Grafiek•Patrick N.V.

06/09/2026

05/09/2026

04/09/2026

04/09/2026

“Good design is as little design as possible.”
-Dieter Rams

Every element must earn its place. Anything extra, undermines it.

Hard truth:
Complexity is usually a substitute for clarity.

03/09/2026

How One Logo Launched a Toy Universe.

Susan Bradley has spent over three decades shaping the visual soul of Disney and Pixar films. As Design Lead and Manager of Walt Disney Studios’ Title Graphics Department, she crafted title sequences and identities for more than 25 iconic projects, turning opening credits into storytelling magic.

In 1995 she designed the original Toy Story logo, the bold, geometric emblem that launched Pixar’s first feature. “TOY” stacks in juicy yellow and red with a sharp blue outline; “STORY” sits below in clean yellow on a red banner. Drawn from Eagle Bold and Gill Sans Ultra Bold, the playful angles and primary colors perfectly captured the chaos and wonder of Woody and Buzz’s world.

That single design became an enduring brand symbol, still echoing across sequels and merchandise. Bradley’s work on *A Bug’s Life*, *Monsters, Inc.*, *Ratatouille* and beyond proves typography isn’t just text, it’s the gateway to entire universes.

03/09/2026

When Op Art Drove a Car Brand Forward.

Victor Vasarely (1906–1997), born Győző Vásárhelyi in Hungary, invented Op Art, those mind-bending geometric illusions of movement and depth. After training in Budapest and settling in Paris as a graphic designer, he turned pure abstraction into a global force, believing art should be democratic and accessible to all.

In 1972, Renault urgently needed a new logo after a failed prototype sparked legal trouble. They turned to Vasarely and his son Yvaral. The result: a sleek, three-dimensional diamond (the classic losange) built from interlocking black-and-white parallelograms. Pure Op Art magic that suggested speed, dynamism, and modernity.

It first appeared on the Renault 5 and defined the brand until 1992, its influence still visible today. One optical masterpiece proved that great art doesn’t just hang on walls, it can power an entire industry.

02/09/2026

“A logo doesn’t need to say what it does.”
If it tries, it becomes literal, dated, and brittle.
- Paul Rand

Hard truth: If you’re explaining the business inside the mark, you’re compensating for weak identity thinking.

01/09/2026

The Big W That Connected an Empire.

In 1972, legendary designer Saul Bass (with Herb Yager & Associates) created the Warner Communications logo, the bold, cable-like “Big W.”

It replaced the classic Warner Bros. shield with a single, unified mark that linked the company’s film, music, publishing, and cable divisions under one modern identity. The twisting form felt electronic and interconnected, perfectly reflecting a communications powerhouse.

Paired with a refined version of Handel Gothic type, the design was clean, confident, and ahead of its time. It stayed in use until Warner’s 1990 merger with Time Inc., proving once again Bass’s rare ability to create symbols that last.

One letter. An entire media empire, tied together.