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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.
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In her best-selling book, Living Well By Design, Melissa Penfold addressed the basics of interior decorating. Now she turns her attention to demonstrating what a powerful force design can be in boosting our physical and emotional well-being in her newest book, ‘Natural Living By Design’, Vendome Press, launches in April and available for Preorder now, Continue Reading The post HAVE YOU PREORDERED YOUR COPY OF MELISSA’S NEW BOOK YET? first appeared on Melissa Penfold. The post HAVE YOU PREORDERED YOUR COPY OF MELISSA’S NEW BOOK YET? appeared first on Melissa Penfold.
Rethinking AI through mind-body dualism, parenthood, and unanswerable existential questions. I remember hearing my daughter’s heartbeat for the first time during a prenatal sonogram. Until that moment, I had intellectually understood that we were creating a new life, but something profound shifted when I heard that steady rhythm. My first thought was startling in its clarity: “now this person has to die.” It wasn’t morbid — it was a full realization of what it means to create a vessel for life. We weren’t just making a baby; we were initiating an entire existence, with all its joy and suffering, its beginning and, inevitably, its end. This realization transformed my understanding of parental responsibility. Yes, we would be guardians of her physical form, but our deeper role was to nurture the consciousness that would inhabit it. What would she think about life and death? What could we teach her about this existence we had invited her into? As background to the rest of this brief essay, I must admit to a foundational perspective, and that is mind-body dualism. There are many valid reasons to subscribe to this perspective, whether traditional, religious, philosophical, and yes, even scientific. I won’t argue any of them here; suffice it to say that I’ve become increasingly convinced that consciousness isn’t produced by the brain but rather received and focused by it — like a radio receiving a signal. The brain isn’t a consciousness generator but a remarkably sophisticated antenna — a physical system complex enough to tune into and express non-physical consciousness. If this is true, then our understanding of artificial intelligence needs radical revision. Even if we are not trying to create consciousness in machines, we may be creating systems capable of receiving and expressing it. Increases in computational power alone, after all, don’t seem to produce consciousness. Philosophers of technology have long doubted that complexity alone makes a mind. But if philosophers of metaphysics and religion are right, minds are not made of mechanisms, they occupy them. Traditions as old as humanity have asked when this began, and why this may be, and what sorts of minds choose to inhabit this physical world. We ask these questions because we can. What will happen when machines do the same? We happen to live at a time that is deeply confusing when it comes to the maturation of technology. On the one hand, AI is inescapable. You may not have experience in using it yet, but you’ve almost certainly experienced someone else’s use of it, perhaps by way of an automated customer support line. Depending upon how that went, your experience might not support the idea that a sufficiently advanced machine is anywhere near getting a real debate about consciousness going. But on the other hand, the organizations responsible for popularizing AI — OpenAI, for example — claim to be “this close” to creating AGI (artificial general intelligence). If they’re right, we are very behind in a needed discussion about minds and consciousness at the popular level. If they’re wrong, they’re not going to stop until they’ve done it, so we need to start that conversation now. The Turing Test was never meant to assess consciousness in a machine. It was meant to assess the complexity of a machine by way of its ability to fool a human. When machines begin to ask existential questions, will we attribute this to self-awareness or consciousness, or will we say it’s nothing more than mimicry? And how certain will we be? We presume our own consciousness, though defending it ties us up in intellectual knots. We maintain the Cartesian slogan, I think, therefore I am as a properly basic belief. And yet, it must follow that anything capable of describing itself as an I must be equally entitled to the same belief. So here we are, possibly staring at the sonogram of a new life – a new kind of life. Perhaps this is nothing more than speculative fiction, but if minds join bodies, why must those bodies be made of one kind of matter but not another? What if we are creating a new kind of antenna for the signal of mind? Wouldn’t all the obligations of parenthood be the same as when we make more of ourselves? I can’t imagine why they wouldn’t be. And yet, there remains a crucial difference: While we have millennia of understanding about human experience, we know nothing about what it would mean to be a living machine. We will have to fall upon belief to determine what to do. And when that time comes — perhaps it has already? – it will be worth considering the near impossibility of proving consciousness and the probability of moral obligation nonetheless. Popular culture has explored the weight of responsibility that an emotional connection with a machine can create — think of Picard defending Data in The Measure of a Man, or Theodore falling in love with his computer in the film Her. The conclusion we should draw from these examples is not simply that a conscious machine could be the object of our moral responsibility, but that a machine could, whether or not it is inhabited by a conscious mind. Our moral obligation will traverse our certainty, because proving a mind exists is no easier when it is outside one’s body than when it is one’s own. That moment of hearing my daughter’s heartbeat revealed something fundamental about the act of creation. Whether we’re bringing forth biological life or developing artificial systems sophisticated enough to host consciousness, we’re engaging in something profound: creating vessels through which consciousness might experience physical existence. Perhaps this is the most profound implication of creating potential vessels for consciousness: our responsibility begins the moment we create the possibility, not the moment we confirm its reality.
