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 Blog, Design For Print, Design Inspiration, 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, Typography, 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.
LogoArchive Issue 1 Limited Re-Issue (200)
Posted: Filed under: Art and Design, BP&O Publications | Tags: Black and White, Black Paper, Branding Agency, Colorplan Papers and Boards, Colour in Use: Black, Design Blog, Design For Print, Design Inspiration, Design News, Design Opinion, Design Reviews, Editorial Design, Graphic Design, Graphic Design Blog, Logo Design Inspiration, Logo Design Resource, Logo Design Trends: Clever Logos, Logos, Minimal Logos, Typography, White Ink Comments Off on LogoArchive Issue 1 Limited Re-Issue (200) 
This first edition of LogoArchive in print was conceived, designed and sent to the printers for quotation within a day. It was inspired by a panel discussion that took place the day before at Somerset House as part of the exhibition Print! Tearing It Up.
This first issue was a compact 10 pages printed on Colorplan Ebony 135gsm with five passes of white and finished with black staples, it was a small first step that was the foundation of a series of 5 numbered issues and an ExtraIssue from CanadaModern. It was the first printed piece to fall under BP&O’s new publishing platform.
LogoArchive Issue 1 sold out in two days, and was followed by three three other sellouts. The series has been kindly been featured on Dezeen, It’s Nice That, Brand New, Creative Boom, LogoDesignLove and Design Week, and has been featured in the April 2019 issue of Computer Arts Magazine.
With a desire to continue to push the zine forward, explore new concepts, themes and material options as well as insert configurations, LogoArchive Issue 1 has a limited re-issue of 200 copies. These can also be purchased with LogoArchive Issue 5 here.
Atlantic Theater 2019 – ’20 Season by Pentagram
Posted: Filed under: Fonts in Use, 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.
