Hasta La Ideas

Focus sur l’artiste finlandais Pietari Posti qui a récemment imaginé une série d’illustrations très réussie réalisée pour un guide de shopping de la ville d’Istanbul. Colorées, joviales et d’une grande qualité, ces créations sont à découvrir sur son portfolio et en images dans la suite de l’article.

This is a true story. Descriptions of companies, clients, schools, projects, and designers may be altered and anonymized to protect the innocent.

Editor: Where we last left off, “Family Man” and his wife decided to give up their safe life and move their brood to where they really wanted to live. To get there, Family Man needs to chase down what might be the most unusual industrial design job we’ve ever heard of—and he’s got to prove that he’s got what it takes to design Batcopters for Liberace. Does he? And how much money does it take to feed four mouths?

I e-mailed my portfolio to Liberace Batcopters, Inc. that very next morning. I wanted to do some more research to try to find out what that other ID firm was, the consumer products one that shared the same address as Liberace Batcopters, but I didn’t have the time; I had to get to work.

Where I worked back then was clean and air-conditioned, a prerequisite in this hellhole of a hot state, but it was kind of soul-crushing. We’re talking an aluminum warehouse, maybe 60 by 200 feet, filled with cubicle farms. Industrial lighting. Concrete floors that I was pretty sure would ruin my knees for snowboarding.

The design group was pretty small and I shared a cubicle cluster with a fellow industrial designer I’ll call Rick. Rick was the only good thing about this mediocre job; he was a talented designer, a funny guy, never got stressed out, and we could talk motorcycles, guns and snowboards all day when the boss wasn’t around. (And that was a lot, since our boss had quit two weeks ago and they hadn’t found a replacement yet.)

Rick and I had grown close in the years that I’d been there, we were both present when our sons were born, we’d gone on hunting trips together, our wives got along (important!), that kind of thing. I was tempted to tell Rick I was applying for a job at Liberace Batcopters because I knew he’d think the vehicles were cool, but something told me to hold off on that. And anyways, it would probably be days before they got back to me, and there was no guarantee I’d get the job.

Well, I wasn’t at work for more than an hour before my cell phone started vibrating. Rick hadn’t heard it, so I put a cigarette in my mouth like I was going out for a smoke break, scooped up the phone and made for the door, to take the call out in the parking lot.

By the time I’d made it out there, I’d missed the call, so I dialed it back. It was from an area code I didn’t recognize. “Hi, this is [Family Man], I just missed a call from this number,” I said.

“Hi, [Family Man],” said the male voice on the other end. “This is [Batcopter Boss] of [Liberace Batcopters]. We got your book this morning, do you have a second to talk?”

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Stockholm communications agency Lowe Brindfors has created a flexible new graphic identity for local opera house Folkoperan.

The new identity is designed to make the opera house feel more accessible and was launched to coincide with a major redesign of the building.

“Folkoperan has been going through a few changes recently [it’s also hired a new artistic director] but the main reason for a new identity was the change in its activities, with more types of productions than before. Also, the logotype hadn’t been touched since the start of Folkoperan in 1976. The client was really clear on wanting a revolution and not an evolution of the identity,” says Noel Pretorius, who art directed the project with Kalle dos Santos.

The identity was inspired by the Art Deco venue and typefaces of the period, and the new logo features a flexible illustration of a song bird which will be adapted to suit print and digital communications and signage.

“This playful metaphor reflects different moods, is flexible to use and interacts with the logotype depending on the message or use. Our symbol flies, sits and sings. Sometime’s he’s happy, sometimes mischievous and sometimes, sad. It depends on the performance and the context,” explains Pretorius.

The sans-serif letters in the building’s original signage, below, provided a starting point for the design, says Pretorius, and the A, B, G, R, Å & Ä were applied to a more modern cut of Futura for the new signage system and headline font. “The bird is also made up of typographic elements based on strict geometric shapes of the logotype’s early twentieth century-inspired forms,” he adds.

The colour palette matches the red used throughout the building’s updated interior, coupled with black, grey and white.

Lowe Brindfors is also working on an animated version of the song board which could be used for digital communications. The agency has worked with the opera for more than 10 years and Pretorius hopes the new look will convey its more experimental programming.

“The existing happy and sad opera masks [in the old logo, below] were a little dated. We wanted to find a new, playful metaphor not as commonly connected to classical opera, since Folkoperan is such an experimental opera house. We also believed the crown on the original logo was better suited to the Swedish Royal Opera House and not Folkoperan, which means ‘The People’s Opera’. The new identity hopefully feels more inviting to newcomers in opera.”

Vip Lounge generates a calm, tranquil and peaceful relaxation space for beach side places.Lounge’s fluid and simple formal lines which remind us..

Il coniglio di Angora, originario di Ankara (Turchia) è la razza di coniglio domestico più pelosa e antica al mondo. Il suo pelo può raggiungere gli 8 cm di lunghezza e doverlo spazzolare ogni giorno richiede una dedizione smisurata. Si dice che mentre il padrone gode per il suo amico pelosone morbidone, lui lo maledica per averlo ridotto in questo stato imbarazzante.