Opinion by Richard Baird.
Sweet Greek is a food store run by Kathy Tsaples, located in Melbourne’s Prahran Market, that sells classic sweets and authentic, freshly baked, ready-to-eat Greek cuisine. The store’s visual identity, created by Studio Brave and Elise Lampe, mixes the loose and personal qualities of a hand rendered logo-type and monogram with illustrations of meats, olives and laurel wreathes. Executed across a tactile, uncoated board with elements associated with craft such as string, stickers, the texture of a hand stamped print finish and a single, economical, cobalt blue—reminiscent of china dining sets and the Greek national flag—these elements convey a culinary honesty representative of authentic products made from simple, local and good quality ingredients.
Revolver is an Australian film production company with a string of awards and a diverse collection of directors and producers. Their visual identity, refreshed by Sydney-based independent design agency Toko, is a simple, clean and coherent expanding logo-type solution – built from the single, well spaced, all uppercase sans serif Helvetica – that utilises a ‘This Is’ prefix to bind, through typographical consistency, a variety of communication and the directors. Its over-sized application alongside finer details, full bleed, bright neon spot highlights and the juxtaposition of both vertical and horizontal layouts across the collaterals introduce a creative and multi-perspective sensibility that keeps the solution from appearing too corporate.
Julia Denes is a designer of handmade contemporary fine jewellery created from high-grade materials. Her visual identity, developed by Australian design agency Studio Sammut, is incredibly simple but delivers a nice balance between classic and craft-technique, contemporary aesthetics, detail, consistency and quality through the well spaced characters of Austin, its smart contrast of sharp and circular serifs, heavy vertical and light horizontal strokes – drawn out by the fine line border of the business card – and the light, geometric and broadly spaced sans-serif letter-forms of the secondary typeface below. A black letter-pressed print treatment delivers a light depression across the surface of a weighty uncoated cream substrate adding craft texture and a tactile quality to the high fashion cues of the typography.
The result has a reductionist sensibility that cleverly communicates the key propositions of material, quality and design across a few simple but communicative assets that appropriately frame the intricacies and organic detail of the jewellery.