Qus Qus is the design studio of Dima Kuzmichev. This work is super clean — I feel like if I ran a corporation of any kind, I would have Dima do my annual report. Especially if we were based in Iceland and wanted to make our wind power turbines seem sexy. There is a cold perfectionism at work here. Great grid work, some beautiful type, pretty much everything you need. I was also really impressed with the logowork. The one for Artisanale was my favorite (and the name sounds awesome to boot).
I was hired about three months ago to design a logo and consult on the brand identity for Plancast, a local San Francisco start-up founded by Mark Hendrickson and Jay Marcyes. As you can probably guess from the name, Plancast a way to broadcast your upcoming plans to your friends; or as it’s often described, Foursquare for the future. The site is exceptionally easy and helpful, and I encourage you to check it out.
By the time I joined on Plancast was up and running, but they were without a logo or distinctive visuals. I began work in December and we agreed on the finished logo a few weeks ago. The project was easily the hardest I have ever completed — as well as the most fulfilling. I almost destroyed myself developing this logo and I am really excited to share the process with you here.
The Museum of Flight displays an impressive collection of vintage airline logos. As I’ve just spent most of my young life traveling between DC and SF over the holiday, airline logos aren’t exactly what I want to be looking at right now — regardless, some of these are too good for me to mind. Lufthansa is still my absolute favorite (I gravitate towards anything with a stylized bird). The images are relatively high quality and they have a ton more over on their site.
A little while ago, I wrote about my current class assignment to reinvigorate a brand that is “dead, dying or defunct”. As we are nearing the semester’s end next month, I thought it would be a good time to begin describing the process of this project. The final deliverable is a book, in which we describe the history of our chosen brand (and why it’s time for a update), outline the new identity guidelines (visual standards manuals, usage considerations etc), and show potential extensions (mock ups of storefronts, products, etc). For this process post I’ll describe my brand choice and eventual logo development.
(project permalink on my site)
When I wrote the first article, I was considering No Fear as my primary option. With such a versatile name, I figured I could take the brand in a number of different directions. However, as much fun as it would have been to revisit the dominant clothing of my middle school years (along with LA Lights), I was concerned that the project would not really extend anywhere beyond a basic brand overhaul (new logo, visuals, products, etc). I saw little opportunity for humor or much conceptual work, and I opted to move in a different direction.
I decided to rebrand Playboy — a brand that many might say is arguably not dead, dying or defunct. Like many magazines, they actually are “dying” (financially), but for my project I focused on the decay of the overall perception of the brand. The graph below displays how I feel the brand has progressed in a more abstract fashion. Basically, these days, I would say most people would be embarrassed to say they read Playboy. A baseless assumption perhaps, but when was the last time you saw someone reading Playboy in public?
To keep up with the increasing trashiness of the American Men’s magazine, Playboy has been forced to reposition itself as “one of the boys” as it were, and is now indistinguishable from the Maxim’s of the world. Rather than hold on to the sophisticated standards of their early years, Playboy has come to embrace its unfortunately crude place in the magazine world. This evolution (rather, devolution) is tragic and the original soul of the brand has been lost. Maybe not “dead, dying or defunct”, but Playboy has certainly lost something along the way. I saw an opportunity to bring some of the original classiness and sophistication back with a drastic repositioning…
The above are some examples of the flags of the various cities, towns and villages of Japan. After looking at these, the “logo” for my town is very depressing. If I had one of these instead, flying over the place I lived, I would feel infinitely cooler and forever at ease. I am amazed at 1) how many different logos there are and 2) how many of them are absolutely incredible.
In honor of the currently unfolding (ha) Fashion Week in NYC, I thought I’d post on some of the terrific typography at work in the fashion world. When I first got into design, I used to think the typeface for the Louis Vuitton logo was the epitome of graphic design. I remember writing everything in Futura Medium for a good month (even research papers, nothing was spared). These days, I still to pick up the occasional GQ or etc just for the ads — usually can pick up a few interesting things. There are always a number of logos that catch my eye, continue reading to see some of the marks that resonate most.
The mark for The Fashion Center (above) is perfectly simple. How brilliant to utilize the button holes to form the F! This is probably one of my favorite logos of all time. What it comes down to for me is that the 5th button hole is slightly smaller than the rest — this subtle scale shift makes the whole thing. Developed at Pentagram.
Some very nice scans of 1960′s and 1970′s Scandinavian logos from Oliver Tomas’s Flickr. As great as these logos are, it’s always amazing how much better things look when scanned from a well printed page. The texture and imperfect edges really take it to the next level.
Via Oliver Tomas
The New York Times’ T Magazine often comissions artists to create their own version of the iconic T that is the magazine’s logo. There’s a great collection of the work over at the T Magazine blog featuring some of the standouts. Interesting to see so many fresh takes on the same theme, they should make a coffee table book out of these if they haven’t already. My personal favorite is that first ceramic one; the negative space is so perfect. Unfortunately, whoever did the type layout decided that neon green in the title would somehow work with the vibe. Clearly it didn’t.