Kamila Mitka
contact: kamila.mitka@gmail.com
Kamila Mitka
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mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
mamapiki.com
photos: monika kmita
graphic design: kamila mitka
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An advertisement for a little studio in KTW magazine #2 /2012

The project was completed as part of internship at the Edgar Bąk studio
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Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.


Cartography of my time in Berlin /2011






The project of an interactive map of Berlin is a record of the four-month student exchange I took part in. Each day I put on the city’s map a drawing of the journeys I made, which usually consisted of visits to museums, galleries, the zoo and other places that I found interesting. The points marked with colourful dots direct the user to the galleries, where he or she may view photographs of the visited places. The project is a subjective guide to the city and an attempt to put in order the memories and experiences of the time spent on intensive sightseeing.The project was completed during student exchange in KunsthochschuleWeisensee, Berlin.
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Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.





Year of the Krakow Workshops /2011






The visual identification of the jubilee of the establishment of the Krakow Workshops, active within the Krakow Technical and Industrial Museum inthe years 1913—1926, is based on a typeface designed especially for the projectand referring to the fonts used at that time. The series of twelve posters representsthe course of twelve exhibitions dedicated to the issues concerned with the activity of the Krakow Workshops. The graphics on each poster correspond to the months of the year, while their graphic expression is intended to bring about associations with the ornaments produced by the Workshops.
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Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.


Wine carrier /2011






The main advantage of the wine carrier is the minimalism of the form, reduced to a clean construction, which ensures safe transport of the valuable content. Solution of the design responds to the needs of demanding and responsible consumers, who follow the trends and care for the environment. The elegant form allows for a display of the entire shape of the bottle as well as the label. The use of cardboard ensures low cost of production, and is more over applied with environmental sustainability in mind. At the same time, the product remains attractive to the consumer.
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Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.


Packaging for organic groats Kasha Kasha /2012





Kasha Kasha is a new Polish brand of carefully selected eco-friendly agricultural products. The brand is targeted at young consumers concerned about healthy eating. The main objective of the project is a display of honesty. The cardboard packaging communicates unambiguously its ecological sourcing, while the subtle colouringis the effect of the application of eco-friendly printing methods. The image on the front of the packaging underlines the tradition associated with the product. Raster used for the image of a mill is intended to reflect the texture of the grains inside the box.The project was completed during guest studies on the course of packaging design at the Academy of Fine Arts in Warsaw.
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Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.


Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.


Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.


Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.


Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.


Museum of Contemporary Art Krakow MOCAK /2010






The logo for the Museum of Contemporary Art in Krakow is a metaphor of institutional edifice, referring to the architecture of the Museum’s building. Spare in form, the austere identification is supposed to emphasize the gravity of the place where the Museum has been established (grounds of the former Schindler’s factory).In a series of posters and pamphlets for the Museum of Contemporary Art in Krakow, each successive exhibition is reflected in a graphic interpretation of the artist’s expression, translated into the language of graphics.For example, Zbigniew Libera is represented by underlinings and slashes referring to the installation Christus ist mein leben.With Mirosław Bałka, I cut out the middle elements of the letters, which in the artist’s work is a result of the material’s technology. Auschwitz—Wieliczka is a large concrete construction.
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Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
Castle / 2012

Logo and series of posters for Cultural Centre in Poznan
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Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.


Spring Graphic Design Days /2010





The visual identity for the Krakow festival Spring Graphic Design Days is based on logo for witch I took the inspiration from the work of Karol Homolacs, one of the founders of the group known as the Krakow Workshops (1913-1926), the Polish version of the Arts and Crafts movement. In their search for a genuine Polish artistic expression, the members of this group looked to folk handicrafts as their model. The festival logo unites the craft tradition with contemporary design practice, which is notable for its use of digital tools: the logo depicts a traditional pattern with emphasized pixels, and the same principle is used for the required pictograms. The logo and pictograms adorn the festival’s brochure, flyer, map, bag, buttons, poster and tickets.