There’s nothing like toy windmills for a positive message.

Audi Foundation is open to the public, and hosts the soap shop and the café/kitchen with signage on their glass windows.

The regularly printed catalogues keep the customer up to speed.

Visual and verbal elements unify the material and container-varied product lines.

All Biomass packages will introduce you to some other member of the Biomass family, benefitting from the popularity of some products to draw attention to others.

The Biomass logo allows for the “bio” element to be used as a token for “organic”, expressing the brand as well as the category, and effectively owning it in the process.

Following product color conventions, the Biomass dairy line is the only one to diverge from the green and white color scheme.

Hand-drawn typography and a simple net pattern complete Biomass’s visual language.

The proposed coffee product catalog lists the beans and blends, but also explains grain origins, preparation methods and grading systems, making it a coffee reference document above everything else.

The integration of photography into the scheme takes place on many fronts and in many ways – framed, masked, patterned or simply reproduced – adding to the dynamism of the identity.

In the spirit of the holidays, Cyberia's greeting card for 2015 mixes the pixel with seasonal knitwear.

Between the corner device initialism and the perfectly matched grids and typography, the visual elements of the DHP identity are all about sensible organization.

Used here on the letterhead following page, the same-weight initials are isolated and act as a clean and straightforward alternative mark.

The Store’s identity elements are found on developed food (and other) products such as these numbered olive oils from different producers across Lebanon.

The press announcements for new selections are all about the newly arrived bottles, and for the “new catalog” message, a little spin on “Le Beaujolais nouveau est arrivé !”.

Not an invitation to drink and drive, obviously.

The vortex pattern is precise and absorbing, drawing the attention to the central and distinguished letter in the logotype.

Along with the sandwich wrapping paper color, a series of rings and stickers completes the sandwich identification system.

Fixed on the margin line, the Sursock floral emblem can appear on its own as an identity token, and is the basic module for the pattern construction.

The margins, alternating between left and right on the Sursock Museum stationery, indicate the alternation between Arabic and Latin scripts that flow in opposite directions.

For an institution like Sursock Museum, with an audience reaching well beyond the city in which it dwells, the marriage between Arabic and English is consistently present on all levels. Here, the extension of the central line of the institutional mark and the introduction of a tightly knit pattern of the emblem provides a structural and visual distinction between the two languages.

The theme of sound was adopted for an ad in the review published by Byblos Festival, Lebanon’s ultimate summer music event.

Fabric, both actual and reproduced, is at the heart of Wardé’s range of greeting cards and promotional objects.

Developed in collaboration with artist calligrapher Samir Sayegh, this calligraphic mark neatly acts as a dynamic corner device.

Through a playful approach that creatively uses the way billboards are printed in pieces of 8, this award-winning campaign uses a network of 800 billboards with 800 distinct visuals within a reasonable production budget. 16 different fabrics (equivalent to 2 billboards) were reproduced and the assembly of each billboard was left to Pikasso’s installation team who had to choose 8 pieces as long as the Wardé logo and the sale message appeared on every billboard. The result is a rich multivisual campaign with more than 149 million combinations (149,022,720 to be exact) that was only revealed once posted! Even with 800 billboards to fill, the chance of a combination repeating itself was close to zero.

A 3-page magazine ad multiplies the idea of choice visually and conceptually.

In sponsorship of the Al-Bustan Festival for classical music, the lyrics of the recitals were presented to the audience in a delicately crafted fashion.

A changing paper scheme delivers just the right amount of nuances.

A threadless, stapleless, glueless method using slits and folds allows for a multipage object to be formed out of a single sheet of paper. Patterns are printed on the inner folds of the menu which acquires a crafted quality.