Andreja Brulc's Blog

Brand identity: Harmonika servis – Peter Galjot

Posted in Identities, Marketing material by andrejabrulc on 01/03/2014

HS_Business cardI created a brand identity – applied to stationery, marketing campaign and display material, as well as to a bilingual website – that helped to redefine the new look for a small business called Harmonka servis, based on the new premises in Mengeš, Slovenia. As the name suggests, the company repairs all types of accordions (piano, chromatic and diatonic) used for popular, folk and classical/jazzy music. It particularly specialises in Pigini and Hohner accordions. The company was founded in 1995 for servicing the world-renowned accordions, known under the Zupan trademark. The service team consists of two great guys: Peter Galjot (the head of the company) and Marjan Koderman (a professional tuner). The company is now independent of the Zupan company, hence their need for my help in sorting out their new image.

HS_Billboard_1

We decided that the new image for the company should bring together the traditional and modern worlds, in order to appeal to the diversity of clients, both from the existing list of local and international clients while at the same time attracting the new ones – hence a mixture of nostalgic and contemporary approaches.

Below is a small selection of photographs I took of the guys hard at work. The final selection of images for the company’s new website is bound to be different to my selection as the client is always right, but this post is particularly focused on the detail of accordions – as the photos remind me of letters on ‘good old’ typewriters.

PS: The company finally got a new image on the web, too, in spring 2015 – have a look here if you happen to have landed on this page. I believe the image is prominently different to other competitive businesses in this highly specialised field both nationally and internationally.

Harmonika Servis

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Identity & Marketing & Packaging / Kmetija Jenko

Posted in Identities, Marketing material by andrejabrulc on 30/08/2013

Leaves

I created branding, stationery, labels for packaging and farmers’ market display for an organic farm, Kmetija Jenko, Slovenia. The farm specialises in fresh seasonal vegetables and free-range eggs, as well as alfalfa and radish sprouts. The branding is based on the form of a leaf resembling sprout and is treated in subdued, organic, colours.

business_card_rounded corners_frontbusiness_card_rounded corners_back

labels_alfalfa_and_radishokusi_Kamnikmihaelov_sejem_Menges

Days of Poetry and Wine 2009

Posted in Marketing material by andrejabrulc on 02/08/2009

Days of Poetry and wine 2009_English Tourist Guide

I created this ad to promote the prestigious international festival Days of Poetry and Wine in the English Tourist Guide to Slovenia, which will take place in Medana in August 2009 (www.poezijainvino.org). The illustration was made by Damijan Stepančič as part of the branding for the festival.

Beletrina book cover designs / June 2009

Posted in Books by andrejabrulc on 29/06/2009

 

Beletrina © Andreja Brulc

Some recent book covers for Beletrina, a major literary imprint of the Slovene book publisher Beletrina Academic Press. I won a public competition to become principal cover designer and illustrator for the imprint in November 2006 and have since created over 80 titles.

 

A Warning to the Curious

Posted in Marketing material by andrejabrulc on 29/06/2009

Marketing material © Andreja Brulc

Marketing material for the Nunkie Theatre Company. A Warning to the Curious is the final production of Nunkie’s M R James trilogy, following the critically acclaimed A Pleasing Terror and the prize-winning Oh, Whistle . . . The first edition of M R James’s Ghost Stories of an Antiquary was published in 1904, and my designs were influenced by book designs at the turn of the century.

Type Tard Card

Posted in Projects by andrejabrulc on 29/06/2009

My response to the project, Type Tart Cards, run by Type and Wallpaper* to support the St Bride’s Library in London. The brief required an A6 card either for a typeface or a letter of the alphabet. The card had to follow the style of prostitutes’ advertising cards in London but based around typographic, illustrative and photographic ideas. My card uses the font Akzidenz Grotesk.

© Andreja Brulc

Ephemeral symbol of London as they may be, tart cards are one of the strongest images I have from my first visit to a big city as a teenager in the mid-80s. Even before you would step into a red telephone box in central London to call your parents to reassure them you were safe and doing just fine, you would be confronted with messages and images that, retrospectively, may frighten your parents had they known from what kind of environment they received a long-distance call from their daughter! But days are also numbered for tart cards as I understand, the internet and mobile phones are taking their place.

Type says that “so pervasive are these things, and so curious is their typography, images and copy writing they are now regarded as items of accidental art and have something of a cult following. Once on the periphery of design, the cards have influenced the work of many mainstream artists including Royal Academician Tom Philips and Sex Pistols designers, Ray and Nils Stevenson.”

Wallpaper* features the project in its first issue on sex and culture this July. In addition to all cards being shown on the magazine’s website, all entries are also exhibited in KK Outlet in London, from 22 to 29 June. Among participants are superstars Erik Kessels, Anthony Burrill, Neville Brody, NB: Studio, Value and Service, Fernando Guiterrez, Ian Wright and Noma Bar. It is intended a book of the project will be published, and profits’ to be donated to St Bride Library. At the end of the project, the collection will be given to the St Bride Library.

Wallpaper* says that the intention of this project is “to highlight the serious issue that lies at the heart of the world of tart cards – the plight of trafficked women in the sex industry. It is a subject touched eloquently on by Mike Dempsey of Studio Dempsey, who is a volunteer at the Helen Bamber Foundation which helps rebuild lives broken by human rights violations. While our exhibition is an ode to the graphic qualities of the tart card phenomena, Dempsey’s design is a pertinent reminder of the sinister world that lies beneath every card.”

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