It is a grateful and at the same time a burdensome task to touch a brand with such a past. At the same time, an agency may not even want a bigger challenge than to work on a brand with such a legacy. There is a past, there is a present, there are things to reach back to, there is something to compare to, and to work on a vision. It’s uplifting and depressing to be a part of this story at the same time.

Mission For Napsugár Publishing House, the rebrand was not only about refreshing the visual identity, but also clarifying its market position, operations, verbal communication and appearance by going back to the roots of the magazine.

Outcome Considering that Transylvanian contemporary artists have always published in these newspapers – who have deeply defined the literacy of the Hungarians in Transylvania – we could not lose sight of the rich written and visual language that has always defined these magazines. We believe that we can only talk about the quality of the creative work if we understand the artistic decisions that have shaped the image of the Napsugár magazine. It would be a huge mistake to deviate from this image, but it needs some nurturing and refinement.

Results The need for these children’s literature dates back to 1956. It took shape in 1957 and moved into the apartments, bags and children classrooms. While market changes have constantly shaped the image of these papers, the creators have never lost sight of the legacy. It’s a real challenge to work on a paper-based medium nowadays, when visual noise rumbling in digital spaces. In this case you need to pull back the “volume” a bit, and try to stand out with clear shapes, color palette and layout.

THE PROJECT When the management of Napsugár publishing contacted us in 2020, their primary goal was the refreshing of the layout of the Napsugár and Szivárvány magazines. They wanted a look that snatches the pages out of today’s huge visual noise and puts them back on the children’s bookshelves.

Thanks to the ongoing relationship with teachers, the publishers are notified first-hand of any changes that take place in these magazines. As a result of this, the market is filled with colorful, vibrant publications which are hard to distinguish. In contrast, the goal of Napsugár Publishing House was to ensure that their publications represent true value, and to feature contemporary artists in their columns, and last but not least to enrich the children’s imagination.

BRAND STRATEGY It is necessary to understand the market changes for these magazines. Why do more people buy these kinds of magazines? Or why wont they buy it? What type of contents are recommended? What is the content that was published previously, but discontinued now or it only appears occasionally?

Many factors influence the operation of such magazines, which is why for a brand of this size, the most important thing is the knowledge and understanding of the operation mechanism. The perfect tool for this was an in-depth discovery workshop.

During this workshop, we were not only able to find out the publisher’s core values, but also examined their competitors, target group, consumer behavior, and so on. This made strategic planning much easier, with a clear goal. “We want a magazine that kids enjoy reading. One that arouses their curiosity, develops their taste and imagination, and makes them love literature.”

VISUAL IDENTITY The goal mentioned above defined everything: these magazines should be returned to the artists and childrens. All visual frills should be removed. There must be space in these magazines for illustrations and texts that reinforce the goal.

Learning about the visual linguistic features of the category, we decided to move towards minimalism. Instead of the patterns and fill effects, the white base papers need to do the talking. Anything can be built on this foundation, and it gives back the elegance that comes with the type of content these magazines published on their pages. Clear shapes, transparent structure, striking visual codes, lots and lots of illustrations, playful texts, and poems for children.

LAYOUT DESIGN The well defined visual language predicted the layout design and the webdesign as well. In the case of the issues the transparent structure helped a lot, and made the placement of the text and illustrations easier. Unnecessary visual noises were eliminated. During the workshop we defined the visual codes like colors, shapes, moods and fonts that we wanted to use.

The main emphasis was placed on open spaces. That formed the base. We wanted to keep the sheets open instead of closing them with borders, patterns or other filters. In order to make the readers know what they are reading, we made the content structure color coded.

Throughout the whole process, we did not lose sight of the 1960s, when the pages had less text but a lot more illustrations. We drew a lot of ideas from the time that these pages were created.

WEBSITE In addition to the magazine layout, the website has also been renewed. The visuals of the website follows the same core values that we highlighted in the sections above: transparency, a lot of white spaces, consumer oriented. The aim was not to recreate the magazines in digital spaces, but rather supplement it, so that in the future they can go hand in hand with the magazine.

Csipike and Kószabósza, the two characters have a key role in the website, they guide us through the various menus, and help the viewer to find their way around. The website is a classic web interface in a sense, but it’s also a meeting place for the community, as the most important information will be displayed here.

It’s a real challenge to build a brand for an illustrator, because he/she builds his/her own visual world through well defined creative decisions. These decisions should not be ignored, because the project itself is about self-identity, self-expression. Welcome to the world of miszlik.

Mission The most important aspect of a project like this is self-identity. The fact that we were working with a visual artist made obvious that we could not use some of the digital solutions that we used with other clients. The biggest task was to display the proximity of the hand drawn illustrations, through the visual identity, style of communication etc.

Outcome What are the characteristics of Miszlik? What are the pillars on which we can build such a brand? What do you think the client thinks we should focus on, and what does the illustrator think we should focus on? This project was about constantly asking questions in order to restore the style of the illustrator in our work.

Result Hand drawings with collage technique. It was a challenge to reproduce this in digital. In this case digitalization cannot return the rich details that the paper has. By the end we managed to find a middle ground that retains all the values we discovered during the work, yet still helps Miszlik to compete with its competitors.

THE PROJECT Creative people can find a million ways to express themselves. In the field of illustrators visual communication is one of the most if not the most important means of expression. It’s a great challenge if someone decides to use only a certain style. You could use paper based solutions mixed with digital, or just digital solutions. But then how would it set itself apart from its competitors? Miszlik as its name suggests works with paper based illustrations, more precisely: hand drawings with collage technique. This was the thing that picked our interest.

BRAND STRATEGY We would think that the job of an illustrator is very simple. Inquiries arrive, he/she illustrates and it’s done. We could also say that the illustrators are just drawing all day long. During the brand strategy workshop, we wanted to understand the driving forces in the background. Where does the idea come from? Where do the decisions come from? Who is the job for? What is the relationship between the illustrator and the final product? It is impossible to build such a brand without examining the creative processes. Every brushstroke, contour, lint has a meaning, so every decision we make has consequences. Style determines. Strong brands usually have crystal clear cornerstones, pillars, categories, target group, name, etc. You have to go deep.

NAMING The style defines the name as well, as with our previous clients, we had dozens of name ideas here as well. It’s an interesting feeling when the final name comes out from the beginning, but you cannot choose it yet, since the safe path is to go through the methodology, in order to check the different name variables. BUT! it’s an uplifting feeling when the intuitions and the final results are the same. Miszlik. Hand draws with collage technique. It has everything in it.

LOGOMARK We thought a lot when designing the logo. We looked through and analyzed a lot of peers from the category. We researched who thinks of themselves as illustrators, and what are the core signs that represent them. In our case the sign is the artist herself. She is the one who shapes the world. She is the one who sets the directions. Since the project is for children and child-souled adults, we decided to start to work from her childhood photo.

VISUAL IDENTITY The chosen graphic style determines the whole visual language. Hand drawings with collage technique. Let’s divide this in two parts: The paper based hand drawings are very strong and rich in detail. We cannot lose any of these details. We must reproduce this in digital spaces without any loss.

The collage technique determines how the illustrations are displayed. As the different layers overlap, new surfaces are born that give a whole unique look for the brand. Shadows and shapes emerge.

The logotype: The font used as the logo is a digitized version of the client’s handwriting from her childhood that not only lends a playfulness to the brand, but also makes it deeply personal.

One of the biggest challenges of the project was creating the logo version for dark surfaces. In order to create a usable logo for dark surfaces, the color change wasn’t enough, a complete inversion had to be performed in which we filled the unfilled parts of the original logo.

While we digitized the illustrations, the most critical factor was to reproduce the quality of the hand drawings as much as possible. These digitized illustrations can be used for platform expansion.

BOARD GAME To conclude our joint work with the client, we developed a board game. Kurbli is a card game created in the spirit of the edu-kinesthetics, which consist of learning while moving and playing. The twenty-six exercise cards in the deck were designed to synchronize the right and left hemispheres of the brain, so it facilitates learning with both sides of the brain. In doing so Kurbli primarily develops our reading, writing and learning skills, while encouraging creative thinking.

Kurbli can be played anywhere, even at school. If a Teacher wants to creatively educate children with learning difficulties they should try playing Kurbli with them. At the same time, in order to develop different skills as effectively as possible, we recommend Paul E. Dennison and Gail E. Dennison’s book Brain Gym: Simple Activities for Whole Brain Learning as a tool.

Have fun!

It’s time to put down the phones, and break out from the concrete jungle. Breathe together with nature, wonder at the mountains, valleys, rivers, and experience that the vacation is not only about other countries or the sea. Be present. Let the wilderness touch you!

Mission We’ve been working on a brand that provides not only recreational opportunities within its category, but much more. It provides a person- and family-oriented relaxation in nature with rich experiences without technology.

Outcome Our goal was to find the cornerstones on which the world of the Krosslanders could be built. The ideas of the founders included three main landscapes types: mountains, rivers, and fields. The visual identity and all the brand components were built on their textures and feelings.

Result As a result the visual identity, communication style and from seeks to tear the consumers out from the concrete jungle.

THE PROJECT When we first heard about the plans of the founders, our question right away was: how will this business differentiate from its competitors within the category? Then as we got closer to the project, it became clear to us that we are talking about a very strong family- and consumer-oriented service system driven by the following goals: breaking out from the concrete jungle – without technology. Roam through mountains, valleys, waters, rediscover the feeling that the phone does not ring there are no drilling next door, that we can be ourselves again while breathing together with nature. The idea was perfect, the professional knowledge was given our task was to find the right packaging.

BRAND STRATEGY In the discovery and strategical phase, our main goal was to get to know the project in and out in order to get rid of all the layers that are unnecessary and find the cornerstones we can build on. Both us and the clients need to answer to all the spoken and unspoken questions. We have to have a clear vision about the following components: how are we different from the competitors, is this difference significant, who are we talking to, in what tone we want to talk, what language we want to use? We had to get to know the habits, behaviors and affiliations of the consumers. The ultimate goal was to rebuild these layers along the right strategy.

NAMING The brand name is the most important marketing tool. It is more important than any subsequent communication act. All the work has no point at all if the name isn’t good. In the case of Krosslanders, the naming process took over a month with several rounds. We have chosen the name from over a hundred names. We took into account all the features we discovered during the strategic phase. The name had to be compact, easy to pronounce and expressive, friendly to the ear. It also has to sound familiar but not worn out. The syllable number also counted. Here our goal was to include the three pillars that also appear in the visual identity.

VISUAL IDENTITY

LOGOMARK The main consideration in designing the logo was to present the service itself but not in a very specific representation. In order to do that we thought of a symbol that, like tour signs, is simple yet represents the values of the brand. The Krosslanders logo is inspired by the distinctive topographical elements in the Transylvanian area.

The mountains, the fields and the waters represent the brand, while forming a unity.

The visual language is based on black and white contrasting photos known as the trademark of Ansel Adams. This visual language presents the nature from a different perspective and reinforces the values of the brand.

The heaviness of these black and white photos had to be counterweighted with well-defined colors. The dark green used as the main color is complemented by mint green. The white color that Krosslanders use is also an off-white shade that can be found in nature.

The outline of the Nexa Rust Sans Black is designed to reflect the unevenness of the nature. For the headings, we used Barlow Extra Bold, which lends boldness to the brand. In contrast to that, we chose Fira Sans with its simplicity, to leave room for the visual elements to remain accentuated.

Krosslanders offers various types of hiking opportunities, including hiking, cycling and kayaking. In order for the consumers to be able to distinguish between the different types of tours, we have created a unique pictogram system for the brand, visually coding the characteristics of the given tour.

WEBPAGE Last but not least the design of the website. In addition to the philosophy of Krosslanders, the website has an important role in displaying the locations of the types of tours already mentioned- with photos and data. Future events were also highlighted, as the team has no secret intention of having more and more common experiences to create a real Krosslanders community.

When making home design decisions, a professional partner is almost always needed, whom you can confidently entrust with the construction. For a few months we were able to get a glimpse of this world too, thank you!

Mission For Ildisign, the goal was to build a brand that, through its characteristics, highlights and reinforces its presence in the local interior design market.

Outcome In creating the visual identity, we placed great emphasis on the symbols considered important by the client, keeping in mind the service segment in which the brand operates. The color palette and gradients are meant to express the uniqueness of the brand and the quality of the work it represents.

STRATEGY WORKSHOP After the first meeting, we held a brand strategy workshop during which we clarified all the questions and decisions with which the client came to us. During the four-hour workshop, together with the client we examined whether the chosen name was able to cover all the wide range of services that the client would like, and we also got a clear picture of the strengths and weaknesses of the brand. We have outlined the target group categories and defined the guidelines along which the brand can be built.

Based on our brand strategy workbook, we created four stylescapes. Stylescapes are similar to moodboards, except that they are based on a well-defined structure, and contain more than just visual elements. Stylescapes provide the basis for a brand’s visual identity.

VISUAL IDENTITY We began to build the visual identity based on the fusion of two stylescapes. The core part of the concept is the elephant, an important symbol for the client which symbolizes strength. In the end the whole visual identity shifted in this direction.

In addition to the production of individual partitions, Ildisign’s services also include interior design and planning. With this in mind, the final logo bears the marks of the technical drawing, keeping in mind the elephant motif as well.

The dark-based color palette of the visual identity, as well as the gradient used for the logo and additional elements, are meant to express the uniqueness of the brand and the quality of the work it represents.

The Concord font family used in typography evokes the Art Déco trend. The strength of the font lies in its line drawing, the alternation of thick and thin lines. The bold font used in the title and the thin font used in the text also build on this strength.

Finding and understanding yourself is one of the most important and most difficult tasks. With the Valeo Art team, you will have the opportunity to learn about several forms of self-expression.

THE PROJECT Valeo Art is a youth association that provides space and support for artistic expression that would not have been possible without the association’s support. Their aim is to identify, promote, and support young talents and to provide them with workshops, courses, theoretical and practical training.

Visual Identity During the creation of the visual identity, we focused on creating elements (logo, shapes, colour scale, textures) that reflect the area of activity of the association. During the first sketches, the slogan “We leave a trace” was uttered, which incorporates the association’s core philosophy, and it helped in defining the visual language.

The association does not only use this slogan in a metaphorical sense, they really want to leave something behind for future generations. The final logo was built upon this slogan, which is a unique, handmade ink blot that leaves a mark on the paper.

The logo also defined other visual elements. Since the association has three permanent programs (Focus on Talent, Music for Everyone, COLOR Patch), it was important that there were three well-defined icons and colours in the imagery for these programs that still use a common visual language.

Being a creative association, we did not want to insist on frames. Since most of their events are advertised on posters, we have created three different poster templates for each of the aforementioned programs, within which members of the association are free to post their content.

For a few months, we had the chance to be foresters, although in a different kind of forest.

The Project Pine Lines are the foresters of social media. Their aim is to provide better reach through more effective communication and advertising on online channels used by the target groups of the customer.

Visual Identity The visual identity of Pine Lines is minimalist and unpretentious. In designing the image, it was a great help knowing the main guidelines with which the client can identify. Simplicity, clarity, closeness to nature. During the meetings, we quickly realized that the customer’s ideas were centred around the pine/pine forest, as the pine branches symbolize a constant increase/decrease, similar to the market graph.

The shapes and colours used in the logo are meant to show this motion, while the silhouettes of pines and pine forests are also visible. With these in mind, we decided on a minimalist Line Art logo.

We have also created a website design for the corporate identity, the function of which is to present the operation of the service in the simplest way possible, and to provide potential customers with a contact possibility.

It’s been an uplifting feeling to work on a project that has also helped us understand why our backs hurt while working and what we can do about it.

Mission Building a human-centred brand that reflects all the expertise, care, and kindness that clients experience.

Outcome The forms and shapes of the visual identity are built on the three main types of services, making sure that the color scheme of the brand also reflects the field in which Aprophysio operates.

Result As a result of the visual identity and the communication strategy, people appeal to Aprophysio’s services with confidence.

THE PROJECT Working on the Aprophyiso project was a great challenge. Not only because it was the first major project we undertook, but also because of the service provided by the customer. We like to work on projects that we believe in. Aprophysio is human-centred, it focuses on helping people, their main activities being early motion diagnosis and development, and the treatment of child and adolescent spinal deformities.

VISUAL IDENTITY Since the service focuses on people, we wanted to create a visual identity whose form and colours would earn the confidence of consumers. The logo was created based on the brand name. The name is simple and personal. It consists of the name of the founder and the name of the specialty.

We liked this name and decided to create a typographic logo that offers the brand the attention and gravity it deserves. The unique initial letter, whose graphic components draw attention to the three main therapeutic methods, gives the brand a proper playfulness, while the other serif font type enhances the above-mentioned seriousness, attention, and reliability.

The colour universe is based on skin tones. Of the soft peachery, brownish, pinkish shades, which are present on the various surfaces of the skin, we eventually decided on an orange colour. Its use on a white or dark gray surface provides appropriate visibility.

Photography The primary consideration when taking photos was the presentation of the various therapies. We pursued taking pictures of actual development practices to provide a realistic picture of the service itself.

Website We also provided web design and web development for Aprophysio. In addition to learning about the therapies and services provided by Aprophysio, the website also introduces the therapists themselves, which is essential for building trust. During the development of the site, we found it essential to create a content management system (CMS), since this way, the specialists can also easily upload new content and current events.

Communication Aprophysio uses two main devices to communicate with clients. With traditional print-based media, like flyers, users can learn more about important information. And the online communication channel is the official Facebook page, which shares content that brings the services closer, helps build trust, and communicates the high quality of the services.

There are many ways to build many kinds of bridges, but it only makes sense if we also travel on them. - Zsófia Kálmán

Mission A visual identity facelift that retains the core values of the previous visual identity, but takes into account current design solutions.

Outcome Building a visual identity that reflects RMGYE’s philosophy, mission, and atmosphere of the events they organize in its form and color scheme.

Result A distinctive visual system that enhances the recognizability of RMGYE.

THE PROJECT The Association of Hungarian Special Educators in Romania (RMGYE) was established in 2004 in Cluj-Napoca. Its purpose is to promote the profession and to improve the quality of special education by organizing professional trainings and conferences.

VISUAL IDENTITY The association had previously had a known visual identity, but management felt that it did not match the current visual trends. They wanted the new identity to be clear, minimalist, easy to decode, and recognizable. The house with coloured windows and the text type logo beside it has been formerly used in so many places that we thought it would be better not to replace it completely, but to do a light facelift on it. In addition to replacing the previously used black color and the playful, colourful font, we paid attention to using soft-shapes in the new-looking logo, as this is more in line with the principles of the association. Changing the color cavalcade also helps the receiver to easily decode.

The shape of the logo and the font also determined the use of textures. In addition to the pictures, we used gradients on the various event posters, all of which helped create a sense of playful intimacy.

We smuggled the first real American burger brand that pays attention to the consumer's stomach into Szeklerland’s taste.

Mission Introducing the first real American burger brand to the Szekler fast food market, made exclusively of local ingredients.

Outcome Strategic planning, market analysis, and target group segmentation. Creating a visual identity that reflects what is defined in the brand strategy.

Result A well-positioned brand that can develop into a strong brand, a distinctive visual identity.

THE PROJECT The Crunch team reached out to us in the summer of 2018 with the idea of a newly launched burger house, to which they asked for a brand strategy, identity, and inventing and managing communication activities. Their strength is that they always use fresh ingredients for their burgers, salads, and chips made with their own recipes.

BRAND STRATEGY Our goal was to cooperate with the customer to find the core attribute on which such a brand can be built. After researching the local market, we realized that the type of product that our customer wants to sell is rarely present. Rather, there is a mixed product range that only meets consumer needs. A business with a well-crafted, unique product range can stand out from this ruckus. The focus is on fresh and local ingredients, followed by the own recipes. High-quality meat, homemade goat cheese, buns solely from local producers, vegetables, potatoes, and sauces all contribute to the unique taste of Crunch burgers and salads.

VISUAL IDENTITY Crunch’s visual identity is modern and clean. Simple, easy to understand. It can be decoded in a few moments. The basic shapes were inspired by the products themselves. The sketching follows the sound of the name, crunch. The logo is centred on a stylized form with the brand name in the center. Its color scale is also simple. We used some basic colors, which were also determined by the products themselves.

PHOTOGRAPHY When creating visual content, we strove to make products visible in their most natural state. It was an important goal for the product photos to comply with the taste appeal rules: visual presentation of food meant to accentuate the flavour details and build an appetite.

COMMUNICATION Crunch uses two main channels. The official Facebook page of the brand is the primary one. Here, one will find all the essential information a consumer may need. Availability, product range, program changes, etc. The secondary channel is the official Instagram page, where consumers can gain insight into background work, and find visual content that engenders further engagement.