Trafiq

This week I would like to show you a brand identity that really troubled me. I am not sure about the lack of hierarchy in these works, everything big and looks old. But they are intentional. Because it's really a clue about the trafiq name itself. It speaks. But how come that kind of old Roman typeface(or looks like) connects with that. Although they say they want to catch the vibe of 19th,20th century(yes it's definetely that century but...) Maybe the problem is with the name and what it sells. On the other hand I really liked the 3D works, the space relationships are really amazing. So have a look=):


"Our goal was to create an image that revives the vibe of the late 19th – early 20th century, while also reinterpreting this vintage foundation by injecting it into a contemporary atmosphere. Therefore, the logo is based on a Roman-type font, and is mixed with a playful, classic ligature. The logotype contains the address, and thus locates itself. The latter fact provides an easier form of communication and unifies the typographic language, moreover, thoroughly determines its style. Nevertheless, the typographic language tends to reach beyond the boundaries of a logo and of various graphic elements, and becomes the concept itself, the interior’s distinguishable cornerstone.
A “trafik” was a type of tiny shop selling tobacco, sweets, newspapers, toys, and other knickknacks, and was a real treasure island for children. I’ve purposefully created an image that reflects this specific feeling. The typography resembles broadsheet newspapers, while French cards, the essential accessories of early 20th century clubs and the typical souvenirs of a “trafik”, serve as accentuated design elements. Trafiq has its own deck of cards, which, besides being used as business cards, fill various functions, further strengthening an already well-established visual identity.

Trafiq webdesign: www.trafiq.hu"

BUILDING GRAPHICS

The VIP lounge’s concept:

Similar spaces usually ooze sultr Similar spaces usually ooze sultry lust, so the quotes written on the walls are taken from erotic literary works in their original languages. The quotes are taken from timeless masterpieces such as Apollinaire’s The Eleven Thousand Rods, Boccaccio’s Decameron, and, last not least, Geoffrey Chaucer’s 

The Canterbury Tales.

The restrooms’ concept: Simplistic restroom graffiti collected from Anglo-Saxon countries, and separated by genders. Their content was not altered, although they are presented in an elegant, footed, and classical antiqua that conjures an intense paradox and basically gives life to an artistic concept; moreover, it gives an iconic edge to its location.

Posters:

Humorous, framed texts referring to sexuality, night-time entertainment, and getting tipsy, all interpreted in the language of contemporary typography. These texts, at least to an extent, resemble both the philosophy of late 19th – early 20th century artists and the atmosphere of bohemian saloons independent from high-nosed institutions.

Classy forms of hidden advertising, signages, and the suggestive art work covering the DJ booth enrich and complement the concepts listed above.

PACKAGING

The concept of packaging is based on the world of the formerly mentioned “trafiks”, and puts simplistic, playful ideas into practice such as hard-pack cigarette boxes and matchboxes. Regardless, it still pulls off the feat of remaining elegant, and follows the visual path carved by trafiq’s image. Both the technological design and the execution of packaging can be attributed to Sz. Variáns Csomagolástechnikai Kft.

Brand identity

Since we are now dealing with brand identity and co-products, I've searched for som brand identitiy works. And these are the ones I like, because their message is clear coherent with their product and they have a subtle beauty. Even in the case of cheesy candle bind, it looks incredibly simple and beautiful.

• The Makery
  A naming & branding project for a creative consultancy with a primary focus on hand-crafted models.
  
  

  
  
• The Makery is a creative consultancy with a primary focus on hand-crafted models, installation design and art direction. Apart from commercial projects, The Makery endeavours to be a provider of workshops for students in a bid to spur creativity within local youths.
  
  As a company that engages in a multitude of services, the challenge was to create a name and a modern, attractive & versatile identity that would do two things:
  
  1. Be muted enough to be applied over a portfolio of works with varied art directions and not steal attention, and yet be strong enough to stand on its own,
  2. Allude to its primary emphasis on craft, and yet avoid the common direction that other entities revolving craft would commonly take - no explicit usage of scissors, papercuts, paint, glue & so on.
  
  By working closely with the client, we arrived at The Makery: When one thinks of a bakery, one pictures oven-baked pastries lovingly prepared by hand. The Makery, on the other hand, produces stunning pieces of hand-crafted art.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  and I believe a really genious one TRAVALENT:
  
  
  
  
  
  Cutting edge technology was used to extract a single tetrahedral cell from a tetrahedral pyramid. After prolonged experiments with multiplication and mutation of the cell, the Trivalent pattern was finally created.
  
  With the help of precise analysis mechanisms and data mining techniques, the pattern was further developed and perfected into what we have today in front of us.
  
  
  
  The logo is adapted for all sizes, keeping the distinct pattern and colors.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

Glyph: transformation all over again

This week our assignment was to create crazy relationships with irrelevant images, and create a brand that would born from that stream of consciousness. The images that lightened my mind are:

  

All these images were transformations of forms and shapes, a women so beautiful, rises from a pattern, again a women unifying with a bug, and a bug created with total inorganic substance. And a total different case; a cat as a hat! The absurdness of all these images charmed me a lot, created a lot of stream. first the nonsense of form that is considered to belong to species  totally hit me. The thing we are made of or our form can be changed and the image would still be recognizable. all the restrictions about how an image should be seemed un related to me. And that led me to the point of the restriction of how human body should be. How contemporary world imposes perfect proportions to our minds, and at the same time leading the distortion of bodies with less physical working spaces and high caloried  unhealthy diets. That leads people to turn the canons of contemporary world to utopias for themselves.
All that stream brought me the idea of full transformation, a center that offers specifically women a get away from their cycles and gives them a chance for becoming what they always envied of not only the case of forms- that is proved to be deceptive- in the case of soul. I created a brand that offers the change in total sense, a health and beauty center. Giving psychological consults, yoga classes, meditation, life coaching, business consultant, finding new jobs, intellectual debates, phsical exercise classes, dietician services, new dish recipes, health consultant, advices about nursery... I visualized a perfect female proportion, the curve of the weist as an S. And I went to the glyphs and thought about the elegancy of the glyph word and glyph characters. Then by playing with a glyph I created a symbol that expressed my feelings about my brand.




People would go there and have a chance to try changing everything they want to change about themselves.

B'ink on Typography

This week I wanted to talk about a typeface I found on the internet. Because I'm not eligible to critize the aesthetics of most of the fonts, though I liked the face of this work I wanted to critisize something and and ask if it's the thing that bothered me about this work.
It's a typeface called "B'ink-Old style typeface"

I liked the images, they would be perfect logo types I think, but the thick thin relationship in this typeface really bothers me and makes me worry about the legibility of the sentences that are created with this typeface. It takes huge attention in the thick part and my eyes neglect the space relation of the thin parts even though they are beautiful.
Look at the thick and thins:

but they have characters: