- Burkina Faso
- Central African Republic
- DR of the Congo
- New Zealand
- North Korea
- Pacific Islands
- Papua New Guinea
- South Korea
- Sri Lanka
- Bosnia and Herzegovina
- Czech Republic
Inspired by - USA
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Inspired by - Africa
A while ago we featured Ben Grib’s South African inspired coster designs which are worth a look at. Since then he has updated his portfolio and created a range of cards that are inspired by Africa. Each card features a wonderful pattern tapestry that makes up the rich heritage of the african people.
“We took our cue from landmark styles such as Ndebele, Xhosa, Zulu and Venda and deconstructed them into a simple two colour non repeat pattern.”
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Inspired by - Thailand
How many iconic landmarks of Thailand do you know? I know a few but not as many as listed below. Thai graphic designer Chinapat Yeukprasert who also illustrated the guide to Saraburi created these 20 landmarks that represent the characteristics of a thai city. This project is a personal one of Chinapat and in the future he wants to add more to the list.
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Inspired by - Portugal
Last week I featured the Porto city identity proposal from Atelier Martino&Jaña. Unfortunately it only stayed at a proposal because the White Studio won the pitch for creating the new identity for the city of Porto.
The city of Porto and the city Hall needed a visual system, a visual identity that could organise and simplify communication with the citizens and could at the same time define a clear hierarchy.
That city could never be an empty entity, or a mere geographic location, restrained by physical boundaries. It is filled with life, with character, with icons and symbols, with habits and ways of living, with landmarks, landscapes and a very particular horizon. It could not be summed up in a few buildings. It is alive, and its identity shouldn’t be fixed or closed. It needed to breathe and grow every day.
Ancient, Very Noble, Always Loyal, Undefeated City of Porto.
Porto has always been a very passionate city. It has a scale that allows for a relationship of proximity. Here we feel cozy, we feel at home. We develop a feeling a ownership with every landmark, with every street. The city is ours. And with each step we recognize its accent and its attitude.
The cause is the city. The cause is Porto.
This idea of ownership felt very important for us. This unique home that each one of us finds in the city needed to be represent. Everyone should have their own Porto.
With this idea in mind, one of our first tasks was to understand how others view the city, and what comes out of that observation. It’s obvious and even cliché to identify the big icons like Torre dos Clérigos, Casa da Música, Ribeira, Fundação Serralves, the river. These icons go from the incredible gastronomy to the unmistakable accent of the north of Portugal. The Port wine, the São João festivities, the old and the contemporary, the landmarks and the familiar, the list of “Portos” continues.
For each citizen Porto represents a different thing. If you ask someone “What is your Porto?” the number of answers is endless. We felt like we needed to give each citizen their own Porto. We needed to show all the cities that exist in this one territory.
Thus it became clear to us that Porto needed to be much more than a single icon, much more than a single logo. It needed complexity. It needed life. It needed stories. It needed personality.
Porto is a city with a strong personality. It has a recognizable attitude that is unmistakably ours. So living along the network of symbols, we needed a brand with a clear message, one that summed up our identity.
The word was enough. In a simple direct affirmation of who we are and what we are. Nothing else but Porto. The city is undisputed, unavoidable, incomparable. It’s Porto.
In the word, in the dot, we visualize the orality of the city. As if the attitude of Porto was just waiting to be revealed. It is the blunt affirmation of what we are.
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Inspired by - Norway
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Tea has been around for thousands of years, speeding across multiple cultures. But what is quite likely is that it originated in China during the Shang dynasty as a medicinal drink, according to Wikipedia. Taipei, Taiwan designer Cheng Jie Sung created an interesting packaging design called 喝禮季 “GOOD DAY” which plays on the four seasons of the year and the traditional herbal store.
“It is one of the customs in Taiwan since time immemorial that people use traditional Chinese medicine as nutriment, and it’s also one of the characteristics that represents Taiwan.Therefore, we use the scene and concept of traditional herbal store as the packaging subject of our health-enhancing tea.
By illustrating the 4 procedures of dealing the herbal material which are weighing, cutting, pounding and decocting with small fire, it is also indicated 4 different types of tea. The ingredients will be designed in accordance with seasons, including Lycium Chinense tea with Polygonati Rhizona for spring, ginger tea with brown sugar for winter, and etc.”
Inspired by - World
The new collection includes only the most typical wine varieties for wine-growing regions of the New World (Chile — Cabernet, South Africa — Pinotage, New Zealand — Sauvignon). Wealth and exotic flavors, ease of choice and opportunity to create a bright, bold packaging design inspired the key image — ethnic masks used in ceremonies, rituals and ceremonies throughout the New World. At the same time in different masks are always kept their national, very recognizable features.
The name of wine collection Mask Spirit uses plural meaning of the word «spirit» and sets the brand promise — «Come out of the ordinary, feel empathy worldwide, enjoy the unusual flavors.» Thus, the consumption of wine in this collection seems regularly-daily or ceremonial ritual. The design of the label uses volumetric applique. Each mask is stylization of authentic masks, still used by indigenous people in the regions of New Zealand, Chile and South Africa.
Collection of New World wines «Mask Spirit» turned out bright and unusual, attracts the attention of buyers. Universality of mask image allows to extend collection with new regional wines and present them to their customers.
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Inspired by - Portugal
In June 2014 Atelier Martino&Jaña where invited along with two other studios to create a new city identity for the city of Porto in Portugal. The challenge was that the design studio only had 18 days to complete this colossal task. Despite the short deadline the team responded to the opportunity with great enthusiasm and motivation.
“We’re very passionate about Porto – it’s our hometown and the place where we truly belong. Secondly, because we believe that design is capable of making a much stronger and more intelligent contribution to the city. We believe that visual communication can surpass the sometimes expected aesthetics of branding, and that it has the capacity to help create and to frame dialogue, acting as a mediator between a city and its inhabitants.”
Atelier Martino&Jaña approached the project by looking at the cities history. The city of Porto dates back to the Bronze Age, and has been a key location throughout the history of Portugal.
That questioning led us to a philosophy – how we understand identity. In turn the philosophy suggested a methodology – how we have chosen to assemble the visual components for an identity by creating a graphic vocabulary.
Finally, the strategy – how we propose to use that vocabulary.
Those three elements: philosophy, methodology and strategy, form the basis of our approach.
Our idea of a visual vocabulary consists of a rich and diverse graphic lexicon that can be expanded and used in a diverse number of ways. It deliberately embodies a degree of abstractness. It forms the basis of the identity, and addresses all the constituent parts of the city.
Even though both types of communication resort to the same visual vocabulary, whenever the City Hall communicates, its graphic mark displays an organized layout framed by a shield protecting the city core. On the other hand, whenever the City of Portocommunicates, its identity no longer displays the shield, and can resort to a dynamic and multicolor composition system.
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Inspired by - Norway
The idea of the banknote originated in China during the Han Dynasty in 118 BC and bas made of leather. Since then a lot has happen, from the way we design banknotes to the material we print it on.
One of the beauties about designing banknotes is the visual story it tells us. Not only does it tell us how much it is worth but also where it originates from, who the local heroes are, its famous landmarks or its national recourses. The Bank of Norway choose the theme “Sea“ which had to be incorporated into each design. The sea is an important part of the norwegian economy, with is rich resources from the oil and gas industry to the fishing industry. But it is also has a right seafaring history.
From the many submitted entries, eight of them went on to the final round which of Oslo-based graphic design studios The Metric System together with Snøhetta were the winners. The Metric System’s front was choses because it was designed in a very good way so that the necessary security elements can be incorporated. Snøhetta’s pixel design was chosen for the backside. According to the jury the design is both traditional and modern.