Logo: Apolosophy
Posted: May 20, 2013 Filed under: Health, Fitness & Beauty, Logos & Branding | Tags: Apolosophy, Apotek, Art, branding, BVD, design, Health, logo, logo-type, typography, visual identity Leave a comment »
Based around their philosophy of health and well-being, Swedish drug store chain Apotek Hjärtat have recently developed Apolosophy, a new, carefully formulated cosmetic line that includes products from the skin and hair care, makeup and sunscreen categories.
The range’s visual identity and packaging solution, created to be perceived as tactile, timeless and trustworthy by design agency BVD, unites the on-trend accessibility of a near consistent single line weight, soft curves, rounded terminals, all lower-case and well spaced letter-forms and a simple repetition of form through the ‘a’, ‘o’ and ‘p’, with the classic sensibilities of a black and white colour palette, the quality of a matt surface texture and the restraint of a logo-type only solution across the packaging. The result, while pared-down, really emphasises, compliments and unites the colours and textures of the products with a subtle utility often associated with professional grade cosmetics.
Logo and Branding: Mattias Jersild
Posted: January 23, 2013 Filed under: Logos & Branding, Publishing | Tags: branding, Branding News, Business Card, BVD, copywriter, copywriting, design, graphic, graphic design, identity, logo, logo-type, opinion, stationary, Sweden, typography, uncoated, visual identity 5 Comments »
Of all BVD’s recent projects, which includes their packaging for 7-Eleven – a blog favourite this and last week -, it is their work for Swedish copywriter Mattias Jersild that really stood out for me. It is an incredibly simple but wonderfully laid out, spaced and restrained solution that introduces variety through an interesting mix of lowercase, sentence case and uppercase typography set out as paragraphs and footnotes using the Swedish typeface Indigo. A choice that, by drawing on classic 15th and 16th century literary references, digitally adapting these to fit contemporary printing techniques and giving ‘optimal legibility to ordinary type sizes’ – works well to convey a sense of timelessness, professionalism and academia. There is an honesty and straightforwardness in the uncoated nature of the paper, the single black ink print treatment and the way the logo-type sits unassumingly within the body of the content – marked only by a change to and motion of an italic – which feels complimentary rather than appearing overtly individual. The absence of iconic or superfluous detail clearly places language at the very heart of the identity with a modernistic design sophistication and although I cannot read Swedish I have no doubt that there is a personal relevance to every word.
