In the first post i talked about the polarities i wanted to identify and work within, or use as starting points for designing corporate design concepts for an bavarian based japanese bladesmith.


One of these starting points came apparent during the visual brainstorming process – japanese typography and bavarian broken type can look quite alike at times, so why not go from here?

nori nori2 nori3 nori4

(I’m curious what our faculty’s graphic designers think of this approach? Cute? Abomination? Potential Messiah?)



After my typographic adventures i’ve been working on an extending the illustrative/calligraphic approach of my broken type vs. japanese calligraphy concept. The connection, paper/ink/japan/calligraphy, is not exactly an excitingly new one, i know,  but an excellent excuse to neglect the computer and paint some noncommittal designs. I am not yet sure how to incorporate it with my concepts, but it definitely sparked some new ideas on how to approach the brand identity and logodesign.




So far these designs do not communicate the desired high quality, premium/luxury attitude i want to convey, but i will certainly keep this polarity in mind and might consider the result in the process.