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Cheap Labor designed by Sciencewerk

Logo and stationery designed by Sciencewerk for Cheap Labor

Cheap Labor is a self-initiated project, founded by the designers and artists of Indonesian independent design studio Sciencewerk, that began as a place to create experimental objects and packaging, then as a space to clear their warehouse of antiques, classic paintings, sculptures and objects collected during their travels and finally as a trading site to sell handcrafted items. Cheap Labor’s visual identity, developed in-house by Sciencewerk, utilises cut wood, unbleached paper and card, plenty of white space and classic sans-serif typography to convey the crafted, fashionable and timeless nature of the products.

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Ali Sharaf designed by Mash Creative

Logo and stationery with white and black foil detail created by Mash Creative for Bahrain-based commercial photographer Ali Sharaf

Ali Sharaf is a Bahrain-based commercial photographer who specialises in fashion, beauty and lifestyle images for the advertising and editorial markets. He describes himself as contemporary, upbeat, outspoken and edgy.

Inspired by a shared interest in Swiss modernism and adopting a less is more approach, design studio Mash Creative developed a new brand identity for Ali that combines an iconic marque, sans-serif typography, weighty material choices, foil and a limited colour palette to frame the detail of his work.

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Addition designed by Thought Assembly

Logo and embossed business card design by Thought Assembly for Addition

Addition is a new Australian digital development group who recently commissioned graphic design studio Thought Assembly—formally Studio Verse, the agency behind Addition director Zann St Pierre’s personal logo-mark reviewed on BP&O back in 2011—to develop a visual identity and business card solution.

Based around a generously spaced logo-type built from consistent, single line weight sans-serif characters with unusual cuts and omissions—an abstraction that leaves room for ‘addition’—the logotype delivers a proprietary twist to a familiar neutrality with a underlying sense of construction that, alongside the finer technicality of a grid detail, could form the basis of something a little more expansive in the future. A neat triplex business card made from a tactile, uncoated, navy blue material choice with a white centre and a blind emboss, tempers the ‘unfinished’ and conceptual nature of the logotype with a corporate professionalism and the technological subtlety of an electric blue print treatment on the reverse.

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