“The dot triggers a philosophical discussion. City Opera is a bare-bones operation that produces spare versions of a luxury product. In theory, that could make it the ideal cultural entity for this lean age: What better way to forget about your troubles than to watch people sing about worse ones? ‘Luxury needs to engage ideas,’ Sellers of 2×4 says. ‘Opera deals with darkness and schizophrenia, and in a time when we’ve been so deluded, that directness is reassuring.’ She stops talking. The black dot sits ominously on the table, and for a moment no one speaks. Finally, Steel smiles, and the room relaxes. ‘I love the graphic strength,’ he says. ‘I love it. We have a swell season, and we want it to be, Bam! Bam! This is what we’re doing: You got a problem with that?'”
– New York Magazine, March 2009
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In 2007 it was announced that Harvard Art Museum would be undergoing a major architectural transformation This physical shift would provide an opportunity to enact a conceptual shift; to clarify and create a new institutional name and graphic identity system.
The new identity portrays a unified but dynamic institution with constituent partners. The slash is a typographic device that signifies the connection between the core and the component, the system is flexible for other centers, functions, programs and purposes.
The visual aspect of the identity aims to create a dynamic play between modernity and classicism. Portrayed in the use of two typefaces, the use of black for typography and a respect for image as object, the visual identity is without rules a such but more that it is organized around a principle.
Leading hair stylist Oskar Pink required a brand identity and interior graphics for the launch of his new boutique salon. Having worked in the business for over 20 years for the likes of Toni & Guy and Nicky Clarke, the brief was to create an identity that set Oskar Pink apart, and to impart a tangible vision to a new lifestyle brand.
The tools of Oskar Pinks trade are his scissors, so this formed the starting point for our creative process. All of the idiosyncratic interior and window graphics are made with with scissor cuts in paper, creating a unique visual language for the entire identity. With a new shop on the high street and a new company our aim was to create a communication strategy that worked beyond a mere identity. One of our tactic here was to make the entire shop into a memorable vision, turning the window and the ‘brand’ into an illuminated beacon by night: a ‘memory stamp’ for Oskar Pinks’ nocturnal passing trade. The scheme also includes a bespoke logotype, fabric designs and a typographic system for all corporate communications.
Beyond the Pixels (BTP) is an innovative, Melbourne-based design group. They construct engaging and effective visual communication in careful consultation with their clients.
Chef Richard McLellan has worked for some of London’s finest restaurateurs, including Marco Pierre White and Tom Aikens. Richard recently started to work as a consultant chef and asked us to come up with an identity for him. We used his knife to create a bold but witty stationery range.
Designer: Mark Smith
Creative Director: Mark Smith
Photographer: Nahim Afzal
Design Group: Marksmith
Client: Richard Mclellan
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