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Essem Design Product Catalogue 2018 by Bedow

Opinion by Richard Baird

Design illustration and art direction by Bedow for Essem Design's 2018 product catalogue

In 2014 Bedow worked with Essem Design, a Swedish manufacturer of artisanal hallway products and furniture, to develop a new graphic identity. This included logotype, adverts, catalogue, product sheet and stationery design. The concept was based around the simple gesture “Hej—Hej då”, hello and goodbye in Swedish and a reference to the most common phrase used in the hallway.

This verbal gesture was visualised using Commercial Type’s Dala Moa, paired with Futura, and played out across a brochure and stationery set of white and unbleached papers. The result balanced a playful and personable expression with the functional and crafted. This is expanded on and further explored throughout Essem Design’s 2018 product catalogue, also designed by Bedow, in the approach to art direction, colour, form and illustration.

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Wiener Moderne 2018 by Seite Zwei

Opinion by Richard Baird

Visual identity system, posters, postcards, banners and bags by Seite Zwei for Wiener Moderne 2018

To mark the 100th anniversary of the passing of Gustav Klimt, Egon Schiele, Otto Wagner and Koloman Moser, four greats of Viennese Modernism, The Vienna Tourist Board is dedicating the year to bringing to light their collective talents and stories. Wiener Moderne 2018 will take the form of public exhibitions and events, promoted through national and international campaigns, and unified by a distinctive graphic identity system created by Austrian design studio Seite Zwei. This links a variety of print and digital communications, merchandise and website.

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Goldlink Magazine by Spy

Opinion by Richard Baird

New design by Spy for Goldsmiths' alumni magazine Goldlink

Goldsmiths’ biannual alumni magazine Goldlink has been redesigned by Spy, the design studio behind the university’s graphic identity. The magazine is distributed to over 50,000 former students and staff nationally and internationally, and in the redesign, needed to strengthen the relationship with its readership and reflect Goldsmiths’ position as a creative force with a rich research and academic legacy. Spy’s approach develops and employs the bold graphic language of the university, built around Commercial Type’s Druk and a preference for eye-catching blocks of colour set alongside or filtered into emotive images.

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