Sifang Art Museum and the subtle assymetries

This work, the visual identity of Sifang Art Museum is one of the works I will mostly avoid making criticism. First I'm not qualified enough for far easthern art and types. 2 I really don't know what to say about the ambiguity in the design of the architecture. It bothers me but I like it somehow at some point. Here:

WW3 and revogreen

In  December 2012, all natural life and human population leaves the earth, and the same time the aliens whom at first tricked human beings with fake mayan calendars came to invade earth. To keep the links and force the natural life that were left behind they chose a goat faced alien leader, whom seemed very brave and tricked them. While like odyssey humans and some of the natural life traveling in a ship that they made as a guitar, because only music could help them get over the end of the world. After realization that they were traveling for a very long time and lost most of their companions to diseases, they decided to go back and realized that it wasn't the end of the world. Then the greatest war of the world began, while the aliens fought with mechanic elephants,soldiers, and creatures that they imitated just to justify their cause, and humankind lost half of it. But during the wars, the plants, trees and natural resources were slowly killed too. By the making of these killing machines of aliens, and the pollution they created the plants evolved, switched sides to human kind, even though they were torchered by them for years, they literally fought with the mechanism of aliens and earned the earth back. After the triumph a few man were alive and swore that they would always keep the green alive, and the habitat agreed to go back their old passive life due to this promise. Man and nature started living in peace again, and man started a campaign to protect the green. Even turned themselves to green for safety reasons.incase the invaders would come again. this campaign produced a product that helps you grow plants everywhere without water,  and soil. You can even carry it on your skin, use them as your clothes. you use the cream before bed and grow green the other day. The product is called Revogreen, as the revolution of green.  

and this is the logo of my brand:

PUF! Festival-Brand identity

This  week I want to share a brand identity about a totally fun subject, a Festival organization called Puf!. Though their images look a little bit kitch, again it looks so interactive and entertaining. It's like a toy brand, totally speaks the joy they aim for their product. In the case of type face, i don't want to comment about it's type design but it looks nearly like notation. I can at least say it speaks to me by its circular or strict lined forms. Here:

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.