Full Width 
Shortcuts 
Sign Up 
Log In 
Articles 
Reading List More from abdz.do - Have you given up on being inspired?
Pràctica Redesigns 9+ Wine brand identity and packaging design abduzeedo0511—23 Barcelona-based design studio Pràctica has unveiled a new label design for 9+ wines, a natural wine producer based in Catalonia, Spain. The new labels feature a bold, graphic design that is both eye-catching and informative creating a beautiful packaging design. The 9+ winery is unique in that it is the only winery in Catalonia, and perhaps in the world, whose name is a number, not a word. This presented a challenge for Pràctica, as they needed to create a label design that would be both memorable and easy to understand. The solution was to use a simple, yet effective, naming and graphic system. Each label features the number 9+, followed by the name of the wine and the grape variety. The background of each label is a different color, which helps to visually differentiate the different wines. This project presented the challenge of designing 15 labels, all under a global image but with different families: Base, Selection, and Sparkling. This need led us to create a naming and graphic system that orders and enumerates the wine bottles, not only to rationalize the wide range of products, but to strengthen the winery’s identity as well as to make it stand out from the natural wine sector. Here are some of the key features of the new 9+ labels and packaging design: Bold, graphic design that is both eye-catching and informative Simple, yet effective, naming and graphic system Different background colors for each wine to help visually differentiate the different wines Clean, modern website design that is easy to navigate Information about the winery, the wines, and the winemaking process The new 9+ labels are a significant improvement over the previous designs. They have helped to make 9+ wines more visible and accessible to consumers, and they have helped to strengthen the winery's identity. Packaging design artifacts Credits Printed at Chalaguier Photographed by Enric Badrinas Fonts in use: FK Screamer by Florian Karsten & GT Alpina by Grilli Type For more information make sure to check out Pràctica website.
Custom Font made of shapes and patterns for John Lewis (UK) AoiroStudio0510—23 In the world of graphic design, there are few studios as talented and innovative as Hola Bosque™. Based in the vibrant city of Buenos Aires, Argentina, this creative powerhouse has been making waves with their exceptional design work. One of their recent collaborations was with John Lewis UK, where they brought their unique touch to the creation of a custom font and special shapes and patterns for the new Kidswear campaign. John Lewis UK is renowned for its high-quality products and commitment to exceptional design. When they sought a partner to elevate their Kidswear campaign to new heights, they turned to Hola Bosque™ for their expertise. And the result was nothing short of remarkable. The team at Hola Bosque™ embarked on the project with a clear vision in mind - to create a visual language that would capture the imagination of young audiences while staying true to the brand's identity. They knew that typography would play a crucial role in conveying the campaign's message effectively. So, they set out to design a custom font that would be unique, playful, and perfectly aligned with the target audience. They didn't just stop at creating a custom font; they also crafted special shapes and patterns that would complement and enhance the overall visual experience. The team carefully curated a collection of playful elements that incorporated vibrant colors, whimsical illustrations, and captivating patterns. The result was a harmonious blend of typography, shapes, and patterns that brought the Kidswear campaign to life. The custom font became the voice of the campaign, while the special shapes and patterns added depth and visual interest to the designs. Every detail was carefully considered, ensuring that the final outcome was a true reflection of the brand's values and captured the hearts of both children and parents alike. Typography Hola Bosque™ is a digital studio based Buenos Aires, Argentina. You can follow more of their works via the shared links below. Behance Twitter Team Design & Art Direction: HolaBosque Design Lead, Pattern Design and Illustration: Bernardo Henning Art Direction Lead for John Lewis: Nic Duffy Renders: Pablo Colabella Photography: Nerys Jones Agency: The Different Folk All product photos are used only for presentation for non-commercial purposes only. All rights reserved.
Art direction and branding for Port3 Web3 Experience abduzeedo0510—23 Shin Bao, K.K, and Emma Wang have collaboratively embarked on a remarkable branding and design project aimed at developing a visually captivating website and art direction that effectively communicates the brand identity and functionality of Port3. This groundbreaking platform aggregates and standardizes off-chain/on-chain data, constructing a social data layer that holds immense potential for web3 use cases. With a primary focus on their key product, SoQuest, Port3 aims to establish itself as a leading force in the realm of web3 technology. The website design meticulously captures Port3's brand position, elucidating its mission to aggregate and standardize data for universal accessibility. With a user-centric approach, the website visually communicates Port3's commitment to empowering users in the web3 ecosystem. The design showcases the brand's expertise in blending off-chain and on-chain data to create a robust social data layer, facilitating seamless interactions and unlocking new possibilities for decentralized applications. Shin Bao, K.K, and Emma Wang's art direction expertise shines through in the visually appealing aesthetics of Port3's web presence. Employing a harmonious combination of vibrant colors, clean lines, and intuitive navigation, the design captivates visitors and guides them through the brand's story. The art direction creates a cohesive visual language that reinforces the cutting-edge nature of Port3's technology and fosters a sense of trust among users. Port3's branding and visual identity is carefully crafted to resonate with the web3 community. The logo design embodies the brand's core values, representing the aggregation and standardization of data in a simple yet powerful manner. The choice of colors evokes a sense of innovation, while the typography exudes a modern and approachable vibe. This cohesive visual identity sets the tone for Port3's presence in the web3 space, establishing it as a reliable and forward-thinking platform. Through their collaborative efforts, Shin Bao, K.K, and Emma Wang have successfully created a visually captivating website, art direction, and brand visual identity for Port3. This design project effectively communicates the brand's mission of aggregating and standardizing off-chain/on-chain data to build a powerful social data layer for web3 use cases. With a strong focus on SoQuest, Port3's key product, the design showcases the brand's expertise and commitment to driving innovation in the web3 ecosystem. As Port3 continues to make strides in revolutionizing data accessibility, its visually appealing website and cohesive brand visual identity will undoubtedly play a significant role in capturing the attention and trust of the web3 community. Art direction and branding artifacts For more information make sure to check out Shin Bao, K.K, and Emma Wang Behance profiles.
Pixel Art Delight: art direction and illustrations for Foxbat Five abduzeedo0509—23 Renowned artist Margarita Solianova has embarked on a creative journey, shaping the visual identity of the indie arcade game, Foxbat Five. Solianova's exceptional art direction and stunning pixel art illustrations transport players into a captivating world, rich in nostalgic charm and classic gaming aesthetics. Solianova's art direction for Foxbat Five embraces the essence of classic pixel art, paying homage to the golden era of gaming. The project showcases a masterful blend of intricate designs, vibrant color palettes, and meticulous attention to detail, resulting in a visually immersive experience that strikes a chord with both seasoned gamers and nostalgic enthusiasts. The heart and soul of Foxbat Five lie in Margarita Solianova's pixel art illustrations. Her exceptional talent is evident in every character, environment, and animation. Each pixel is thoughtfully placed, infusing life into the game's imaginary universe. Solianova's illustrations boast a timeless appeal, skillfully conveying the personalities and emotions of the characters while evoking a sense of wonder and awe among players. Within the pixelated realm of Foxbat Five, Solianova's illustrations bring the concept of traction and gravity to life. The characters' movements are fluid, capturing the essence of their interactions with the environment. Solianova's art direction enables players to visually comprehend the physics-based mechanics of the game, deepening their immersion into this captivating digital world. Margarita Solianova's art direction and pixel art illustrations for Foxbat Five breathe new life into the indie arcade game, enchanting players with their timeless beauty and meticulous attention to detail. Pixel art samples For more information make sure to check out Margarita Solianova on Behance. You can also download Foxbat Five on the Google Play
Flore — A Collection of Digital Illustrations AoiroStudio0508—23 Laura Normand is a talented Paris-based artist whose work revolves around vibrant and captivating digital illustrations. With a particular focus on flowers, her series of colorful artworks brings the beauty and allure of nature to life in a unique and captivating way. Normand's digital illustrations are characterized by their bold and vivid color palettes, intricate details, and a whimsical touch. She expertly captures the essence of different flowers, from delicate roses to exotic orchids, and transforms them into eye-catching compositions that exude a sense of joy and energy. Through her art, Normand explores the intersection of nature and digital technology, blending the organic forms of flowers with the precision and versatility of digital illustration tools. Her work showcases a deep appreciation for the intricacies of botanical shapes, textures, and patterns, and she skillfully employs various digital techniques to bring out their vibrant qualities. The use of vibrant colors in Normand's illustrations adds a dynamic and lively element to her artworks. Each artwork is a celebration of the diverse and rich hues found in nature, showcasing a harmonious interplay of bold and contrasting tones. The result is a visually stunning series that is both visually pleasing and emotionally evocative. Digital Illustration Laura Normand is an Pop & Trippy! Artist based in Paris, France. You can follow more of her works via the shared links below. Personal Site Behance Instagram All product photos are used only for presentation for non-commercial purposes only. All rights reserved.
More in design
This by no means a definitive list, so don’t @ me! AI is an inescapable subject. There’s obviously an incredible headwind behind the computing progress of the last handful of years — not to mention the usual avarice — but there has also been nearly a century of thought put toward artificial intelligence. If you want to have a more robust understanding of what is at work beneath, say, the OpenAI chat box, pick any one of these texts. Each one would be worth a read — even a skim (this is by no means light reading). At the very least, familiarizing yourself with the intellectual path leading to now will help you navigate the funhouse of overblown marketing bullshit filling the internet right now, especially as it pertains to AGI. Read what the heavyweights had to say about it and you’ll see how many semantic games are being played while also moving the goalposts. Steps to an Ecology of Mind (1972) — Gregory Bateson. Through imagined dialogues with his daughter, Bateson explores how minds emerge from systems of information and communication, providing crucial insights for understanding artificial intelligence. The Sciences of the Artificial (1969) — Herbert Simon examines how artificial systems, including AI, differ from natural ones and introduces key concepts about bounded rationality. The Emperor’s New Mind (1989) — Roger Penrose. While arguing against strong AI, provides valuable insights into consciousness and computation that remain relevant to current AI discussions. Gödel, Escher, Bach: An Eternal Golden Braid (1979) — Douglas Hofstadter weaves together mathematics, art, and music to explore consciousness, self-reference, and emergent intelligence. Though not explicitly about AI, it provides fundamental insights into how complex cognition might emerge from simple rules and patterns. Perceptrons (1969) — Marvin Minsky & Seymour Papert. This controversial critique of neural networks temporarily halted research in the field but ultimately helped establish its theoretical foundations. Minsky and Papert’s mathematical analysis revealed both the limitations and potential of early neural networks. The Society of Mind (1986) — Marvin Minsky proposes that intelligence emerges from the interaction of simple agents working together, rather than from a single unified system. This theoretical framework remains relevant to understanding both human cognition and artificial intelligence. Computers and Thought (1963) — Edward Feigenbaum & Julian Feldman (editors) This is the first collection of articles about artificial intelligence, featuring contributions from pioneers like Herbert Simon and Allen Newell. It captures the foundational ideas and optimism of early AI research. Artificial Intelligence: A Modern Approach (1995) — Stuart Russell & Peter Norvig. This comprehensive textbook defined how AI would be taught for decades. It presents AI as rational agent design rather than human intelligence simulation, a framework that still influences the field. Computing Machinery and Intelligence (1950) — Alan Turing’s paper introduces the Turing Test and addresses fundamental questions about machine intelligence that we’re still grappling with today. It’s remarkable how many current AI debates were anticipated in this work. Cybernetics: Or Control and Communication in the Animal and the Machine (1948) — Norbert Wiener established the theoretical groundwork for understanding control systems in both machines and living things. His insights about feedback loops and communication remain crucial to understanding AI systems.
My thoughts about the Zettelkasten (Slip box) note taking methodology invented by the German sociologist Niklas Luhmann.
Chinese interior studio Various Associates has completed an irregular pyramid-shaped flagship store for drone brand DJI in Shenzhen, China. Located...
AI promises to automate both work and leisure. What will we do then? In 2005, I lived high up on a hill in Penang, from where I could literally watch the tech industry reshape the island and the nearby mainland. The common wisdom then was that automation would soon empty the factories across the country. Today, those same factories not only buzz with human activity — they’ve expanded dramatically, with manufacturing output up 130% and still employing 16% of Malaysia’s workforce. The work has shifted, evolved, adapted. We’re remarkably good at finding new things to do. I think about this often as I navigate my own relationship with AI tools. Last week, I asked an AI to generate some initial concepts for a client project — work that would have once filled pages of my sketchbook. As I watched the results populate my screen, my daughter asked what I was doing. “Letting the computer do some drawing for me,” I said. She considered this for a moment, then asked, “But you can draw already. If the computer does it for you, what will you do?” It’s the question of our age, isn’t it? As AI promises to take over not just routine tasks but creative ones — writing, design, music composition — we’re facing a prolonged period of anxiety. Not just about losing our jobs, but about losing our purpose. The industrial revolution promised to free us from physical labor and the digital revolution promised to free us from mental drudgery. Yet somehow we’ve ended up more stretched, more scheduled, more occupied than ever. Both were very real technological transitional periods; both had significant, measurable impacts on the economies of their time; neither ushered in a golden age of leisure. History shows that we — in the broadest sense — adapt. But here’s something to consider: adaptation takes time. At the height of the pre-industrial textile industry, 20% of all women and children in England were employed, hand-spinning textile fibers. This was in the late 18th century. Over the course of the following forty years, a process of mechanization took place that almost completely obviated the need for that particular workforce. But children working as hand-spinners at the pre-industrial height would have been well past middle-age by the time child-employment was no longer common. The transitional period would have lasted nearly the entirety of their working lives. Similarly, the decline of manufacturing in the United States elapsed over a period of nearly fifty years, from its peak in the mid-1960s to 2019, when a net loss of 3.5 million jobs was measured. Again, this transition was career-length — generational. In both transitions, new forms of work became available that would have been unforeseen prior to change being underway. We are only a handful of years into what we may someday know as the AI Revolution. It seems to be moving at a faster pace than either of its historical antecedents. Perhaps it truly is. Nevertheless, historical adaptation suggests that we look forward to the new kinds of work this transition will make a way for us to do. I wonder what they may be. AI, after all, isn’t just a faster way to accomplish specific tasks; investment in it suggests an expectation for much grander than that, on the order of anything that can be reduced to pattern recognition and reproduction. As it turns out, that’s most of what we do. So what’s left? What remains uniquely human when machines can answer our questions, organize and optimize our world, entertain us, and create our art? The answer might lie in the spaces between productivity — in the meaningful inefficiencies that machines are designed to eliminate. AI might be able to prove this someday, but anecdotally, it’s in the various moments of friction and delay throughout my day that I do my most active and creative thinking. While waiting for the water to heat up. Walking my dog. Brewing coffee. Standing in line. Maybe we’re approaching a grand reversal: after centuries of humans doing machine-like work, perhaps it’s time for humans to become more distinctly human. To focus not on what’s efficient or productive, but on what’s meaningful precisely because it can’t be automated: connection, contemplation, play. But this requires a radical shift in how we think about time and purpose. For generations, we’ve defined ourselves by our work, measured our days by our output. As AI threatens to take both our labor and our creative outlets, we will need to learn — or remember — how to exist without constant production and how to separate our basic human needs from economies of scale. The factories of Malaysia taught me something important: automation doesn’t move in a straight line. Human ingenuity finds new problems to solve, new work to do, new ways to be useful. But as AI promises to automate not just our labor but our leisure, we might finally be forced to confront the question my daughter so innocently posed: what will we do instead? This will not be easy. The answer, I hope, lies not just in finding new forms of work to replace the old, but in discovering what it means to be meaningfully unoccupied. The real challenge of the AI age might not be technological at all, but existential: learning to value the empty hours not for what we can fill them with, but for what they are. I believe in the intrinsic value of human life; one’s worth is no greater after years of labor and the accumulation of wealth and status than it was at its beginning. Life cannot be earned, just lived. This is a hard lesson. Wouldn’t it be strange if the most able teacher was not human but machine?
Weekly curated resources for designers — thinkers and makers.
