Tank Design was liable for the branding and visible identification for Bokhari, a Norwegian model that produces premium, hand-crafted inside textiles and baggage. They mix Scandinavian design values with japanese custom and craftsmanship. As a social enterprise, Bokhari improves the lives of its staff, funds the schooling of their youngsters – over 700 ladies and boys, and helps the availability of unpolluted ingesting water in Sultan Town, Pakistan.

Sustainability, continuity and engagement with individuals’s lives usually are not solely core values of the Bokhari model but in addition notions that we discovered key to the craft of textile manufacturing itself. The designers at Tank created a visible identification that emphasizes this connection in a memorable manner. design course of started with visible analysis on the historical past of textile manufacturing, weaving methods and their totally different varieties.

This undertaking is an instance of profitable collaboration between shopper and designers in the direction of establishing a model with a rising constructive affect on society.

Design

Tank design course of started with visible analysis on the historical past of textile manufacturing, weaving methods and their totally different varieties. Fascinated by the abundance of tales that the shoppers shared with us, collectively they shaped a conceptual framework, the place the textile material itself grew to become a metaphor for a related storyline. The rhythmic weaving patterns visually represented “paragraphs” with their repeating motifs, standing for the “phrases”.

Furthermore, this undertaking offered a chance for the entire Tank workforce, as graphic designers, to replicate on the character of our personal occupation, which traditionally has its roots within the creation of textile patterns.

Following the “fabric-story-type” idea they created a customized letter “b” as a stylized weaving knot. 

This preliminary motif offered us the “seed” to create a particular logotype together with a set of elaborate patterns, all revolving round a grid of inherited typographic proportions. Reused in a number of combos, the visible parts turn into a playful “toolbox” which serves as a car for Bokhari’s model.

Using solely black print on recycled paper, the ensuing identification is monolithic in nature, but versatile in use, putting a steadiness between summary and concrete. The total expression is a bridge between Scandinavian rationality and the sensitivity of the east, obtained equally positively by Bokhari’s prospects, their very own staff, in addition to the kids on the LAMS faculty in Pakistan.



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