After revisiting an older post about ‘The Power of Making’ I noticed that the producer had chosen a really unique typeface to use for the titling sequences. The duo behind the serifed font where Oscar and Ewan who run two design studios one here in London the other in Stockholm. I like a lot of there work, quite a lots of photography (album covers) and bits of art direction, and of course exciting type creations. Here is what they had to say about the POM font….
‘The design touched upon the spectrum of making in the show; the headline referenced the bold and expressive, while the body looked to the refined and meticulous’.
Its great because there work here does really succeed in conjuring a sense of a handcrafted, tailored font. The desiccation of the inner and outer shadows makes me think of old stone mason lettering, where the type is embossed within the stone.
Whilst searching for images of the 100% Design logo I stumbled across Pentagrams blog/website and it turns out that ‘Angus Hyland, with design assistant Fabian Herrmann, have designed the identity and brand structure for 100% Design’ (source Pentagram). It also turns out they’ve redesigned the brand ident’ for Landmark the huge Chinese luxury designer outlet in Hong Kong.
LANDMARK is the brand that represents Hongkong Land’s luxurious shopping haven in Central. LANDMARK offers 208 first-class shopping and dining outlets in four famed retail destinations – LANDMARK, LANDMARK ALEXANDRA, LANDMARK CHATER and LANDMARK PRINCE’S – all conveniently linked by gleaming glass-walled pedestrian bridges. From high fashion and accessories to watches and jewellery, from luxury living to beauty and grooming, from international cuisine to authentic gourmet dining, LANDMARK brings you the ultimate shopping experience.
The use of the Bodoni letter ‘L’ reminded me of a project which we’d done earlier in the first year, my letter being letter A for Alex.
Except that the ‘L’ for landmark had been designed in a far more bespoke way. The ideas for the L and its contents are explained on the Pentagram website….
Pentagram created a symbol using the letter “L” – associated immediately with LANDMARK and luxury – in classic Bodoni typeface, which boasts a solid base and represents Hongkong Land’s groundwork for success over the centuries. Decorating the solid letter is a rich foliage, which was inspired by Hong Kong’s unique vegetation and suggests growth, prosperity and enduring strength, as well as the evergreen nature of the brand. The horizontal lines that run in the background of the foliage symbolise the buildings of Hongkong Land. “The ‘L’ symbol blends lines and curves, solidity and luxury, international standards with Hong Kong authenticity,” Pearce says.
My trip to Berlin hindered me posting this but luckily I’ve now been e-mailed the final PDF catalogue which was printed for the exhibition which myself and Nigel Bents collaborated on. Below is a link to the final PDF booklet. Thanks to Nigel, Donald and Jonathan for the rare insight into a true unsung hero of the post war period, and may my work at Chelsea Space continue with as much success!
Logo Deigned by Pentagram
Last Thursday a course mate from Uni’ invited me to the press opening of 100% Design which was a part of the London Design Festival. She’d been doing an internship for the compnay who organised the event, so she’d managed to get some free passes, which I more than willingly accepted. The exhibition was a showcase of the best contemporary design based around five component shows: 100% Design, 100% Detail, 100% Light, 100% Futures and 100% Materials. The event showcases all aspects of interior, furniture and office based design predominately for people in the trade, yet its a good way for the common designer to get a grasp on things that a trending; this year it appears there s a big 60’s revival and material choices are far more minimal, companies opting for more synthetic fabrics. There was plenty to do and see, but the highlight of the evening for me was seeing Peter Hook who had the honour of DJing in the centre of the bar located at the entrance to the Earls Court exhibition centre. Another personal highlight in the furniture area where examples of ‘Typographia’ lounge chairs, produced by a French furniture company they were the nearest thing to Graphic Design I got all night. Finally the statement entrance light display was quite interesting so got a snap of that just for the record.
Berlin has to be one of the greatest capitals in the world. The whole city is alive with Graffiti and has a far more relaxed feeling than London and other capitals. Despite only being there for 5 days we saw so much, yet felt that we had only scratched the surface of what Berlin had to offer. We realised that you either have a more traditional visit i.e come for museums and the like during the day or you come for the historic nightlife, we opted for the former. One of the highlights of the trip was a visit to the Buchstabenmuseum near Alexanderplatz. The museum is the only one of its kind in the world – a museum dedicated to the preservation of signs, specifically 3D metal signage (see pics below). Other highlights were a trips to the Guggenheim (www.deutsche-guggenheim.de/index_en.php) and C/O gallery (with a great fashion exhibition profiling fashion photography from the 20’s to the present day – www.co-berlin.info), spray painting the Berlin wall and finally an extremely inspiring retrospective exhibition of the late Diana Arbus. All this of course thrown in with the occasional beer – Berliner a particular favourite.
One of my responses for a recent Ideastap brief 'Gold'. I'll upload actual image after results are released.
Over the past couples of weeks I’ve been working with my first year tutor (Nigel) on a Chelsea Space (www.chelseaspace.org) exhibition catalogue. Designing the layout has been real eye opened for me into how layout works in the real, tangible world of design. The exhibition itself is based around the life of Ralph Tubbs and his ‘Tub’ (the Dome of Discovery) which was the centre piece of the Festival of Britain site. Its been a great opportunity to have access to archive imagery of the Dome, Ralph and the festival itself, supplied by Jonathan Tubbs (Ralph’s son).
The exhibition is on as a part of the London Design Festival, (which I’ll be avidly attending www.londondesignfestival.com) the private view is on Tuesday 11th September from 6.30 and the exhibition runs til 20th October.