A while ago we designed a brochure for the Center of Modern Art Łaźnia. This periodical publication presents all the events of the season and we had the pleasure of adapting our template for the Fall/Winter season.
This time the size was reduced to A5 so we had to redesign the grid but it actually proved quite adaptable. The colors changed from the institution’s colors to more fall-appropriate orange and purple but we kept the other elements of the layout.
The beginning with general information and events’ schedule.
Close-up of the schedule.
Striped margins indicate in which of two buildings events take place. Outside events are marked with double-colored stripes.
Last spread with contact information.
Last week we shared a bit of our identity for an event celebrating Andrzej Bobkowski. As promised, today comes the rest of the design, including the poster which was the base for other materials.
This time it took us two attempts to get the design right: the first poster was not dynamic enough and didn’t include enough allusions to books. Pretty much all it had was biking and various places where Bobkowski lived. But when it got scraped we kept the paper biker (though a more dynamic one) and set him on an obstacle course built of books. The books also created space to place all the additional information (and as you can see there was quite a lot of it). We added diagonal elements parallel to the books to make the composition more integrated and more dynamic, and combined it with a simple, narrow letter.
Paper Bobkowski on his paper bike, scaling the world of literature.
Once we had the poster we applied similar solutions to the design of the folder. At first, one side of the folder was supposed to repeat the poster but there was too much text for that so both sides include descriptions of planned events (such as literary workshops and games for kids).
The cover of the folder.
Bobkowski’s archival photo.
For the second half of holidays we present a travel-related illustration project. Podróżowniki is a series of award-winning children books that introduce popular travel destinations through a mix of information and activities for kids. The books were designed by Podpunkt studio and we illustrated two of them: the guide to Croatia and to the Tatra and Pieniny Mountains in Poland.
Since the series was illustrated by several different illustrators, to keep a unified look we needed to follow guidelines: the illustrations are hand-drawn, a little sketchy and black-and-white (the bits of color that do appear were added later during typesetting).
The map of Croatia, with tourist destinations and basic information.
Animal names in Croatian.
The inner flaps of the covers have additional materials: a memo game with a selection of illustrations and a board game where you recreate your travels with pawns.
Sayings from the mountains and a calendar of local holidays (some of which include dancing).
A reminder not to scare animals in the wild.
Match ghosts with their dwellings (and other local attractions).
The things you eat in the mountains.
Hot therms to relax in (illustrations with a lot of details are the best fun to draw).
Marten, as the source of Croatian money.
Janosik, a folk hero.
I know we often say this, but this project was so much fun to work on! While research-heavy and fairly time-consuming, it was one of the most exciting (and relaxing at the same time) things we did in a while because when you draw actually using your hands, it’s a different kind of energy than the usual, computer-based work..
The Center of Modern Art Łaźnia publishes a quarterly brochure with information about cultural events that it organizes. We designed the brochure for summer 2016, which will also serve as a template for future brochures.
The Center consists of two institutions working in two different locations, which the brochure should reflect. We were told to use yellow for Łaźnia 1 and blue for Łaźnia 2 so we chose two vivid Pantone colors to make the difference more striking. Throughout the brochure only these two colors are used with black.
The logo of the Center, which is a circle with arrows inside – a quite nice geometric construction – served as the source for the main ornament: diagonal lines meeting at straight angles. We introduce these on the cover together with the colors marking two buildings. The lines extend directly the lines of the logo. Inside in the margins of the brochure we repeat the pattern so that its color indicates in which building an event will take place.
On the left-hand side Łaźnia 1 event and on the right-hand side Łaźnia 2.
For events that happen in entirely different locations we used alternating lines.
The right-hand column on each page describes events in English. For the yellow part of the brochure we used there a mix of black and yellow and for the blue part a mix of black and blue. This way we created two grays, one of them warm and one cool. The Polish text is always in black.
At the beginning there’s a schedule of all the events that we needed to squeeze into two pages so we had to skimp on the white space a little more than we’d like to. Inside the cover one can find information about Łaźnia and various series of events that it organizes: we placed it on a black background.
One more kind of fun we had with the project was glossy spot varnish that we used on the cover to add diagonal lines onto the yellow and blue rectangles. As we hoped, it turned out quite impressive.
The logo repeated on the back of the brochure.
Overall, this was the kind of job we always enjoy doing. It had some limitations: first of all, we needed to come up with something not overly complicated so that other people could use the same design for future brochures if need be. That also meant relying on free fonts. However, this kind of additional challenge usually structures work: it might be hardest to work without any limitations at all.
Recently we have designed a couple of identities for transport companies, one of which was Alegre. The company, while not huge, is award-winning and ecology-oriented. It transports internationally various types of cargo with their fleet of Volvo trucks. They wanted to refresh their identity with a new logo and new materials while retaining the original blue color dictated by the color of car paint they’ve been using for the trucks.
We suggested several solutions and the concept that has won uses an arrow combined with the letter A to, pretty straightforwardly, illustrate forward movement.
The angle taken from the arrow (32º) becomes an important element of the identity and it is used in the modifications of the type. We chose a strong geometric letter and introduced slants in two places.
For the company materials we relied largely on the blue color and the slanted lines.
Company letter paper.
Various materials, including notebooks and business cards.
Close-up of the glossy varnish on the back of the business card.
One of the most important elements of the identity for a logistics company is the design of the cars. The blue color makes for recognizable presence on the roads.
Our project Iconic TV Posters happened a while ago (here and then here) and since then we’ve been watching some new shows so it’s only right to broaden the list every now and then. Today we add a show for your guessing pleasure (assuming you even heard of it). It’s just finished its second season and it remains a weird and charming (if sometimes darkish) delight that so far we’ve had no success in recommending to our friends. So, do you know the show as encapsulated in these three icons?
We’ll put the answer in the comments and if, like us, you appreciate an original thought in the creation of a show, give it a try.
And if you like the poster, as usual we added it to our stores on Society6 and bza.
A while ago we designed identity for an exhibition When Is a Neighbor a Stranger? in the Center of Modern Art Łaźnia, which was a great fun. The fun was even greater when later on we were asked to design a catalog for the exhibition because catalogs are definitely one of our favorite jobs.
The identity was already established so we used the same colors, typography and the symbol of frame but, of course, designing a catalog required many more decisions and allowed us to play more with specifically print-related options. The aqua-green color of the cover is Pantone spot color, which makes it very even. We decided to use an extra neon color both for the cover and the interior. We also used a die-cut on the cover to make the window/picture frame more tangible.
The holes in the cover, when the book is open. The holes have different dimensions, which makes for a nicely layered effect.
The fully opened cover contains a list of all involved artists. The cover inside printed in neon Pantone color.
The text inside is in two languages, Polish and English. Throughout the publication we used the neon color for the English version of the text. We used a flexible grid for the contents and so each page needed individual attention and design. It made for much slower typesetting but was more satisfactory than a more typical page layout which remains the same for the whole book.
Beginnings of essays and an example of flexible layout.
Because of the conceptual character of the exhibition the catalog contains a lot of text so we needed to accommodate that.
List of contents close-up.
Back cover fully-open, with a neon-colored photo.
We are very satisfied with the result of the project: it was great to play with unusual, vivid colors and arranging interesting contents, and the book is quite a pleasure to hold in one’s hand.