I’m a sucker for interesting, bold, and not-too-kiddie environmental graphics in schools. This project, for an elementary school in France, fits the bill on all fronts.
The dynamic stripes of color are wonderfully integrated throughout the school - in both interior and exterior applications. Click the link above to see the original post (and additional images) by Graphic Ambient. The best part of the project may be the fact that the school is like a candy-colored oasis in the middle of a dirt-filled construction zone.
I can’t speak to whether the classroom spaces function in an optimal way, but, regardless, I find this to be an example of the the unique design touches that can add a bit of oomph to educational facilities. Good stuff!
(H/t David Airey)
With a nod to the architecture of the town of Shrewsbury, the identity created to represent its people and businesses makes a bold and aesthetically pleasing statement.
The versatility of the geometry is well-balanced by the stark black and white palette - it’s a cohesive and interesting language. And, although the town (and its architectural patterns) date back to the 16th Century, the new brand is very much contemporary.
In my opinion, this is one of those projects where the designers got it just right! (And I would *love* to have a card and brochure for my own collection of cool design stuff…)
See several more images at the link!
Every two years we can all look forward to the creative Olympic-themed packaging and ads that come from the Games’ largest corporate sponsors.
Coca-Cola has taken a straightforward minimalist approach for this year’s Summer Games - featuring athletes in silhouette over silver stripes that hint at the American flag.
I don’t know that this is my favorite Olympic can from Coke…but I certainly love the fact that we get to see something new for each Games.
I’ll be on the lookout to see what other companies do, as well!
What better way to kick of the week than with some fun food truck graphics? Great colors, fun type, entertaining messages, and useful (I hope) QR codes all add up to a great reason to skip the restaurant and hit the streets.
These are beautifully textural images from the title sequence of the latest Sherlock Holmes film. I’ve yet to see the film, but the first one was certainly a visual treat, so I expect nothing less of the sequel.
Click the link to Graphic-Exchange above for many more images and an interview with the designer, Prologue.
Gorgeous work by gifted designers!
The 2012 Sundance Film Festival features graphics designed by Pentagram. As with most events of this type, the design standards were used for everything from print materials to environmental graphics to merchandise.
I appreciate the way in which the ‘motif’ (for lack of a better word) was effectively used in the film catalog - incorporating the fragmented aesthetic into limited areas of the book. And, I think the overall concept made for some interesting design opportunities throughout the different media.
I recently (and finally) watched the film Waiting for Superman - a film about the educational system in the United States and the woefully inadequate way it serves too many of our children.
The film was eye-opening to say the least.
With the impact of the movie still fresh in my mind, I was pleased to come across this post in my RSS feed. Once again, the power of design has revealed itself to me.
The well-presented concept of teachers “connecting the dots” for students, inspiring their dreams, and nurturing their potential - along with a happy orange-y yellow color scheme - gave me back a bit of the hope that was drained by my movie selection.
Just as there are designers who care deeply about their craft and strive to express authentic meaning in their work, there are certainly educators who approach their profession in the same way. Perhaps, these are the same teachers who would appreciate this design effort and use the bright imagery to remind them of the amazing legacy they leave with each student who passes through their classrooms.
I have never seen anything quite like these colorful dimensional graphics, created by Moscow’s Sicksystems.
The pieces of each composition is carved with a scroll saw, then hand-painted. The result is reminiscent of a cross between totem pole art and something that could be found in a Transformers movie.
The image of the sneaker piece above was one that I found particularly creative. But, click the link to Core 77 for lots of other examples. Great stuff.
Designed to reference penalty cards from the world’s favorite game (soccer/football), these cards were printed with tonal inks that provide subtle - and beautiful - contrast to the papers selected.
It’s often challenging to create a card that stands out from the usual fare, but these do a nice job of doing just that.
Click the link for more detailed photos.
Interestingly, upon reflecting on the impact of film titles, I realize that, though titles are an important aspect of the opening moments of a film, I must confess that (unlike other products of “design”) I only take note of them when they are particularly striking or unique. Otherwise, they tend to fade into memory rather unceremoniously.
The video above is a quick trip through the history of some of the most memorable film title sequences produced. Included are some of my favorite title sequences, such as: those from the television series Dexter, the classic 90’s film, Seven, and the recent James Bond production, Casino Royale (perhaps, my top choice overall).
Looking at these clips, I wonder: Who is it that decides how much creative time and talent to devote to title sequences — the producer…or director? Or, are certain studios or movie genres more apt to utilize the titles as an integral part of the overall film experience?
Years ago designer Saul Bass explained how he approached film title sequences to me when I interviewed him for an article. “Find an image that will be provocative, seductive yet true to the film,” he said. “It has to have some ambiguity, some contradiction, not only visually but conceptually. Not just isolating the prettiest frame, but finding a metaphor for the film.“
Beginning with his 1955 work on Otto Preminger’s “The Man with the Golden Arm,” Bass transformed the way film title sequences were perceived forever. He approached the task with a graphic designer’s eye, so that stills from his title sequences easily translated into a powerful iconic poster for the movie.
Reducing the visual communications about a film to a single image was a daring notion at the time. Bass recalled that before he did “The Man with the Golden Arm,” films had been promoted with montages consisting of salient elements of the story. “The conventional wisdom on how to sell a film was the ‘see, see, see’ approach,” he said. “See the missionary boiled in soil. See Krakatoa blow its top. See the virgins dance in the temple of doom. The theory was that if you talked a film in pieces, there would be something for everyone.“ This interview with Saul came to mind as I watched “A Brief History of Film Titles” edited by Ian Albinson for the website “Art of the Title.” As the titles in the video folded one into another, I could see where Bass came in and influenced generations of designers of film title sequences thereafter.