[garadinervi]

Josep Maria Mestres Quadreny, (1971), Aronada, Tinta Invisible Edicions, Barcelona, 2010 [Archivo “Josep M. Mestres Quadreny”, MUSAC – Museo de Arte Contemporánea de Castilla y León. © Josep Maria Mestres Quadreny]

[garadinervi]

Josep Maria Mestres Quadreny, L'Estro Aleatorio (B), 1973-1978 [MACBA, Barcelona. Archivo “Josep M. Mestres Quadreny”, MUSAC – Museo de Arte Contemporánea de Castilla y León. © Josep Maria Mestres Quadreny]

[garadinervi]

Josep Maria Mestres Quadreny, L'Estro Aleatorio (A), 1973-1978 [MACBA, Barcelona. Archivo “Josep M. Mestres Quadreny”, MUSAC – Museo de Arte Contemporánea de Castilla y León. © Josep Maria Mestres Quadreny]

[typeandlettering]

[eleventheleven]

Galano Grotesque

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family.

During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies.

[thedsgnblog]

Visual Identity for small furniture factory Slåke by Montaag

“Inspired by Scandinavian design traditions Montaag created a minimalist expression to reinforce Slåke’s focus on their products. The colors are inspired from the nature in Hjelmeland; -sun, sky, mountains, cropland, grass, sand and sea. As a counterbalance to an otherwise tight visual profile, the circle is used to provide a contrast in both shape and color.”

Montaag is a multidisciplinary design studio with offices in Berkeley (CA), Stavanger and Oslo, Norway. Their passionate and eclectic mix of designers and researchers are driven to create insightful, functional and, perhaps, unorthodox design solutions - solutions that add value and distinction, and ultimately, sharpen your competitive edge.

[inspiregraphic]

Hikeshi

Hikeshi is a high quality clothing line that belongs to the Japanese brand Resquad. The general concept was inspired on the fire fighters of the XVII century, during the “Edo” Period (now Tokyo). They were considered as high ranked as samurais. We designed a series of illustrations of these characters using technics inspired in Japanese art from the era. The typographic selection and color palette turns the brand into something modern, but the material’s selection, the composition, and the combination of elements altogether make Hikeshi a timeless brand.

Hikeshi es una línea de ropa que pertenece a la marca japonesa Resquad. El concepto general está inspirado en los bomberos del siglo XVII, que durante el periodo “Edo” (hoy Tokio) tenían un rango social tan alto como un samurái. Diseñamos la identidad haciendo una serie de ilustraciones de estos personajes utilizando técnicas que nos remontan a archivos japoneses. La tipografía y la paleta de color nos ayudan a ubicar la marca como algo moderno, pero la selección de materiales, la composición y el conjunto de todos los elementos la convierten en una marca atemporal.

By Futura

[calligritype]

Teastories by Anagrama Studio

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[eleventheleven]

Brownbook Overview 41 — 45 Editorial Design

[identity-of-design]

[eleventheleven]

Laser Away

[brandcetera]

Mateusz Nieckarz / Poland

Personal identity - www.mnieckarz.com Logo / business cards / website.    

[thewomb]

[doseofdesign]

Axek Efremov

[hoploid]

LINK

/// For VISUAL INSPIRATION in illustration, graphic design, packaging, art and a lot more … just follow HOPLOID ON TUMBLR Thank You! ///

[thedsgnblog]

Das Handbuch Editorial Design by Marie Zieger

“This booklet has been designed as part of the communication design major at JOANNEUM University of Applied Sciences. It all revolved around the word »hand«. 30 students were given terms referring to the main subject and the goal was to create a kind of a dictionary related to the human hand. There were no limits to the approach – illustration, photography, typography, pretty much everything was possible. Text had to be added by the students, and finally a chosen group of people put all the different contributions into context, design the layout and create this lovely publication.”

Marie Zieger is a lettering artist, editorial aficionado and graphic designer working and living in Graz, Austria. She has been freelancing and collaborating with different studios on brand identities, book projects and custom letterings. She’s in love with script fonts, role-playing video games, mockumentaries, crafting neat digital mixtapes and getting all amateurishly nerdy with mobile photography. When she’s currently not working on some nice letters and curves, she is most likely to be found on the road to some place she hasn’t been before.

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[the-book-design]

[doseofdesign]

www.facebook.com/Kolektiv.studio

[dzajn]

Branding i papeteria, Julia Kostreva.