Raw Wine by The Counter Press, United Kingdom
Posted: October 6, 2017 Filed under: Food and Drink, Graphic Design Reviews, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Brochure Design, Business Card Design, Coloured Paper, Condensed Typography, Copper Block Foil, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, From the United Kingdom, Graphic Design, Graphic Design Blog, Hoarding Design, Icon Design, Kraft Paper, Letterpress, Letterpress Business Cards, Logo & Brand Identities for Co-working Spaces, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Poster Design, Print Finishing, Restaurant & Cafe Menu Designs, Sans-serif Typography, Stencil Cut Logotypes, The Best Business Cards of 2017, The Best Graphic Design Work of 2017, The Best New Logo Designs of 2017, The Counter Press, The Very Best Brand Identities of 2017, The Very Best of 2017, The Very Best of BP&O, Typography, Unbleached Materials, Uncoated Papers & Cards 2 Comments »Opinion by Richard Baird
Raw Wine is an international two-day wine fair that takes place in the cities of LA, London, Berlin and New York. It was founded by Deborah Lambert and Isabelle Legeron MW, France’s only female master of wine, and provides an opportunity for growers, makers and buyers to get together. Raw Wine is also a celebration of the best organic, biodynamic and natural wines from around the world, produced with the lowest intervention possible. It brings to light, for a new audience, the enduring traditions of wine making, and pushes back against increasing industrialisation, additive use and the shortcuts that come with larger volumes.
London-based studio and workshop The Counter Press, working in collaboration with brand consultant Dan Rowe, created a new visual identity for Raw Wine that captures the character and nuance of wine, the individuality of those that make up the artisan community, expresses a connection with natural low intervention wine production, and intends to engage a new audience. This is achieved in the idiosyncrasies of wood type and the extensive use of letterpress, alongside a bespoke logotype, modern iconography and unbleached substrates. These link business cards, catalogues, signage, glassware, tote bags, posters and soon to launch website.
Helio by Bedow, Sweden
Posted: October 5, 2017 Filed under: Fonts in Use, Graphic Design Reviews, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Brochure Design, Business Card Design, Copper Block Foil, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Bedow, Designed in Stockholm, Graphic Design, Graphic Design Blog, Illustration, Logo & Brand Identities for Co-working Spaces, Logo Design & Branding Blog, Logotypes, Restaurant & Cafe Menu Designs, Sans-serif Typography, Stitch Detail, Swedish Design, The Best Business Cards of 2017, The Best Graphic Design Work of 2017, The Very Best Brand Identities of 2017, The Very Best of 2017, The Very Best of BP&O, Tote Bag Design, Typography 2 Comments »Opinion by Richard Baird
Helio is a flexible co-working space and meeting venue with 8 different locations in and around the Swedish capital of Stockholm. It is made up of spaces with large desks for groups, small quiet areas for individuals, private meeting rooms and places to mix. These share an interior design language of modern utility and high quality handcrafted surfaces, upholstery and finishes. Helio membership is diverse, with people from many different industries and backgrounds.
Based around the concept of the creative spark, “ignited when people from different fields work together”, Scandinavian design studio Bedow developed an energetic and playful visual identity that finds a commonality of form with interior, but introduces, in a considered and moderated way, a cheerful personality through bright colour, illustration and pattern. This links menus, posters, notebooks, stationery and business cards.
Gustav Almestål by Bedow, Sweden
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, Business Card Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Bedow, Foil Blocking, 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, Print Finishing, 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 1 Comment »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 Swedish 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 block foil, the chiseled serifs of Portrait and the broad monospacing of sans-serif Heimat Mono.
