View allAll Photos Tagged Wordmarks
This project was a logo redesign for a 3 year old church. As they prepared to move into a permanent location, they wanted to take advantage of the opportunity to rebrand. With the need to order new environmental graphics and way-finding signage, as well as a choose a color palette for the physical space, there was no better time, financially or logistically, to reassess their brand.
The church is highly involved in their local community and had done a good job with brand consistency, so there was concern about loosing the equity they had put into their brand. We decide to refresh the brand instead of abandon it. The elements we chose to retain were the circular icon and an M in the center, the dominant color blue and the all-caps wordmark.
The new icon can be interpreted in many ways, including community, symbiosis, energy, safety, movement, unity, trinity and more.
The workmark font was switched from Eurostile to Futura. This gives a more modern, strong and versatile font for the brand (Futura, in all its weights, will be carried through their print branding).
possible symbol & tagline to accompany toiou wordmark.
there are a lot of cool ideas in the mission statement, but a logo is about what is essential to the brand. as i considered this, the idea i returned to again and again was the idea that toiou is, at the core, a massive labour of love. add to that the concepts "music" and "digital," and i was led to this tagline and symbol.
of course, at this stage there is much flexibility, so, if you like one element of this, but hate another, we can work with it until it's right.
[production ready files can be provided upon request.]
thanks. hope you dig it.
I decided to create some alternates to the Gobias Industries logo, with GOB and Tobias getting their own specific logo.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
Weedy leafy panel sketch
Inspired by it’s beauty and diversity, this exhibit followed the path of a family that was exploring Australia for the first time. A journal that recorded their findings would serve as wayfinding signage, leading the visitor through various interactive exhibits and tanks.
This exhibit would have featured fish, plants, and animals, all native to Australia.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
What Lurks Beneath exhibit puts visitors under the dock and just below the water’s surface to observe how human action affects various aspects of sea life.
This exhibit features five habitats, which contain discarded items such as cans, bottles, fishing poles, lobster traps, car tires, and even a toilet.
This Was Built As A Pure Service Station In 1969. It Then Became A Union 76, The Next Year In 1970. Then, In The 1980's Or 1990's, This Station Would Close Down. It Would Later Become A U-Haul, Which Is Still There To This Day.
The Service Bays Were Possibly Used Until This Station Closed Down
History About The Pure Oil Company, Union 76 In The Eastern U.S.A, And This Building Design:
The Pure Oil Company Was Based In Schaumburg, Illinois
Pure Oil Was Bought By The Union Oil Company Of California In 1965
In 1967, Union Oil Adopted Their Well Known "76" Logo Without The "UNION" Wordmark On It. It Would Be Used Until ConocoPhillips Took Over 76 In The Early/Mid 2000's And Replace It With A Red Colored Version. The Company Would Revive The Orange Colored Version In The Mid 2010's.
In 1970, All Pure Stations (Including This One) Would Be Rebranded To The Union 76 Name
In 1992, Union 76 Would Pull Out Of The Southeastern United States And The Pure Name Would Come Back (Unfortunately The Midwest Did Not Get The Pure Name Back, To This Day)
In 1997, Union 76 Would Pull Out Of The Midwestern (Including Michigan) And Rust-Belt Northeastern United States And Most Stations Would Be Converted To The Citgo Name. This Would End Union 76's Operations In The Eastern United States, Until The Early/Mid 2010's.
This Building Design Was Designed By Union Oil Of California And Would Be Adopted For Union 76 Stations In The Western U.S.A. In 1965.
Building Design With Union 76 Name In 1965 In California: www.flickr.com/photos/14696209@N02/3975699513
In 1967, This Same Design Would Be Adopted For Pure Stations In The Eastern United States, With The Brand New At The Time, Union 76 Logo On The Building
Pure Station In Minnesota, With This New At The Time Design, Showing The Union 76 Logo In 1968, Which Is What This Station Would Have Looked Like Originally: burnsvillehistory.org/cpg/albums/userpics/10003/pure_oil_...
This Design Would Be Used By The Union Oil Company Of California Until The End Of The Service Station Era At The End Of The 1970's.
What Lurks Beneath exhibit puts visitors under the dock and just below the water’s surface to observe how human action affects various aspects of sea life.
This exhibit features five habitats, which contain discarded items such as cans, bottles, fishing poles, lobster traps, car tires, and even a toilet.
Original mechanical drawing and a brass pattern for what I believe is a partial Linotype wordmark. This is part of the collection obtained from Merganthaler Linotype by The Museum of Printing in North Andover, MA.
PROJECT: The challenge was to create a season ticket brochure for the Colorado Avalanche before the team had a name, uniform, or logo. Ascent Entertainment had purchased the Quebec Nordiques and was in the process of moving them to Denver, Colorado, during the design of this brochure.
DESCRIPTION: The goal of this unique piece was to generate anticipation around the excitement of a Canadian NHL team moving to Colorado. A little known fact: The Colorado Avalanche were almost named “The Extreme,” which was used in the headline of the brochure.
Weedy leafy panel sketch
Inspired by it’s beauty and diversity, this exhibit followed the path of a family that was exploring Australia for the first time. A journal that recorded their findings would serve as wayfinding signage, leading the visitor through various interactive exhibits and tanks.
This exhibit would have featured fish, plants, and animals, all native to Australia.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
The top photoshopped comic strip has been making the rounds lately. And since it's quite obvious that CMU (the acronym is actually trademarked by Central Michigan University) would never make it into a comic strip, I busted out my detective skills and tracked down the original strip.
The original strip was released on 9/15/03 (I think) and mentions I.I.T. India's equivalent to MIT. The character is Asok:
Asok (pronounced "ah-shok") is a brilliant IIT graduate and an intern in Dilbert's company. The character is named after a friend and co-worker of Adams' at Pacific Bell.
Asok often solves difficult problems in a few keystrokes, but he is still naïve to the cruelties and politics of the business world. As a result, he often ends up being the scapegoat for his coworkers' antics. Despite the fact that he has completed five years as an intern (as of 2004) and performed the functions of a senior engineer, Asok has been denied permission to be a regular employee and the usage of company resources for his work.
Asok is also trained to sleep only on national holidays, a trait that he allegedly carried over from his alma mater.
Update:
The acronym CMU is in fact trademarked by Central Michigan University. I'm not sure if there ever was a lawsuit since I can't find any mention of it. But to keep things simple, Carnegie Mellon insists on using the wordmark because of branding reasons. Carnegie Mellon is still a relatively young institution and needs to instill value in its brand, hence the insistence of using the full name.
However, students and many of the outside community is still using CMU to describe the institution because we are all lazy. Central Michigan University can't go around and sue everyone for describing Carnegie Mellon as CMU, but it can do something about it when official publications produced by Carnegie Mellon describes the university as CMU. When I worked for Student Affairs this was an important point to get across. That on whatever material I was designing, CMU should not be used and wherever possible, I was to use the official wordmark.
Carnegie Mellon beat Central Michigan to the punch (CMU.EDU was registered in 1985, while CMICH.EDU was registered in 1991) and has legitimate use of the domain, Central Michigan University can't sue for the domain nor can they sue whenever someone has @cmu.edu for their email address. So in conclusion, nothing can really stop the public from describing Carnegie Mellon as CMU, but Carnegie Mellon itself is restricted to using the acronym only when referring to the website.
As for student organizations using it, they are not officially endorsed by the school to use CMU in their name. For example, CMUASA.com, everyone refers to it as ASA, there aren't two different ASA's on campus so there's no reason to call it CMU ASA. Besides the official name is the Asian Students Association, so whenever you saw the acronym for clubs or on a t-shirt, again it wasn't endorsed by Carnegie Mellon, it's the public or the students using the acronym to refer to Carnegie Mellon.
R.K. Basisschool De Bottel
Lottum, a village in the Dutch province of Limburg, is famous for its rose cultivation and known as het rozendorp (rose village). Both the logo and the name of the elementary school refer to roses: bottel is the Dutch term for the rose hip, the fruit of the rose plant.
The wordmark uses the lightest and the boldest style of ITC Benguiat Gothic: Book and Heavy. The ‘tt’ ligature is not included in any of the digital versions of the typeface I am aware of, so it was probably added specifically for this logo.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
PROJECT: Pangaea Designs wanted to highlight the diversity of their company by creating a unique shaped piece that spoke to all of the studio’s talents.
DESCRIPTION: Pangaea Designs, a company that specializes in custom fabricated models, fossils, and exhibitry components for natural history museums, parks, visitor centers, zoos, and aquaria.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
Lars Wallin is arguably Sweden's most well-known fashion designer, and the country's only true couturier. Royalties and pop singers alike proudly wear his creations, which are recognised by their elaborate detailing, exclusive materials and impeccable finish. After having created the Nobel Banquet gowns for Crown Princess Victoria in 2000, 2003 and 2006, and for Princess Madeleine in 2008, he can even claim to be a Swedish Royal Court designer.
After having extended his couture practice to include a jewellery line, Lars Wallin and his atelier decided to set out on a new exciting journey by launching a prêt-à-porter line. The vision was to create collections which would maintain the level of finish that has become Wallin's trademark, but to make them available to at a wider audience. Seeing that the waiting list is long for a couture dress from Wallin, and that these can cost up to €30.000 to make, wearing a Wallin creation had up to this point been a privilege enjoyed by a select few.
Lars Wallin commissioned Lundgren+Lindqvist to name the new line, and to design its visual identity.
The transition from couture to prêt-à-porter is indeed an exercise in reduction. With the naming and the new visual identity, our aim was to find a way of illustrating that while the ready-to-wear collection manifests a simplified form of Wallin's expression, the core of the designer's uncompromising approach stays true from one collection to the other.
The key to our solution was found in the designer's name and in the very center of the existing wordmark for the Lars Wallin atelier. With the distinct, two-part 'W' of the wordmark having been used as a monogram by the brand for many years, this constituted a reasonable departure for thinking about the new brand. When the left stem of the 'W' was once disjointed from its other half, in order to create the stylized monogram which has become synonymous with the atelier, a 'V' was left dead-center in the wordmark. In a way, the transition from a 'W' to a 'V' represented a perfect analogy for the journey from couture to prêt-à-porter. Since ancient history, the letter 'V' has been a symbol of femininity. In Roman and Greek mythology, goddesses were often given names starting with a 'V'; like Venus, the Roman goddess of love, beauty, desire, sex, fertility, prosperity and victory. It is also meaningful to the couturier in a more personal way as Lars Wallin was born in the Swedish city of Västerås, and got his first break as a designer when designing a dress for the famous jazz singer Sylvia Vrethammar. From a visual perspective, the 'V' also tells the story of the master craftsman, by resembling the pencil that meets the paper, or the scissors shaping the toile. It also carries resemblance to the champagne glass - a symbol of celebration and festivities, which has become the theme for the new line.
Consequently, 'Lars Wallin V' became the new name for the designer's prêt-à-porter line. As the 'V', albeit hidden, already had such a prominent position within the existing wordmark, our main challenge was to find a way of emphasising it. Wallin was keen on avoiding for the new brand to come across as too clean-cut or safe, especially since the new line, at least in part, is aimed at a younger demographic. The solution was to simply circle the 'V', as one would circle something to remember, or the best idea in a series of sketches. Without paying too much consideration to the surrounding letters partly overlapped by the intrusive circle, it becomes a symbol of freedom and youthfulness.
The project for Lars Wallin soon grew to encompass adjustments of the range of existing wordmarks for Lars Wallin Collection, Lars Wallin Jewellery and Lars Wallin Wedding, as well as a more comprehensive update of the visual identity, subsequently collected in a new brand manual. Lundgren+Lindqvist also designed a range of patterns, for use on textiles and in packaging applications and art directed a series of images of the new collection.
What Lurks Beneath exhibit puts visitors under the dock and just below the water’s surface to observe how human action affects various aspects of sea life.
This exhibit features five habitats, which contain discarded items such as cans, bottles, fishing poles, lobster traps, car tires, and even a toilet.
Sector
Security
Info
Secure online credit card transactions and retail portal
Project
Brand new venture
Role
Brand identity designer
Authorship
Brandmark, brandstyle (look and feel), guidelines and final artwork for key items
PROJECT: A revitalization of a 25-year-old existing brand, the new NucFil identity gives the company a technology driven exspression that captures the energy of the business.
DESCRIPTION: NucFil is an industry leader, dedicated to providing superior packaging and technologies for ventilation, storage, transportation, and disposal of radioactive and mixed waste.
Sector
Events management
Info
Event destination brand
Project
Rebrand
Role
Brand identity designer
Authorship
Brandmark and brandstyle (look and feel)
Sticker I did for my moto crew the "Black Gold Crew" for the ride every Sept to Seattle, WA called the Oyster Run only a few were made for friends and that was it. One of the lucky few to wear it on my helmet.
Sector
Petro-chemical
Info
Saudi Aramco celebrates 75 years
Project
Event brand
Role
Brand identity designer
Authorship
Brandmark and brandstyle (look and feel)
Converse Chuck Taylor All Star GR82, Womenâs Size 8 Dark Moss 568815C, UPC: 194432398047, EAN: 0194432398047, Suede high top boots, Converse wordmark across ankle strap, Elevated platform heel, Embossed straps, Cushioned sole for comfort, Converse All Star heel patch, original rubber toe box, toe guard, textile lining, round cap toe, rubber sole, Tonal laces, OrthoLite insole, Converse insole, Lace-up closure, Red Deals Online
PROJECT: The challenge was to design a graphic standards framework that would unify all of the Colorado Symphony Orchestra’s (CSO) marketing materials. This broad spectrum of pieces included posters, brochures, and mailers.
DESCRIPTION: As the region’s only full-time professional orchestra, the CSO embraces a tradition of musical excellence by presenting a wide variety of symphonic performances—from classical repertoire to innovative new forms.
Logos designed for different clients / projects.
Suave: Mexican Indie Record Company
Kabah: Mexican Pop Band
R&R: Mexican Rock & Roll magazine
A multi-faceted identity system that ranges from outdoor signage and interior treatments, to uniforms and menu design.
Established in 2006, McCabe’s is a traditional, old world Irish pub located in Denver, Colorado.
With the foundation set, this cornerstone logo creates a sturdy “K” for Klebba, reinforcing the company’s solid name.
Klebba Custom Builders, Inc. is an environmentally committed custom home and remodeling firm, integrating sustainable construction practices in premium quality, long-lasting homes.
As of the 1997 My McDonald's rebrand, McDonald's will also have chicken fries just like Burger King except that McDonald's Chicken Fries box will be all red with big arches and the McDonald's wordmark.
PROJECT:A variety of educational pieces created for school programs, that among other things, included a guide to classes and a passport that students could get stamped after they attended programs.
DESCRIPTION: Colorado’s Ocean Journey Aquarium was an educational learning facility that exhibited mammals, fish and invertebrates, in the heart of downtown Denver.
Adjustable, Structured, High Crown, Normal Bill
Primary Design - Raised Embroidery Letter on Front Middle
Back Design - Flat Embroidery Wordmark on Center
www.snapbacksclub.com/oakland-athletics-new-era-mlb-base-...
PROJECT: Pangaea Designs wanted to highlight the diversity of their company by creating a unique shaped piece that spoke to all of the studio’s talents.
DESCRIPTION: Pangaea Designs, a company that specializes in custom fabricated models, fossils, and exhibitry components for natural history museums, parks, visitor centers, zoos, and aquaria.
Adjustable, Structured, High Crown, Normal Bill
Primary Design - Raised Embroidery Letter on Front Middle
Back Design - Flat Embroidery Wordmark on Center
www.snapbacksclub.com/philadelphia-phillies-new-era-mlb-b...