BranD Issue 2014C "LIVE PLAY CREATE" by BranD Magazine

LIVE • PLAY • CREATE

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International Commercial Cross-communication Design Bimonthly

Bicycle Maniac

Toast to Thrill Wrap the Party Branding Music Festivals

LIVE LIVE •• PLAY PLAY •• CREATE CREATE

你的创

意我来产业领传播域中，我们将源。在灵感视善本，为能量我们更响深远的主要将它视的创造来为一种使命力和新，去传想法。播影

在创意

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ISSUE

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LIVE • PLAY • CREATE

International Commercial Cross-communication Design Bimonthly

PUBLISHED BY Sendpoints Publishing Co., Ltd. PUBLISHER Gengli Lin RESEACH & EDITORIAL PLANNING BY ICC Research Dept. of Design Communications EXECUTIVE EDITOR-IN-CHIEF Ryan K. L. Jiang ART DIRECTOR Shijian Lin MANAGING EDITOR Alice Chen EDITORS Kiminco Huang Sophia Li REPORTER Qianqian Lee DESIGNER Anying Chen Design Intern: Yiqing Shen EDITORIAL DESK editorial@brandmagazine.com.hk ADVERTISING INQUIRIES Sophia Li +86-20-89095121-8009 ad@brandmagazine.com.hk

2014C / May ( ISSUE15 )

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EDITORIAL Places to hang, art festivals, night-outs, country escapes and even natural adventures make people’s lives more worth-living and enjoyable. On the other hand, creative industry was always

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related as the “fun jobs”, for their sufficient space for various creativities to happen. These two kinds of enjoyment together enable designers to experiment and generate ideas that have more interactions and involvement, fun factors and creativity in their designs. These designs finally became the magic power which lures the public to non-ending excitement and joy. In this issue, we take a closer look into the latest branding creativity trend for entertainment and lifestyle industries, decoding the irreplaceable brand values and unique design methodology of the brand that endorse “Live, Play, Create”.

Correction: In the last but 6 line in the 2nd paragraph on Page 160 of Renaissance of materials (BranD 2014B), "Alexander Panesar" is a misprint for "Jazz Panesar". In Panesar's answer of the second interview question on Page 162, “covativedesign.com” is a misprint for “ecovativedesign.com”. On Page 163, footnote "Meat and Potatos" is a misprint for "Meat and Potatoes". Misprints of unclear images occurred on Page 63 and Page78. Contributions: We welcome all excellent relevant work contributions; however, we do reserve the right to select in accordance to different subject matters and quality purposes. All the works will be examined with respect and appreciation. Fonts sponsored by Monotype. Copyrights: All rights reserved. Reproduction in whole or in part without permission is strictly prohibited.

Ryan K. L. Jiang Executive Editor-in-chief

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BRANDING 34 Toast to Thrill

PRODUCT 18 Bicycle Maniac

48 Wrap the Party—

Branding Music Festivals

CREATIVE RESOURCES FOR DESIGNERS.

NEWS

COMMUNICATION 70 Emoji Bomb 86 Campaign Indulgence

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A Collection of Ideas Curated by Paola Antonelli from Department of Architecture and Design, the exhibition A Collection of Ideas features clusters of acquisitions that tackle, for instance, the relationship between design and violence; new expressions of organic design in response to environmental and societal disruptions; and the increasing importance of interaction design, as seen in video games new to the collection. The exhibition is on view until February 28, 2015 in the Museum of Modern Art.

www.moma.org

NEWS

Sustainable Brands 14 San Diego The Sustainable Brands Conference will take place in San Diego, California from June 2 to June 5, 2014. It is ground zero for sustainability, brand and innovation professionals from around the world to be inspired, engaged and equipped to succeed by building the better brands of tomorrow, while building a network of like-minded colleagues who can help. The theme of this year is “Reimagine, Redesign, Regenerate”.

www.sustainablebrands.com/events/sb14

BranD 2014C - LIVE · PLAY · CREATE - NEWS

Art Basel in Hong Kong

Design Miami/ Basel 2014

The second edition of Art Basel in Hong Kong, will take place from May 15 to 18, 2014 at Hong Kong Convention and Exhibition Center. The show will present 245 of the leading galleries from Asia, Europe, the Americas and the rest of the world. The show will include: Galleries, the main sector, Insights presenting precise contextual and thematic projects from Asia and the Asia-Pacific, Discoveries serving a platform for younger galleries and Encounters showing large-scale sculptural installations. A Film sector will be also included for the first time in this event.

Design Miami/, the design fair dedicated to collectible design will return to Basel on June 17, 2014. The 6-day fair with an exhibition and events program will focus on a celebration of exchanging ideas between disciplines and between cultures. It will also launch Design At Large to present the monumental installations that surpass the scope of the gallery booth. The cultural program for 2014 will offer a diverse and lively forum for the exploration of ideas from the fields of design, architecture, fashion and technology in the way of Talks, Collaborations and Satellite Shows.

www.artbasel.com/en/Hong-Kong basel2014.designmiami.com

Thomas Frisch Artrium_Bottle vase n 2129 | Pol Chambost

Dansk Mobelkunst_Swivel chair | Hans Wegner

A Rabbit’s Walking Project in Europe | Xu Bachen

Gallery SEOMI_From the Glitter | Kang Myung Sun

Born in the Wild | Cheng Ran

Oil on Linen | Yuan Yuan BranD 2014C - LIVE · PLAY · CREATE - NEWS

PRODUCT 18 Bicycle Maniac

FEATURES COMMUNICATION 70 Emoji Bomb 86 Campaign Indulgence

BRANDING 34 Toast to Thrill 48

Wrap the Partyâ&#x20AC;&#x201D; Branding Music Festivals

SPACE 102 118 140

Public Fun

Sailing Bliss

Chill and Create

MY BICYCLE Zarko Bubalo

Designer of Imagine & Perfect Day At the moment I own a pair. One of them is a really old Flying Pigeon bike I planned to restore, and now sits as an ornament in my office. Apart from that I own one of the IMAGINE bicycles we are building at the moment, and that is the one I ride to office whenever the weather allows. Unfortunately it is not my primary transport, but as the city I’m living in becomes more and more bicycle friendly, it may as well be one day.

Designer of Futura Bikes

I am an avid cyclist. I’m riding every day to everywhere. Being an urban cyclist helps you to expand your vision of your city. You start to understand your city with her new possibilities, new routes, and new places. Also, I believe that this fact makes a lot of psychological changes like agility to take decisions and confidence.

BICYCLE MANIAC

Daniel Mora Barrera

Cycling culture, such as retro bicycles, handmade components and cycling events, is really hip around the world. The elegant and exquisite design has drawn our attention back to the bicycle aesthetic again. Not just a commute vehicle or tool helping us on everyday errands, bicycle symbolizes a healthy lifestyle. It implies the owner’s taste and the awareness of our surroundings; creates a fashionable and breezy atmosphere as decoration in space design and also communicates ideas and concepts as part of the visual language.

Rene Müller

Designer of woodloops bike Pin-Ups I think I started cycling 4 years ago, and all the self-made bikes I owned, gave me the easiest way to move and to discover my surroundings. Right now I have a good set of bikes which accompany me almost every day: a self-made single speed, a racing machine, a MTB and a foldable one, which comes with me when I’m traveling or taking my son to school. Whenever I can, I choose the bike or in combination with the metro, it’s just the easiest and nicest way to get into the city and to meet people.

BranD 2014C - LIVE · PLAY · CREATE - FEATURES

David Lance Goines

Designer of Rivendell Poster For most people, using and owning a bike is part of their life and way to live. I own a 1979 Trek bicycle, on which I have ridden many thousands of miles. My bicycle is my main around town transportation. It is easy to park, and ideal for distances under five miles on relatively flat terrain. They are a good form of exercise, as well.

BICYCLE FASHION To make natural handmade bicycle more available to the mass, Bamboobee bicycle focuses on improving the quality of the raw material.

BICYCLE MANIAC

Bamboobee | Bamboobee | Bamboobee Pte Ltd | 2011

Rivendell Poster | David Lance Goines | Saint Hieronymus Press | 2012

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Absolut Moscow, a limited edition for Absolut vodka in the tradition of their other “city” bottles, is designed to showcase the cutting-edge personality of the Absolut brand against the backdrop of Moscow. The bottle captures the beauty of traditional Moscow architecture with a taste of the city’s future in the form of glittering skyscrapers and ultra-modern design.

Absolut Moscow Limited Edition | Aida Airapetian & Alena Akhmadulina | Cocoon Group | 2013

Absolut Moscow Limited Edition | Aida Airapetian & Alena Akhmadulina | Cocoon Group | 2013 Photography by Pernod Ricard Rouss BranD 2014C - LIVE · PLAY · CREATE - FEATURES

TOAST TO THRILL

A O

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It shows a city with contrasts: old and new, traditional and modern, affluence and poverty, churches and nightclubs. The idea of using the front and the back together, seeing through the traditional buildings to the gleaming skyscrapers, was a great symbiosis and one of those ‘aha’ moments that you relish so much in this industry.

TOAST TO THRILL

Bear Flag Wines | Eduardo Bertone | Anna Goodson Management

Bear Flag Wine labels feature different brilliant illustrations. For pure eye candy and shelf appeal, the memorable illustrations fit well with the flavours of the alcohol, adding an artistic atmosphere to the products.

The Guardians is an old family of prestigious winemakers with close ties to the land, the vineyards and even the unique buildings situated since the 19th c. in historic buildings, at the areas of Mantinea and Nemea in the Peloponnese. Designers were inspired by the organic farming methods of the company and its aims of producing high quality grapes and wines while protecting the ecosystem and the environment. The scarecrow symbolizes the age old figure of the vineyard guardian.

The Guardians | Gregory Tsaknakis | Mousegraphics | 2013

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-BRANDING -BRANDING MUSIC MUSIC FESTIVALS FESTIVALS

BranD 2014C - LIVE 路 PLAY 路 CREATE - FEATURES

Music festival is a place for escape and relaxation, a gathering of music lovers and creatives and as well as a paradise for brands and sponsors to promote themselves. In regards of the visual identity of a music festival and interactive designs for the event manifesto, themes and concepts, for example, Nordik Impakt stayed simple in order to achieve a universal realisation and identification. Some music festivals like Sonar Music Festival provide multimedia experience in order to integrate the interactive elements in its visual designs. Others, such as Electric Peacock Festival, would attach cultural symbols to the design in corresponding to the concept or idea of the musical events.

WRAP THE PARTY - BRANDING MUSIC FESTIVALS

WRAP THE PARTY

WRAP THE PARTY - BRANDING MUSIC FESTIVALS

SIM-to PLE be IDENTIFIED

Therefore, the communication plan demanded legibility, synthesis and velocity as much as connection with the jazz language to narrate and distinguish itself from other local events in the area. Basic geometric shapes and bold type layouts are used to get the work done week by week without losing coherence between posters yet supplying them with the playful and expressive richness of Jazz.

Jazz en Claypole poster series | Pontenpie & Max Rompo | Rompo & Pontenpie | 2013

Pontenpie and Max Rompo designed Jazz en Claypole poster series poster with a trumpet player on it playing a “PRE” anticipating the arrival of Jazz to Claypole, which is a very small-town outskirts of Buenos Aires where concert series featuring foreign pop music had never been organised before.

BranD 2014C - LIVE · PLAY · CREATE - FEATURES

WRAP THE PARTY - BRANDING MUSIC FESTIVALS

The electronic music event Ultra Music Festival featured the largest and most technically advanced concert stage production and designs at an outdoor festival, as the latest in staging automation technology, video, set design, and creative LED video systems were combined to form a complete and awe-inspiring audiovisual experience.

Ultra Music Festival | Richard Milstein | 2014

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Sónar 2014 is the 21st Barcelona International Festival of Advanced Music and New Media Art. Sónar is eager to keep up with the latest technological innovations in audiovisual creation and performance, which presenting shows that are totally immersive experiences, fashion out of complex languages embracing art, sound and technology. Avant-garde languages are also at the fore at Sónar. Sonar 2014 | Sergi Caballero

WRAP THE PARTY - BRANDING MUSIC FESTIVALS

BranD 2014C - LIVE · PLAY · CREATE - FEATURES

INTEGRATING CULTURAL SYMBOLS

Initiated by Shigetaka Kurit, emoji has now become a set of visual languages for communication on applications for cell phones and computers. Despite the case that ancient people conveyed information by drawing pictures on the caves which could also be considered as visual communication, emoji is more than transmitting words into pictorial messages. It comprises characters, interesting episodes, and various emotions. Emoji’s contribution for digital communication is derived from existing cultural forms like comics, meanwhile embarking on a new journey of self-expression.

EMOJI BOMB EMOJI BOMB

Emoji is clarified and condensed. It can probably replace words on the screen. Comparing with the emoji originally emerged in the first half of 1900, consisting of simple symbols, emoji in our days embraces a diversity of cultural contexts. Almost every single emotion in our daily life is involved, presented in a more exaggerating, to some extent, ridiculous but still emotionally honest way. Instead of typing a long sentence to express, emoji reduces embarrassment, saves time and adds fun to the conversation. Alejandra Morenilla, designer of “A Funny Crew”, Stickers for LINE app suggested that the sticker’s function is to make better and the funniest chat conversations with draws and graphic signs and express in an easier way than writing. Except default emoji, users can select those they believe can represent their personalities and emotions from emoji store, to build up an expression system with individuality. The application of emoji on screen has extended from communication with friends to social network interaction. For example, it is popular to have stickers on photos for decoration.

BranD 2014C - LIVE · PLAY · CREATE - FEATURES

Emoji in a sense has led the trends of people’s lifestyle. it runs with its own business models. In order to attract users, mobile messenger Apps offer default Emojis, as well as charged ones. The default emoji seems kind of long lasting, normally with static faces. On the other hand, designers keep working on innovative emoji, such as those with behaviour. Some characters are created to be classic, in representation of the brand itself, such as the bear in LINE. While some are based on consumers’ favour, some drawn from artists’ or independent designers’ works. Sometimes artists or independent designers are invited to design emoji for mobile messenger Apps, but o¦en they still maintain the copyright. Another way of interpretation would be a promotion campaign for brands, such as the collaboration between Disney and LINE. In addition, product lines and other application in the daily life from emoji on mobile messenger Apps compose a special contact with the audience.

A Friendly Mutant Family is a set of 40 stickers for LINE, expressing different emotions and daily life situations, such as feeling sleepy, angry, and hungry. It is a friendly family of dogs, humans, hearts and vamps.

EMOJI BOMB

A Friendly Mutant Family | Pablo Delcielo | 2014

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LINE Friends is the character brand of LINE’s original sticker characters including Cony, Brown, Moon and James. LINE Creative is making products for giving brand image of LINE, and LINE Friends USB Memory is one of the products. It is designed to meet both practicality of USB memory and decoration characteristic like a figure.

EMOJI BOMB

LINE Friends USB Memory | Hyuckgoo Jung | LINE Creative | 2013

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CAMPAIGN INDULGENCE

When it comes to luring consumers, brands have gone all out. Branding campaign is all about connecting and engaging, building a responsive environment highlighted with interactive features. Marketing tactics have evolved from old-fashioned single-line slogans into a package full of surprises and wonders, a package that is designed for each individual, aiming to create personalised and participatory experience. Moreover, marketers have reinvented ways of storytelling in commercial campaigns, with fresh approaches and the most-advanced technology to target a whole new generation of consumers.

The TheArt ArtofofMixology Mixology| Zander | ZanderBrimijoin, BrimijoinPhilip PhilipSierzega Sierzega&&Evan EvanAnthony Anthony| |Red RedPaper PaperHeart Heart| |2013 2013 BranD 2014C - LIVE 路 PLAY 路 CREATE - FEATURES

CAMPAIGN INDULGENCE

THE CHARM OF STORYTELLING

The Art of Mixology was an installation that highlighted the level of cra娄 and artistry in making a cocktail. The installation invited this comparison between artists and mixologists by using drink ingredients as inspiration for both a handmade cocktail and a projection of art and animation. Each ingredient stands for a certain kind of unique visual art piece. As the drink was being created, a large projection behind the mixologist started to animate and mix custom artwork based on each ingredient. As a finishing touch, cocktail shaker was fitted with a wireless sensor, and when the mixologist finished a drink with a vigorous shake, the art responded in kind. Swirling bits of graphics based on traditional Mexican masks would animate out of the mixing ingredients on the large projection, thus finishing an original work of art that guests could admire.

As part of ongoing explorations for how brands can come to life creatively in the blend of physical and digital worlds, Second Story, part of SapientNitro, created a prototype showcasing the capabilities of Intel’s Galileo development board. Finding inspiration in previous projects involving collaborative drawing canvases, the team came up with something beautiful, engaging, and simple for other Makers to build themselves: Lyt. The Lyt prototype allows individuals and groups to use their mobile device to paint their space with colour and movement. By connecting to the fixture via WiFi, they can draw on it, control its intensity, and adjust the character of the light in their environment. The effect is visually hypnotic and experientially memorable, empowering users to interact with their surroundings in a unique way. Lyt is an exploration of how Intel’s products can be used to create immersive, innovative, and responsive moments for all who participate, bringing the brand to life in new and different dimensions.

Donald Chesnut Chief Experience Officer at SapientNitro

CAMPAIGN INDULGENCE

“Consumers no longer make mental distinctions between ‘online’ and ‘real-world’. For consumers, it’s just ’shopping’, ‘reading’ or ‘keeping up with my friends’, and these tasks can occur on their phones, in stores, in person, or on social media, etc. There is a collapse happening between digital lives and the real world at a very rapid rate, and to some extent, it is just a beginning that the digital world is changing our lives. Interactive design is playing an increasingly important role in building brands today, in campaigns, digital services, and multi-dimensional storytelling. Effective brands must live in the digital, physical, and emotional worlds for any consumer. As digital products and services play an ever-increasing role in people’s lives, so does the role of interactive advertising. This melding of digital and traditional media, of physical and online, requires a new form of brand storytelling. We call it Storyscaping, where a brand is distinctly brought to life in a world that spans all of these types of touch-points. It’s no longer as simple as creating a clever message for a brand campaign. Instead, we must think about how we activate that brand’s world, and how we empower the customer to create their own story within it. New media, technologies, tools, and experiences will continue to require new ways to engage consumers, new ways that are not media-dependent. ”

Lyt | Daniel Meyers & Thomas Wester | Second Story, part of SapientNitro | 2013 BranD 2014C - LIVE · PLAY · CREATE - FEATURES

People treasure the aesthetics of private space and experience derived from it. Meanwhile, the public open space provides different enjoyment and fun through a variety of art installations and functional design works. The creative play area explores the possibilities of the practicality and originality of public art.

PUBLIC FUN

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ENERGY CAROUSEL DORDRECHT is a chandelier of hanging ropes a shelter, an iconic meeting place for different age groups. It swivels and produces energy to create coloured light in the evenings.

ENERGY CAROUSEL DORDRECHT | Ecosistema Urbano architects | 2012

PUBLIC FUN

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n his adventu ked o re h om bar ed from Europe t Eve m et g avell e o Chin r r sinc t s u o e l o a and Zhen e Odyss Po Ithaca o c r a M , o a n e s ast of west-A tlan the co rers, travell ti c ng He o explo ers a l a a visite nd nd businessmen st of e z d countries e the In h t , n a e d c i a O n s a c f i n d a t e i s ng m arin mp o sail es s co a ing in h tor to the sea ies.

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SAILING BLISS

The Pelican | Foreign Policy Design Group | 2013

d celebrat turning to ng institute inspir The P fort an rers re ory s land a¦er a long elican is a seafood dini ed by the com pirit of seafa s , t n h o i d e g in the anticip e r r a e b , m i n r d a l voyag c o s i l a ¦ o ation visiting a en seen on coast taurant brings t e. Inspired by the pe pany reside. rts of good food brief haven where the comfo and great com al f u nc t i o a-inspired animals n characters inte The g ns of the Pelican the du racting with se raphic of mixing huma is inspired by f r o s m bar to clu m y r v o a o f s p r o o g g n din i r resses, restau n n b and wine deep e g a v r a t e ing space to The Pelican rant & bar. As the s a bar is a blu s a restaurant i e e h b t t o f u i m o into t n d g o a rring of what is an ry between when ec he night. This blurrin ing the bo d when it b hat is real and w forma ing to graphical in f blurr u terpretation o a series of i ndary between w e Mary Pop hat is imaginary. l and what is not, lead llu pinsAs the tur to graphic expression like character then goes in esign inte strations that fea boundary blurs, the h t e n i i n h n d t t i t e s e g a n i rior sp h w y e riding o a i l r s s p m d e a e r s j c ace design t o ommunica ckey. The a giant pelican o spended in air. orse spotting a singular tear-drop throu diver’s mask or light fixtures su gh the neon pink sea-h

Work Hard, Have Fun| Lorena G | 2012

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Cutty Sark epitomises the great age of sail. The project was brought to a halt when a fire in 2007 swept through the wooden structure, causing extensive damage to the centre of the ship. The disaster caught the public’s interest and a major fundraising campaign was initiated. The campaign enabled the project to be resumed not only at the end of 2009 but also with an enhanced design brief.

The Cutty Sark’s iconic hull shape is defined by the revolutionary 19th century composite iron and timber shipbuilding technique. Specialist conservation work addresses the critical physical condition of the ship through a combination of electrolysis, mechanical cleaning and preventative coatings.

Grimshaw ’s innovative design proposes the raising of Cutty Sark within the dry berth, providing a new and captivating area for

visitors under her revolutionary hull. A new supporting structure cradles the li¦ed ship’s hull. In addition to this, an enveloping glass canopy, attached along the ship’s waterline, will give year-round protection to visitors in the dry berth. The fully accessible interior has been presented in its original, cargo carrying form, allowing visitors to explore the restored decks and crew accommodation.

Photography by James Stephenson

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SAILING BLISS

Cutty Sark restorastion | Den Farnworth | Grimshaw | 2012

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CHILL AND CREATE

Coffee has become one of those consumables that are linked to a creative lifestyle experience. It is not surprised that coffee shops, the recognised third space for social interactions, have been inevitably stereotyped as places that attract the creative: artists, writers, designers, entrepreneurs, and those who have been seeking and sharing sparks of inspiration. The nature of coffee shop is changing with the upcoming social movements, technology as well as different mindsets of the new generation. It has been transformed into unique communities that appeal to particular groups with certain lifestyles. It has become the venue for almost every occasion, a place to get those creative juices flowing, to embrace the sense of belonging and to enjoy the unique vibe it provides.

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Blend of the Day: Caffé Architect

Don Café House, in the city of Peja, Kosova, aims at creating an environment which interprets a feeling like staying inside of a coffee sack filled with coffee grains. Tables and hanging chandeliers represent the coffee grains lined up asymmetrically. Two organic shaped walls serve the decorative purpose and also the “S” shaped seats in the middle.

Don Cafe Peja | Visar Geci | INNARCH | 2013 Photography by Mendim Rugova

Loveat Jaffa is a restored hangar in the old Jaffa Port that used to be a shipping plant in early 20th century. The space, being on the corner of the hangar, enjoys three glass-louver facades overlooking the port.

CHILL AND CREATE

The inspiration derived from the history of the site as a shipping plant, fragmenting the mass by "boxing" each function in a different shape, size and material and "stacking" the various boxes, along the back wall, like crates in a shipping yard. Accordingly, the materials, echo the imagery of shipping yards – steel beams, steel decking plate stairs, wire mesh railings, exposed concrete, wire mesh reinforced glass. The kitchen was fitted into a discarded steel cargo container and the toilette was boxed in the timber planks used as casting-form for the concrete.

Loveat Jaffa | Ronen Levin | Studio Ronen Levin | 2013 Photography by Yoav Gurin

The furniture design as well, is inspired by warehouse imagery – timber, steel, rods and bolts. The bar stools were cast from a 1930's tractor iron seat and painted yellow, dinning chairs made of OSB, and a sofa was of white wire mesh upholstered with 25 XL heavy twill work shirts sewn together. The design, materials and colours were manipulated to echo the site's history while maintaining Loveat's branding strategy as a young and trendy, frivolous and playful company, in spite of the inherent "heaviness" associated with the visual language of packing plants and shipping yards.

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COLUMN sure as possible that it will be the right quality and offer the best possible performance. The visual identity should support that as much as possible, but if the product does not work, even the most beautiful identity will not help. I feel that there are a couple of cases where long established brands better stick with their weird and out of style logos because they really define their honest approach and heritage the most.

colours in outdoor brands related to outdoor adventures?

This page, clockwise from left: Andrew Groves conducts a Woodland Woodcarving Workshop; Miscellaneous Adventures Whisky Cup; Secret Stash Pouch; workshop woodcarving kit consisting of an axe, carving knife, crook knife, folding saw, and woodworking apron.

Miscellaneous Adventures There is nothing like being one with nature through honest, manual labor to counter our fast-paced world inundated with digital images and information overload. Parallel to a successful career as an illustrator working primarily on the computer, Andrew Groves found a way to unite his passion for the outdoors and his creativity more directly with his handicraft project, Miscellaneous Adventures. Inspired by a hiking trip to northern Sweden, where he discovered the traditional handicrafts of the Sami people, Groves now crafts and sells wooden utensils for use on outdoor adventures. Groves’ illustrations are full of natural motifs and the English native has always tried to live an active outdoor life to fuel his creativity. Working out of his barn in West Sussex, Groves sources wood from the surrounding woodlands and handcrafts each unique piece using traditional techniques and a few essential tools: an axe for felling, a hatchet for hewing, a carving knife, and a gouging knife. He also shares his handicraft in woodland woodcarving workshops, empowering urbanites to return to nature.

Photography by Calum Creasey, from The Outsiders, Copyright

This clearly depends on what you are going to do. If you are game watching in Africa, the beige, brown, olive green mix might be just right, but if you are snowboarding in Switzerland, you clearly want to make a style statement. Overall, I like the fact that sportswear and outdoor gear define their own trend colours and are not shy of bright and lively colours anymore. Maybe the industry has finally come to terms with customers – like myself – who simply like to wear the functional apparel for their urban adventures as well.

What is the difference between signage systems for outdoor adventures and those in daily life?

Gestalten 2014

Seeking craziness or tranquillity outdoors has become a healthy lifestyle for modern citizens. Brands and coherence products, visuals and concepts are getting more expressive and appealing. What is the history of visual culture in the industry of outdoor adventure? As far as I remember, the world of outdoor adventure always had a distinct visual language to it. It was that mix of brown, beige and olive green that defined the clothing. It was that look that made a clear statement but also never went anywhere near being in fashion. It was the time when going to an outdoor equipment store would be like going to a job interview, and you would probably make up some safari stories before you’d

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commit to only wearing that jacket in the city through the winter. But those days are over. Functional apparel has clearly become part of the urban it-wardrobe and even the gears that are really used on hikes throughout the climate zones have added bright, eclectic, seasonal colours to the brown-beige-olive colour palette.

it is about the related activities and also the associated attitude. It might come down to the desire for finally taking some time off, for the break from information, technology and crowds. It is expressed in clothing, photography, and illustrations as well as a new range of magazines, but most importantly in people who are going out for a walk or a ride. In terms of the visuals applied, I think we see two developments happening at the same time. One is rustic, romantic with vintage colours and retro brands while the other one is all about high-tech and innovation.

How would you describe the changes of visuals applied in outdoor industry in recent years?

What we are seeing right now is a huge influence of this outdoorsy and adventurous style. It started in places like Portland and is now leaving its trail all around the globe. And that development is not just a fashion story;

Sven Ehmann / Creative Director of Gestalten Specialising in developing visual concepts and contents across all media

I used to spend my childhood holidays climbing up mountains with my parents – and hated it. But for a couple of years now the pleasure of being outside is back and even though I do not (yet) spend as much time outdoors as I would like to. I am trying to use any opportunity. For example: I spend about In a market that long prioritized performance and absolute functionality as the sole criteminutes perSeattle day commuting onstakes. my bike, ria90 for judging camping gear, Scout is one of the companies changing the Founder and designer Ben Masters adds iconic beauty and sublime design aesthetics to the equation. From the selvedge denim and Japanese chambray Field Bed to the Sunforger canvas Single Pole and even though it’s a means of a transport, Tent held up by a collapsible hickory and antique brass pole, Scout Seattle appeals to today’s outdoor enthusiasts who want to go back to the basics in style. without that I wouldn’t not be a happy person.

What do you look for in a well-designed visual identity of an outdoor brand?

Even more than in other fields, I think that outdoor brands are all about trust. If you pick a piece for your next tour, you want to be as

Scout Seattle

I know that most of those stories, pictures and illustrations about adventures mainly try to sell me another piece of gear, but I try to ignore that as much as possible and use them as inspiration to simply make a move. The world is full of armchair explorers, but I feel that all those beautiful images can get some of them going.

For safety and certain environmental elements, outdoor brands tend to use refreshing colours and inspiring patterns. How are

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Are you an outdoor adventure lover yourself? How do the illustrations and graphic designs on outdoor products influence your feeling toward the outdoors?

The fundamentals are the same. Signage needs to be clear, readable, understandable, and universal before anything else. But the signage used in the outdoor setting needs to be even more considered. Getting lost around a rocky mountain before sunset is more serious then getting lost in your local mall on a Saturday a ernoon. Therefore, a signage system should really care about providing the right and most useful information at any time.

Sugar of the day

Tattoo Infographics

Infographics design illustrates tattoo information styles as a tattoo.

It is an information motion design which shows a person’s sugar consumption in a day. The communication goal is to increase the audience’s awareness of over-consumption of sugar. TOP 15 FUNNY INFOGRAPHICS

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Happycentro Italy

Micro-column To some extent, “craziness” or “playfulness” is helpful and essential for the process of creative design. Designers may have crazy ideas or behaviours at times, which trigger creativity and lead to great works. How do we define the boundary between craziness and creativity? Can craziness be illustrated by a simple picture?

Jean-Maxime Brais Creative Director of 8 Bis Branding, Canada Doing things differently or out of the "ordinary" can be a very simple exercise but requires great courage because it requires voluntarily excluding oneself from the majority. An example would be to decide to look at the world with a coloured filter, with coloured glasses. This in itself is already creative.

Emily Eldridge Illustrator, Hong Kong Craziness is a little bit like breaking the rules. It's taking things slightly over the edge, pushing the boundaries of what's acceptable.

Benoît Bodhuin Type & Graphic Designer, France

Frank Hemmekam Graphic Designer, The Netherlands

Anagrama Mexico The dictionary defines "crazy" as "possessed by enthusiasm or excitement" or "immoderately fond; infatuated". For us, it's very important to obsess and to be very curious, and really curious about A LOT of very different things.

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For me, the boundary between craziness and creativity is very small. I like to go out with friends and do crazy things, so I can make a clear start to my creative process with observing the trends and then I like to give it a crazy twist.

Leanna Jones Visual Designer, USA I think that craziness translates well in creative endeavours. Often times, I find that coming up with meaningful solutions to problems stems from making connections that no one else may initially see at first. The photo is an example collage of some of my most important“crazy” process work for a project that I did for the WorldBeat Center in Balboa Park, San Diego.

Ioana Negulescu Graphic Designer, Romania In Romanian, “zuz” means slightly crazy. For me, “zuzism” is both my theory and creative belief. It’s defined by the presence of vivid colours, eccentricity, optimism and happiness. In Zuzism, creativity happens when craziness and happiness are in balance. I am creative when I am very happy. This is why I call myself “The Happyholic”.

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Craziness is inseparable from creativity; it is what makes us leave the monotone track; it is an energy that breaks the systematization. It is the child who wants to play when we dive in boring occupations.

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Somewhere we read recently the sentence "Crazy Make Beauty". It seemed immediately interesting to match craziness with the uncontrolled genius of creativity: the chaos. One of the craziest projects we recently did is a 200 pages catalog about "nothing", made using almost all of the printing technique available. Not even using a single word nor using an image, it is a printed object more to touch than to see. I think it only happens once to make a project like this.

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e 2013/2 Sm/ E m I a R r E g o S r Tp yHaYnnAuRal RrAtP Ge O ib L T t O x H e P N SS NAMELE ——2013

UR FROM O ORS T U B I R CONT

dio A3 Stu e at corpor ty identi 2013

i Bakony Bence

A3 Studio’s new visual identity, elegant and sober has been developed in a black and white graphic universe. The business cards are printed with a Heidelberg letterpress on two different coloured papers which are then glued together. The typesetting of the card is applied to different media of communication, such as letterheads and envelopes.

hlen / Yvo Hä o——2013 di u t S A3

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LIGHTBOX

Bakonyi Bence is revealing moments by not saying anything about them. It is unsolvable what is going on in the pictures, where is the boundary between reality and fiction. The delicate absurdity of the moments of the photo-series Nameless is accompanied by ease that turns people’s attention from searching for explanations to the liberation of movements appearing in the photographs. As a consequence of this, it liberates the receivers. Therefore the pictures are considered as scrapes of dreams or as a mixture of surreal engrams; explanations regarding them are not necessary. In the case of Nameless, the question is “How” instead of “What is happening”.

Previously

BRAND IDENTITY / BranD 2013B

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.

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MICHEL MEIER Yvo Hählen

A3 collectif

2011

This identity was developed for a photograph duo called Michel meier. A3 collectif developed an identity based on black and white, which were the origin colour for photography. The client wanted two versions of this card. A3 collectif developed one with their portraits and the other just composed with type and forms. A3 collectif also played with some photographical elements, like the cross and the photo size. The composition is Minimalistic and typographic.

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FROM OUR CONTRIBUTORS

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