H.Y.T. Studio

H.Y.T. Studio showcases Yes Fam! Great graphic design

Creative Pathways PDP 10

Artist and designer, John Slade, showcases his commerical work through the graphic design studio, H.Y.T.. The graphic design studio’s clients revolve around the big names of Tate Modern, Transport for London and Channel Four.

The studio’s aim for their work output is considered to be stylistic choice of Slade’s enjoyment:

bold, striking, often conceptual graphics and illustrations.

This aim is evident with the recent works for club night Vesuvio at The Social, run by Heavenly Recordings, a London bar.

The recent works range from posters, flyers, GIFs and stickers, which are all designed and rendered with bright, bold contrasting colours, along with strong use of typography. Vitality is key with these series of works, as utilising a primary colour palette, each of the different works replicates, or even emulates how the feeling and visuals of a club night is like.

Futher works have been included with this series, as H.Y.T. has just opened an exhibition of its own works at The Social, called Pass The Hot Sauce.

The visual feeling and mood of these series of works are contemporary and trendy, and especially how the works are for a night club, this certainly conveys that to the viewer/audience. The works contain simple compositions, simple shapes and lines, which all work towards that feeling of a club night emulation.

What I can take from these works as inspiration for my own work is the strong use of colour, shape and typograhy. These elemements work great together, so taking this into my own work, I will be able to design and create visually and emotionally engaging pieces of design work.

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H.Y.T. Studio

It’s Nice That

Okuyama Taiki

Designer Okuyama Taiki design experimental posters, that encourages you to “play freely”

Creative Pathways PDP Entry 08

Tokyo-based designer, Okuyama Taiki has created these experimental, unusual posters, that play with typography, shape and colour. His latest works are available on his blogging site, Nochigo Source, which users are able to download Taiki’s poster work, and edit themselves in their native file formats, .psd and/or .ai. This makes Taiki encourage users to “play freely” with his latest works.

The posters themselves are playful and abstract, covering a minds thought of being creative.

This pick’n’mix attitude is mimicked in Okuyama’s work with his sporadic use of abstract icons with the odd flash of type that come together to make odd graphic illustrations.

What I can take from this as inspiration for my own work is the experimental and abstract use of typography, shape and colour. I could use this approach as an alternative, experimental and playful method, when creating posters for a campaign or brief. As well as the still posters, I could also play with the interactivity side, such as the moving image posters that Taiki has produced. This creates and reveals more information, which can be an advantage.

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Okuyama Taiki

It’s Nice That

Adam & Eve/DDB and Pâté

Adam & Eve/DDB and Pâté launches The Telegraph’s new app, Think Ahead

Creative Pathways PDP Entry 05

The Telegraph, has release an new app, called Think Ahead, with creative agency Blink Art’s Pâté (Paul Pateman) and communications agency, Adam&EveDDB. The new launched app is in relation to the Think Ahead campaign, that:

The campaign challenges viewers to consider what “Think ahead” means to them and accompanies the launch of the new Telegraph app.”

Blink Art of the campaign says:

Pâté’s direction was invaluable in each stage of the creative,

Blink Art goes on to say:

He even stepped into the sound studio and performed the voice of Donald Trump!

Focusing around the name, “Think Ahead”, the campaign aims to ask people how to define the phrase. Utilising display, video and social media, the campaign engages with the audience through great visual communication.

The colour choices for the displays are vibrant and bold, clashing aganist each other, creating a eye-popping visual for the audience and viewer. This creates engagement and viewer’s asking themselves of what the content asks. The illustrations are simple and effective, relating to the text and questions provided on the top of each display. It’s punchy, bold and attracts an array of youth and old.

With the video, the concept is consistently used with the colour and moving-image illustrations. It is playful, reflecting a fun alternative on the quite serious case of the US presidency situation.

The app itself includes a Top Stories channel, story notifications and a scrolling news format where stories become “cards”. Luke Griffiths, The Telegraph’s digital designer explains “we have hired designers to interpret the news as it comes through to our top stories. It is a collaborative workflow between designers and editors in the newsroom.”

What I can take from this as inspiration for my own work is the effective use of simple text and words, combined with strong illustrated imagery. Creating that relation with word and image towards the audience can make a strong difference with a poor and great relation – succesfully combining the two will generate a strong outcome and reflection. As well as the layout, the flat-style illustration can also be taken into consideration, as this illustration style is trendy and popular, as it can generate quick, easily understandable images with non-complicated shapes and colours.

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Adam & Eve/DDB

Pâté

It’s Nice That

Craig & Karl

Berlin’s Bread & Butter gets a new identity design from Craig & Karl

Creative Pathways PDP Entry 04

Craig & Karl has designed a new identity for Bread & Butter in Berlin, encompassing around the event’s theme of Now. Craig & Karl utilised array of iconic graphics, with eye=popping colours, reminiscent of the Bauhaus movement.

Part of Bread & Butter’s new identity, the new branding involved the areas of fashion, music, food and Berlin itself, to integrate together with the bright, bold identity. The new identity design has also been appeared and utilise throughout various combinations, such as campaign imagery to website, signage and merchandise.

The icons certainly bring an essential liveliness and diversity to the identity and event as a whole.

The bold, bright and block-like graphics and colours gives the identity design a neutral feel and look, attracting a young audience primarily. The iconic graphics utilise influence from modern emojis, creating simple icons with flat colours. These elements work well across the whole identity, as the emoji-like icons, combined with the bright bold colours, gives the identity design a fresh, modern look and feel. The use of an all caps sans-serif font adds the simplicity to the identity design, not making it too overcomplicated, and more memorable for the viewer/audience.

What I can take from this as inspiration for my own work is the use of strong, bright bold colour choices, as well as the use of props, signage and merchandising materials. Keeping the props, signage and merchandising materials in mind with a identity design project, this will help judge what a design will look like, outside of screen and print imagery, and into the real world of visual communication. I can also take the effective use of the shapes created from the identity design as inspiration as well.

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Craig & Karl

Creative Boom

FutureBrand

NatWest’s redesigned identity and logo, from FutureBrand, returns to the 1968 “cubes”

Creative Pathways PDP Entry 03

Basing on the original 1968 3D logo, FutureBrand has redesigned the renowned bank firm’s visual identity and logo.

The original design of the three interlocking cubes was to represent the fusion of three banks coming together, as the design agency explains, however, the existing logo was a simplified and flattened version of that form.

FutureBrand has revived the original icon back by adding a 3D element to it – the use of shadows to the shapes. As well as the 3D element, the design agency has also consistently used the cube conecpt throughout the identity and branding, keeping it neat and subtle. To supply the new identity and branding visual, an illustrative cuboid typeface has been designed, as well as flat-style illustrations. The cuboid typeface directly links to the icon logo of the 3D element, utilising eye-popping colour. The illustrations and other branding materials utilise the same colour scheme and block-like forms, linking back to the original icon and to keep the sublte consistency.

Dan Witchell, FutureBrand executive creative director and creative lead on the project explains:

We wanted to create an identity system that was unique to NatWest and to do that we needed a brand asset that was already their own, however hidden or historical,

Witchell goes on:

We found the reference to the cubes in the RBS archive from 1968 and it gave us the sort of device we were looking for. It means that even if you don’t see the logo, you see cubes and that tells you instantly that it’s NatWest, a subconscious yet direct link back to the logo.

The idea and concept of creating the new logo to the original 1968 icon was a strong choice, as the image and visual identity of NatWest is common and well-known now, so many people can easily and quickly identity the firm behind the new 3D logo.

The typeface, illustrations and branding materials are also created strongly in correlation with the new visual identity, as they maintain the visual sense and consistency. They also work great as the colour scheme choice and illustration style gives the bank’s visual identity a modern sense of feel and look – something to attract and engage a young audience to.

What I can take from this as inspiration for my own work is the use of giving a modern look on a existing image. The limited colour choice and illustrations to go with a rebrand/new visual identity can also be taken in to consider and inspire, as these elements for a identity/branding project helps the aim for a firm/brand to be identified.

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As well as designing the new visual identity of NatWest, FutureBrand also redesigned the visual identity for the Royal Bank of Scotland. The visual form relates and is influenced from Scottish patterns of tweeds and tartans. Creating a fusion of contemporary and tradition, the new visual identity utilises traditional fabric patterns and contemporary colours, generating its own RBS pattern:

the Royal Bank tweel… a subtle nod to its Scottish heritage that runs through all brand communications“.

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FutureBrand

It’s Nice That

Kristián Mensa

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Kristián Mensa mixes real life objects with his illustrations

Illustrator Kristián Mensa combines everyday real life objects with his illustrations, to add a punchy and appealing visualisation with his pen and ink art work. The various images that Mensa illustrates include different scenarios and actions, that engagingly and humorously work well together. Such everyday objects that Mensa combines are fruits, flowers, toilet roll and shells.

The different illustrations are playful and light, which creates a strong connection for the viewer to enage and quickly understand the image. This makes the audience become varied and wide to like and understand Mensa’s artwork.

Mensa’s pen and ink illustrative style is simple and subtle, utilising a mixture of bold and thin lines, and simple mixing ink colours. His illustrative style is reminiscent of children’s illustrations in books. This is one reason amongst others as to how Mensa’s playful illustrations are engaging and fun.

What I can take from Mensa’s work for my own inspiration into my own work is the use of his simple, yet playful illustrative style into my own illustrative artwork, and possibly design briefs. The idea of combining real life objects with illustrations for extra punch is a playful idea, and so I could incorporate this idea into my own visualisations for illustration and graphic design work.

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Designboom

Kristián Mensa

Animade

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Animade showcases new, appealing interactive web game-experiment

Everyone’s favourite London animation studio, Animade, has created an interactive web experiment called Party Pooper. The aim of the fun, simple game is to remove the bunch of strange guests within the room, using the various tools laying around. The simple aim of the game is remisicent of many point-and-click online games.

The game consists of various characters that have simple “bopping” movements. This creates the characters to have a sense of likeable characteristics, combined with the simple shape and bold colours. The animations for each character’s removal from the room is also thoughtfully creative, so the viewer is actively engaged with it. The user has simple tasks of using the various tools to clear the room, and such tools include scissors, duct tape and a hammer.

Designed and animated by Animade’s own Milo Targett, the characters are simple yet brilliant — just block-colour shapes given heaps of personality via their subtly different eyes and ways of moving. Development was by Simon Neveu. The backing tracks by Prince Lucien and Big Cool Slug are the icing on the cake.

What I can take from Animade’s fun and playful web experiment game for inspiration into my own work is the consistent use of colour, shape and character design, which is consistently used throughout many of Animade’s projects. Utilising this consistency helps build up the design style prescence of the studio, and makes it easily and quickly recognisable for what studio the project has originated from. I could use this method of consistency into my own work and portfolio, so I can build my own design prescnece strongly with my own design style, thought, ideas and outputs.

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It’s Nice That

Party Pooper

Animade