A Design Magazine featuring great design, architecture, fashion, graphics and innovation from across the globe.
Discover 745 award-winning designs tagged Graphic on A Design Magazine.
This design is inspired by the renowned location in Taiwan, the ChengLong Wetlands, situated in Kouhu Township, Yunlin. Utilizing the water's reflection as a foundation, the designer skillfully incorporates the destination's name, merging it with water ripples, waterfowl, and installation art. This design symbolizes the profound concept of the endless cycle of life, conveying the wetlands' revival and enduring sustainability.
End Point Start Point is a graphic design exhibition. The exhibition explores the sense of emptiness that can follow the completion of a design project. Design is presented as a cyclical process, in which each end point becomes a new starting point for reflection and further work. The visual system is applied to posters, direct mail, cards, a notebook, stationery and packaging. All applications are produced with two special color printing. The exhibition was shown in Tainan, Taipei and Kaohsiung.
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China in the Classics is a promotional graphic design created for a television program about ancient Chinese classics. Books form the main subject of the design. Ancient books of the East and the West are referenced, including Chinese bamboo slips, thread-bound books, parchment scrolls and hardcover books. These forms are deconstructed and reorganized into simple visual symbols. The titles of ten classics are combined with Chinese calligraphy. The gift box uses special tactile paper. The design helps people of different cultural backgrounds understand Chinese books and stories.
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Hunguest Hotels is a brand identity created for a Hungarian hotel group. The identity communicates a commitment to quality and consistency. The work included a redesign of the existing logo and of all visual elements, from hotel signage to printed materials. Many of the hotels are connected with spa and wellness centers, so the design shows a link with water. The logo is a capital H formed from drops of water, and the main brand color is blue. Letterpress printing, embossed leather menu covers and engraved wooden signage were used.
Yanzhou IP Design is a series of illustrations created for Yanzhou Ancient City, a historic place in Zhejiang Province, China. The illustrations turn regional cultural elements into a character based visual identity. The scenes show local architecture and folk customs through layered colors and a calm atmosphere. All artwork was drawn with graphic design software at 3600 by 3600 pixels and 300 dpi. The aim is to present the culture of the ancient city in a form that suits modern taste and to support its protection.
La Gambeta is a corporate identity for a designer store in Yiwu, China, that sells women's accessories, perfume and other daily goods. The logo joins the letters L and G with the form of a traditional Chinese knot, a circular structure and gemstone shapes. The visual language is drawn from Chinese flower and bird painting, reworked with the support of artificial intelligence tools. The identity extends to the product packaging, where each fragrance is extracted from the plant shown on the pack, such as peach, apricot or pear blossom.
Atb is a brand identity created for a manufacturer of screen protectors, tempered glass and protective cases. The central symbol is a minimal gorilla figure whose facial contours also form the letter T, a reference to technology. The gorilla shape suggests strength and safety, while space and futuristic elements express the technical character of the brand. The logo is built on simple geometric forms. Two gorilla figures can be combined, and their expressions can be varied, so the identity adapts to many media and sizes.
Villa Albella's visual identity captures the soul of Tuscany's cultural heritage while embracing a vision for a place that serves as a sanctuary for culture, history, and unity, a vibrant hub of artistic expression, culinary exploration, and intercultural dialogue. The design seamlessly blends tradition with modernity. The incorporation of two floral branches symbolizes unity amidst diversity, rooted in a shared history. Beyond preserving heritage, this project fosters meaningful cross cultural exchange and appreciation, embodying a commitment to serenity and enrichment.
Yuan Li Sheng Huo is a brand logo created for a retail brand offering refined daily essentials. The logo is built from a hexagon formed by cutting triangles from a square, producing a shape that recalls a box able to hold many items. Circles within the mark suggest small planets and echo the sound of the brand name. A vibrant orange serves as the main color, and the characters are drawn with fluid lines at consistent slant angles. The logo is applied to product packaging to support brand recognition among young adults.
Grand Egyptian Museum is a corporate identity for a museum of ancient Egyptian artifacts. The logo is built from five hieroglyphs that read Egypt, combined into a geometric and simple form. The elongated rectangular shape is inspired by the cartouche, a frame that indicates a royal name. Black is the primary color, because the banks of the Nile were called the Black Land. The secondary colors are inspired by ancient Egyptian jewelry. Roboto is the main typeface, as its angles and curves match those of the logotype. An experimental signage system was developed.
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Cycling for a Better Future is a visual communication design created for the environmental, social and governance strategy of Giant Group. The strategy brings a wide range of sustainability efforts together into three pillars covering climate action, circularity and social inclusion. Bold gradient colours and simple circular shapes inspired by bicycle wheels form the visual language. The design is applied to website pages, visual identity guidelines, a brand booklet, infographics and social media images. The aim is clear communication with diverse audiences.
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Bake Sans is a geometric sans serif typeface created for branding and communication projects. The letterforms draw on the International Style and on the clarity of Swiss type design, combined with experimental shapes and curves. The family was produced with type design software and gives a consistent visual character across different applications. A companion specimen book presents the typeface. The specimen measures 210 by 290 millimetres and was printed in a limited run in four colours using digital offset printing.