View allAll Photos Tagged visualidentity
DUK
★Client: Jack Primless
★New Visual Identity ♥
If you wanna a redesign for your shop/ event./ Club
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karithop007 #1979 - Discord
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xoxo!
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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karithop007 #1979 - Discord
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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
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karithop007 #1979 - Discord
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Creation of logo and visual identity.
If you wanna a redesign for your shop/ event.
Please, contact krnxilla resident inworld or Fb
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 ♥
If you wanna a redesign for your shop/ event.
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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
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xoxo!
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.
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.
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.
✨ Welcome to the world of Fujicolours – where every shade tells a story.
I’m Stefan, creator of www.fujicolours.com, and this is more than just a visual platform — it’s a movement built on color, creativity & community.
From analog soul to digital dreams, follow my journey and join a creative circle that celebrates authentic storytelling through photography & design.
Let’s grow together — one color at a time.
Follow @fujicolours_official & explore the full spectrum at fujicolours.com
Sutro Tower pierces through wisps of fog during the blue hour, its red aviation warning lights glowing against the deepening twilight sky. This massive broadcasting antenna—standing 977 feet tall atop Mount Sutro—has been a defining element of San Francisco's skyline since 1973, visible from virtually every neighborhood and sparking endless debates about whether it's an eyesore or an iconic landmark.
The tower's distinctive three-pronged steel lattice structure rises from the hillside, each level marked by red and white painted sections that help pilots navigate San Francisco's airspace. Those red lights blinking in sequence up the tower's height serve the same purpose—keeping aircraft safely clear of this communications infrastructure that broadcasts television and radio signals across the entire Bay Area. On foggy nights like this, the tower seems to float, its base obscured by marine layer while the upper sections emerge into clearer air.
The foreground shows the parking area and landscaping at the tower's base, likely photographed from somewhere along the roads that wind through Mount Sutro's eucalyptus forests. Those wind-sculpted cypress trees on the left—their branches bent permanently by prevailing winds off the Pacific—frame the composition while demonstrating the harsh microclimate at this elevation. The empty road and parking area at this twilight hour emphasize the tower's solitary presence, standing sentinel over the city below.
Sutro Tower occupies a unique place in San Francisco's identity. Named after Adolph Sutro, the 19th-century mining engineer and San Francisco mayor who once owned much of this land, the tower was controversial from its conception. Residents fought its construction, arguing it would mar the natural beauty of the city's central hills. When it was completed, many considered it an industrial intrusion on a residential landscape. Yet over five decades, something shifted. The tower became so omnipresent in views across the city that it achieved a strange affection—the kind reserved for things that define a place even if they're not conventionally beautiful.
The fog interaction visible here is quintessentially San Francisco. Marine layer rolls in from the Pacific Ocean through the Golden Gate, climbs the city's western hills, and often gets caught at this elevation—roughly 900 feet above sea level. Mount Sutro sits right in that zone where fog either pools below or wraps around, creating atmospheric effects that transform the tower from stark industrial structure into something more ethereal and mysterious. Photographers chase these conditions, knowing that fog and twilight together can make even utilitarian infrastructure look magical.
The tower's function is easy to forget when appreciating its visual impact. Before Sutro Tower, San Francisco's hilly topography created notorious dead zones for broadcast reception. Signals from multiple transmission sites scattered across the city interfered with each other, leaving some neighborhoods with poor or no television reception. Sutro Tower solved this by consolidating most major broadcasters onto a single, optimally-located transmission point. That practical engineering achievement—enabling millions of Bay Area residents to watch TV and listen to radio without interference—matters more than aesthetics to the stations that lease space on it and the audiences that depend on it.
The architectural and engineering details are impressive. The tower's three-legged design provides structural stability against earthquakes and high winds while minimizing the footprint on the ground. Each leg is anchored into the bedrock of Mount Sutro with massive concrete foundations. The lattice construction reduces wind resistance while providing the necessary height for effective signal propagation. It's functional design driven entirely by engineering requirements, yet the resulting form has a sculptural quality that's hard to deny, especially when seen in atmospheric conditions like these.
Looking at this image, you can understand why San Francisco has such a complicated relationship with development and change. The city values its natural beauty, its hills and views, its carefully preserved Victorian architecture. Yet it's also a place that's always been defined by human ambition and engineering audacity—from cutting through hills to create streets, to building bridges across impossible spans, to erecting towers that dominate the skyline. Sutro Tower embodies that tension. It's undeniably an intrusion, yet it's also become inseparable from what San Francisco looks like. After fifty years, it's hard to imagine the skyline without it.
TIN CAN is a Dutch production company that focuses on the development and production of formats in the field of television, branding, online and events.
As shown in the movie, the entire identity consists of two basic elements that constitute the logo; namely a basic typography and four basic lines. Each line refers to one of the four disciplines of their profession. These lines are the main 'format' for the entire identity and are adaptable to different types of content and applications.
Check out my website www.cooee.nl for more work.