BP&O Collections — Blind Embossing
Selected by Richard Baird.
A continually updated gallery of brand identity, packaging and graphic design, reviewed and published on BP&O, that feature a blind emboss or debossed detail. This post features work by Bibliothèque, Triboro and Bedow, and covers a variety of projects, from restaurants and lighting architects to galleries and fashion labels.
Blind embossing has been used in a few different ways. These include simple stylistic flourishes, an exploration of the intersection of the graphic and material, and those grounded in the more conceptual. These conceptual approaches include the framing of words for art gallery Galerija Kranjčar, a recurring H motif by Mucho for Héctor Ayuso, and a reference to light and shade by Triboro for their work with lighting architects L’Observatoire International. Be sure to click the images to read more about the project and the ideas and intentions of each design.
OneFourFive Clarendon by Studio Brave
Rimowa by Commission
Schubertíada Vilabertran by Mucho
Osofor by Paul Belford Ltd.
Baluna by Grupa by Bunch
Maison De Greef 1848 by Base Design
Rimowa by Commission
Strömma Arkipelag by 25ah
Neometro & Nine Smith Street by Studio Hi Ho
EDL Laminates by Bravo
FranklinTill by Commission
Loupedeck by Bond
Abodo by Richards Partners
Flamingo by Bibliothèque
Brae by Round
L’Observatoire International by Triboro
Triboro’s work for architectural lighting specialists L’Observatoire International effectively and appropriately plays with light and shadow. This comes through in print with a combination of blind emboss and debossed print finishes, casting shadows and creating highlights in different directions across an uncoated white board.
Planned Living Architects by A Friend Of Mine
A Friend Of Mine take the familiar light and shade often employed throughout architectural brand identity projects, expressed through blind embossing, however, in conjunction with a graphic device informed by natural topology, builds in a second communicative layer and moment of visual interest.
Galerija Kranjčar by Bunch
Bunch’s use of a framing device, a frequent tool of gallery brand identity programmes, is distinctive in its material rather than graphic qualities, framing print space through highlight and shadow rather than ink. It is a small detail, but one that manages to draw something new from a familiar concept. It also works well to inject an element of identity into full bleed images in the absence of logotype, without distracting from their content.
Minna Palmqvist by Bedow
Bedow use the subtle blind debossing of white board for Minna Palmqvist’s swing tags. These are likely to sit well over the designer’s clothing range, establish a continuity and offer contrast to and emphasising through disparity, the texture, shapes and detail of fabrics.
Taidehalli by Tsto
Bryan Pearson by Strategy, New Zealand
Héctor Ayuso by Mucho, Spain
Rather than employing a logo-centric approach to the unconventional character of Héctor Ayuso, Mucho use die cutting and blind debossing to draw an H from rectangular print communications.
Estampaciones Fuerte by Hey, Spain
Using a large blind deboss Hey finds a smart and compelling balance between the graphic and the material, process and product for cold metal stamping and pressing business Estampaciones Fuerte.
Giles Duley by Shaz Madani, United Kingdom
Giles Duley is known for capturing humanitarian issues, bringing to light the consequences of conflict and the human spirit with dignity, creating through his photographs an “intimacy and empathy” for lives that differ from ours only in circumstance. This sensitivity and intimate approach is encapsulated in the restraint of Shaz Madani’s visual identity design, and the interplay between unassuming type and the way it is embedded into the raw materiality of uncoated and unbleached papers and boards using a blind deboss.
Institute by Commission, United Kingdom
Niche Wine Co. — Somm by Frost, Australia
Background Bars by Campbell Hay, United Kingdom
Sant Francesc by Mucho, Spain
Minke by Atipo, Spain
For print production company Minke design studio Atipo explore the relationship between the graphic and the material through blind embossing across a variety of colourful dyed uncoated boards, and the addition of a die cut sleeve and contrasting substrate.
Port of Mokha by Manual, United States
Fluvia by Folch, Spain
Enter Arkitektur by Lundgren+Lindqvist, Sweden
This post was published as a quick way to browse through BP&O’s content and get access to older but equally interesting projects through different themes, and expands on previous posts under the category The Best of BP&O. This series can be subscribed to here.