A design presence - Website research

Firstly I took screen shots from Anagrama, a brand intelligence website. I like the use of white and grey tones through out the pages, this makes it easy on the eye as well as straightforward for navigating. 

A great example of a fresh looking layout is the SiScott website, the designers work is presented in a clear way, the website is easy to use via the arrow tools, it has great use of white space and all text is legible. I will bare a grid system to use throughout my website. 

We are vapour provides an easy to use website, the composition of text and image is assembled well on each page, the information given is legible due to the simple colour scheme of black and white with coloured imagery. I also like the option to hover over and image to show the lower in opacity of the others to make the chosen one stand out before clicking. 

I like the simple black and white text, the use of negative and small spacing. The content makes the designs look good not the designs make the website look good. 

The illustrators website has themes of fashion, women squares and femininity through out. Its produced using cargo which is a quicker way of making a website as a posed to coding from scratch. I think the illustrators work is presented very well throughout the chose layout on the website. 

A design presence - Business cards research

I decided to gather some examples of business cards to familiarise myself with size, shape, colour and stocks that could be used when designing 'brand me'. 

I like the idea of producing a brand with the colour scheme black and white, it low in cost and some effective designs can be produced through type or image the example below shows this well. 

Flyer announcing a party at the club Zukunft in Zurich. The give-away was a diamond, laser-cut from fabric by Jakob Schläpfer, which inspired us to experimenting with light refractions on typography, using our typeface ‘Kasparov’. Printed on 45 gsm white and metal coated paper.
Fonts: Kasparov

Here is an example of using stock and colour choices to create an identity for a brand, the business cards are very simple and provide a well crafted logo which shows the circle of unity.  

Corporate identity for Made In Europe. The visual element of the new identity builds an analogy to the 12 stars of the Flag of Europe. Given 12 as a symbol of completeness and perfection formed to a circle of unity, it stands for both the careful craftmanship in every detail and the responsible treatment of natural rescources and the individuals involved in the process.
Fonts: Custom logo typeface and Baskerville

Corporate identity for London based menswear label Hopper & Lace. Reading the name, Edward Hopper played one of the main roles in influence to the labels work and philosophy. Whereas nudity and clothing form an important part in his figure paintings, the emotional expression of his characters, his use of color, light and shadow and the emptiness and simplicity in every scenery have been incorporated into the first collection. (Work in progress)



Markus Mostrom 

Turnstyle

The Ubiquitous Manufacturing Co.

A design presence - Branding research

To get my self familiar with the type of branding I would like to do for myself, I have collected work from other designers to show the style of designs I would like to produce for 'brand me'.


Cocolobo

Cocolobo is a high-end shopping boutique that caters exclusively to strong women with a confident and in vogue fashion sense. For the naming, we played with the shop's main patrons' characteristic duality, in a catchy and fun play with words: "Coco" (coconut in Spanish) and "lobo" (Spanish for wolf). The Cocolobo woman is not only feminine and sweet, but also independent, aggressive, sensuous and daring. The color palette also invests in this polarity, with black and white portraying the elegant, sober aspect of the brand and the red representing all that is feminine and chic.

MTLL

Corporate branding

MTLL is a young architecture firm born from the merging of two experienced architects with independent trajectories: Miriam Torres and Luis Loya.

Leesa O’Reilly

Leesa O’Reilly, a stylist, recently expanded her business beyond photographic styling to include product sourcing and location scouting. Additionally, she has also launched a prop hire arm to her business of which all her unique products acquired over the years can be sourced.

Her brandmark is based on the idea that she is constantly sourcing objects from different places. We chose to produce four different business cards to show the diversity of her work and business.

Mulberry

Construct continue to work extensively for British design company Mulberry. Over the last 12 months, Construct has refined the original Mulberry logotype and the famous tree motif. This newly updated design has been applied across an extensive variety of applications including components that feature on all products, shop signage (in collaboration with Universal Design Studio), business stationery, a multitude of seasonal items and – most challenging of all – a huge gold inflatable Bayswater bag balloon.



Claridge’s

Construct remain heavily involved in the extensive rebrand of luxury Mayfair hotel Claridge’s. Recent work includes the design of menus for a variety of locations within the hotel, including the stunning Foyer and Reading Room, the Claridge’s Bar and the Fumoir.
To help new employees understand the history and grandeur of the place and the privilege of working in one of London’s finest hotels, Construct produced a brand book, given to new staff. Filled with facts and figures as well as inspirational quotes from Spencer Tracey to Tom Ford, the 12 page hand-sewn book has gold and black paper tip-ins. A gold foiled Claridge’s crest features through out.



Jacqueline Cullen

Designer, Jacqueline Cullen has developed innovative processes and formats that celebrate rather than disguise the inherent flaws and inclusions of Whitby jet (a black-as-night fossil of prehistoric trees). Construct crafted the identity and produced a toolkit comprising a variety of stamps (wax, embossing and ink) to reflect Jacqueline’s work.

Since its launch in 2004, the Nooka logo has been increasing in boldness for reasons of legibility. Unlike most corporate logos in which the artwork needs to be legible at 25mm, the Nooka logo needs to be legible at about half that, sometimes less. The solution was two-fold. One—to increase boldness for maximum legibility both small and large sizes, and two—to simplify the letterforms to better express our ethos. Along with these changes, subtle details were also introduced to make the Nooka logotype more visually pleasing.