Raw Wine by The Counter Press, United Kingdom
Posted: October 6, 2017 Filed under: Food and Drink, Graphic Design Reviews, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Brochure Design, Business Card Design, Coloured Paper, Condensed Typography, Copper Block Foil, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Graphic Design, Graphic Design Blog, Hoarding Design, Icon Design, Kraft Paper, Letterpress, Letterpress Business Cards, Logo & Brand Identities for Co-working Spaces, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Poster Design, Print Finishing, Restaurant & Cafe Menu Designs, Sans-serif Typography, Stencil Cut Logotypes, The Best Business Cards of 2017, The Best Graphic Design Work of 2017, The Best New Logo Designs of 2017, The Counter Press, The Very Best Brand Identities of 2017, The Very Best of 2017, The Very Best of BP&O, Typography, Unbleached Materials, Uncoated Papers & Cards 2 Comments »Opinion by Richard Baird
Raw Wine is an international two-day wine fair that takes place in the cities of LA, London, Berlin and New York. It was founded by Deborah Lambert and Isabelle Legeron MW, France’s only female master of wine, and provides an opportunity for growers, makers and buyers to get together. Raw Wine is also a celebration of the best organic, biodynamic and natural wines from around the world, produced with the lowest intervention possible. It brings to light, for a new audience, the enduring traditions of wine making, and pushes back against increasing industrialisation, additive use and the shortcuts that come with larger volumes.
London-based studio and workshop The Counter Press, working in collaboration with brand consultant Dan Rowe, created a new visual identity for Raw Wine that captures the character and nuance of wine, the individuality of those that make up the artisan community, expresses a connection with natural low intervention wine production, and intends to engage a new audience. This is achieved in the idiosyncrasies of wood type and the extensive use of letterpress, alongside a bespoke logotype, modern iconography and unbleached substrates. These link business cards, catalogues, signage, glassware, tote bags, posters and soon to launch website.
Gustav Almestål by Bedow, Sweden
Posted: October 2, 2017 Filed under: Fonts in Use, Graphic Design Reviews, Logo Reviews, Photography | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Agency, Branding Blog, Branding Reviews, British Design, Business Card Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Bedow, Foil Blocking, Fonts in Use: Portrait, Graphic Design, Graphic Design Blog, Graphic Identity Shortlist 2017, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logos, Logos for Photographers, Logotypes, Material Thinking, Monogram Design, Print Finishing, Swedish Design, The Best Business Cards of 2017, The Best Graphic Design Work of 2016, The Best Graphic Design Work of 2017, The Best New Logo Designs of 2017, The Very Best of 2017, Type Foundry: Commercial Type, Typography, Uncoated Papers & Cards 1 Comment »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 Swedish 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 block foil, the chiseled serifs of Portrait and the broad monospacing of sans-serif Heimat Mono.
Edition by South, New Zealand
Posted: September 28, 2017 Filed under: Graphic Design Reviews, Material & Print Specs, Property | Tags: Arjowiggins Papers, Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Coloured Paper, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio South, Designed in Auckland, From New Zealand, Graphic Design, Graphic Design Blog, Graphic Identity Shortlist 2017, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Modernist Brand Identities, Print Finishing, Property Development Logos, Sans-serif Typography, The Best Graphic Design Work of 2017, The Very Best Brand Identities of 2017, The Very Best of 2017, Uncoated Papers & Cards, UV Varnish, Wordmark Design 2 Comments »Opinion by Richard Baird
Edition is a new property development by LEP Construction. It will be located in Parnell, a suburb of Auckland, New Zealand, and made up of 18 luxury apartments designed by architects Monk Mackenzie with a eye for flexible space and changing natural light. Edition will make the most of a sloping site, feature three levels cantilevered above ground and create what are described as “view shafts” from street right through to the harbour beyond. This modern structure, and sensitivity to its context, is complimented by a luxury interior design, created by Bureauxe, of both contrast and continuity, in materials, surface textures, colour and form.
Graphic design studio South were commissioned to create a visual identity for Edition that would assist the real estate team in presenting the project to potential buyers, and help, in conjunction with the building’s distinctive structural and interior design plans, elevations and renderings, to distinguish Edition within a crowded luxury apartment market.
With the intention of capturing the essence of the building, and informed by the spacial, visual and material language of Monk Mackenzie, South created a brand identity of light and reflection, moments of contrast and correlation, and a recurring rectangular motif. This links a variety of marketing materials that included brochure and brochure sleeve, sales book and box, invitation, floorpans, buyer gift and business cards.
