View allAll Photos Tagged VisualIdentity
DUK
★Client: Jack Primless
★New Visual Identity ♥
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inworld or Fb
karithop007 #1979 - Discord
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xoxo!
she is not decorated.
she is claimed by colour.
identity doesn´t sit on the surface.
it grows, it accumulates, it overwhelms.
and still - the gaze remains calm.
this is not about beauty.
this is about presence.
i did this work with google nano banana pro based on real portraits of a real woman, trying to make a modern version of arcimboldo.
Visual Identity
If you wanna a redesign for your shop/ event.
Please, contact krnxilla resident inworld or Fb
Self-portrait in an outdoor mirror mounted on a wall marked by time. The figure appears still, but the image speaks of passage, travel, observation. There is no rootedness, no stable belonging: there is the need to move, to see, to cross. Even in a poor, worn, almost temporary space, the idea of a life directed elsewhere remains intact. Not toward stillness, but toward the world. The reflection records this tension: the body is there, but the gaze is already outside, already beyond, already in motion.
FREME
Client: Alison NV
New Visual Identity ♥
If you wanna a redesign for your shop/ event./ Club
Please, contact krnxilla resident
inworld or Fb
karithop007 #1979 - Discord
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Self-portrait in a mirror with a decorative frame inside a public place. The framing is frontal, essential, direct. The frame gives the image a more formal tone, but the reflection remains concrete and everyday, without particular effects. The figure photographing herself is visible, within an interior space made of passages, light, and real presence. It is a simple, still self-portrait, built entirely on the relationship between the person, the mirror, and the space containing her.
Self-portrait in a reflection filtered through a perforated metal surface, inside a public place. The face and body are visible, even if broken by the grid, and precisely for this reason the image gains strength: the presence remains, insists, asserts itself even where it seems obstructed. The point is not to hide, but to be there. To look at oneself, to photograph oneself, to find oneself everywhere, even below, even inside a structure that divides the visual field. An image about continuing to see oneself, to recognize oneself, everywhere, except in the place where one is forced to be.
We live immersed in a massive, already organized chaos, yet we invent barriers and blocks out of a fear of getting lost. We feel the need to catalog everything, putting each thing away into separate compartments, just as we do at home with our bags.
But this desperate attempt to dam the world is an illusion. The more we try to catalog life to avoid losing our way, the more we create the exact conditions to truly lose ourselves. Because by constantly setting boundaries and limits to protect ourselves, we end up giving up our most precious asset: the freedom to be part of the chaos
In volle vaart passeert de intercity. De dubbeldekker draagt de Flow-beschildering met vloeiende lijnen en een groot logo.
De foto is een zogenaamde "meetrekker"; met een lange sluitertijd is er meebewogen met de langssnellende trein. Het linkerdeel van de trein is scherp op de foto vastgelegd. Het landschap lijkt te bewegen.
FYR
Client: Franki Val
New Visual Identity ♥
If you wanna a redesign for your shop/ event./ Club
Please, contact krnxilla resident
inworld or Fb
karithop007 #1979 - Discord
linktr.ee/krnxilla
Distorting mirror in front of a shop window with the sign of the Italian state lottery game “Lotto.” The image shifts, forms bend, bodies stretch, volumes slide. Multiple reflected presences can be seen—painted figures, reflections, and the self-portrait—all coexisting within the same unstable space. It is not a simple self-portrait, but a composition shaped by chance and by the reflective surface, where reality distorts without disappearing and where the photographer fully enters the scene.
Creation of logo and visual identity.
If you wanna a redesign for your shop/ event.
Please, contact krnxilla resident inworld or Fb
he’s not posing. he’s not hiding. he’s just there — all rings and smoke and layers of rhythm. the hat comes low, the gaze is covered, but nothing feels concealed. a mannequin watches from behind glass. but this isn’t about fashion. this is about presence. silent, seen, and solid.
From the Marin side, the Golden Gate Bridge reveals a quieter kind of authority. The south tower lines up cleanly, frame within frame, its geometry doing the work without theatrics. Traffic moves steadily across the deck, suspended between headlands, while the bay opens wide to the west in muted blues and silvers. This is the bridge as infrastructure first—precise, legible, and confident in its own proportions.
The catwalk and trusswork below introduce a second rhythm, all diagonals and riveted steel, grounding the span in craft and labor. Hills rise tight against the roadway, reminding you how abruptly the city gives way to landscape here. On clear days like this, the scene feels almost understated, as if the bridge is content to let light, distance, and repetition carry the image.
San Franciscans know this angle well. It’s less postcard, more proof-of-concept: a working crossing that happens to be monumental. The Golden Gate Bridge earns its place not through drama, but through consistency—showing up, day after day, as a piece of city-scale design that still feels right, decades on, no matter how often you return to it.
UNFOLDED
★Client: Boby Kruz
★New Visual Identity ♥
If you wanna a redesign for your shop/ event./ Club
Please, contact krnxilla resident
inworld or Fb
karithop007 #1979 - Discord
linktr.ee/krnxilla
xoxo!
he looked like a blueprint for a city that hadn’t been built yet. cool, sure. but more than that — designed.
Installed along the Embarcadero with the Ferry Building as her backdrop, Coralee by Dana Albany settles into San Francisco with quiet confidence. Composed of recycled glass and mixed metals, the mermaid figure draws you in through detail first: fractured greens and blues set into copper and brass, rusted steel woven with ornamental fragments, surfaces shaped as much by weather and time as by hand.
Up close, the work reads like an archaeological assemblage—industrial remnants reworked into scales, ribs, and fins. From a distance, the full form emerges: grounded, alert, and unmistakably present within the city’s daily rhythms. Bikes line the plaza, commuters pass through, the Ferry Building clock keeps time behind her. The sculpture doesn’t interrupt the waterfront; it belongs to it.
Originally created for Radical Horizons: The Art of Burning Man, Coralee carries her mythology lightly here, recontextualized as public art rather than spectacle. Installed through the Building 180 program at the Port of San Francisco, the piece bridges environmental awareness, feminine strength, and civic space—proof that large-scale sculpture can be both intricate and humane.
This is San Francisco public art at its best: material-forward, place-aware, and quietly woven into the life of the city.
Estudio anatómico: Calibración de relieve y textura orgánica.
Exploración de la estructura ósea y el exoesqueleto mediante contraste extremo para resaltar la arquitectura natural. Un ejercicio de síntesis visual sobre la complejidad biológica
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marketplace.secondlife.com/p/KS-Snack-Plastic-Mockup/2517...
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◆If you have any questions you can contact me: linktr.ee/krnxilla
Installed along the Embarcadero with the Ferry Building as her backdrop, Coralee by Dana Albany settles into San Francisco with quiet confidence. Composed of recycled glass and mixed metals, the mermaid figure draws you in through detail first: fractured greens and blues set into copper and brass, rusted steel woven with ornamental fragments, surfaces shaped as much by weather and time as by hand.
Up close, the work reads like an archaeological assemblage—industrial remnants reworked into scales, ribs, and fins. From a distance, the full form emerges: grounded, alert, and unmistakably present within the city’s daily rhythms. Bikes line the plaza, commuters pass through, the Ferry Building clock keeps time behind her. The sculpture doesn’t interrupt the waterfront; it belongs to it.
Originally created for Radical Horizons: The Art of Burning Man, Coralee carries her mythology lightly here, recontextualized as public art rather than spectacle. Installed through the Building 180 program at the Port of San Francisco, the piece bridges environmental awareness, feminine strength, and civic space—proof that large-scale sculpture can be both intricate and humane.
This is San Francisco public art at its best: material-forward, place-aware, and quietly woven into the life of the city.
A varied selection from a 1967 Penrose article on 'sky high design' looking at airline's visual identities. Although many of the carriers seen here are still with is some of their logos have changed - although a few stuck to the tried and tested such as Swissair and Lufthansa. Indeed the 1960s saw several airlines adopt corporate ID's from well known designers that have stood the test of time. Several of the more regional airlines shown are long gone.
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📣 HEY! Very short but so intense! There you go
✨ New here or just curious?
I’ve created a FREE pinned post on my Patreon — a real guide to the page:
what’s free, what’s exclusive, and where to start.
👉 START HERE (FREE):
🎁 Everything is included for my FANATICs.
No limits, no choices — just the full experience.