Heineken animation & bottle design for trafiq

Heineken animation for the Trafiq Bar & Club

To the Trafiq

interior I created my design on a way that we could hide the ads of sponsors among the decoration elements. The ads  always keep the style of Trafiq, they assimilate into the graphic design of the club.
I was asked by Heineken to design an animation that we could hide between the pictures on the wall in a room upstairs. That’s why my animation strats with a typo which looks just like the other pictures on the wall so you can’t recognize that it is an advertisement. I made it with the official lettering of Heineken. After a minute the illustration is starting to move and with a zoom we get a Heineken bottle consists of sarmentums. And after that we get back to the original text.
It is funny and special that among the other images one of them gets move sometimes. Howewer it is not an animation definitely rather a static picture which is moving, but I know it seems antinomic.

Afterwards I made the design of the bottle based on my illustration giving opportunity to realise a limited edition of bottle to sell.

 

 

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Voyage through Central Europe, London Fashion Week

Fashion exhibition in London Fashion Week.

 

The exhibition concept:
This exhibition showcases the recent work of young designers from three countries of the Central European region: the Czech Republic, Slovakia and Hungary. This is an exciting initiative, as these designers have all recently embarked on their respective careers: their work gives us perspective on the extent to which the region’s unique visual environment, as well as historical and cultural characteristics, result in the evolution of a common aesthetic.
The concept of “Voyage” – focusing solely on the designs, emphasizing their diversity, it allows visitors to explore the visual world of the Central European region.
(Gáspár Bonta, curator)

 

Graphic design concept:

The combination of the letters in “Voyage through Central Europe” logo reflects on the connection between the Czech Republic, Slovakia and Hungary. The other “Voyage” logo plays with the typical, fashionable, stylish graphic “world”. The catalogue – which shows the fashion designers from Central Europe – has been designed in a simple, elegant and sophisticated style.

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Hungarian British Chamber of Commerce in the United Kingdom

HB monogram looks like magnified textile fibres which was also the first inspiration. Textile was one of the first commercial products in history and this act of trade between two countries, and the colour red present in both flags made me link the letters H and B in colour red.

Website: hungarianbritishchamber.com

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Very happy you near

365 Days of Happiness. Health. Love. Success. (Nadja Mayer)

 

Thank you everyone for everything in 2013, and have a happy new year! I made a postcard with one of my favourite clients, Nadja Mayer who is a German copywriter, author, creative director and name developer. I have 100 of these special limited edition postcards to send out for you, so if you want one, send me your address!

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Ajándék Terminal 2013

The main idea was based on the Advent Calendar. The numbers were inspired by antiquas like Didot or Bodoni. In order to bring the Christmas spirit to it, I have used well-known calligraphy ornaments. Furthermore, the individually designed numbers have inspired the lettering as well. Additional fonts: Gotham, Avenir.

The biggest problem with flyers and invitations is that people throw them away. To prevent that I created a flyer which is a gift at the same time. You can find basic datas about the exhibition on the outside, and Viktoria Minya Hedonist (first Hungarian perfume) sample on the inside.

Ceiling installation: the goal was to build an architectural element which harmonizes with the installation of Ágnes Hegedűs. Photogenic and determinative in that space.

Concept: The tale of Mother Holle inspired the billowy construction which was made of quilt lining (9 x 1,5 m in the hall and 5 x 1,5 m in the pop-up store). In terms of functionality it is not just a creative formal element, but also responsible for illumination of the space beneath.

Implementation: Dekoratio

Photography: István Várfi, Dorottya Kocsis, kissmiklos

Special thanks for István Várfi.

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Ágnes Kovács leather design

Ágnes Kovács is a young fashion designer. Quality, pure and minimalistic are the main characteristics of her leather bags and luggages. She was the winner in the Central European Fashion Days Newcomer accessories category, this summer. Her prize was a logo design and a basic identity from me, image and lookbook photos from Márk Viszlay. She needed a really simple, iconic mark like a stamp that she can engrave into the leather. And she needed a simple paper bag and packaging which fit into her style.

“The work with Miklos was very successful, because get on very well. I could easily become one with my new logo and I love it. My accessories are really decent and characteristic, like the logo. I am really satisfied.”
(Ágnes Kovács)

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Pastor

Tibor Juhasz is the owner and winemaker at Pastor winery. His wines are fruity and fresh and often compete in national wine contests. Therefore my aim was to give his wines a fresh and unique, but fashionable and memorable look. I wanted to create something iconic, more than a logo. I ended up designing an actual branding image, that the winery can carry on using in the future even without me. This little something will make the wine bottles to stand out from the sea of other wine bottles in shops with very little design efforts. This detail comes from our everyday lives, from clothing: labelling. This little piece of label will be telling us all the necessary information about the wine, and in the future it can easily be applied for new wines by changing the colours and text.

Photography: Zsuzsi Slezak

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Gabriella&Jean wedding

Identity, and graphic design for Gabriella & Jean’s wedding. This was a traditional french wedding in Saint-Sulpice Roman Catholic church, Paris and the nuptials was in Chateau du Breuil, Gracieres. So they wanted a classical. I chose one of the most famous typeface, Didot (which was designed by Firmin Didot in Paris in 1783, but designed by Adrian Frutiger for a digital technology in 1992) and a handwriting typeface. And I tried to make a classic but fresh composition with these two typefaces.

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Identity concept for Hungary

While Milton Glaser’s I love New York logo created an enormous buzz in the 1970ies graphic design, nowadays it became regular to meet more and more unique and prime visual identities among cities, towny, municipalities and regions. New or refreshed identities serve governments and other administrative organizations well. A very few attempt however is made to refresh a country’s ‘logo’, the coat of arms, and thereby the symbols of the national identity.

 

My experiment for this was willfully timed for 20 August, Saint Stephen’s Day, when Hungarians celebrate the Foundation of the State. This way, it’s a present for Hungary by me.

 

Today’s Hungarian coat of arms was complied for the middle 19th Century from medieval elements. Many variations of it appear under the 1848-49 revolution, but it only becomes official after the Austro-Hungarian Compromise of 1867, dubbed the ‘small coat of arms’. After many changes in the 20th Century, the historical, crowned symbol returned by the decision of the Parliament on 3 July 1990.

 

‘The coat of arms of Hungary is a vertically divided shield with a pointed base. The left field contains eight horizontal bars of red and silver. The right field has a red background and depicts a base of three green hills with a golden crown atop the higher central hill from which rises a silver patriarchal cross. The Holy Crown rests on top of the shield.’ (The Fundamental Law of Hungary, 25 April 2011)

 

I managed to simplify the coat of arms, leaving all the necessary heraldic elements on place, and therefore promote a more contemporary, simple and comfortable use.

 

With the reshaped coat of arms I also managed to form a common visual language for the state administration and the national organizations. The examples seen here are a subjective selection, the identity can be used by many more of course. This is only the beginning phase, a first step in the process, hopefully even in an international level.

 

I also used the main principles of the project on another example, the coat of arms of the capital Budapest.

 

—› “When Simon Anholt began promoting the idea of ‘nation branding’ in the 1990ies, it took not so long for him to recognize that the concept if valid and effectual not only for tourists and foreign businessmen, but for every single citizen who meet with national symbols and visual identity daily. A main channel of this communication is the visual identity of the governmental bodies, even if this fact if usually disregarded. The good example of Germany, a strong and standardized branding of the German State Ministries, was followed by many European states from Spain to the Czech Republic. Miklós Kiss manages to customize this special formula of success for Hungary, by transforming the traditional coat of arms. The result is tempting: the imago of an effective, design-conscious state. A first step, Miklós says. I’d like to see the next ones.” (Dániel Kovács art historian, journalist)

 

—› “As a community we could make two great mistakes: forcedly trying to “re-invent” ourselves with losing sense of common traditions, or don’t think about innovating at all. As Hungarians, most of the time we do one or the other, giving no chance for stylish renascence. After seeing great examples from New Zealand rugby or the Dutch royal dynasty, it’s finally time to think about our own symbols with dynamism and humility at the same time. Miklós Kiss is surely a right man to start the conversation.” (Gergely  Böszörményi-Nagy, Design Terminal, Strategy Director)

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Logotypes 2012-13

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Hundia

“For the last thirty years, both Mr. Bethlenfalvy and Mr. Bonta spent a great deal of time discovering the multi-leveled cultural and historical connections between Hungary and the Republic of India. They managed to establish a mutual intrest from both sides through all these years of work, from which this book emerges as a short resume of this wonderful journey. With the proper pictures and care, Mr. Kiss made this into a truly amazing piece of graphical work.” (Gáspár Bonta)

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Nadja Mayer

Corporate design for Nadja Mayer. She is a German copywriter, author, creative director and name developer. She wanted a stunning, cool and surprising identity – elegant and modern at the same time. The difficulty was to find something that fitted to all her different professions without mentioning one of them. So it had to be all in the typography. The hyphen and the underscore together with the name tell the whole story of the writing process: you start thinking, you work and your work continues. The twist of the letter »e« is not only a gag but a winking reference: Being left-handed she sometimes sees things mirror-inverted, especially when she is tired.

»One day I stumpled upon a blog where some of Miklos’ design was featured. I immediately fell in love with it because his work is so beautiful and intelligent at the same time«, said Nadja Mayer. »Working with Miklos was such a great experience. I am impressed how deep he dives into typography and gets out the most of it. The design he created for me was far beyond what I expected.« 

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Viktoria Minya / 1st Hungarian perfume line

Final identity and packaging for Hungarian perfumer Viktoria Minya, who created the first Hungarian perfume line. She wanted a unique, elegant and strong identity for the first Hungarian perfume brand, matching the spirit of her luxurious and original creation that is an ode to the golden age of perfumery. The packaging is a reference to exclusive and high quality cosmetics, its color code gives a classy, sophisticated and majestic touch to the product.

“Working with Miklos was not only a very professional experience, but also a deeply inspiring artistic cooperation. He spent a huge amount of time trying to keep up with my high expectations and as a result, he created the logo for Parfums Viktoria Minya, which exceeded all my hopes and expectations.” – shares Viktoria Minya.

8., 10. and 14. photos by István Várfi. Other photos by kissmiklos.

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Heineken Bottle

Heineken and ACG made an exclusive tender, and invited 8 designers to design a unique bottle concept.

My concept ————› …remixourfuturemixourfuturemixourfutu… Constant reconstruction. Redesign. Constant desire for renewal. Innovation. That’s how I could summarize the aspirations of Heineken. What I “stuffed into the bottle” with an almost pattern-like, illegible, and playful typography, it’s the essence and the philosophy of the brand. A constantly “fermenting”, living, intuitive, intelligent and progressing thinking. It’s enough to look at the shape of the bottle, which was dreamed by Ora-Ïto. The graphic design, what I planned, is some kind of sequel, or remix of my bottle from last year, and of some better known Limited Edition bottle as well.

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Essence

Identity and brochure design for a chauffeur company in London. Tradition and innovation, seemingly contradictory. I want to back to the origin of the chauffeur.  Words came to my mind like old labels, name plates, cylinder, chariot, 17th, 18th, 19th century. The chariot icon is a real traditional from the 19th century’s London. When I search about the chauffeur’s history, I found a picture about King of William III. who’s in a chariot. I want to use this drawing in the identity too.

I moved between two worlds, the old and today, when I made the identity. The traditional compositions is reminiscent of the old age, but if we look at that, we know this is a renewed style.
For the catalogue, I used to an interesting format with some really nice Simonas Berukstis‘s photos. And I mixed again the vintage typography with some fonts from the 20th century, and 21th century, and a calligraphy font what drawn by myself.

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Salon1

“A store that you can caress. The founders decided to make use of the little space they had, and established a 12 m2 showroom. The parlour was modelled on the Salon in Paris, that is why it is named Salon1. The only difference is that we framed designer clothes on the wall instead of contemporary paintings.
To emphasize elegance and style, the interior is painted white, and the exterior is covered with artificial black fur. This soft surface not only compels the attention of the passersby making them want to touch it, but it also reminds them of velvet, which was the favourite material of the 17th century. Also the number in the name of the shop symbolizes uniqueness highlighting its prominence: the items are one-off made of first-class material (silk, merino wool, leather, and self-printed fabric), and are available directly from the designers. They are not part of mass production, but the results of precise and thorough needlework or were made only once at the exclusive request of Salon1. The basic idea behind the establishment of the showroom was to make people experience the feeling of ’now or never’ that attracts them into the second-hand and vintage shops when seeing the one of a kind treasures. There are no huge selections of sizes, but it is a mistake to assume that only models can find stylish clothes here. Obviously, luck plays an important part, and it is highly recommended to stalk the prey as soon as possible, as they do not have sales for a long time. Instead, they offer something new every week. Nowadays more and more people share the idea of ‘no more fashion victims’ for various reasons. First of all it is essential to emphasize originality as high street fashion is often overrated, and instead of convulsively following the latest trends, they consider fashion as a game. On the other hand, they reject clothes made under exploiting circumstances in multinational clothing factories that might use child labour, and in protest, they choose financially viable items that are competitive against mass products.
Taking the above concepts into account, they managed to create a showroom to support young talented designers and introduce smaller brands, which are sometimes considered underground.” (Fanni Kovács, owner)
Location: Alter Markt 10, 33602, Bielefeld, Germany
Photos by Sören Münzer, Fanni Kovács & kissmiklos
Website: s-a-l-o-n-1.com

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Ajandék Terminál 2012

This year saw the second AT Xmas exhibition, fair and auction organized by Design Terminal, featuring more than 100 outstanding Hungarian designers. Between the period of 8th and 23th December almost 3000 articles were showcased and purchased at the fair.

In addition a charity design auction, a special fashion day and a light show attended the visitors at Design Terminal, which is a public institute for the development of the Hungarian creative industries. The mission of the institute, located in the center of Budapest, is to promote the local development of the creative industries’ young generations and to draw the attention of Hungarian and international venture capital to the economic potential of their talent.

As in 2012, I was in charge of the graphical design and the image of the event series. I combined the classical, vintage identity of the AT Xmas brand introduced last year with great success, with a new, illustrative typography.

Photos: Péter Láng, Ágnes Hegedűs & kissmiklos

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Trafiq

Club, restaurant, bar

 

IMAGE
Our goal was to create an image that revives the vibe of the late 19th – early 20th century, while also reinterpreting this vintage foundation by injecting it into a contemporary atmosphere. Therefore, the logo is based on a Roman-type font, and is mixed with a playful, classic ligature. The logotype contains the address, and thus locates itself. The latter fact provides an easier form of communication and unifies the typographic language, moreover, thoroughly determines its style. Nevertheless, the typographic language tends to reach beyond the boundaries of a logo and of various graphic elements, and becomes the concept itself, the interior’s distinguishable cornerstone.
A “trafik” was a type of tiny shop selling tobacco, sweets, newspapers, toys, and other knickknacks, and was a real treasure island for children. I’ve purposefully created an image that reflects this specific feeling. The typography resembles broadsheet newspapers, while French cards, the essential accessories of early 20th century clubs and the typical souvenirs of a “trafik”, serve as accentuated design elements. Trafiq has its own deck of cards, which, besides being used as business cards, fill various functions, further strengthening an already well-established visual identity.

 

Trafiq webdesign: here.

 

PACKAGING
The concept of packaging is based on the world of the formerly mentioned “trafiks”, and puts simplistic, playful ideas into practice such as hard-pack cigarette boxes and matchboxes. Regardless, it still pulls off the feat of remaining elegant, and follows the visual path carved by trafiq’s image. Both the technological design and the execution of packaging can be attributed to Sz. Variáns Csomagolástechnikai Kft.

 

BUILDING GRAPHICS
The VIP lounge’s concept: Similar spaces usually ooze sultry lust, so the quotes written on the walls are taken from erotic literary works in their original languages. The quotes are taken from timeless masterpieces such as Apollinaire’s The Eleven Thousand Rods, Boccaccio’s Decameron, and, last not least, Geoffrey Chaucer’s The Canterbury Tales.
The restrooms’ concept: Simplistic restroom graffiti collected from Anglo-Saxon countries, and separated by genders. Their content was not altered, although they are presented in an elegant, footed, and classical antiqua that conjures an intense paradox and basically gives life to an artistic concept; moreover, it gives an iconic edge to its location.
Posters: Humorous, framed texts referring to sexuality, night-time entertainment, and getting tipsy, all interpreted in the language of contemporary typography. These texts, at least to an extent, resemble both the philosophy of late 19th – early 20th century artists and the atmosphere of bohemian saloons independent from high-nosed institutions.
Classy forms of hidden advertising, signages, and the suggestive art work covering the DJ booth enrich and complement the concepts listed above.

 

Copywriter: Dorka Mesterházy

 

“We were looking for a distinguishable visual identity for Trafiq, one of the newest bars in downtown Budapest. Our goal was to create a bohemian but in the same time sophisticated atmosphere based on the Hungarian trafiks of the turn of the previous century. We’ve chosen him for his body of portfolio, which we knew would be a perfect match for our concept. Well, we believe that the visual concept is flawless, and reveals itself in the details.” – said István Száraz, founder.

 

Interior design: 81font (Péter Szendrő and Kristóf Pataricza)
Photos: Márk Somay

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Logotypes 2011-12

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Márton

Identity & package design for Márton Kovács. Márton asked me, to make an attractive lable design for a selected red wines. First of all I wanted to design a logotype, which is organic (like the grapes) and classic (like calligraphy and tradition), and also fresh, youthful, and memorable at the same time.

Webdesign: www.martonwine.com

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Wines

Wine labels for Mihály Figula’s ‘Hét hektár’ and one of Tibor Juhász’s (Pastor winery) Siller.

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Federal Pointe Inn

The Monahan Partnership transformed the Meade School building, located at 75 Springs Avenue in Gettysburg, Pennsylvania, into the Federal Pointe Inn. This proposed 18 suite luxury inn will provide guests with a unique and historic boutique experience. This experience will include a focus on the highest quality of comfort and services. Guests will receive the finest hospitality with a very personal touch, thus setting the mood for a wonderful overnight experience in Gettysburg.

I had to create a luxury and historical logotype and identity, which keep in mind the Battle of Gettysburg, and the 19th century’s style.

Client: Monahan Partnership
Location: 75 Springs Avenue, Gettysburg, Pennsylvania

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House Of Liza

Established in 2010, House of Liza is a boutique that sells handpicked expertly curated pieces of vintage clothing from designers who were experimental and pioneering in previous decades. Recently it introduced a brand new identity design by kissmiklos.

After two years of continuous growth and success, House of Liza moved to a bigger place, – still situated midway between Shoreditch and Dalston – and wanted to give a fresh look for its branding and identity.

“We were looking for a new identity for House of Liza when we came across Miklos’ portfolio online. Our aim was to create an elegant, sophisticated and timeless identity based on simple, yet distinguished graphic communication. Miklos’ work reflected our ideas, so we decided to contact him. The result of our collaboration is a strong visual identity that captures the ethos of House of Liza.” – said Gonçalo Velosa, store founder.

I wanted to create a strong concept that would reflect the ethos of House of Liza. My starting point based on the unusual yet simple and effective display system and the vast, white shop with clean lines and a contemporary feel, clothes displayed on a series of lined coat hangers hanging from the ceiling. I know that the new visual identity has to be as elegant, fashionable and as strong as the new venue. One of the basic elements of the interior design is the coat hanger reflecting fashion and vintage and the shape of the logo recalls the name plates of old shops as it also shows the place of operation.

The interior of the venue was designed by Torsten Neeland, London based industrial and interior designer.

Client: House of Liza
Location: 9 Pearson Street, E2 8EL, London, UK
Photos by Jonhaton Griggs

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Németh

Identity and webdesign for a small family lampshade company. Their lampshades are made of several materials (silk, paper, feather, bead, etc.) and technology by their hands. For further information please don’t hesitate to contact them.

3.-5. and 7.-10. photos by Tuszinger Károly.

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AnnaAmélie

When I created the identity of Anna Amélie my purpose was to design a logo which is more exciting and playful than just reminds of the biggest brands. I figured up the image should not be update, but rather to indicate the stability and the guarantee of the presence of this brand after years. Many elements of the image have priority so it has several way of appearance which provides wider scope for the designer. The basic logo is the main element of the identity. It is a classical antiquites designed by me, the letters of A and E are incomplete. My idea is to use this style also in the important inscriptions which means these incomplete letters style continue in the typography. Therefore the brand will be recognisable without the logo. The letter of A or the motif of needl are also own elements of the brand image which have many form of appearance. On the one hand they help to consolidate of the masculine line and they can substitute the basic logo if it is impossible to use it or it would become boring because of the repeated use on certain surface. The classic style and progressivity also appear in the image. They complement each other which is not intrusive, even so they push the awarding of the brand to the direction of luxury through the visual identities.

Thank you for AnnaAmélie and Nóra Hevesi, that gives scope for my abilities

Identity photos: Várfi István

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Heineken Bottle

Heineken and WAMP made an exclusive tender, and invited 5 designers to design a unique bottle concept. These 2 meter high models were presented in the WAMP design fair.

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Szelet

Szelet (it means a ‘slice’ in English) is a really small pizzeria which specializes in a slice of pizza. I started with inveting the name ‘Szelet’. After that I designed its identity, the interior design, the packaging and the web design. I wanted to choose a strong concept which can be developed into a franchise later. Therefore I have chosen a very intense colour – red – and a familiar shape that evoke the ‘world’ of pizzeria and fast food restaurants.

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Simon Ghraichy

“Simon Ghraichy is a pianist, and he doesn’t break the rule. Either in the Piano or in the Forte, his play relies on a unity built since his first encounter with the instrument, at the age of five. This mastery consists of three pillars: cosmopolitanism, singularity, virtuosity.”

I tried to design a classical logo with a little conceptual joke and a classical but a bit fresh typography system for him. And a simple but elegant web design. Thank you for Imprvd design agency, that gives scope for my abilities

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Ajándék Terminal identity

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.

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SHAPE TO FABRICATION

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.

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SEAM 2nd Concept

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…

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SEAM 1st Concept

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…

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CandyHairShop

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

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Marc Johnson 2nd concept

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

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Marc Johnson 1st concept

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

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ANETT HAJDU

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.

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SDA

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.

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Ali Sharaf

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.

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IndieCouture

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

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Viktoria Minya 1st concept

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

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Viktoria Minya 2nd concept

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

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SDA 1st concept

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.

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the Limited Night concept

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

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HauteMuse

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.

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Hotel Ambrose

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.

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LACK magazine

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:

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VR

Vállalkozók Rácalmási Egyesület / entrepreneurial association of racalmas / logo / trade mark label

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Kitty Prager

Identity for a young dance competition couture and practise wear designer, and a professional dancer.

www.kittyprager.com

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Metamorphose of Dunaújváros

Print on canvas / prize awarded by the city of Dunaujvaros

My city of birth, Dunaujvaros was established under the name Intercisa during the Roman Empire. The city’s name changed contantly from Intercisa to Pentele in the middle age, from Pentele to Dunapentele,  then to Sztalinvaros under the communist regime (when the city was also rebuild) to today’s Dunaujvaros. This piece of art represents this “metamorphose”.

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Fresssup – your best mash up

Fresh wringed drinks company’s brand identity, name, slogan, package design, uniform and ads graphic concept.

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Budapest airport Terminal2 Signage

Signage, Building Graphics, Ads and Slogan Concept of the new Terminal2 at BudapestAirport.

 

Budapest Airport opens its new  terminal, the SkyCourt in 2011. The SkyCourt combines the two old terminals, 2A and 2B into one whole by not only an architectural redesign but also by standardizing the way finding system and signage concept. This signage concept lends the airport a visual identity by implying the style into all visual aspects of the airport. This identity will be seen inside and outside of the airport by communicating all information through this visual concept. The project is not yet fully finished, as more and more parts of the Budapest Airport get redesigned to fit into the concept.
The aim is to create a system that encapsulates all visual communication at SkyCourt while  pleasing and helping the customers feel safe when flying to or from Budapest.

 

Final Graphics Contributor and Consultant: Attila Auth.

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Pálinka bottle

This bottle is a reinterpretation of the traditional bottle of Palinka, a hungarian fruit brandy. Old bottle in the new bottle.

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Budapest T-shirt

The t-shirt is a special, limited edition design for vulstarry cafe in Budapest, serving as a souvenir. The text on the shirt says: I love Budapest, Lánchíd, Parlament, Hősök tere, Andrássy út, Bazilika, Budai vár, Duna which are a few of the main and most known attractions of Budapest, the capital of Hungary.

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Fashion typo

Only a plays on typography.

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Fashion magazine layout

My design concerned 3 pages in the first issue of this Hungarian Fashion magazine.

Photo by Ridovics Andras.

Clothes by Asger Juel Larson.

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Lecool magazine front page

Lecool is a free culture and program magazine which ask a contemporary artists for the magazine design in every each issue.

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ManuScript Records

IDENTITY AND VENEER

The brand identity is a reflection of the company’s name and the industry it is in. The pattern is the result of hand drawing, that looks like the surface of a disc. This idea was further developped into many more variations. The finalized brand identity is a complex reflection of the record publishing company’s areas of operation, and at the same time presents the possibility of going even further. The design was not purchased due to insufficient finances.

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