View allAll Photos Tagged Wordmarks
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.
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.
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.
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.
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.
Kudos beach, 6, 9 and 10 years anniversary logos.
Visit my portfolio website www.alextass.com
Thank you.
Ok.. daily designs are all up now.. today and tomorrow we have some short break regarding set, time to catch up with all design stuff now..
I hope that is clear that camera is hanged on the wall to portray break.. Btw, usually i never use shadow in my designs.. but this time i thought that subtle shadow can add more of an depth to this simple design..
A trio of clunkers crammed into a backyard. I think the one of the left with the jaunty script wordmark still moves now and then, as the license plate is still valid.
pluralistic.net/2024/12/04/its-not-a-lie/#its-a-premature...
Uncle Sam in a leg-hold trap. The trap is staked to a log, against which rests a sign bearing the MAKE AMERICA GREAT AGAIN wordmark. In the background is a halftoned image of a waving US flag amidst the clouds.
Cover design for the CMCA 2010 media planner. Typefaces in use: Akzidenz Grotesk Condensed (the wordmarks use Futura and Copperplate Gothic). The grid design was inspired by shapes in a poster by Dick Elffers. By the way, I used ImageOptim to optimize the PNG.
PROJECT: Inspired by Hollywood’s rich history, The City of Los Angeles Employee Deferred Compensation Plan brochure outlines how the participant prepares for a stable financial future. This kit is part of a multipiece campaign that reaches over 80,000 city employees.
DESCRIPTION: This kit is part of a multipeice campaign that reaches over 80,000 city employees.
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.
This was a test to see how well the logomark would hold up laser engraved in wood. It will presumably be applied to a bunch of materials in different techniques.
Logo design for Rainer and Tobias Kyburz, furniture and product designers.
The logomark («R&TK») is also used on its own to mark objects, products and furniture.
Fat initials were drawn by myself, ampersand slightly tweaked from Dala Floda, wordmark set in Supria Sans.
This color-coded multipiece system included daily tickets, event guides, and a video highlight reel from past tournaments.
The International at Castle Pines Colorado, drew top-notch players, and was among the top viewed golf events of the year.
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.
Custom build instructions for all Bronco models, including the 60th Anniversary are available from @buildmybrickbronco on instagram
On August 11, 1965, Ford introduced the Bronco and coined the phrase “sport-utility.” Over the past six decades, Bronco has redefined what an SUV can be with its capability and off-road performance. Now, Ford is celebrating that pioneering role with the 2026 Bronco 60th Anniversary Package.
The Bronco 60th Anniversary Package blends bolder colors and accents in the cabin, timeless visuals on the exterior, and the same uncompromising off-road capability owners expect. All so customers can enjoy a Built Wild SUV that’s fit for any lifestyle.
Bold Legacy-Inspired Design
Capability is core to Bronco’s DNA. The Bronco 60th Anniversary package starts with the Outer Banks series with either a standard 2.3-liter EcoBoost four-cylinder or optional 2.7-liter EcoBoost V6.
Only available with the Sasquatch package, which adds an Advanced 4x4 system with high-clearance suspension, a more aggressive final drive ratio, and electronic-locking front and rear differentials, this celebratory Bronco features 35-inch Goodyear rugged terrain tires matched with unique new 17-inch Gravity Gray alloy wheels. A contrasting Vermilion Red center cap with a Bucking Bronco logo in the middle and “1966,” the model year of the first production Broncos, on the outside ring.
The wheel design and the contrasting Vermilion Red center cap harken back to the original hubcaps on the 1966 Bronco.
A new grille draws inspiration from the original design but pairs it with Warm Alloy paint and modern Vermilion Red “BRONCO” lettering. Wimbledon White, a historic Ford color available on the original Bronco, is available with a matching roof. Customers can select a contrasting Ruby Red body with a Wimbledon White roof, as well.
A Vermilion Red graphic on the body sides starts at the front with the Bronco 60th Anniversary logo, while prominent 60th Anniversary badging, inspired by the same classic cloisonné badging found on the Mustang 60th Anniversary package, sits on the fenders and leaves little doubt about this special Bronco’s provenance.
And as with all Broncos, the Ford Design team has hidden an Easter egg or two for this special edition package.
Premium Touches
The Bronco 60th Anniversary package has the style and capability owners expect. But it’s bringing a richer, more premium cabin experience to market, too, with the combination of Ebony leather upholstery on the seat outers and bolsters, along with Alpine leather inserts and embossed 60th Anniversary logos on the seatbacks.
Alpine marine-grade vinyl arm rests add to the experience, and Alpine stitching on the leather-topped dash pairs well with Bronco Red accents on the instrument panel and grab handles.
The 60th Anniversary Package adds standard wheelbase-length running boards to aid ingress and egress and also introduces new A-pillar-mounted grab handles, available on all 2026 Bronco models. And at the rear, a new hard-center rear tire cover, finished in Wimbledon White and featuring a Vermilion Red “BRONCO” wordmark, introduces a more premium look to the rear of the vehicle, as does a matte black Ford badge on the tailgate.
Two interactive components show the impact and importance of everyday water conservation. A series of before and after photos that follow the course of the Colorado River are synchronized to light up in unison with fiber optics, showing the depleation of water.
A large scale exhibit that highlights before and after effects that dams and aqueducts have on the Colorado River.
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.
Custom build instructions for all Bronco models, including the 60th Anniversary are available from @buildmybrickbronco on instagram
On August 11, 1965, Ford introduced the Bronco and coined the phrase “sport-utility.” Over the past six decades, Bronco has redefined what an SUV can be with its capability and off-road performance. Now, Ford is celebrating that pioneering role with the 2026 Bronco 60th Anniversary Package.
The Bronco 60th Anniversary Package blends bolder colors and accents in the cabin, timeless visuals on the exterior, and the same uncompromising off-road capability owners expect. All so customers can enjoy a Built Wild SUV that’s fit for any lifestyle.
Bold Legacy-Inspired Design
Capability is core to Bronco’s DNA. The Bronco 60th Anniversary package starts with the Outer Banks series with either a standard 2.3-liter EcoBoost four-cylinder or optional 2.7-liter EcoBoost V6.
Only available with the Sasquatch package, which adds an Advanced 4x4 system with high-clearance suspension, a more aggressive final drive ratio, and electronic-locking front and rear differentials, this celebratory Bronco features 35-inch Goodyear rugged terrain tires matched with unique new 17-inch Gravity Gray alloy wheels. A contrasting Vermilion Red center cap with a Bucking Bronco logo in the middle and “1966,” the model year of the first production Broncos, on the outside ring.
The wheel design and the contrasting Vermilion Red center cap harken back to the original hubcaps on the 1966 Bronco.
A new grille draws inspiration from the original design but pairs it with Warm Alloy paint and modern Vermilion Red “BRONCO” lettering. Wimbledon White, a historic Ford color available on the original Bronco, is available with a matching roof. Customers can select a contrasting Ruby Red body with a Wimbledon White roof, as well.
A Vermilion Red graphic on the body sides starts at the front with the Bronco 60th Anniversary logo, while prominent 60th Anniversary badging, inspired by the same classic cloisonné badging found on the Mustang 60th Anniversary package, sits on the fenders and leaves little doubt about this special Bronco’s provenance.
And as with all Broncos, the Ford Design team has hidden an Easter egg or two for this special edition package.
Premium Touches
The Bronco 60th Anniversary package has the style and capability owners expect. But it’s bringing a richer, more premium cabin experience to market, too, with the combination of Ebony leather upholstery on the seat outers and bolsters, along with Alpine leather inserts and embossed 60th Anniversary logos on the seatbacks.
Alpine marine-grade vinyl arm rests add to the experience, and Alpine stitching on the leather-topped dash pairs well with Bronco Red accents on the instrument panel and grab handles.
The 60th Anniversary Package adds standard wheelbase-length running boards to aid ingress and egress and also introduces new A-pillar-mounted grab handles, available on all 2026 Bronco models. And at the rear, a new hard-center rear tire cover, finished in Wimbledon White and featuring a Vermilion Red “BRONCO” wordmark, introduces a more premium look to the rear of the vehicle, as does a matte black Ford badge on the tailgate.
This color-coded multipiece system included daily tickets, event guides, and a video highlight reel from past tournaments.
The International at Castle Pines Colorado, drew top-notch players, and was among the top viewed golf events of the year.
The challenge was to design an identity that would appeal to the collegeite crowd while maintaining the integrity of a “local’s” bistro.
An authentic Irish neighborhood pub, Jordan’s creates a true “public house” atmosphere for gatherings, socializing, and enjoying great food and drink.
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.
My new ride the first year production of Chevy Blazers... its not full efficient but people get out of my way.
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.
This year is the 20th Anniversary of the Americans with Disabilities Act and AIGA Colorado is celebrating it with this year's Giving Voice Poster Project. It is a collaboration between AIGA Colorado, VSA Arts of Colorado/Access Gallery and the partnership with Colorado Cross Disability Coalition.
"Advocate For Equality", a propaganda-style poster that's meant to live on the city streets, in full view of the public eye. Street-wise bullhorns rise above the gathering crowd, informing us that EQUALITY is a universal right.
chasing donkeys with optimiste mais réaliste with hlv hyper lift violet plus three missing some pretzels but getting very gay in the OSOM bay with the sassy sage spirit soul wise dream creator 414 818 great mate
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.
Two interactive components show the impact and importance of everyday water conservation. A series of before and after photos that follow the course of the Colorado River are synchronized to light up in unison with fiber optics, showing the depleation of water.
A large scale exhibit that highlights before and after effects that dams and aqueducts have on the Colorado River.
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.
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.