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

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Ill-Studio

L’Officiel magazine recieves new look from Ill-Studio

Creative Pathways PDP Entry 09

Parisian multidisciplinary studio, Ill-Studio has worked with the renowned fashion magazine L’Officiel de la couture et de la mode de Paris, or more commonly known as L’Officiel. The Parisian studio took over the creative and art direction for the fashion magazine. With Ill-Studio in charge with the creative and art direction, there first issue was released in October, also marking the fashion magazine’s 95th anniversary issue. As well as marking as the first issue released from the Parisian studio, it was also accompanied with an exhibition at the VNH Gallery, in Paris.

The redesign marked a striking departure from the magazine’s previously conventional template.

Ill-Studio worked on a three cover page magazine on their debut, consisting of three fashion icons: Lou Doillon, Iris Apfel and Damaris Goddrie. They were shot on a Samsung Galaxy wearing Fendi against a featureless studio backdrop. Then the images were simply boxed out with an off-kilter rectangle, and framed with thick borders in three pastel-like colours of postbox red, tangerine and violet.

Inside, Ill-Studio collaborated with a bumper pack of photographers including Jeremy Liebman, Edouard Plongeon, Osma Harvilahthi, Christiani-Toubiana, Raffaele Cariou and Henrik Purienne.

The typeface used on the cover pages feels and looks traditional to a fashion magazine, yet a contemporary feel to it simutaenously. The use of the serif type creates that traditional feeling, as the layout of the image, frame and colour provides the contemporary feel. The layout of the image, frame, colour and type is simple, easy to understand and effective. It is not overloading with unnecessary information, pretty much straight to the point of the magazine.

Moving onto the double page spreads, the layout is minimal, direct and traditional. The use of type gives the impression of a traditional feel, whilst the image placements gives the spreads the minimal, yet contemporary feel.

What I can take from Ill-Studio’s creative and art direction work as inspiration for my own work is the layout and cover page design. Both designs are strong and work well with the fashion magazine’s content. This can be applied to a current project of designing a fashion magazine with Comic Sans as the font.

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Ill-Studio

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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

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The Partners

Brooklyn Symphony Orchestra receives rebrand from The Partners

Creative Pathways PDP Entry 07

Working in there New York office, design agency The Partners, has rebranded Brooklyn’s symphony orchestra’s logo, stating that the new logo describes as “music made visual”. The new logo design is a complete overhaul compared to the 2003 logo, stripping the full name and Brooklyn Bridge silhouette, to concentrating on the intials of the name, but with some creative thinking behind the design.

“The design of each letter exemplifies an individual aspect of the orchestra, the agency explains. The blocky “B” is representative of Brooklyn, “robust, industrial and iconic”. The more delicate, serif “S” stands for great music, “elegant, dynamic and expressive”. The “O” is made up of a collection of dots, to symbolise the community of musicians, “convergent, complementary and collaborative”.”

The creative thinking behind the intial letters design is unique and strong, as taking representation for each intial gives the logo some character, and creating a sense of recognition. Each of the letter designs is effective and works well, as each letter does represent the reasoning behind it, from the design agency.

Although the design agency has rebranded Brooklyn’s symphony orchestra, the agency is also working on developing software too. The software is to visualise music interpretations in real time, and so the agency will be creating graphics to go along with that development, as well as the symphony orchestra’s digital platforms.

The design team says that the identity:

brings dynamism and freshness to the presentation of music that transcends the time it was written

Artistic director at BSO, Nick Armstrong comments on the agency’s rebrand work:

The Partners’ work has yielded an exciting, contemporary resource for us, which brings together a graphical logo, and a dynamic use of that logo which the BSO will use in its marketing.

As well as the rebranded logo, other visuals within BSO has also received an overhaul of wonderful design. Such exmaples include the poster designs and marketing materials. In the poster designs, the use of shape and colour typically reflects on the logo design, symbolic and abstract. The combination of the coomposition, shape and colour, gives the poster design, and the BSO as a whole, a contemporary feel and look, even though the content of the orchestra, is primarily traditional and hundreds of years old. The colour choices and shapes gives the orchestra an opening for a new audience, as well as their exisiting one, as these visuals certainly attract a younger audience.

What I can take from this as inspiration from my own work is the creative thinking behind the logo design, as well as the strong use of shape and colour. Creating represtional symbols in the logo can be a strong effective solution, which I could incorporate into my own logo design projects. As well as the logo, the strong effective use of shape and colour can also be taken into consideration. The shape and colour used in BSO’s poster designs and marketing materials open up the subject and content of the orchestra in a clean and contemporary look and feel. I can use this forward thinking into my own poster and material designs.

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The Partners

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Kodak (Work-Order)

Kodak returns to original vintage logo identity

Creative Pathways PDP Entry 06

Reverting to its original symbol logo design, Kodak is the latest company to undergo a retro branding. 34 years of the original symbol, the Kodak “K” is back, originally designed by Peter J. Oestreich in 1971. In 2006, Kodak removed the symbol and simply display the company’s name in the logo design. However, Work-Order has designed the logo to be stacked capitalised type for the word Kodak inside the letterform.

“Capitalising the type is “the clearest departure from the past” says Work-Order, as Kodak has always used lower case. “The symmetry of the capital letterforms creates a molecular flexibility that allows the wordmark to be stacked,” says the design studio. “It is reminiscent of film perforations and street signage. It acts as a manufacturer’s stamp: the logo is the first read and the name is the supporting mark. When small, the name is removed leaving just the icon.”

The same colour palette is used, identifying and acknowledging the company’s trademark colours. Also, the trademarked yellow and red is consistently and effectively utilised throughout all materials and media for the company, such as the packaging and identity design.

What I can take from this as inspiration for my own work is the strong use of colour and symbolic logo design. A strong symbol logo, with strong colours can turn a logo design into a legacy design, that in turn, could stay strong for a number of years, creating a trademark. Also, I could take the simplicity of the logo design in consideration, as it’s strong in shape, not overcomplicated.

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Work-Order (Kodak)

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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

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