Ajándék Terminál exhibition, fair and auction was one of the Christmas events organized by Design Terminal, where Hungarian designers showcased their work.  Between 9th and 18th of December products from 50 talented designers could be bought. Design Terminal is a state owned, nonprofit organization which is taking as main goal to promote Hungarian design culture, organize cultural events and show various international and Hungarian design projects to the public in the building. I was in charge of the graphical design and the image of the Ajándék Terminal, who combined the classical but new calligraphy with a few mixes of vintage typography.

Shape to Fabrication is an architecture conference, workshop and exhibition series in London. The organizers: Rhino and Robofold. My task was a logotype and a design structure for the whole design.

Thank you for Imprvd design agency, that gives scope for me abilities.

Lamb leather clad lamp. In this work we can witness the metamorphosis of an object fully intended for everyday use. The artistic shaping of the lamp which is originally intended for lighting purpose, and it’s Judeo-Christian cultural connotations result a surplus value that in this case it is more a work of art, or design art object we can speak of.

Photo by Dániel Balázsi.

This is an art movement during which I have smuggled in 14 carat gold plated bronze roaches into the Tate Modern, Tate Britain, British Museum, MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien) and Hamburger Bahnhof, making them part of current exhibition, in June 2011. The young artist gets into the sanctuary of visual arts like a cockroach. The roach as a carrier of the message is not a random choice, and naturally the used material itself has multiple symbolic values. The roach is one of the most disgusting insects, which is capable of getting inside anything, and also earned a doubled fame in public awareness by its imperishability. People treat the roach as a synonym for disgust because of the common repugnance it causes, but at the same time, as an insect which is capable of adapting the most extreme situations, it is a symbol of survival. Naturally, other insects from the history of art also act in a live picture about my work, for example the scarab from Egyptian culture, where it is showed as a godly symbol, and therefore it is mainly made of gold. But, for my ideas an insect of the opposite meaning was more suitable. This is why I chose the roach at the end. It is found anywhere in the World, considered everywhere as a pest and a source of infections, and exterminated anywhere possible. Opposite to this, the roaches in my creations go through multiple changes. Walking into the culture’s holy space, they turn to gold in the museums, which represent art, and this pushes the question of art. At this point the action is made classic and contemporary at the same time. The smuggling effect is “roachy” and reflects a contemporary approach, while in materials and workmanship it recalls of classic art pieces.

Again, altering pieces of art. The spontaneous participation in museum exhibitions is not unprecedented in history of arts.
Yet, one of the basically important principles of my actions is that I don’t want to batter. That is why I put a great emphasis on boards keeping the museum’s walls unharmed, and the pieces of art have to be nicely designed, made from noble materials, so that the pieces of art which I put in the citadels of fine arts don’t only have an artistic value, but a real value too. In the given project I always design the table with the informations graphically, typographically and by shape, to fit the museum tables.

Thank you for Bálint Németh, Gábor Csongor Szigeti, Tatlin (Ferenc Gábor Görög), Eszter Monoki, Ferdinánd Jakab, Richard Kiss, Zsófia Kövi, Ádám Németh, Kristóf Gajdó, Zsombor Kiss, József Tamás Balázs and Andrea Gombos the help, support, photos, videos, and programming.

Facebook fan page is here.

SEAM is a design consultancy specialising in mostly architectural lighting design. They are working with teams like FOA, Zaha Hadid, Amanda Levete. They are starting to bring up the architectural side so the company identity should no cater to lighting only.  The word SEAM literally came from a play of the directors initials (Amarasri Songcharoen, Emory Smith).  Metaphorically, SEAM is the entity that brings things together. This can be through design collaboration, materials, cross disciplines, visually…

SEAM is a design consultancy specialising in mostly architectural lighting design. They are working with teams like FOA, Zaha Hadid, Amanda Levete. They are starting to bring up the architectural side so the company identity should no cater to lighting only.  The word SEAM literally came from a play of the directors initials (Amarasri Songcharoen, Emory Smith).  Metaphorically, SEAM is the entity that brings things together. This can be through design collaboration, materials, cross disciplines, visually…

Identity and web design for a small and sweet, hungarian hairdresser salon.

Marc Johnson is a young french architect and fine artist. This is the 2nd way of his identity.

Marc Johnson is a young french architect and fine artist. This is the 1st way of his identity.

identity, web design and packaging design

Project: A young fashion designer girl’s identity design and the 2011-12 Autumn-Winter Accessoires Collection’s packaging design.
Anett Hajdu’s Accessoires Collection Concept: In the chaos caused by contemporary and eclectic fashion trends, it is a pleasant feeling to turn toward to the style of puritanism what inspired by the nature and people costumes who are living with the nature. People and their everyday objects, animals and the atmosphere around the Arctic Circle provided a starting point for this design collection. Every single bag contains a unique individuality in hidden leather-jewels that helps us to perform as a part of the pure nature. These bags reveals the hidden animal from us. (All the bags are made of cow leather.) Anett Hajdu’s Collection is here.

The packaging concept fits for the main design theory. The casing remind us for the meat industrial wrappings, the hunter accessories as well as a little skandinavian sense.

SDA = SYNTHESIS Design and Architecture, London, UK

SYNTHESIS is an emerging contemporary design practice with over a decade of professional experience in the fields of architecture, infrastructure, interiors, installations, exhibitions, furniture, and product design. SYNTHESIS’s Founding Director is Alvin Huang. He is an award-winning architect, designer, and educator specializing in the integrated application of material performance, emergent design technologies and digital fabrication in contemporary architectural practice. I designed a logotype with a new font (which is adapts Alvin’s architectural ideas), and a simple but elegant, and an expressive web design. Thank you for Imprvd design agency (Remo Kommnick and David Ottlik), that gives scope for my abilities.

Ali is a freelancer fashion and beauty photographer from Bahrain. He wanted a classic logotype with a bit of playfulness. I designed a classic logotype, with a little star, which symbolizes Ali’s national identitiy.

K. Rochelle Adjei re-launched the IndieCouture fashion magazine in New York. The magazine is focused on emerging fashion designers and other creative talent, but it’s a multicultural magazine that also features music, photography and culture. The readers are 75% african american. Rochell wanted that I design a new logo, which is classic like Vogue, but she said that she’d definitely need a POP of color. Final, I made a new logo (new typeface) and a new complex cover design concept with a hanger. Thank you for Rochelle, that gives scope for my abilities.

Models Photographies by Larysa Dodz and Osas Agho.

hg.hu Design Award, 1st prize

Identity and packaging concept for a new Hungarian perfumer Minya Viktoria and her perfumes.

Identity and packaging concept for a new Hungarian perfumer Minya Viktoria and her perfumes.

SYNTHESIS Design + Architecture was founded by Alvin Huang in London. This is your first identity concept. The logo is built of elements, it reflects the meaning of the word synthesis. Thank you for Imprvd design agency (Remo Kommnick and David Ottlik), that gives scope for my abilities.

Identity for a pop party series. Thank you for Márk Práger and Áron Pintér giving scope for my abilities.

Mindfreek Productions is a Hungarian start-up production office, which produces movies, TV ads and manages music bands. They asked me to make a classic but a little bit playful logotype, which shows the word-play between Mindfree and Mindfreak. Thank you for Balazs Makrai, Istvan Hanzel and Daniel Magyar giving scope for my abilities.

Identity and slogan concept for a pop party series. Poster’s photo by Bettina Gal.

HauteMuse magazine is a new Qatari fashion magazine. I wanted to design a logotype, which is classic like VOGUE, or Harper’s BAZAAR, but more fresh. This is only a concept.

Ambrose is a little hotel in Montreal. The hotel occupies II. Victorian style buildings, built in 1910. I wanted to design a logotype, which is classic like Victorian style but fresh. Firstly I was looking for II. Victorian style letters, and I studied the caracters styles. After I started to draw by hand. When I developed the final form, I scanned that. And I started to refine the line, and the style. After all, I was looking for a suitable font, that to develop the typographic system. This font is a Titillium. Many places I cut the logotype, and I think therefore became fresher, and more stylish. And the contrast between the logotype script style and the complementary font san serif style are very nice single unit. I tried to expand the basis identity and I made  some other concepts for example Wine Label, Clean Room Please Card, Room Numbers, Floor Information Tables…etc.

Thank you for Imprvd design agency (Remo Kommnick and David Ottlik), that gives scope for me abilities.

Identity

LACK magazine is a new Hungarian fashion magazine. I tried to visualize the “lack” on the typo, and I wanted to design a logotype, which is classic like VOGUE, or big, classic fashion brands, but fresh and playful. I wanted to separate the company’s logotype, and the magazine’s logotype, but at the same time keep them in sync. The magazine’s logo is just a simple LACK typo.

The magazine cover bag idea and insight design, and typography:

I wanted to design a new progressive cover concept. By my opinion, most of the fashion magazines are boring, there’s always a photo and a name on it, but I wanted a more progressive and lively solution. I observed many times how the women hold the magazines in their hands and how often they get in inconvenient situations because they can’t hold the magazines in a more comfortable way. Furthermore, I noticed that moving people potentially represent the best commercial. This was the base of my idea to create a cover which resembles to a handbag. Women walk with it around more easily and it works like a live commercial. I’ve also placed the LACK logo according to this. The cover does not only resemble to a handbag by its shape, but also, every further issue will appear with a cloth sample, so the material would look similar too.

Cover photo by Orsolya Hajas.

From the 1st logo concepts and design to final identity and final magazina design: