Sorry Mom Tattoo Studio — We Are Büro Büro
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.
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
Mäs Art Services by Tanner Stevenett
Neubau NBF NYC Poster Series 2014
Neubau NBF NYC Poster Series 2014
Limited Edition Print of Neubau’s NBF NYC Poster Series 2014
Visual Identity Maurice Másson Creative Services
Maurice Másson
Hamburg, Germany
Visual Identity Maurice Másson Creative Services, 2017
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
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.”
Spin / Adventures in Typography 2
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
Koor Typeface – The Designers Foundry
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.
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
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.
Good Room 2017 Poster – Bad Studio
Good Room 2017 Poster
Bad Studio