Filed under: design, Uncategorized | Tags: design, fashion, karl grandin, logo, sweater design
Designer Karl Grandin takes 180 animal-based logo marks and compiles them into a pattern which is then made into a sweater.
The original Animal Sweater was first shown at The Visual Power Show in Zollverein, Germany in 2006. Images of the prototypes from the Sandberg Institute’s New Work show in Amsterdam, September 2006.
Nature used to be an unpredictable place
of mystery. Fascinated with nature’s untamed wildness, artists created animal and floral patterns as a celebration of this phenomenon of the physical world.
Today this wilderness has disappeared and nature has lost its unique position. There
is nothing that has not yet been altered by human intervention. Man has conquered nature and is repackaging it neatly. Zoos, parks, artificial beaches and genetic engineering. We have cultivated nature for our own convenience. Now, it is instead man-made cultural constructions that are becoming increasingly autonomous and slipping out of our control. Wild systems
like brands, stock markets and traffic is the wilderness of today. Nature has become culture and culture is turning into our new nature.
As we are surrounded by logos, we are systematically invited, encouraged and directed in what we do. Brands want to be personal and engage in a relationship with you. They want to become a central part of your life. But there is no dialogue, only targeted one-way communication. The symbols are constantly in your field of vision but they are still not part of the public domain. Ownership is of the corporations and the destiny of the logos is in their hands.
In the Animal Sweater pattern, 180 animal shaped logos are set free. Emphasizing the beauty of the stylized animals and their collective kinship, rather than each mark’s individual commercial value, the pattern suggests a new way to experience the commercial imagery.
The fabric of the original sweater was knitted using computerized knitting technology at the Nederlands Textielmuseum in Tilburg and the garment was cut and sewn by Dima Stefanova.
Filed under: design, typography | Tags: dalius stuoka, ed's electric, ed's electric logo, foot, foot logo, kreativos, kreativos logo, logo, logo design, logomotive, logomotive logo, pencil, pencil logo, typography
I’ve seen these logos at a website that offers them as inspiring logo designs, while I was stumbling upon. I have chosen a couple of them which I found them interesting.
Kreativos: I think this is a fake corporate. I like the bitten pencil illustration, but the logo is muh more better withot the shadow drop. The illustration seems 2 dimensional if we ignore the meaningless white spot on the back of it, so what for is the shadow and it seems better without it. Also I tihnk it can be better by using a warm color such as orange instead of blue.
Logomotive: I like it. Although it resembles waffle bread, I realy like it. It is so simple and gives the message directly.
Foot: It’s perfect. I know most of the designers are against to implanting the form into the logo, but it’s perfect. I also like other logo designs by Dalius Stuoka.
pencil: I think this is also a good design, but I prefer the letter ‘i’ with its dot.
ed’s electric: I like white space tricks. This is a good example of it.
Filed under: design | Tags: logo, logo design, new york public library, new york public library logo, nypl, nypl logo
I don’t like the logo so much, but the way it is designed is amazing. I like the idea of using the photography of the sculptor in the library’s garden
Filed under: design | Tags: DC Comics, graphic desginer, I ♥ New York, logo, milton glaser, New York Magazine
Milton Glaser is a graphic designer who is probably best known for the I ♥ New York logo. He’s also responsible for the DC Comics bulle logo used by He is also the co-founder of New York Magazine.
