Pastor winery’s wine with screw cap 2015

Wine labels for Pastor winery’s new wine with screw cap.

Pastor winery’s bottles have a very little design efforts, this detail comes from our everyday lives, clothing labels. This little piece of label make the wine bottles to stand out from the sea of other wine bottles in shops. We use this since 2012, when I designed the Pastor identity.


Photos by Bálint Jaksa.

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Casca, Chocolate bar and café

Client: Róbert Ádok, Csaba Harmath, György Varga
Location: H-1061 Budapest Jókai tér 3.


Area: 31 m2 + 12 m2 (gallery)


Graphic design: kissmiklos
Interior design: kissmiklos
Art direction: kissmiklos


Photos: Lackó Szögi


Casca (means ‘shell’ in Portuguese) is an artisan chocolate bar and café. These special flavored and spiced chocolate bonbons and products are made by a Hungarian manufacturer. Their coffee is made by one of the best baristas and coffee specialist in Hungary, Tóth Sándor from Szekszárd.


When I took over this project a graphic design studio and an interior designer has already been working on its branding. I created a new branding, and redraw their logo – keeping the main concept in focus. The interior design was at the very first stages so I had the opportunity to create a harmony between the graphic design and the interior.


When designing the gallery and the sink area I had to adapt the design to the available surfaces. I made the colours more lively and a part of the overall design. Apart from the basic structure of the interior there are many little details/gags that usually can be find in my works. If you have a look at the lamp or the console on the wall – they are created from a tea jug and porcelain cup.


The chairs have been selected in order to take up less space but still be comfortable. I choose a few workshop chairs that seemed to go well with Casca’s interior.


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C10, the first ‘architect’ beer

C10, the first ‘architect’ beer


KÉK –  Contemporary Architecture Centre – is celebrating its 10th anniversary this year. KÉK is a cultural centre and professional workshop aiming to create a wide community where discussions of our city is in the main focus. Their programs are constantly getting high attention from all over the country and from abroad as well. In the past year KÉK has organised nearly 500 events – in-country and international exhibitions as well, conferences, festivals where more than 250 000 visitors have attended.


For the organisation’s 10th anniversary we wanted to have an extraordinary way to celebrate. We have created the first beer for architects, the C10.


C10 is perfect for architects in many ways. It’s an excellent craft beer (American Pale Ale) and a perfect design object too. The idea for the name came from ‘celebrating the 10th’ and indicating a type of concrete, C10. The label has 3 technical drawing of buildings in Budapest on it.  2 of them are concrete buildings from the front and one from the side. The blue color refers to the word, KÉK, which means blue in hungarian. For this special product we have created a packaging, a steel case and a concrete beer coaster.


This limited edition product is a good way to raise support for KÉK’s foundation. All income from C10 goes there to support this organisation’s operation.


If you like the design please support the Contemporary Architecture Centre.


The beer is sold seperately or in a design box with four bottles. The coaster can be bought in a package of 4 or 6 pieces in the building of the Contemporary Architecture Centre. The address is: 1111 Budapest, Bartók-Béla út 10-12., or you can contact them online, or on the phone +36 30 9531617.




Photos: Bálint Jaksa


Professional partners: Élesztő SörműhelyHübris


Concrete beer coasters: VPI Betonmanufaktúra


Produced by: Guri sörfőzde

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Heineken limited edition

Heineken made an exclusive tender, and invited 5 designers to design a unique, limited edition bottle for 5 popular clubs in Budapest. These bottles were presented as part of the Heineken Cities campaign at the Budapest Design Week. I worked on a bottle for Trafiq club.


Photo by Bálint Jaksa.

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Client: YONO
Graphic design: kissmiklos
Art direction: kissmiklos
Photo: Bálint Jaksa


YONO is a spirit, which based on a traditional Hungarian Palinka, but this one has its own unique formula. Fermented from fruits that are grown in Hungary, mixed with a secret recipe, YONO was born. YONO is a child of award winning distillers whose passion is to create the highest quality spirits with the expertise gained over many generations of Palinka producers in Hungary. YONO has two taste. No.9 and No.11.

So YONO needed a traditional and a fresh design at the same time, because YONO is a slang, but based on the tradition.

Firstly I looked for an emblematic figure. Hungarians were an equestrian nomad nation far from the history. And spirits means two things at the same time, one is a spiritual meaning and other is an alcoholic beverage. I looked for an animal from the past which based on a horse and free like a soul. I found Pegasus from the mystique archaic world. After I looked for a type that is classical but fresh at the same time. Finally I came up with a traditional and energetic label.

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The House of the Postmaster

Client: Gágyor Anna (Inverg Kft.)

Location: 3235. Mátraszentimre, Szabadság utca 3.

Area: 150 m2

Graphic design: kissmiklos

Interior design: kissmiklos

Art direction: kissmiklos

Photos: Bálint Jaksa


Web Development, Programming: Atom&Partners


Brief: Creating a rent able apartment.


Concept: The client got inherited this apartment from her grandmother’s brother in 1955. The house is made of stones and pise. Uncle Andor became the head of the post office in Mátraszentimre. That’s how we named the place, the House of the Postmaster. The original furniture did not survive the passing years – that’s why we tried to recreate that atmosphere with similar furniture, everyday objects and accessories from the post office. The whole space is designed with this in mind – mixing it with modern architecture and aesthetics, with the feeling of a mountain house. Many furniture have been recycled or reused in creating new ones. Everyday objects have been redefined and new functions added.


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Client: Céltorony

Location: 1138. Budapest Meder utca 12.

Graphic design: kissmiklos

Interior redesign: kissmiklos, Gabor Szego, Andras Hitka

Art direction: kissmiklos

Photos: Áron Erdőháti


Céltorony is the spot where people usually watch winners entering the finish line in water contests. This building gave the basic idea for the logo.


This place lays in the very base of Népsziget next to the Danube river, intertwined with the kayaking club. That’s why we tried to build the place to the likes of water sport coaches – to look similar to a kayaking club. Many rowers and cyclists are stopping here, that’s why we call this a Sport Bistro.


Céltorony is welcoming guests with the passion for water sports or an enthusiasm for the atmosphere of the bank of the Danube. Craft beers and grilled foods from Hungarian organic producers, made with fresh ingredients. Stoller Marton, spice and mushroom expert, is in charge of making our food in the well-known coal grill king – the Big Green Egg.


(Interesting fact: between 1992-1993 on this land the first ruin pub of Budapest was established!)

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Pastor 2012 Red wines

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 just a logo. I ended up designing a simple mark for the brand, that the winery can carry on using it in the future. 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, clothing labels. 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.

I wanted to create a graphic design where the words are shaping a bunch of grapes and the letters represent the pieces of grapes.

Photos by Bálint Jaksa.


And I designed a simple new website for the winery:

Web Development, Programming: Atom&Partners

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4eck restaurant

Client: 4eck

Location: Johannesgasse 16, 1010 Vienna, Austria

Graphic design: kissmiklos

Interior redesign: kissmiklos

Art direction: kissmiklos

Photos: Bálint Jaksa


Web Development, Programming: Atom&Partners


4ECK is located in the very center of Vienna, in the 1st district, near the Central park area. It’s name translates to ‘four corners’ – as the restaurant itself is on a corner, and could translate as the four sides of the world. The new direction for their kitchen is based on this idea of diverse cultures. Every meal was inspired by a city. There’s a main course called ‘Vancouver’ – with Canadian salmon, or another one called ‘Budapest’ – with a traditional egg bread, liver paste and fig marmalade. Their customers can go on a culinary journey around the world.


The interior is based on this idea too, there are miniature taxis from lots of cities. Also we placed a few cans in the windows with the names of cities written on them, each with a ‘feeling’ for their cities!


The visitors who have already been to 4ECK could have a déjà vu looking at the furniture. Instead of buying new one, re-used them  in the new interior design too. This choice also helped winning a Quandoo 2014 price, and a main prize of GastroBizz 2015 in the ‘creative rethinking’ category.


4ECK is not only for those who like to travel and like to try new food everywhere, but for those who like to be nostalgic and re-live a long forgotten experience. All circumstances are present to have a pleasant time there, among good friends.

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Dekoratio Branding & Design Studio

Client: Dekoratio Branding & Design Studio

Location: 36. Rozsa street, Budapest 1077, Hungary

Area: 100 m2

Graphic design: kissmiklos

Interior design: kissmiklos

Art direction: kissmiklos

Photos: Bálint Jaksa, Kevin Harald Campean (Average=Crap picture with frame photo and gif animation)


With my partner studio, the DekoRatio Branding and Design Studio we wanted to create an experience that inspires ambitious companies to use better design and to demonstrate how design can have a huge positive effect on their business.


That’s why the number one goal was to design a space that offers a creative experiences and serves as a showroom for interior design and decoration.


In the interior a line cuts through the space in the angle of the “K” from the DekoRatio logo. It divides the rooms between a clear white office space and an industrial space. This separation express the Studio’s main characteristic: its capacity to do both brand strategy and design and also the actual production of signs and prints.


A corridor was built in the same angle to connect the reception with the rest of the studio and also to separate out a space for the account manager team. Its special shape in the reception is designed to create a visual image that “draws” the visitor into the studio.


Several references to branding and the design profession appear around the studio: the Lorem Ipsum sign on the wall or the round meeting table that is designed as a big Pantone Palette. The symbols of the world famous superhero characters are also a tribute to the extraordinary branding achievement of Disney, Marvel and DC.


Comics are used throughout the studio as a reference to the role POP culture played in America in the evolution of applied art and advertising. In each room there is some comic illustration that has a connection with function of the room. The cupboard that serves to hide the boiler is covered with the word BOOM, in the meeting room, where stories are born, the main word is STORY, and the little table on which the complimentary chocolates are has the word POWER on it.


In the library-style social room the bookshelf was custom made from the letters of LEARN. Which is accompanied by a big “Believe in BETTER” sign that abbreviates to “Believe in BEER” as a sliding door opens across it.
Designed typos with the Studio’s mottos, strategy and goals appear around interior. They form part of the employer’s branding effort, but they also give clients and other visitors a feel for the personality and values of the Studio.

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Lejon watch re-branding

Re-branding for the Swiss Lejon watch.

As we are talking about a branding of a watch it is really important that all the elements suggest perfection, precision and great care for the details – that’s why it had to redesign of the logo.
I completely re-drew the letters to be more precise and sharp. There is a great balance in the design now – the letter J is parallel with the lion’s elbow, the icon’s stroke is the same width as the letters’ feet.
The lion icon didn’t have an unified look either – it was also not easily recognizable. That’s why I simplified it, made it more stronger and more unequivocal.
The strong use of red would work very nice because of the Swiss background.
The watch mock-ups can be clearly seen that with the new logo the brand itself became more visible and stronger.


This is just a concept, because the owners stick to the original logo and icon, so I had not accepted the job.

You can see the original branding in here:

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Design Terminal

Design Terminal is the agency for creative industries in Budapest, Hungary. They promote the development of the creative industries. So i wanted to design a futuristic identity for them. But had a special situation, because the Design Terminal’s building built in 1948-49 a late Bauhaus construction which got a Heritage protection. This building was the Central Bus Station for both domestic and international buses. I wanted to create a logotype and style that resemble the old neon signs from the 50’s. An identity which is unique, interesting, suggestive and playful.


Photos by Bálint Jaksa.

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Badgirlz barclub

This is a special bar, club in Budapest, where all bartenders are girls and multiple times each night they demonstrate their bad girl powers and hop on the bar to put on a flair show for the people.

First, we tried to define the word: bargirls. Who is the bad girl? We looked for some characteristics of how could we decode this concept. One of the basic element is the tattoo. I designed a tattoo like logo but with more elegance. After I tried to incorporate this tattoo emblem into many elements. I drew some tattoo motives for the menu and drink list, wrapping paper and t-shirts. For the tables and for the wallpaper I also created a photo montage from works of tattoo maestros from Budapest. I wanted to create a design that is a bit erotic, interesting, and brave so that being bad would feel really good.



Web Development, Programming: Atom&Partners


Interior design by Ákos Bara Studio.


The three food photos and the last three feeling photos by  Ádám Horváth.


Erotic girls photos by Zoltán Sárosi.


All other photos by Bálint Jaksa.


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A company hired me to create a packaging design for a new type of beauty vitamins. Their brief was quite different to my idea – they wanted to create a more typical, medicine looking packaging. However, I thought that these vitamins should belong to women’s make-up bags, they should look feminine, elegant and fashionable. The name of the brand is quite talkative too, it supports the concept (Naming by Nadja Mayer). The company liked this new direction and they agreed with me on taking it to the next level. Right now, this is only a concept.


Box photos by Bálint Jaksa.

Woman’s bag photo by kissmiklos.

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The main concept comes from the idea that the burgers are from the street of America, and it became one of the favorite symbols of pop art. Street food slowly transforms into a high end food – sold in many restaurants around the world. There’s a great variety when it comes to burgers, from McDonald’s to the organic, more sophisticated style. For me it says everything about pop art! Only a part of this branding is materialized – I guess my client didn’t really understand the full potential of this concept. A few years ago I saw an exhibition at the Tate Modern, in London, it was called Pop Life. I was inspired by this and right away it got me thinking how I could form the perfect branding for a “Pop” restaurant – where pop music is played and the interior has an iconic style from this era. The whole branding is like a package of everything that is Pop – quotes, masterpieces, illustrations, motifs – all in a modern context. I imagined this place as a clash of popular style/mainly plastic/ and organic burgers. Where there would be a great contrast between the healthy and organic food with its’ modern POP interior.


Exterior design by Viktor Csap (Studio Akitekter) & kissmiklos.


Photos by Balint Jaksa.

Exterior photo by László Keszi.

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Buda pálinka

This is only a concept so far. I was asked to create a branding and packaging design for a pálinka (it is a hungarian spirit) to be distributed in England. I wanted to create something that has a serious look but have a bit of humour in it. Usually the back of packaging designs are quite simple. My intention was to create something that is eye-catching from the back as well, could also be mistaken for its’ front side. However, on the front side there is a text – Can you read it?

As long as the pálinka bottle is full, the text is hard to read but as the bottle is getting empty it is becoming more and more visible. This is a playful game about the impact of alcohols too.
Photos by Bálint Jaksa.
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Gótika (Gothic), café and deli, had been open for half a year as a pop up restaurant close to the Castle, just next to the Matthias church. The name was inspired by the location, as it is situated in a basement of a Neo-Gothic styled building. However the ceiling itself is quite low, and the basement’s architecture is quite neutral. The branding represents playfulness with a Gothic style. The font I used is Avant Garde Gothic, and I also created a cross shaped mark using a fork and a small spoon, referring to the light foods and desserts that are served here.
I created a mark for the drinks too, a corkscrew, it could remind us to many things: a cross, a lady figure – referring to the contrast of a bohemian and a religious connotations.
At the back of Gótika, you can find a picture that has a huge dragonfly on it, this icon is created from the basic layout of Gothic cathedrals. On the walls there are several pictogram in the same style, well known icons from restaurants and cafés. The table cloths have the same pattern too – transforming into a subtle lace pattern. The branding of Gótika is a thinking that begun but hasn’t finished yet. I hope that later on it will have a chance to be completed with a strong interior architecture.


Photos by Bálint Jaksa.

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Bernadett Baji’s wine label CV

At first blink this looks like an average wine label. If you read through the text you will see that this is somebody’s CV. For my friend, Bernadett Baji, who wanted to apply for a marketing job at a Hungarian wine distributor company, Bortársaság, I have designed something special. We came up with the idea that she should look for a Tokaj wine that is not listen in the company’s wine supply. After that she has re-done her CV in wine label style – obviously leaving the important info untouched. Later on, Betti got hired by this company.


Photos by Bálint Jaksa.

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Pastor winery’s wine with screw cap

Wine labels for Pastor winery’s new wine with screw cap and cheaper wine with magnum bottle.


Photos by Bálint Jaksa.

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Ajándék Terminál 2014

At Xmas (Ajándék Terminál) is a Christmas design exhibition, fair and auction with the best Hungarian designers at multiple locations in Budapest. Between December 5-24, Design Terminal’s At Xmas (Ajándék Terminál) Exhibition and Fair will feature the products of 150 Hungarian designers. In 2014, various Budapest venues will house At Xmas shops in addition to Design Terminal’s Erzsébet square headquarters: Budapest Liszt Ferenc International Airport, Four Seasons Hotel Gresham Palace Budapest, the Hungarian National Gallery and the WestEnd City Center. Here are the graphics what I designed for At Xmas (Ajándék Terminál) in this year.


Photos by Bálint Jaksa.

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Viktoria Minya / 1st Hungarian perfume line

Viktoria Minya 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.


Viktoria Minya’s debut fragrance, the Hedonist, became a cult fragrance within just a month after its launching in 2013. The concept of packaging was built in the jewelry box. We would have loved if a woman doesn’t get just a perfume but she can wear this like a jewelery and the perfume will be one of the jewels of her rooms.
Like a valuable ring or necklace. All perfumes from the line are presented within beautifully crafted bottles filled with hundreds of genuine Bohemian crystals that sparkle brilliantly. The bottles are enclosed within a handmade wooden box, fashioned to capture the sleek look and feel of snakeskin leather.
2 new fragrances are completing now the Hedonist line, both worked around the most prestigious and noble raw materials of all.

Hedonist Iris
Hedonist Iris’s essence is the most prestigious raw material of all – Iris butter, its cool elegance is laced by Viktoria Minya with tantalizing notes of cocoa and blackcurrant, and crowned by a fine blend of musks. The scent is best described by timeless elegance; it is effortlessly chic and graceful, delicate but powerful – for a woman who cares for sensual luxury.

Hedonist Rose
Hedonist Rose is created around the queen of raw materials: Rose Oil, which is often considered opulent in its pure beauty – therefore it is meticulously chilled by Viktoria Minya with sparkling notes of white wine and a hint of peach. An audacious perfume for a woman who recognizes the strength and allure of her own femininity; a perky rose that doesn’t want to be taken so seriously, but its audience cannot help it, and end up falling in love with her.

Eau de Hongrie
This novelty is a true surprise, and a very personal creation by Viktoria Minya. She discovered the legend of Eau de la Reine de Hongrie (The Queen Hungary’s Water) while still in perfumery school, and the idea of its modern version was instantly born. The original Eau de la Reine de Hongrie was the first modern perfume referenced ever. According to the legend, the perfume gave back youth and beauty to the aging Elisabeth, hence the Polish king fell in love and married her.
In the 1300’s the juice smelled mostly of rosemary tincture, so Viktoria Minya needed to choose carefully the essence of the revisited famous scent in order to reflect the modern context.
The inventive Eau de Hongrie by Viktoria Minya is inspired by Hungary’s world class wine specialty, the Tokaji Aszú ( Tokaji Essence ) which does not only taste divine, but has proven medical benefits. Delicate notes of honey, jasmine and immortelle are completed with the suave texture of sandalwood resulting in a rich, gripping scent, worthy of its predecessor of the 1300’s.
Eau de Hongrie is presented within a finely designed bottle, an ode to the world famous Tokaji wines and is enclosed within a handmade wooden box recalling Viktoria Minya’s signature packaging.


“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.


First photo by István Várfi.


Other photos by Daniel Herendi.

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Beer and whisky bar

Location: Budapest, 1074 Budapest, Dob utca 3.

Interior design: 81Font (Peter Szendrő, Ádám Bajor)

Designing the identity for DOB3 my intention was to capture beers’ essence. I didn’t want to create only a logo, a mark; my aim was to familiarize people with the extremely diverse world of beer. I wanted the final branding to be smart with a friendly, approachable atmosphere.
Beers’ labels vary in many ways. Script types, serif, sans-serif fonts, you name it. These gave me the inspiration to create such composition where you can find harmony among diverse elements.
There’s a wall installation made of various beer coasters, creating that special atmosphere for DOB3.
The tables are not differentiated by numbers but unique beer glasses made of tin of the different beer types, and are built into the thick oak tables. They create a sophisticated approach for beer lovers.
Above the tables there are some wooden panels that have an old-timer look of tin letterpress. There you can find info on well-known beers, from the top and bottom fermented category.
There’s a wall that’s covered with a canvas bag texture, creating a feel for the transportation of the ingredients – malt, barley, grain; the essentials for making beer and whisky.


Photos by Bálint Jaksa

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Women’s tailor and store


Location: Stefánia 6. Szeged, 6722 (Hungary)




My inspiration for the interior design was feminity, purity and an original salon atmosphere. Entering through the door the customer is greeted by an imposing space, its centre is a monumental architecture object, a staircase that leads to the gallery. The structure is similar to a loom. The vast chandelier has the same effect, it hangs above the recepcionist’s desk. Other parts of the interior have a classic style in mind. There’s also a café corner, where people can talk or read. On the provance styled table there’s a plate that is usually used for cakes, here it’s decorated with colourful yarns. They look like macaroons from the distance. This association is on purpose, the connection of confectionery and fashion fits this place very well, subtle yet feminine. Up to date fashion magazines and books are making our waiting time much more pleasant with little architecture details like the drawers on the wall – functioning as bookcases. For children you can also find a swing here, it’s a really important point in the design, the place got its name from the owner’s daughter, Emmaroza. The space is mainly white, with yellow retro easy-chair and a yellow staircase.


On the gallery you find a room where they adjust sizes of clothing. There’s a fitting room, yellow retro easy-chairs, and a shelf with the clients’ folders. A white curtain and a short corridor divides the space where the sewing room is. This area is reserved for the tailors.


Under the gallery there’s the designer shop. Emmaroz produces several clothing items for fashion designers – so we decided that it should have a place where they can sell them too.
At the front of the shop is the fitting room with a classical yellow piano chair, the restrooms with a sign above the mirror – you are beautiful -, and the sewing area.


The interior design is a mash up of the 19th century classic style and the beginning of the 20th century, the usual salon atmosphere, mixing it with a modern architectural design. Looking at the graphic design you can find many tailoring elements, and little details of a classic fashion style. However, the logo is created with modern typography in mind. The silhouette of the daughter also appears on many places, on prints and online.


Szeged is a really pleasant and sweet town, with plenty of university students.  We envisioned a place where turists and design fans would also like to visit, even just for a photo. This tailory could find a way to be at any huge town’s fashion district, in Szeged it could become a meeting point for fans of fashion and design.


Web design:

Photos by Bálint Jaksa.

Web Development, Programming: Atom&Partners

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Logotypes 2013-2014

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raqpart barterrace

Raqpart is an open-air bar/terrace with a laid back atmosphere in Budapest, on the coast of the Danube. It’s located at the bottom of the Chain Bridge, with the perfect view of the Buda Castle. The branding has been created for this relaxed dock feeling: drinking wine spitzers (Fröccs), smoothies, cocktails. The unique thing about this that it had to connect somehow to the Trafiq logo, but obviously differ from it. That’s why I changed the typeface from serif to sans-serif, but still kept the connection of the “r”&”a”. The branding of Trafiq is really bold, heavily based on typography – with Raqpart I went on a different direction, it’s mainly based on simple icons, pictograms and illustrations that tells a little bit more about the location and what can this place offer.


Web design:


Photos by Krisztian Bodis, Bertalan Soos & kissmiklos



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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 at 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 fibers which was also my first inspiration. Textile was one of the first commercial products in history and this act of trade between two countries. The colour red is presented in both flags – made me link the letters H and B in that colour.


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Xmas graphic design style for Design Terminal

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.

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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 wedding reception was at Chateau du Breuil, Gracieres. So they wanted a classical invitation design. 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. My aim was to create a classical 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 1970s graphic design, nowadays it became regular to meet more and more unique and bold visual identities among cities, towns, municipalities and regions. New or refreshed identities serve governments and other administrative organizations well. However, a very few attempt is made to refresh a country’s ‘logo’, the coat of arms, which is the symbol 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 from me.


Many variations of it appeared during the 1848-49 revolution, but it had only become the official symbol after the Austro-Hungarian compromise of 1867, called the ‘small coat of arms’. After many changes in the 20th century, the historical crowned symbol returned  on 3 July 1990, as a decision of the parliament.


‘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 symbol, leaving all the necessary heraldic elements at place to create a more contemporary, simple and straightforward use.


With the redesigned 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 other ways too. This is only the first step in the process, hopefully even on an international level.


I also used the main principles of the project on another example, the coat of arms of the capital Budapest. Based on the same concept, I also created another symbol, the coat of arms of Budapest, which is the capital of Hungary.


—› “When Simon Anholt began promoting the idea of ‘nation branding’ in the 1990s, 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: forcefully trying to “re-invent” ourselves with losing sense of common traditions, or not thinking about innovation at all. As Hungarians, most of the time we do what we are told, 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 the right man to start this conversation with.” (Gergely  Böszörményi-Nagy, Design Terminal, Strategy Director)

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Logotypes 2012-13

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“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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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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Identity and brochure design for a chauffeur company in London. Tradition and innovation, seemingly contradictory. I wanted to get back to the origins of the chauffeurs. Instantly words started to come to my mind: old labels, name plates, cylinders, chariots, 17th, 18th, 19th century. The chariot icon is an original image from the 19th century’s London.
I’ve found this while researching on the history of chariots, it’s King William III who’s sitting in that wagon. Then I decided I would want to use this image for the identity too.  When I was working on the identity, I was using two different styles: I have used elements from that older era, but also wanted to keep it fresh. The composition gives an ancient impression while the lettering is kept modern.
For the catalogue I used an unusual format, and made it more interesting with Simonas Berukstis‘s photos. I have mixed vintage typography with some fonts from the 20th / 21st century, and a calligraphic font that I drew.
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“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

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Ajandék Terminál 2012

This year saw the second AT Xmas exhibition, fair and auction at design terminal, featuring more than 100 outstanding Hungarian designers. Between the 8th and 23rd December almost 3000 articles were showcased and purchased at the fair.

In addition, there was a charity design-auction, a special fashion day, and a light show for the visitors of design terminál, 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  Hungarian and international venture capitals attention to the young talents.

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

Photos: Péter Láng, Ágnes Hegedűs & kissmiklos

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Club, restaurant, bar


Our goal was to create an image that revives the vibe of the late 19th – early 20th century, while also reinterpreting a vintage style mixed with a modern atmosphere. Therefore, the logo is based on a roman-type font, and is mixed with a playful, classic ligature. The logotype contains the address of the venue. This provides an easier form of communication and unifies the typographic language, moreover ,it 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 purposely created an image that conveys this specific atmosphere. The typography resembles of  newspaper fonts, french playing cards – the essential accessories of early 20th century clubs and the typical souvenirs of a “trafik”. Trafiq has its own deck of cards, which are being used not only as business cards, but to furthermore strengthen an already well-established visual identity.


Trafiq webdesign: here.


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


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 at the same time sophisticated atmosphere based on the hungarian trafiks of the turn of the previous century. We’ve chosen him based on his 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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Identity & package design for Márton Kovács. Márton asked me to create an attractive label design for a few selected red wines. First of all i wanted to design a logotype which is organic (like the grapes), and classical (like calligraphy and tradition), but also fresh, youthful, and memorable at the same time.


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House Of Liza

Established in 2010, house of liza is a boutique that sells handpicked, exclusive pieces of vintage clothing from designers who were experimentative and pioneers 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.

My starting point based on the unusual, yet simply 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 knew that the new visual identity has to be as elegant, fashionable and strong as the new venue. One of the basic elements of the interior design is a coat hanger that reflects fashion and vintage style. The shape of the logo is reminiscent of the name plates of old shops – as the exact address of the venue is also there.

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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Identity and webdesign for a small family owned lampshade company. Their lampshades are made of several materials (silk, paper, feather, bead, etc.) And are homemade with different techniques. For further information please don’t hesitate to contact them.

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

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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 at the WAMP design fair.

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SEAM is a design consultancy specializing in mostly architectural lighting design. They are working with teams like FOA, Zaha Hadid, Amanda Levete. They are starting to focus on architecture too so the  identity should cover that goal too. 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, visuals..

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identity, web design and packaging design

Project: A young fashion designer woman’s identity design and the 2011-12 Autumn-Winter Accessories Collection’s packaging design.
Anett Hajdu’s Accessories Collection Concept: In the chaos caused by contemporary and eclectic fashion trends, it is a pleasant feeling to turn toward the style,  puritanism, what is inspired by the nature and costumes that re reminding people of living in harmony with things around us. 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 in all of 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 packaging reminds of  industrial meat wrappings,  hunter accessories with a little Scandinavian feel to it.

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LACK magazine


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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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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