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.
Selected by Richard Baird.
September’s highlights included Lundgren+Lindqvist’s work on Daniel Götesson’s art book Ekta Sketchbooks Vol. I–III and Bond’s visual identity for Finish student union Sakki. BP&O also took a Hands On look at Snøhetta’s work on the Vestre anniversary book Folk+Form.
There were, however, five projects that stood out, and have made it into BP&O’s Best Of Series. These typically balance a strong singular concept, or an appropriate confluence of ideas, with a compelling stylistic character and clear communicative intention that appropriately plays with form, colour, type and layout, as well as material, texture, image and print finish.
Throughout the month BP&O also continued to expand on its collections series as another way to jump through to older posts on the site. New additions to this were Film, Die cutting and Beer. Updated projects in September included Paul Belford’s brand identity and packaging for Soap Co.