Motion & dynamic brands

7 stories

LogoLoungePoetry in Motion Poetry's updated identity includes an expanded color palette and typographic system, a new cover design for the magazine, new environmental graphics for the foundation, a wider library of creative…

10.24

Core77A Mesmerizing Kinetic Sculpture of Ducks in Flight This "Flock of Ducks" motorized sculpture is by German artist Felix Scharstein . "Three spirals are interlocked and rotate synchronously," Scharstein writes.

11.01

AbduzeedoCepa Studio’s Motion Design for TIF Be Bold

10.30

AbduzeedoBallet National de Marseille: Kinetic Web Design & CSS Type

10.27

It's Nice ThatHono’s label branding for Temper cider animates the last rally of the 2008 Wimbledon final The one one-off collaboration between Temper – a studio for tennis objects and experiences – and cidermaker Luka Zeichmann is marked with labels that unfolds like a flip book when lined up.

10.26

Graphic Design USA

Graphic Design USACreative Comment: Look Backwards For Motion Identity Andrew Vucko makes the case that the brands best equipped for this moment, and succeeding decades later, embedded motion logic long before the medium even existed.

09.26

Colour HivePoltrona Frau | Vanity Fair XC In Motion Poltrona Frau marks 40 years of In Motion with a limited-edition Vanity Fair XC featuring Ivo Pannaggi’s Futurist artwork

09.11

発見, hakken: a finding. This is a record of what one designer notices in a week.

I grew up beside the Arakawa, in Adachi, and spent five years in a Ginza studio drawing identities for companies you have used without once thinking about them. That work teaches you to read a city as a page. A vending machine is set type. A rice bag is a packaging problem somebody solved in the eighties and nobody has improved on since. A good deal of the best design in Japan is like that: already in the street, unsigned, waiting to be looked at properly.

So this magazine watches the street as well as the feed. Around fifty sources come in through the day, ten of them Japanese, and what the world's studios are arguing about is counted and plotted so you can watch it move. Every third day I write about one thing I actually stood in front of.

What you get for a story is a headline, a short excerpt, one picture and the way out to the people who reported it. Never the article itself, and never the photograph as though it were ours. A story written in Japanese stays in Japanese here, headline and excerpt both, because that is how its author set it down.

Everything is also published in Japanese at hakkenmag.com/ja/.

— Ren Arakawa, Tokyo