View allAll Photos Tagged VisualIdentity
DUK
★Client: Jack Primless
★New Visual Identity ♥
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karithop007 #1979 - Discord
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xoxo!
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.
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.
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.
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.
Visual Identity
If you wanna a redesign for your shop/ event.
Please, contact krnxilla resident inworld or Fb
FREME
Client: Alison NV
New Visual Identity ♥
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inworld or Fb
karithop007 #1979 - Discord
linktr.ee/krnxilla
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 ♥
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karithop007 #1979 - Discord
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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.
Creation of logo and visual identity.
If you wanna a redesign for your shop/ event.
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A medina de Marraquexe, classificada como Património Mundial da UNESCO desde 1985, é um labirinto de ruas estreitas e pavimentadas com pedra que refletem a arquitetura tradicional marroquina, caracterizada por edifícios em tons de terracota e ocre. Estas construções, que se mantêm com a argila local, preservam a identidade visual da cidade e oferecem um ambiente fresco e privado. Ao longo das ruas, decoradas com vasos de plantas, observa-se a coexistência do tradicional e do moderno. A proximidade do Riad Luzia a atrações como o Palácio El Badi e os Túmulos Saadianos destaca a relevância histórica e cultural da zona, repleta de souks e riads que proporcionam uma experiência autêntica aos visitantes. O cenário vivo da medina, com os seus elementos arquitetónicos característicos e a dinâmica da vida quotidiana, mantém vivos modos de vida que se estendem por séculos.
The medina of Marrakesh, classified as a UNESCO World Heritage Site since 1985, is a labyrinth of narrow, stone-paved streets that reflect traditional Moroccan architecture, characterized by terracotta and ochre-colored buildings. These buildings, which are maintained with local clay, preserve the visual identity of the city and offer a cool and private environment. Along the streets, decorated with potted plants, one can observe the coexistence of the traditional and the modern. The proximity of Riad Luzia to attractions such as the El Badi Palace and the Saadian Tombs highlights the historical and cultural relevance of the area, full of souks and riads that provide an authentic experience for visitors. The lively setting of the medina, with its characteristic architectural elements and the dynamics of everyday life, keeps alive ways of life that have been around for centuries.
MACA
Client: Edu.velde
New Visual Identity ♥
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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 ♥
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karithop007 #1979 - Discord
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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.
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.
Check this!
◆ Marketplace:
marketplace.secondlife.com/p/KS-Snack-Plastic-Mockup/2517...
I will be making more products.
I hope you enjoy them.
◆If you have any questions you can contact me: linktr.ee/krnxilla
I am proud to announce that I will design visual identity and the catalog for the exhibition "Afghanistan" for the Slovenian Ethnographic Museum.
www.etno-muzej.si/sl/slovene-ethnographic-musem
Photo from my last year's journey across Tajikistan. Farmer on the Afghan side of the border river Panj.
📣 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.
📣 HEY! Come and meet her in this FREE post! 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.
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
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.
Source: Stockholms stad. Posted here for the inclusion in the Fancy Diacritics group.
Sweden’s capital Stockholm just got a new visual identity, designed by Essen International. The typeface is the custom Stockholm Type, designed by Emmanuel Rey of Swiss Typefaces as an offshoot of his Euclid BP.
While the text fonts (as seen on the website) have a conventional umlaut, the display styles exhibit a macron-like “Swiss-style” umlaut. According to Swiss Typefaces, it is not an enforced export, though: the client has asked for it.
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.
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.