The Best of BP&O — Logos of 2018
Posted: December 28, 2018 Filed under: The Best of BP&O Comments Off on The Best of BP&O — Logos of 2018Selected by Richard Baird.
As brand identity programmes become increasingly more sophisticated, as sound, touch and smell become folded into this experience, communicative weight has eased off of the logo. This has seen the logo become increasingly marginalised and the logotype stylistically ubiquitous. However, the mobile screen and signage, the bookmark and the supergraphic, where these multi-sensory tools are unavailable, are spaces in which a smart logo can function, building an association, utilising memorability and developing an immediate recognition. Highlights in 2018 included Commission’s monogram for Rimowa, Nunchi by Bedow and Enter Arkitektur by Ragged Edge.
This post, the last of five—also check out Packaging of 2018, Graphic Identities of 2018, Books and Magazines of 2018 and Studios of 2018, features techniques such as playful allusions, a sequential out-of-the-box quality, a smile in the mind moment, and an adaptive and invitational container for custom type and different languages. These draw a visual and communicative value from simple graphic gestures and used within both large and small-scale identity programmes and projects.
The Best of BP&O — Studios of 2018
Posted: December 21, 2018 Filed under: The Best of BP&O Comments Off on The Best of BP&O — Studios of 2018Selected by Richard Baird.
This year, there has been a wealth of studios, both established and emerging, producing intelligent and visually and materially compelling work. New to BP&O in 2018 was Studio Najbrt from the Czech Republic and Studio Mut in Italy.
This post, the penultimate—also check out Packaging of 2018, Graphic Identities of 2018 and Books and Magazines of 2018—is made up of studios that had four or more features on the site over the last year. Small single studios sat alongside those that are larger and have multiple offices. These all share a conceptual, graphic and material interest as well as a commitment to documenting and sharing projects.
Five studios stood out for the range and extent of their work, and their balance of concept, clear communicative intention and compelling aesthetic and material expressions, and have made it into BP&O’s Best of Series. These are some of BP&O’s favourites, listed in no particular order.
Strandgut – Vasas Flora Och Fauna by Bedow
Posted: December 20, 2018 Filed under: Music, Packaging Reviews | Tags: Best Packaging Designs, Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2018, Branding Agency, Branding Blog, Branding News, Branding Reviews, Creative Packaging, Custom Typefaces & Logotypes, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Bedow, From Scandinavia, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Packaging Company, Packaging Design, Packaging Design Blog, Packaging Design Resource, Packaging News, Swedish Design, The Best Graphic Design Work of 2018, The Very Best of 2018, The Very Best Packaging of 2018 Comments Off on Strandgut – Vasas Flora Och Fauna by BedowOpinion by Richard Baird
Vasas Flora Och Fauna is a Finnish indie pop-group and trio of musicians. Their new album Strandgut is made up from eleven songs taken from the band’s first two albums, which were then re-recorded in German. This was released on both LP and CD by the record label Startracks. Swedish design studio Bedow worked with Vasas Flora Och Fauna to create the packaging for Strandgut. Referring to the album’s title, jetsam in English, this features a series of figures/sculptures that have been built from maritime debris found on the beach. This is complemented by a custom typeface of drawn and ribbon-like letterforms.
