June 7, 2010
some of the most creative graphic design works that I’ve come across lately.
“Ersinhan was born in Sakarya in 1984. He began studying Visual Communication Design at Gazi University in 2006. Whilst working professionally in various sectors of design, he also produces video, animation, visual placement and performance work on the side. Having won several awards both locally and internationally, Ersinhan’s work has also been exhibited in various collective exhibitions in Italy, Holland, Belgium and China.”
April 11, 2010
Sean Freeman is an illustrator and typographer who has just joined the roster of the New York rep agency, Levine/Leavitt. He has come up with several innovative typographic designs and I like this one in particular.
March 16, 2010
February 20, 2010
Have you ever had one of your best concepts brutally rejected, making you feel the harsh sting of rejection? Of course you have. Thats why you should check out Project Never, presented by Communication Arts, Veer, and a handful of other sponsors. You may have already heard of it, but for those who haven’t, its basically a free competition that allows graphic designers to send in work that was never used by clients. What a fantastic way to ease the pain of having all your hard work torn to shreds! Deadline for submission is March 8th, 2010. Winners are announced April 15th.
February 7, 2010
LOVE the simple, retro-inspired identity for London cafe Milkbar… and the ‘mapkin’!! Genius!
Logos for the Australian Tourism Exchange (ATE) 2009 for Tourism Victoria
Beautiful work for The Modern Flower Company in London – created under the direction of Suzy’s previous employers, London design firm Multistorey.
Unpackaged signage and shopfit (above) and branding (below). Read more about this unique store and the creative brief on Suzy’s website here. This work was produced under the direction of Suzy’s London employers Multistorey.
Suzy’s bookshelf… full of inspiration!
Identity for weaver Carla Grbac – Suzy’s inspired design takes inspiration from technical weaving diagrams and the large weaving loom used by Carla to create her designs.
Preliminary sketches for Pixel Flix Identity
Identity for Pixel Flix
Working drawings and finished branding for Melbourne-based personal stylist Frockerphiliac.
In September, the Contemporary Art Museum St. Louis presents its most ambitious group show since its grand opening six years ago. For the blind man in the dark room looking for the black cat that isn’t there starts with the premise that art is not a code that needs cracking. Celebrating the experience of not-knowing and unlearning, the artists in this exhibition understand the world in speculative terms, eager to keep art separate from explanation. Embracing a spirit of curiosity, this show is dedicated to the playfulness of being in the dark.
Artists: Anonymous, Dave Hullfish Bailey, Marcel Broodthaers, Sarah Crowner, Mariana Castillo Deball, Eric Duyckaerts, Ayse Erkmen, Hans-Peter Feldmann, Peter Fischli & David Weiss, Rachel Harrison, Giorgio Morandi, Matt Mullican, Bruno Munari, Nashashibi/Skaer, Falke Pisano, Jimmy Raskin, Frances Stark, Rosemarie Trockel, Patrick van Caeckenbergh, David William. Catalog designed by Will Holder.
For the blind man in the dark room looking for the black cat that isn’t there is curated by Anthony Huberman.
For the blind man in the dark room looking for the black cat that isn’t there will travel to an additional American venue, and a slightly modified version of the exhibition will simultaneously travel to three European venues:
September 11, 2009 – January 3, 2010:
Contemporary Art Museum St. Louis
December 3, 2009 – January 31, 2010:
Institute of Contemporary Arts, London
February 5 – April 4, 2010:
Museum of Contemporary Art Detroit
February – April 2010:
de Appel Arts Centre, Amsterdam
May – August 2010:
February 4, 2010
With a combined 14,000 employees in offices around the world, Towers Watson is the newly minted “professional services” firm created by the merger of the 5-year-old Watson Wyatt Worlwide and 76-year-old Towers Perrin, officially established earlier this month. Towers Watson offers services in Benefits (retirement, health and group benefits), Risk and Financial Services (insurance consolation, investments, risk management), and Talent and Rewards (executive compensation, employee rewards), all of it a nice presented package that is actually easy to understand. With a new name that literally merges the two companies, Interbrand was given the assignment to create the new visual identity.
It became evident that Towers Watson’s primary strength would be its combined attention to relationships, both with clients and employees. Through workshops and discussions about personality and brand archetypes, a strategic positioning, “Clarity through perspective,” was developed that would guide and support the creative development.
— Interbrand Project Description
The new logo represents each Towers Watson’s employees’ personal commitment to its customers by “putting their names on the line” with a personal signature of the company. The identity is a combination of a strong, pragmatic wordmark and an approachable signature symbol. The organic, hand-drawn nature of the logo and graphic system creates a personal and distinctive look amidst the impersonal, corporate, language of its competitors. To echo the hand-drawn nature of the logo, a customized, scripted typeface was created along with a library of illustrations.
— Interbrand Project Description
The new logo strikes a pretty good balance between seriousness and friendliness. The wordmark is as buttoned-up as it gets, all uppercase and black as a CEO suit, and it’s so refreshing to not get another all lowercase rounded wordmark. Meanwhile the TW monogram is loose and dynamic and makes a nice complement in shape and color to the name. I typically don’t like to say “This logo looks like…” but I was reminded of the Wynn brand. First, formally, as it’s a signature. But, second, philosophically, as a way to humanize an out-of-scale organization.
Clarity, a proprietary handwritten font for Towers Watson. Image removed by request. Official name of the font, “Mister K for TW,” provided by Interbrand.
The applications succeed similarly in appearing fresh yet not alienating towards a business-minded audience. The thick boxes behind text is nothing new, and Franklin Gothic is fairly conventional choice, but in conjunction with the handwritten font, it all manages to feel contemporary enough. Overall, a solid introduction for this new company.
February 3, 2010
Based in Philadelphia, the Pew Center for Arts & Heritage is a collective of seven grant-making initiatives dedicated to supporting local artists and heritage organizations. Originally, each initiative had its own logo, lacking any consistency with the others. Because of that, there was no indication that it was part of a greater entity. Another problem was the absence of an umbrella logo for the Pew Center. The challenge for London-based johnson banks was to solve a rather specific client brief.
Although they wanted at one level to present themselves as a unified “Pew Center,” they still wanted to show that they worked across dance, exhibitions, arts fellowships, theatre, management, heritage and music, all within the Philadelphia area.
— johnsonbanks case study
Glancing at the Pew Center’s web site — as its civilian audience will experience it, and not presented in a case study — you might think the logo to be the white square, and that the other words and colors were designed purely for the website’s navigation. Checking johnsonbanks’ project description proves otherwise. This megalith of a logo includes the organization’s full name, the seven initiatives, the word “Philadelphia”, and a mammoth palette of eight colors. Designed to adapt to different situations, the primary logo system has three forms, each with varying scale and detail. The largest holds a record-breaking 25 words.
Deeper in the system are treatments designed to push individual initiatives. Each maintains the typeface, 8-color standard, the word “Philadelphia”, and a tiny “The Pew Center for Arts & Heritage.” It’s unclear whether these are meant to be the official logos for the initiative. If so, they certainly won’t work at small sizes. Other than that, the designs show just how recognizeable and flexible the “colored cards” concept can be.
A minimal sans-in-square logo isn’t particularly groundbreaking for an art institution. What makes these logos worth noting is the ironic use of that solution — where the bombardment of simplicity creates a clutter that’s hard to miss. Aesthetically, it isn’t the most beautiful, nor the most interesting thing. A family of icons representing the initiatives would’ve been simpler to manage than type. Accusations of bad design decisions about scalability and printability are certainly expected and valid. In the end, though, it’s those risky decisions that make the logo stand out. Most importantly, the design tends to the client’s need of a flexible system that reflects the relationship of an organization and its constituents.
January 31, 2010
Two magazine covers from 2009 was Geoff McFetridge’s artwork for Huck Magazine (bi-monthly lifestyle magazine) and Little White Lies (cinema magazine with amazing covers). I just love this kind of stuff.