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"The studio was formed by Australian designer Phoebe Glasfurd and Canadian producer Aren Fieldwalker in early 2007. Our goal is simple: empower clients with relevant, innovative, high quality work that helps their business flourish… We offer multi-disciplinary, conceptual and graphic design services and innovative brand communication solutions." — Glasfurd & Walker

The Silver Star

"The Silver Star is a unique story about a iconic railway car’s journey from the American midwest to the remote Pilbara region of West Australia.

Glasfurd & Walker designed a bound publication documenting the history of the Silver Star railway car as part the renowned Zephyr line in the 40’s and 50’s in America before being brought over to Australia in the later 60’s, and finally it’s near miss with decommissioning before being transported to the Pilbara Region in West Australia.

The Silver Star’s final incarnation is as a completely refit cafe situated in the heart of Port Hedland.

Along with designing the invitation for the grand opening of the new Silver Star, Glasfurd & Walker also designed the identity and stationery for the cafe itself.”

Beta 5 

"Established in 2011, Beta 5 creates small batch, artisanal chocolates, confectionery, baked goods and preserves. Glasfurd & Walker have worked with Beta 5 to create their identity and packaging for their core range and seasonal products.

The name, Beta 5, comes from the form-5 beta crystal structure which is the most stable form of cocoa butter crystallization, formed through the controlled melting, and subsequent cooling (tempering) of liquid chocolate. As a result, the identity reflects this approach to the chocolate making process - a careful blend of science and craftsmanship.

The packaging design was a carefully considered and executed aspect of the brand development. Understated and refined, the packaging doesn’t distract from beauty and vibrancy of the products inside them which are an exciting discovery.”

Meat & Bread

"Identity and brand design for Gastown’s latest addition to the neighbourhood, Meat & Bread.

The studio was approached to create a strong, masculine identity and brand design which communicates the restaurant’s simple and uncomplicated offer.

With a focus on a daily roasted meat, a visual system was needed to communicate what was on offer each day. For this, a series of icons was created which complimented the core logo and extended the identity onto packaging for products and take out.

The design had to be clean and minimal with a timeless aspect to the identity without feeling “retro”. Strength through simplicity was the ultimate mandate.”

The Dirty Apron Delicatessen

"The Dirty Apron’s Delicatessen offers hot lunches, gourmet sandwiches, take-home carvery meals, deli meats, local BC Cheeses, fresh flowers, and specialty ingredients and products.

Glasfurd & Walker were commissioned to design all packaging and promotional items for the Delicatessen. From bread bags, shopping bags and tape to gift boxes, lunch boxes and products on the shelves.”

Visit the Glasfurd & Walker website to view more of their projects.

Glasfurd & Walker | graphic design

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  • 12.01.2012
  • 72 Notes
49 Likes

Continued from Miklós Kiss | graphic design (part 1)

Viktoria Minya | 1st Concept

Viktoria Minya | 2nd Concept

"Identity and packaging concept for a new Hungarian perfumer Minya Viktoria and her perfumes."

Marc Johnson | 1st Concept

Marc Johnson | 2nd Concept

"Marc Johnson is a young french architect and fine artist."

Seam | 1st Concept

Seam | 2nd Concept

"Seam is a design consultancy specializing in mostly architectural lighting design. They are working with teams like FOA, Zaha Hadid, Amanda Levete. They are starting to bring up the architectural side so the company identity should no cater to lighting only. The word seam literally came from a play of the directors initials (Amarasri Songcharoen, Emory Smith). Metaphorically, seam is the entity that brings things together. This can be through design collaboration, materials, cross disciplines, visually…"

Please check out Miklós Kiss | graphic design (part 3) for more

Miklós Kiss | graphic design (part 2)

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  • 11.09.2012
  • 49 Notes
77 Likes

KISSMIKLOS / MIKLÓS KISS

"Designer and visual artist. Currently the architecture, design and graphic design are his workfields."

Németh

"Identity and webdesign for a small family lampshade company. Their lampshades are made of several materials (silk, paper, feather, bead, etc.) and technology by their hands."

VR

"Vállalkozók Rácalmási Egyesület / Entrepreneurial Association of Racalmas / logo / trade mark label"

Manuscript Records

"The brand identity is a reflection of the company’s name and the industry it is in. The pattern is the result of hand drawing, that looks like the surface of a disc. This idea was further developped into many more variations. The finalized brand identity is a complex reflection of the record publishing company’s areas of operation, and at the same time presents the possibility of going even further. The design was not purchased due to insufficient finances."

SDA

Synthesis Design + Architecture was founded by Alvin Huang in london. This is your first identity concept. The logo is built of elements, it reflects the meaning of the word synthesis. Thank you for Imprvd Design Agency (Remo Kommnick and David Ottlik), that gives scope for me abilities.”

Hautemuse

"Hautemuse magazine is a new qatari fashion magazine. I wanted to design a logotype, which is classic like vogue, or harper’s bazaar, but more fresh. This is only a concept."

Please check out Miklós Kiss | graphic design (part 2) for more

Miklós Kiss | graphic design (part 1)

  • text
  • 11.09.2012
  • 77 Notes
53 Likes

Continued from Miklós Kiss | graphic design (part 2)

Hotel Ambrose

"Ambrose is a little hotel in Montreal. The hotel occupies II. Victorian style buildings, built in 1910. I wanted to design a logotype, which is classic like victorian style but fresh. Firstly i was looking for II. Victorian style letters, and I studied the caracters styles. After I started to draw by hand. When I developed the final form, I scanned that. And I started to refine the line, and the style. After all, I was looking for a suitable font, that to develop the typographic system. This font is Titillium. Many places I cut the logotype, and I think therefore became fresher, and more stylish. And the contrast between the logotype script style and the complementary font san serif style are very nice single unit. I tried to expand the basis identity and i made some other concepts for example wine label, clean room please card, room numbers, floor information tables…etc. Thank you for Imprvd Design Agency (Remo Kommnick and David Ottlik), that gives scope for me abilities.”

Ajándék Terminal Identity

"Ajándék terminál exhibition, fair and auction was one of the christmas events organized by design terminal, where Hungarian designers showcased their work. Between 9th and 18th of december products from 50 talented designers could be bought. Design Terminal is a state owned, nonprofit organization which is taking as main goal to promote hungarian design culture, organize cultural events and show various international and hungarian design projects to the public in the building. I was in charge of the graphical design and the image of the Ajándék Terminal, who combined the classical but new calligraphy with a few mixes of vintage typography."

Lack Magazine 

"Lack Magazine is a new Hungarian fashion magazine. I tried to visualize the “lack” on the typo, and i wanted to design a logotype, which is classic like Vogue, or big, classic fashion brands, but fresh and playful. I wanted to separate the company’s logotype, and the magazine’s logotype, but at the same time keep them in sync. The magazine’s logo is just a simple lack typo. The magazine cover bag idea and insight design, and typography: I wanted to design a new progressive cover concept. By my opinion, most of the fashion magazines are boring, there’s always a photo and a name on it, but I wanted a more progressive and lively solution. I observed many times how the women hold the magazines in their hands and how often they get in inconvenient situations because they can’t hold the magazines in a more comfortable way. Furthermore, I noticed that moving people potentially represent the best commercial. This was the base of my idea to create a cover which resembles to a handbag. Women walk with it around more easily and it works like a live commercial. I’ve also placed the lack logo according to this. The cover does not only resemble to a handbag by its shape, but also, every further issue will appear with a cloth sample, so the material would look similar too. Cover photo by Orsolya Hajas. From the 1st logo concepts and design to final identity and final magazine design."

Anett Hajdu

"Project: a young fashion designer girl’s identity design and the 2011-12 autumn-winter accessoires collection’s packaging design. Anett Hajdu’s accessoires collection concept: in the chaos caused by contemporary and eclectic fashion trends, it is a pleasant feeling to turn toward to the style of puritanism what inspired by the nature and people costumes who are living with the nature. People and their everyday objects, animals and the atmosphere around the arctic circle provided a starting point for this design collection. Every single bag contains a unique individuality in hidden leather-jewels that helps us to perform as a part of the pure nature. These bags reveals the hidden animal from us. (all the bags are made of cow leather.) Anett Hajdu’s collection is here.

The packaging concept fits for the main design theory. The casing remind us for the meat industrial wrappings, the hunter accessories as well as a little Scandinavian sense.”

Miklós Kiss | graphic design (part 3)

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  • 11.09.2012
  • 53 Notes
66 Likes

Know Canada by Bruce Mau Design and Studio 360

About:

Studio 360 with Kurt Andersen, an arts and culture radio program with over a half-million listeners across the US, (produced by WNYC Radio and Public Radio International) recently approached BMD to participate in a series of segments they call “Redesigns”.

For the last several years Studio 360 has been looking at one big idea, taking its ubiquitous but arguably imperfect or outmoded design and putting new options on the table. For the next redesign — at the suggestion of a listener in Saskatoon, Studio 360 is redesigning Canada. More specifically they’d like to fix the image problem Canada has in the US. As part of this process they enlisted Bruce Mau Design to rethink how Canada appears in the world, creating a new identity for the 21st century, free of the traditional clichés.”

Design Statement:

Canada has an image problem in the US.

When Americans think of Canada, stale and often cliché ideas and imagery come to mind. Images like maple syrup, hockey, snow and lots of it. These images don’t pay homage to the intellectual, creative and social contributions that Canada makes as a country on a global scale. These clichés do not accurately depict the 21st Century Canada.

In our redesign, we begin with an assertion that Americans simply don’t understand Canada. Our view is that Canada doesn’t need a redesign; rather, Americans need to be educated.

To that end, our new Canadian brand highlights the country’s potential, and addresses the dynamic exchange of ideas, creativity, natural resources and people.

To express the country’s openness, flexibility and diverse points of view, we’ve created a visual language that leverages the two red bars on either side of the Canadian flag. These red bars act as a container for a rich array of viewpoints, imagery and ultimately, understanding.

Design Presentation:

View BMD’s full design presentation here.

Bruce Mau Design | branding

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  • 07.15.2012
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