Maldini Studios by Jens Nilsson, Sweden
Posted: November 20, 2017 Filed under: Art and Design, Logo Reviews, Material & Print Specs | Tags: Brand Identity Reviews, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Business Card Design, Coloured Paper, Design Opinion, Design Reviews, Designed in Stockholm, From Scandinavia, Furniture Design Logos, Graphic Design, Graphic Design Blog, Interior Design, Letterpress, Letterpress Business Cards, Logo Design & Branding Blog, Logos, Mixed Fibre Materials, Print Finishing, Sans-serif Typography, Sign Design, Swedish, The Best Custom Logotypes, The Best New Logo Designs of 2017, Tote Bag Design, Typography, Uncoated Papers & Cards, White Block Foil, White Ink Comments Off on Maldini Studios by Jens Nilsson, Sweden
Opinion by Richard Baird
Maldini Studios is a Stockholm-based interior design and carpentry studio made up of project manager and carpenter Rasmus Moberg, interior designer Elina Johansson and carpenter Theo Klyvar. The studio’s work often uses precise lines and geometric forms to elevate the irregular detail and texture of natural materials. There are moments of utilitarian and ornamental juxtaposition, times at which this feels subtle and transitional, others where it is more severe and abrupt. Much of the studio’s work displays a contextual sensitivity, either in its continuity with or intentional opposition to space.
Drawing on the forms, materials and woodworking craft of the studio, as well as its understanding of object and space Swedish designer Jens Nilsson, former Design Director at Snask, built an identity that explores the intersection of the functional and the sculptural, material pleasure and communicative intention. This is done through the distinctive typographical forms of a custom typeface, a material variety, and by employing letterpress as a bridge between the two. Graphic identity runs across website and a variety of printed assets, these include stationery and business cards, branded items such as tote bags and scarves, as well as signage.
Raw Wine by The Counter Press, United Kingdom
Posted: October 6, 2017 Filed under: Food and Drink, Graphic Design Reviews, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding & Packaging of 2017, Branding Blog, Branding Reviews, Brochure Design, Business Card Design, Coloured Paper, Condensed Typography, Copper Block Foil, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, From the United Kingdom, Graphic Design, Graphic Design Blog, Hoarding Design, Icon Design, Kraft Paper, Letterpress, Letterpress Business Cards, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Poster Design, Print Finishing, Restaurant & Cafe Menu Designs, Sans-serif Typography, Stencil Cut Logotypes, The Best Business Cards of 2017, The Best Graphic Design Work of 2017, The Best New Logo Designs of 2017, The Counter Press, The Very Best Brand Identities of 2017, The Very Best of 2017, The Very Best of BP&O, Typography, Unbleached Materials, Uncoated Papers & Cards 2 Comments »Opinion by Richard Baird
Raw Wine is an international two-day wine fair that takes place in the cities of LA, London, Berlin and New York. It was founded by Deborah Lambert and Isabelle Legeron MW, France’s only female master of wine, and provides an opportunity for growers, makers and buyers to get together. Raw Wine is also a celebration of the best organic, biodynamic and natural wines from around the world, produced with the lowest intervention possible. It brings to light, for a new audience, the enduring traditions of wine making, and pushes back against increasing industrialisation, additive use and the shortcuts that come with larger volumes.
London-based studio and workshop The Counter Press, working in collaboration with brand consultant Dan Rowe, created a new visual identity for Raw Wine that captures the character and nuance of wine, the individuality of those that make up the artisan community, expresses a connection with natural low intervention wine production, and intends to engage a new audience. This is achieved in the idiosyncrasies of wood type and the extensive use of letterpress, alongside a bespoke logotype, modern iconography and unbleached substrates. These link business cards, catalogues, signage, glassware, tote bags, posters and soon to launch website.
Rattis Books by The Counter Press, United Kingdom
Posted: July 12, 2016 Filed under: Fonts in Use, Graphic Design Reviews, Logo Reviews, Publishing | Tags: Bookmark Design, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, British Design, Business Card Design, Coloured Paper, Design For Print, Design News, Design Opinion, Design Reviews, Designed in London, Graphic Design, Graphic Design Blog, Letterpress, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Design Trends: Clever Logos, Logo Designs, Logo Opinion, Logotypes, Minimal Design, Minimal Logos, Minimalist Brand Identities, Sans-serif Typography, Smile In The Mind, The Best Brand Identities of 2016, The Best Graphic Design Work of 2016, The Best Logo Designs of 2016, The Counter Press, The Very Best of 2016, Typography, Uncoated Papers & Cards 1 Comment »Opinion by Richard Baird.
Rattis Books is a new London-based independent publisher that celebrates the convergence of traditional and modern print processes and has a firm belief that the book is an art object. To help convey this, the publisher worked with design studio, private press and typography workshop The Counter Press to create their brand identity, and the design for their first book Tiro, a collection of football writings.
Taking their cues from the name, Latin for raft or ship, and the publisher’s processes and beliefs, The Counter Press created a simple but neat logo and logotype combination, printed this across triplex business cards and weighty bookmarks with a deep impression, and used hand-inked and letterpress elements in their design of Tiro.
