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Established & Sons
Art Direction, catalogues and marketing collateral for the London based design house
Typefaces used: Didoni URW, Helvetica
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Modus Publicity
Invitations and direct mail:
Typeface: DIN
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Royal Academy of Arts
Magazine redesign and art direction from 2008 to 2012
Typefaces used: Big Caslon (headlines) Fenway (text) Strada (sans serif)
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Comme des Garçons
Catalogue design featuring 40 artworks representing the G2 fragrance
Typefaces used: Helvetica
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ME London
Identity and advertising for the London design hotel
Typefaces used: Engravers Gothic (Bold, Regular)
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Stylists Book – Laurence King Publishing
Book about pioneering stylists in the fashion industry
Typefaces used: Poynter
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Le Temps
Collaboration with Simon Esterson and Jon Hill on the redesign of the daily newspaper in Geneva
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Parkview International
Multilingual company brochure for the international property developer
Typefaces used: Poynter, FZSSK
Micha Weidmann Studio (founded in 2001) is an art direction and design studio based in London. They help to build brands for creators of high-end products as well as consulting for publishers and art galleries with their publications, exhibitions and online presences. The studio’s creative approach is based on Micha Weidmann’s background in Swiss design and art direction defined through working with brands such as Prada, Tate Modern and Zaha Hadid.
Micha Weidmann Studio is back on SI with plenty of new work (to satisfy all you print lovers out there) and a new understated, iPad friendly website. Thank you once again to Micha and Dean for making this feature possible :)
Update your reader now with this changed subscription address to get your latest updates from us.
The email newsletter has also moved. Updated the subscription to the new newsletter.
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I love this corporate identity and stationery by Bedow for Askeroths trappor och räcken, a small Swedish manufacturer specializing in custom built stairs and railings.
The timeless CN mark was designed by Allan Flemming in 1959. The story goes that Fleming came up with the design while traveling on a New York-bound airplane, where he sketched the idea on a cocktail napkin.
Graham Smith put together a great write-up on the history of the logo, with some links to more resourceful information.
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Fourth Floor Corner Shop Identity, Packaging and Signage
Design: North in collaboration with Richard Stepney
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Fourth Floor Packaging
Design: North
For more than two decades Fourth Floor has been doing things differently – cutting and colouring hair with maximum application and minimal fuss from its bright, split-level salon atop a 1930s industrial building in the heart of Clerkenwell. Accessed via a goods lift, it has remained firmly below the radar while attracting a fiercely loyal clientele and whilst many come from the arts, media, design and the creative industries all share with Fourth Floor an independence of thought and outlook. Its recent twentieth anniversary was marked by the publication of a clothbound book (click here to see the feature) featuring interviews, designs and recipes from clients including Jon Snow, Tom Dixon and Nigel Slater.
Now Fourth Floor is venturing into new territory. From the beginning of November to the end of December 2012, its upper floor — the fourth, in fact — will play host to the Fourth Floor Corner Shop, an emporium showcasing a selection of covetable wares from local businesses and designers based in Clerkenwell and Bloomsbury, who share Fourth Floor’s independent, idiosyncratic ethos. Clients will be free
to browse the concessions, pre- or post-appointment, while casual visitors will also be welcome to experience this unique retail environment. “It gives people a chance to see what we’re about, while also offering a showcase for our friends and neighbours,” says Fourth Floor owner Richard Stepney.
The ’4′ graphic was intended to inherit some of the DNA of the striped identity of the Fourth Floor packaging that North created some years ago. The Corner Shop logotype is loosely based on Skyline Black (designed by Imre Reiner C.1927) but has been completely redrawn.
Big thank you once again to Stephen and Jeremy for making this feature possible.
www.4thfloor.co.uk
www.northdesign.co.uk
The 1972 and 1976 Olympics are often referred to as having the best graphic identity systems, but the one for the 1968 Olympic Games in Mexico is often overlooked. It’s right up there, in my opinion. The excellent site, Graphic Ambient, has a great visual overview of the identity system, including a list of the design team.