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  • Pentagram invite us to ACT,consider FACTS and reflect upon ART

    The Storefront for Art and Architecture hosted its Spring 2017 Benefit at the historic Federal Hall in Lower Manhattan. Pentagram designed the identity for the event, which featured the theme “Artifact,” inspired by the location and current politically charged moment. The graphics explore the concept of divisiveness and discord with type and image that seem to degrade, underscoring the dialectical struggle between facts and “alternative facts.”

    Support for the arts is under attack by the Trump administration, and Storefront called on its guests to “celebrate contemporary forms of practice that invite us to ACT, to consider FACTS, and to reflect upon the ART of architecture and design.”

    The location was essential to the theme. Federal Hall is an artifact itself, and the home of many foundational institutions of U.S. democracy. Originally constructed in 1700 as New York’s City Hall, the building served as the first U.S. Capitol, witnessed the inauguration of the first U.S. President, and hosted the ratification of the Bill of Rights by the First Congress. It has been a hub of debate and dialogue throughout the evolution of U.S. political history.

    Pentagram created an identity and materials for the event that capture the escalating discord across the political and media landscape while investigating the role of an artifact in this volatile climate. The graphics address issues of identity and authority with a jarring visual vocabulary that juxtaposes metal-cast blackletter typography—evoking historic documents and newspaper mastheads—with degrading bitmap letterforms and images that transform, break down and come together again.

    This year’s benefit honored the architect Denise Scott Brown, whose practice has pioneered the re-examination of existing urban forms, and Murray Moss, whose design and curation work, chiefly at his renowned store MOSS, has been formative in creating innovative objects (artifacts) from around the world. The event also launched New Artifacts, the first iteration of a new initiative called Storefront Editions that offers limited edition objects by Adam McEwen, LOT-EK and Moss with Lobmeyr.

    Pentagram collaborated with Storefront on a number of previous projects, including last year’s benefit and the exhibitions Closed Worlds, World Wide Storefront, and OfficeUS, the U.S. Pavilion at the 2014 Venice Architecture Biennale.

    See the full project here

     

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    13Sep
  • Meet The Dean! Watson & Co brand with witty banters and suave type

    "Meet The Dean. He’s actually a bit young to be The Dean, but he’s smart and has a lot of quality friends, so he’s handling the position quite well. Some say he’s a Providence, RI figure of cultural authority, other people just like to sleep with him. Either way, his strong historical background, eye for design, and general ability to ‘not be a dick’ keep people coming back. To share all of that we handled the branding, got some headshots, and created an all around strategy — website included — for the guy who otherwise seems to need no introduction. We like to think it’s as cool as he is. (P.S. Did we mention he’s hot? He’s hot. And he has cousins. Let us know if you’re going to be in Detroit anytime soon.)" writte Watson & Co on The Dean's - a suave hotel in Detroit- branding.

    "Today’s consumers are savvy, sophisticated, and more cognizant of marketing than ever before. They don’t want to be told to or sold to. They expect great design to be built-in — to their phones, their homes, and even their packaging.We believe the best brands embody the art of their product and then simplify, elevate, and amplify it."

    Check out the entire project here

    Credits Photography: Christian Harder

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    12Sep
  • Futura brands Black Taiga with alternative typography

    Black Taiga is a cantina inspired on the dystopian future and cultural syncretism, a place that could exist in any city in any given frame of time, an eatery specializing in Asian street food that brings together Japanese buns, Korean tacos, Vietnamese sandwiches and other delicacies; a menu channeled through and influenced by its location: Mexico City

    The design and brand concept contains references to pop culture, from Blade Runner to Akira and the current Health Goth trend. Far-out illustration inspired by manga and the Ero Guro decorate the space.The alternative typography, almost undecipherable, is the product of a mix between East and West is a constant characteristic that unifies the packaging and every design effort, and is accompanied by a kawaii icon that contrasts with the identity.

    Black Taiga, our bet on a subversive branding, a half-open door on what's to come.

    Born in 2008 as an Independent Design Studio, Futura is a boutique-like workshop that seeks to redefine the Mexican design values, maintaining functionality, wit and charisma. Specializing in resource optimization and paying attention to every detail.
    Nowadays their HQ is based in Mexico, but we have clients all over the world.

    Check out the complete project here

    Credits:

    Photos by: Rodrigo Chapa 

    Photos with model by Futura

    Model: Corina Lutski 

    *Text and images taken from Futura's Behance account

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    08Sep
  • "Symbol to logo" a Polish exhibition of graphic marks revived

    In the spring of 1969 “The First Polish Exhibition of Graphic Marks” took place in Warsaw. It was organised by the Association of Polish Artists and Designers and the Ministry of Culture and Art. The post-war achievements in the area of Polish trademarks were presented (from the years 1945–1969). The interview panel under the chairmanship of Stefan Bernaciński chose 335 signs which best described the specificity of the accomplishments in the field of design in those times. The best Polish graphic designers took part in the exhibition, among them: Ryszard Bojar, Jerzy Cherka, Roman Duszek, Jan Hollender, Jaroslaw Jasiński, Emilia Nożko-Paprocka, Karol Śliwka. A large number of presented signs stood the test of time, and some of them are still being used today. Since then there has been no attempt to comprehensively describe the condition of this branch of design.    

    The symbol of the exhibition was designed by Karol Śliwka in 1968. The project was selected in a closed competition. Its biggest advantage is that it combines the components of many other characters. It has a weight, and its roundness harmoniously corresponds to sharp elements. It is dualistic and coherent at the same time. It can be read as a reflection, a flash, a star, and for some it's just a twist. Small symbol with many meanings.  

    In 2014 at the Academy of Fine Arts in Gdansk Patryk Hardziej completed his diploma entitled "Polish Graphic Signs ", which took the form of a book devoted to Polish modernist graphic marks,that until now has not been widely known and described. In July 2014, Patryk Hardziej and Rene Wawrzkiewicz decided to reconstruct the historical exposition of 1969 and to organize, after nearly fifty years, the "Second Polish Exhibition of Graphic Marks". In total, 670 projects from 1945–1969 and 2000–2015 were on the exhibition. During 15 editions, the exhibition was presented in five countries

    A special edition of the exhibition "Symbol is Logo" was shown in Berlin in May and June 2017. In addition to the graphic marks from 1945–1969 and 2000–2015, the profiles of prominent Polish designers and graphic students were presented.

    View the full poject here 

    Find the Symbol to logo book available here 

    Credits:

    Visual identity & books design: Patryk Hardziej

    Gadgets design: Bartek Bojarczuk (Pan Tu Nie Stał)

    Exhibition design: Patryk Hardziej, Rene Wawrzkiewicz 

    Photography: Patryk Hardziej, Adrianna Zielińska, Tomasz Chądzyński, Grzegorz Pastuszak, Bartosz Stawiarski,

    Hanna Jakóbczyk, Dominika Śnieg, Aleksander Drożdżewski, Karakter, Pan Tu Nie Stał, J. Muszyński (PAP) 

    *Text and images taken from Patryk Hardziel and Rene Wawrzkiewicz's Behance accounts

     

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    08Sep
  • Buenaventura's versatile and agile visual system unfolds in layers

    "Pedro Salmerón. A life among scaffolding. This is the way you can summarize Salmerón’s professional career" say design studio Buenaventura. "This reputed Spanish architect, specializing in historical heritage, commissioned us with the development of a new brand for his architecture practice.

    The challenge was an important one. It demanded a visual identity able to accommodating the several aspects and types of work while adapting, at the same time, to the different pieces in a harmonious and coherent way. Furthermore, it should maintain and support Pedro’s leading and relevant figure in its field.

    We created a complete yet flexible visual system with a clear aim: achieving a consistent, elegant and graphically rich brand.

    For this reason, we built up an identity based upon several layers or levels, getting away from traditional static representations. The conceptualization starts from the usual elements present in the rehabilitation and restoration tasks, such as classic typographic resources, colors and materials related to the architectural world or the structure of scaffolding always present in this type of jobs.

    The result is a versatile and agile visual identity, which represents the essence of the study as well as allows a useful system of classification of works, projects and investigations."

    Buenaventura, are a graphic design studio based in Granada (Southern Spain) with focus on visual identity, packaging and editorial design since 1995. They believe in simplicity, harmony and honesty in design to unveil the true essence of any product, concept or brand they may work with.

    See the full project here

    Photography credits: Estudio Pedro Salmerón

    *Text and images taken from Buenaventura estudio's Behance account 

     

     

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    07Sep