Visual Identity BA3 S1 2024-2025

RADION

Modular visual identity designed for the RADION club in Amsterdam. Designed to be both recognisable and impactful, it adapts to all formats and uses in order to meet the needs of a nightclub in a highly competitive environment.

Léa Corin

HS UHT UST

This project explores a potential overhaul of the Swiss Shooting Federation's visual identity in order to place it in a more contemporary and rigorous context.
By moving away from the traditional clichés associated with shooting sports, this new identity aims to reposition the federation by emphasising excellence, precision and modernity in order to appeal to a new audience.

Hugo Scholl

1/5

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Orpheum Theater

Now abandoned, the Orpheum Theater in New Bedford, USA, had its heyday at the beginning of the XXᵉ century. To illustrate its transition from 6ᵉ to 7ᵉ art, the identity of this film library traces the three major periods that marked this venue. It combines neoclassical ornamentation, as reinterpreted in the Art Deco era, with a typographic structure inspired by flyers from the golden age of theatre. The whole is geometrically

Coraline Beyeler

La jetée

In 1962, French filmmaker Chris Marker released La Jetée. It was an experimental film made up of hundreds of 35 mm black and white shots. It tells the story of a journey through time in a distorted post-apocalyptic Paris. The visual identity is based on an original typography designed to pay homage to Marker's raw material and its French context, and transcribes the idea of sequencing and light projection. It evolves through a teaser for a screening of La Jetée and a booklet containing the entire film script.

Dorian Pangallo

1/11

ICONO

How do you talk to images? Should exhibition images be shown or not? Collages, appropriationists, the whole world up to the present day, a constellation of images... Since the beginning of the 20th century, iconographic artists have been appropriating images produced on an industrial scale. The images of these same artists form the name of the fictitious exhibition ICONO. By re-appropriating them, identity uses their codes to communicate.

Cyprien Valenza

1/5

Apnea

Numbers are omnipresent in the world of freediving, whether measuring depth or the duration of an immersion. This visual identity is based on a variable typography with two axes, each representing one of these parameters. Duration is illustrated by the change in the fat of the counter-forms, symbolising how full the diver's lungs are. Depth is represented by the thickness of the contours, evoking the gradation of colours that darken with immersion. The animation of these variables creates a breathing effect, echoing the rhythm of apnea.

Eliot Dubi

1/11