Univers : logotypes

This is the visual identity for the newly signed artist Nea. Among the produced elements were a logo with custom bold letters, a tape logo system that can be applied to everything, everywhere (campaigns, merchandising, apparel…), as well as artwork design and music video titles for the first track, “Some Say,” released September 6, 2019.

The refreshed identity created for Fisher-Price pays homage to the brand’s extraordinary heritage, retaining the personality and iconic elements their audiences grew up with, but modernizing them for today’s world. The original bright red “awning” shape evolved from four scallops to three, representative of the three original founders (one of them a woman, Helen Schelle, who was never recognized in the name). The typeface retained the quirky proprietary features of the original brand type, but was redrawn and modernized to feel cheerful, chubby, and slightly simplified. The hyphen in the logo also reflects the cheerful refresh, appearing as a smile.

The logo was originally designed as a book cover. A Sydney-based street poster artist moving from Sydney to L.A. commissioned a book to showcase her posters and help launch her career in the United States. A typographical device was designed using the artist’s initials, WM, as the principal typeface. This created a strong, graphic narrative illustrating the artist’s evolution and journey. It has a feeling of movement and progression.

The study group focuses on the production of knowledge about traditional populations and ethnic emergencies involving remnant quilombo communities and indigenous peoples in the Amazon. The logo was inspired by graphic elements present in indigenous art, as well as the cuts made in rubber trees to obtain latex.

New Year’s Eve celebrations are Sydney’s flagship event. The letters in “SYDNEY” offered a unique opportunity for a double-take “surprise and delight” moment. By swapping the Y and E, we could create “SYDNYE”—incorporating the acronym for New Year’s Eve. The dynamic typography of the logo alludes to the year coming to an end and the coming new year through the scaling letterforms. The logotype is designed to be used in several orientations: horizontal, stacked, and split up and used as a framing device on communications material such as posters, printed material, and digital media.

Play & Pray is a preaching platform in which users play strategic games. This is not a “from top to bottom” type of gospel sharing; it’s actually a transformation journey. Play for fun, but behind it all, seeking eternal joy is the ultimate goal. The logotype has fun with the letters “l” and “r” in the words “play” and “pray,” so that “pray” hides behind “play” through an upward gradational transformation. The logotype uses AG Stencil, a sans serif rounded stencil font, which is playful yet stable and easily acceptable; moreover, stencil-type fonts are often used in military applications, which matched well with the client’s business.

The dynamic, animated logo was designed for a Hungarian media platform. The ever-changing appearance signifies that although we are different, and different themes are in focus, we are all one.

The logo was created in celebration of the forty-fifth anniversary of the Icelandic Textile Association. It references textile art and stands for the unity of the distinctive members of the textile association.

This is a logo for Ding and Dong, an electrical installation service. The D is buzzing with energy and good vibrations.

Proto Proto is a platform celebrating diversity through design and objects. Together with talented craftspeople and designers from around the globe, they create unique, handmade items that will make you smile and shine. Proto Proto is a progressive company, looking to pave the way for new visual expressions within world culture. The brief was to position Proto Proto as a friendly company that challenges conventional aesthetics and then model how things are produced, speaking to open-minded design consumers. The result: eight variations of a logotype, created from glyphs from thirty-two different alphabets.