Ascari by Blok Design
Posted: 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.
Spanjorskan by Lobby Design, Sweden
Posted: Filed under: Cafes, Bars and Restaurants, Logo Reviews | Tags: Animated Logos, Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2018, Branding Agency, Branding Blog, Branding Reviews, Coaster Design & Beer Mats, Design Blog, Design News, Design Opinion, Design Reviews, Foil Blocking, Gold Foil, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logos, New Logo, Restaurant & Cafe Menu Designs, Serif Logotypes, Sign Design, Typography Comments Off on Spanjorskan by Lobby Design, SwedenOpinion by Richard Baird
Spanjorskan is a Spanish restaurant located at Nybrogatan 42, Stockholm. It features a distinctive interior of warm and traditional detailing, a mix of wood, tiling and comfortable upholstery, and modern elements of exposed utilities, solid blocks of colour and feature lighting. Spanjorskan also has a distinctive menu with a sense of the theatrical and celebratory to it in colour, presentation and serving, one that is made up of large shared dishes presented with a favour for the bold and dramatic. This sense of interior character and food theatre also runs throughout the restaurant’s graphic identity, designed by Swedish studio Lobby Design. This links signage and website, and runs across menus, matchboxes and coasters.
St. ERHARD by Bedow, Sweden
Posted: Filed under: Food and Drink, Packaging Reviews | Tags: Alcohol Packaging, Amber Glass and Plastic Packaging, Best Packaging Designs, Blue Block Foil, Bottle Label Design, Branding & Packaging of 2018, Coaster Design & Beer Mats, Craft Beer Packaging, Craft Brewery Packaging, Designed by Bedow, Drinks Packaging, Foil Blocking, From Scandinavia, Green Block Foil, Lettering, Modernist Brand Identities, Packaging Design, Packaging Design Resource, Packaging Opinion, Red Block Foil, Silver Block Foil, Swedish Design, The Best Graphic Design Work of 2018, The Very Best Packaging of 2018, Type Play Comments Off on St. ERHARD by Bedow, SwedenOpinion by Richard Baird
With a desire to stand out, and in response to the extensive saturation of heritage-related visual cues throughout the German beer market, brewery St. ERHARD worked outside of the country with Swedish studio Bedow to develop a modern graphic identity for three of its brews. Farmer, Mayflower and Saison are premium beers, each of which are crafted, brewed and bottled by St. Erhard in the Bamberg area of Northern Bavaria.
Bedow’s work is characterised by a strong use of contrast, a graphic simplicity and immediacy. This can be seen in the meeting of curvy traditional structure and rectilinear labelling, in the mix of black ink, white substrate and colourful foiling, in the reductive typographical form of the range and the more conventional logotype of St. ERHARD, and finally, the systematic nature of the collection yet the irregularity and playful character of each label.
