Photographer Dariusz Kula, whose work we often used for the publications of the Museum of Gdańsk, asked us to update his identity and we were happy to help.
We designed a logo which combines the letter K with the gesture of framing an image with your fingers to determine the composition. The resulting logo includes a negative space – an inside of a frame, as it were – that can be filled with various images taken by the photographer or with their fragments. More images of the applications to come soon.
Filmowa Stolica Lata (Summer Movie Capital) is a film festival that takes place in Warsaw every summer. Movies are played in the open air in various districts of the city. This year again we had the pleasure of creating the lead illustration for the festival and all the materials based on it. The only suggestion we got this year was to use exotic animals – and, of course, we were all for it.
We chose the tiger because the stripes can be easily turned into film reel and because it is such a beautiful animal. The illustration is inspired by old Chinese presentations of tigers but simplified and geometricized. The typography lightly references Chinese lettering.
One of the posters, with movie listing for one of the screenings.
Last week heat waves defeated us but this week we finally managed to see the exhibition held in the Museum of Gdynia, showing the work of one of the greatest Polish designers, Karol Śliwka.
Śliwka worked for decades in the period of communist regime in Poland when the conditions for graphic design were completely different than they are now (long story). He almost single-handedly introduced logo modernism here and dominated the visual landscape. He created posters, packaging and, most of all, logos, following strict, intellectual rules according to which a mark needs to be the synthesis of ideas that represent a company or an institution in a beautifully geometricized form. What is more, unlike some other modernists’ of the period, Śliwka’s logos are rarely pure geometric experiments: they retain human heart, a sense of humor and joy, despite their minimalist form.
The exhibition shows him as a versatile designer, good with illustration, classically trained but particularly focused on his biggest love, logos (which he actually learned to design by himself, as he studied different disciplines). We thoroughly enjoyed the experience and encourage you to visit the exhibition, should you be in Gdynia soon(ish).
Below you can see the logo for Towarzystwo Przyjaciół Warszawy (The Society of Friends of Warsaw), which is probably our favorite of all Śliwka’s logos, simply because it had no right to work – and it does so well. The letters form the shape of a mermaid with a sword and a shield, the symbol of Warsaw.
A neon made from Śliwka’s signature.
On the wall you can see some of Śliwka’s posters, which he usually designed in a similar way to the logos.
Book and brochure covers.
Peace building and in the background a brilliant logo for the Institute of Mother and Child (a medical institution). It’s Lubalin-level brilliance, and we don’t say that lightly.
Packaging for sweets.
These are quite brilliant in the simple decisions made here.
A screen from a short, interesting movie about Śliwka in which, our friend Patryk Hardziej shows to him pages devoted to his work in Taschen’s Logo Modernism. Patryk is one of the creators of the exhibition and a great champion of Śliwka’s work, and he’s been working on popularizing it for a couple of years now.
The Experyment Science Centre celebrated its big 10th anniversary at the beginning of this month. The Centre is a place where children – and, frankly, adults – can empirically learn about science: about physics, biology, human body etc. For the celebrations of the anniversary we designed a logo of sorts for the event and various promotional materials, including banners, flyers and others.
The key visual or the whole idea for the promotional materials was based on the number 10 whose “0” digit becomes a part of illustrations connected with both science projects and party celebrations. The main symbol is simply the “10” with the “X” from Experyment’s logo in the middle.
“10 Years” on badges.
Flyers for the events.
One of the many ads.
A banner on the Experyment building.
We were also invited for a gala in the Centre where we were delighted to see that the work we did was used in a few surprising way, as you will see below. The gala was a lot of fun because not only did it include improv stand-up comedy but also all the machines in the Centre were working and the guests were roaming around them trying to create electricity or jump like a frog.
The scene with Gdynia’s president and the director of the Centre (photo by T. Kamiński).
The guests who were leaving got chocolates with the logo on them: another use for it that we did not expect and were happy to find.
Improv comedians on the scene (photo by T. Kamiński).
This is the logo on the birthday cake (photo by T. Kamiński). It’s not very clear in the photo, but trust us, it was there in all its yellow-on-pink glory.
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.
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.
Created in cooperation with IT company Nabucco.