Tredueunozeta / branding magazine

MAY 2017 ISSUE N°0

tre due uno INSIDE Special Fast Food Food as status symbol, beauty product and art.

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in this issue: brand_colors_fast food _typo_zeta

issue n° 0

Cover - egg untilted (detail) + burned wrustel Coutresy: Archive Simone / Estate of Simone Photo: world wide web

Milan editor

Simone Vena

Tokyo editor

Raimbow Roll Griglia boy

New York editor

Charlie Surfa

tredueunozeta

Via Panfilo Castaldi,7 20123 Milano - Italy T +39 333 6270414 F +39 333 6270414 tredueunozeta.it tredueunozeta.com info@tredueunozeta.it

Editor in chief

Simone Vena

Printing

Idea Digitale Milan, Italy

New media

Entertainmentz info@entertainmentz.it

Thanks to

Late nights, dope, fast food,my teachers, and my girlfriend that supported me during the freak out.

tredueunozeta is also on iPad and mobile!

have fun whit the vision.

Simone Vena

EDITORIAL

tredueunozeta is an Italian independent branding magazine published monthly.

It speaks about the world of brands, rather than from the point of view of the planning of the trademark, from the point of view of the narration.

Storytelling becomes the focus on which concentrate attention. Today brands communicate in a cross-medial and engaging way, weaving relationships with other brands and influencing the way we live and we think, the way we perceive reality, what we like and our culture.

Every issue talks

about three arguments around the world of brands, plus Zeta, a section where the content is the same but seen by the eyes of the artists.

For the issue number 0 there's also a special on Fast Food, a full immersion in crispy way of branding.

In this issue / Brand: when brands where born & today's corporate identity; Colors: colors as a product; Special Fast Food: Food as status symbol, beauty product and art; Typo: foundry tailoring brands; Zeta: content seen by the eyes of the artists.

BRAND

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PAGE 8 tre / BRAND Basic brands'elements, application and how a brand comes alive Naoto Fukasawa - page 14

PAGE 18 due / COLOR _Colour as a product _Colour & pop culture for social aim

MORE

Red hot photographer - page 38

PAGE 44 special / FAST FOOD Food as status symbol, beauty product and art

Antoni Tudisco - page 48

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COLORS PAGE 58 uno / BRAND

foundries & type as brand dictionary

FOOD

7

Aperรงu specimen - page 68

PAGE 74 ZETA

Non Format - page 80

AND

Henry Hargreaves - page 94

index

TYPO

content seen by the eyes of the artists.

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Brand is a section of introduction to the world of brands.

We will start from the ancient Egypt tombestones dating from 3000 BC when depict domestic animals where the first ever to be branded, to the modern ways to make a name memorable.

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BRAND

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Branding marking livestock with burning irons has been practised for at least 5,000 years.

Cattle, goats, horses, sheep and swine have traditionally been marked this way.

In Egypt, tombestones dating from 3000 BC depict domestic animals with brands.

At the tomb of Khemuheted at Beni Hassan dating from 1900 BC, a painting shows a man leading ano ox by a rope. The ox is marked with a brand with hierogliyphics, measuring about one square foot. At the battle of Crecy en Ponthieu in France, in 1346 during the Hundred Years' War, the English horses were reported to carry the broad arrow, or the imperial brand, later known as the Kings' mark.

In Egypt, tombestones dating from 3000 BC depict domestic animals with brands.

At the tomb of Khemuheted at Beni Hassan dating from 1900 BC, a painting shows a man leading ano ox by a rope. The ox is marked with a brand with hierogliyphics, measuring about one square foot. At the battle of Crecy en Ponthieu in France, in 1346 during the Hundred Years' War, the English horses were reported to carry the broad arrow, or the imperial brand, later known as the Kings' mark.

figure 1 _ Tomb of Khemuheted, Beni Hassan, Egypt 1900 BC. The text of the brand on the ox says: "Royal Agriculture Administration"

figure 4 _ Examples of Mexican cattle brands showing cadency

figure 2 _ Detail of figure 1

figure 6 _ An American cattle brand is read from left to right, from top to bottom and from the periphery to the centre.

This brand reads "two lazy to pee""

figure 3 _ The Broad Arrow was the imperial brand used on English horses in 1346

figure 5 _ German horse brands

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Part of a company’s visual identity can be controlled by a design programme, a plan that specifies the visual forms that the company will use to present itself. Throught its design programme and the resulting visual identity, a company can inform people, inside and outside the organization, what or who it is and how it is (or how it wants to be). In some respects a company’s distinguishing characteristic make it like other companies; in others they differentiate it.

Part of a company’s visual identity can be controlled by a design programme, a plan that specifies the visual forms that the company will use to present itself. Throught its design programme and the resulting visual identity, a company can inform people, inside and outside the organization, what or who it is and how it is (or how it wants to be). In some respects a company’s distinguishing characteristic make it like other companies; in others they differentiate it.

A design programme consists of a number of basic elements and number of rules for their application.

The most usual basic elements are: trademarks / letter mark / picture mark / typefaces / colours

The common application of a design programme are: correspondence / vehicles sales literature / signage advertising / shop fronts products / shop interiors packaging / uniforms

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Corporate identity Every company has one, whether the members of the company think about it or not.

Some companies carefully create and sustain their visual identity, while others neglect it.

National Aeronautics and Space Administration's Graphics Standards Manual

Nasa uniform

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Naoto Fukasawa, 2004, juicepeel Packaging

Part of a company’s visual identity can be controlled by a design programme, a plan that specifies the visual forms that the company will use to present itself. Throught its design programme and the resulting visual identity, a company can inform people, inside and outside the organization, what or who it is and how it is (or how it wants to be). In some respects a company’s distinguishing characteristic make it like other companies; in others they differentiate it.

Part of a company’s visual identity can be controlled by a design programme, a plan that specifies the visual forms that the company will use to present itself. Throught its design programme and the resulting visual identity, a company can inform people, inside and outside the organization, what or who it is and how it is (or how it wants to be). In some respects a company’s distinguishing characteristic make it like other companies; in others they differentiate it.

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Justin Nicholls, 2016, brand identity for Fathom Architects

Justin Nicholls, 2016, brand identity for Fathom Architects

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In September 2003, Eva and Franco Mattes set up a fake Nike advertisement campaign, using a website and a huge hitech container installed in a public square in Vienna. The news went out nationwide: “Karlsplatz, one of Vienna’s main squares, is soon to be renamed Nikeplatz, and a huge monument in the shape of Nike’s famous Swoosh logo will be built in Nikeplatz”. The campaign provoked the reactions of Vienna’s citizens, city officials and the Nike group, which started legal action.

Nike - Ground http://0100101110101101.

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Eva and Franco Mattes (b. 1976, Italy) are an artist duo based in New York.

bio In September 2003, Eva and Franco Mattes set up a fake Nike advertisement campaign, using a website and a huge hi-tech container installed in a public square in Vienna. The news went out nationwide: “Karlsplatz, one of Vienna’s main squares, is soon to be renamed Nikeplatz, and a huge monument in the shape of Nike’s famous Swoosh logo will be built in Nikeplatz”.

The campaign provoked the reactions of Vienna’s citizens, city officials and the Nike group, which started legal action.

Interview Can you please introduce yourself and your work?

321Z

Skilled-Media-Campaign named “Nikeground”. The campaign consists of buying and renaming famous places in all major cities of the world. We claimed that the Karlsplatz will be renamed to Nikeplatz.

FM

We're a duo known as 0100101110101101.org. What we do is called Media Hacking,

FM

“Nikeground” was a performance which we started in September 2003 in Vienna in collaboration with Public Netbase.

The basic idea was to claim that Nike was pulling out a new Guerilla-Marketing-Super-Large-

What is "Culture Jamming"?

321Z

Your biggest project so far was Nikeground.

Can you explain the idea?

321Z

EM

The word "Culture Jamming" has been made up by Negativland in the 90ies. After it was quoted

by Naomi Klein in her book “No Logo!” and the Adbusters it became famous.

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COLORS

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This part of the magazine speacks about the Colors.

Something personal, a sensation, something untochble, that always move.

The argument is seen from two points of view: Colors as a product and Colors & PoP culture for social aim.

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VERTICAL ALIGNED NANO TUBE ARRAYS

Tom Estes.‘Portable Black Hole’, 2012 made whit VANTA

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Vantablack is a substance made of carbon nanotubes and one of the blackest man made substances known, absorbing up to 99.965% of radiation in the visible spectrum

PROPERTIES

APPLICATION

Vantablack is composed of a forest of vertical tubes which are “grown”.

When light strikes vantablack, instead of bouncing off, it becomes trapped and is continually deflected among the tubes, eventually becoming absorbed and dissipating into heat.

Vantablack was an improvement over previous similar substances developed at the time.

This material absorbs 99.965% of visible light. Also, this new material can be created at 400 C (752 F); NASA had developed a similar substance that could be grown at 750 C

This substance has many potential applications, including preventing stray light from entering telescopes, and improving the performance of infrared cameras both on Earth and in space, Ben Jensen, Chief Technology Officer, Surrey NanoSystems, has explained: “For example, it reduces stray-light, improving the ability of sensitive telescopes to see the faintest stars...

Its ultra-low reflectance improves the sensitivity of terrestrial, space and air-borne instrumentation.”

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Sir Anish Kapoor, the superstar artist best known for large-scale illusionistic sculptures like “the bean”, courted controversy last month by purchasing the exclusive rights to Vantablack S-VIS, the world’s blackest man-made substance.

Vantablack absorbs 99.965% of visible light, is composed of a forest of vertical tubes which are “grown”.

When light strikes vantablack, instead of bouncing off, it becomes trapped and is continually deflected among the tubes, eventually becoming absorbed and dissipating into heat.

Vantablack was an improvement over previous similar substances developed at the time.

Vantablack absorbs 99.965% of visible light.

Also, this new material can be created at 400 C (752 F); NASA had developed a similar substance that could be grown at 750 C (1,380 F).

Vantablack can be grown on materials that cannot withstand higher temperatures.

The outgassing and particle fallout levels.

of Vantablack are low. The high levels in similar substances in the past had prevented their commercial usefulness.

Vantablack also has greater resistance to mechanical vibration, and has greater thermal stability.

Vantablack may also increase the absorption of heat in materials used in concentrated solar power technology, as well as military applications such as thermal camouflage.

The emissivity of Vantablack and scalability support a wide range of applications.

Vantablack may also increase the absorption of heat in materials used in concentrated solar power technology, as well as military applications such as thermal camouflage.

The emissivity of Vantablack applications.

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ANISH KAPOOR AWN EXLUSIVE RIGHTS TO BLAKEST BLACK PIGMENT

Anish Kapoor. portrait

Anish Kapoor. Cloud Gate, 2006 Stainless steel sculpture 10 m × 13 m × 20 m Millennium Park, Chicago, United States

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PANTONE / COLOR LANGUAGE FROM DESIGNER TO MANUFACTURER TO RETAILER TO CUSTOMER

Pantone Chips

C= COATED PAPER_ PANTONE 185 C U= UNCOATED PAPER_ PANTONE 185 U CP = coatved paper, process simulation, PANTONE 185 CP UP = uncoated paper, process simulation PANTONE 185 UP used in PANTONE+ COLOR BRIDGE UNCOATED

PANTONE HISTORY In 1963, Lawrence Herbert, Pantone’s founder, created an innovative system for identifying, matching and communicating colors to solve the problems associated with producing accurate color matches in the graphic arts community. His insight that the spectrum is seen and interpreted differently by each individual led to the innovation of the PANTONE MATCHING SYSTEM, a book of standardized color in fan format.

Pantone has since expanded its color matching system concept.

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Pantone Chair

Pantone for Seletti

Pantone for Bassetti

Pantone for Fashion

Pantone coffie series

Pantone for Bassetti

Pantone Shop

CUSTOM COLOR

Pantone Universe Products

PANTONE Custom Color Services provide custom color standards for any industry requiring color accuracy.

PANTONE Custom Color Services also provides products to specify corporate identity, product color and packaging standards, including color standards showing one or more PANTONE Colors or custom colors on paper, cotton or custom substrates

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FEAUTURING ARTISTS

Stefan Sagmeister created an innovative system for identifying, matching and communicating colors to solve the problems associated with producing accurate color matches in the graphic arts community. His insight that the spectrum is seen and interpreted differently by each individual led to the innovation of the PANTONE MATCHING SYSTEM, a book of standardized color in fan format.

Pantone has since expanded its color matching system concept to other color-critical industries, including digital technology, fashion, home, plastics, architecture and contract interiors, and

accurate color matches in the graphic arts community. His insight that the spectrum is seen and interpreted differently by each individual led to the innovation of the PANTONE MATCHING SYSTEM, a book of standardized color in fan format.

Pantone has since expanded its color matching system concept to other color-critical industries, including digital technology, fashion, home, plastics, architecture and contract interiors, and paint. Today, the PANTONE Name is known worldwide as the standard language for accurate color communication, from

Sagmeister & Walsh, Frooti visuals with PANTONE

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Umberto Daina, Rosa & Blue - No.37

Umberto Daina created an innovative system for identifying, matching and communicating colors to solve the problems associated with producing accurate color matches in the graphic arts community.

His insight that the spectrum is seen and interpreted differently by each individual led to the innovation of the PANTONE

created an innovative system for identifying, matching and communicating colors to solve the problems associated with producing accurate color matches in the graphic arts community.

His insight that the spectrum is seen and interpreted differently by each individual led to the innovation of the PANTONE

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SCHWEIZER GRAND PRIX DESIGN 2016

schwiezer grand prix design 2016

Since 2007, the Swiss Federal Office of Culture, in addition to the 'Swiss Design Awards', has also awarded the 'Swiss Grand Prix Design'.

This is distinguished by designers, designers, or design offices, which contribute to the image of Swiss design at a national and international level.

With the launch of the 'Swiss Grand Prix Design', the Swiss Federal Office of Culture is completing a package

of measures that actively promotes, supports and appreciates the Swiss design scene.

In 2015five people will be honored.

Texture designer Claudia Caviezel is characterized by her curiosity and her keen eye for the potential of everyday things.

After finishing her education at the Lucerne College of Design and Art, she worked

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for the haute couture textile manufacturer Jakob Schlaepfer, and also developed various projects ranging from fabrics to lampshades to carpets and wall paintings.

Caviezel maintains an experimental and open approach, combining her unique instinct for patterns and colors with her outstanding flair for materials and her technical know-how.

She is currently head of the Textildesign and Development department at St. Galler Fashion Company Akris.

With the Swiss Grand Prix design 2016, the Confederation appreciates Caviezel's talent and profound influence on contemporary Swiss text design.

Claudia Caviezel was already awarded a Swiss Design Prize in 2003, 2007 and 2010.

She is currently head of the Textildesign and Development department at St. Galler Fashion Company Akris.

With the Swiss Grand Prix design 2016, the Confederation appreciates Caviezel's talent and profound influence on contemporary Swiss text design. Claudia Caviezel was already awarded a Swiss Design Prize in 2003, 2007 and 2010. She is currently head of the Textildesign and Development department at St. Galler Fashion Company Akris.

With the Swiss Grand Prix design 2016, the Confederation appreciates Caviezel's talent and profound influence on contemporary Swiss text design.

Claudia Caviezel was already awarded a Swiss Design Prize in 2003, 2007 and 2010.

Claudia Caviezel, 2014 for Atelier Pfister, Bivio

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red hot _ artists vs aids started in 1990

by Leigh Blake and John Carlin

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_Red Hot is a not for profit dedicated to fighting AIDS through pop culture.

The typical Red Hot project has been a compilation album of original music.

It’s mission is to raise awareness and money around the AIDS crisis and related health issues. It was started in 1990 by Leigh Blake and John Carlin with the Cole Porter tribute album Red Hot + Blue, which raised millions of dollars, helped reduce the stigma around AIDS at the time and supported organizations and efforts such as ACT UP and T.A.G., which took a stand and made the world pay attention and develop medication that let people with AIDS survive.

Over the past 25 years, over 500 artists, producers and directors have contributed to 20 compilation albums of original music, videos, events and media to keep people thinking about the implications of the AIDS epidemic as well as donate millions to organizations around the world.

The typical Red Hot project has been a compilation album of original music.

All of the artists, labels, songwriters

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and many others donate their time, fees and royalties to support Red Hot’s charitable mission: fighting HIV/AIDS and related health issues around the world.

Projects begin with an idea, typically a collaboration among many people, supervised by Red Hot’s co-founder and creative director.

Red Hot then secures a contract with a record label to advance the cost of making the album. The label recoups its out of pocket costs associated with recording, manufacturing, distributing and marketing. All the profits go to Red Hot or directly to designated not for profit organizations. Red Hot does not have a permanent staff or institutional operation. It runs like a small production company that expands or contracts based on the projects it’s working on and the budget, with a volunteer chief executive and creative director. Red Hot sells products through commercial partners and donates a minimum of 80% of revenues

received to support its mission. Selling albums in the 1990s was easier than over the past decade and a half due to changes in the music industry and the rise of digital music and the Internet.

Overall, Red Hot has donated almost 15 million dollars to over 100 organizations around the world fighting HIV/AIDS. The company’s donations have often focused on innovative radical activities that typical corporate or institutional donors don’t support, such as ACT UP and needle exchange.

In the mid-1990s, Red Hot was a leader in digital interactive entertainment.

The company’s first website featured interactive art pieces and games. It also produced online safer sex games before the World Wide Web. One of Red Hot’s videos was among the first to stream on the Internet.

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_POSTER There was a street poster campaign featuring gay, lesbian and straight couples It’s mission is to raise awareness and money around the AIDS crisis and related health issues. It was started in 1990 by Leigh Blake and John Carlin with the Cole Porter tribute album Red Hot + Blue, which raised millions of dollars, helped reduce the stigma around AIDS at the time and supported organizations and efforts such as ACT UP and T.A.G., which took a stand and made the world pay attention and develop medication.

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_Steven Meisel photographer

_STEVEN MEISEL STEVEN KLEIN BRUCE WEBER poster photographer Part of Red Hot awareness campaigns produced in 90'

Red Hot occasionally produces awareness campaigns and multimedia to further its mission as well as support social and creative innovation. In the early 90s there was a street poster campaign featuring gay, lesbian and straight couples photographed by Steven Meisel, Steven Klein and Bruce Weber. As well as a related short video PSA campaign directed by Lance Acord. All of Red Hot video programs also had PSA elements that were shown on MTV, VH-1, PBS, Bravo, Channel 4, BBC, Canal Plus and other outlets targeting audiences affected

by HIV/AIDS. In the mid-1990s, Red Hot was a leader in digital interactive entertainment.

The company’s first website featured interactive art pieces and games. It also produced online safer sex games before the World Wide Web. One of Red Hot’s videos was among the first to stream on the Internet. Red Hot also produced innovative CD-ROMs featuring digital

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_Steven Klein photographer

animation and interactions such as The Beat Experience and Optic Nerve, an interactive catalogue for a one person exhibition of the work of David Wojnarowicz. The disc recreated the artist’s multimedia performances called Itsofomo. (Wojnarowicz died of AIDSrelated causes in 1992 and was one of the inspirations for starting Red Hot.) In that era, Red Hot also created interactive applications on its CDs, such as America Is Dying Slowly, that allowed people to remix tracks and access exclusive videos on their PCs. Red Hot also designed and created one of the first online documentaries: Red Hot + Africa as a companion to the Fela Kuti tribute Red Hot + Riot. The website featured documentary footage and interview shot in South Africa and Nigeria.

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_Bruce Weber photographer

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Interview Is the industry locked in its tracks?

321Z

Someday it might change. But, the designers who in the end choose the models are simply not interested in change.

SM

Yves Saint Laurent was a pioneer for casting black models and it’s as if his death marks a narrowing perspective.

321Z

Fashion was much more open in the ’70s, and even in the ’80s, which is insane.

Today, it’s totally closed down and worse than it has ever been. Look at your ads and you don’t see any black girls, maybe once in a blue moon. Look at editorials; once in a while they allow it. And on the runways they just replace one with another. That’s all I saw in all of the cities. It is very disheartening.

SM

Speaking of an inspirational past, it seems you wanted to re-write 321Z

the history of fashion photography with the “Black Beauty” issue. It’s as if you asked, “What would it look like if Horst, Avedon, or Scavullo had shot these black models?

is a certain core team though – the stylist, the photographer, the model, the hair and makeup, the first assistant – who really do the hard, hard work.

First, the whole issue was shot in only three days – that’s the other thing that people don’t understand.

Three days is long in terms of editorials. American Vogue is a day or two.

Three is considered way over budget. I had to work very quickly.

321Z

SM

And of course there are the magazine editors.

You’ve been working with Vogue Italia since 1988 and it really bears your stamp. Why has it been such a fruitful relationship?

In terms of the Vogues that I work for, certainly Vogue Italia is the most 321Z Did you have a big team lenient and allows me to of people? do more or less what I feel like doing. Not that SM I have too many people, they don’t also kill things, tons. I can’t be on every but that doesn’t happen single detail. I hire people often; it’s been the most to do this and that. They creative outlet that I have. wind up having assistants; I tend to think Italy is and it’s an assistant to very conservative, which an assistant who gets me is weird, I know. Franca coffee. But meanwhile I am Sozzani, the editor, gives up in some hill someplace me room and and I still can’t get a cup is extremely supportive. of coffee. I don’t know what half of them do. There

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SM

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Kit Bulter VOGUE ITALIA

Kit Bulter VOGUE ITALIA

Selena Forrest VOGUE ITALIA

Amelia Rose VOGUE ITALIA

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Red Hot occasionally produces awareness campaigns and multimedia to further its mission as well as support social and creative innovation. In the early 90s there was a street poster campaign featuring gay, lesbian and straight couples photographed by Steven Meisel, Steven Klein and Bruce Weber. As well as a related short video PSA campaign directed by Lance Acord. All of Red Hot video programs also had PSA elements that were shown on MTV, VH-1, PBS, Bravo, Channel 4, BBC, Canal Plus and other outlets targeting audiences affected

by HIV/AIDS.

Gran Fury 1988 AIDS activist artist collective New York City

_POP CULTURE IN 90' Ginger Kittens, 1994 2 Flat panel monitors, 1 DVD player and green

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Colors N°7, AIDS, 1994

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In each issue of tredueunozeta there will be a special, depth section on a specific topic.

Under the magnifying glass current news or brand names that makes the trend.

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special

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BRANDING FAST FOOD

Aliexpress, Latex Toy, US $ 7

Modern commercial food photography has carried the torch for food as a status symbol and beauty product.

Fast forward a few decades, and food evolved again. It has transitioned into a status symbol, a beauty product, something that communicates lifestyles and opinions.

From a magazine spread to a post on a social network, it’s hard-pressed to not come across a lavishly-photographed food item (and not-so-lavishly-shot food), as people photographing their meals at restaurants is a common sight – because that’s just how good most food today is made to look.

Everything is click-worthy.

Or we think it is.

Today, there is as much – if not more – emphasis on how food looks as on how it tastes.

The rising demand for food photographers and food stylists is indicative of the desire for ‘good-looking’ food. Food is to be photographed like a beauty product – it has to be beautiful, perfect, sensuous, desirable.

Fast forward a few decades, and food evolved again. It has transitioned into a status symbol, a beauty product, something that communicates lifestyles and opinions.

From a magazine spread to a post on a social network, it’s hard-pressed to not come across a lavishly-photographed food item (and not-so-lavishly-shot food), as people photographing their meals at restaurants is a common sight – because that’s just how good most food today is made to look.

Everything is click-worthy.

Or we think it is.

Today, there is as much – if not more – emphasis on how food looks as on how it tastes.

The rising demand for food photographers and food stylists is indicative of the desire for ‘good-looking’ food. Food is to be photographed like a beauty product – it has to be beautiful, perfect, sensuous, desirable.

special

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Antoni tudisco. fast food as beauty and art When graphic design become something to eat whit the eye

Antoni Tudisco , 2016 Golden Burger 3D rendering created on an aluminm base

fast food brands After attending the University SAE Web design course at the age of 18 and put on line his work he has received many job offers from some

Taco Bell Yum's group Irvine, California

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NFL food logo United States

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Golden project

His works are full of colors, symbols and references to pop culture: Disney characters, 90 years old cartoons and TV series.

Although it is young its short history is already full of achievements, adventures and jobs. Antoni was born and raised in Germany, from Filipino mother and an Italian father.

After attending the University SAE Web design course at the age of 18 and put on line his work he has received many job offers from some major customers such as MTV, BMW, MINI, Wella, KLM and many more.

Sonic Drive-In top 50 quick-service Oklahoma City, Oklahoma

The Meat Up Pub Front Street Pense, SK, Canada

special

Shoe Art project

Up date project

At age 16 he put on a clothing line called "Manila apparel" and for a period was maintained by selling T-shirts and sweatshirts with typical Filipino designs.

Prince’s Hot Chicken South, Nolensville Road, Nashville, Kentucky

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Kyrie Irving for Nike and Krispy Kreme

Krispy Kreme NIKE truck

Shoes that will make you hungry for doughnuts

Everything is click-worthy. Or we think it is.

Today, there is as much – if not more – emphasis on how food looks as on how it tastes.

The rising demand for food photographers and food stylists is indicative of the desire for ‘good-looking’ food. Food is to be photographed like a beauty product

Dunkin' Donuts of William Rosenberg.

Quincy, Massachusetts,

Everything is click-worthy. Or we think it is.

Today, there is as much – if not more – emphasis on how food looks as on how it tastes.

The rising demand for food photographers and food stylists is indicative of the desire for ‘good-looking’ food. Food is to be photographed like a beauty product

Church's Chicken best fried chicken San Antonio, Texas

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richmark-chicken 2016 Golden wings California

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Krispy Kreme Flavored Kyrie Irving Sneakers

bio Kyrie Andrew Irving - March 23, 1992 Irving was born in Melbourne, Australia, is a professional basketball player for the Cleveland Cavaliers, NBA. In 2011–12 he was NBA Rookie of the Year, 2014 NBA All-Star Game MVP, and an NBA championship in 2016. He also has won gold in the FIBA Basketball World Cup for 2 times.

Pepe's Alum Rock Road, Birmingham

Sushiro original sushi cherry-pick, Naka-Megur

special

Krispy Kreme Doughnuts global doughnut company North Carolina

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do it yourself. fake cake a la mode The tricks of food stylists & food photographers Ingredients 1 2 3

Foamular extruded polysyrene /rigid foam Cristalgel Supersaturated Paints:

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porcelain plate Icing spatula.

Cut two 2x6 isosceles triangles out of 1 Extruded polystyrene insulation foam. Sand to smooth edges and paint one coat or Foam coat onto the entire surface to seal the foam. Paint using scenic paint.

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Make the icing by mix 3 tbsp of cristal gel together with 2 tbsp of Supersaturated brunt umber and 2 tbps. Adjust the paint ratio to taste. Spoon some of the icing mixture on top, then smoot using an Icing spatula

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Create the ice cream by rolling Craiola Model Magic into a ball. Place the ball into an ice cream Scoop with a lever.

Press down on a hard surface and activate the sweeper to give the appearance of a freshly scooped ice cream.

Once the top icing has set, place the remainder of the icing mixture in a Pastry bag or plastic sandwich bag whit a star tip attached. Place cake on final plate. Pipe icing stars on the top and bottom outside edge of the cake.

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Let cure for 3 minutes. Place one of the foam traingles on top of the other, allowing the icing mixture to adhere the two layers together into one cake. Be gentle as to not jar the pieces because the icing in the middle hasn’t fully set yet.

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Advertised foods the delicious-looking culinary concoctions we see in print ads and television commercials would be anything but appetizing if they were on your plate. Many times it wouldn’t even be fair to identify them as food. They’re more like a terrifying Frankenstein-like type of quasi sustenance commonly made up of a partially cooked food and a carefully created combination of interesting additives.

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Campain : Christmas message Agency :TBWA / Paris Client : Amora Tabasco Country : France, 2005 Media : abracadabra Art Director : Philippe Taurox

Campain : raisin brain cereal Agency : Leo Burnett Client : Kellogg's Country : USA, 2005 Media : Magazine Art Director : Adrien Bindi

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junk food winning ADV campain The best in junk food advertising

Campain : Pringles Chips Agency : Gray & Trace Client : Procter & Gamble Country : Spain, 2005 Media : Magazine Art Director : Belen De Pedro Awards : Cannes shortlist

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fast food crispy merchandising Goods for the fetichists

Garden Cow decoration

Barry Frydlender, Place and Time Museum of Modern Art, 2007

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Rommy de Bommy

Chicken Wing Keychain

Urban

A collection of colorful accessories and jewelry, created by the German designer RommyDeBommy, very inspired by junk food and sweets!

There's nothing like sitting around the TV watching sports while eating some wings!

This is great for the wing fan in your neighborhood. fakefoodjapan.com

the delicious-looking culinary concoctions we see in print ads and television commercials would be anything but appetizing if they were on your plate.

ÂĽ10.94

Pizza Hut Hat

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TYPO Each brand has its own font, some have their own font tailored by a foundry, which becomes their distinctive symbol in the jungle of business, their language.

This is the reason why I decided to dedicate a part of this magazine to some amazing and ispiring foundry.

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Type foundries design typefaces for ambitious brands.

A visual identity needs to be unique and exclusive. This is best achieved with a bespoke typeface, created on the brand’s principles and values.

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Today’s digital type foundries accumulate and distribute typefaces (typically as digitized fonts) created by type designers, who may either be freelancers operating their own independent foundry, or employed by another foundry.

Type foundries may also provide custom type design services.

There are thousands of typefaces on the market, of every kind, of every character.

So what makes a brand invest in one of its own?

A custom-designed typeface offers a brand a handwriting and voice as unique as any person’s, as well as more control

over its use. With a custom design, a brand has a unique typographic style that is as much part of its visual identity as a logo, color or pattern.

Monotype and The Studio collaborated on the design and development of exclusive typeface HM Amperserif for the brand.

Monotype and Lippincott worked closely with Southwest Airlines to craft an authentic typographic voice that formed a fresh new identity for the brand.

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U8 Typeface based on research about Berlin subway system. Core of the typeface family is based on subway signs of U8 line. Next to regular version`s lowercase / uppercase extras like numbers and additional cuts had to be created from scratch. Researching about U8 has showed me a lot about true early modernism.

Fatype an independent type foundry established by Anton Koovit and Yassin Baggar.

Fatype distributes quality fonts and create exclusive taylormade typefaces, the design of logotypes and letterings, the customisation of existing typefaces.

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Aleksei Serifed typeface suited for running text. Alexei Is not based on Adam but those typefaces are complementary. Both of the typefaces fit together proportionally and weights suit as well.

They love to work with clients, providing services for projects such as exclusive tailor-made typefaces, the design of logotypes and letterings, the customisation of existing typefaces, language extensions or typographic consulting. They adapt to every client and offer flexible solutions, with a dedication to create work of the highest quality. They love to work with clients, providing services for projects such as exclusive tailor-made typefaces, the design of logotypes and letterings, the customisation of existing typefaces,

language extensions or typographic consulting. They adapt to every client and offer flexible solutions, with a dedication to create work of the highest quality.

They love to work with clients, providing services for projects such as exclusive tailor-made typefaces, the design of logotypes and letterings, the customisation of existing typefaces, language extensions or typographic consulting. They adapt to every client and offer flexible solutions, with a dedication to create work of the highest quality.

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Journal B Designed with Manuel Schibli, 2012 Journal B is a sans serif typeface designed for the online magazine Journal B which focuses on political, cultural and social topics in the swiss capital city of Bern.

Beausite started in 2008 with the idea to create an elegant high contrast display typeface. The first version was a condensed light cut. Over the years, the concept and design slowly evolved. To a certain extent, the design echoes Peignot.

Yassin Baggar Swiss type designer working between Berlin and Switzerland.

In 2012 created type foundry FATYPE with Anton Koovit.

He hold an MA in type design from the TypeMedia program, Royal Academy of Arts in The Hague.

He also teach a typography course at School of Applied Arts, La Chaux-de-Fonds.

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Derzeit Designed with Manuel Schibli, 2012 Derzeit is a custom typeface designed for Derzeit, the Berlin Fashion Week Daily.

Manuel Schibli, art director of Derzeit, was looking to refresh the magazine and give it a more mature look.

Bois Graduation project at Type and Media, Bois mixes gothic and latin influences in a serif typeface.

Strongly based on calligraphy (broad nib pen), Bois also takes some liberty from the limitations of the pen.

Bio Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-deFonds, worked for various design studios, and now lives between Berlin and Switzerland.

Yassin Baggar is the designer of: Baton, Beausite.

Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-deFonds, wWorked for various design studios, and now lives between Berlin and Switzerland. Yassin Baggar is the designer of: Baton, Beausite. Yassin Baggar is of Swiss and Moroccan origins; he studied

graphic design in La Chaux-deFonds, worked for various design studios, and now lives between Berlin and Switzerland. Yassin Baggar is the designer of: Baton, Beausite. Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-deFonds, worked for various design

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Colophon an international, award-winning type foundry based in London (UK) and Los Angeles (US).

Create, publish, and distribute high-quality retail and custom typefaces for analog and digital media.

Colophon Foundry’s self-initiated and commissioned work in type design is complemented by independent and collaborative initiatives in publishing, editing / curation, exhibition-making, and teaching, with a focus on local and international partnerships with institutions of all sizes.

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Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-deFonds, wWorked for various design studios, and now lives between Berlin and Switzerland. Yassin Baggar is the designer of: Baton, Beausite. Yassin Baggar is of Swiss and Moroccan origins; he studied

graphic design in La Chaux-deFonds, worked for various design studios, and now lives between Berlin and Switzerland. Yassin Baggar is the designer of: Baton, Beausite. Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-deFonds, worked for various design

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Aperรงu,2009, mix of Johnston, Gill Sans, Neuzeit & Franklin Gothic.

Aperรงu was started in December 2009, and has been trialled and tested through a number of design comissions taken on by The Entente through 2010. The conceit behind Aperรงu was to create a synopsis or amalgamation of classic realist typefaces: Johnston, Gill Sans, Neuzeit & Franklin Gothic.

Since its release in August 2010, Aperรงu quickly found its position in the market, being used across a variety of different media and sectors around the world in both print and web. It has been utilized by institutions such as MOMA, De Wiels, Zeit Magazine and the Walker Art Center.

It seemed a fitting point to look at extending its support for Central Eastern European and Cyrillicbased languages. Now with more than 530 characters per weight, Aperรงu Pro arrives.

Furthermore, bringing us to the present day, we extended Aperรงu to included the heavier weights of Black, Black Italic and Mono Bold, allowing for a further graphic use at the extremities of the type family.

collaboration with Google for Space Mono family. monospace costruction _all wheights 200. / 6.

Aperรงu was started in December 2009, and has been trialled and tested through a number of design comissions taken on by The Entente through 2010. The conceit behind Aperรงu was to create a synopsis or amalgamation of classic realist typefaces: Johnston, Gill Sans, Neuzeit & Franklin Gothic.

Since its release in August 2010, Aperรงu quickly found its position in the market, being used across a variety of different media and sectors around the world in both print and web. It has been utilized by institutions such as MOMA, De Wiels, Zeit Magazine and the Walker Art Center.

It seemed a fitting point to look at extending its support for Central Eastern European and Cyrillicbased languages. Now with more than 530 characters per weight, Aperรงu Pro arrives.

Furthermore, bringing us to the present day, we extended Aperรงu to included the heavier weights of Black, Black Italic and Mono Bold, allowing for a further graphic use at the extremities of the type family.

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cut & spray

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And here we are to the end of the countdown, the last section, that ends unexpected turning in an other language, where the commercial tongue pass trought the artists'eyes.

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Zeta.

Content seen by the artists

that give new life to shapes, colors, hand drawn by artists of the movement to convey the message viewer, moral or outrageous as they are, Sometimes brands generate with an extraordinary trends, changes our force d ' impact. They perception, our culture, are also in some way lifestyles and opinions. indebted to those of the Here comes the sensibility '900 artistic currents of the artists, that from that made protagonists, the observation of these albeit with different mutation, create beauty, messages, everyday new voices objects: the "cookie jar" and points of view. of De Chirico, the "pipe" Brand Art as a movement

by Magritte, the "bicycle next to Pop Art, for years wheel" of Duchamp, the the brand and graphic "iron" by Man Ray and even sign are a source of further back brocades, inspiration for art. The velvets and silks painted Brand Art is not born as as the backs of the opposed to the previous thrones on which were production, indeed this seated delicate constitutes valid roots Renaissance Madonnas".

Zeta is the world of brand seen trought the eyes of the artists.

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They are also in some way indebted to those of the '900 artistic currents that made protagonists, albeit with different messages, everyday objects: the "cookie jar" of De Chirico, the "pipe"

by Magritte, the "bicycle wheel" of Duchamp, the "iron" by Man Ray and even further back brocades, velvets and silks painted as the backs of the thrones on which were seated delicate Renaissance Madonnas".

_Fast Food _Typo _Colors

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Yves Klein monochrome art

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figure 1 _ Maurizio Cattelan figure 2 _ MC & PF for betty crocker figure 3 _ Deste Foundation and Toilet Paper figure 4 _ Deste Foundation and Toilet Paper

Although he died young and hard-up, Klein is one of the most radical figures in postwar western art.

He influenced minimal, conceptual and performance art, taking painting out of the frame, which he felt had imprisoned it for

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Colors

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too long. His monochromes, hung several inches in front of the wall, were intended to saturate the viewer’s space.

The colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings,

was to become known as International Klein Blue (IKB).

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Non-Format The good people at Computer Arts invited them to create a custom typeface and feature openers for their Branding Annual 2014.

The result is a series of images that describe the surfaces of our typeface using a set of black & white textures within a three-dimensional space. — Computer Arts Collection Branding Annual 2014 Custom typeface and section openers 2014

figure 1 _ CA Branding Annual 1 figure 2 _ CA Branding Annual 2 figure 3 _ CA Branding Annual 3

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Typo

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There aren’t any texts or excerpts—only imagery and a long list of contributors, assistants, stylists and producers. have also collaborated with the Deste Foundation in Athens on a project that offers an unorthodox,

There aren’t any texts or excerpts—only imagery and a long list of contributors, assistants, stylists and producers. have also collaborated with the Deste Foundation in Athens on a project that offers

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Typo

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There aren’t any texts or excerpts—only imagery and a long list of contributors, assistants, stylists and producers. have also collaborated with the Deste Foundation in Athens on a project that offers an unorthodox,

kaleidoscopic tour through the Dakis Joannou collection of Italian Radical Design furniture.

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Atelier d'alves The philosophy of the studio is one of constant learning and change.

Answering to a big variety of challenges and ideas they developed a pluralistic and ecletic design language who let grown and work in so many distintc areas like editorial design, branding, installations and social design. — Working between Porto (Portugal) & Eindhoven (Netherlands)

figure 1 _ Parasole general view figure 2 _ Exibition in Kuala Lumpur (Malaysia) figure 3 _ As cadeiras Poster

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Typo

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Language is a fundamental element of our life.

We communicate with our surroundings though words, symbols or physical objects in order to establish a relationship with other human beings.

World Within Words exhibition is an ode to this globalised times. Thought to be an expedition to a new vocabulary world, where constructed language becomes the material for reaching new spaces.

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Typo

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Cattelan & Ferrari Toilet Paper

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figure 1 _ Maurizio Cattelan figure 2 _ MC & PF for betty crocker figure 3 _ Deste Foundation and Toilet Paper figure 4 _ Deste Foundation and Toilet Paper

Toilet Paper is an artists’ magazine created

by Maurizio Cattelan and Pierpaolo Ferrari, exuding a surreal and ironic vernacular that both startles and seduces the reader at the turn of every page.

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Fast Food

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There aren’t any texts or excerpts—only imagery and a long list of contributors, assistants, stylists and producers.

Cattelan and Ferrari have also collaborated with the Deste Foundation in Athens on a project that

offers an unorthodox, kaleidoscopic tour through the Dakis Joannou collection of Italian Radical Design furniture.

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Fast Food

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figure 1 _ Toilet Paper, 1987 figure 2 _ Plates porcelain, 10" diameter

Toilet Paper is an artists’ magazine created

by Maurizio Cattelan and Pierpaolo Ferrari, exuding a surreal and ironic vernacular that both startles and seduces the reader at the turn of every page.

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Fast Food

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There aren’t any texts or excerpts—only imagery and a long list of contributors, assistants, stylists and producers.

Cattelan and Ferrari have also collaborated with the Deste Foundation in Athens on a project that

offers an unorthodox, kaleidoscopic tour through the Dakis Joannou collection of Italian Radical Design furniture.

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Henry Hargreaves Burning Calories

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figure 1 _ Henry Hargreaves figure 2 _ Burning hotdog calories figure 3 _ Burning popcorn calories figure 4 _ Burning icecream calories figure 5 _ Burning noodles calories figure 6 _ Burning donut calories

Project by photographer Henry Hargreaves, entitled “Burning Calories“, which offers a series of edible sculptures representing the icons of Junk Food now burning in flames.

Illustrating literally the “burning calories”

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Fast Food

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expression, Henry Hargreaves sets out his vision of the problem of obesity in the United State (which also applies increasingly to many countries), but also the fact that healthy, simple and natural solutions to

this problem (starting with a culinary education and sport) are masked by our consumer society with an ironic over-presence of junk food and industrial diet products

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THIS IS THE END. THANKS FOR WATCHING!

Simone Vena

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