About this event
Learn our top 6 go-to resources for you to discover how to build your brand, from scratch.
In a short course that will begin on Tuesday, we will share our top 6 modules that have worked well for more than 80 small businesses and organizations whom we have worked for in Seattle, Durham NC, and Phnom Penh. DK has created brand identity designs for small and medium-sized businesses since 2006.
You’ll be able to learn, and apply right away, the lessons from our past experiences by working with these exact six tools to figure out your core story, and how you can best tell it to the world.
Since arriving in Vietnam and finding myself looking around me, mostly just people watching, for most of most days from the time I got to Saigon in September up until a few weeks ago when the city closed up for social distancing, I have been seeing people get very tired form a work culture that, I’m really dismayed to find, when I see it, all around me, obsessing about the dollar and sacrificing just about everything else towards the goal of making a few bucks. I want to make something new, next.
A social enterprise, without the BS factor that you and I both know that a lot of companies use to try to market themselves. I’m tired of seeing people I know and whose work I value being exploited and overused, and they come back, so tired, so fatigued, that the Art of everything becomes so remote, so lost, so… irrelevant… that it breaks up the feelings of wanting to keep questing, keep learning, keep inquiring, and keep making. With me. Selfishly, I want to make more art with more creative people, and that’s why I want to get started on a new venture.
Maybe something like Fare Start in Seattle, where people grow their own food, and find jobs in kitchens that employ those who need to learn new skills, and then, voila, they make a restaurant and serve people and generate income, from that. I don’t know. It’s a lot of thinking, right now, and less action. Naturally. We’re in a semi-lockdown phase, so I’ve got time to dream up a new thing. But yeah. I want to keep writing and talking more about Social Sustainability here on the blog and in real life when I can. It’s best if it’s in real life, because you know, that’s where you learn a lot from the indirect nature of how humans communicate. Let me see what I can do, meantime, though, to teach myself what this is and set up something, when I get to the next spot, here in Vietnam.
For now, this.
‘One of the major reasons behind the recent state of fatigue among Vietnamese people is burnout—a condition in which a person feels exhausted and exhibits reduced productivity following prolonged stress,’ writes Tuoi Tre News in a story called, ‘Burnout, workplace stress put damper on success in Vietnam’ published on May 11, 2021.
It checks with our own observations living in Saigon during a difficult time when many young people feel the pressure to support not only their own lives in the city, but often, others back home in places far from here where money is scarce. And even more so, given the pandemic’s drastic effects on the economy worldwide.
A few notes from the article..
‘More and more patients have sought professional aid in this matter. The psychology department of the University Medical Center Ho Chi Minh City welcomes a daily average of eight to nine people from different age groups who have burnout problems.
Where did the joy go? ‘A Vietnamese woman named M. has spent the last 20 years devoting herself to work. She moved up the ladder from a newbie staff member to manager and she currently acts as the deputy chief executive officer of a technology company. She has found herself up to her ears in work in recent years. Her work hours start at 7:00 am and she does not sign off until very late in the evening. Phone calls and messages constantly appear, keeping her absolutely occupied. Instead of bragging about the joy she has, the 45-year-old woman confessed otherwise despite her career success. “I’ve felt really tired, as if my head was stiff. I wake up every morning feeling scared for the coming day,” she said. “I’m scared of everything. I’m really down spirited. The internal conflict grows day by day.”… T.A.T. is a 26-year-old secretary working for a Japanese firm in Ho Chi Minh City. Her first days at work were a wonder, but three months into the job revealed to her that the work did not live up to her expectations. She has been under constant stress. “I feel that all of my energy is drained out the moment a new day begins,” she said. “It’s like butterflies in my stomach. My heart beats faster.”
Do you have a story to share about your own experiences of work, working a lot, working so much you don’t know what it was like to live a life where there was something besides work in it? If yes, get in touch. We’re going to curate a special exhibition of stories and images around this exact theme: Fatigue.
Welcome to DK.
We invite you to try it.
For people who welcome, and value, that kind of thinking, as they look for new ways to approach old blockages, in an exploratory quest for: fresh approaches, unexpected perspectives, and dialogue through ‘discovery’ to precipitate ideas. Not everyone resonates. But about one in a hundred really do.
Creating space for remarkable and meaningful connexion is what we love, and why we do it is because it’s really fun to engage with people who truly enjoy the soft, social space that exists within three-d and even virtual bounded boxes of time. In which new and different other can connect, and interconnect, for an unexpected moment of deeply relating. We have done this a hundred times, in small and large settings, formally, informally, at home and for work. It’s just who we are. And it’s the sort of jam we love to be in, and so, we design to make it happen—to optimize and host for that. In short, the aesthetic moment.
DK is Design Kompany.
It was founded in Seattle by and Akira Morita in 2004.. Currently DK operates as a boutique, and is based in Phnom Penh and Saigon.
Today, the same core team are independent consultants in: innovation, design thinking, and experiential learning program design.
They assemble when it’s time to make something new.
A. Spaice is our research and development director.
Jas Plac handles all outreach and communications.
Make stuff with DK..
Current projects and membership opportunities allow people we have discovered to connect, and interconnect. In the cloud. See next opportunities and how to be part of this, at our crowdfunding page.
Here’s a link.
After about seven years of not doing any graphic design work-for-hire, something changed.
Someone asked me to make a thing.
I started it, and as I went, I realized, it’s time to bring this service back and offer it again, to those who might run across this site and say, ‘I like that! I want to hire these people. Who are these people, anyway? And what is S P A C E?’
Glad you asked.
We are a team of people who collaborate in the cloud: Dipika Kohli is the creative director. Akira Morita is a cofounder working on design thinking and innovation consulting. Jas Plac does our outreach and communications. And A. Spaice does research & development. These days we make a weekly e-mag, called S P A C E. it’s about design and discovery.
The people we meet in the places where we go (mostly Southeast Asia and Northern Europe, since 2014), share stories, sometimes, and when they get to a place where they feel like they’re becoming something substantial, we shape these into ‘zines.’
They’re 16 pages, each, designed to be read in a single sitting, say over coffee. At times, we make black & white issues so they’re easy on printers, so you can download, print, fold and assemble your own, by adding your own creative flair.
Got into a bit of a discussion about this with someone yesterday who is 24.
This person was highlighting to me his past work, in something that I didn’t find too terribly intriguing but he really wanted to impress me, I guess, so we watched some clips of things that he had produced. I suppose he is an event producer, but not trained or anything, just self-designed. That’s fine, of course. I’m self-designed in design, having studied civil engineering and worked in architecture and journalism. But design is something people just ask me to do.
For example, a friend from that era, VH had asked me to make a senior t-shirt, when we were in high school, because she liked my drawings and comics, and no one else was putting forward an idea, and I was the Vice President of the Student Government at that time, so we put out a call, I think? And I don’t think anyone entered. So I made it. I don’t even know what it looks like now, thinking back, but V. had liked it and was happy. I had done t-shirts for Governor’s School East for my hall, too, and before that a lot of things like program covers and posters through elementary and middle school that had won prizes and stuff, so. I guess. That it was… destiny, haha. Or just… a knack for it. And lots of attentiveness to continuing to do it, not get sidetracked by other things, just doing the drawings when I felt like it. Helped that this was in an era where we didn’t have internet. Nice thinking about the senior t-shirt design, again. That was fun. I was 17.
Depth. I was talking about yesterday’s conversation and somehow got distracted thinking about being 17. It’s kind of related, though, right? I mean, you get good when you practice, but you have to have some kind of latent talent to start getting good, too. And encouragement. Fact. In my case yesterday, I think skipping over ‘talent’ and ‘practice’ and ‘encouragement’ was taken for granted by this young person who saw $$$ ‘I got paid for this’ $$$ as an indication of its having had value.
Not to me.
The thing I saw was just… well. Lacking in substance.
Happens. And more and more these days, when we have substitutes for real life in the form of video streams and chatboxes. What happened? Well, that’s out of scope, here.
My thing is, let’s bring some of the good stuff. Let’s open the doors here at DK again, and show people how they can arrive at… quality. I know how to do this. Why not share. Selectively, of course. Not for everyone.
I have a particular way of deciding if I will care about a project, which has everything to do with the attitude of the person asking me to work with him or her or them. Truth is, if I don’t see much thought in something, I have no interest whatsoever.
Most people I meet on the road I will know for less than three hours. I meet a hell of a lot of people, on the road. Yesterday, I just listened politely, but then, something happened.
Weirdly, it just did…
Sometimes this does this. I went into speechmaking mode.
Perhaps because we had a third guest, join us in the middle. Who. Was. Really. Attentive, and who had gone through my samples of drawings, and poetry and other stuff that I felt like sharing, with great admiration and accolades. Okay, it was flattering, but yeah, he really was curious about me, my work… my thinking. What I’ve been up to here in Vietnam. I have some stuff now that has Vietnamese language translations, too. So you can tell, if you’re the kind of person who can tell, that is.
Maybe there’s not one particular type; but there are a few people… one out of a hundred?, who resonate with DK’s style.
D: The other day, someone asked, What’s your TEDx talk about? I said ‘Death.’ Then he said, ‘Ooh!… Edgy.’ But it was 8 years ago
A: You are. DK is edgy
D: Well, once someone in Seattle said I was popular
A: You are not popular. You are edgy
D: How is this ‘edgy’! I don’t even a phone and I type on zoom chat to you and use email
A: That is edgy
Need help with a design project ?
I want to share an early brand identity design project from our archives, this one’s from 2010.
A brand identity design project that began like this. A query came in by email. From Seattle. We had already moved to the East Coast, but barely, and this blog was optimized at the time for search for Seattle branding. This was swell before everyone in the universe had a blog or microblog, and way, wayyyy before instagram. I think MySpace was going on, back then. So if you were in Seattle or nearabouts, and seeking designers who specialized in branding, then, yeah. We popped up.
Taking the call in Durham NC, we got to talking about it. The identity, the feeling, the vibe. The concept. I park for a while on Concept, when I’m leading a project, and this one was me on the creative lead, for sure. Because of stylistics: the image, the emotion, all of that, pointed to the aesthetic of a past version of DK. One that liked to play with… paint.
I did this. I played around with paint. Brushstrokes, lettering. It was good.
Design and identity design
So what happened was that I got to the studio, of ours, in Durham, and we set thing sup a little differently. Instead of using the computers so much, we started cutting papers, collaging, I even tried a quilling technique, to see what might emerge. Play. Again, play. I see that now in all our past works.
In the end, I lettered the name of the cafe with a thick brush, going out of my usual style of using a pen, or line art, or vectors. The feeling that the cafe was going for, and this was well before it was starting, I think it was under construction when we were calling at that time, well yeah.
Anyway, it was not the usual style of DK’s (our usual style is often described as ‘clean, modern.’) It was something else. A different mood. Still, the idea of a design brief is to outline that so well that you can make it work out, even if that means researching and learning more and studying and trying things. We love trying things. So this was a chance.
I heard that the Row House Cafe has since closed, but it was an interesting challenge, for sure.
It reminds me a little bit of the time we did the brand identity for a new restaurant in Ireland, will have to fish out those files now, too, from the archives…
One of the first gigs we had at Design Kompany was for the rebrand of the Capitol Hill Chamber of Commerce, back in 2006. CHCC, according to this neighborhood website, has since closed.
Akira Morita took the lead for DK on this design, working with me on it, and through that process, discovering as we went, with our clients, what the goal would be for the image-making. In other words, its concept.
Concepting well means a lot of talking. About why.
And that’s not always easy, especially when a group is just forming.
Being based in Seattle, the ‘how we go about this’ was heavily influenced, naturally, by agile methods. You try, you test, you see, you rework. We started sketching a lot, presenting in pencil, not overworking or over designing, and continuing to develop ideas until something was feeling right—and not just for one or two people, we all know what I’m talking about here, but the collective group. The whole.
Timing is everything, sometimes. We were there, in Seattle, after Ireland, at that exact time when the Capitol Hill Chamber of Commerce was just getting started. Just. Like. Us. DK had a new office, a storefront one, and right up the street from us, a few blocks over, in the same neighborhood, was the CHCC.
Our office on E. Olive Way was base for DK for about a year, which was very visible on its streetfront, and, as such, quite easy for people to discover us.
Then we moved to our apartment, and later, up the hill, past 15th, a few blocks down from WET and Fuel. Many en evening would I spend at the Washington Ensemble Theater. Perhaps another indication that one day, I’d be writing mini plays and springing them on people in unexpected cafe, restaurants, eaters, and other people’s literary events. Anyway, after Olive Way and the other place and some other stuff that took place in between, DK shifted to a house by a park with a tennis court and playground.
We called it Kornerhaus.
There, we kept our PLAY going.
The spaces where we most got a kick out of gathering with our clients also worked well for making parties.
Sugar, Pop, Dazzle, Flourish, and Gather, to name a few. (Some people who are reading this blog may recall it…)
Yes, we’re still DK.
Yes we’re still at it.
Making things, not always design the way we used to design, because that was then, and this is now. It’s experiences that we are specifying bounds and briefs for now, experiences for people to gather and share. Meaningfully, not trivially. At least, that’s what it was from 2013-2019. Next is next.
Content matters, to us. Much more than ‘logos’ or ‘looks.’ It’s getting people together, still, mixing it up if we can. Importantly, as always, in ways that invite the new and curious, which precipitates that magic thing of self-discovery, too, along the way.
Designs, and even life decisions, from these openings, somehow make themselves.
Six years in Capitol Hill… intriguing to see how much the place changed, in our journey there, with it.
Looking around on the web, it’s cool to see that the CHCC had used our design right up until the end of their days, more than a decade after we created it.
I like that.
Progression and playfulness with the ideas… looking back, I see it’s a common thread, with our design works. We want to always leave room for interpretation, so the in-house designers can play with an idea, too, make it a little bit their own, and breathe new life into it, when the time calls for that.
Shifting, poetically but also purposefully.
Like any relationship, things change.
But how you allow for growth–that’s the key to sticking-with-it-ness.
All of that…
The beginning was a fun thing. I remember it.
This design came into being. A concept…
A brand identity scheme, with colors, and this logo…
The year after Akira and I finalized it, handing off the CD with final files (yes, I said ‘CD’), I went by to see how things were going. Smalltalk and the like. They were happy with it. Like many other designs that came after, people were responding. Clients smiled. People enjoyed the connexion. And the image–the connexion-making start point–made it begin to begin. Relationships, after all, have to start from something.
We soon started getting known a little bit around Seattle, I think. Mostly for our ‘clean, modern’ design style (winning new gigs, mostly for architects, after that).
Here are the business cards (photo by Victor Ng):
Was… one ending, for a chapter, for us.
On this blog, back in the late 2000s and for some time after, I used to go through and write down all of everything that we did for everyone. A whole bunch of text, yeah, you thought this was long. And pictures.
A bunch of, say, process pictures, or the mood boards we made, even in-progress pictures. I blogged it all.
Reason is, I think, because I value transparency. Showing the process. And encouraging conversation, throughout. Even with people on the sidelines, or just watching, or walking by our office to peek through the window, to say, ‘What’s that?’
Maybe the chance encounter will invite a fascinating insight.
You just never know.
I continue to invite and connect people, to our programs, projects, and real life salons, to this very day, wherever I am. Reflecting. Hm.
Now, I wanted to push the envelope.
So that’s why, in February 2020, DK is opening again for graphic design and communication design commissions.
Remote. In person ( I can tell you where we’ll be)…
‘Design is making meaning’
Akira Morita‘s old portfolio page on Behance has more about the work we were doing around the time of the Chamber, if you are curious, while we were in Seattle in the early 2000s.
Meantime, since then, we’ve been changing and growing quite a lot. But, while iterating, DK’s core team of Akira and me, along with a handful of coming-and-going teammates and a small circle of collaborators, continue to make headway by discovering, together. Usually by making up projects, and testing them out. In the field. In real life. It’s so great.
Doing this is our work.
Both of ours, separately, as well as here at DK, together.
Spacemaking for discovery.
In different fields, with different people, and amongst different palettes, backgrounds, storytelling styles, and with new people, too. It’s always evolving, around here.
To keep in touch to find out more, join our mailing list. The mailing list for 2020 is called, ‘New chapters.’
The Seattle community paper, Northwest Asian Weekly, is still using our rebrand all this time later. I’m updating our portfolio here to reflect the highlights of our past work in design, and communications, and so, wanted to post about it here.
How we rebranded a 25-year old paper
Everyone. editors, copyeditors, publisher, designers, other staff, occasionally those passing by, and DK worked together to come up with a fresh update, a new template set, typeface selections… the works.
Concepting took a good effort, but it was important, for us, to get the story first. So we sat. And talked. For several sessions, just setting things up so the real talking could begin. In this way, we could do what all designers love to do when they are writing their own creative brief: be present, listen, and make sure you hear everyone. Goal, for DK, then, was to gather inputs from the full team at NWAW.
But it started with the whole big metaphysical question, 25 years after you got started, ‘Who are you now?’
A box over the i, which you can see accented in the design for the masthead, was inspired by the answer we found, together, through dialogues at a round table. Which was, ‘A window to the world.’
Will need to find the better resolution files from our redesign process, but I’m terribly disorganized with old old files, as most people are, and it’s fine, but why I bring this up is because I do recall the file I placed onto the CD of files I had delivered when this project ended, which was, ‘Brand Story: A living document.’ A word file, meant to be something that future editors and designers could visit, and reshape, as time moved on and needs changed. These things happen. It’s inevitable. But a good design leaves space for that… leaves room to grow, and change. To me.
Writing & Publishing
Since I personally love community journalism, I was hawpy to be part of this project, and lead the effort to shift over to a modern, clean design from the original style.
In 2013, When DK got set up in Cambodia, I began to write for the paper, too. I sent in this column, ‘The Village Report,’ to the NWAW. It was easy to think of the idea, given what DK had gathered about what the aim, vision, story, and idea was for the redesign. ‘Window to the world.’ Made sense. It fit. It worked.
Naming, brand identity design, and showing up to make space—quality space—for the process of people who want to discover somethign new, together, is what we did for NUK Cafe. This was 2014. DK had just opened up our doors in Phnom Penh for business, and this was our first gig.
Since then, five years’ experience of living and learning here in Phnom Penh has given us a chance to flex our creative and intellectual muscles. We’ve gotten into very different kinds of projects, since moving away from typical brand identity deign. Still, I think it’s important to share the jo gurney, and how we got to where we are from where we stated. This post is part of a series of updates to our portfolio.
Discovery, networking, change, and reinvention has led us through a wide set of experiences.
Journeys that, for better or worse, taught us some important lessons. I’ll just leave it at that. It’s a long story.
A new DK portfolio
Really enjoyed the NUK project.
Sharing as I go, now, since DK’s going to open again for design commissions from February 2020. That’s a lot of stuff to anticipate, for DK, but the short story is this. We’ve done things, we’ve been places. We’ve learned. We have more to do.
The work is the work, not the pretty pixels you see at the end of hte design process. If learning by doing and seeing how we get from a blank page and zero idea of what to do towards the finished things, which almost always are a 100% co-created set of designs (yes, we hand you pencils sometimes, and get to work together!), then yeah. Get in touch. This is the place to do that.
We’re really only interested in working with business owners who have 5+ years’ experience. For those interested in solopreneurship or personal branding, perhaps try our 8-week workshop, The Mirror, instead of our heavy-hitting journey of brand identity design for DK (which is also waaaayyy more expensive.) It’s not for everyone. (Still, there are 1 out of every 100 people who ‘get’ us, our approach, and see that there’s value in doing it right the first time, even if that means going through the hard question-asking series of things that we will ask of our clients. Apply to be a part of DK’s brand identity design programs from February. Apply here.)
The original post about the story of how we came to make this design for a cafe in Phnom Penh back in 2014, is below.
Phnom Penh. DK had just arrived to Cambodia.
‘Never imagined we’d stay five years:’ DK.
Emergence, innovation, change: Inventing as we go
Design. Making meaning out of vague and abstract collections of thought. Streamling and clarifying…
I still remember when we did this, for the NUK Cafe, which we named and branded back in 2014.
That was DK’s first gig in Cambodia.
Things have evolved for them quite a bit at NUK, I think they’ve moved on from our original design, but the ‘N’ is still there on the cups that DK’s Dipika Kohli drew.
Which is this:
I really like this story. Of how you start with ‘…’ and get to this design. It’s not a straight line. The creative process moves around and changes a lot, in the middle. It’s how it goes. It’s how we learn, and how we grow, too. Since DK had been doing branding work for more than a decade, it wasn’t hard. (These days we’re not doing branding work, by the way. More consulting. More experiential programs. Like these.)
Of DK’s founders hitting the road in 2013, going in search of ‘I don’t know what it even is yet’, and discovering the first team in Phnom Penh to give DK an open hand to design the way we know how to design. By asking questions. Listening. Learning. Gathering. Percolating. Generally: trusting the process. Why not? It’s worked for us for so many clients in the past.
It makes me happy.
Funny, all that drawing of the ‘N’ and exploring it led to the birth of something completely different.
Things. Turn into things. Don’t they?
In the 2000s DK got to go to a lot of gigs, since we were based at that time in Capitol Hill, amongst all the buzz and arts and nightlife of this bustling neighborhood in Seattle.
One of my favorite venues was the Baltic Room. In the 2010s thanks to TH, an architect, DK got to rebrand that nightclub.
‘Design is making meaning’
Cool to see that they are still using our design….
T., after all, had referred us. She had been one of our first clients. A combination of: a shared aesthetic appreciation of the beauty of chance encounters, plus a common love of jazz (which is after all improvisation in space on the spot), was what led to us meeting T in the first place. ‘I’ve been looking for you,’ T had said. ‘To do the design for my new company. When I break out to do my own company, you’re my designers: I just know.’
‘And that’s how a thing starts, sometimes.’
The Baltic Room rebrand was cool. Was fun to be a part of the process of seeing things update, and guiding the identity redesign by the usual process of ours. We just ask a lot of questions, at the start. It’s like 90% of the whole design project is happening at he start. You have to have that thrashing period so everyone can get the point where they can be honest and say what they really want to say instead of trying to please someone else at the table.
Somewhere along the way there’s a harmony that you can find… I guess design is like music in that regard, too… it just comes into shape on the spot when the mood is right and the people are in the spirit of being ‘on,’ intellectually and creatively, to do the jam, together.
I want to give people a chance to think clearly and long-term, so they don’t have to redo everything later.
Thought of it for two reasons this week.
- One: I’m working on a few more issues of S P A C E to round out our Autumn 2019 collection, which includes stuff from the Baltic States visit , and
- Two: I always liked electronica but I kind of can’t get over this:
Despite myself, I like it.
‘OUR NEW NAME AND BRAND reflects how we’ve grown over the past three years from a research focused company to what we’re all about today: creating truly unique custom mobile solutions for our clients. You guys really helped us out with finding our niche.’ —Richard Stott, Matchbox Mobile, Brighton & Seattle 2008
HERE’S THE NEW logo and color scheme for Japanese restaurant Miyabi.
Most of the people who hire Design Kompany work in professional services. So it’s always a treat when someone comes along who just likes our process, and wants to try it out. Miyabi came to us because they really wanted to establish themselves as a family-friendly Japanese restaurant. (Most of their customers were people visiting the just-next-door Toys R Us.) It was important to nail the brand message first: “Fun, delicious, and quirky.”
Handy, too, that AM is a native speaker of Japanese. (I’m medium. I’ve passed for Japanese once or twice in telephone calls. Always a hoot.)
Here’s the original post.
A Japanese restaurant asks DK for a logo, menu, and business card design.
Creating a Japanese restaurant’s brand identity
A JAPANESE RESTAURANT IN the TUKWILA, WA area asked us to design a new brand identity when they realized they wanted a change. They’d been in business for a while, but wanted a new image.
Still, Miyabi wasn’t 100% sure what story it wanted to tell through the rebrand and design for the new look.
In addition to a menu, we also created a series of ads to run in local hotel directories, and Japanese-language telephone directories, too. We made a winter holiday postcard with this design, too, which was a lot of fun!
Here’s the new brand Design Kompany made for the Japanese restaurant Miyabi.
Design Kompany came up with the total brand image: a custom typeface for ‘Miyabi,’ custom illustrations, the color palette, and the typefaces to pair with the new logo.
At first the owners of this Tukwila restaurant thought they might like a sleek, Japanese bistro look that would be upscale and posh.
But after talking with Design Kompany, it became clear that “young people looking for a fancy date spot” just isn’t Miyabi’s target audience.
Families come here. Local regulars. And business folks who happen to be in the area, which is near Sea-Tac airport.
“After going through [the questionnaire] with you guys,” Miyabi co-owner Hisako Shirakura said, “we realized we want a look that says ‘we’re fun.’
“We want people to know they can come here and have a nice time. And… we want to surprise them.”
“Quirky, in other words? A little… off-center?”
So we brought to the team Design Kompany illustrator Aaron Barker. “I was really enthusiastic about working with Design Kompany on a sushi restaurant’s logo,” he says. Aaron drew the fish and created the font for “Miyabi”.
I tried many ‘style’ concepts, from sketchy pencil to crisp vector graphics, abstracted letterforms to kawaii, or ‘Japanese cute.’ I’ve spent a lot of time around fish my whole life, visiting aquariums, commercial fishing… And in high school I even took a workshop with the famous fish illustrator Ray Troll. –DK illustrator Aaron Barker.
Keep an eye out for more from this up and coming artist, who sometimes signs his drawings “Aaron Bee.”
New business cards for Miyabi came out at the end of 2006.