弗斯乃克

The Slanted Door has defined modern Vietnamese food in San Francisco since 1995. Led by award-winning chef Charles Phan, The Slanted Door is situated in the Ferry Building overlooking the San Francisco Bay.

Manual worked closely with the Phan family to identify the values and personality traits of the restaurant. We devised a master logotype and supporting visual language that was as modern and sophisticated as restaurant’s food. The resulting mark references the ‘slanted’ aspect of the name and utilizes a single line to bring a distinct and memorable element to the identity. With family being a core value of the Slanted Door group, this unifying line also conveys the notion of connection.

A supporting monogram was used as a sign-off, bearing resemblance to a nautical flag – a fitting connotation given that the restaurant is situated in the Ferry Building and faces the water. This monogram is used as a supporting sign-off on branded items, and is also used to represent the umbrella company The Slanted Door Group.

The identity is applied in copper ink and foil across a muted, sophisticated color palette, with all paper menus folded at an angle, providing an unusual touch.

Typefaces
Logo – custom drawn, initially based on Avant Garde Light
Supporting typeface – Lacrima

Laughing Man — Identity/Stationery/Packaging/Website/Architecture
We were asked to develop a brand, identity, packaging, website and retail store for Laughing Man Worldwide, a charitable organization set up by Hugh Jackman, whose first venture was to be the sale and distribution of coffee and tea. Albeit focused on the premium quality of the product, a secondary subtle undertone of social conscience was required.

Established wanted to convey the Laughing Man brand’s core spirit of ‘all be happy’ with a collection of packaging that was at once gourmet, joyful and modern. The product’s quality credentials called for luxury, so a silver and grey color palette and clean typography were used. Meanwhile the custom chalk type graphics used across the brand connote the idea of a hand-finished barista quality. The casually applied, unique laughing face stickers on each product are designed to reflect the universal nature of laughter, goodness and ethical-mindedness, which are fundamental to the Laughing Man brand.

The concept of constantly changing stickers also invites the consumer to interact with the brand directly by uploading their own laughing face on the website, for a chance to be used on future packaging.
The overall aim was to create a brand that broke the mold of ethically responsible products being packaged in a rustic, hessian and often ugly way. Laughing Man aimed to be a product that would look at home on the shelves of a luxury food hall as well as on a supermarket shelf.

Typefaces Used: Houschka Alt Bold, Foco Bold, Landry Gothic and Laughing Man Regular (Custom)

Original sketch of Citi logo, 1998

Citigroup has announced that it will be uniting its businesses under one name, “Citi,” adopting the now-familiar red arc design recommended by Pentagram nearly nine years ago. “Our unified brand represents the promise to serve our clients as one company, as one Citi,” Citi Chairman and CEO Charles Prince said in a statement endorsing the change. “Our extensive global research and analysis also confirmed Citi is a highly effective brand across many languages, markets and technology platforms. It is how most of our clients think about us already.”

The story of how Pentagram designed the Citi logo follows after the jump.

Pentagram was approached by Citi in spring 1998 when the bank first announced its combination with insurance giant Travelers, then the largest merger in the world. Working with consultant Michael Wolff, Pentagram’s recommendation was to unify the merged entity under a single, four letter name—Citi—and to adopt a logo that would transform the Travelers’ red umbrella into an arc over the letter “t.” (Not only is that letter Travelers’ initial, but it also is one of the few letters that looks like an umbrella handle!)



Original transition recommendation, 1998

The recommendation originally met resistance as a corporate-wide solution. The Travelers umbrella still had substantial equity, and various components within the bank were reluctant to surrender their customary house dress. However, Citi’s consumer banking operations and cards divisions—arguably the most visible, customer-facing parts of the organization—responded to the new identity with enthusiasm, and, thanks to the dedicated leadership of Citi’s brand managers, relaunched the company’s consumer banking operations around the world over the next three years. During that period, Pentagram’s New York, London and Berlin offices worked with Citi on the design of prototype banking facilities, signage systems and credit cards.

Over the last eighteen months, consultants Landor Associates conducted a brand identity analysis and concluded that the Citi logo had achieved such a level of awareness that it was, ultimately, the appropriate face of all its operations.

“We’re really proud of the work we’ve done with Citi over the past decade,” said New York-based partner Paula Scher, who drew the original napkin sketch nine years ago. “Adopting a unified brand is a long process for a company this size, but we’re as sure now as we were then that it’s the right thing to do.”

D&AD Annuals encased in their boxes.

Pentagram’s Harry Pearce was asked by Sanky from AllofUs, last year’s D&AD President, to design the 2011 D&AD Annual.

The heart of Pearce’s idea for the Annual stems from wanting to celebrate the wonderful graphic illusion and quality of the original D&AD mark, which was designed in 1962 by Fletcher Forbes Gill, the studio that later became Pentagram.

The D&AD mark is shown at scale on the Annual’s cover to allow, through a brilliantly intriguing photograph by Richard Foster, an exploration of the unreality of the planes, the spaces and perspectives that lie within the mark’s form. For protection during shipping, the book is encased in an outer carton that also features the mark.

The outer carton that protects the Annual.

The cover image was created by photographing a sculpture of the logo. With Richard Foster the team built a little white model of the logotype. Laying this on a matching white background, they then raised the letterform edges allowing only the shadows to be expressed.

By swinging around a single light source, which was filmed, the team were able to see the negative space come to life. They then choose the perfect moment to shoot. Pearce has spent close to 28 years working with Richard Foster and chose him for this task as he feels that his sense of light is second to none.

On the reverse of the annual cover Pearce chose three frames from the film, capturing the moment the forms appear out of the background.

The simplicity of the idea is also reflective of the desire to keep all the elements to a minimum, but of a quality too. This D&AD Annual is not only the lightest in terms of weight but also in terms of its environmental impact. Working with Nat Hunter from Airside the team researched materials and processes to ensure that this book is the most sustainably produced D&AD Annual ever. Pearce says; “The project is a testament to a true and elevating collaboration between Sanky, Nat and me, and I am very grateful to them both.”

For the limited edition version of the book that is only available to D&AD Members, rather than creating an extra sleeve or wrap, Pearce decided that the most individual and material-savvy method to mark them out was to sign them. Hence he made the trip to a warehouse in Thurrock to sign nearly 2,000 copies.

The Annual will be launched tonight at D&AD’s new office in Shoreditch, London.

The cover of the 2011 D&AD Annual.

Second inside spread moving from yellow to grey.

 

A pile of limited edition Annuals signed by Harry Pearce.

Lighting the logo sculpture.

Creating the logo sculpture.

The sculpted logotype.

Project
Toronto Pearson Airport
Client
Lester B. Pearson International Airport

System of wayfinding and information signage for the new Terminal 1 at Toronto’s Lester B. Pearson International Airport.

More Environmental Graphics

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Ein Corporate Design für 100Tee – Ein Teefachgesch?ft aus Aachen.

Tee ist nach Wasser das meistgetrunkene Getr?nk der Welt und gilt heute mit seinen zahlreichen Variationen l?ngst als natürlicher In-Drink, unverzichtbares Wellness-Getr?nk oder als wohltuende Erfrischung für jedermann. Au?erdem wird Tee mit seiner gesundheitsf?rdernden Wirkung auch als Naturheilmittel hoch gesch?tzt.

Im Rahmen der Bachelorarbeit wurden am Beispiel des Teefachgesch?fts ?100Tee“ in Aachen die Kernaspekte des Unternehmens erarbeitet und in eine neue visuelle Sprache überführt.

Im Mittelpunkt stand dabei vor allem eine visuell klar verst?ndliche Informationsaufbereitung, eine einfache Benutzerfreundlichkeit, wie auch ein modernes und zugleich ansprechendes wie auch einzigartiges Erscheinungsbild.

Darüber hinaus wurde eine Leitidee für 100Tee entwickelt und auf dessen Grundlage ein neues und einheitliches Corporate Design gestaltet. Hierzu wurden alle relevanten Basiselemente der visuellen Kommunikation, wie z. B. Markenzeichen, Hausschrift(en), Farb-, Grafik- und Bildwelten, wie auch Gestaltungprinzipien und -raster definiert.

Ziel der Arbeit war es, 100Tee als modernes und einzigartiges Teefachgesch?ft regional, wie auch überregional zu positionieren, um langfristig eine gr??ere Zielgruppe zu erreichen.

Jann de Vries
kontakt@min-style.de
http://www.min-style.de

Bachelorarbeit aus dem Studiengang Kommunikationsdesign (B. A.)
FH Aachen, Fachbereich Gestaltung
7. Semester, Wintersemester 2011/12

Betreuung
Prof. Dipl.-Des. Ralf Wei?mantel

Kommen wir nicht alle irgendwie aus Pinneberg? Die Stadt hat auf jeden Fall mehr zu bieten als eine Endstation und eine Wasskerskibahn. Das Pinnberg Museum informiert über die lange Geschichte der Stadt im Speckgürtel Hamburgs. Der Kern des Erscheinungsbildes ist ein dynamisches Logo, dessen Elemente sowohl als Grundlage für Illustrationen als auch Piktogramme verwendet werden. Richtig zusammengesetzt ergeben die Formen das Autokennzeichen der Stadt.

6th Form prospectuses for Wakefield Grammar School Foundation.