Typography & Illustrations Inspiration On Visual-Graphic

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Visual Graphic Inspiration

Dogs, obviously, keep the leadership among the animals, most commonly used for different kinds of logos and corporate styles and identification sets. Among the particular businesses, voting for dog-style logos, are not only companies, producing dog foods or accessories; even those, whose business has nothing to do with these animals, often choose dogs to be their graphic presentation. What are the reasons for people to choose dog illustrations for their logos? Actually, there are many of them. First of all, dog is among the first animals, tamed by a human. Dogs have always been treated as our true friends. They can amuse people, help people, and, surely, protect people. And this is not the full list of dogs’ top qualities, thanks to which they are often chosen by logo designers as the leading characters on their graphic works.

Here you are welcome to view the showcase, where Cruzine wants to give you some examples of how dog images can be used to create logos for a particular type of business. Actually, dog images can be pretty versatile – funny for some toy brands, strong and powerful for security services or sport clubs, stylish for dance parties, and loyal for law agencies, for example. A properly chosen and illustrated dog logo will, definitely, serve its purpose, like a faithful dog serves his master.


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Doggy-style Logo – A Showcase of Dog-Featured Logos

Elefunkt font

Tacky Regular font

Toontime font

Funkhouse font

SC Tina’s Baby Shower font

More free fonts!

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Friday free groovy fonts

I first learned about Swaptree through a presentation by one of our clients at TEDxSydney on the subject of Collaborative Consumption — itself the subject of her book, What’s Mine is Yours, for which we designed the web site. Although Swaptree has been around since 2004, it wasn’t until recently that the model has taken off and gotten more attention. Its focus is on users signing up, adding a list of books, games, music, or videos they either want to acquire or want to get rid of. Swapping. The system then matches you with equivalent swaps and through the magic of trusting strangers you put your book, video, game, or CD in an envelope, spend $2, and three days later you have a new item you want, not one that sits on a shelf. Last week I did my first swap, changing Pixar’s A Bug’s Life, which my 3-year-old deemed scary, for Toy Story, which we have yet to watch. Last week, Swaptree announced it would change its name and domain to the all encompassing Swap.com.

I like to say that we are applying a “descriptive” approach for the brand. Swap.com is descriptive. Swap.com is a verb. Swap.com is a category. Swap.com is simple. Swap.com is memorable. Swap.com is trusted because it is transparent. So by adopting Swap.com as our brand we are applying a descriptive moniker to our company, our service and our community. We don’t have to spend millions of dollars in advertising to convince a consumer what we are. Swap.com is all about swapping!
— Interview with Swap.com CEO Jeff Bennett

The name change is very interesting. I thought Swaptree was memorable and unique, whereas Swap.com sounded too generic and like one of those domains that are just catch-alls for spam. But after reading some of the reasoning, I do like the change. It’s an ambitious move to own a category, and as more and more people are looking to cut the middle-men and just deal directly with other people, Swap.com is better set up for becoming the default place for bartering goods without much hassle, even lass hassle than the ubiquitous eBay.

Lastly, consumers engage in swapping for many reasons. A common theme is saving money. The visual that seems universally accepted for “sales,” “discounts,” “markdowns,” “tag sales,” are those colorful dots that indicate how much a consumer can save if they buy a particular item. A logo has to befit the experience of a service. With the help of some of the best branding minds on the planet, we embarked on a fun and exhilarating journey to create a logo that would best fit our company and plans. With all of this in mind we created our new “swap dot” logo to serve as the emblem of Swap.com.
— Jeff Bennett on his blog

I also happened to like the old logo. Not for its execution so much as for how direct it was. A tree and some arrows indicating swapping. Clear and concise. The new logo, designed by Cuban Council, also takes the same generic approach of the name. In terms of the strategy and approach to become the default when you think of swapping, I think it works. It’s uncomplicated and straightforward. The typeface choice is pretty too, although a little too constrained in that circle. Not much conceptual depth to the logo, but it works well, especially at small sizes. No idea what’s going on with their favicon.

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Generic Swap

I love this simple logo by Wallace Design House. All of the logos from this design house have a fun and vintage look to them that would look great on some tees. Check out some more examples here. via

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Logo designs by Wallace Design House

Originally produced for Polygraphmash’s (the largest of the Soviet state-run printing and design firms) type design bureau in 1968 by letterer and type designer Anatoly Shchukin, Ladoga was the first successful attempt to emulate a Renaissance antiqua in Cyrillic. It went on to be an extremely successful release for Shchukin, and was a very common book face all across the Soviet Union throughout the 1970s.

Viktor Kharik - whom we hope to see much more from in the future - has completed this version of Ladoga, which is much more than simply a revival of a photolettering type. This new design not only includes the entirety of the original Ladoga character set, but adds a huge number of characters, such as a number of contemporary alternates for many of the historical figures. It even includes full alphabets: the new Ladoga has support for all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters.

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Paratype’s Ladoga

http://www.willrickettsdesign.co.uk

Nice works from a 22 year old graphic designer recently graduated from Lincoln School of art & design, specialise in print and typography.

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William Ricketts

VTKS ROCK GARAGE BAND

Vtks Desgaste

ElderGods BB

GodOfWar

Scurlock

More free fonts!

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Thursday free historical fonts part2

The Dutch public broadcasting organization VPRO (an acronym that translates into “Liberal Protestant Radio Broadcasting Company”) started its life in 1926 as a religious radio broadcaster. Over the years it became more liberal and less religious until, in the sixties, it planted itself firmly in the avant-garde by being the first television broadcaster showing a nude woman on national television. Since then the VPRO never left its nonconformist role, with slight stubbornness purposefully choosing those programs, topics and formats that the other broadcasting companies passed over. Although not well known outside of the Netherlands, the VPRO is the real deal. It continuously airs intelligent, cultural and quirky programs, the stuff that makes TV interesting.

So the recent redesign of their 29-year-old logo predictably caused a stir, being one on those projects that every designer in the Netherlands will have an opinion about. Amsterdam based graphic design agency Thonik had the honor and, as far as I am concerned, they did a good job of updating the old logo with a fresh new wordmark.

That the VPRO opted for a visual continuation of the old logo, feels a bit like a missed opportunity however. Their viewers being almost by default an audience that can appreciate ground-breaking new directions.
“vpro” is now set in lowercase, but some equity is maintained by keeping the triangle… heck, they even doubled it. The triangles and centers of the “p” and “o” are used to play a formalistic game of shape and color, creating a seemingly unlimited number of possible marks. With inventive use of just these few elements a playful extension of the style is possible.

Show reel with previews on program indents.

I like that the new identity is colorful and vibrant, and has enough “weirdness” to fit with VPRO as a brand. There are some minor points like the circle of the “p” not being the same as the “o,” something that is shown in the explanation of the logo, but seems to have been abandoned later.

More pressing is that the idents for the programs (a sneak peak can be seen after 0:24 in the show reel above) do not seem to benefit from the outspoken flatness that works so well for the logo and printed matter. They feel a little too simplistic to do justice to the in-depth and imaginative programming of the VPRO. Although this flatness is somewhat of a statement in a media landscape of flashy, rotating 3d logos, it is not a new one after Max Kisman’s iconic, 8-bit like idents for the same broadcaster in the 1990s. That being said, these are sneak peaks so a final judgement might best be saved for the future.

On its own, this new identity definitely passes muster, only question that remains is why the choice was made to update the logo instead of creating something new altogether. If there was ever a client to push the envelope, this would have been the one.

The logo in action on existing program guide covers.

Titles for Dorst, an online youth magazine of VPRO, set in the bespoke typeface created by Bold Monday (sample below).

Images via Fontanel.

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Two Triangles are Better than One

The print master, Alan Kitching.

Via Doug Wilson

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Alan Kitching