LogoArchive – Logo Redux by Darren Leader
Posted: Filed under: BP&O Publications, Graphic Design History, Publishing | Tags: Book & Magazine Cover Design, Creasing in Print, Design For Print, Design Reviews: Editorial Design, Editorial Design, Logo Design Inspiration, Logo Design Resource, Logo Designs, Magazine Design, Magazine Review, Magazine Spreads, The Best Design for Print 2021 Comments Off on LogoArchive – Logo Redux by Darren Leader 
LogoArchive returns with its fifth collaborative Extra Issue: Logo Redux, dedicated to the fascinating theme of Renaissance printers’ marks. These marks, many drawn from the 15th century, appear somewhat modernist in nature. As such, this Extra Issue functions as a “prequel” to previous LogoArchive issues, and positions printers’ marks as a precursor to the modernist corporate trademarks of the mid-century.
Conceptualised by designer, educator and researcher Darren Leader, working in collaboration with Unlocking The Archive, the University of East Anglia and editor Richard Baird, this Extra Issue intends to revive interest in printers’ marks and the inventive typography of renaissance publishing.
Logo Redux is a Limited Edition run, these can be ordered at logoarchive.shop.
LogoArchive – Akogare 憧れ by Hugh Miller
Posted: Filed under: Art and Design, BP&O Publications, Graphic Design History, Graphic Design Reviews, Publishing | Tags: Book & Magazine Cover Design, Creasing in Print, Design For Print, Design Reviews: Editorial Design, Editorial Design, Logo Design Inspiration, Logo Design Resource, Logo Designs, Magazine Design, Magazine Review, Magazine Spreads, The Best Design for Print 2020 Comments Off on LogoArchive – Akogare 憧れ by Hugh Miller 
LogoArchive returns with its fourth collaborative Extra Issue and first bi-lingual release, documenting the forms of Japanese logo design. Through the distinctive smaller format of the bound booklet LogoArchive seeks to surprise and delight with each new issue, introducing new collaborators to offer unexpected interpretations of the ubiquitous logo book. For this Extra Issue, Hugh Miller orchestrates graphic impact and material nuance to honour the unique visual legacy and craft associated with Japan. In addition, the words of Tokyo-based designer and writer Ian Lynam, and his assistant Iori Kikuchi, offer an introduction into Japanese symbols.
LogoArchive の第4号目となる増刊号で は、日本のロゴデザインの形を記録し た 初 の バ イ リ ン ガ ル 版 を 発 行 し ま す 。小 冊子という独特のフォーマットを通し て、LogoArchive は毎号、新しいコラボレ ーターと共に、お馴染みのロゴブックへ の思い掛けない解釈を提案しながら、驚 きと喜びを追求しています。
今号では、Hugh Miller (ヒュー・ミラー) が、グラフィックのインパクトと素材のニ ュアンスの交差点を探り、日本にまつわ るユニークな視覚的遺産と工芸品を称 えています。さらに、東京を拠点に活動す るデザイナーであり作家でもあるイエン・ ライナムと、彼のアシスタントである菊地 伊織の言葉で、日本のシンボルを紹介し ています。
Shy Bird by Perky Bros
Posted: Filed under: Cafes, Bars and Restaurants, Food and Drink | Tags: American Design, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Business Card Design, Cafe Logos, Coffee Cup Designs, Coffee Logos and Packaging Design, Coffee Shop Branding, Colour in Use: Pastels, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Perky Bros, Fonts in Use: Maison, Graphic Design, Graphic Design Blog, Illustration, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, New Logo, Pastel Colours, Property Development Logos, Restaurant & Cafe Menu Designs, Restaurant Logos, Serif Logotypes, The Best Brand Identities of 2020, The Best Design for Print 2020, The Best Graphic Design Work of 2020, The Very Best of 2020, Uncoated Papers & Cards, Wordmark Design Comments Off on Shy Bird by Perky BrosText by Richard Baird
Shy Bird is a all-day café, rotisserie and bar in Cambridge, Massachusetts. Its core mission is to elevate chicken, and the experience of eating chicken into the realms of the exceptional through gastronomic know-how, a beautiful interior and a visual identity designed by American studio Perky Bros. Drawing their inspiration from the red junglefowl, the “original chicken” and descendant of the domestic chicken, and its beautiful yet shy nature, the studio plays with contrasts, the loud and the quiet, the bold and the finely detailed. This runs as the continuous thread throughout the visual identity, linking takeaway surfaces such as coffee cups and sandwich wraps with the dine-in surfaces of menus and coasters. This is achieved through bold colour blocking and typography, a finer pattern, material texture and small playful illustrations.
