Also in this week’s Design Diary, our roundup of projects, events, and general design world news, we bring you a visual identity project based on soundwaves and a new issue of culture mag Emulsion. For more along these lines (and so many others) you can follow along all day, every day on Instagram @AIGAeyeondesign, Facebook, and Twitter @AIGAeyeondesign.
Nour Shourbagy and Nada Kassem, Hijabi shopping Ain-Shams
Nour Shourbagy and Nada Kassem created a mini guidebook for Cairo’s hijab shopping area Ain Shams in Cairo, aimed at making hijab shopping more accessible to women visiting the space. The booklet seeks to help those who are both familiar and unfamiliar with the area, and it’s inspired by the street art style of Cairo. “The randomness of the layout, illustration, and collage style is in a way reflecting Ain Sham’s visual language—what you actually get to see in Cairo’s streets,” says Shourbagy. Divided into three sections, the first part of the booklet uses two maps, one that assists users in bus transportation, parking, or finding a toktok, and another that guides them from the El Arab bus stop to the main shopping area. The second section details the stores in the area (covering price, product, fitting room conditions, payments accepted, opening hours etc.), while the third and final section showcases illustrations offering tips on the material used to make hijab scarves, how they can be styled, and ideas about wearing them with various outfits.
Dashlane rebrand by Eddie Opara at Pentagram
Digital identity app Dashlane, which offers a shortcut that aligns various sets of data people use online such as passwords, payments, and personal info, has been rebranded by Pentagram partner Eddie Opara and his team. Billed as a “head-to-toe update,” the launch of the new designs coincide with the tenth birthday of the company. The rebrand uses a color scheme and animations that “nod towards the company’s M.O. of protecting (and taking control of) your online identity and the company’s mission to fix the broken UX of the internet today, while visually mirroring the tension between identity and anonymity,” according to Pentagram.
The new design aims to form a “clean, flexible system,” says Dashlane CMO Joy Howard. “We help our customers reveal and conceal themselves and their data online; that idea turns into motion in our new identity system.” The team based the designs around a simple isometric 2D shape nicknamed “AroundRects,” which in its static form, reflects the shape of smartphone screens. When animated, the dimensionality of the shapes is revealed. The identity also includes a new logo mark, dubbed the “Dashlane D,” which is formed from these shapes in all iterations.
Studio Sutherl&, Kings Place rebrand
Studio Sutherl& worked with software engineer and digital media artist Joe Pochciol to build bespoke software SoundWaveMachine, which works as a package for audio analysis, visualization, and rendering to generate a new logotype based on any sound files. “Our ‘machine’ can produce an infinite number of logotypes (static or animated) to reflect the amazing, diverse, and eclectic programming,” says Sutherland. “We can vary the amplitude, gain, and modulation. We can also use the waves themselves graphically, for building manifestations and in print.” This helps to create a sense of continuity across the various Kings Place sub-brands, as well as across individual logotypes for personal staff stationary (e.g. business cards and email sign offs), which can be based on a staff member’s favorite track. The identity was launched with a flipbook bearing an animated logotype created from the sounds of a Bach Cello Suite in G Major Prelude piece—the first piece of music performed in the hall when it opened in 2008.
Emulsion magazine, issue 2
Art and culture magEmulsion has just launched its second issue, which focuses on “hybridized and multi-disciplinary creatives,” according to founders Louis Morlet and Michael Opie O’Grady. These are largely aligned with the overall goal of the mag, designed by East London-based design studio Our Place, to create a “DIY, artist-led…winding trail into the underground world of art and culture,” from photography to fashion, music, painting, and more. Among those showcased in the mag are artist and experimental filmmaker Ben Rivers, musicians Crystallmess and Genome 6.66 Mbp, painter Marilyn Minter, multidisciplinary artist Juliana Huxtable, and veritable art/sound superwoman Laurie Anderson. “Emulsion allies with those who fight convention and make waves across the arts,” say Morlet and O’Grady. “A big focus for this issue was to blow open our process to the contributors, allowing their voices to guide the direction of their own features… This collectivism epitomizes what we set out to do with Emulsion as a new publication by, with, and for artists.”
Reviving Type, by Nóra Békés and Céline Hurka
Reviving Type is billed as a “guided backstage tour of type design”; and aims to help anyone who wants to “dive into the type revival design process.” The book was written by typographers and graphic designers Nóra Békés and Céline Hurka, both graduates of the Royal Academy of Art (KABK) in The Hague, the Netherlands, and includes meticulous historical and archive research alongside a step-by-step, hands-on explanation of the type design workflow. The project began around four years ago when the pair began researching the history of type and concurrently designed two digital typefaces: Hurka revived the Renaissance typefaces by Claude Garamont and Robert Granjon; while Békés worked on the Baroque letters of Nicholas Kis. “The project evolved from a school assignment into a book compares and two eras in the history of type design, as well as two different approaches to create type revivals,” say the designers.
The book is split into four sections: first offering “insight into historical changes in type design through hands-on examples with theoretical background”; before an image-led section; then an explanation of the production process of the revival typefaces; before concluding with “a specimen and a conversation,” as Békés and Hurka put it, so that the reader can “compare originals with the revivals and read a personal discussions about the process of the project. Rich imagery of original materials and technical illustrations explain all the texts visually. Altogether, the publication becomes a ‘cookbook’ for anyone who would like to dive into type revivals.”