Lavafilm is a film company based in Oslo, Norway. What caught my attention to the branding of Lavafilm was the emphasis of a body of visual elements in creating an identity system in lieu of a standard logo. This collaboration between Henrik Wold Kraglund and Ludvig Bruneau Rossow implements a strong palette of custom typography and photography, as well as heavy use of a grid structure and grayscale color palette. The custom typography used for the identity is a striking exploration of merging a serif with a sans-serif typeface.
The concept for Lavafilm’s identity is inspired by natural disasters, such as volcanic eruptions and earthquakes. During an earthquake, solid objects will divide and move to random positions. This has been the basis for the development of our solution.
Via the Behance Network.
Bad design sucks, let’s face it. We made a cultural manifesto about it. About how much it sucks, how much could it suck less, and, more importantly, how much we could do to change it. Change the way design is perceived. Change it with heart, passion, attitude and intelligence.
That’s the real revolution, baby.
I ran across one of these today on FFFFOUND and I followed the link over to the site where they were linked to and I was stunned to find these other designs. Aqua-Velvet put together a post called Mid-Century Corporate Design – Part 1 and displayed a few other really nice corporate designs. The three I posted above are my favorite of the bunch because of their strong use of color and dynamic composition. The first design is a compelling type-dominant cover and uses a nice layering effect. The last two have a science fiction feel to them with their abstract representation of their subjects. The part that makes these so timeless to me is the texture and worn out look of the covers.
All of these images are from sandiv999’s photostream.
Check out my previous post on science fiction book covers.
Noel Martin, who was a renown self-taught typographer and designer, studied drawing, painting, and printmaking at the Art Academy of Cincinnati. He later became an instructor there and was the long-time designer for the Cincinnati Art Museum, as well as a prolific free-lance designer. Martin was celebrated for modernizing museum graphics and industrial trade catalogs with his wonderful blend of classical and modern typography. In 1953, he was featured in MoMA’s landmark design exhibition, Four American Designers, along with Herbert Bayer, Leo Lionni, and Ben Shahn.
His spiral-bound self-promotional piece, Identity Programs, presents some of his iconic minimalist logos. I absolutely love the simplicity and timelessness of his work. His color choices are quite interesting as well using de-saturated warm hues in most of his work.
Found via grain edit.
Filed under Design, identity
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TCHO is a new chocolate company based out of San Francisco. With use of a sophisticated color palette and stunning packaging TCHO sets the bar for a new way of presenting chocolate. The identity was designed by Edenspiekermann run by the man himself Erik Spiekerman. Giving strong reasoning to all of their design decisions, TCHO Chocolate stands as a professional company presented in an appealing and memorable way. One of the most interesting qualities of the branding is the use of currency style for the packaging. Scott Hansen put it nicely, “a striking design which vaguely conjures the notion of European currency whithout making you forget you’re supposed to eat it.”
I don’t know if I’ve mentioned this before but 1968 and 1972 are my favorite Olympic Years for design. Alphanumeric has an unbelievable collection of Otl Aicher work including 1972 Munich Olympics artifacts. Aicher definitely did a superb job with the Munich identity all the way down to these small items with attention to every last detail. It’s crazy to think that the majority of people who attended the olympics this year didn’t hang on to these gems, I certainly would have.
I ran across some posts early this morning on ISO50 and thesilverlining.
Filed under Design, identity