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The Best of BP&O — Brand Identities of 2013

Top 5 Brand Identity Projects of 2013 featured on BP&O

Highlights this year have included new websites and work from Heydays and The Company you Keep, a multitude of new brand identity developments from Anagrama and Bunch, and a brutalist inspired piece by London based design studio St.

However, there were five projects that really stood out for me that have made it into BP&O’s top five of 2013, a feature that brings together what I believe to be the most interesting of the year for another opportunity to be seen and shared. These include an oversized twist on the smallest digital measure, a logotype taken out and about, bright pattern work, some solid use of material texture, print finish and photography as well as typographic contrast and a good use of unprinted space.

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December’s Top 5 Projects 2013

Top 5 December 2013

This month’s highlights have included new packaging work from Believe In, Graphical House, Port Clarendon and Peter Gregson, brand identity projects by RoAndCo and For Brands, as well as a new visual identity and interior design solution by Savvy for Mexican seafood restaurant La Peñita De Jaltemba.

However, five projects really stood out for me which have made it into BP&O’s top five, a feature that brings together what I believe to be the most interesting of the month for another opportunity to be seen and shared. These include packaging work developed by Mousegraphics for Beatific, new brand identities by Heydays for Hardhaus and Goa Arkitektkontor, and a brutalist inspired visual identity, stationery and print set for Italian concrete veneer brand Cemento created by St.

Do you agree with my choices?

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Hardhaus designed by Heydays

Logotype by Heydays for specialist mountain sports retailer Hardhaus

Hardhaus is a Norwegian specialist mountain sports retailer located in the alpine municipality of Sykkylven. Based around the concept of ‘technical durability’, Heydays developed a new brand identity solution for Hardhaus—which included a logo, stationery and website—that juxtaposes the utility of a heavy uppercase and stencil cut sans-serif—bold and ‘oversized’ in its execution in print—and the robust and hardy aesthetic of chipboard imagery, with the finer weight, contemporary on-trend and technological sensibilities of a very well rendered set of geometric and mono-line weight icons.

The result is a confident appropriation of a ubiquitous typographic feature, rooted in mountain wayfinding, and material texture, paired with a current illustrative approach, and resolved in a way that appears proprietary and achieves a clear communicative precision and relevant aesthetic impact.

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