BPO


Text: The Poetry of the Commonplace

Text: The Poetry of the Commonplace

Jack Self (JS) is a London-based architect and writer. He is the director of the REAL Foundation and Editor-in-Chief of the Real Review, a magazine that explores, through a variety of topics and lenses, what it means to live today. The text below is an excerpt taken from a 10,000-word transcript of an hour-long conversion between Richard Baird (RB) and Jack Self. This covered architecture, graphic design, publishing and the review.

RB—I spoke to Jack Self about my desire to create an unexpected material object from the work I do for BP&O. That I did not know what form it would take, although the LogoArchive zine is now folded into that project. I would use words like performance or sculpture when speaking to people about it, to move the conversation beyond, say, an annual; a common suggestion (although it was always going to be material) as a way to draw people into a worldview. This is what Jack had to say about that and how Real Review creates new relationships with space and develops a dialogue between text and image, outside of their literal reading, by way of a vertical fold.

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360ME, Montgomery+Evelyn by Studio Makgill

Opinion by Richard Baird

Packaging design by Studio Makgill for supplement company Montgomery+Evelyn's new range 360ME

360ME is the first range of “life-ready” “Mood Nutrition” from Montgomery+Evelyn a new nutritional supplement company. Each of the four products focus on an individual and singular benefit with each capsule providing exactly what the body needs without having to purchase multiple products. M+E intends to bring a new level of quality and clarity of communication to a complicated nutrition market.

Working with founder, Evie Montgomery, Studio Makgill developed positioning, brand values, product architecture and packaging design, with their strategy emerging from the clarity in Evie’s approach, a beautiful and simple intersection of clinical science and human experience. This was expressed through visual identity by way of visible grid, bright coloured dots and a neutral sans-serif.

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The Best of BP&O — February 2019

Selected by Richard Baird.

The Best New Graphic Design of February 2019

Five projects that stood out in February and have made it into BP&O’s Best Of Series. Between them, these typically balance a strong singular concept or an appropriate confluence of ideas with a compelling visual character and clear communicative intention that appropriately play with form, colour, type and layout, as well as material, texture, image and print finish.

BP&O, in this end of month review, tries to recognise both the smart use of small budgets—those that channel spending into the most appropriate assets—and those projects with a broad and holistic quality, establishing a continuity (conceptual and/or visual) across multiple touch points. Many of the projects share a concise aesthetic expression, yet there is nuance and strategic weight to these, so do click through and read more about each of these.

Alongside reviews BP&O introduced a new text series, the second of which The Beauty Of The Commonplace, is an excerpt taken from a 10,000-word transcript of an hour-long conversion between Richard Baird and Jack Self.

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Åhléns by Happy FB

Opinion by Richard Baird

Visual identity, shopping bags, packaging and signage by Happy FB for Swedish retailer Åhléns

Åhléns began in 1899 as a small mail-order business. Aside from it being one of the oldest it has also grown to become one of the largest retail chains in Sweden. By carefully collating a variety of items across brands and price categories, the retailer maintains its relevance today, understanding and responding to the many ways in which its customers have changed over its long history. Happy FB, the Scandinavian design studio behind Åhléns new visual identity, puts it simply “to Åhléns’ urbane and socially conscious patrons, shopping and sustainability are not contradictions. Inspiration and trends do not equate to use and discard. Premium can be inexpensive and cheap doesn’t necessarily mean a drop in quality”. The retailer’s new visual identity expresses this by taking the well-established Åhléns wordmark and single red and builds this out into a range of changing graphic expressions, imbuing a variety of touchpoints, material and digital, with more character whilst retaining a recognisable immediacy through simplicity.

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