Broadgate by dn&co
Posted: April 13, 2018 Filed under: Fonts in Use, Logo Reviews, Property | Tags: Animated Logos, Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2018, Branding Blog, Branding Reviews, British Design, Business Card Design, Colour in Use: Pastels, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by dn&co., Designed in London, Fonts in Use: Euclid Flex, Form Language, From the United Kingdom, Generative Logos, Graphic Design, Graphic Design Blog, Hoarding Design, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Place Branding, Sans-serif Typography, The Best Business Cards of 2018, The Best Graphic Design Work of 2018, The Best Logo Designs of 2018, The Very Best Brand Identities of 2018, The Very Best of 2018, Type Foundry: Swiss Typefaces, Typography, Wordmark Design Comments Off on Broadgate by dn&coOpinion by Richard Baird
Broadgate is the largest pedestrianised neighbourhood in Central London. It is adjacent to the busy transport hub of Liverpool Street station, surrounded by Shoreditch, Spitalfields, Old Street and the City, made up of a diverse community and uses that span innovation, finance, food, retail and contemporary cultural activities.
The area will receive a £1.5 billion investment to further its development as a world-class mixed-use destination. This will include 4.9 million sq ft of new and redefined workplaces, retail spaces, public areas and restaurants described by dn&co., the design studio behind Broadgate’s graphic identity, as embodying the community and feel of the historic piazza with the energy of modern London.
Broadgate connects and contains diverse areas, each with their own unique character, services and experiences, and will go on to include many more. Wrangling these into a singular coherent identity, one that is inclusive yet with a definitive identity and without the preconceptions of typical B2B communications was a critical part of the challenge. This was achieved through a generative and kinetic B; a dynamic and constantly shifting container and outline. This motif, alongside a contrasting dark and light colour palette and complementary type treatment, serve to unify posters, business cards, tote bags, website, installations, social media profiles and merchandise.
Sumer And The Modern Paradigm by Clase bcn, Spain
Posted: January 2, 2018 Filed under: Art and Design, Graphic Design Reviews | Tags: Art Gallery Logos and Brand Identities, Brand Identity Reviews, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Design Blog, Design For Print, Design Opinion, Design Reviews, Designed by Clase bcn, Designed in Barcelona, Exhibition Logos & Brand Identities, Fonts In Use: Suisse Int'l, From Europe, Graphic Design, Graphic Design Blog, Graphic Identity Design, Poster Design, Spanish Design, The Best Graphic Design Work of 2018, The Very Best Brand Identities of 2018, The Very Best of 2018, The Very Best of BP&O, Type Foundry: Swiss Typefaces Comments Off on Sumer And The Modern Paradigm by Clase bcn, SpainOpinion by Richard Baird.
Sumer And The Modern Paradigm is an exhibition at Barcelona’s contemporary art gallery Fundació Joan Miró, and runs from 28th October 2017 to 21st January 2018. It intends explore and attempt to explain the influence of Mesopotamian art on modern artists, with a particular focus on the interwar period. The exhibition analyses work produced between the twenties and forties, takes a look at the documentation of Mesopotamian art that modern artists encountered and were inspired during this time, and looks to find the reasons for their fascination with the discoveries of ancient Near East artefacts. This relationship between between antiquity and modernity is expressed through the graphic identity of the exhibition, designed by Spanish studio Clase bcn, using a contrast of form and colour. This links a variety of printed communications and merchandise that included posters and flyers as well as tote bags and books.
AIGA Design Conference by Mother Design, United States
Posted: February 17, 2017 Filed under: Art and Design, Graphic Design Reviews, Logo Reviews | Tags: American Design, Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Mother Design, Designed in New York, Fonts In Use: Suisse Int'l, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Monospaced Typography, The Best Brand Identities of 2016, The Very Best of BP&O, Type Foundry: Swiss Typefaces, Typography, Wordmark Design Comments Off on AIGA Design Conference by Mother Design, United StatesOpinion by Richard Baird.
The American Institute of Graphic Arts (AIGA) is a professional design organisation with a membership that covers all forms of visual communication, from graphic design, typography and interaction to branding, animation and environmental design. As well as supporting a community of over 25,000 nationwide members, advancing design as a professional craft, strategic advantage and vital cultural force, AIGA organises two biannual events; the AIGA Design Conference and GAIN: AIGA Design and Business Conference, which are held alternating years.
In 2016, the AIGA Design Conference became an annual event. This marked, after 100 years as standard-bearer for professional ethics and practices, a moment of transition, and the implementation of a new vision; to become a hub for “broader creative constituencies”.
Taking inspiration from the evolving nature of organisation and the unexpected ways that a diversity of people and ideas come together in one place, New York-based graphic design studio Mother Design created a multi-coloured visual identity of unusual forms, juxtaposition and sense of change for the AIGA Design Conference. This was implemented throughout the Las Vegas conference which took place between 17 – 19 October 2016.
