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  • Ill-Studio rebrands L’Officiel for a brand new version in style

    Founded in 2007, Ill-Studio is a multidisciplinary platform based in Paris. Headed by Léonard Vernhet and Thomas Subreville and their respective team of creatives Ιll-Studio evolves in various creative areas such as art-direction, graphic design, photography, typography, video for both personal or commissioned works.

    Taking over the creative and art direction for fashion magazine L’Officiel de la couture et de la mode de Paris (or L’Officiel), the studio’s first issue is iconic for many reasons. The typography is more on the spot for the L’Officiel’s 95th anniversary issue which came out accompanied by an exhibition at the VNH Gallery in October.

    So far, Ill-Studio has collaborated with various clients such as Nike, Supreme NYC, The New York Times Magazine, Colette, Cire Trudon, Lanvin, Orange, Christophe Lemaire, Modular Records, Louis Vuitton, Adidas, Uniqlo and Domus magazine and L’Officiel’s redesign is their latest attempt to bring the publication to a more ground breaking, non-conventional, template.

    Check more here.

  • “From Pixels to People”. Uber’s rebranding thrilling ride

    “In just 6 years, Uber has become integral to the way people in cities around the world get from where they are to where they want to be” writes Ethan Eismann, the leader of the design teams defining the next generation of transportation at Uber. “I’ve been here for a little over a year, and one of the biggest challenges — and also one of the most gratifying parts of my job — is helping to design a service that works for so many different people in so many different places” he comments on the rebranding of the service that was unveiled earlier this year. Uber’s answer to the question of how to create and maintain a global product that feels local and usable in 400+ cities across the world. “Regardless of the way you travel or where you do it, the way you feel when you travel — your experience of it — is always inherently physical, cultural, and emotional. It’s contextual and complex” he adds on his mission, to lead a team of designers to think far beyond the screen.

    “We think of our design skills in five dimensions. Our designers are psychologists; we develop deep empathy for our users, and try to see the world through their eyes. We are ethnographers, researching cultures across the world. We are scientists, working with data sets to derive insights that help inform our user experience. We are entrepreneurs, utilizing our understanding of people and markets to set strategy. And we are craftspeople, guided by aesthetics to build beautiful and usable experiences” he says. “We leverage all of these skills to design scalable products that meet the needs of our users in cultures across the world.” Uber’s dynamic visual identity reflects on the ongoing evolution of Uber which started in 2010, as a way for 100 friends in San Francisco to get luxury rides and today is a transportation network spanning 450 cities in 70 countries.

    “The cornerstone of our brand identity is the new logotype. We’ve always felt there was a cognitive dissonance between who we were deep down and how we expressed ourselves through our logo. The simplicity of the new logotype denotes quality and elegance, while the combination of straight and curved lines convey both the confidence and approachability of our updated look” comments Uber on the rebranding that took Internet by storm.

    “The previous logo was so thin it would crumble at the slightest sneeze. The wordmark lacked a lot of weight to be of good use in small screens and the wide letter-spacing forced it to take up too much space, making it necessary to make it smaller, making it barely readable. I’ve always disliked the little curl on the “U” but other than that, it was a mostly innocuous logo. The new one fixes the usability of the logo by going bolder and tighter. On that aspect alone, the logo evolution is a success. Beyond that, there is nothing else nice to say about it but also nothing negative. Okay, well, maybe a couple of things: the inner curves on the bottom halves of the “B”, “E”, and “R” are very awkward and the elliptical (because they are far from rounded) corners are also strange and give the sensation that the letters have been stretched. Overall though, it’s fine” reviews Brand New. Debate at your own risky ride.

    For more check here

  • “Wow, a lightning bold”. Nike’s light stencils brightens up the nights

    Nike hit us up to create some artwork for their 2016 campaign–which played with the ideas of night, light, flow and grit” says New York based design studio The Collected Works. Justin Colt & Jose Fresneda are the designers behind this illuminating, light “stencils” series. “Using long exposure photography and various light sources, we could “paint” behind the stencil to expose typography and artwork. We then ventured around the city, painting and capturing various techniques across different locations” they add on their collaboration with Nike’s art director Cade Beaulieu.

    “Our portfolio is a reflection of our interests and is not limited to a specific field or medium. We believe in and encourage experimentation as a vital part of the creative process. We also don’t take ourselves too seriously, and are aware of how self-absorbed the last statement might sound. As a small independent studio, we have the advantage of working with clients we believe in, no matter how big or small. Outside of client-based work we’ve developed and funded a number of self initiated projects. If you like what you see and want to collaborate on a project, hit us up” they say. “We’re nice”. Oh, yes, they are.

    For more check here.

  • We can’t look away from Adolescent’s brand new identity for LMN

    LMN, the movie-centric channel of the Lifetime family, enlisted Adolescent to revamp the channel’s identity to reflect the sophistication of its growing audience. “Our focus in updating the identity was to create a unique, compelling look for LMN that lived up to its tagline ‘Can’t Look Away.’ The identity needed to feel true to brand’s evolving direction, be easy to use both in-house and out, and be adaptable across all media, simply and efficiently. LMN’s new look needed to say, confidently and clearly, that LMN is more than a guilty pleasure” says the team of the studio.

    “Our solution was inspired by the moment when the lights go down in a movie theater – the moment that draws you in with the promise of riveting drama, intense emotion, and passion rarely experienced in everyday life. We brought that moment to life with gradients that dim from light to dark, suggesting the dimming of house lights. Our layouts hinted at the golden age of cinema signage and suggested classic movie tickets. Typographically, our challenge was to select fonts strong enough to support the bold LMN title, while also expressing confident, feminine forms. These elements combine in an understated, abstract space inspired by ‘that LMN moment’ and the golden age of cinema glamour to create an experience from which you ‘Can’t Look Away’” comments the creative forces of Adolescent, the New York based creative company which is “motion driven by design” ever since it was founded, back in 2004.

    Check more of their work here.


  • Sans Everything is an ode to the world’s beloved letterform

    It all started back in 1816, when the first sans serif typeface specimen of the foundry of William Caslon IV changed the future of typography. Celebrating the bicentenary, École supérieure d’art et de design d’Amiens is launching “Sans Everything”.

    The international conference about the history, the design and the use of sans serif letterforms in this cross-disciplinary, free event is accompanied by two substantial exhibitions: Traits lettres bâtons and Pangramme: learning type design. In case you were wondering what happened to serif-less letterforms since Max called them Linéales or Francis Antiques, if you are willing to explore the Sans realm with a variety of designs, past and present, or you are into searching the numerous examples of the sanserif legacy between the thick and thin strokes and lines be a part of Sans Everything starting off today.

    For more info check here.