the script logo should be retained, and carefully redrawn to a much simpler and more elegant shape. Process

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SOCIAL NETWORK GAMER.RU ID Gamer.ru is the largest Russian gaming portal, a social network for gamers based on the RPG gameplay model. Modern gaming is a wide phenomenon: dragons, bandits, cars, knights, aircrafts, etc. The gamer is free to choose his own reality and personalization in his gaming space. The idea of diversity and personalization is the basis for a new identity. STUDIO: Who make it? [Russia] DESIGNER: Erohnovich Roma

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Шлем нужен в 2х ракурсах: фронтальный и боковой

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HOSPITAL DE BRAGA The logo is combined of three elements, which are a simplified silhouette of a human with opened arms in welcoming and inviting gesture (an open curve symbolizes receptivity) as well as a happy and a healthy person (hope for recovery and getting back into normal life), a spiral in a shape of a leaf (a spiral line is commonly present in Portuguese visual culture), and a corn-cob, which is a symbol of Braga and the people of Minho region. The symbols are composed into a consistent triangular shape that expresses the reliability and stability of the company/ hospital. The overall shape resembles a tree, which is a symbol of nature, its ability to recover, its healing properties as well as the eco friendly profile of the hospital. The symbol is clean and simple but has a unique and recognizable character as well as a modern feel. STUDIO: Gen Design Studio [Portugal] CREATIVE DIRECTOR: Leandro Veloso DESIGNER: Kasia Kaczmarek

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KAVIART KAVIART is a small interior design firm based in Budapest, Hungary. They asked Made by zwoelf to design a fresh, straightforward visual identity that they can use on a variety of surfaces. The concept starts with an available surface. From there designers can draw the letter "K" with lines: one horizontal line and two lines at 45 degrees. This way they can fill the whole available space and also get a strong but fine "K" sign, with the letter "K" being the first letter of the studio name. The visual sign can differ from surface-to-surface, as the focus-point can be moved from one location to another, but it should always be adjusted to the size, ratio, and content of the surface. STUDIO: Made by zwoelf [Hungary] DESIGNER: Péter Serfözö, Naske László Mihály

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"THE LOOP STAFF" IDENTITY The design tried to simplify the identity for a basic but important thing: find a logo which could be easy to remember. As a result, the identity took the way of the loop form, reminding of "infinitive, something that never ends". DESIGNER: Matteo Del Nero [Italy]

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FAIRPLAY CONSEIL FairPlay is a sports & cultural marketing agency. Brand Brothers chose to design a colorful identity that could also change and evolve. The logo consists of a shield - evoking the prestige of major sports clubs, with a left side wearing stripes (meaning fair, straight, and respectful) and a right side representing the "play" side: curves, meaning creativity, fun, and competition. Brand Brothers also designed their new website, and created a set of background pictures that could visually translate the links between sport & culture. The website was also designed to be easy and intuitive, thus giving the best user experience. STUDIO: Brand Brothers [France] CREATIVE DIRECTOR: Johan Debit, Jean-Remi Massery

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KATONA JOZSEF THEATRE INSTITUTE IDENTITY Katona Jozsef Szinhaz is a well renewed theatre in the capital of Hungary, Budapest. The logo made by PELTAN DESIGN is based on the idea of a bench, which is a common sitting place in the old theatres. The bench is illustrated thought the law of big surfaces, commonly seen in Egyptian hieroglyphs. STUDIO: PELTAN DESIGN [Romania] DESIGNER: Peltan-Brosz Roland

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C - CONVENIENCE WITH CARE STUDIO: e-Types [Denmark] CREATIVE DIRECTOR: Jonas Hecksher DESIGNER: Jess Anderson, Andreas Peitersen

Coop is Denmark's largest supermarket retailer, decided to launch a new concept store - dubbed "C" - designed to meet the ever-increasing demands to ethics, price, convenience, and lifestyle. e-Types helped define the concept and created the visual identity for Denmark's new cool convenience concept, from brand values to communication guidelines over identity, packaging and even interior design. e-Types developed the name, logo, and identity for C, reinterpreting coop's original values into a heart. The logo signals the care for people's health and economy as well as the concern for the world that lie at the very core of coop.

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ZAMTEL REBRANDING Zamtel is a Zambian cellular network that originally started in 1913 with the introduction of the first telephone exchange in the tourist capital of Livingstone. In June 2010 the Zambian government partially privatized the company. Ateljee was then asked to rebrand Zamtel to accompany the renewed passion, ambition and commitment to delivering quality communication, as well as the new approach to business and customers that marked the change within the business. Taking the Zambian landscape into consideration, the brand required something bold and fresh that would stand out, and with this in mind a fresh green and white was chosen as the primary colors of the logo. When considering the logo shape, Ateljee decided to use a unique holding shape being the circle. The circle is a powerful visual symbol, as it does not have a beginning or an end, it is infinite. Circles are repeated inside the logo, as symbol of the multiple telecommunication solutions that Zamtel provide. This gives the identity a sense of energy that represents the new team responsible for driving business success. STUDIO: Ateljee [South Africa] CREATIVE DIRECTOR: Fred Swart Process

DESIGNER: Fred Swart, Helene Botha

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LOS BARBEROS IDENTITY Los Barberos barber shop asked Indyvisuals to give a new look for their identity and shop. Inspired from the traditional British barbershops Indyvisuals created a logo that represents completely the style of the shop. Fonts used by Parachute.

STUDIO: Indyvisuals [Greece] DESIGNER: George Chandrinos

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ARCO RIBEIRINHO SUL The identity is based on a central point in Tejo River which separates geographically the two territories and it's represented as a ring/circle. In addition to all the favorable and appropriate connotations that a circular shape beholds, it also contains the notion of commitment that a project of this nature should entail. Since the area of intervention is the south bank, Gen Design Studio took advantage of its upper zone to emphasize the project's sustainable character, using a leaf as the natural element. The logo represents the new center of the metropolitan area, based on a solid commitment to refocus priorities and intervention. STUDIO: Gen Design Design [Portugal] CREATIVE DIRECTOR: Leandro Veloso DESIGNER: Rui Malheiro

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S7TART LOGO S7TART Photography studio was born in early 2010 and specialised in leisure and tourism photography. Aiming at building the corporate image, three different elements were taken into account: photography, fun and history. The logo is based on the shape of the camera shutter. To highlight the singularity and the spirit of the studio, the blades of an open leaf shutter were used to create the shape of a star. The ones selected were those who represented the color wheel. Other colors were chosen to express concepts, history and modernity. To give Logo

coherence to graphic design, typeface was selected with the same criteria.

STUDIO: Ospedrer Studio [Spain] DESIGNER: Joan Bagan

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BESSER AUTOMOTIVE

OFFSETTERS

Besser is an automotive services company with a qualified staff in car

This Canadian-based non-profit organization offers individuals and businesses

maintenance and restoration, which is focused on the public with high

the opportunity to take positive action in response to the problem of climate

purchasing power.

change. The circular mark illustrates both the shift from dirty to clean as

The brand concept is based on the characteristics of the automotive design of

well as the physical removal of greenhouse gas emissions through credible

luxury cars mixed to the crown, the maximal representation of royalty.

carbon offsetting. The center of the business card itself can also be removed to pass the message onto others. Overall, the mark encourages dialogue and

STUDIO: studioOpz [Brazil]

interaction, which is fundamental to what offsetting is all about.

CREATIVE DIRECTOR: Bruno José Nantes DESIGNER: João Matheus Mazzia

STUDIO: Rethink Communications [Canada] CREATIVE DIRECTOR: Ian Grais, Chris Staples DESIGNER: Nancy Wu Logo

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METEOPHORIC BRAND

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DESIGNER: Francisco Elias

meteorite, with a abstract symbol, metaphor, represented through formal and chromatic effects connoted with the sensation of movement and dynamism. Meteophoric is looking forward to creating a strong impact, similar to that of a meteorite.

WHAT HAPPENS WHEN What happens when is a temporary restaurant installation that transforms every 30 days. It will live for 9 months in a reclaimed space in New York City and will change focus every month in order to explore what a dining experience can be and how we can play with the traditional expectations of dining out. The brand identity is designed as a system of symbols that represent every movement of what happens when. The intent is to create a system of iconography that represents each monthly thematic and change alongside the spatial, food and sound transformations. STUDIO: BALTZ WORKS [USA] DESIGNER: Emilie Baltz

OM C.C NY N E WH

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ST ICK TH IS

STICKER SOMEWHERE IN THE

AFTERiWAS@WHATHAPPENS

STUDIO: Francisco António Moreia Dias Coito Elias [Portugal]

and principles. It is an image that joins an iconic sign, whose referent is the

WORLD & EMAIL THE PHOTO TO:

Meteophoric name results from a set of formal and imagistic definitions, ideas

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KNUCKLEHEAD MUSIK

MAD MUSEUM

Knucklehead Musik is a small music label in Los Angeles uniting hip-

Designer took the square as a beginning and from that, started playing

hop artists. Rough and street style of the label's productions had to

with the forms, from a square to a rectangular form. The typography just

find its way in project. This is how the designer created a distinctive

appeared after that, while moving the rectangular forms up and down.

symbol illustrating knuckles combined with a vinyl record. The sign was designed in the way that allows to use it without typography.

DESIGNER: Rafael Fagulha Santos [Portugal]

STUDIO: kreujemy.to [Poland] DESIGNER: Piotr Ploch

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LE CABARET Le cabaret is a men's fashion company (Underpants and T-shirts). The idea was create a story with seven personages representing seven deadly sins around a cabaret. Thereafter, studioOpz established their core values and developed the full visual identity. This work includes brand, stationery, packaging, stamps, tags, web store and other promotional materials. STUDIO: studioOpz [Brazil] CREATIVE DIRECTOR: Bruno José Nantes DESIGNER: João Matheus Mazzia

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EYE-CANDY TATTOO AND ART STUDIO Eye-candy is a tattoo studio that also sells art. Exploring the history of tattoos and the popular following of tattoos by the sailor culture, Ateljee came up with an illustration featuring a pin-up mermaid. The logo is black and white and by printing this on different colors of pastel paper; the identity has variation through color with the design staying the same. The business cards are printed on coaster paper and could therefore also double up as a functional item. Water-soluble tattoos were also created as a promotional item for potential customers to play around with the idea before deciding to get a permanent tattoo. Process STUDIO: Ateljee [South Africa] CREATIVE DIRECTOR: Fred Swart, Helene Botha

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THE FLOWER COMPANY The Flower Company is a floral design studio creating bouquets for all kind of celebrations. Designing a stylish logo is what the designer wanted to achieve in the first place. They wanted a floral motive to be included into the logo in the way that would clearly indicate company's branch. The result is a flower made

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of ribbons interlacing with each other. STUDIO: kreujemy.to [Poland] DESIGNER: Piotr Ploch Logo

LIZARD SQUASH Lizard squash is a squash club located in Warsaw, Poland. To keep a reference to the club's name the designer decided to create a lizard logo and to add a distinctive feature of the aforementioned sport's discipline. The main goal was to avoid trivial solutions and this led the designer to designing a logo where the lizard's tail converts into squash racket. A specific reptile back was used in many components of company's visual identification. STUDIO: kreujemy.to [Poland] DESIGNER: Marta Wojcik, Piotr Ploch

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ORGANIC TRADE Organic Trade is a young Brazilian based (in the city of Santos) broker specialized in trading ethanol and sugar, both locally and internationally. Logo

STUDIO: Hidroponie [Brazil]

INNERVISION

DESIGNER: Erico Amorim Logo

Innervision is an IT company from Warsaw. The designer decided to focus on the name of company and creating a logo that could reflect the Innervision. That's why they designed an abstract 3D symbol. You can actually take a look "inside" of it through the hole on the front side. STUDIO: kreujemy.to [Poland] DESIGNER: Piotr Ploch

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ZUPPER Zupper is a new website that sells airplane tickets with a different and innovative engine. Casa das Três Design created a different and striking name as well as a fashionable and fun logo for Zupper. Along the way, they had the idea to create a mascot that could be used on the site, which was nicknamed Zuppy. STUDIO: Casa das Três Design [Brazil] CREATIVE DIRECTOR: Luciana Brasil, Maria Paula Teixeira, Mariana Kertész

SCORPAENIDAE Nutkase was asked to develop a logo and graphic identity for Scorpaenidae, a new consulting and health solutions and technology enterprise. The result was a mutant brand, always evolving accordingly with Scorpaenidade needs and solutions. Although with several different module representations, all the communication has a very graphic consistency along the different mediums. It's well accepted in the Health community, with a great feedback from collaborators and clients.

STUDIO: Nutkase [Portugal] CREATIVE DIRECTOR: Joäo Pereira, Patrícia Costa

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MILLER & GREEN IDENTITY Miller & Green, an independent boutique hair salon, opened its doors in November 2007 in Sydney, Australia. Landor was asked to create an identity for the salon, which would mirror their promise to be elegant, unique and experience-driven within a traditionally generic industry. The logo is based on a clear-cut, powerful idea that plays on the Miller & Green initials and the essential hairdressers tool a pair of scissors. The vibrant color combination of lime green and dark brown reflects the salons elegant yet Logo

vivacious character. STUDIO: Landor Associates [Australia]

MACACO GORDO

CREATIVE DIRECTOR: Jason Little DESIGNER: Pan Yamboonruang, Angel McCarthy Logo

Macaco Gordo is a company that does a little bit of everything: websites, videomaking, animations. The name of the company refers to "troubleshoot" (quebra-galho), a term used in Brazil to say that the company solves the problem. The stationery was developed in craft, silkscreen using tones to make the material more fun and modern. On top of that, designers choose to use each monkey with a different face expression. STUDIO: Casa das Três Design [Brazil] CREATIVE DIRECTOR: Luciana Brasil, Maria Paula Teixeira, Mariana Kertész

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EXCELLENT SMOKE The logo was designed for Excellent smoke, the Russian firm selling accompanying smoking of hookah products of the highest quality. DESIGNER: Alexey Zhurov [Russia] Logo

NINJA TUNE This is a redesign of the British electronic music label Ninja Tune. To remake this identity, the designer had to consider two elements: the identity of the label, and the codes responding to the problem. There are the ninja and the vinyl for the brand, and the circle and the thunder for the codes. The vinyl is inseparable of the circle, so the designer associated the ninja with the thunder. DESIGNER: Lionel Rousseau [France]

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FILIP LE FRICK REBRAND

DJ WILL CLARKE REBRAND

XTREM MAN LOGO

GOGO

STUDIO: Superfried [UK]

STUDIO: Ospedrer Studio [Spain]

STUDIO: Torke [Portugal] CREATIVE DIRECTOR: André Rabanéa

DESIGNER: Joan Bagan

DESIGNER: Joäo Pereira

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RE S ULT

BHURATNA MICRO NUTRIENT FERTILIZER IDENTITY STUDIO: Bayo Design [India]

ECOTRAVEL DESIGN STUDIO: FRV Brandesign [Costa Rica] DESIGNER: Federico Rojas

DESIGNER: Nameeta Sohoni

RE S ULT

REGIONAL ENERGY HOLDING LOGO RESULT

ESTÚDIO VII VISUAL IDENTITY STUDIO: Estúdio Vii [Brazil]

RESULT

DESIGNER: Eduardo dos Santos, Juliano Simões da Rocha

STUDIO: CETIS [Russia] CREATIVE DIRECTOR: Eugene Yakushev DESIGNER: Dmitry Bykov

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I D EA

Force guides

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Earth interior

Birth of energy

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DURALED

ECONOGREEN

PINKORRIERE LOGO

BEEBOX!

STUDIO: studioOpz [Brazil]

DESIGNER: Gabriele Malaspina [Italy]

STUDIO: Strudel Design [Israel]

CREATIVE DIRECTOR: Bruno José Nantes

DESIGNER: Anderson Gabriel Capeloto Duraled

DESIGNER: Anderson Gabriel Capeloto Macohin

Logo

Process

BILLY THE GROUP

SUPERBA COFFEE

GRS IDENTITY

THE PIXEL SYNDICATE

STUDIO: Torke [Portugal]

STUDIO: ACTUART LP. [Hungary]

DESIGNER: Matteo Del Nero [Italy]

CREATIVE DIRECTOR: André Rabanéa

DESIGNER: Peter Vasvari

DESIGNER: Sigal Vilenski

DESIGNER: Joäo Pereira

Logo

Process

301

302

BRANDING ASSISTAREFA

ALMATY METROPOLITAN

SIMPLY CROW

THE CALEB COMPANIES

DESIGNER: Fernando Lopes [Portugal]

STUDIO: Akhmatov Studio [Kazakhstan]

STUDIO: ACTUART LP. [Hungary]

DESIGNER: Anton Akhmatov

DESIGNER: Peter Vasvari

Logo

Process

FISH AND EXPLORE

SEA SENTINEL

KNOKET

MI DULCE MARÍA

STUDIO: ACTUART LP. [Hungary]

DESIGNER: Alexey Malina [Russia]

DESIGNER: Mariana Rodriguez [Argentina]

DESIGNER: Peter Vasvari

Logo

Process

303

304

ROSSATE ENGENHARIA

AVADORA

A.COM RUN & BIKE

STUDIO: BrazdePina [Brazil]

STUDIO: studioOpz [Brazil]

STUDIO: Hidroponie [Brazil]

DESIGNER: Antonio Braz de Pina

DESIGNER: João Matheus Mazzia

DESIGNER: Erico Amorim

Logo

Process

FROGSTIGER

BREAD & BREAKFAST

PROXIMA EVENTS

OCHO CEVICHE BAR

DESIGNER: Rafael Fagulha Santos [Portugal]

STUDIO: Strudel Design [Israel]

STUDIO: Brand Brothers [France]

STUDIO: Casa das Três Design [Brazil]

DESIGNER: Sigal Vilenski

DESIGNER: Johan Debit

DESIGNER: Marcelo Kertész, Mariana Kertész

Logo

Process

MARKETING HOUSE SOLUTIONS & RESULTS STUDIO: Hidroponie [Brazil] DESIGNER: Erico Amorim

305

306

KSS SECURITY SYSTEMS STUDIO: Akhmatov Studio [Kazakhstan] DESIGNER: Anton Akhmatov

SOCIETY OF GI ENDOSCOPY OF INDIA

WHITESCAPE

LAKEN IDENTITY

STUDIO: I Depend On Me [Italy]

STUDIO: Industria High End Design [Brazil]

DESIGNER: Federico Landini

DESIGNER: Eduardo Andrade

STUDIO: Bayo Design [India] DESIGNER: Nameeta Sohoni

Logo

Process

YAAWAY.COM

TAG ART SHOP GALLERY

ASSISI MOSAIC

STUDIO: Nancy Wu Design [Canada], Industrial Brand [Canada]

DESIGNER: Gabriele Malaspina [Italy]

STUDIO: Fulvio Bisca [Italy]

JIU-JITUS FEDERATION OF KAZAKHSTAN

CREATIVE DIRECTOR: Mark Busse,Ben Garfinkel

STUDIO: Akhmatov Studio [Kazakhstan]

DESIGNER: Nancy Wu

CREATIVE DIRECTOR: Tigran Tuniyants DESIGNER: Anton Akhmatov

Logo

Process

307

2M2 DESIGN UN

Akhmatov studio

EMAIL: 2m2unow@gmail.com

EMAIL: info@akhmatov.com

2M2 Design UN is a young creative agency, who established in 2008. It is consisted of graphic designers, space designers, interactive media researchers, programmers, and copywriters. 2M2 Design UN has a closely collaborations with other creatives, aims to explore both the extension and connotation of design, also provides a comprehensive design solution for the clients.

The studio was created in 2008 with an idea to provide high quality graphic design products for local and international clients. It consists of four professionals including a creative director, photographer and graphic designers. The service they provide includes development of logos, packaging design, advertisement, branding, web design, book covers and layout and many more.

8 BIS STUDIO

Index

EMAIL: jeanmaxbrais2@me.com

ALEXEY MALINA

8 Bis Studio takes part in the conversation between brands and their worldwide customers from strategic position in local markets to strategic development for global communication.

EMAIL: hello@makearea.com

Alexey Malina is a graphic designer and digital artist located in Moscow, Russia. Working across varied areas, Alexey provides unique style in illustrations, strong aesthetics in visual identity, simplicity and confident layout in web-projects.

Aesop Agency EMAIL: vanessa.ocarroll@aesopagency.com

Aesop is a brand story agency.They take ideas and models from narrative theory (the study of storytelling) and apply them to brands. This helps them structure their creative work, and allows them to design beautiful brands which people take notice of, connect with and share.

Alex Kwan EMAIL: alx.kwn@gmail.com

Alex graduated from Central Saint Martins College of Art & Design in 2011 with a BA (Hons) in Graphic Design. Currently he is based in London, UK doing freelance work. He loves to draw, eat, play and solve puzzles, often uses illustration, humour and wit in his work and believes design should be fun, positive and informative.

A-SIDE STUDIO EMAIL: contact@a-sidestudio.co.uk

A-Side is a full service creative studio set in the UK with a global reach. They offer bespoke design solutions spanning all media. A-Side creates and nurtures successful brands. They offer art direction, graphic design and illustration all the while freely jumping the divides between image and product, design and art, the flat page and the moving image.

ALEXEY ZHUROV EMAIL: jab3@mail.ru

Alexey Zhurov is 28, based on Moscow, specializing on idustrial design, branding, typography. He was a teacher in Moscow state industrial university, and an engineer-designer in FSUE "SMF SALUTE" (The radar-tracking equipment) in Russia, Moscow. He also was the winner of Stroganovsky festival 2009.

AMOLISBOADESIGN

ASKETIC DESIGN STUDIO

BOND

CASA DAS TRÊS DESIGN

EMAIL: pedro@amolisboadesign.com

EMAIL: info@asketic.lv

EMAIL: Anna.pilkama@bond-agency.com

EMAIL: atendimento@casadastres.com.br

Amolisboadesign is a Lisbon-based design studio, which is specialized in the areas of industrial design, furniture design, packaging, architecture and interior design.

Asketic is a multi-disciplinary innovative solution design firm which was founded in 2003 and now works in Riga, San Francisco and London. The main competences of Asketic are graphic design and interactive development. They design innovative solutions for various clients.

Bond is a creative agency focused on branding.

Casa das Três is a design agency that works with branding and brand identity with a boutique concept. Casa das Três aims to materialize the brand experience through the creation of differentiated products such as logos, patterns, prints, brochures and others, always looking for materials that are beyond the ordinary.

BRAND BROTHERS EMAIL: contact@brandbrothers.fr

Andrea Mantuano EMAIL: a.m.brandesign@gmail.com

Andrea Mantuano works as a graphic designer and studies at NABA University in Milan, specializing in business communication services: logo development, signs, typography, photography, corporate and brand identity, brand development, rebranding, corporate and brand guidelines.

ATELJEE EMAIL: info@dieateljee.com

Ateljee (translated "Studio") was formed by Fred Swart, Jaco Burger and Helene Botha in January 2011 in Johannesburg, South Africa. Developing brands for a variety of corporate as well as cultural entities, Ateljee extended its design offering into the world of typography, packaging, exhibition, publication and identity design.

Brand Brothers is a brand design agency. The agency was created by two designers, Johan Debit and Jean-Rémi Massery. Their goal is to build, develop and value brands throughout design, to reveal their potential, to help businesses and organizations to improve their image, and to produce creative identities, stepping away from common clichés.

BRANDSMITHY ANNA KASNYIK

EMAIL: info@brandsmithy.com

EMAIL: hello@annasvisualbakery.com

Anna Kasnyik graduated at the University of Applied Arts in 2009. After collecting some working experience in Rotterdam, Berlin, Vienna and New York, she opened her Visual Bakery based in Vienna and Budapest.

BALTZ WORKS EMAIL: emilie@emiliebaltz.com

Baltz works is the process by which Emilie Baltz approaches creativity. The outputs of this practice are personal and professional, functional and fantastical. Trained in Film Studies, Photography and Industrial Design, Baltz borrows omnivorously from multiple mediums in order to deliver joyful experiences for consumers.

BRANDSMITHY is a small branding and graphic design company specializing in brand identity and package design solutions. The company based in Uzhgorod, Ukraine.

CETIS EMAIL: cont@cetis.ru

CETIS Branding Agency provides a full range of brand creation and promotion services. Founded in 1998, the company has become one of the first professional design studios in Russia. By now, the agency has over 800 finished projects developed for the customers of various industries, both small companies and popular international and Russian brands, such as Pioneer Corporation, Militzer & Muench, World Trade Center, Rostelecom, INCOM Realty, etc.

CLEVER°FRANKE EMAIL: info@cleverfranke.com

AntÓnio Pona

EMAIL: contact@brazdepina.co.uk

EMAIL:antonioapsmaia@gmail.com

BrazdePina is a design studio specializing in branding. Leaded by the graphic designer – Antônio Braz de Pina, it also attracted attention from all over the world.

CLEVER°FRANKE is a multidisciplinary design agency working on diverse projects for a range of clients. They work on visual identities, websites, books, campaigns and data, visualization. CLEVER°FRANKE is a design agency that loves complexity. Whether this complexity is found in content, data or quantity, they design clear and insightful solutions.

BRUCE MAU DESIGN

DANIIL SHUMAKOV

EMAIL: info@brucemaudesign.com

EMAIL: creartors@gmail.com

Bruce Mau Design is a design and innovation studio, which centres on purpose and optimism. BMD is organized to balance innovative creative output with client relationship management, and their in-house team is composed of graphic designers, architects, technologists, animators, writers, strategists and producers.

Daniil Shumakov is a graphic designer from Russia, specializing in visual communication services, including logo, corporate identity and brand guidelines.

António Pona graduated with a BA in General Design in 2008 at IADE (Instituto de Artes Visuais, Design e Marketing) in Lisbon, Portugal. Apart from focusing on branding, visual identity, vector art, digital art, he also dabbles in the fields of graphic and print.

ARTENTIKO EMAIL: info@artentiko.com

Artentiko – a branding studio. They unite brilliant ideas, selected styles, well thought out strategies and meaningful words for brands.

BLACK SQUID DESIGN

BRAZDEPINA

EMAIL: info@blacksquid.com.au

Black Squid Design is a firm of ideas people – five people and limitless ideas. Their philosophy is to come up with innovative ideas that generate improved ways of presenting a message to the public, whilst maintaining a clear identity, ease of recognition and readability. They value outside-the-square thinking, the element of surprise, and the delight and joy that the truly unique brings to the client, as well as the target market.

e-Types

Franck Juillot

GABRIELE MALASPINA

Hidroponie

EMAIL: info@e-types.com

EMAIL: me@franckjuillot.com

EMAIL: info@gabrielemalaspina.com

EMAIL: hidroponie@gmail.com

e-Types is a strategic design agency moving companies forward through identity. Knowledge and skill is the key in their clear and concise design solutions across all media platforms. They immerse themselves in art projects and their type foundry playtype™.

Franck Juillot is a 26 self-taught independent brand designer from Burgundy, France. He's been passionate about branding for ten years now. He originally studied Digital Project Management and then decided to take the leap and dedicate himself to creating creative and durable Brands.

Gabriele Malaspina is a freelance graphic designer. He is totally selftaught and after a brief period of his life dedicated to street art, he decided to take the road of advertising graphics.

Hidroponie is a small creative studio based in Sao Paulo, Brazil working in the fields of branding, print design, digital design, photography and anything else.

Gen design studio

HYPER ISLAND

EMAIL: geral@gen.pt

EMAIL: fernanda.barbato@hyperisland.se

Gen Design Studio is a company dedicated to the development of graphic, product, environment and web design and illustration.

EMAIL: g.lou.creatividad@gmail.com

Hyper Island is a Swedish digital and design thinking school, strongly focused on group dynamics, self-management leadership and multidisciplinary teams, running within a supportive environment that is low on hierarchy and high on team-based collaboration. Groups created during every module are up to work as a real company: real brief, real client, real budget.

G:lou creatividad is the name under which Mario G Loureiro signature as freelance graphic designer. With 7 years experience as freelance and agency art director, G:lou offers branding, editorial, packaging and typography.

I DEPEND ON ME

FEED EMAIL: feed@studiofeed.ca

FRV BRANDESIGN

Feed is an independent graphic design studio based in Montreal, specializing in branding, publishing and typeface design. But Feed works in many formats, be it print, exhibition, event or spatial design, websites or motion graphics.

EMAIL: federicorojas@gmail.com

FRV is a branding and design studio established in 2008, Costa Rica. The main goal of the studio is to give their clients the full coverage of a branding project, starting from the conception, brand strategy, naming, corporate identity design and follow-up.

Fernando Lopes

G:LOU CREATIVIDAD

EMAIL: Fernandolopesks@gmail.com

FULVIO BISCA

Fernando Lopes graduated in Graphic Design at ESAD (School of Arts and Design – Matosinhos) in 2006, since then he works as a graphic designer in PurpuraDesign.com.

EMAIL: fuzz@fuzz.it

EMAIL: info@idependonme.com

Fulvio Bisca is an illustrator, a graphic & type designer and he is also the co-founder of Miele Magazine. Fulvio taught at IAAD (Advertising & Graphic Design Dept.) in Torino since 2007.

I Depend On Me is a website that contains a selection of works made by Federico Landini. Starting from very accurate details he delivers thought-provoking concepts coming from his intense life experience.

HAROLD VAN VELSEN EMAIL: info@bigup.nl

Francisco Elias EMAIL: info@franciscoelias.com

G'DAY DESIGN

Francisco Elias is a Portuguese graphic designer born in 1984 in Fundão. Currently, Francisco Elias is working on AND Design Studio in Lisbon, Portugal.

EMAIL: g_daydesign@163.com

G'day is a creative design studio in Shenzhen, China. They have a unique creative design idea, and carry out new thinking and concepts by using symbols. With the rich market experience in design, they also accumulate a number of honors.

Harold van Velsen is an independent graphic & interaction designer, based in Amsterdam, the Netherlands. He has worked on a wide variety of projects and as a result gained commercial experience with clients such as Coca Cola, BIS Publishers, Red Cross, Oral-B, Microsoft, Philips, etc.

Havnevik Advertising Agency EMAIL: tom@havnevik.no

Havnevik Advertising Agency is one of the leading advertising and design agencies in north-western Norway. It is also an award-winning agency that provides services in a number of fields, including public relations and communication, advertising, identity design/branding, graphic design, web design, etc.

INDUSTRIA HIGH END DESIGN EMAIL: info@industrialive.com

Industria High End Design was founded by targeting a perfect structure to develop high end designs and they believe that the best way to predict the future is creating it. Thus they are always looking for new tendencies and technologies.

INDYVISUALS

KINGDOM PIXELS

LANDOR ASSOCIATES

LOGO DESIGN LIMITED

EMAIL: giorgos@indyvisuals.net

EMAIL: kingdompixels@gmail.com

EMAIL: jason.little@landor.com

EMAIL: chris@logodesign.co.uk

Indyvisuals is a design collective consisting of six individuals working together, offering a variety of services such as print, design, web, design, illustration, branding, typographic treatments, digital art and street art.

Kingdom Pixels is the personal brand for the Spanish graphic designer, illustrator and art director Jose Antonio Puche Garcia. Since 2006, he grows like a professional designer working with agencies, companies, music bands and even works promoted by Local Councils, Universities and the Government of Spain.

Landor Associates is quite a large strategic branding consultancy – 20 offices around the world. They create customer experiences that are not mysterious, but real, tangible, measurable and ideally, remarkable. They design packaging and identities. They learn and teach, mend and fix, innovate and progress.

Logo Design and Marketing is a leading UK design agency situated near Plymouth in the south of England, specializing in the design of corporate identities and brand images.

MATOX DESIGN Inventaire

EMAIL: matox2011@qq.com

EMAIL: thomas@inventaire.ch

KOMMIGRAPHICS

Inventaire is a Swiss and Canadian visual communication agency which is specialized in creating and variations of visual identity from paper to screen.

EMAIL: studio@kommigraphics.com

LAURA VANDENBERGH

Kommigraphics is an independent creative studio, based in Athens, Greece. They work on a range of projects including art direction, design, illustration, custom typography for the art and design community, music industry, fashion and more.

EMAIL: lauravandenbergh@msn.com

Matox Design is a young creativity studio, set up by Mengqiao Miao. They are always turned in to all the latest trends, so their works are simple and direct.

Laura Vandenbergh is Belgian graphic designer, working in London. Her work combines various practices and fields of design including lens media, illustration, print, with a strong focus on branding and identity.

MADE BY ZWOELF

Johnson banks

EMAIL: peter.serfozo@zwoelf.hu

EMAIL: info@johnsonbanks.co.uk

Michael Johnson runs johnson banks, which has long had an interest in branding the 4c's – cities, countries, culture and charities. He has won most of the design world's most prestigious awards, has written one book, Problem Solved, and is working on two others. In spare moments he edits the design blog "Thought for the week".

JONATHAN CARREON

KREUJEMY.TO EMAIL: biuro@kreujemy.to

LAUREN MANNING

kreujemy.to is small but rather ambitious creative agency that specializing in corporate identity design. Their young yet experienced designers have proved their value while working for many well known brands in Poland as well as in foreign countries. Although the agency has been on the market for only few years, their projects already gained recognition in graphic design market and were awarded by prestigious portals.

EMAIL: lmanning729@gmail.com

Lauren Manning is a designer, thinker and storyteller interested in constructing brand stories through design systems, solving problems with collaborative thinking and innovative solutions, and creating a narrative from raw data to communicate effectively through visualization.

Juliano Simões da Rocha EMAIL: contato@julianosrocha.com

Juliano Simões da Rocha is a graphic designer. His main interest is brand identity and packaging. He also works on Web Interfaces and Motion Graphics.

LIONEL ROUSSEAU LA TIGRE

EMAIL: l.r.graphisme@gmail.com

EMAIL: luisa@latigre.net

Lionel Rousseau is young French graphic designer. He achieved a 5 years graphic design diploma at e-artsup institute, Paris (valedictorian). He worked as web designer and art director for one year at Libération.fr, which is a French famous newspaper.

Directed by Luisa Milani, Margherita Paleari and Walter Molteni, La Tigre is an independent creative design studio based in Milano. Thanks to founders' previous work experiences, La Tigre works seamlessly across a variety of media, exploring different approaches and visions to design smart and fresh solutions to specific communication needs.

Manual EMAIL: info@manualcreative.com

EMAIL: joncarreondesign@gmail.com

Jonathan studied at the University of Texas State and developed his sense of art and design. He thinks that design is about looking at each project differently and including the wide array of influences centering on the problem at hand.

Made by zwoelf is run by Péter Serfőző, born and living in Hungary. His studio is located in Budapest and deals with graphic design, branding and web design since 2001. Péter's main focus is on typography and typographic design, graduated at the Moholy-Nagy Design University Budapest.

Manual is a design and visual communication studio. Their work strives to uncover the intangible essence of a brand and expresses it through unique visual solutions. Manual works with a broad range of clients – from startups to the world's most revered brands – and maintains a consistently high level of execution and production across print, packaging, and digital media.

MALWIN BÉLA HÜRKEY

MOODLEY BRAND IDENTITY

OSPEDRER STUDIO

Pianofuzz design studio

EMAIL: malwinbela@googlemail.com

EMAIL: press@moodley.at

EMAIL: ospedrer@gmail.com

EMAIL: hello@pianofuzz.com

Malwin Béla Hürkey is a self taught creative designer from Germany. Currently he is working as a freelancer.

moodley brand identity is an owner-led, award-winning strategic design agency with offices in Vienna, Graz and Shanghai. They believe their key contribution is to analyse complex requirements and develop simple, smart solutions with emotional appeal - whether corporate start-up, product launch or brand positioning.

OSPEDRER STUDIO was born in Barcelona in 2010. The mastermind behind the Studio is the graphic designer Joan Bagan. He has worked as graphic designer for different studios, advertising agencies and marketing companies. His tasks include making brand projects, specializing in image of major international sport events and developing corporate image projects, web and multimedia applications.

Pianofuzz is a design studio formed by people who share the value of learning and desire to grow. The studio prioritizes the unusual and clever visual representation, realizing concepts and expanding possibilities, regardless of its surface, printed or virtual.

MARIANA RODRIGUEZ EMAIL: mariana.rodriguezdg@yahoo.com.ar

Mariana Rodriguez is a 27 years graphic designer from Argentina. She is actually working as a graphic designer at Bagués (cosmetic and fragrance company), and also as a freelance.

Matteo Del Nero EMAIL: monstarrbunch@gmail.com

Matteo Del Nero works in Spain (first Madrid then Ourense) as a motion graphic designer/art director. His strong love for motion graphics and design allowed him not to stop at first difficulties and motivated him to keep on discovering this field. He loves developing branding, animation, post-production, editing and sound projects.

Mind Design EMAIL: info@minddesign.co.uk

Mind Design is an independent London based graphic design studio founded in 1999 by RCA graduate Holger Jacobs. It focuses on integrated design which combines corporate identity, print, web and interior design and works for a wide range of clients across various sectors; from startups to established companies.

Rafael Fagulha Santos

NANCY WU DESIGN

EMAIL: rafasantos0@hotmail.com

EMAIL: me@nancywudesign.com

Nancy is an award-winning designer, art director and illustrator with experience in the development of logomark & brand identity systems, packaging design, custom typography and print communication. Nancy has over 19 years of design experience with established firms including Rethink, Karacters/DDB, Cossette, Suburbia Studios, Ken Koo Creative, Word Communications and Nancy Wu Design.

PELTAN DESIGN EMAIL: peltanr@gmail.com

Peltan Design is a studio based in Central Europe. The team consists of young creative designers who are keen on solid shapes and iconic logo figures.

Rafael Fagulha Santos is 20 years old and from Portugal. He currently attending the third year of design at the University IADE located in Lisbon, Portugal. He loves to create logos and loves to create them from his mind to the paper in a short time to test how far his brain can go. He also loves to do illustration, creates packaging, Architecture, and 3D.

PENTAGRAM NUTKASE

EMAIL: info@pentagram.com

RE-PUBLIC

EMAIL: nutjob@nutkase.pt

EMAIL: info@re-public.com

The name Nutkase comes from the supposed risk of having smaller projects as a target. However, Nutkase is a project of professionals from different areas who share the goal of communication is an indispensable tool for growth and success of any project. Their working methods seek to expand access to the creative talents of the creative industry.

Pentagram is the world's largest independent design consultancy. The firm was founded in 1972 and is run by 16 partners, a group of friends who are all leaders in their individual creative fields. Working from offices in London, New York, Austin and Berlin, the firm specializes in different areas of graphic design, industrial design and architecture, producing printed materials, environments, products and interactive media for a wide range of international clients.

OK200

Peter Vasvari

EMAIL: info@richardderuijter.eu

EMAIL: studio@ok200.nl

EMAIL: info@petervasvari.com

OK200 is an Amsterdam based graphic design studio founded by Mattijs de Wit and Koen Knevel in 2010. It is a server response code which means “your request has succeeded”. OK200 is a personal, headstrong, fast, authentic graphic design studio and like to work on different projects. They make no distinction between working for a big corporate company or a cultural institution.

Peter Vasvari (Hungary) is a freelance designer, founder and creative director of ACTUART LP. He works primarily in the field of corporate and visual identities, logotypes and branding and his works have been featured in numerous design publications worldwide.

Richard de Ruijter is an ambitious graphic designer from the Netherlands. After finished the school of Graphic Design in Utrecht, he has started doing freelance work. He has got an eye for details and will always try to give his work some extra meaning, and tell a story that connects the client to its audience.

Re-public is founded in 1999 by CEO Morten Windelev. It is a graphic design agency based in Copenhagen, Denmark. Specializing in visual identity and communication design, they challenge ideas, values and communication issues – and translate them into competent and characteristic design solutions.

RICHARD DE RUIJTER

Romualdo Faura

SUPERFRIED

TÍMEA MÓNUS

Truly Deeply

EMAIL: info@romualdofaura.com

EMAIL: info@superfried.com

EMAIL: monusmea@gmail.com

EMAIL: lachlan@trulydeeply.com.au

Romualdo currently works as a freelance graphic designer in Murcia (Spain) and all his background is focused on corporate branding, icon design, illustration and editorial projects.

Superfried is a London based graphic design collective. They design and illustrate for screen and print. Their diverse work reflects our clients, who vary in sector and scale from start-up to multinational.

Tímea Mónus' works are distinctive and easily recognizable, often employing a blend of different techniques. She is inspired by contemporary designers, artist and photographers, but instead of movements or trends, her influences come from moods. Except graphical design, she is also interested in photography – all of the pictures in her BPT design are self-shot.

Truly Deeply is obsessive about creating brands that evoke powerful emotional connections with customers. Truly Deeply delivers the most powerful and compelling brand platforms, distilling organisational conversations, market immersion and research into telling insight and thrives on intellect, rigor and a collaborative approach to deliver a commanding brand strategy.

RYAN ATKINSON

THE AGENCY OF SOMEONE LIMITED

EMAIL: info@ryanatkinson.info

EMAIL: stephanie@someoneinlondon.com

With solid based typographic grid systems, twisted and tweaked, Ryan Atkinson's work resides in a space between modern & postmodern, where his attention to detail is as evident as his square jaw and his rippling pectoral muscles.

SomeOne is a London design practice that launches, relaunches and protects brands. Direct contact with SomeOne's creative minds means ideas flow more freely, which is important as great brands need great opinions.

Timothy Farrell

VIKTOR KONOVALOV

Smart! Grupo Creativo

THEGREENEYL

EMAIL: info@smartgc.com.ar

EMAIL: hello@thegreeneyl.com

Formed in different fields of action, Smart! Grupo Creativo is composed of professionals in graphic design, multimedia design, IT, photography and communications.

TheGreenEyl is a multidisciplinary design practice investigating the aesthetic potential of technology, which is based in Berlin, London, and New York. Their work has been nominated for Designs of the Year 2009 by Design Museum London, and awarded an Honorary Mention from Ars Electronica in 2008, 2009 and 2010.

STRUDEL DESIGN EMAIL: sigal@s-de.com

Strudel Design is established in 1999 and their mission has been to supply their customers with efficient, clean, well-executed graphic design that is backed up by creative, original and sophisticated ideas.

STUDIOOPZ EMAIL: falocom@studioopz.com

StudioOpz comes from the practical necessity to develop and share knowledge. Their main purpose is mixing concepts: from graphic design until visual poetry. Besides, they intend to develop a singular communication with expressive results.

The Museum of Modern Art EMAIL: ingrid_chou@moma.org

The in-house graphic design studio at MoMA believes the design of all MoMA communications – all print and digital advertising, exhibition graphics, signage, and general graphic design, including graphics for more than 50 exhibitions a year – should support the Museum by communicating clearly to the public and adhering to MoMA’s mission of helping people understand and enjoy modern art.

EMAIL:info@timothyfarrell.co.uk

EMAIL: ceo@xclv.com

Timothy Farrell works as part of an ever evolving collective of independent creative professionals working with clients across a range of sectors. They believe in a new way of working – one that is fluid and flexible and one that places value on each creative's strengths, allowing their individual talents to flourish for the good of the collective and their clients.

Viktor Konovalov is the partner and creative director of the Superheroes branding agency, CMO of Green Battery Inc. He has worked with international clients and won several advertising festivals. The most powerful side of Konovalov is generating innovative ideas in the filed of branding, industrial design, business consulting.

TOORMIX

WHO MAKE IT?

EMAIL: oriol@toormix.com

EMAIL: whomakeit@gmail.com

Toormix is a creative studio specializing in art direction and graphic design, set up in 2000 in Barcelona by Ferran Mitjans and Oriol Armengou. They work in collaboration with businesses and institutions with the aim of raising the value of their brands through more effective design and communication.

The agency was built by Erohnovich Roma.

Zou Yu Design Studio EMAIL: d2studiozouyu@qq.com

TORKE EMAIL: guerrilha@torke.pt

Torke was born in 2005 and entitled itself as "the 1st guerrilla marketing agency in Portugal", in order to do something innovative on the market. The true purpose of Torke is to be different. And to be different, not just an integrated creative 360º interactive digital multidisciplinary agency, Torke is, from now on, the Agency of the Month.

Zou Yu is a graphic designer based in Yibin, Szechwan. He founded the Zou Yu Design Studio at the end of 2009, and its main task is to remain Chinese traditional culture both in design and application.