BRAND IDENTITY BranD 2013 / Issue 07

SASSYS RED
Andri Mondong / The Creative Method / 2011

SASSYS RED is a Malaysian restaurant built in order to

complete the food court experience in the new Sydney centre.
The tricky part of the brief was to combine food, jazz and hot
Asian ladies into a stylish looking brand. Jazz posters of the
1960’s were used as reference along with some retro looking
lovely ladies. If you are ever in Sydney you should give it a try!

–– SASSYS RED 是悉尼新中心美食街的一家马来西亚餐厅。形象

设计过程中最难处理的部分是把食物、爵士乐以及性感的亚洲女
性形象结合起来，让品牌更具现代感。设计师将 19 世纪 60 年代
的爵士乐海报和漂亮的封面女郎相结合，展现餐厅的复古风情。

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THE GOURMET TEA

Alan Chu & Cristiano Kato / ESTÚDIO COLÍRIO / 2011

The colours of the little tins of the 35 blends offered by “the gourmet tea” are –– 这一茶室是“The Gourmet Tea”品牌的第一家概念店，室内设计的灵
the inspiration for the first teahouse of this brand. The economic solution aims to 感来自于 35 色的茶罐包装。
transform the small house into a concept store rapidly.
–– 店内的白色墙体毫无过分装饰，露出砖块本来的形状，地板也保持原样；
The walls were peeled; the structure and the bricks which became apparent were
为了防止耀眼灯光的直射，降低了天花板的高度；灯光经过白色墙体的反
painted with white colour; the original floor was maintained and the roof was lowered
射衬托出茶室空间的狭长。
in order to eliminate interference of the beams and allow the indirect and continuous
lighting which sweeps the walls to emphasize the depth of the long and narrow –– 店内的长货架由夹板制成，
货架上大幅的彩色贴纸增强了空间的整体感。
space of the building. 极简的空间设计以及简洁的装饰使得店内的产品更为突出。
The only furniture made of plywood on which a colourful adhesive was applied,
organizes all the space of the shop. The minimalist organization of the space
associated with the simplicity of finishes allows the product to stand out in a precise
and smooth way.

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LUCHA LOCO
Amanda Ho / Bravo Company / 2012

Lucha Loco is Singapore’s first Mexican taqueria which meets two critical –– Lucha Loco 是新加坡第一家墨西哥餐厅，餐厅融合墨西哥街头美食和自由格
needs in your life: gourmet Mexican street food and crazy Mexican wrestling. 斗元素。设计师为这一餐厅打造出一种原始而粗犷的自然风格。印有摔跤手名
Designers make everything look raw and natural as though the bar has existed
字的卡片就是仿效格斗交易卡制作而成。
forever. The name cards mimic vintage wrestling trading cards.

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FROYO STORE
Asprimera design studio / 2010

Froyo is the first frozen yogurt store in Athens, Greece and it is the
first time such a product was introduced to Greek audience. The
corporate identity design aimed to convey this fresh and healthy
product in a modern way. In the 35 sqm area, simplicity was the only
way to convey the soft, clean and refreshing characteristics of frozen
yogurt. White colour is the base element of the store and applied in
chairs, shelves, counters, and so on.

–– Froyo 是希腊雅典的首家酸奶冰淇淋零售店，它将这类产品引进希腊市

场。该店的设计以前卫的方式传达新鲜健康的感觉。在这个 35 平方米的
店铺里，简洁的设计体现出酸奶冰淇淋的特质。店铺以白色为主色调，包
括椅子、货架与收银台都选择了白色。

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THE SPENCE
John Turner / BoyBurnsBarn / 2012

The Spence is one place where you can come see celebrity Chef
Richard Blais cooking his innovative meals based around what
currently inspired him. The term “spence” is an old Irish slang for a
dispensary which is a place in the home where spices and various
cooking ingredients are stored. For the logo, BoyBurnsBarn focused
on the idea of gaining access to The Spence. The key symbolizes
access to a unique dining experience, how Richard works and his
world. The key belongs to Richard but he is giving it to you. A simple
red, white and black colour palette was selected as a nice simple
canvas to let the food be the centre of attention. The collateral created
is simple and easy to interact with. A silk screened legal size folder
houses the ever changing menu. Additional design elements feature
hand painted table numbers, signage for the interior and exterior,
packaging and illustrated graphics which were used throughout the
space and branding collateral.

–– “Spence”在古爱尔兰俚语里是指家里存放各种香料以及食物配料的

地方。而在 The Spence 这家餐厅，顾客可以一睹知名主厨 Richard 的随

性制作的创意菜肴。餐厅 的 logo 是一把钥匙，象征由此开启一次独特的
用餐体验，由此走进主厨的烹饪世界。红、白、黑色系的运用把大家的注意
力集中在食物上，菜单等印制品则采用简洁的方式来呈现，便于顾客阅读。
统一的丝网制文件夹为了方便放置经常更换的菜单，餐桌号码手绘而成，
插画的元素被运用于室内设计及整个视觉形象中。

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HOTEL DANIEL VIENNA

Sabine Kernbichler / moodley brand identity / 2012

Focusing on simplicity instead of flamboyant excess and fresh ideas instead

of awkward hospitality, the hotel’s owner, Florian Weitzer, calls it “Urban Stay –
Smart Luxury”, which is perfectly tailored to the needs of the modern travellers.
“Smart Luxury” doesn’t force anything on you; instead it offers possibilities
and inspiration. This also applies to the design of the entire hotel, which is the
polar opposite of being heavy and sedate. And this is what is called stylish
reduction in corporate design. There’s no “just pretend” but rather “be yourself”.
Simple black and white suggests a personal touch. Another important factor
was that the CI can be easily used as a basic design element, whether on
different materials (leather or metal) or in different ways of application (printing,
spraying).

–– Hotel Daniel 的设计别具一格，简约质朴而又精致清新。酒店突出“都市风情，奢

华体验”的概念，
注重细节，
力求满足现代旅客的需求。设计师延循时尚而简约的风格，
用黑白色调自然地呈现酒店的品质。

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HOH! HOSTEL
Joemin Kok / Singapore Polytechnic / 2012

“HOH”simply means “Good!” in the Hokkien dialect. The ideas for this
project came by from the little things that the designer has seen or said in
her daily life. To Singaporeans, speaking Singlish is really common and they
often find themselves using it without noticing it. It is something special and
unique about Singapore that the designer wants to show and introduce to
foreigners so that they wouldn’t think it would be a wasted trip to Singapore
and through their stay, they actually get to understand the culture and
language here and bring back these fond memories when they leave
Singapore.

–– “HOH”在闽南语中是“很棒”的意思。
“HOH”客栈的设计灵感来源于设计
师的日常生活。英语是新加坡人的常用语言之一，这种英语带有本土特色，被称作
“新加坡式英语”。设计师利用这种“新式英语”的风格来塑造客栈的视觉形象，
希望让入住的旅客感受到新加坡的独特文化和语言，并留下深刻的回忆。

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Villa Aria ARIA ROOM SIGNS - sơn dầu trên gỗ

Linh Thoai Nguyen / Katko Creative ——2012

103 102 110 112 107

Room no. : 103, 204, 109, 211 Room no. : 105, 102 Room no. : 110, 210 Room no. : 112, 206 Room no. : 107, 207

202 106 108 208 205

Room no. : 101, 202 Room no. : 106, 112 Room no. : 108, 209 Room no. : 111, 208 Room no. : 205, 104

Villa Aria is a new boutique resort located in Mui Ne, Vietnam. The owner –– Villa Aria 是一幢新的精品度假别墅，位于越南南部海滩度假城镇美奈
wanted to create something different in this popular beauty spot, which （Mui Ne）。美奈当地有很多有名的风景区和度假场所，Villa Aria 的所
is already filled with so many choices of stay. The formula for success:
有者希望通过细节来塑造一种充满艺术气息的氛围，打造一流的高品质
a first-class beach, very high standards of well-being, attention to every
details and a touch of fine art. 海滩度假胜地。
–– 海蓝色螺旋状的 logo 给人一种轻松愉快的感觉，带着一种海洋的气息

与自然的韵味，充满了音乐的韵律与手绘的灵动。
For the logo, the brushed wave/nautilus was chosen for its expression of
relaxation and joy, oceanic painting and music, natural and handmade –– 在印刷品以及指示牌的设计上，设计师把别墅周边的风景融入其中，
lifestyle. 利用艳丽的色彩以及精致的细节刻画出海滩、热带景观以及蔬菜园的自
然风光。
As for the stationery and directional signage, detailed and colourful style
was used to make them part of the surrounding of the beach villa, which
has a beach, a tropical landscaping and even a veggy garden.

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Ekies
BEETROOT ——2010

Ekies All Senses Resort is a boutique summer hotel with a

contemporary eco-philosophy that lies on a unique natural
setting near Vourvourou Bay in Sithonia, Chalkidiki Greece.
After a massive renovation, the resort was in need of a new
effective visual identity. The new graphic language had to be
fresh, friendly, eco-friendly and flexible. It should communicate
the resort’s virtues: the natural environment and the new look.

In order to communicate that the resort is actually a part of

the Greek nature, the designers decided to use illustrations
of animals found in the local area. The illustrations had to be
simple, pleasant and welcoming. The hotel’s multiple needs
were covered with the variety of local animals plus some other
illustrations created with the same technique. Eco friendly
materials, discreet typography, and sometimes photography
were the elements of the corporate identity.

–– Ekies All Senses Resort 是希腊一家夏日精品酒店，酒店临

近 Vourvourou 海岸，周边的自然环境十分优美独特。在经过翻
修后，酒店需要一个清新、环保而多变的视觉形象，来表现酒店
的品质以及周围的自然风光。
–– 为了体现地域特色，设计师选取当地的动物形象来制作插画。

这些动物插画简洁可爱，与其他有趣的插画一起成为酒店视觉
形象的主体。Logo 的字体经过精心的设计，印制在环保材料上；
此外，游客也可以通过相片一睹酒店的优美环境。

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Mont’Avic Natural Park

Antonella Narcisi & Andrea Siva / Narcisiva ——2012

Mont’Avic is a very peculiar mountain located in Italy. In Corporate –– Mont’Avic 是一座位于意大利的奇峰。logo 采用绿色，根据使用情况的不
Communication, its logo will always be green but with different shades, 同变化色彩深浅。借助丰富的排版，设计师设计了一套简单有效的视觉传播系
according to several conditions of use. Thanks to a dynamic use of
统，使用动态 logo 灵活地展示公园的主要景观。
typography the designers created a simple but efficient communication
system, able to transmit the park’s main features in a fresh and direct way,
always aligned with the brand identity. In the project, the designed logo
opens itself to show its own beauties. In this way, every distinctive and
remarkable feature becomes itself a part of the promotional message.

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PARCO
NATURALE
PARC
NATUREL

PARCO
NATURALE
PARC
NATUREL

HAI MAI VISTO UNA

PIANTA INSETTIVOLA?

MONT AVIC
PARCO NATURALE / PARC NATURAL

11020 Champdepraz / Località Fabbrica , 164

Valle d’Aosta / Italia
PARCO
NATURALE
PARC
NATUREL

PARCO
NATURALE
PARCO PARC
NATUREL
NATURALE
PARC
NATUREL

SAI RICONOSCERE
UNA STELLA?
HAI MAI VISTO UNA
PIANTA INSETTIVOLA? SE VIBRA È
UNA STELLA
MONT AVIC
PARCO NATURALE / PARC NATURAL
ALTRIMENTI È
UN PIANETA
11020 Champdepraz / Località Fabbrica , 164
Valle d’Aosta / Italia

MONT AVIC
PARCO NATURALE / PARC NATURAL

11020 Champdepraz / Località Fabbrica , 164

Valle d’Aosta / Italia

PARCO
NATURALE
PARC
NATUREL

AGUZZA
L’INGENGO
MONT AVIC
PARCO NATURALE / PARC NATURAL VUOI SAPERE
11020 Champdepraz / Località Fabbrica , 164 / Valle d’Aosta / Italia COME?
Tel. +39 0125 960.643 / Fax +39 0125 961.002 / [email protected]
MONT AVIC
www.montavic.it GESTIONE AMBIENTALE VERIFICATA PARCO NATURALE / PARC NATURAL VAI SU WWW.MONTAVIC.IT
N. Registro i-000150

11020 Champdepraz / Località Fabbrica , 164

Valle d’Aosta / Italia

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The Ranch at Live Oak Malibu

Karen Barranco / Special Modern Design with Creative Collaboratory ——2010

PURSUE RELAXATION BY GETTING OFF THE GRID AND BACK TO –– 远离喧嚣，回归自然

NATURE.
–– “The Ranch in Live Oak Malibu”坐落在美国加州南部圣塔莫尼卡
The Ranch in Live Oak Malibu is a weeklong, results-oriented fitness
山上，是一所豪华的体验式农场，为客户提供一周的休闲健身服务。有
and detox luxury retreat located on a working ranch in Southern
别于都市的健身运动，顾客在这里可以入住五星级别墅，感受最质朴的
California’s Santa Monica Mountains. In contrast to the arduous
workouts and restricted lifestyle, each guest retreats to five-star, 自然风光，在星空下体验针灸与按摩服务。这个视觉设计在保留农场特
cottage-style accommodations in an understated and natural setting, 色的基础上，传达出一种奢华感。
replete with a big night sky with an acupuncturist and chiropractor on
hand. The visual design approach was to make a luxurious statement
without losing the ranch feel.

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Beautiful Times Spa

Kelvin Qu & Coco Ma / Roncham Design Office——2012

Beautiful Times is a high-end SPA club aimed exclusively at women. In line –– “唯美时光”是一家专为女性服务的高端 Spa 会所。整个视觉形象以绿色
with its brand identity, the spa utilizes images of flowers, butterflies and deer 为主，采用了层次丰富的水彩效果，呈现一种独特的感觉；在设计中使用花、
to create an ambience of beauty and tenderness. The colour of the brand is
蝴蝶、鹿等元素，营造一种美丽温馨的氛围。
“beautiful green” which is used to create a memorable and distinctive brand
experience.

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WHITE PEARL RESORT

Robert du Toit & Debra Fox / Xfacta Consulting Services / 2011

White Pearl resort, Ponta Mamoli is situated on the south east coast of –– White Pearl Resort 坐落于非洲莫桑比克的东南部，背靠气候凉爽的莫桑比
Mozambique, one of Africa’s best-kept secrets. Nestled in a sheltered bay 克泻湖海岸，堪称非洲的“世外桃源”之一。依托于周边的自然美景，酒店在
on Mozambique’s Lagoon Coast, poised amongst the dunes on timber stilts,
保持生态平衡的基础上打造豪华的入住体验，游客可以在栈道上漫步 , 欣赏
the luxurious suites have been sensitively designed to take advantage of their
海岸风光。
beautiful natural setting, while protecting the fragile eco-systems beneath them.
–– 注重细节的概念贯穿于整个设计，并为酒店赢得“印度洋明珠”的美誉。受
The crafted design of each element (Logo, identity programmes and interior
design) has truly lived up to the resorts, which has earned reputation as the pearl 海景的启发，具有现代风格的设计简约而干净，似乎能够让人远离尘世喧嚣。

of the Indian Ocean, running strongly throughout the resort. This together with the
cool, clean, contemporary style and palette inspired by the surrounding coastal
landscape, makes for a getaway out of this world.

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LUX*
& SMITH / 2011

LUX* offers a fresh take on “luxury” holidays, a brand that understands the
needs and desires of modern travellers. Avoiding the predictable patterns
often associated with luxury travel, the visual palette is light, bright, candid
and spontaneous, celebrating the colour and energy of island life. Materials,
processes and operational solutions are as “green” as possible, supporting a
“light-footed” approach and an ongoing commitment to preserve the natural
beauty of the islands on which LUX* operates.

–– LUX* 度假村为都市人群提供全新的奢华假日体验。为避免奢华度假场所形象设

计的传统模式，
& Smith 工作室采用明亮清爽的色彩来体现 LUX* 充满活力的特质。
设计过程与材料运用都尽可能做到环保，以保护这座度假岛屿的天然美景。

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C BEACH CLUB
Feizal Ghanti & Jean Paul Williams / INEDI / 2010

To create an identity and an image for the place, and devise a communication
strategy, INEDI approached the product through a global concept, running from
the name to the brand identity, the image and every aspect of the product.

Contemporary and original, a new addition to the Estate’s amenities, the whole
Beach Club concept revolves around the letter C and the colour blue. The same
identity markers appear throughout, in the décor, graphic design style and all
the sub-elements to provide a coherent identity.

–– INEDI 为 C Beach 俱乐部打造了一个更为国际化的视觉形象。融合现代与传统元

素，沙滩俱乐部的概念围绕字母 C 展开，品牌形象以蓝色为主，整个品牌设计保持连
贯统一的风格。

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UGO’S BARBER SHOP

Marco Colognola & Petese Matteo / 2012

Ugo’s Barber Shop is a barber franchising for men and boys

located in the major cities of Europe and the USA. It is a
remake of the classic vintage look, characterized by a strong
contrast between black and white with an extremely clean look
and minimalistic touch at the same time.

–– Ugo’s Barber Shop 是一间男士理发店，在欧洲和美国各大城

市都有分店。
其品牌形象以对比强烈的黑白色系和极简的外观为主，
优雅的格调诠释出经典和复古的风格。

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MITRA BEAUTY SALON

Nilofar Sazmanpour, Atousa samghabadi, Milad Hoseinkhani &
Najme Hasanzade / ALEF Design Agency / 2012

With the inspiration of hair form, the designers have used the name
of the salon in the logotype and tried to make a beautiful item by
creating symmetry in the initial and final letter of the word Mitra.
This kind of symbols are used in the makeup profession because
of the effective relationship between the activity of this salon and
its big brand that is in the centre of composition and they looked
pleasant.

–– 设计师以头发的形状为灵感，
将美容沙龙的名称融入 logo 的设计中，
并将首尾两个字母设计成对称的结构。这样的设计不仅美观还能将这
一美发沙龙的特色和品牌形象结合起来。

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STILL LIFE
Hernan Paganini / 2010

The designer made this sculptures with founded objects that he picked
from the street, mixing these materials to create these spaces that
speaks in silence with all the power of the nature and what remains of
subtle in human beings.

–– 设计师用随手拾到的物品组合创作出各种装饰品展示，用无声的视觉形

象体现出自然的力量和内心的情感。

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AISHTI
Jessica Walsh & Joe Shouldice / Sagmeister & Walsh / 2010

Sagmeister & Walsh Studio designed the stationary system, bags, gift
boxes, gift cards, tissue paper, and logo for luxury department store
Aishti in the Middle East. Inside of the bags were printed with kissing
couples. The boxes are personalized, everyone who shops at the
store will get a custom label with their name printed on the orange gift
box. Designers made the Aishti’s signature orange gift box as visual
centerpiece of the advertising campaign. The box becomes a symbol
for the brand, turning into an object of luxury. Campaign imagery has
been used in newspapers, magazines, billboards, and window displays
in the Middle East.

–– Sagmeister & Walsh 工作室为中东地区的精品百货商店 Aishti 打造了全

新的视觉形象，包括 logo、文具、购物袋、礼盒、购物卡、包装纸等。购物袋
内部印有一对接吻的情侣；来此消费的顾客都能获得印有自己姓名的定制
礼盒。设计师将橙色的礼盒作为 Aishti 广告的核心视觉元素，它作为品牌
的象征，展示品牌的奢华特质。Aishti 的广告形象在中东地区的报纸杂志、
广告牌和橱窗中随处可见。

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INDHY HATS
Andreea Dragomir & Sebastian Mallol / Montamundo / 2011

Each hat of Indhy is created using high quality limited stock found in
small fabric factories around Europe, stock that hasn’t been produced
again in decades, but keep being modern and good looking on our
time. The designers use as much as they can from each unique
fabric, making a limited number of hats, each one different, carefully
handmade by experienced milliners.

–– Indhy 的每一顶帽子都由高级面料制成，这些面料来自遍布欧洲的小型面

料工厂，储量有限，久未使用，但现在看上去依然时尚好看。Indhy 充分利用
这些独特的面料，生产了一定数量的帽子，这些帽子由经验丰富的制帽师手
工制成，每一顶都与众不同。

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CONTO FIGUEIRA
Fernando Marar / Moio / 2010

The simple packaging of Conto Figueira is made of wood and transparent acetate that
allows the client to see the shirt. There is a different design and different animal illustration
on a transparent acetate representing each type of shirt.

–– 这款简洁的包装盒是由木头和树脂而制，便于看到盒中的衬衫，设计师为每款衬衫做了不同的

设计 , 包装上画有不同的动物插画，以显示其独特性。

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DANFALVI JEWELRY CAMPAIGN

Bence Bakonyi photography / 2012

The photographs of Ildikó Dánfalvi’s jewelries are shot by Bence Bakonyi. The jewelries
have simple and minimal styles that are perceptible in the campaign photos. He has
created an exciting world by using the paper backgrounds of the atelier that he, in some
places, delineates on different parts of the body. The emerging head is only a signal and
identification of the jewelry so that we are aware of what kind of jewelry can be seen. These
campaign photos are becoming more exciting due to this signal message, consequently
they do not represent customary jewelry photographs. To reach this purpose, the
photographer is using a strong form, a circle-shaped paper that appears in different forms in
all these pictures. He emphasizes fullness and perfectness of the jewelries with this circle.

–– Bence Bakonyi 为 Ildikó Dánfalvi 珠宝拍摄了一系列广告片。摄影图片反映出 Ildikó Dánfalvi

的简约风格，摄影师用单色的纸质背景衬托出人体某一部分的轮廓，人们可以通过头部特写判断
出这是什么饰品，照片也因此变得更加精彩。每张照片都用富有表现力的圆形背景来呈现，强调
Ildikó Dánfalvi 产品的丰富与完美。

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SHUBA
Emelyanov Pavel / Eskimo design studio / 2012

Classic black and white style was chosen for the brand identity.
According to the basic version of the logo, it was developed into a shorter
version, in order to be used on small items: buttons, sealing wax seal, etc.

–– 设计使用经典的黑白搭配，logo 设计的更为精简，便于应用于小物件如

纽扣和蜡封上。

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MOIMIO
SPRING SUMMER 2013 CATALOGUE
Helena Prylowska / helen.pl / 2013

light grey pigeon blue

At moimio we see the value in

great design. Working together
with young Polish designers we
create unique accessories for
modern women. We love fashion
and understand that first-rate
quality makes a difference. We
are fascinated by vivid colors with
the power to highlight our clients’
individuality, open-mindedness,
and positive energy.

moimio’s premier product is

POLKA, a shopper-type designer’s
bag made from high-quality
polyethylene. The spirit of baskets

spring / summer
popular in the 1980’s /has returned
2013
to life/ in the shape of a modern,
vibrant product with multiple uses.

POLKA was created with the user’s

comfort in mind:
× special-shaped handles make it
easy to carry in hand or over the
shoulder
× polka dot perforation notably
reduces its weight
× all bags are made from 100%
recycled plastic.

Available in the most fashionable

colors of the season!

perfect colors

white poppy red

www.what-anna-wears.blogspot.com fot.Artur Bąk

perfect dimensions
cm
.5
46

cm
20
42
.5
cm

www.what-anna-wears.blogspot.com fot.Artur Bąk

emerald green black

moimio designs modern accessories for women. The products are

eco-friendly and practical, created by young Polish designers.

–– moimio 专注于生产女性饰品，其产品由波兰年轻的设计师设计，原

料环保，款式实用。

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“AIRVASE” NEW YEAR DISPLAY IN ISETAN

TORAFU ARCHITECTS / 2011

Under the theme “The Aesthetics of Modesty”, designers imagined an interior and
exterior space within the display window that captures the act of wrapping a gift
and the act of delimiting the boundaries around something pure while reflecting on
an interface that would join them.

White and red respectively symbolize the spirit of modesty and the spirit of
celebration to usher in the New Year. Here, a red and white “airvase” in the middle
of a white-themed space embodies the beauty of the refined spirit of modesty.

Whether it is floating up and down above a mannequin’s head like a jellyfish, the
airvase expresses various emotions on the stage. The various embodiments of the
airvase show the products and the space simultaneously under a single theme.

–– 围绕“中庸”美学的理念，设计师用橱窗内外两个角度展示橱窗：网状的“花瓶容器”

捕捉产品被包装在“内”的瞬间，同时排除产品“外”过分的修饰，诠释产品纯粹的本质。

–– 红色与白色分别象征内敛的品牌精神和新年热烈的气氛。将红白相间的“花瓶容器”

置于白色为主的空间内更能表现出精妙的中庸美学。

–– 水母般浮于模特头部的“花瓶”体现了舞台上模特们丰富的造型与美感。多变的“花瓶”

将服装和空间融合为一体。

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MICA
Savvy / 2012

MICA is a contemporary jewellery house which specialises in custom made pieces.

Its name derives from a group of minerals that are characterised by their malleability
which makes them ideal for various uses, some of which are purely aesthetic.
Expanding its most basic and primitive character, MICA’s identity is based on
the amorphic nature of the rocks, the asymmetry of their profiles and their unique
existence – no two rocks are alike – making all of MICA’s pieces truly unique. The
interior spaces are based on an extensive grid system, strongly influenced by the
work of Sol Lewitt, particularly his "Variations of Incomplete Open Cubes".

–– MICA 是一家定制珠宝店，其名字来源于一组矿物，这种矿物可塑性强，有多种用途，

虽然有些只具有审美功能。设计师在遵循岩石特性的基础上加以拓展，将不对称的形
态与独一无二的特性运用在设计中，突显 Mica 珠宝的独特与珍贵。受现代主义艺术家
Sol Lewitt 作品的影响，室内设计中大量运用格子结构。

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THE GREAT TYPOGRAPHERS

Laszlo Sandor / 2012

Each typeface we encounter in our day-to-day lives is a result of a very intricate creative
process, which requires considerable effort on the part of its designer. Yet, the hallmark of
any great typeface is humbleness: when you aren’t even aware of it while reading, then it’s
good.

–– 日常生活中我们看到的字体都经过复杂的设计过程，设计师需要付出大量努力去创作。而优秀

的字体本身很低调：当阅读者感觉不到自己在看一个新的字体的时候，这就是好的设计。

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HERMÉS “8CM TIE”

Torafu Architects / 2012

Torafu Architects designed the shop windows for “8cm Tie” at Hémes
boutique in Marunouchi.

Like the picture book story of "Swimmy", designers thought about how
they could gather many individual thin ties together to create the shape
of a large tie as well as a house. They also included ties made from
felt to accent the colourful image of this tie series. In the small display
windows they set up the ties upside down to resemble the shapes of
houses, and little worlds are created around the ties as they placed
miniature objects placed around it.

Designers maximized the tie’s characteristic shape and reconsidered it

in a different scale in order to stage these windows to create new ways
to view the tie.

–– 这是设计师为在 Marunouchi 爱马仕精品店的“8cm Tie”做的橱窗设计。

–– 受图画故事书 Swimmy 启发，

设计师试图将每一条小小的领带组合起来，
变成一个巨大的领带、或者是房屋的形状，并使用毛毡料制的领带增强色彩
的丰富性。设计师将领带上下颠倒，设计成房屋的形状，并用微小模型布置
橱窗，展示出一个微型的世界。

–– 设计师们最大限度地发挥领带的形状特点，将它们重新结合，设计成不

同的结构，创造出一种新的展示方式。

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AVA BAE
Emma Brownson / 2011

Ava Bae is a vintage style, beach inspired, handmade Australian

jewellery brand.

The brand targets 18–25 year old women, with quality, crafted and
unique pieces that have the power to transform the way a woman feels,
whilst still remaining true to an affordable price point.

–– Ava Bae 是澳大利亚的手工珠宝品牌，以海滩和复古风格为主。目标消费

者定位为 18 至 25 岁的女性，这类女性通常已进入转型阶段，对品质有一
定需求，同时也有一定的购买力。

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Tourist Inspiration Centre

Emma Noble / The Brooklyn Brothers / 2012

The Tourist Inspiration Centre was a pop-up space which gives visitors
the tools to help plan their trip to Iceland in a fun and unconventional
way, including a library of glass jars each with its own story to tell.
The project was developed through the reinterpretation of traditional
Icelandic knitwear patterns.

–– “The Tourist Inspiration Centre”是一家纪念品专卖店，为来冰岛旅

行的游客提供富有趣味和创意的礼品，
店内每个玻璃瓶都有自己的故事。
品牌的形象设计是对传统冰岛编制花纹元素的从新诠释和升华。

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739 Sagra dei Osei

Elisa Vendramin & Claudio Gasparollo / 2012

The illustrations and design are for the 739th edition of Sagra dei Osei,
a folkloristic bird festival that takes place in the city of Sacile (Italy) every
year since 1273. The design consists in two main illustrations of a bird,
one for the vertical layouts and one for the horizontal ones. The bird
illustrations are developed digitally and they combine different textures,
bird pictures and photographs from the region.

–– Sagra dei Osei 是一个已有 739 年历史的民间鸟节，在意大利城市萨

西尔举办。此次活动的设计主要由两只鸟的插画构成，其中一只呈垂直
上飞的姿势，
而另一只则是水平翱翔。
插画结合了不同的结构和鸟的图片，
运用数码特效绘制而成。

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Kassetta Spring / Summer 2012

Snorri Eldjárn Snorrason / 2012

Kassetta sells vintage clothes along with more modern clothes designed
by the owner of the store. The identity design is reflecting the synthesis
of two eras. The logo, for example, has strong allusions to typeface
design of the 70’s, but has a modern feel. The pattern on the stationary
is also inspired by the psychedelic style of the 70’s.

Most of the garments sold in the shop are exaggerated, quirky and
fun, far from what could be considered traditional. The designer took
it as focus point in the identity and made a manifesto: “There’s nothing
worse in life than being ordinary”. The people in the advertisements are
characters well known for their natural uniqueness and playful character.
He emphasizes on the playfulness of the store with vivid colours,
atmosphere in the pictures and non-formal fonts.

The project for the store includes two typefaces, look book, stationary,
logo, coat hangers, mirror, shopping bags, gift wrapping paper, photo
shoot, advertisements and a display window.

–– Kassetta 主营店主自己设计的复古及现代服饰，视觉形象也融合了两

个不同时代的特色。例如 logo 仿效上世纪 70 年代的设计，只是更具现

代感；图案则是受到 70 年代迷幻风格的启发。

–– Kassetta 的服饰绝大多数风格夸张，奇特而有趣，与传统服装大相径

庭。设计师将这作为设计的侧重点并由此提出品牌宣言：
“非凡至上”。
广告中的人物个性鲜明，着装风趣独特，设计师也将这种戏谑的风格融
入店铺的设计中，例如丰富的色彩、图片中热烈的气氛和不规则的字体。

–– 品牌形象设计包括两种字体设计、宣传册、办公文具、logo、衣架、试

衣镜、购物袋、包装纸、摄影、广告和橱窗展示。

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dottirDOTTIR
Matej Hlavacek / Vesturbær / 2012

Faroe Islands • Greenland • Iceland Faroe Islands • Greenland • Iceland

Fashion pop-up • Torstrasse 68 • Berlin • dottirdottir.com Fashion pop-up • Torstrasse 68 • Berlin • dottirdottir.com

5 –28.7.2012 5 –28.7.2012

Faroe Islands • Greenland • Iceland

Fashion pop-up • Torstrasse 68 • Berlin • dottirdottir.com

5 –28.7.2012

dottirDOTTIR introduces North-Atlantic avant-garde fashion design and

rare handcraft to the Berlin fashion scene, Iceland, Greenland and The
Faroe Islands.

The designer has executed this fashion project by creating a typography

by projecting flat 2 dimensional letters into isometric space.

–– dottirDOTTIR 是一家具有北欧风格的先锋时尚品牌，将手工制作的

服饰推向北欧的部分城市。室内的装饰由 Hulda Ros Gudnadottir 设计。

设计师将二维字母设计出空间感，并运用到 logo 中。

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PAPER STAMP KIT

TORAFU ARCHITECTS / 2011

PAPER STAMP KIT allows customers to create original stamps

by assembling the paper cores with the variety of shaped and
patterned stamps included in the kit.

You will be able to choose f rom 35 stamp pat ter ns for the
ha nd st a mps a nd t he rol le r st a mps. T he scissor s, cut t i ng
blades and the cor r ugated ca rdboa rd can be used to ma ke
stamp designs, while the sponge becomes an ink pad once it
is soaked with a mixture of water and paint.

The customers could make their own original airvase designs

using the variety of stamps in the kit.

–– PAPER STAMP KIT 是一个印章套装，

有 35 款不同的图案图形，
顾客可以选择普通印章和滚轴印章来创作。

–– 剪刀、刀片和波纹纸板都可以作为制作工具，而海绵浸泡颜料

后可以作印台。

–– 顾客也可以用印满印章的纸张来制作空气花瓶。

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TREE RAIN WEAR

Yoshihiko Masuyama / E. Co., Ltd. / 2012

T h e a i m of t h i s d e s i g n i s t o c h a n g e t h e i m p r e s s i o n of
melancholy rain into a positive one. You can fold and pack this
into a leaf-shaped bag.

–– 这款雨衣的设计目的是为了将雨的忧郁形象转变为正面意义，

它还可以折叠成叶片的形状。

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TERRAMIA
Basile Advertising / 2013

Terramia promotes and distributes the best Irpinia’s wine and food products.

–– Terramia 经营品质优质伊尔皮尼亚酒和食品。

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RICHE RESTAURANT
Thomas Andersson & Tobias Ottomar / Planet Creative / 2011

The graphic design for Riche is inspired by the restaurant’s classic interior
of copper and tiles, creating a leitmotif seen on the homepage, gift cards,
invitations and a book that tells the tale of Riche.

–– 设计师受到餐厅室内古典的铜器和瓷砖启发，餐厅的主页、礼品卡、邀请卡和

Riche 品牌故事图书的设计都围绕这一经典风格。

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THE RABBIT AND MONDAY MISFITS

Sciencewerk / 2012

The Rabbit and the Monday Misfits is a story about two rabbit lovers, a
quirky wedding concept for one of the core designers in Sciencewerk.
T he r abbit m a rk is i n s pi re d by t he C h i ne se z o d ia cs of t he c ouple.
Together with other lovely pets of them in the illustrations, their story is
told. Sciencewerk worked with local contemporary illustrator Robi Dwi
Antono to visualize the whole story of the couple and put all the hidden
and conceptual meaning about their relationship within the rest of the
merchandise.

–– The Rabbit and the Monday Misfits 是为 Sciencewerk 的设计师 Danis

所打造的一个荒诞的婚礼概念，兔子的元素源自夫妇二人的生肖，设计中的
插画讲述了他们的故事。Sciencewerk 与插画家 Robi Dwi Antono 合作，将
这对夫妻与他们的宠物的形象生动地表现出来。

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K11 DESIGN STORE

2012 CHRISTMAS PROMOTION
Ken Lo & Crystal Cheung / BLOW / 2012

BLOW designed a theme “Find Your Love” for K11 Design Store Xmas promotion
and created a hear t-shape map as the mai n visual. T he visual was extended
from printed matters to environmental graphics. Three lovely postcards were also
designed as a gift for consumers to send out their love.

–– BLOW 为 K11 设计品商店设计了“Find Your Love”的圣诞宣传主题，并将心形地

图作为主元素运用到印刷品和室内装饰中。设计师还精心制作了明信片，帮助顾客送
出他们的爱的礼物。

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SUSEŁ
Teresa Chylińska-Kur / KurkaStudio / 2011

It’s a completive visual identity for a children’s books publishing house. The
name Suseł (gopher) alludes to the Polish proverb “sleep li ke a gopher”
which means sleep well and brings to mind bedtime stories, lullabies and
dreamy reveries. Funny password and original gopher drawings are the most
characteristic features of the project, which arouses the viewer’s sympathy at
once.

T he ga d get t h at br i ngs t oget he r t he whole v is u a l ide nt it y of t he Su se ł

publishing house is the pict ure book, which was written specially for the
project.

T he illust rations are ver y simple in st yle, sy mbolic and based on Polish
tradition of illustration.

–– 这是为一个儿童读物出版社做的视觉形象设计。Suseł （地鼠）引自波兰谚语“熟
睡地像小地鼠”，让人联想起睡前故事、摇篮曲和美梦。有趣的文字和小地鼠插
画是这个设计的亮点，引起读者的共鸣。

–– 整个形象设计由图画书统一在一起。设计的插画遵循了波兰插画的传统风格，

简单而形象。

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GIFTS WORKSHOP
Shamil Karim & Kristina Udovichenko / 2013

G i f t s Work shop is a c ompa ny wh ich of fe r s t o it s cu st ome r s a r a nge of

exclusive handmade souvenirs. Custom way of making each gift only from
natural materials is a valued attribute in workshop. The main purpose of the
design-project was to ref lect this idea in a cor porate style and the decision
was the using of materials such as kraft, wood and also hand-drawn graphics.

Gif t s Work shop is located i n St av ropol, t he cit y i n t he sout h of Russia.

T he desig ners d rew i nspi ration f rom old postcards with cit y sightseei ng
landscapes. Some of them were used as a brand pat ter n. T hey also d rew
a map of the central part of the city with an indication of the location of the
workshop especially for the project.

–– Gifts Workshop 经营各种特别的手工纪念品，所有的产品采用自然材料制作，

因此其品牌形象也选用牛皮纸、木材以及手绘图案来呈现。

–– Gifts Workshop 位於俄罗斯南部城市斯塔罗波。设计师受旧日城市风光的明

信片启发，把它们用在图案设计中。他们也特意为这个项目画了一张城市中心的地
图并标明公司所在地。

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MR & MRS COFFEY

David Burdon & Sam Kirkby / Glad Creative / 2012

Hannah & Jon Coffey’s wedding stationer y makes a simple obser vation based
on the couple’s name and the wedding theme by creating wedding rings out of
coffee rings.

Out of a desire for authenticity, the designers created each coffee ring by hand
with a mug and some strong coffee. This made every invitation and every place
name authentic and unique, with variations and imperfections in the coffee marks.

–– Mr & Mres Coffey 是为 Hannah & Jon Coffey 设计的婚礼用品，为了突出真实感，

设计师亲手用盛着浓咖啡的马克杯在喜帖上印出一个个圆痕，这种手工的方式使得每
一张请帖都很独特。

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MAYA SUNNY HONEY

Joe Tarzia / Zé Studio / 2011

Maya Sunny Honey is a 100% raw honey range in Australia which is made
by placing an empty glass jar upside down onto the bee hive. There are no
preser vatives or added sweeteners in the honey to keep it healthy and full
nutritional.

–– Maya Sunny Honeys 是来自澳大利亚的纯天然蜂蜜产品，通过将空玻璃瓶倒

放在蜂巢上采集蜂蜜，产品完全不含防腐剂和甜味剂，以保证食品的安全与营养。

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THE EL RECREO CULTURAL CENTRE

Sofia Museri & Andrea Lopez / Estudio Roque / 2010

T he desig ners analyzed the i nterests of child ren and parents, and
chose an activity to perform, identifying the graphic and conceptual
characteristics in order to create a suitable and comfortable ambient.
T he com mu nication st rateg y was for med in which interaction and
g a m e pl aye d f u nd a m e nt a l r ole s. To i m ple m e nt it , t he d e sig n e r s
devised alter nat ives to t radit ional for mats and desig ned a system
of pieces that not only t ransmits the i nfor mation, but also can be
manipulated in a novel way. This was complemented with a chromatic
p a le t t e b a s e d o n wa r m a n d f u l l c olou r s of e a s y r e c og n it io n , i n
accordance to the participants of the Cultural Centre, and illustrations
made with friendly and synthetic strokes so children can identify with
them.

–– 设计师首先分析了家长与孩子的兴趣所在，用图案和概念化的形象为 El

Recreo 文化中心塑造出适当且舒适的氛围。品牌的宣传策略以互动性和
游戏角色为依据，此外，设计师改变传统的设计模式；新的视觉形象不但
可以传达品牌信息，还能以新奇的方式被运用到各个方面。设计师采用柔
和温暖的色调和辨识度高的色彩，与可爱丰富的插画相结合，便於孩子们
识别。
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BRISBANE MUSEUM OF PRINT

Cameron Humphries / Beyond Home Entertainment / 2012

BMOP(Brisbane Museum of Print) is a live letterpress museum and space for

creatives to gather. The design ref lects the traditions of letterpress through
t y pog raphy and colou r, with the text u res of pr i nted i n k used as suppor t
graphics. The logo incorporates these traditions and textures to appear as if
it has been printed straight off the press.

–– BMOP(Brisbane Museum of Print) 是一个活版印刷博物馆，为创意工作者提

供聚会的场所。
设计通过排版、
色彩、
油墨纹理的运用，
反映了传统的凸版印刷工艺。

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FROEBEL USA
Katie Curtis / 2012

T h is project wa s a redesig n for Froebel USA, a compa ny t hat produces

or ig i nal Froebel g if t s wh ich toys a re i nvolved i nto Froebel educat ional
system. The design elements illuminate the value of creativity and Katie used
authentic, bright and playful visual elements to give individual personality to
each particular “Froebel gift”.

–– Froebel USA 是一家生产礼品的美国公司，这些礼品是幼儿教学系统 Froebel

里面所使用的玩具。设计师运用各种设计元素体现了创新的价值，
使用真实、
明亮、
活泼的视觉元素，让每个礼物各具特色。
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HONG
Januar Rianto / 2012

H o n g C e n t r e f o r F o l k To y s & G a m e s , f o u n d e d i n 1 9 9 6 , i s a
com mu n it y that i nvest igates the cult u re of t radit ional toys and
g a m e s f r o m a n d i n I n d o n e s i a ,w i t h a i m s t o p r e s e r v e , t o e d u c a t e ,
a nd t o d evelo p fol k t oy s a s c u lt u r a l a r t i fa c t s. T he new Ho ng id e nt it y
i s b u i l t t o e c h o t h e m ove m e n t of k i d s pl a y i n g b y c r e a t i n g ove r t h a n
5 0 u n i q u e H o n g l o g o s t h a t r e s u l t s i n a m o d u l a r i d e n t i t y, w h i c h i s
playf ul, opti m istic and custom izable, and can evolve over ti me.

–– Hong Centre 成立於 1996 年，是一个印度尼西亚的民间组织，旨在保护

和发展民间玩具，使之得以延续。设计师模画了孩子们玩耍的动作，并设计
了由 50 多个特别的标志组成的模块化的视觉形象，活泼有趣，可按需求进
行组合及变化。

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BABAIKI
Anna Zubanova / 2012

Babaiki sells u nusual toys. They did n’t look sweet or honey, but craz y and perhaps
scary. Each of them obviously seems to have its own temper. They were called “babaiki”
wh ich mea ns i n Russia n some sca r y creat u res that may come to f r ig hten ch ild ren.

Br ight pat ter ns with characters were used as the core of this identit y. The desig ner
c h o s e 10 t o 15 t o y s a s t h e p r o t o t y p e s o f t h e c h a r a c t e r s , m a d e a n i m a g e o f
e a c h t oy a n d t h e n c o m p i l e d t h e m w i t h j u i c y a n d c h e e r f u l c ol o u r s i n p a t t e r n s .

–– Babaiki 在俄语中的意思是专门恐吓孩子的怪物。Babaiki 的玩具样子并不可爱，甚至

有点疯狂，但是每个都有自己的个性。
–– 形象设计以鲜艳的图案与可爱的角色为主，用 10 到 15 个玩具作为角色模型，为每一

个玩具创作各自的图案并配以生动明亮的色彩。

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EUREKA, UN MONDE DE LOISIRS

les
Branchés
Ingrid Leone AKA Nami & Olivier Derouette / Black Pizza & Co, The Toilettes / 2012

es
Fléchett

It’s a new visual identit y of Eureka which is an enter tain ment shop f rom
the tow n of Orléans i n France. T he desig ners t ransfor med the accent of
the main element of the logo “Eu reka” on a f u n ny sy mbol, which br ings
us back i n a lightly man ner to the game u niverse. T he logot y pe is ret ro
and h ig hlig hted by a ver y br ig ht blue colou r. T he base li ne “Un Monde
de Loisi rs” which means “a world of enter t ain ment ” in French has been
a dde d w it h a m a nu sc r ipt logot y p e t o br i ng a hu m a n a nd fa m i ly t ouch.

–– Eureka 是一家位於法国奥尔良的玩具店。logo 设计得充满趣味性，把人

带回游戏的世界。字体设计复古，并选用明亮的蓝色。Logo 下方文字“Un
Monde de Loisirs”在法语中是“玩乐的天堂”的意思，手写字体给人的感觉
更为亲切与人性化。

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CIRAF
Leena Fredriksson / Kuudes Kerros / 2011

T he collect ion of Ci r af is desig ned for bot h babies a nd todd ler s.

I n addition to clothi ng, there are also nu rser y products and toys.

The Ciraf brand is about storytelling which illustrates a family of creative

characters.The hero of the stories is Ciraf who is a bit silly and sometimes
a n a b s e n t - m i n d e d p r o f e s s o r. M i m o i s a b r a v e g i r l w h o k n o w s w h a t
t o d o a n d a lw ay s g e t s o t h e r s of f t h e h o o k . Pe ko i s a b a by c h a r a c t e r,
a r a c c o o n b y n a t u r e , ye t s o m e t i m e s q u i t e e m o t i o n a l a n d c a g e y. T h e
cha racter s a re used i n product s, packag i ng, labels a nd ret ail mater ials.

–– Ciraf 除了婴幼儿服饰，还涉及玩具和育儿用品。Ciraf 品牌塑造了一个有趣

的家庭故事。主角是 Ciraf，一个有点笨拙，有时候心不在焉的教授。Mimo
是个勇敢懂事的女孩，常常帮助别人摆脱困境。Peko 是一个浣熊宝宝，机灵
谨慎，有点情绪化。这些形象都运用在产品、包装、标签等设计中。

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CREATURES
ELEMENTS OF VISUAL SYSTEM
BAR NOIRE
Bec Kilpatrick / 2012

Bar Noire is a new wine bar in Surry Hills, Australia. The concept of Bar Noire is
inspired by the designer’s fascination with the weird and wonderful creatures of the
deep. The final creatures in this project are inspired by old scientific diagrams and are
a mix of visual researches of existing creatures and the designer’s own imagination.
This creates a disturbing and sinister tone that is relevant to the after-dark bar scene.

–– Bar Noire 是澳大利亞 Surry Hills 區的一間新酒吧。設計師著迷于深海裡的神奇生物，

受古老的科學圖表啓發，把已知的和想像出來的深海生物以一種令人不安的基調刻畫出來，
與黑夜酒吧的氛圍相呼應。

ELEMENTS OF VISUAL SYSTEM

CREATURES- LOCKUPS

COASTER

black on white

black on white
WALLPAPER

WALLPAPER
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HORN OF PLENTY
Artem Rulev / 2012

Horn of Plenty is a visual identity for fashion designer Alexander McQueen’s 2009
collection. The final design is very much based on the principles of surrealism,
dada and postmodernism. Incompatible things were combined together to get all
these grotesque, unexpected results, scissor-fish for example. The concept was
about breaking the tradition, mixing classic beauty with ugliness of technological
progress.

–– Horn of Plenty 是為時尚設計師 Alexander McQueen 2009 年作品展所做的視覺

形象設計。以超現實主義、達達主義和後現代主義為設計原則，設計師將看似矛盾的
元素結合在一起，雖然怪誕，卻收到意想不到的效果，如剪刀魚的形象。這種概念突
破傳統，把古典美與技術發展醜陋的一面融合起來。

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CROWS’ NEST
Pavel Emelyanov / Eskimo / 2013

Crows’ Nest is a vintage store. The inspiration of the corporate identity was vintage
wrought signs and weather vanes. Natural materials, textured and kraft paper were
used to reproduce vintage style. Monochrome black printing supplements warm
shades of the stationery. Chosen illustrations of black crows and feathers were
utilized as brand graphics.

–– Crows’ Nest 是一家古董店，其形象設計的靈感來自于精緻的復古裝飾紋路和風向標。

設計師使用天然的材質和牛皮紙詮釋複古風格。印刷色選取單色黑，與文具溫暖的色調互
補。此外，設計師採用烏鴉和羽毛的插圖作為基本圖案。

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THE GREEK MONSTERS

Beetroot Design Group / 2011

Beetroot was asked to create an exhibition that would be the main event in the
red-dot finalists’ exhibition. Designers chose to create “The Greek Monsters”
as an attempt to reverse, with a sense of humor, the ill socio-political image of
modern Greece. With their dual meaning both as perpetrators and victims, those
ancient devices are ultimately presented as contemporary symbols against
racism, generalization and exclusion while presenting key philosophical stands
and practices in design.

–– Beetroot 受邀為紅點決賽做展覽設計。設計師在該作品中採用希臘神獸的形象，

嘗試以幽默的方式來改變人們對現代希臘不健康的社會政治形象的看法。該設計含
有既是犯罪者又是受害者的雙重意義，通過傳統的手法表達出當代對種族歧視、泛化
和排外現象的反抗，從而體現出設計的主要哲學立場。

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MAMA SHELTER
Ross Goulden / GBH / 2013

Mama Shelter is a rapidly growing hotel brand. Positioned as “affordable luxury”, the Mama way is a mix of warmth,
friendliness and communality. Its interiors are chic and eclectic with a little surreal humour. It needed a memorable
and unusal visual identity to reflect her electic naurue: inclusive, chic, witty and surprising. The logo is bold and
unconventional and used sparingly in the hotels as a conscious “non-branding” attitude that allowed ramping up the
creative. Every application created to surprise and delight in its own way.

–– Mama Shelter 是一個迅速發展起來的酒店品牌，定位是“經濟型奢華酒店”。室內採用折衷主義的設計方法，氣氛溫馨，

佈置別致且具有超現實的幽默風格。Mama 的視覺形象突出包容、時尚、詼諧和驚奇的特質，與眾不同，令人印象深刻。

–– Logo 的設計大膽時尚，
甚少有酒店使用這種
“無品牌營銷”
的理念，
但它激發出設計師無窮的創意，
給顧客帶來驚喜和快樂。

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“BLUE WHALE” ILLUSTRATION AGENCY

Yuliya Efimova / 2012

It’s a corporate identity for the illustration agency Blue Whale, in which 13 authors’ illustrations
were involved. The whale is a symbol of something grand and great. In the pictures of the
calendar, every unusual animal more or less goes into other objects.

–– 這是設計師為 Blue Whale 插畫工作室設計的品牌形象，設計中融入了 13 個主創人員的插畫形象。

鯨魚龐大的體型象徵著雄偉。日曆圖片中，每種不同尋常的動物都和其他物體結合在一起。

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PERKIES
Nicholas Soh / Nic Designs / 2012

Perkies is a new concept snack store located at Changi City Point, Singapore.
By working closely with the interior designer, Nicholas kept the look and feel of
the brand consistent. The logo has a strong association with Perkies’s unique
packaging, the cone. It also represents a loud speaker, showing the youthful
enthusiasm and daring characteristic of Perkies. Besides, the mascot “Perk”
was designed to target the young audience.

–– Perkies 是新加坡樟宜坊一家新概念零食店。Nicholas 與室內設計師合作，保持

統一的品牌形象。Logo 的設計與 Perkies 獨特的錐形包裝一致；它像個大喇叭，展

現了 Perkies 熱情、青春、大膽的特點。此外，吉祥物“Perk”的設計旨在吸引年輕
消費群體。

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ROAR
Sanj Sahota / ORB / 2012

Through the illustrative brainstorming sessions, the design team hit upon the
name ROAR, which was the first step to embodying the company’s personality
and attitude: small and ferocious.

The design team wanted a different feel for the logo of ROAR, so they chose to
create it in Indian ink, which shows the collision of strong and soft.

They used traditionally timid animals in the imagery and it was a continuation
of the contrast between small and loud, which also gives the brand a very local
British feel. By using animals indigenous to each international market, this local
spirit could be retained as the company grows.

–– 品牌名 ROAR 體現公司個性和態度：小而強大。ORB 設計工作室希望為 ROAR

打造一種不同的視覺效果，他們使用印度油墨來製作 logo，體現出剛柔并濟的反差
效果。

–– ORB 在設計中採用傳統溫順的動物形象，呼應小卻強大的概念，同時也呈現出一

種地道的英國風格。針對不同的市場，品牌在傳遞本身文化特性的基礎上融入當地
的動物形象做推廣。

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THE 4 SYMBOLS
Kenn Lam / 2013

The 4 symbols of Chinese constellation can be a very good representation

of Chinese culture. Each creature is “preserved” in a way reflecting their
respective elements. The Black Tortoise of the North represents water in which
food is pickled. The Azure Dragon of the East’s element is wood, so its products
are very wood-themed. The Vermilion Bird of the South represents chili jar. The
White Tiger of the West’s element is metal, so the products are wrapped in
aluminum foil.

–– 四大神獸是中國文化的典型代表。設計用每種神獸反映了對應產品的特性。譬如，

北方的玄武象徵水，代表食品是腌製而成；東方青龍屬木，對應的產品以木為主題；
南方的朱雀顏色為紅，與辣椒醬顏色一致；西方的白虎屬金，因此包裝選用鋁箔制品。

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VICTOR RUSSO’S OSTERIA

Maarten Brandenburg / TOTAL IDENTITY / 2010

Total Identity has developed an identity for an Italian osteria franchise in the
Netherlands. A sense of ornamental symbolism has been built into the design.
The representations by using the 18th-century engravings remind people of
the fruit and vegetable portraits of the 16th-century Italian painter Arcimboldo.

–– VICTOR RUSSO’S OSTERIA 是一家位於荷蘭的意大利风格的酒店。其品牌

形象設計融入象征主義的裝飾，用 18 世紀版畫表現方法再現了 16 世界意大利畫

家阿爾欽博托創作的由水果和蔬菜組成的人物肖像畫。

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Vrouwensteeg
Vrouwensteeg1616
2311
2311EB
EBLeiden
Leiden

071
071401
40104
0485
85

www.victorrusso.nl
www.victorrusso.nl
[email protected]
[email protected]

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HINTER
DEM KUNSTHAUS
VON
GRAZ

THE
ELEPHANT

URBAN
CHIC
LIVING

THE ELEPHANT
Matthias Schweighofer / moodley brand identity / 2012

The Elephant is a luxury property situated right in the heart of the city of
Graz in Austria. In the design process, the property has been taken as an
individual personality that acts in a confident, high-quality and trendy way.
The corporate design epitomizes 2 aspects: the beautiful details that reflect
the elegance of the luxurious architecture and the strong experience of
légère chic that transports the relaxed esprit of modern living in the centre of
Graz.

–– The Elephant 是位於奧地利格拉茨市中心的一處高端地產。設計師呈現出一

個自信、高品質、時尚且獨具個性的品牌形象。設計集中在兩個方面：用精緻的細
節反映建築的優雅和奢華；用時尚感體現格拉茨愜意的現代生活氣息。

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YOUNG LIONS ITALY 2013

Lumen Bigott / 2013

Young Lions is an Italian national competition where designers and copywriters under 28 years old
have 24 hours to develop a project based on a creative brief given by an organization or a non-
profit group. Developing a brand identity for the competition itself, “Giovani Leoni Design”, was
consisted in the branding category this year.

This project is the designer’s proposal. It is inspired by the element that differentiates a young lion
from an older one, its mane. The Young Lions competition represents an opportunity for talented
designers to get more experience and let their metaphorical mane grow larger. Each of the four
colours represents the categories of the competition.

–– Young Lions 是意大利一個全國性設計比賽，參賽者是 28 周歲以下設計師和文字撰稿人，根據指定

機構或非營利組織提供的主題在 24 小時內進行創作。2013 的比賽內容包括為比賽本身設計品牌形象。

–– 這是其中一個提案作品，設計師受到獅子鬃毛隨著年齡增長而變化這一現象的啓發，體現 Young

Lions 比賽為有才華的設計師提供獲得更多參賽經驗的機會。四種色彩分別代表比賽的四個類別。

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ABSTRACT PATTERNS

Bea Nemez
Barbara Bernát / 2012
Bea Nemez is a brand of handcrafted felt products, including colourful
handcrafted hats, scarfs, gloves, jewellery, toys and puppets. Felt making
is a traditional way of creating clothes, older than weaving. Wool gives
a strong sheet, which can be coloured and decorated in many ways.

–– Bea Nemez 是一個手工毛氈製品品牌，產品包括色彩鮮豔的手工帽子、圍巾、

手套、首飾、玩具和布偶。毛氈製作是一門傳統服裝製作工藝，歷史比編織工
藝還要悠久。羊毛的特質讓成品在色彩和裝飾選擇上更加多樣化。

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SHAPES AND FIGURES

Vyclone
Phil Curl & Wes Anson / d.studio / 2012

Vyclone is a social video platform. The multifaceted logo reflects the app’s unique ability to record life from all
angles. By using the visual language of the logo, an illustrative style was developed to be applied to business
cards in the form of animal characters that reflect the individual personalities of the team behind the app.

–– Vyclone 是一個社交視頻平臺。多層面設計的 logo 反映了該應用程序可以從各個角度記錄生活的獨特功能。名片

的設計中也運用了這種風格鮮明的視覺語言，反映出軟件設計團隊的個性。

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SHAPES AND FIGURES

XUBEROA
Jesús Sotés Vicente / 2012

Xuberoa is a farm school where different farm animals grow up

and coexist in a sustainable and natural environment. It offers
visits guided to the centers of primar y education with the aim
to bring over the farm life and its resources to the children.

T he logo design was inspired by the Tangra m. M o s s c olo ur

presented forests. The designer chose the cat as the main element
because he thought it is “ the most human” bet ween all farm
animals. 100 % recyclable paper was used for different supports.

–– Xuberoa 是一間農場學校，裏面豢養著各種動物，為兒童提供參觀

和體驗農場生活的機會。
–– Logo 設計的靈感來自於七巧板。設計師採用青苔色代表森林。另外，

他認為貓是最通人性的農場動物，因此選擇貓這一形象作為主要的設
計元素。設計材料選用百分百可回收的紙張。

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SHAPES AND FIGURES

Leder Wimmer
Lukas Nöckler & Patrick Musil / Musil & Nöckler / 2013

Leder Wimmer is a leather goods producer in the centre of Lienz, Austria. This
re-branding is to strengthen Leder Wimmer’s visual appearance in the leather
goods industries. The core competence of Leder Wimmer is the production
and manufacturing of deerskin. So the designers decided to bring the main
focus on this animal, the deer, showing the animal just with the purest details.

–– Leder Wimmer 是奧地利利恩茨中心的一家皮具生產商，為了提升該品牌在皮具

行業的視覺形象，設計師對品牌進行了視覺重塑。Leder Wimmer 產品以鹿皮製品為

主，因此設計師以鹿為主要設計元素，著力于細節刻畫。

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COLOUR EXTRACTION

Mimart Cezanne Pro

Vicente Martinez Yuste & Seana Michelle Willis / 2013

ABCDEFGHIJKLMNOPQRSTUVWXYZ
abdefghijklmnopqrstuvwxyz 1234567890

Garamond Premier Ligth Italic Display

ABCDEFGHI JKLMNOPQR STUVWXY Z

abdefghijklmnopqrstuvwx yz 1234567890

www.mimart.org

Mimart was a project commissioned by a European art, antique and furniture retailer.
One of the major details that the retailer wanted was to incorporate the peacock into
the brand’s main identity. The designers found that this bird is a symbol of sovereignty,
beauty, power, rank and divinity. The peacock is also associated with the Phoenix,
symbolizing virtue, humanity and good fortune. In an effort to link western and Chinese
cultures through luxury and art, they chose to use the elements of rice paper, and
watercolours, combining these two elements with a specialized design using the Mimart
European Art, Antiques & Furniture
Cezanne typography, and an art deco styled peacock as the main image for the logo.

–– Mimart 是一家歐洲藝術品、古董和傢具零售商，其品牌形象融入了孔雀的元素。孔雀是

美麗、權力、高貴和神聖的象徵，人們常把孔雀與代表美德、博愛和幸運的鳳凰聯繫在一
起。設計師選取宣紙和水彩元素，把中國文化與西方文化以奢華的藝術方式結合在一起。
Logo 以藝術裝飾風格的孔雀為主要設計形象；字體選擇 Cezanne。

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Liquid type
Ruslan Khasanov / 2012

The project was created by using ink on paper to achieve a spreading

effect. The designer drew the letter on a wet sink surface. The letter came
to life: black fine lines instantly flowed, overgrown with gray patterns
like coral and then disappeared. It looks like a caterpillar turning into a
butterfly and then dying, and a bizarre dance of life, between birth and
death. The beauty of this font is in motion, fluidity and evanescence. The
idea was to show how this type was fleeting and fragile in one moment.

–– 該作品的設計原理是在紙上展現墨水擴散的效果。設計師在水面書寫，字

母瞬間流出黑色細紋，慢慢擴散變灰，像長滿了珊瑚，隨後又消失，就像毛蟲
破繭成蝶然後死去的過程，演繹生命的舞蹈。而這套字體的價值在於其流動
性和覆滅之美。

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Come into one (和合 )

Lok Ng / awt design inc. / 2013

This project presents philosophical concepts from three different angles –– 這個哲學系列的字體作品從三個不同的角度總結設計的涵義，結合了東西
in order to sum up the meanings of design in a new era. Eastern and 方設計理念，以全新的方式詮釋設計新時代。創作打破常規，把水墨書法與
Western design concepts were combined to interpret a new design
插畫相結合，通過意（意境融徹）、念（一念生花）、態（風飛花有態）三個主
attitude with ink calligraphy and illustrations integrated. The project
導概念延伸出“和生萬物”的作品主題。
"Come into one" was derived from the ideas of "Fusion Of Mirage", "One
Dream and One Light" and "Shape Of A Shadow".

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ASIA. ICON TYPOGRAPHY

Gonzalo Cervelló / 2012

Asia. Icon Typography is a modest and respectful approach to the

fascinating societies of the Far East. The design team tried to simplify the
characters in an artificial way, erasing the manual gesture, the curve and
the arc, in order to specify its cultural significance.

–– 設計師通過這組字體設計表達對遠東文化的敬意與喜愛。他嘗試簡化字

符形象，去掉複雜的彎度和弧形，以突出字體的文化內涵。

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Foresee Typeface
Arnaud LE ROUX / Genosia / 2013

The designer focused on the shapes of type and tried to work on straight
lines with various rotations, doubling the lines but with circles coming in,
and offering more interesting variations. It was his first attempt to digital
typography. His idea was to offer a font for titles or logotypes, catching
the eye by these letters.

–– 這是設計師首次採用數碼技術來設計字體，他著力於字體形狀的刻畫，使

用直線條、雙線條、圓圈等元素，使字體具有多種趣味性的變化。這套字體
主要用在標題和 logo 中。

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Teatro Circo Price

Gerard Marin / toormix / 2012

Teatro Circo Price wanted to change its identity according to its new
positioning. The new image revolves around the idea of the interior
space, a building with a 360 degree shape and the circles which causes
its format.

–– 這是 Teatro Circo Price 的新品牌形象，設計圍繞室內 360 度的圓形空間

來展開。

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Just Add Good

Stian Bugten & Steve Jordao / Leo Burnett New York / 2012

The designers displayed the slogan "Just Add Good" with real
and natural food in this campaign to bring out the authentic
beauty of cooking food.

–– 設計師用食物排成廣告標語“Just Add Good”（只添加好的），

表達出烹飪的魅力。

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XXII Blackened Wood

Lecter Johnson / 2012

XXII Blackened Wood is made for logo design and headline fonts. Its
main shapes are results of black letter fonts compared with a decaying,
organic look of roots or branches, or by writing with blood in a book of
magic spells.

–– XXII Blackened Wood 是 logo 和標題專用字體。這套黑色字體的形態就

像腐爛的樹根和樹枝，也很像用鮮血所寫的符咒。

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TENRE
Jacopo Severitano / 2013

Tenre is a multi-purpose bold display font that comes

in four styles. One of the lastest trends in typography is
transforming the shapes of letters into something that
recalls esoterism or alchemy. This font on the contrary is
based on a traditional structure that presents a neoclassic
leitmotif, resulting as solid and clear, but also rich of details.

–– Tenre 是一款多用途展示字體。與當下將字母的形狀轉化成

神秘和魔幻形象的趨勢相反，這一字體具有新古典主義風格，
以傳統結構為主，硬朗清晰，注重細節。

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Taylor’s 21 Port Wine

Vitor Claro / MAAN Design Studio / 2012

The designer created a fictional brand called Taylor's 21. The new –– 設計師創造了一個名為 Taylor's 21 的虛構品牌，其推出的新產品旨在吸引
product of Taylor's 21 seeks to attract new generation of consumers and 年輕受眾，讓他們對葡萄酒有新的認識。字體和信息符號都是為其品牌理念
shows them a new way of looking at Port Wine. The typography and the
所定制。
correspondent communication code systems were exclusively developed
for the brand’s new concept.

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Le Bleury – bar à vinyle

Elizabeth Laferrière / 2013

en semaine, dès 16h

DRINK O CLOCK —
en semaine, dès 16h

DJ LIVE
TERRASSE
SPÉCIAUX HAPPY HOURS

MENU BAR
CARTE COCKTAIL
VINS D'IMPORTATION

21 A
09 .C
,R RY
U E D EU
BL
E BL E YL E
URY V IN
- 5 1 4 4 3 9. 2 0 3 - W W W .

Le Bleury is a bar in Montreal. The bar's visual identity is based on

the shape of a record. Its signature ends with a dash resembling a
turntable. Four banners that spell out "Bar à vinyle" were created in order
to represent the variety of musical genres. The posters are made up of
images reminiscent of the past, pencil strokes and paint. Nostalgia is
combined with a contemporary and dynamic approach.

–– Le Bleury 是位於蒙特利爾的酒吧，品牌形象以唱片的形狀為基礎。加上

位於單詞後面的破折號，整體有點像唱機上的轉盤。四個不同的標籤（Bar
à vinyle）代表不同的音樂流派。海報所採用的圖案設計，讓人回想起過去
的畫筆筆觸和塗料所營造的效果，
以動態的方式把懷舊與現代風格表現出來。

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Granum
Maksim Arbuzov / 2013

Granum (грани, meaning verge in English) is a website about architecture

and all sides of creation and design of buildings and structures. The
simple logotype Granum transmits the multifaceted concept of website
and occurs where there are verges.

–– Granum（邊緣）是一個建築設計網站。純字母的 logo 設計理念非常簡單，

每一處彎折的邊緣都會出現公司名 Granum，體現其網頁內容的多面性。

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Fusion Typeface
Jia Zhoaan Lim / 2013

Fusion typeface is inspired by the space and object element in a

very simple geometric structure. In order to craft the combination, the
element was designed in the form of the basic structure that could bring
out the unique structure and be a part of the design of this typeface.
Unlike traditional typefaces represented by a specific weight, style,
condensation, width and slant, Fusion is totally something different to
be presented in design works. Fusion comes with 3 types of weight, in
both pure structure and element design, for uppercase and numbers
typesetting. Fusion typeface is appropriate to be used in poster design,
headlines and logos.

–– Fusion 字體的靈感來自於簡單的幾何空間結構，它的獨特之處在於在字體

的基本結構中融入幾何元素。這套字體的粗細、風格、緊湊程度、寬度和傾
斜度與傳統的字體都不相同。Fusion 字體有 3 種粗細，適合大寫和數字排版，
也適用於海報、標題和 logo 設計。

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Shanghai keywords
Veiray Zhang / 2013

As a native in Shanghai, the designer created the Shanghai Keywords

with a subject of those memories about the streets and alleys which has
become a part of his life. Each type design has a different style with
stories behind that he wanted to share.

–– 作為土生土長的上海人，設計師懷揣著對上海特殊的情結，創作了《上海

關鍵詞》系列 -- 一套以地名和路名為主題的字體設計。每個作品都採取了
不同的設計風格，而作品背後藏著作者想和讀者分享的故事。

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GRAPHY
A R T

Easter Type
Zim & Zou / 2013

Easter Type is a handmade font used for an event poster commissioned

by BNP Paribas about Easter. The letters are made of Fimo, a kind of
plasticine. The shapes of the letters are composed with bright coloured
vegetal elements, small paper eggs and Easter paper bells hidden inside.

–– Easter Type 是一組手工字體，專為法國巴黎銀行復活節的活動海報

設計。設計師用粘土製成植物形狀然後再組合成字母，點綴其中的還有
紙製的小彩蛋和鳴鐘。

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GRAPHY
A R T Egon Schiele Typeface
Nathalie Hallman / Nathalie Hallman Art / 2013

The project is a typeface inspired by the Austrian expressionist painter Egon

Schiele. The typeface is built based on an analogue out of image cutouts
from works by Schiele. The twisted body shapes and the expressive lines
that characterize Schiele's paintings and drawings, work perfectly together
as geometric forms to create every letter of the alphabet.

–– 這套字體的靈感來自於奧地利表現主義畫家 Egon Schiele 的作品，字體

是由從 Schiele 作品中剪裁出的不同部份組成，設計師將扭曲的肢體形態

和富有表現力的線條組合成幾何形狀，創造出每個字母。

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GRAPHY
A R T Medecins Sans Frontieres
- Urban Survivors
Gary Tong & Joseph Wong / TGIF / 2012

Urban Survivors is a multi-media project by MSF in collaboration with

the NOOR photo agency and TGIF, which highlights the humanitarian
issues faced by slum inhabitants in Dhaka, Johannesburg, Karachi,
Nairobi and Port-au-Prince, and what MSF is doing is to address
their unmet needs. By going through the exhibition, people start
s e l f- exa minat i o n o n t h eir li v ing a nd hu m a n is su e s. TG I F ha s
worked on the ar t direction throughout the project and created
the Chinese typography based on the environment of the slums.

–– 城 市 求生（Urban Survivors）是 一 個多媒體 合 作 項目，由無國界醫

生組 織、NOOR photo agency 和 TGIF 共同參 與 製作，呼籲大家關注

Dhaka、Johannesburg、Karachi、Nairobi 和 Port-au-Prince 的貧民窟
居民所面臨的人道主義問題。通過展覽，人們開始反省自己對待生活和
人道問題的態度。TGIF 是這個項目的藝術指導，以貧民窟惡劣的生存環
境為靈感，創造出特別的中文字體。

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GRAPHY
A R T
London, Show Us Your
Type
Fabian de Lange / 2013

This project is one of the works of SHOW US YOUR TYPE which is a

platform for designers to explore cities by using type and elements from
cities. Usually when people think of London, they think of the urban
street life, bridges or the big Ben. In the piece LONDON, SHOW US
YOUR TYPE, the designer wanted to focus on something else, and
showed us a different side of London through the perspective of nature.

–– SHOW US YOUR TYPE 是一個以字體和城市為主題的項目，從不同

的視角展示城市的風貌。LONDON, SHOW US YOUR TYPE 是其中一

個作品。當談及倫敦，人們通常都會想到街道、橋樑或者大本鐘。在這個
作品中，設計師從自然的角度向人們展示倫敦不同的一面。

152 153
下面三個案例與材料和紋理有關，設計師模仿植物的肌理或採用可
降解的材料， 宣傳自然與環保的理念。

Fruit Ninja 是 Mathery 設計的家居產品，這套產品仿效水果的自

然機理讓果皮短暫的生命通過容器的長期使用得以延續。 « FRUIT NINJA / 設計師 Erika Zorzi & Matteo Sangalli / 設計公司 MATHERY / 2013

設計再生
BranD 2013F-REBORN-FEATURES 20 21
 設計再生
BranD 2013F-REBORN-FEATURES 22 23
Graft 是一系列用聚乳酸製成的一次性餐
具， 這 種 可 降 解 的 材 質 來 自 於 可 再 生 資
源——植物。解決由一次性餐具所帶來的
環境問題的關鍵在於改變當前所使用的材
料並改變人們對一次性餐具的態度。

設計再生
Credit to ECAL

« Graft / 設計師 鄧綺雲 / 2013

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 設計師通過“聖保羅音樂之旅”(Roteiro Musical da Cidade
de São Paulo) 介紹聖保羅這個城市一百年的歷史。

« Roteiro Musical da Cidade de São Paulo / 設計師 Vinicius Capella、 Alberto Gomez、
Henrique Stabile 和 Paulo de Camargo / 2012

設計再生
BranD 2013F-REBORN-FEATURES 30 31
 設計再生
Planned obsolescence 展示了產品被廢棄
的過程。淘汰產品的組合裝置暗指數字時
代的發展軌跡，通過重組，這些產品獲得
重生，開始一段新的故事。

« Planned Obsolescence / 設計師 Brandon T. Truscott / 2009

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 很多企業通過重塑品牌形象去尋求一個新
的發展，設計師保留其中的本質精神，並
為其作出相應的改變。

Motherbird 為 MTV 重 新 設 計 了 一 套 文 具
包，設計師以“開放”為設計主題，影印
出 MTV 每個成員的照片並做了特別的處
理，用不同色彩的詞語傳達出 MTV 嬉皮風
格。

韓國設計師 Yvette Yang 從 2007 年起專注

設計再生
於 Fashion Font 的設計，靈感來自於她對
字體和時尚的獨到見解。她以“圖像即信息”
為概念，用手工拼貼的方法發掘搭配與組 « MTV Stationery / 設計公司 Motherbird / 2012
合的美感。

« Fashion Font / 設計師 Yvette Yang / 2013

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 作品日本（Japan）系列包括兩幅畫作，通
過雜亂的圖形和信息表達出設計師 Simon
Prades 對日本災難的關注。

生命重建
« 日本 / 設計師 Simon Prades / 2011

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« 混沌與秩序 / 設計師 Simon Prades / 2011

在作品混沌與秩序（Chaos and Order）中，

設計師 Simon Prades 收集了報紙中的圖像，
再模仿水墨畫的風格排列成動物的形態，呈
現出人們在災難中的境況。

生命重建
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 Disaster Relief Jazz Festival 是 為
當地的爵士音樂節設計的系列海
報，該音樂節上籌得的所有款項用
於幫助卡特麗娜颶風、海地地震和
福島核洩露中的災民。設計的理念
是展現暴風雨來臨前的平靜時刻，
通過寧靜簡潔的畫面反映災難的可
怕，呼籲大家積極參與救災活動。

« 烏鴉月滿——曙光 / 2011 « Jam for Japan（為日本即興創作）/ 2012

生命重建
© Jean Coletta Hodges

« 烏鴉月滿——希望 / 2011
« Play for Haiti（為海地而演出）/ 2012 « Blue Orleans（布魯斯奧爾良）/ 2012

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 DNA 概念的設計應用

基因學研究揭露了 DNA 的秘密，揭開了生

命的神秘面紗。設計師著迷於 DNA 的神奇
和意義，並通過作品傳遞 DNA 給予的魔幻
魅力。

« Specimen no: BHI

攜帶 DNA 信息元素的藝術創作

有機傳播設計
Michael Mapes 利用攜帶人類基因信息和
其他素材來創作藝術作品。Specimen no:
BHI、Specimen no:41、Dutch specimen
和 Dutch female specimen 是他的代表作
品。

« Specimen no: BHI

2006
16"w x 14" h x 3" d
創作材料：攝影圖片，各種印刷材料，昆蟲針，釘紮的泡沫，玻璃瓶，放
« Specimen no: BHI 大鏡，膠囊

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« Specimen no: 41
2007
19"w x 25" h x 3" d
創作材料：攝影圖片，各種印刷材料，昆蟲針，釘紮的泡沫，玻璃瓶，
放大鏡，膠囊，培養皿，頭發，塑料袋，棉線，樹脂，粘土，橡膠
帶

有機傳播設計
« Dutch female specimen: J
2013
28"w x 34" h x 3.5" d
創作材料：攝影圖片，昆蟲針，釘紮的泡沫，膠囊，玻璃瓶，試管，油漆樣品，樹脂，放大鏡盒，塑料標本袋，
« Dutch specimen MT2
棉線
28"w x 34" h x 3.5" d
創作材料：攝影圖片，昆蟲針，釘紮的泡沫，膠囊，玻璃瓶，油畫布，樹脂，眼
這個作品的主角是 Nicolaes Eliasz Pickenoy 的畫作 Dutch Masters。與倫勃朗一樣，他的畫作主題包含很多當時
睫毛，假珍珠，塑料標本袋，棉線
社會的上層，其中包括這個作品中的女性角色：Johanna le Maire。
在這幅作品中，Michael Mapes 運用藝術的當代表現形式詮釋出倫勃朗的畫作。

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 DNA 結構在設計中的運用
作 品 DNA 是 來 自 Catherine Wales 的 時
尚配件系列。受人類染色體結構啓發，這
個作品由可更換的球形關節組成，可向多
個方向延展。

有機傳播設計
« DNA / 設計師 Catherine Wales / 2013 / 攝影師 Christine Kreiselmaler

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 設計師的 DNA

Maarten De Ceulaer 利用他的作品來講述

故事、引發人們的情感共鳴、激發想像力
和好奇心。他的作品來自對社會的觀察、
對事物的感受，他認為物體的情感意義與
功能性同樣重要。

有機傳播設計
« The Leather Collection / 設計師 Maarten De Ceulaer / 2009
設計師熱愛探索世界，受此啓發，他創作了這套系列產品，詮釋了生命的動態美。圖片中的手提
箱是手工製作完成，可以被組裝充當衣櫃的功能。

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 Fendi presents Transformations / 設計師 Maarten De Ceulaer / 2012

有機傳播設計
為參加邁阿密 / 巴塞爾設計展，意大利時尚品牌 Fendi 邀請 Maarten De Ceulaer 設計了這個
系列作品。手工的皮墊與木質的物品搭配， 給人一種舒適的感覺。

« The Leather Collection / 設計師 Maarten De Ceulaer / 2009

« Fendi presents Transformations by Maarten De Ceulaer

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 有機傳播設計
« ©Nico Neefs

BranD 2013F-REBORN-FEATURES 84 85
 掌中互動
Insect Definer 是一款交互式昆蟲指南應用
系統，讓用戶以一種全新的互動方式探索
和體驗昆蟲的世界。這個 App 的核心價值
是它的搜索技術，給用戶提供傳統書籍無
法比擬的搜索功能。通過新的搜索方式，
除了現有常見目錄中的昆蟲習性，這個應
用程序還能探索新的昆蟲知識。

品牌重塑 - 界面的延伸
« Insect Definer / 設計師 Yael Cohen / 2012
1
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 品牌重塑 - 界面的延伸
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 交互遊戲
為了讓孩子們更了解 Skittles 糖果，設計
師設計出一個介紹 Skittles 製作過程的遊
戲，讓孩子們通過完成有趣的任務去發現
Skittles 的來源。

品牌重塑 - 界面的延伸
« WHERE SKITTLES COME FROM / 設計公司 IC4DESIGN / 2012

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 品牌重塑 - 界面的延伸
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 印
品牌的民族烙 在飛機的尾翼上，白棕相間的 Makare 圖
形圍繞著 Teteva 圖案，代表著清澈的海水

尊重文化最好的方式也許是將文化元素融入到 和沙灘，映襯出斐濟美麗的自然風光。

商業設計當中，保持它的生命力。在品牌設計
深棕色是斐濟文化的主要顏色，代表領導
中，文化元素可以從視覺上更好地描述品牌的
力、尊重、謙遜和驕傲。傳統的粘土顏色
定位，從而體現品牌價值。
反映了斐濟人民的謙遜的特點。

斐濟航空的制服設計靈感來自傳統的斐濟
服飾，包括女士的 Sulu Chamba、斐濟風
格的上衣和長裙。男士的襯衣則源於斐濟
有名的 Bula 襯衣。制服上淺綠色的圖案由
Makereta Matemosi 設計的三種圖案組成。

品牌重塑 - 文化的可能
Fiji Airways

FutureBrand Australia & Makereta Matemosi / 2013

斐 濟 航 空 的 視 覺 形 象 由 FutureBrand、 化的精神和故事。 航空的團隊一樣，一起建設更強大的航空

斐 濟 航 空、 斐 濟 樹 皮 布（Masi） 藝 術 家 公司。花瓣里的小圓圈體現了斐濟人對遊
中部的 Teteva 圖案是整個 Masi 的精髓，
Makereta Matemosi 共同合作完成。這個 客的熱情關懷，同時也暗喻著斐濟航空是
代表著斐濟，反映了斐濟航空的文化意義。
新的符號旨在實現重新定義斐濟國家航空 斐濟面向世界的使者。Teteva 圖案最裏面
邊上四個交叉的圖案體現出互相連接的特
的願景，受到當地人的喜愛。 的圖案是一個鑽石，代表著大家對這個國
點，代表斐濟航空是人們與斐濟島溝通的
家的熱愛。
傳統樹皮布藝術在斐濟島上很流行，充滿 橋樑。裏面的圓形反映了斐濟人善待他人
美感，且很受當地人尊重，所以設計團隊 的價值觀念。十六片花瓣的圖形代表了斐
選擇以這種古老的藝術形式來體現斐濟文 濟人攜手共創更好未來的畫面，就像斐濟
字體設計師 Kris Sowersby 為新的視覺形
象設計了一套獨特的字體，靈感來源於線
條清晰、手工製作的 masi 圖案和 Teteva
圖形中央的的鑽石符號。這套字體被命名
為“Bula”，在斐濟語里是“你好”的意思。

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人文掠影
有這麼一些作品，關於人類本身，關於他
們的生活和文化。作品不一定出於商業用
途，但是它們註定是文化的傳播者。設計
師將他們的個人經歷或者對社會的認識融
入作品中，給受眾講述他們的故事，傳播
他們的思想。

PEJU ALATISE 的藝術作品

這是多媒體藝術家 Peju Alatise 設計的一

組藝術作品，通過不同材料和媒介講述尼

品牌重塑 - 文化的可能
日利亞文化。衣物是人類親密接觸的物品。
這一組作品沒有出現人的真實形象，但仍
« Asobora 3
可以看出人的輪廓。作品描述的是一個關
於“幻想”的瞬間，人類可以從旁觀者的
角度審視自我，思考自己是否遺忘了什麽。
作品中“空”的感覺和作者期待的神秘感
營造出一種扭曲變化的氣氛。 Alatise 希
望受眾能夠對自己被告知的事情持批判態
度。

布料可以製作襯衫、裙子、圍巾等，在這
個作品中呈現其未被剪裁的狀態。這樣的
表現方式受到西部尼日利亞背景的影響；
布料被稱作“裹布”，它是遮蔽人類秘密
和羞恥的象徵。在尼日利亞前殖民時代，
人們在一些特殊儀式和特別的日子里需要
裹上特定材料和顏色的布。這些裹布上的
圖案和符號後來被印在衣物上，對於少數
民族來說，這是一種特殊的語言。

Alatise 收集了當地各種織物，新舊兼有，
這些織物大部份被稱作“Ankara”，其歷
史可以追溯到 1970 年。她將它們按照顏
色和圖案剪裁，然後重新創作出新的視覺
語言。每一部份的材料在整個作品中都有
象徵的相關性。
©Peju Alatise

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 « The Unconscious Struggle 無意識的掙扎

品牌重塑 - 文化的可能
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這條橙色的圍巾描繪了 Alatise 一段二十年
前的記憶。她因為帶著一條橙色的圍巾而
被拒絕進入祈禱場所。她被告知上帝不喜
歡女性打扮，穿著鮮豔顏色的衣服會在今
生得到懲罰，並且來生會受到地獄之火的
考驗。

©Peju Alatise
Peju Alatise 曾在採訪中被問到你是否是
女權主義者時，她的答案是：“我生活在
一個第三世界國家，為了生存，每個女性
都必須是女權主義者。要求被尊重對待的
時候是一個女權主義者。要求被關心的時
候也是一個女權主義者。所以，我當然是
一個女權主義者！”
« Orange Goes to Heaven 通向天堂的橙色

這幅作品的靈感來源於 Alatise 的經歷。

她目睹過許多小女孩在很年幼的時候就已

品牌重塑 - 文化的可能
成為別人的新娘。有一些甚至遭到性騷擾，
特別是僕人。 Alatise 認為極少人會為這
個群體打抱不平，即使是這些女孩的母親，
因為就連女孩的媽媽也經歷著同樣的遭
遇，她希望通過這些作品能喚起人們對這
個群體的關注。

« Nine Year Old bride 九歲新娘

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身體與圖

Dai-Wei Hsu & Hsuan-Wei Chang / 2013

品牌重塑 - 文化的可能
《身體與圖》是一部關於健康和五行關係
的書籍。通過插畫和靈活的頁面，這本書
詳細描述了關於五行和對應的人體器官，
以及與日常生活中常見食物的關係。從中
醫的角度，許多食物和藥物是同源的，它
們同時擁有食用和藥用兩種用途，從某種
意義上來說，保健的方式就是適當選擇食
物。

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« 金工之旅 « 土地之旅

品牌重塑 - 文化的可能
« 木林之旅

健康與五行是怎樣一種關係？ 這套書籍有出售嗎？
‥‥ 在中國文化裡，一些概念會用簡單的符號來表 ‥‥ 這是我們在台灣科技大學時的畢業作品，並不

達。五行分別是金、木、水、火和土，它們有著不 打算出售。我們把書的受眾定位在年輕一代和兒
同的屬性和特徵；例如火是熱的，充滿能量的。古 童，希望通過插畫讓他們更容易理解這些有用的
代的智者發現了這些元素和人體的聯繫，例如心 知識，所以設計風格也是輕鬆的，富有娛樂性的。
是人體生存的最基本要素，是供應能量的源頭，
因此吃一些與火相關或者紅色的食物對心臟有 您有計劃把這本書翻譯成其他語言，從
益。 而讓更多不熟悉中國五行的讀者瞭解我
們的文化嗎？
Dai-Wei, Hsu & Hsuan-Wei, Chang 設計這本書的目的是什麽？ ‥‥ 我們非常期待把書的內容翻譯成其他語言，讓
《身體與圖》的設計師
« 水潤之旅 ‥‥ 文化是珍貴的，同時讓我們成長。我們希望傳 更多來自不同文化背景的人關注我們的作品。不
播中國文化，讓每個人發現它的有趣之處。創作 過，對於我們來說，讓他們理解書中的內容也許
過程對於我們來說是一個重新發現自身文化的過 是很大的挑戰。
程。

五行中每個元素分別有哪些獨特的設計
風格？
‥‥ 五行的設計有五種獨特的風格和顏色，我們用

五個元素本身既定的顏色進行再創造，如燃燒的
火焰是紅色的；木是富有生機的綠色；水是流動的，
沉穩的，是藍黑色；金是可變的，所以是閃亮的白
色；土覆蓋大地，所以它是暖暖的黃色。

« 火熱之旅

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YO! MAFIA

Anna Higgie / 設計公司 Art Department NYC / 2013

當 我 們 提 及 Stevie Wonder、Missy

REBRAND
Elliott、 Big Freedia 和 Ca$h Money 這些

品牌重塑 WITH
名字的時候，頭腦中會自動想起流行音樂
的旋律。現代人對流行音樂的熱愛已經成

- 文化的可能
為一種文化現象。對於這個行業的文化工

CULTURE
作者，在視覺形象中融入流行音樂的元素
非常重要。

YO! MAFIA 是 為 澳 大 利 亞 hip hop DJ

YO! MAFIA 設計的插畫和品牌重塑形象。

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 品牌重塑 - 文化的可能
插畫反映出怎樣的文化背景？ 這些多彩的顏色代表了什麽？
‥‥ 這些插畫反應的是年輕文化，但也不局限於此。 ‥‥ 這些顏色主要為吸引受眾的眼球，是對霓虹燈

插畫給人一種吶喊的感覺，邀請大家一起來參加 俱樂部風格的一種懷念，紀念城市中明亮、閃爍
這個聚會。 但廉價的霓虹燈標誌，吸引我們走進夜總會或者
脫衣舞廳。DJ Mafia 是狂野的，她並不膽小害羞，
如何在設計中融入流行音樂元素？ 所以柔和的粉色並不適合她，而顏色越張揚越能
‥‥ DJ MAFIA 受到斯裡蘭卡流行巨星 M.I.A. 視 代表她的野性。
Anna Higgie，來自 Art Department NYC 覺形象的影響，她的風格是明亮的、有數字感和
YO! MAFIA 的設計師 衝突感的。MAFIA 形象中的顏色讓 人感到一種
侵略性，幾何圖形代表了她張揚的個性，象徵這
個喧嘩的數字時代的生存狀態，以及在台前幕後
的大膽表現。
‥‥ 設計選用了有衝突的圖案和形成鮮明對比的線

條，目的是為了製造出有趣和有質感的效果。類
似印章的圖案必須表現出強硬、有力量和衝擊力
的感覺，而從 MAFIA 口中延伸出來的線條代表
了迷幻的音樂，多彩的有節奏感的旋律在這個狂
野的流行音樂愛好者身上散髮出來。

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