english Ian Halliday (2000) By ukoln.ac.uk Published On :: 2000-09-07 Ian Halliday: Instructor, Princeton University 1964-66. Fellow Christ's College, Cambridge 1966-67. Lectureship 1967-75, Reader 75-90, Professor 90-92, Imperial College, University of London. Professor of Physics and Head of Department, University of Wales, Swansea since 1992, Dean of Graduate School 93-96 (on leave of absence). Chief Executive, Particle Physics and Astronomy Research Council since 1998. Full Article
english Tony McDonald (2000) By ukoln.ac.uk Published On :: 2000-09-07 Dr Tony McDonald is TLTP officer at the Faculty of Medicine Computing Centre in the Medical School at the University of Newcastle. In this position he has been involved in the development and implementation of the Networked Learning Environment and its deployment at the consortium sites. Whilst developing this system, a lot of additional work was done on XML. Before joining the FMCC, Tony worked at Netskills on the DESIRE project and, further back, was the Macintosh systems advisor at the University of Newcastle Computing Service. His current interests are in website communication (XML-RPC and SOAP) and in 'shipping' the NLE out to as many sites as want it. Full Article
english Martin Belcher (2000) By ukoln.ac.uk Published On :: 2000-09-07 Martin Belcher is Project Manager for the Internet Development Group, Institute for Learning and Research Technology at the University of Bristol. Martin is responsible for the consultancy activities of the ILRT. These mainly take a Web-based focus and include Web site design, implementation, service specification development, usability and accessibility audits, online strategy development and various forms of Web-focused training. Recent clients include; JISC, ESRC, University of Bristol, Bank of England, the Institute of Fiscal Studies, National Maritime Museum, BMW. Martin has been working for the University of Bristol in Internet related projects since 1994. Previous to that he studied, and sometimes practiced, in the fields of archaeology and geology. Full Article
english Alan Robiette (2000) By ukoln.ac.uk Published On :: 2000-06-25 Alan Robiette works as Programme Director for JISC's rapidly developing interests in authentication and security. He began his career as a physical scientist but became increasingly involved in IT planning and management, and directed IT services in a number of HEIs for a period of some 15 years before taking up his current position. He is a former member of the Computer Board and of a number of JISC committees and working groups, and was closely associated with the eLib Programme throughout much of its existence. Full Article
english Brian Kelly (2003) By ukoln.ac.uk Published On :: 2003-07-12 Brian Kelly is UK Web Focus - a JISC-funded post which provides advice and support to the UK Higher and Further Education communities on Web issues. Brian is based at UKOLN. Brian has been chair of the organising committees for the Institutional Web Management Workshop series since he established the event in 1997. Brian's interests include Web standards, technical architectures for Web services and innovative Web developments. Brian is chair of the Programme Committee and a member of the Organising Committee. Full Article
english Professor David Melville (2003) By ukoln.ac.uk Published On :: 2003-07-11 Professor David Melville began his career as a lecturer in Physics at The University of Southampton and carried out research on magnetism and magnetic materials as well as bio and medical physics. He served on and was chairman of a number of research councils and Higher Education Funding Council Committees. David Melville went on to become Vice Rector of Lancashire Polytechnic and Vice-Chancellor Middlesex University. During this period he also served as Vice-Chairman of the Committee for Vice-Chancellors and Principals (now Universities UK) and Chairman of its Longer Term Strategy Group. In 1996 he became Chief Executive of the Further Education Funding Council. In this role he was responsible to Parliament for the allocation of funding of over #3 billion per annum to the further education sector. He was appointed Vice-Chancellor of the University of Kent at Canterbury in September 2001. He was educated at Sheffield and Columbia Universities and has Honorary Degrees from Sheffield, Middlesex, Derby and Southampton Universities. He was made a CBE for services to education in 2001. Professor Melville gave the opening keynote plenary talk on The Web Of Higher And Further Education: How To Deal With The Spiders. Full Article
english Dave Beckett (2003) By ukoln.ac.uk Published On :: 2003-07-12 Dave Beckett is a senior technical researcher at the Institute for Learning and Research Technology (ILRT), University of Bristol working on Semantic Web and web technology research, development and standardisation. He has been developing, researching and deploying Internet research discovery, search and metadata systems since 1993 and based at the ILRT since 2000. Dave presently works on the EU-funded IST project Semantic Web Advanced Development Europe (SWAD-Europe) on deploying and developing practical applications and approaches for this new technology. As part of this he does standardisation work on the Dublin Core Metadata Initiative and on the Resource Description Framework (RDF), the foundation work of the W3C Semantic Web Activity. Dave edits two of the RDF specifications in development. Dave Beckett gave the opening keynote plenary talk on day 2 on The Semantic Web. Full Article
english John Burke (2003) By ukoln.ac.uk Published On :: 2003-07-11 John Burke of JISC InfoNET is the FE Liaison Manager with JISCinfoNet. He has worked within the Further Education Sector since 1985 with much of that time having been involved with Management Information Systems, in addition to having managed and developed the IT Network and infrastructure at Myerscough College for over three years. He was instrumental in training and promoting good practice in MIS in Lancashire in the early days of College MIS and regionally has chaired the NW CMIS Group since 1996. He became Associate Chair of the National CMIS Board in 1994, helping to build on the success of that body since its merger with NAITFE to form the National Information and Learning Technologies Association (NILTA). John has participated as a member of NILTA's CIS Operations Committee, acted as North West Representative to NILTA's Council and has contributed numerous articles to their publications. John was an early adopter of the Internet and Intranet as a tool for dissemination and has spoken on the subject at several conferences and seminars. He has also spoken on the subject of e-Learning and was involved in the JISC MIS/MLE Interoperability Study. He received the NILTA Award for outstanding contribution to the development of College Information Systems in 1999. John gave a plenary talk on JISCinfoNet: Helping Web Managers Support Our Users. Full Article
english David Supple (2003) By ukoln.ac.uk Published On :: 2003-07-11 David Supple is manager of the Corporate Web team at the University of Birmingham and manager of the University's Institutional Portal Project. His teams remit is the development of the site to facilitate the e-business and e-learning aims of the institution, and the delivery of a Web-enabled organisational vision. In real terms this means the re-corporatization of the University Web site, through a focussed Web strategy, common infrastructures and templates, centralised hardware, adequate support and a customer focussed internal sales process to help convince users to migrate back to the centre. The Web Team uses mostly Microsoft products (a challenge in itself), with occasional forays into MySQL and Unix just to keep us sane. Over the coming year, David's focus will be on developing a major portal environment for the University, something that has been in planning for almost 2 years now, and he is keen to engage with the HE community on this new type of development to help maximise the potential of this technology. David is also interested in Web strategy in general and the development of organisational structures and processes as they respond to a more electronic view of the world. David Supple gave a plenary talk on Web Strategies: Bridging a Continent. Full Article
english Sarah Agarwal (2003) By ukoln.ac.uk Published On :: 2003-07-11 Sarah Agarwal is a consultant Project Manager, specialising in user-centred Web and application development. She has worked for the Institute for Learning and Research Technology at the University of Bristol since 2002. During that time, she's worked on a variety of internal and external development projects, using user-centred design techniques with particular effect in politically difficult and organisationally complex developments. Sarah has previously worked in the field of intranets, knowledge management, usability and information science for other not-for-profit organisations, such as the BBC and the Environment Agency. She has written articles and given seminars on Web-related subjects such as design, information architecture, usability, end-user surveying and change management issues. Sarah Agarwal gave a plenary talk on Focussing On Users: Gathering Users' Requirements. Full Article
english Gareth McAleese (2003) By ukoln.ac.uk Published On :: 2003-07-12 Gareth McAleese is Web Development Manager within the Department of Public Affairs at the University of Ulster where he has been for the last six years. He is responsible for the technical management and development of the University of Ulster Web service. Gareth gave a joint plenary talk with Ricky Rankin on Content Management - Buy or Build?. Full Article
english Ricky Rankin (2003) By ukoln.ac.uk Published On :: 2003-07-12 Ricky Rankin is a Principal Analyst within Information Services at Queen's University Belfast. For three years he was manager of the Computer Mediated Communications group with responsibility for the email and www services of the University. He is currently involved in two projects: (1) Queen's Online Project which seeks to ensure that the key services and information used by University personnel are made accessible through an integrated Web environment. (2)Content Management System which involves the selection and implementation of CMS to enable information owners to author for the Web. Ricky gave a joint plenary talk with Gareth McAleese on Content Management - Buy or Build?. Full Article
english Steve Musgrave (2003) By ukoln.ac.uk Published On :: 2003-07-12 Steve Musgrave is a PhD research student involved in Telematic research into Community Portals. He is a full time IT Manager at Blackpool and the Fylde College in Lancashire. Formerly a merchant navy Radio/Electronics Officer and design engineer with IMR/ITT. Beyond the professional qualifications he holds a B.Sc (Hons) in Electronics with Computing; an MSc in Information Technology and a post graduate Diploma in Management of Education. With a strong background in the Further Education sector as a Principal Lecturer and Head of Division of Communication Engineering, he transferred to a position in IT Management with Blackpool and The Fylde College to develop and implement a unified college-wide electronic network interlinking the campus sites, buildings and outreach centres. Implementation of a Virtual Learning Environment is currently on-going. Direct personal experience of managing multi-million pound IT projects has been gained through project management of Further Education Funding Council (FEFC) projects, notably the ICT centred 'Regional Open System for Education' project and SIGMA projects, giving network inter/intra connectivity between Colleges in a virtual private network. Recent experience of Community Portal planning, design and implementation has arisen through the partnership of Blackpool Borough Council, Blackpool and The Fylde College, and Telewest, in feasibility studies and planning of a 'Broadband Interactive Grid' public sector Community Network strategy for the Fylde Coast of Lancashire. Representation at national level includes membership of the JISC Information Environment Committee (JCIE) and NILTA Technical Committee. Steve gave a plenary talk on Community Portals - A False Dawn Over The Field of Dreams?. Full Article
english Dr. Alejandro Armellini (2003) By ukoln.ac.uk Published On :: 2003-07-12 Dr. Alejandro Armellini is a Learning Technologist in the Unit for the Enhancement of Learning and Teaching, at the University of Kent. He holds a Master in Education (Educational Technology and TESOL) from the University of Manchester and a PhD in Language Studies from Canterbury Christ Church University College. He has worked extensively in the fields of teacher development, open and distance education, educational technology and e-learning, as well as educational research methods, both in the UK and in Uruguay. He has also managed projects co-funded by the Inter-American Development Bank and ORT Uruguay University. He has taught at BA, Diploma and Master's levels in the UK and Latin America. His current activities include (a) Implementation of the university's e-learning strategy Responsibility for development and (b) delivery of the Learning Technology module within the PGCHE WebCT administration and staff development. Alejandro Armellini gave a plenary talk on E-learning: The Strategy Continuum. Full Article
english Mark Stiles (2003) By ukoln.ac.uk Published On :: 2003-07-12 Mark Stiles is Professor of Technology Supported Learning at Staffordshire University. In his role as Head of Learning Development and Innovation, he is charged with leading "eLearning" across the institution. Staffordshire have been using VLEs for some five years, including the COSE VLE which was developed at Staffordshire and is now available as a free binary/open source product. Mark has led numerous projects relating to the technical, strategic, and educational aspects of the use of VLEs/MLEs and is a regular speaker, and has published widely, in these areas. Mark is currently chair of the JISC MLE Programme Evaluation Team. Mark Stiles gave a plenary talk on Beyond Your VLE: Strategic Challenges. Full Article
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english 101+ Best AI Tools for Business & Marketing 2024 By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 05:01:25 +0000 Looking for the best AI tools & resources? We're actively compiling the ultimate list of the best artificial intelligence tools & resources. Full Article Tools & Gear AI Artificial Intelligence Tools
english 50+ Christmas Gift Ideas ???? for Graphic Designers & Creatives By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 05:00:32 +0000 Christmas time is full of joy & stress trying to find the right gift. See our list of the best Christmas gift ideas for designers and be festive! Full Article Tools & Gear 2024 Christmas Gear for Designers Gift
english Streamline Your Design Workflow with Adobe’s Creative Cloud Libraries and New AI-Powered Tools By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 01:26:20 +0000 Thanks to the AI-powered Adobe Creative Cloud Libraries, creatives can now simplify workflows and design processes in seconds! Full Article Adobe Adobe Creative Cloud Libraries Adobe Firefly Adobe Max 2024 Creative Libraries Illustrator Photoshop
english Logo Package Express 3.0 – An Essential Tool for Any Logo Designer! (20-40% Discount) By feeds.feedburner.com Published On :: Mon, 11 Nov 2024 05:56:58 +0000 Get 20-60% off Logo Package Express with our exclusive discount coupon code. This Adobe Illustrator extension automates the exporting & sorting of logo files. Full Article Logo Design Illustrator
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english The Best Adobe Creative Cloud Discounts & Deals: Get 40 to 70% Off By feeds.feedburner.com Published On :: Sun, 10 Nov 2024 20:00:22 +0000 Looking for Adobe Creative Cloud discounts, sales & deals? Here are the best Adobe CC special offers + how to get a Creative Cloud discount at 40-70% off! Full Article Adobe Deals & Freebies Black Friday Creative Cloud Cyber Monday Deals Discount Illustrator Photoshop
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english The Best CorelDRAW Graphics Suite Discounts: Get 10 to 50% Off (2024) By feeds.feedburner.com Published On :: Thu, 07 Nov 2024 17:18:38 +0000 Save money (10-50%) on CorelDRAW software with these top discounts, sales & deals. See the best CorelDRAW discounts & special offers on Graphics Suite & more. Full Article Deals & Freebies Adobe Corel Creative Cloud Deals Discount Illustrator Photoshop
english [Podcast] Humour in Branding with Paddy Gilmore By feeds.feedburner.com Published On :: Wed, 06 Nov 2024 07:33:58 +0000 Discover how clever humor can enhance brand identity, engage audiences, and create memorable marketing campaigns. Full Article Podcast brand marketing humor in branding humour Strategy
english 39+ Best Christmas Fonts for Festive Holiday Creations (Free & Premium) ???? By feeds.feedburner.com Published On :: Mon, 04 Nov 2024 17:29:10 +0000 Before we know it, the Christmas season will be here. Use our Top 39 Christmas Fonts for Festive Graphic Design to add some holiday cheer to your designs! Full Article Typography Christmas Fonts Holiday
english 2024 Black Friday + Cyber Monday Deals for Designers By feeds.feedburner.com Published On :: Thu, 31 Oct 2024 16:01:03 +0000 Save cash with these top best 2024 Black Friday and Cyber Monday deals for graphic designers, creatives, artists, web designers, professionals & photographers! Full Article Deals & Freebies 2024 Black Friday Cyber Monday Deals
english JUST Creative wins Awwwards. ‘Typography Honors’ for Brand Builders Summit ’24 Website By feeds.feedburner.com Published On :: Tue, 29 Oct 2024 22:01:04 +0000 Brand Builders Summit 2024 wins ‘Typography Honors’ at Awwwards for outstanding typography and design, attracting 60K+ visitors globally. 2025 waitlist open! Full Article Personal News Award Website Winner
english GRAND OPENING By cool-cold-craft.webnode.com Published On :: Sat, 12 Oct 2013 20:33:00 +0200 Grand Opening of our server and website! Full Article Events Calendar
english Thinking about doing a new theme about beds or home furniture By feeds.feedburner.com Published On :: Thu, 08 Mar 2012 11:31:31 +0000 Anybody who would be interested in a great new theme about beds and home furniture please drop me a line or comment on this post. Im just mulling over the idea got a good template in mind with a pic of a leather bed and nice mattress kind of a sleep blog theme. Should appeal [...] Full Article Reviews
english Fashion & Lifestyle – Free WP Theme for Fashion World By feeds.feedburner.com Published On :: Thu, 17 Nov 2011 11:15:46 +0000 Fashion & Lifestyle is a very stylish 3-column blog which you can use to standout in the fashion world. Note: Fashion & Lifestyle is Designed By: bglam, Fashion Themes and made free by Womens Perfume DOWNLOAD | PREVIEW Full Article 3 Columns Free Wordpress Themes Pink fashion peal fashion theme free wp theme
english CARS – Another Free WP Theme By feeds.feedburner.com Published On :: Thu, 03 Jun 2010 13:25:19 +0000 Cars is a 3 columns free wordpress theme with simple, clean look, Unique and modern style, having the classic combination of blue, white, black and red, Ideal for Autos, Cars, technology, and other niche. Features: XHTML 1.0 Transitional Widget Ready Adsense Ready Threaded comments support FeedBurner subscribe via email support Note: Cars Theme is Designed [...] Full Article 3 Columns Black Free Wordpress Themes Red White adsense ready autos
english Jobs Newcastle – Free WP Theme By feeds.feedburner.com Published On :: Wed, 17 Mar 2010 13:57:51 +0000 Jobs Newcastle is two columns free wordpress theme with unique and glossy look, having the classic combination of blue, grey and black. Features: XHTML 1.0 Transitional Widget Ready Adsense Ready Threaded comments support FeedBurner subscribe via email support Note: Jobs Newcastle Theme is Distribute by ElegantWPThemes.com Designed by Web Design Leeds and made free by [...] Full Article 2 Columns Black Dark Shade Free Wordpress Themes 2 column adsense ready black free wordpress theme wp themes
english Insurance – An Elegant Free WordPress Theme By feeds.feedburner.com Published On :: Thu, 18 Feb 2010 09:26:12 +0000 Insurance is two columns free wordpress theme with unique and modern style, having the classic combination of white, yellow, grey and black. Features: XHTML 1.0 Transitional Adsense Ready Threaded comments support FeedBurner subscribe via email support A lot of advertising spots 125×125 Note: Insurance Theme is Distribute by ElegantWPThemes.com Designed by Web Design Leeds distributed [...] Full Article 2 Columns Black Free Wordpress Themes White free wordpress theme free wp theme white
english Used Ford Focus – An Elegant Free WP Theme By feeds.feedburner.com Published On :: Tue, 09 Feb 2010 11:20:03 +0000 Used Ford Focus is 3 columns free wordpress theme with unique and modern style, having the classic combination of white, blue, grey and orange. Features: XHTML 1.0 Transitional Adsense Ready Threaded comments support FeedBurner subscribe via email support A lot of advertising spots 125×125 Note: Used Ford Focus Theme is Distribute by ElegantWPThemes.com designed by [...] Full Article 3 Columns Black Blue Free Wordpress Themes Grey White free wp theme
english Mens Perfume – An Elegant Free WP Theme By feeds.feedburner.com Published On :: Tue, 19 Jan 2010 13:27:30 +0000 Mens Perfume is three columns free wordpress theme with unique and modern style, having the classic combination of white, blue, grey and red. Features: XHTML 1.0 Transitional Adsense Ready Threaded comments support FeedBurner subscribe via email support A lot of advertising spots 125×125 Note: MensPerfume Theme is Distribute by ElegantWPThemes.com designed by Web Design Leeds, [...] Full Article 3 Columns Blue Free Wordpress Themes White free wordpress theme free wp theme watches
english Elegant Watches – Another Free WP Theme By feeds.feedburner.com Published On :: Tue, 15 Dec 2009 13:50:44 +0000 Elegant Watches is three columns free wordpress theme with unique and modern style, having the classic combination of white, blue, grey and orange. Features: XHTML 1.0 Transitional Adsense Ready Threaded comments support FeedBurner subscribe via email support A lot of advertising spots 125×125 Note: Elegant Watches Theme is Designed by ElegantWPThemes.com | Web Design Preston [...] Full Article 3 Columns Blue Free Wordpress Themes free wordpress theme free wp theme Technology watches
english ElegantRed – Another Free WP Theme By feeds.feedburner.com Published On :: Wed, 11 Nov 2009 14:16:33 +0000 ElegantRed is two columns free wordpress theme with simple, clean look, Unique and modern style, having the classic combination of white, silver, maroon and red, Ideal for Autos, Cars, technology, and other niche. Features: XHTML 1.0 Transitional Adsense Ready Threaded comments support User Login System FeedBurner subscribe via email support A lot of advertising spots [...] Full Article 2 Columns Black Featured Grey White 3 Columns autos cars free wordpress theme free wp theme Technology
english AutoSpares – Free WP Theme for Autos/Cars related Blogs By feeds.feedburner.com Published On :: Mon, 26 Oct 2009 12:39:32 +0000 A perfect WP theme with Unique and modern style, having the classic combination of white, silver, navy blue and orange. XHTML 1.0 Transitional Adsense Ready A lot of advertising spots 125×125 Admin CMS Options DOWNLOAD | PREVIEW Full Article 3 Columns Blue Orange autos cars free wordpress theme free wp theme white
english FLIPPO Pet Food: A Fresh Take on Branding and Packaging Design By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 03:39:53 +0000 FLIPPO Pet Food: A Fresh Take on Branding and Packaging Design abduzeedo1111—24 Discover FLIPPO Pet Food’s playful branding and clean packaging design, making waves in the pet food industry. FLIPPO Pet Food is more than just a brand; it’s a lively celebration of real, natural nutrition for pets. Developed in Spain, FLIPPO takes a bold stand against traditional pet kibble, ushering in a wave of wholesome, fresh ingredients for our loyal companions. This design-centric approach comes to life through FLIPPO’s unique branding and eye-catching packaging, crafted by the talented team at invade design, Colombia. A Visual Feast for Pet Lovers FLIPPO’s brand identity is anything but conventional. It combines playful illustrations, vibrant colors, and friendly typography to create an experience that instantly captures attention. The visual storytelling here is intentional, aimed at communicating the brand’s commitment to quality and its promise of real food for pets. The design invites pet owners to rethink what they feed their furry friends, making every interaction with the packaging memorable. One of the standout features of FLIPPO’s design is its use of clean lines and engaging illustrations. Each packaging element feels like an invitation to a healthier, happier lifestyle for pets. The color palette bursts with energy, reflecting the brand’s fun and light-hearted personality while reinforcing its serious commitment to pet health. Thoughtful Typography and Brand Messaging Typography in FLIPPO’s design strikes a fine balance between playful and practical. The brand uses bold, easy-to-read fonts that ensure key messages are clear, whether they’re displayed in store aisles or in a social media feed. This typographic choice complements the visuals, making the overall design both appealing and accessible. Brand messaging leans into humor and relatability. FLIPPO’s playful copy engages pet owners with a tone that’s both fun and genuine. It’s a reminder that feeding our pets shouldn’t be a chore but a joyful experience, one that prioritizes their well-being. From Concept to Reality: Behind the Scenes The team at invade design worked meticulously to craft an identity that stands out in the competitive pet food market. Photography by Serena.Studio captures the freshness and quality of the ingredients, enhancing the appeal of the design. Together, these elements create a brand ecosystem that feels cohesive and authentic. For those interested in design inspiration, FLIPPO offers a masterclass in branding and packaging that balances fun with function. Check out the full project and more by invade design on Behance at https://www.behance.net/madebyinvade. Branding and packaging design artifacts Credits Identidad de Marca: invade, Colombia Team: María Vélez Agustin Hoyos Mariana Castrillón Tania Flórez Tomás Saldarriaga Mateo Ríos Fotografía: Serena.Studio Full Article
english Exploring Editorial Design in ‘EN TORNO A LA MATERNIDAD’ By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 03:31:25 +0000 Exploring Editorial Design in ‘EN TORNO A LA MATERNIDAD’ abduzeedo1111—24 Dive into the thoughtful editorial design of ‘EN TORNO A LA MATERNIDAD,’ crafted to resonate with themes of motherhood. Pau Marín’s project, EN TORNO A LA MATERNIDAD, explores the essence of motherhood through a refined editorial design that merges visual storytelling with emotive impact. The design embodies the themes of care, strength, and the cycle of life, delivering a visual experience that’s as insightful as it is aesthetically appealing. Design Approach and Concept At the heart of this project lies a narrative-driven approach. Marín carefully crafted the layout to reflect the nuances of motherhood, using visual metaphors and deliberate design choices. The typographic elements are minimal yet impactful, guiding the reader’s eye through the content seamlessly. Serif and sans-serif typefaces interplay to emphasize the transitions between vulnerability and empowerment that define the maternal experience. Photography plays a crucial role in this work, capturing tender moments that resonate with authenticity. Each image, strategically placed, adds layers of meaning, complementing the textual narrative. Marín’s ability to weave text and imagery together in a harmonious flow highlights the power of good editorial design to evoke emotions. Layout and Visual Hierarchy Marín’s layout decisions ensure readability while also inviting reflection. White space is used masterfully, giving the design room to breathe and allowing the reader to absorb the emotional weight of the content. The flow from one spread to the next feels intentional, never rushed, mirroring the natural rhythms of life. The visual hierarchy emphasizes important sections, using bold headings and thoughtful subheadings. This structure not only aids in navigation but also underscores key messages without overwhelming the viewer. The balance between text, imagery, and negative space is a testament to Marín’s understanding of editorial design principles. Thematic Consistency and Visual Metaphors Colors in the project echo themes of nature and nurture, employing soft pastels and earth tones. These choices create a calming yet evocative palette that enhances the emotional resonance of the design. Visual metaphors, like the cyclical patterns in layouts, symbolize the never-ending cycles of care and love associated with motherhood. For designers and illustrators, EN TORNO A LA MATERNIDAD serves as an inspiring example of how editorial design can amplify storytelling. The project encapsulates the emotional and cultural dimensions of its subject matter, offering a blueprint for blending design and narrative seamlessly. Discover more about this project and Pau Marín’s impressive portfolio on Behance at behance.net/paumarn1. Editorial design artifacts Credits and thanks Fina Perelló Andreu Maria José Fuentes Perelló Nuria Fuentes Perelló Nuria Marín Fuentes Claudia Marín Penella Pablo Lázaro Ballester Diane Gello Irene Martinez De La Vega Andrea Peregrín Moreno Coribel Zubillaga García Full Article
english Explore ChainGPT Labs’ Web3 Brand Identity & Web Design By feeds.feedburner.com Published On :: Tue, 12 Nov 2024 03:23:35 +0000 Explore ChainGPT Labs’ Web3 Brand Identity & Web Design abduzeedo1111—24 Discover ChainGPT Labs’ unique Web3 branding and web design with seamless 3D animations and a modern interface. ChainGPT Labs stands as an ambitious venture, propelling innovation in the blockchain and Web3 startup world. A project backed by the ChainGPT team, this platform provides strategic funding, incubation, and acceleration services tailored for the Web3 ecosystem. To visually represent such a forward-thinking initiative, a distinctive and cohesive brand identity was crucial. The design challenge was clear: introduce ChainGPT Labs as a part of the existing ChainGPT ecosystem while ensuring it had its unique presence. The team behind this creative endeavor adopted a strategy that balanced modernity with a recognizable brand connection. Typeface Selection and Visual Cohesion One of the design cornerstones is the typographic identity. The chosen typeface blends sleek, experimental, and monospace styles, reminiscent of sci-fi aesthetics yet grounded enough to maintain clarity. This combination brings a futuristic yet approachable vibe, mirroring ChainGPT Labs’ mission of bridging advanced technology with user-friendly design. The website, crafted with a focus on interaction, features seamless 3D animations. These animations not only add depth but also engage users in an immersive digital experience. The modern, functional interface ensures smooth navigation while highlighting essential content. The design isn’t just about aesthetics; it delivers on usability, ensuring every visual element contributes to a cohesive narrative. 3D Animations: Bringing Ideas to Life 3D animation plays a pivotal role in elevating the digital experience. Each animation is thoughtfully integrated, making the browsing experience lively without compromising performance. These elements align with Web3’s ethos, suggesting a digital landscape that’s both dynamic and innovative. Balancing Innovation and Brand Familiarity Designers also needed to ensure that ChainGPT Labs felt like an extension of ChainGPT’s established identity. The visual ecosystem leans into bold aesthetics while subtly referencing familiar brand cues. Strategic use of color, shape, and layout ties the Labs’ identity back to its origins, achieving a harmonious balance between innovation and brand recognition. Why It Matters for Design Enthusiasts For graphic and interface designers, ChainGPT Labs offers an inspiring case study in brand expansion. The project exemplifies how visual elements can maintain brand consistency while pushing creative boundaries. This thoughtful integration of typography, 3D animation, and a user-focused interface marks a new chapter for digital design in the Web3 space. For a full breakdown of the design elements, visit the work of Sigma Software Design at https://sigmasoftware.design/. Visit the website at labs.chaingpt.org Web design artifacts Full Article
english Illustration for Impact: HART Curatorship Incubation Programme Visuals By feeds.feedburner.com Published On :: Fri, 08 Nov 2024 16:21:13 +0000 Illustration for Impact: HART Curatorship Incubation Programme Visuals abduzeedo1108—24 Discover Anthony Lam’s captivating illustration work for the HART Curatorship Incubation Programme 2024, blending art with purpose. HART Collective Limited’s 2024 Curatorship Incubation Programme comes alive through a series of vibrant visuals and social media collaterals designed by Anthony Lam. This illustration project, aimed at amplifying the HART initiative’s reach, seamlessly combines creativity and purpose. Let’s dive into the thought process, design elements, and impact of these compelling illustrations. Bringing Artful Storytelling to HART The HART Curatorship Incubation Programme is more than just an event; it’s a platform that nurtures emerging curators and fosters artistic engagement in Hong Kong. For this initiative, HART Haus collaborated with Anthony Lam to create visuals that encapsulate the spirit of innovation and community central to the programme. With a focus on vibrant, eye-catching design, Lam’s illustrations breathe life into the promotional material, making the programme’s message resonate visually. One of the striking features of this project is the careful choice of typography. The primary typeface used is Degular Display by James Edmondson from OH no Type Co. This choice lends a contemporary and approachable vibe to the design, complementing the modern and energetic illustrations. The type’s bold and clean lines create a sense of structure amidst the dynamic visuals. Lam’s illustrations use a playful yet sophisticated color palette, striking a balance between the avant-garde and the accessible. The design approach draws heavily from art movements that emphasize form and rhythm, mirroring the essence of a programme that curates art as an experience. Each piece incorporates abstract shapes and flowing patterns that evoke a sense of motion, representing the evolving journey of curatorship and the fluid nature of artistic collaboration. Illustration isn’t just about static visuals; it’s about telling a story that connects with an audience. For this project, Lam crafted designs meant to adapt seamlessly across multiple platforms, from print to digital media. The social media assets, in particular, utilize animations and interactive elements to capture the attention of a fast-scrolling audience. These designs ensure that the HART Curatorship Incubation Programme stands out in the crowded digital space. The use of illustration as a core element of the visual identity allows for more flexibility and engagement. It provides a canvas where abstract concepts about art and curatorship can be expressed in a way that feels both authentic and exciting. Whether seen on a poster, a website, or a social post, each visual invites viewers to explore and learn more about the programme. Illustration plays a crucial role in making art initiatives accessible to a broader audience. By employing a visually striking yet relatable design language, Anthony Lam’s work for HART bridges the gap between curators and the community. The visuals don’t just inform; they inspire curiosity and engagement, which is essential for an incubation programme that seeks to elevate emerging curators. This collaboration also highlights the impact of thoughtful design in the arts sector. By leveraging illustration, HART Collective can convey complex ideas in a way that is immediately understandable and appealing. The choice of colors, the movement within the compositions, and the bold typography all work together to create a cohesive narrative that draws people in. The HART Curatorship Incubation Programme’s visual identity showcases how illustration can elevate an arts initiative, making it more engaging and impactful. Anthony Lam’s designs prove that illustration, when done thoughtfully, can serve as a bridge between art and the public, turning viewers into participants and supporters. This project is a reminder that effective visual identity goes beyond aesthetics; it tells a story that connects and captivates. As HART continues to grow its curatorship programme, the illustrations created for this year’s campaign will undoubtedly leave a lasting impression, drawing more people into the world of art and collaboration. Graphic design and illustration artifacts Credits Client: HART Haus, HART Collective Limited Typeface in use: Degular Display designed by James Edmondson. From OH no Type Co. Author: Anthony Lam Full Article
english Graphic Hunters: Pushing the Boundaries of Sports Visual Identity By feeds.feedburner.com Published On :: Thu, 07 Nov 2024 13:57:12 +0000 Graphic Hunters: Pushing the Boundaries of Sports Visual Identity abduzeedo1107—24 Explore how Graphic Hunters’ visual identity redefines sports branding through innovative design inspired by fashion and art. Graphic Hunters, a Dutch studio dedicated to sports branding, isn’t playing by the typical design rulebook. Instead, their newly crafted visual identity steps outside the confines of traditional sports aesthetics, introducing elements drawn from fashion and high design. The result is a high-impact, versatile identity that positions Graphic Hunters as a creative club worth joining—whether as a client or a collaborator. A New Playbook for Sports Branding At the heart of Graphic Hunters’ approach is the idea that the sports industry deserves a more refined and exclusive visual experience. This belief is woven into every part of their branding, which Monga Design and Vogau led with a clear vision. The goal was to create a system that balances functionality with creative exploration, breaking conventions while still delivering practical, adaptable solutions for various applications. This innovative take on visual identity isn’t just about aesthetics; it’s a strategy aimed at redefining the brand’s place in the market. Graphic Hunters has always described itself as a team hungry for new challenges, and now, their brand identity reflects that spirit. The new look aims to make the studio stand out in the sports arena and beyond, appealing to clients and team members who value originality and impact. Graphic Hunters’ identity combines familiar elements from the sports world—like motion and heat—with unexpected treatments. The design team drew inspiration from fashion and abstract art to create a visual language that transcends typical sports branding. This cross-pollination of ideas manifests in several core elements: 1. Typographic Experimentation: Instead of relying on traditional sports typefaces, the team played with a variety of fonts that feel bold and contemporary. Typography serves as both structure and disruption, bringing energy to each layout. 2. Photographic Treatments: The identity includes photographs that have been creatively manipulated, breaking up the grid and adding an element of surprise. This technique turns static images into dynamic design features, echoing the constant motion of sports. 3. Grid System and Stickers: To keep the brand’s applications cohesive yet flexible, a structured grid underpins the design. However, this is cleverly offset by playful elements like stickers and graphical interventions, which keep the brand feeling fresh and exciting. One of the biggest challenges was making the visual system adaptable yet creatively open. Sports branding often leans into themes of power and motion, but Graphic Hunters wanted to do more. The result is a brand that’s equally at home on a team jersey or a digital campaign, seamlessly moving between refined, impactful moments and bold, playful expressions. This adaptability speaks to the studio’s ethos of being a “creative club,” where everyone is encouraged to push the boundaries. Another essential aspect was research. The design team explored references beyond the sports realm, looking at high fashion and experimental graphic design. This broader inspiration palette allowed Graphic Hunters to create something genuinely unique for the industry. The identity’s experimental typography and abstract motifs capture the feeling of heat and energy—core elements of sports—while grounding them in a sophisticated design language. Elevating Sports Design Beyond the Field By combining these unexpected references with a strong foundation of sports elements, Graphic Hunters has crafted a visual identity that is both striking and functional. It stands as a testament to the idea that sports design can be more than bold fonts and action shots. It can be a narrative of innovation and exclusivity, appealing to an audience that appreciates both the adrenaline of sports and the sophistication of high design. Graphic Hunters’ reimagined branding proves that sports-focused design can be just as experimental and refined as any high-fashion brand. It’s a visual identity that elevates the sports studio into a space where design meets performance, art meets action, and innovation becomes the new norm. As the brand continues to grow, this identity will serve as a powerful statement of their ambition: to bring high-impact, original design to the world of sports, one project at a time. Branding and visual identity artifacts Credits Authors: Monga Design, Vogau and Clint Studio Visual identity: Monga Design (Mateus Yuzo, Michel Refatti) and Vogau (Carlos Eduardo Marin, Gabriela Colebrusco Peres) Motion: Clint Studio (Bruno Vitalino, Danilo Coelho, Gustavo Brazzalle, Lucas José Galego, Luciano Burger Full Article
english GitHub x BUCK: Crafting a Dynamic Visual Identity for Universe ’24 By feeds.feedburner.com Published On :: Thu, 07 Nov 2024 13:44:34 +0000 GitHub x BUCK: Crafting a Dynamic Visual Identity for Universe ’24 abduzeedo1107—24 Learn how BUCK redefined branding and visual identity for GitHub Universe ’24 with monumental design inspired by code. The annual GitHub Universe event is a celebration of innovation, bringing together some of the brightest minds in software development. This year, GitHub partnered with BUCK, a renowned global creative company, to reimagine the event’s visual identity. Inspired by the theme “The World’s Fair of Software,” BUCK transformed GitHub Universe ’24 into a visually immersive experience that blended the past and future of software culture. Here’s a look at how this collaboration pushed the boundaries of branding and visual identity. The Creative Vision: Merging Tradition and Progress GitHub Universe ‘24 marked a milestone as the event’s tenth edition. This special occasion called for a branding overhaul that both paid homage to GitHub’s legacy and celebrated the event’s ongoing evolution. BUCK’s approach was rooted in capturing the spirit of World’s Fairs, where innovation and collaboration take center stage. Ward Graumans, BUCK’s Creative Director, emphasized their intent: “We aimed to create a look that celebrates this milestone while pushing the brand forward.” The visual system developed by BUCK didn’t just rehash previous designs. Instead, it evolved into a toolkit that incorporated new elements while staying true to GitHub’s core identity. Central to the branding were what BUCK called “Monuments of Progress.” These unique structures were a reinterpretation of their prior 2D shape library, elevated to represent key GitHub values. Each monument carried icons, mascots, and insider references from the developer community, merging playful aesthetics with thoughtful design. Key Elements of the Visual Identity BUCK crafted a comprehensive design system that tied together various aspects of GitHub’s event branding. The system integrated fresh color palettes, new typography, and updated logos, all influenced by the visual language of coding. The Monuments of Progress became the standout feature, serving both as iconic standalone pieces and as the basis for hero visuals. This creative concept was not just about aesthetics; it reinforced the event’s narrative, with each visual element acting as a beacon of innovation. Beyond static design, BUCK brought these monuments to life through animations and dynamic visuals. They created a suite of digital assets, from social media content to an introductory film that illuminated the event stages. This multimedia approach ensured that GitHub Universe ’24 had a cohesive yet lively visual identity, both online and in person. Collaboration and Execution The development of this branding system was a collaborative effort between BUCK, GitHub’s in-house design studio, event producers, and external partners. The process involved tight communication and shared creative insights. According to Adam Walden, VP of Brand and Corporate Marketing at GitHub, “BUCK continues to bring taste, craft, story, and incredible attention to detail to everything we do together.” This close-knit collaboration resulted in a unified event experience that resonated across different platforms. The team at BUCK didn’t just stop at creating a one-off design for the event. Instead, they developed a branding system with longevity, allowing GitHub to use these assets beyond Universe ’24. This evergreen toolkit ensures a lasting impact on GitHub’s branding efforts, providing flexibility for future campaigns and event rollouts. Impact and Legacy GitHub Universe ’24’s branding is more than a visual facelift; it’s an invitation to engage and explore. By drawing from coding elements and honoring the developer community, BUCK and GitHub have created a design system that feels both cutting-edge and familiar. The Monuments of Progress symbolize GitHub’s role as a hub of innovation, while the refined color schemes and typography elevate the brand’s visual language. This collaboration sets a new standard for event branding in the tech industry. BUCK’s creative solutions not only reflect GitHub’s ethos but also celebrate the people and projects that make the developer ecosystem thrive. It’s a testament to the power of thoughtful design and the impact of a strong, cohesive visual identity. The reimagined visual identity for GitHub Universe ’24 exemplifies how branding can serve as a narrative tool. BUCK’s designs invite viewers to think of software development not just as code, but as a world full of creativity and progress. As GitHub continues to grow, this branding system will be a cornerstone of its visual storytelling, inspiring developers and designers alike. GitHub Universe ’24, with its bold and vibrant identity, proves that a well-crafted brand can amplify the spirit of an event. BUCK’s collaboration with GitHub has set a high bar, showing how design, when rooted in community and culture, can make an event feel like a true celebration of innovation. Branding and visual identity artifacts About GitHub GitHub is the most widely adopted Copilot-powered developer platform to build, scale, and deliver secure software. Over 100 million developers, including more than 90% of the Fortune 100 companies, use GitHub to collaborate and more than 77,000 organizations have adopted GitHub Copilot. About BUCK BUCK is a global creative company that combines design, technology, and storytelling to create compelling experiences for brands. Founded in 2004, BUCK has built a reputation for outstanding craftsmanship and innovation through collaboration with a wide range of clients across the cultural and technology spheres, including Nike, Apple, Netflix, IBM, Airbnb, and Google. Recognized as an industry leader, BUCK’s trophy case includes two Emmys, multiple gold Cannes Lions, Clios, pencils, cubes, and over 200 other awards from the most prestigious competitions in the world. BUCK is in Residence, a collective of beautifully curated companies with the shared goal of empowering creative potential. Full Article
english Chooch’s Branding Embraces Authenticity Through Playful Imperfection By feeds.feedburner.com Published On :: Wed, 06 Nov 2024 14:30:53 +0000 Chooch’s Branding Embraces Authenticity Through Playful Imperfection abduzeedo1106—24 Discover how amStudio’s branding and visual identity of Chooch captures authentic, handmade aesthetics for fashion accessories. Chooch, formerly known as Flat Fifteen, has redefined its brand to better reflect its founder Francesca Kappo’s evolving vision. With the guidance of amStudio, this rebrand has transformed the brand’s identity from a broad handmade focus to one that is solely centered around fashion accessories. Chooch stands out with its playful name, unique backstory, and brand elements that weave together storytelling, imperfection, and tactile aesthetics. The Meaning Behind “Chooch” The rebranding from Flat Fifteen to Chooch came as Francesca Kappo shifted her focus. The name “Chooch” is personal, rooted in a nickname given to Francesca by her uncle. He also played a foundational role in the brand’s beginnings, supplying her first batch of deadstock fabrics from his 1990s fashion label. These fabrics continue to be a vital part of Chooch’s accessory designs today, emphasizing the brand’s commitment to sustainability and storytelling. The name itself is more than just a rebranding—it’s a celebration of heritage and identity. Short, memorable, and fun to say, “Chooch” captures the playful spirit of the brand. As Alam Mohammed, founder of amStudio, notes, the name’s flexibility in pronunciation makes it a warm, approachable identity that consumers can connect with personally. This idea carried over to the logo design, where the doubled O’s have a playful, imperfect alignment, mirroring the brand’s handmade ethos. Playful Imperfection: The Brand Identity Alam Mohammed and his team at amStudio developed a brand identity for Chooch that prioritizes authenticity. Hand-painted illustrations are central to this, appearing across the brand’s packaging, website, and social media. This choice keeps the look grounded, tactile, and relatable, evoking the feel of handmade fashion. By maintaining this aesthetic, the brand sets itself apart in a market often dominated by hyper-polished digital imagery. The branding extends beyond static visuals. Chooch’s social media and marketing leverage stop-motion animations, adding a dynamic yet still homemade feel. This use of motion emphasizes the brand’s accessible nature, where every element ties back to the concept of imperfection being perfectly beautiful. The stop-motion clips give life to the fashion accessories, highlighting the fun and creativity behind each product. Chooch’s narrative goes deeper than playful design. By continuing to use deadstock fabrics, Francesca Kappo honors her roots and commits to a more sustainable future. The tactile branding elements mirror this philosophy, creating a seamless experience from the physical product to the digital space. The history of the materials and the personal touch behind the brand make each accessory more than just a fashion statement—they become a story in themselves. The rebranding also came with strategic moves to elevate Chooch’s market presence. The bags are now featured at the Victoria and Albert Museum’s shop as part of the first-ever Naomi Campbell exhibition. This collaboration has not only introduced the brand to a wider audience but also solidified its standing as a contemporary, fashion-forward label. The exhibition has boosted Chooch’s brand awareness and increased its social media following, translating to more sales and a growing fan base. The Chooch rebrand exemplifies a growing trend: the embrace of imperfection in design. By favoring hand-drawn illustrations, irregular alignments, and a conversational tone, amStudio has given the brand an inviting, human feel. This approach rejects the overly polished and instead celebrates the beauty of the handmade. It’s a move that resonates well in today’s world, where consumers value authenticity and transparency. Chooch’s rebranding is a masterclass in how thoughtful design can reflect a brand’s core values. From its name rooted in personal history to its playful logo and tactile illustrations, Chooch stays true to its story. Alam Mohammed and the amStudio team have created a brand identity that isn’t just about looking good—it’s about feeling real, celebrating imperfections, and staying connected to tradition. As Chooch grows, its story continues to inspire, reminding us that the imperfect is often the most perfect of all. Branding and visual identity artifacts Full Article
english Adobe Illustrator 2025 Splash Screen Illustration: TRÜF’s “Weird Fishes” By feeds.feedburner.com Published On :: Mon, 04 Nov 2024 13:33:42 +0000 Adobe Illustrator 2025 Splash Screen Illustration: TRÜF’s “Weird Fishes” abduzeedo1104—24 Discover how TRÜF’s “Weird Fishes” splash screen for Adobe Illustrator 2025 celebrates creativity with vibrant, minimalist illustration. The Adobe Illustrator 2025 splash screen opens with a statement: creativity meets minimalism. Designed by TRÜF Studio, the “Weird Fishes” artwork that greets users embodies Adobe’s tools while making an instant visual impact. This splash screen not only excites users about the app but also showcases Illustrator’s dynamic possibilities, creating a memorable start to the creative process. Here’s a look at the creative vision, tools, and collaboration behind this unique splash screen update. “Weird Fishes”: A Showcase of Creative Tools TRÜF’s “Weird Fishes” centers on playfully stylized fish, created using Adobe Illustrator’s updated typography and 3D tools, which highlight the 2025 release’s expanded capabilities. This splash screen is a celebration of how Illustrator can bring out unique textures, gradients, and typographic designs, making it feel like a blend of traditional and digital artistry. The design follows Adam G’s distinctive style—minimal yet quirky, with each element purposefully crafted to show off Adobe’s creative potential. The splash screen, as Adobe intended, isn’t just a loading screen. It’s a reminder of what Illustrator users can “Dream Up.” As Alex Fernald and Gleren Meneghin, Adobe’s staff designers, emphasized, the splash screens are not only entry points into the app but connections to Adobe’s creative community. They bring in commissioned art, linking Illustrator users to other creators while inviting exploration of the software’s capabilities. Balancing Art and Function in the Design This splash screen’s journey began the old-fashioned way—on paper. This initial sketching phase gave TRÜF the freedom to experiment with the composition, exploring the balance of shapes and lines. Once refined, the concept moved into Illustrator, where TRÜF fully explored the software’s features to enhance the digital version. In a brief, 90-second process video, TRÜF showcased their workflow from sketch to the finished splash screen, a rare peek into how minimalist, impactful design comes together. A User-Centric Approach to Illustration Adobe’s splash screens, including “Weird Fishes,” are a result of ongoing feedback from users. Through surveys sent to product teams, Adobe designers Alex and Gleren learned the nuances that users valued in the loading screen—like minimal launch delays and artist recognition. This feedback shaped the design, ensuring the new splash screens would spotlight the artist while maintaining the program’s efficiency. To make the splash screen visually immersive, Adobe made adjustments based on past feedback. The artwork was enlarged, and the artist’s name appears in a larger, bold typeface, creating a clearer hierarchy that celebrates both the art and artist. As the Adobe Spectrum design system evolved, so did the splash screens, aligning with modern standards while preserving Adobe’s commitment to showcasing diverse creative voices. Reflecting Adobe’s Evolution with Modern Minimalism Historically, Illustrator splash screens have evolved alongside the Adobe brand. From early versions in the 1980s, featuring iconic art references, to today’s community-focused pieces, these screens highlight a shift from static visuals to dynamic creative introductions. Adobe’s recent redesign, led by Fernald and Meneghin, reimagined this format to center both the artist and the Adobe brand, using clean type and colors while expanding the visual space for the artwork. This shift reaffirms Adobe’s mission to foster connections within its creative ecosystem. The splash screens across Adobe products are meant to offer a consistent brand experience, but each one also tells a unique story, showcasing the latest in illustration and design through collaboration with Studio team artists. Adobe’s team expanded the artwork’s size, adjusting its specs back to 2019 dimensions to create a more immersive user experience. The Adobe wordmark in red stands beside the product name in black, emphasizing the connection between Adobe and its creative community. The Legacy and Future of Adobe Splash Screens “What’s next?” is a question Adobe’s designers are always answering. With the 2025 Illustrator splash screen’s debut at Adobe MAX 2024, Adobe introduced the latest evolution in Creative Cloud. These splash screens remain essential touchpoints, showcasing new work, enhancing user experience, and connecting each user to Adobe’s creative network. TRÜF’s “Weird Fishes” invites Illustrator users to think beyond the ordinary. It’s a nod to the creative possibilities the software enables, a tribute to digital and analog techniques, and a reminder that every creative journey begins with opening Adobe Illustrator. This splash screen illustration is a subtle invitation for creatives to make the most of Illustrator’s tools and capabilities, setting the stage for inspired design from the moment they open the app. Illustration artifacts Pillow manufactured by Adobe. Photo courtesy of Adobe Full Article
english Innovative Branding and Visual identity using Google Slides assets By feeds.feedburner.com Published On :: Mon, 04 Nov 2024 13:21:18 +0000 Innovative Branding and Visual identity using Google Slides assets abduzeedo1104—24 Montag School’s branding fuses corporate trust with creative appeal, using Google Slides assets to reach diverse audiences. Creating a brand identity for an educational institution like Montag School requires balancing the rigorous standards of corporate audiences with the appeal needed to engage a younger, learning-focused crowd. In this project by Monga Design, Montag School’s visual branding comes to life with a thoughtful, dual-purpose approach that reaches across the boundaries of institutional professionalism and educational creativity. Montag School’s goal was to represent itself as a trustworthy, contemporary leader in personalized education. This meant moving away from conventional, corporate-heavy design toward a more flexible and approachable brand image. The resulting visual identity integrates both institutional authority and a fresh, dynamic appeal, capturing the trustworthiness expected in corporate circles while aligning with the openness and innovation desired in education. One of the project’s standout qualities is its focus on balance. By addressing both institutional credibility and the youthful appeal needed for online and in-person classes, the branding reinforces Montag’s positioning as a leader in educational innovation. The design combines strong visual cues—such as clean lines and modern typography—with a vibrant color palette, adding depth to both the brand’s academic and professional facets. Leveraging Google Slides for Visual Consistency An innovative aspect of this project is the use of Google Slides as a foundational tool for asset creation. This choice reflects an understanding of Montag’s operational needs and the educational landscape’s demands for accessibility and efficiency. By designing custom graphics within Google Slides, Monga Design created a versatile, cost-effective solution for maintaining consistent visuals across various educational materials. Google Slides not only provides easy customization but also aligns with the widespread use of this tool in both corporate and learning environments, allowing Montag to produce branded materials in-house without requiring extensive software training. Montag School’s branding thoughtfully considers its diverse target audiences. For in-company courses and corporate conventions, the brand maintains a polished, professional tone, ensuring credibility and trust in a business context. Simultaneously, for students attending online and in-person classes, the brand incorporates a more engaging, youthful look. The graphics, colors, and animations appeal to students by creating an approachable and modern learning environment. Monga Design introduced animations for key assets to add a layer of interactivity to Montag’s branding. These animations, crafted by Clint Studio, enhance the brand’s visual appeal while ensuring they resonate with both young learners and seasoned professionals. This visual dynamism strengthens the brand’s reach by making it adaptable to the changing demands of the educational landscape. The design team approached this branding project with a detailed, collaborative process. Their “Visual Thermometer” meeting—a strategy to explore visual possibilities rather than set rigid creative guidelines—proved essential for crafting a design that was both client-centered and creative. By aligning client preferences with design expertise, they established a visual identity that resonates on multiple levels, providing a cohesive experience for all audiences. Montag School’s branding successfully bridges the gap between education and business, providing a clear, attractive, and credible visual identity that aligns with the brand’s values. By balancing a contemporary, accessible aesthetic with the professionalism expected in corporate circles, Montag School positions itself as a modern leader in education, with a visual identity that can grow with its expanding audience. For more on this project, you can view the video case here. Branding and visual identity artifacts Credits Visual identity: Monga Design → Mateus Yuzo and Michel Refatti Motion: Clint Studio → Gustavo Brazzalle, Lucas José Galego e Luciano Burger Full Article