Ascari by Blok Design
Posted: October 15, 2019 Filed under: Cafes, Bars and Restaurants, Food and Drink, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding News, Branding Reviews, Canadian Design, Coaster Design & Beer Mats, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Blok, Graphic Design, Graphic Design Blog, Leather Menu Cover, Logo Design & Branding Blog, Logotypes, Material Thinking, Restaurant & Cafe Menu Designs, Spot Colours, The Very Best Brand Identities of 2019, The Very Best of 2019, Uncoated Papers & Cards, Visual Identity Design Blog, Window Decals Comments Off on Ascari by Blok DesignOpinion by Richard Baird
Ascari is an Italian restaurant which two locations, one on Queens Street East and another newly opened establishment on King St West. Toronto, Canada. It is named after the proprietor’s hero, Formula 1 legend, Alberto Ascari, (who was also known for his love of food). To reflect both the passion for good simple food and racing, design studio Blok developed an identity that brings together the visual cues and photography of 1950’s motor sport with a modern use of colour–the striking blue of Alberto Ascari’s helmet–and the outlines and solid fill logotype. These link coasters, business cards, signage and menus.
Center for the Study of Political Graphics by Blok
Posted: March 9, 2018 Filed under: Art and Design, Fonts in Use, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2018, Branding Blog, Branding Reviews, Canadian Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Blok, Fonts in Use: GT Walsheim, Fonts In Use: Simplon, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Sans-serif Typography, The Best Graphic Design Work of 2018, The Best Logo Designs of 2018, The Very Best Brand Identities of 2018, The Very Best of 2018, Typography, Wordmark Design Comments Off on Center for the Study of Political Graphics by BlokOpinion by Richard Baird.
The Center for the Study of Political Graphics (CSPG) explores the enduring power and immediacy of the political poster in the fight against inequality, their capacity to acknowledge and bring to light the injustices and atrocities of the world, and through their archival, keep alive the stories, voices and controversies that they have come to represent.
CSPG worked with Canadian studio Blok to develop a graphic identity that would honour the role the centre serves as a chronicler and catalyst, reflect its position as a participant in the fight for human rights, leave space to frame and connect the graphic and bring to light the diversity of their political poster archive.
Tale London by Two Times Elliott, United Kingdom
Posted: February 12, 2018 Filed under: Architecture and The Built Environment, Fonts in Use, Interior Design, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2018, Branding Agency, Branding Blog, Branding Reviews, Canadian Design, Coloured Paper, Copper Block Foil, Design Blog, Design News, Design Opinion, Design Reviews, Designed by Two Times Elliott, Designed in London, Fonts In Use: Beausite, Fonts in Use: Theinhardt, From the United Kingdom, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logos, Mixed Fibre Materials, New Logo, Paper Marquetry Business Cards, Poster Design, Serif Logotypes, The Best Business Cards of 2018, The Best Graphic Design Work of 2018, The Best Logo Designs of 2018, The Very Best Brand Identities of 2018, Typography Comments Off on Tale London by Two Times Elliott, United KingdomOpinion by Richard Baird
Tale London creates photorealistic renderings for both interior design and architectural clients across a diverse range of projects, from the traditional and rich to the modern and simple. Their sensitivity to both exterior structure and interior materiality, as well as associated considerations and a stylistic breadth is expressed by Tale London’s visual identity, designed by Two Times Elliott, in the graphic and the material, the way the two intersect and a system that affords Tale London a visual variety across different channels of communication.
