Joto Sake

Galaxie Polaris in use by Parallax Design in Joto Sake’s packaging programme

Australia firm Parallax Design created the packaging programme for Joto Sake. They write: ‘Joto is a range of artisanal Japanese sakes developed for the North American market.’

Galaxie Polaris is paired with Parallax’s bold logotype for Joto + Baskerville

‘To Western consumers, traditional Japanese sake labelling is indecipherable and largely indistinguishable. Joto’s packaging opts for bold colour and infographics describing each sake’s brewing process and tasting notes.’

‘The logo developed for the company was inspired by the geometrical minimalism of Japanese design, but contains a visual delight for the sake aficionado. Sake is traditionally drunk from a snake’s eye cup—a white porcelain vessel with two blue rings printed on the inside that allows the drinker to judge the sake’s clarity and purity.’

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Christof Nardin, 3683

A typographic installation at the 2013 Vienna Design Week featuring Galaxie Polaris

3683 is a study, story and a installation about space, typography, typographic practices, material, proportions and 3683 letters.

The exhibit features letters from Galaxie Polaris primarily, and Stanley by Optimo

The story behind: 3 October 2013 marks exactly the 3683rd day Christof Nardin has lived and worked in Vienna. This 10 year anniversary acts as the starting point for the installation “3683” — a trip into the back alleys and cul-de-sacs of memory. Nardin shows that to remember is a constant process of creation. Witnessed, personal and world-shaking events will be split into pieces, recycled and re-contextualised. Platon’s observation that writing makes the memory publicly accessible and consequentially manipulable by others acts as the starting point. The riddles asked by the installation can be de-coded by following the Twitter hashtag #cn3683.

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Krannert Arm Museum

Visual communication program for the Krannert Art Museum

Visual communication program for the Krannert Art Museum, the the second-largest art museum in Illinois serving 132,000 community members, students, and faculty a year on the campus of University of Illinois Urbana-Champaign, designed by Studio Blue.

A view of the 2010 Spring Newsletter
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Print magazine

Galaxie Polaris, Polaris Condensed & Copernicus in the Print magazine redesign

Project Projects rolled out the first issue of the Print magazine which, they write, ‘relaunched in January 2011 with an editorial concept focused on collaborating with different contemporary design practices for each issue.’

At least one of the ‘Galaxies’ is in use on every cover, the third cover is set in Dala Floda
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Betongoverflater (Concrete Surfaces) designed by João Doria and Rune Døli

Rune Døli, one of the two designers on this project, writes:

‘The book Betongoverflater (Concrete surfaces) is published by Gyldendal and byggutengrenser. It is the first book on concrete surfaces published in Norwegian. The book is a workbook for architects and concrete workers. This is the first book João Doria and I designed together. The book consists of three parts, where each part is printed on a different paper quality. The design is based on a flexible grid system allowing each part to be significantly different from the other. One of our main aims with the design was to emphasize the various characters of concrete surfaces through our choice of paper qualities and visual aids. The books color palette is inspired by the shades of gray found in concrete limited in grayscale.’

An overview of the interior spreads

Betongoverflater was awarded Norwegian book of the year 2012. It also received iFs Communication Design Award 2012

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High Impact

Identity programme for a visual media company designed by UK studio Proud Creative

Identity programme for a US-based visual media company, designed by Proud Creative. ‘Tilt one way and the logomark is an ‘H’. Tilt the other and it’s an ‘I’. It’s container is both a hexagon, but also potentially a cube, as a nod to the world of 3D that High Impact inhabit.’

Proud Creative's identity programme for High Imapact
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Mevis & van Deursen: Recollected Works

Armand Mevis & Linda van Deursen's 2005 monograph

‘Nothing about Dutch graphic design duo Mevis & van Deursen conforms to type. Praised for their innovative but clear presentation, they have designed everything from artist’s books for Gabriel Orozco and Rineke Dijkstra to an official government stamp commemorating the marriage of Dutch Crown Prince Willem-Alexander, based on the number two, since the wedding date was 02-02-02. This book represents a range of work from the past 15 years, mostly books but also posters and smaller pieces. However, the artists have chosen not simply to present the work again but to make it new through collage and reinterpretative interplay, thus “recycling” their innovative designs.’

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Glenn Ligon—Some Changes

Catalogue published by Power Plant, designed by 2x4

Glenn Ligon is one of the preeminent members of a generation of American artists who came to prominence in the late 1980s with conceptually-based paintings, photographs and text-oriented works concerning the social, linguistic and political constructions of race, gender and sexuality. Incorporating sources as diverse as photographic scrapbooks and Richard Pryor’s stand-up comedy routines–his lush coal-dust paintings of excerpts from James Baldwin’s 1955 essay, Stranger in the Village, for instance–Ligon’s art is a meditation on representation of the self in relation to culture and history. Handsomely designed with a hardcover slipcase, Some Changes is the artist’s first significant monograph. Well-illustrated texts by critics and curators Wayne Baerwaldt, Huey Copeland, Darby English, Wayne Koestenbaum and Mark Nash survey Ligon’s works from 1982 to 2005, and a candid interview with Toronto artist Stephen Andrews delves into Ligon’s personal insights and professional experiences.’

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Tone Hansen: Appendix/Museum X

exhibited at Kiss the Frog! The Art of Transformation, Tulinløkka kunsthall, Oslo

Tone Hansen writes, ‘The Appendix project actively relates to the architecture of The National Museum’s new, temporary pavilion, or kunsthall. A twelve metre long wall consisting of sliding doors delineates the space. This wall denotes a threshold to be crossed – it offers the chance to explore the way in which the architecture itself creates possibilities and restrictions in terms of being an articulated framework for art (and debate). The wall consists of seven moveable glass doors which are covered with red foil. The foil functions as a filter between the viewer and the outside world – a membrane. The red foil “colours” the way in which we see. It changes the view out and the view in, and marks a boundary between the art space and the world outside.

The experimental identity programme for Museum X

A new, flexible logo system for a museum is also part of the Appendix project. This system explores the possibilities for an alternative art museum. The museum may be organised as a “federation”, visualised through a play of graphic forms.’

Designers: Claudia C. Sandor & Halvor Bodin in collaboration with Tone Hansen.

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