Archive | February, 2010

Signal Gallery

19 Feb

While I’m looking at StumbleUpon I faced with this graphical drawings and I liked them too much to share here.
These are taken from


The New Typography

16 Feb

In the 1920s and 1930s, the so-called New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Jan Tschichold codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements. This installation of posters and numerous small-scale works is drawn from MoMA’s rich collection of Soviet Russian, German, Dutch, and Czechoslovakian graphics. They represent material from Tschichold’s own collection, which supported his teaching and publication from around 1927 to 1937.

Examples from Wolda Winners

15 Feb

Wolda Professional awards

Best of the World/ Best of Oceania/ Best of Australia

Logo name: One Degree
Nation: Australia
Agency: Landor Associates
Designer(s): Jason Little, Tim Warren, Steve Clarke, Mike Staniford
Client: News Limited
Description: In 2007, Rupert Murdoch laid down the challenge for News Limited and its associated global businesses to become carbon neutral by 2010. The challenge was to create a brand that would materially help drive employee, supplier and public action on climate change. One Degree has been developed on a simple premise: that if everyone were to change their behavior by just one degree, we can change the future of the planet. The logo combines both the number and the degree symbol, which together represent a person. In doing so, it neatly encapsulates the real impact that an individual can start to make in addressing climate change.

Wolda Professional awards

Best of Americas /  Best of United States

Logo name: Sapka Hat Design
Nation: United States
Agency: Deniz Marlali
Designer(s): Deniz Marlali
Client: Hats By Aysel / Aysel Ormanbaba
Description: Sapka means “hat” in Turkish. Logo and identity design for a vintage style ‘hat’ designer. The name comes from the turkish word, originally without any diacritic marks on top. In the logo, the word “sapka” is indicated with accent letters and changes into another language which does not exist yet.

Logo name: Manz Gartenwelt
Nation: Germany
Agency: Kommunikation & Design
Designer(s): Ingo Blum, Sandra Tröndle, Alexandra Gröber (Head of Creation)
Client: Manz Gartenwelt
Description: Manz is a specialist for garden and plants with a tree nursery adjoining. The logo symbolizes trees and nature and is based on the effect of a kaleidoscope. Moreover the simple and modular way the logo is build up with squares, allows an easy extrapolation into other media and commercials and assures easy recognition. The colors are picked by nature and fresh (green) as well as “rooted to the soil” (brown), because the soil is very important for growing of plants.

Wolda Professional awards Best of Japan

Logo name: studio neo
Nation: Japan
Agency: studio Neo
Designer(s): Sachiyo Inami, Yoshiki Shindo
Client: studio Neo
Description: The logo was created for a Tokyo-based design company which specializes in web site production and graphics, particularly architectural related works.

Typographer’s Typography by Charlie Nix

12 Feb

an article by Charlie Nix from the site The Type Directors Club

Typographer’s Typography

The Type Directors Club has been advancing and preserving the best of typography for over 60 years. That’s a long time. Typography, the TDC annual, is testimony to the remarkable evolution of style and technology in our profession—from modernism to mashups, from metal type to Minion Pro, from bookplates to broadband. If the last 5000 days is any indication, the next 60 years will be even more remarkable.

We are living through a typographic renaissance. Over the past twenty years, there has been an explosion of typefaces, the like of which we have not seen since the introduction of the pantograph-punchcutting machine and the Linotype in 1880s. The internet has evolved to include typographic communities–selling, sharing, celebrating, and critiquing type. Design education programs are springing up everywhere, and with them, a host of typography courses. Typographic awareness is at an all time high. Many are discovering and rediscovering the work of legendary typographers. And many of them are among the TDC’s earliest members: Aaron Burns, Freeman Craw, Louis Dorfsman, Gene Federico, Ed Gottschall, Herb Lubalin, Bradbury Thompson, and Hermann Zapf.

Against this backdrop, the Club launched an initiative to rebrand itself–to reflect more accurately the nature of what we do, the sphere in which we as typographers operate, and the members who make up the Club. An identity committee was formed, a design brief was created, and another legendary designer (and 29-year TDC veteran) was approached: Mr. Roger Black.

Roger’s record of revamping publications and branding companies speaks for itself. His typography is bold, iconic. He is steadfast in his dedication to typographic detail, in print (the Los Angeles Times, Houston Chronicle, magazines like Rolling Stone, Esquire, and lately, the Washington Post and Commentary magazine) and on screen (,,, and @Home). He’s a typographer’s typographer, and we were thrilled when he agreed to take on the project. His response to the brief is brilliantly elegant. Both informal and monumental, it’s bold lowercase forms reference the Club’s web present/presence, while the incorporation of the previous mark (designed by Gerard Huerta) acknowledges the Club’s rich history. Roger chose the new ITC Franklin Gothic, carefully redesigned and re-digitized by Font Bureau chief, David Berlow.

The new logo is already out there, acting as our silent ambassador. It’s on the new TDC letterhead, to be sure, and on the revamped TDC website (designed, maintained, expanded daily by board member Brian Miller, after the template set by Mr. Black). You’ll also see it on Twitter and Facebook, and soon, members will be able to feature it on their own sites as a TDC membership badge.

The Club is deeply grateful to Roger, to David, and to the Identity Committee: former board members Ted Mauseth and Maxim Zhukov, TDC Vice President Diego Vainesman, board member Matteo Bologna, and TDC chairman emeritus Gary Munch.

* From the Font Bureau site: “In 1902 American Type Founders’ release of Franklin Gothic introduced Morris Fuller Benton. In 1979 Victor Caruso, International Typeface Corporation, increased the series to four photocomp weights, Light, Medium, Bold and Black, all with italics. In 1991 David Berlow added Condensed, Compressed and Extra Compressed widths. Berlow has completed his definitive revision, a single new series, ITC Franklin; FB 2008″

Creating a logo that represents a city

10 Feb

The Philadelphia History Museum

“Turns out, creating a logo that represents a city with nearly 350 years of history is difficult,” said Brendan Quinn of Philadelphia-based branding agency 160over90. “There are cliches to avoid (I’m looking at you, cheesesteaks, Rocky, and Liberty Bell), and just as many fascinating stories that are just too obscure to a general audience.

“So we looked at the history, the people, and this place for inspiration. Digging through the museum’s artifacts, we found this map of William Penn’s original plan for the city.

Philadelphia History Museum street map

“It was a tight, orderly grid with interspersed parks — Penn’s vision was for a “Greene Country Towne.” That street plan still exists in what is now called Center City between Vine and South Streets.

“So the project’s designer, Adam Garcia, began sketching versions of Philadelphia’s grid.

Philadelphia History Museum logo sketch

“We all liked this hand drawn version, as it echoed Penn’s original map while also containing the slight imperfections that make Philadelphia so unique and interesting. The final piece was adding type. And just like Philadelphia itself, that confining grid ended up giving the logo its distinctive character. Here’s the final product:”

Philadelphia History Museum logo

Philadelphia History Museum logo

Philadelphia History Museum logo

Philadelphia History Museum logo

entry from LogoDesignLove.