Freadman White by Studio Hi Ho
Posted: October 18, 2019 Filed under: Architecture and The Built Environment, Graphic Design Reviews, Logo Reviews | Tags: Architecture Logos, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Custom Typefaces & Logotypes, Custom Typography, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio Hi Ho, From Australia, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Stationery Design, Typography, Wordmark Design Comments Off on Freadman White by Studio Hi HoOpinion by Richard Baird
Freadman White is a Melbourne-based architectural practice, led by Ilana Freadman and Michael White, that seeks to embed a curiosity-driven and experientially charged tension into their architectural work, reveal beauty in simple and overlooked settings, and design contextually informed structures with a disciplined whimsy. Further, rather than responding literally to physical surroundings, the practice develops spaces that are visually intriguing, emotionally resonant, sensorial and textural “informed by memories of place and the achievements of modern architecture”. These notions emerge from a mandate that intends to make positive contributions to individual lives and the wider urban project. To express the nuances and enquiries embedded in the practice and a personality that is whimsical, curious, warm, thoughtful and uncompromising Studio Hi Ho—commissioned by Freadman White to develop a new brand identity—worked with typographer Dennis Grauel to create ‘Frisky Freadman’, a custom typeface and a convivial interpretation of the classic typeface Ionic.
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.
Atlantic Theater 2019 – ’20 Season by Pentagram
Posted: September 12, 2019 Filed under: Theatre | Tags: American Design, Art Direction, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Campaign Design, Colour in Use: Red, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Pentagram, Designed in New York, Form Language, Graphic Design, Graphic Design Blog, Paula Scher, Poster Design, The Best Brand Identities of 2019, The Very Best Brand Identities of 2019, The Very Best of 2019, The Very Best of BP&O, Theatre Logos, Theatre Programme, Typography, Women of Design Comments Off on Atlantic Theater 2019 – ’20 Season by PentagramOpinion by Richard Baird
Atlantic Theater Company was founded in 1985 by playwright David Mamet and actor William H. Macy and, since then, has established itself as an influential Off-Broadway theatre group. It is also known for having a bold and original voice, producing groundbreaking new works by both emerging and established playwrights. This bold and original voice was central to the design of the theatre’s visual identity back in 2015. The first iteration was a visually loud mix of Hoefler&Co’s Tungsten, red and blue ink, an iconic spotlight/ megaphone-like A, a postmodern freedom from formal grids and the overprinting of type and shape. Designed by Pentagram partner Paula Scher, and reconfigured between seasons, this has been a striking and recognisable foundation of the theatre’s communications. Having designed the campaign identities for 2017–18 and 2018–19 Paula Scher returns to design the campaign for the 2019–20 season, introducing photography for the first time and a new material component.
