Olma Posters

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Olma Posters 02

Olma Posters 03

olma.ch

Nike Just Don’t Quit

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Nike Just Don’t Quit 028

Nike Just Don’t Quit

Design by Hort

City by Landscape — Rainer Schmidt Landscape Architects

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City by Landscape
Rainer Schmidt Landscape Architects

Design by Hort

Sorry Mom Tattoo Studio​​​​​​​ — We Are Büro Büro

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 01

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 02

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 03

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 04

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 05

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 06

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 07

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 08

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 09

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 10

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 11

Sorry Mom Tattoo Studio​​​​​​​ Identity by We Are Büro Büro 12

Sorry Mom
Tattoo Studio​​​​​​​

Identity project for Sorry Mom, a tattoo studio based in Braunschweig, Germany. At Sorry Mom you can expect a tattoo studio of a new kind. Arriving at this familyowned tattoo shop one is greeted by rustic wooden floors, high ceilings and an equally high standard of creativity and craft.

We Are Büro Büro

Client: Sorry Mom Tattoo Studio
Discipline: Branding

Photography: Thorsten kleine Holthaus, Koone & W.A.B.B. / Letterpress Stationery printed by Officina Polychroma, Hamburg

Mäs Art Services Identity by Tanner Stevenett

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Mäs Art Services by Tanner Stevenett

Gradients Daily by Tori Hinn

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Gradients Daily

Tori Hinn

Neubau NBF NYC Poster Series 2014

Neubau NBF NYC Poster Series 2014 01

Neubau NBF NYC Poster Series 2014 02

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Neubau NBF NYC Poster Series 2014

Limited Edition Print of Neubau’s NBF NYC Poster Series 2014

Visual Identity Maurice Másson Creative Services

Visual Identity Maurice Másson Creative Services 02

Visual Identity Maurice Másson Creative Services 01

Visual Identity Maurice Másson Creative Services 03

Maurice Másson
Hamburg, Germany
Visual Identity Maurice Másson Creative Services, 2017

Ferdinand Facklam Public Art Identity

Ferdinand Facklam Public Art Identity

Ferdinand Facklam Public Art Identity

Custom typeface and branding for Berlin based public artist and architect Ferdinand Facklam printed on Colorplan Papers.

Design & Type — I make up shit: Ultra Kühl
@ultrakuhl

TypeType Brand Identity – Comence Studio

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TypeType Brand Identity by Comence Studio

“We were approached by TypeType Foundry, which specializes in fonts production and is one of the market leaders, with a task to develop their new brand identity.

The impeccably clear brand identity reflects fundamental features of TypeType’s attitudes and approaches to work, such as attention to details, perfectionism, clarity, and streamlined production process. TypeType combines algorithms and accuracy with beauty and functionality at work. We translated these features into the developed brand stationery. Special attention was paid to selection of high-quality materials, printing technologies and clean layout. Simple logotype is a metaphor of well-coordinated and continuous work process: day by day, letter by letter, type by type.”

Comence Studio

Spin / Adventures in Typography 2

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Spin / Adventures in Typography 2 02

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Spin / Adventures in Typography 2 06

SPIN / Adventures in Typography 2 [Unit 36]
Design: Spin

Edition of 1000

Spin/Adventures in Typography 2 is serious and silly in equal measure (occasionally at the same time). The Spin team of Tony Brook, Claudia Klat and Jonathan Nielsen have embarked on a journey into typography’s darkest recesses.

Searching for the new and the surprising, they have made a series of experiments, by computer and by hand, that stretch the boundaries of typographic expression almost to breaking point.

Chapters in this 52pp journal include Alien: Future/Font: Lettuce/Letters; Helvetica Alt: Dr Frankenstein’s Helvetica; Helvetica est mort; and Tape Face. You have been warned.

Format: Soft back
Pages: 52pp
Colour: 1x Pantone colour throughout
Size: 258mm x 203mm
Paper stocks: Amvera FTP cut short cover inside pages on newsprint
Binding: Staple bound
Envelope: Foiled Glassine Envelope
ISBN 978-0-9956664-6-7

Unit Editions

Koor Typeface – The Designers Foundry

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Koor Typeface

Koor is a contemporary serif typeface with sharp cuts and triangular features, the result; a crisp personality across 18 dynamic styles with three optical sizes. The sizes Thin, Normal and Thick. each have six weights from Light to Super.

All three styles are designed to cover a wide range of application such as editorial, corporate, web interaction and logotype design. The “Thick Style” with a low contrast stroke and even cooler is suited for body text or heavy headlines. While the “Thin style” with its hairline like stroke and slightly more rounded features has the perfect qualities for large scale display uses. A solid workhorse is the “Normal Style” with it’s balanced contrast similar to classical serif typeface.

The Designers Foundry

Designed by Jan Weidemüller

Jan Weidemüller is a German graphic designer and co-founder of Studio Weidemüller. They create visual identities, printed and digital solutions with a strong typographic approach.

Excedentes – Identity Design

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Excedentes (in spanish means surpluses) is a collaborative platform that was born in 2015 with the aim of promoting a sustainable industry by recovering, transforming and giving new use to industrial waste; Extending their useful life and returning them to the market in the form of new products.

The main challenge of this redesign has been generate a more functional and durable image over time, which also promotes the Excedentes platform philosophy: develop a new product from industrial waste.

What is the surplus of the Excedentes Platform? This point was the beging of the graphical analysis of the last identity, coming to the conclusion that the logo was directly related to the first contest: a bag of biodegradable polyethylene. Once the surplus (in this case, graphic surplus) of the last identity was found, it was transformed into a new use. To this end, a series of previously defined parameters were applied on the previous logo based on the winning project of the first contest. An identity based on the philosophy of the Platform: give a new use to surplus materials.

Behance

Mucem – Musée des civilisations de l’Europe et de la Méditerranée

Mucem - Spassky Fischer 03

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Mucem — Musée des civilisations de l’Europe et de la Méditerranée

Spassky Fischer

Good Room 2017 Poster – Bad Studio

Good Room 2017 Poster
Bad Studio