Frederik Laux is an award winning German portrait, fashion, lifestyle and editorial photographer with a client list that includes Alliance and Mercedes-benz. His new visual identity, developed by Stuttgart based design agency LSDK, takes a competently spaced but generic condensed, sans-serif logotype and executes it as a redacted three-line mark die cut by hand across a print solution that mixes the cool and dark greys of uncoated unbleached boards, a pastel green paper, bright fluorescent stickers that cut diagonally through the stationery, the quality and authoritative weight of a letterpress business card with hand painted edges and the unusual detail of a portfolio case with a strap made from bike inner tubes.
Although I am not sure I completely understand the redacted qualities of the logo-mark – perhaps it alludes to the idea that images have a communicative value that far exceeds those of words, rendering them void – the result is an interesting contrast of urban utility, contemporary energy and the subtle craft cues and individuality introduced through the production methods of the stationery.
Jeremy Maxwell Wintrebert is a glassware designer and manufacturer currently working in France with a free hand glass blowing philosophy mastered while traveling internationally across the US and Europe. Spanish design agency Hey recently developed a new visual identity solution for Jeremy that captures the heat, craft and art of glass blowing through a smart combination of colour and laser cut detail that gives the print work a scorched paper quality – an interesting way to capture the process of molten glass manipulation – the craft qualities of uncoated unbleached materials, coloured rubber bands and hand emboss detail and the juxtaposition of a stencil based industrial utility cut into the classic detail of a serif type choice.
The Brand Union have recently redesigned the packaging for Swedish premium vodka brand Absolut’s complete flavour range bringing them in line with the more expressive directions of their recent special editions. Based around a diverse set of handcrafted illustrations which replace the lengthy script of the originals – a detail that drew together the brand’s heritage and ingredient quality – the “vibrant new designs bypass design conventions to artistically express the core essence of the flavours in the Absolut Vodka range”, whilst retaining their distinctive and proprietary structure.
Cheap Labor is a self-initiated project, founded by the designers and artists of Indonesian independent design studio Sciencewerk, that began as a place to create experimental objects and packaging, then as a space to clear their warehouse of antiques, classic paintings, sculptures and objects collected during their travels and finally as a trading site to sell handcrafted items. Cheap Labor’s visual identity, developed in-house by Sciencewerk, utilises cut wood, unbleached paper and card, plenty of white space and classic sans-serif typography to convey the crafted, fashionable and timeless nature of the products.
Maderista is a San Pedro-based carpentry studio with more than 30 years of experience designing and crafting custom wood furniture. Multidisciplinary design agency Anagrama were recently commissioned to develop a new visual identity for Maderista that would convey its “proficiency and expertise in a modern and all-embracing way”.
BTP, formerly Beyond The Pixels, is a Melbourne-based design studio who take an interdisciplinary approach that blends the practices of design, technology and branding to create modern interactive products, and describe themselves as having a reputation for “delivering progressive brands and websites”.
Their recent rebrand, in pursuit of a “simplified vision”, reduces their identity to a three character sans-serif logo-type set alongside embossed signature detail executed by hand and across dyed, uncoated substrates.
Established by Catherine Blackford in 2012, Bindle is an Australian mail-order, gift-box service that bundles handmade artisanal food, drink, home and kitchenware products for occasions and individuals under labels such as ‘A Bit On The Side’, ‘Breakfast In Bed’ and ‘For The Hostess’.
Drawing on the name bindle, a folded canvas sheet carried as a small sack over the shoulder with a stick, the service’s identity, developed by Swear Words, utilises a printed textile pattern across the tactile, earthy textures of an uncoated, unbleached material choice and a string tied detail across the boxes alongside the high quality of a copper foil treatment to, like their work for Crabapple Kitchen, provide a contemporary finish to traditional, communicative craft cues but infused with the underlying theme of travel that conveys the delivered nature of the service.