Rare Harvest by Marx Design
Posted: May 8, 2019 Filed under: Food and Drink, Packaging Reviews | Tags: Best Awards Finalists, Best Packaging Designs, Branding & Packaging of 2019, Colour in Use: White, Coloured Paper, Creative Packaging, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Marx, Fonts in Use: Apercu, Fonts In Use: Geometric Sans-serif, From New Zealand, Graphic Design, Graphic Design Blog, Honey Packaging, Luxury Logos and Packaging Design, Material Thinking, Metallic Spot Colours, Packaging Company, Packaging Design, Packaging Design Blog, Packaging Design Resource, Packaging News, Packaging Opinion, Structural Package Design, The Very Best of 2019, Type Foundry: Colophon, Typography, Uncoated Papers & Cards, Visual Identity Design Blog Comments Off on Rare Harvest by Marx DesignOpinion by Richard Baird.
The True Honey Company (TTHC) dedicates itself to the production of mānuka honey, a monofloral variety produced in Australia and New Zealand from the nectar of the mānuka tree. It has a unique colour and texture and a high level of dietary Methyglyoxal, an organic compound with antibacterial and antiviral properties.
With a price range starting at 60.00AUD and rising to 230.00AUD per jar, and working in a market flooded with sub-standard honey and dishonest marketing, communicating the value of the product and the commitment of TTHC to quality and ethical production through an impactful and engaging brand identity and packaging design was paramount. This task was given to Auckland-based graphic design studio and packaging specialists Marx Design who played with a material and structural language to express the rarity and value of such a product.
Marx Design returned to the project in 2019 to develop packaging for Rare Harvest, a limited edition mānuka honey from TTHC certified at an unprecedented 1,700+ MGO (31+UMF), the highest ever recorded. Marx Design, working in collaboration with Think Packaging, further the material language of value and rarity that characterised the first range, and fold in the theme of Mānuka blossoms.
Korea International Art Fair 2018 by Studio fnt
Posted: October 10, 2018 Filed under: Art and Design, Graphic Design Reviews | Tags: Banner Design, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Brochure Design, Catalogue Design, Colour in Use: Fluorescent, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio fnt, Fluorescent Ink, Fonts In Use: Geometric Sans-serif, Graphic Design, Graphic Design Blog, Korean Design, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Material Thinking, Perforated Detail, Sans-serif Logotypes, Sans-serif Typography, Smile In The Mind, Spot Colours, Supergraphics, 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, Ticket Design, Typography, Wordmark Design Comments Off on Korea International Art Fair 2018 by Studio fntOpinion by Richard Baird
Each year KIAF plays host to and brings to the Korea domestic market the artworks of international artists and galleries. This year, the 17th Korea International Art Fair took place between the 4–7 October in the city of Seoul.
With a desire to become the pre-eminent art platform of South Korea, serve as a conduit between the Asian and international art scene, and function as a tool in which to introduce vibrant new Korean art to a global audience of curators and collectors KIAF seeks out, collates and presents the groundbreaking and thought-provoking.
Studio fnt worked with KIAF to develop a new visual identity for the fair. With such a wide variety of works on display; those of different origins, techniques, physicalities and modes of expression, the confluence of spot colour, proportionality and abundance serve as a unifying visual language that links posters, catalogues, tickets, banners and tote bags.
The True Honey Co. by Marx Design, New Zealand
Posted: August 2, 2016 Filed under: Fonts in Use, Food and Drink, Graphic Design Reviews, Logo Reviews, Packaging Reviews | Tags: Best Packaging Designs, Brand Book, Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding News, Branding Reviews, Business Card Design, Canadian Design, Colour in Use: Green, Coloured Paper, Creative Packaging, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Marx, Fonts in Use: Apercu, Fonts In Use: Geometric Sans-serif, From New Zealand, Graphic Design, Graphic Design Blog, Honey Packaging, Illustration, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Luxury Logos and Packaging Design, Material Thinking, Metallic Spot Colours, Newsprint, Packaging Company, Packaging Design, Packaging Design Blog, Packaging Design Resource, Packaging News, Packaging Opinion, Retail Logos, Sans-serif Logotypes, Spot Colours, Structural Package Design, The Best Brand Identities of 2016, The Best Packaging of 2016, The Very Best of 2016, Type Foundry: Colophon, Typography, Uncoated Papers & Cards, Visual Identity Design Blog Comments Off on The True Honey Co. by Marx Design, New ZealandOpinion by Richard Baird.
The True Honey Company (TTHC) dedicates itself to the production of mānuka honey, a monofloral variety produced in Australia and New Zealand from the nectar of the mānuka tree. It has a unique colour and texture, and a high level of Dietary Methyglyoxal, an organic compound with antibacterial and antiviral properties.
With a price range starting at 60.00AUD and rising to 230.00AUD per jar, and working in a market flooded with sub-standard honey and dishonest marketing, communicating the value of product and the commitment of TTHC to quality and ethical production through an impactful and engaging brand identity and packaging design was paramount. This task was given to Auckland-based graphic design studio and packaging specialists Marx Design who collaborated with Think Packaging and writer Kate Phillips.
