Heyday is a range of 150 moderately-priced high-quality own-brand consumer tech products from American retailer Target and their first foray into the electronics and tech accessories sector. The range includes battery packs and chargers, cables, covers and wireless speakers amongst many other products. These share a form language that balances an everyday simplicity, robustness and utility with novelty and cheerfulness by way of shape, colour and materiality. Heyday’s visual identity and packaging design, developed by New York and San Francisco-based Collins in collaboration with Target Creative, is deceptively simple, it is loaded with a bunch of neat ideas that recognise, not just how product is presented and its value and functionalities communicated in store, but also how these products migrate and seek attention online. This can be seen in the approach to product, packaging and lifestyle photography.
Opinion by Richard Baird
Storefront for Art and Architecture is an independent not-for-profit art and architecture organisation, located in New York’s Soho, dedicated to advancing architecture, art and design. To further this remit the organisation developed the New York Architecture Book Fair, an event and platform that brings together authors, designers, publishers, critics and readers to consider, through a programme of discussion, installation and pop-ups, which publications have driven architectural and design discourse forward through their insight and contemporary relevance. This took place at the Storefront for Art and Architecture and at local bookstores throughout the city in June.
Pentagram partner Natasha Jen and team led the design and development of the visual identity for the first edition of the New York Architecture Book Fair. This is built around a form language that makes a connection between the spine of a book and the side elevation of a building plan but also explores the liminal space between the printed book and architecture structure, and the material and digital space the visual identity needed to exist within. This links a variety of communication materials for the event, these included motion graphics and data visualizations, book design, tote bags and signage.
Opinion by Richard Baird.
Nunchi is an Italian startup and the vision of Cedric Naudon, a self-confessed gastronome. This follows his ambitious project to create an entirely new creative neighbourhood of restaurants, fashion boutiques and design stores in Le Marais, Paris.
Nunchi intends to frame and connect all of Cedric Naudon’s gastronomic projects. The first of which is a reimagining of Edouard Nignon’s classic cookbook L’Heptameron des Gourmets, originally published in 1919 and now a rare collector’s item. This new edition brings the unique collection of recipes and stories to a contemporary audience by way of a unique collaboration with box, textile and paper makers, engravers and printers. This is accompanied by a second book, La Dive Cocagne, which gives the reader valuable insights into the creation of L’Heptameron des Gourmets.
Nunchi’s visual identity, designed by Swedish studio Bedow, establishes a graphic framework and continuity for all of the projects that will fall under the Nunchi brand. Both L’Heptameron des Gourmets and La Dive Cocagne serve as the first surfaces in which identity begins to reveal itself, the former being a rigorous exploration of design and artist craft and collaboration, a form of Gesamtkunstwerk, and the latter providing insight into this unique confluence of skills, also brought to life through short-form documentaries. Bedow were responsible for visual identity and the art direction and design of both books.