Tag Collective: Salad Pangea Identity and Collateral

Tag Collective recently com­pleted an exten­sive iden­tity project for Salad Pangea, a “fast-casual restau­rant that offers a mod­ern, multi-cultural expe­ri­ence” located in NYC’s Flatiron District.

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Maud: Spa Q Identity and Collateral

Awesome geo­met­ric iden­tity work for Spa Q by Australian stu­dio Maud:

QT Hotels approached us to design a brand for their first of sev­eral spas around Aus­tralia, with the stip­u­la­tion that the iden­tity of each should be inspired by the cul­ture of its loc­a­tion, the first being on Australia’s iconic Gold Coast. We took inspir­a­tion from col­our­ful beach huts and nat­ural stocks to cre­ate a vibrant and approach­able brand that avoids the expec­ted. The Logo and inform­a­tion sit on a clean pat­tern free sur­face, always opposed by an indi­vidual and strik­ing pat­tern. This jux­ta­pos­i­tion is designed to sug­gest the idea of stress & relief.

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via Present & Correct Pinterest

Merijn Hos: Wood Sculptures at Beginnings NYC

Dutch artist and illus­tra­tor Merijn Hos recently had an exhi­bi­tion at Beginnings NYC, fea­tur­ing a selec­tion of his col­or­ful wood sculp­tures.

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A bit of back­ground on the series:

Wood Sculptures is a col­lec­tion of works orig­i­nally made for an exhi­bi­tion at the Stedelijk Museum Kampen in the Netherlands, which was on dis­play in the Spring of 2012. The group exhi­bi­tion, which the instal­la­tion was part of, was enti­tled, “Grenzeloos” (nl) — trans­lated as “Boundless”. A num­ber of con­tem­po­rary Dutch Illustrators work­ing in the tra­di­tional con­text of com­mer­cial art projects and self ini­ti­ated art­works were fea­tured in the show.

There are now two series that con­sists of 262 unique sculp­tures in total vary­ing in size between 5 and 14 inches. I began the cre­ation process by draw­ing objects that appear fre­quently in my work, for exam­ple, plants, faces and pot­tery in their most sim­ple form, nar­row­ing each item down to the essence of their shape. The draw­ings were then cut out of wood and final­ized with house paint and acrylics. Being inspired by Art Brut and Folk Art I decided to paint what are rather abstract forms in a naïve way, using about 24 col­ors and a uni­form brush size.

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You can get a closer look at all of the pieces in the series right here.