Posted: October 2, 2017 Filed under: Fonts in Use, Graphic Design Reviews, Logo Reviews, Photography | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Agency, Branding Blog, Branding Reviews, British Design, Business Card Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Bedow, Fonts in Use: Portrait, Graphic Design, Graphic Design Blog, Graphic Identity Shortlist 2017, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logos, Logos for Photographers, Logotypes, Material Thinking, Monogram Design, Swedish Design, The Best Business Cards of 2017, The Best Graphic Design Work of 2016, The Best Graphic Design Work of 2017, The Best New Logo Designs of 2017, The Very Best of 2017, Type Foundry: Commercial Type, Typography, Uncoated Papers & Cards
Opinion by Richard Baird
Gustav Almestål is a Swedish still life photographer who has built an extensive, high-profile and international client list that includes the likes of Electrolux, Wall Street Journal and Hermes. He now works from Stockholm, following several years in London, on projects that range from advertising and editorial to food and interiors.
The design of Gustav Almestål’s visual identity, which rested in the hands of Scandinavian design studio Bedow, touches upon his personal and innovative approach, use of light and shadow, and his frequent reference to enduring still life themes and historical art. These are expressed through a distinctive and individual monogram, its sculptural and dimensional qualities, an unusual multi-coloured foil, the chiseled serifs of Portrait and the broad monospacing of sans-serif Heimat Mono.
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