BPO


Maison De Greef 1848 by Base Design

Opinion by Richard Baird.

Logotype, graphic identity and packaging by Base Design for high-end jewellery brand, expert watchmaker and retailer Maison De Greef 1848

Maison De Greef 1848 is a high-end luxury jewellery brand, expert watchmaker and retailer that opened its first shop in 1848 at 24 Rue au Beurr, Brussels. Shortly after De Greef became the official clockmaker for the Belgian National Railway Company and then the supplier of pocket watches for the Belgian Navy.

The brand has built an enduring legacy and weathered many changes over its 170-year life. It remains a family business and is in the hands of its seventh generation. This new generation worked with Base Design to rethink the clichés of the market and develop a new graphic identity. This is characterised by a bold simplicity of type and in words, a contrast of colour and a conviviality of image, and included stationery, packaging, bags and website design.

Continue reading this article


Hages by The Studio

Opinion by Richard Baird

Logo, stationery, bags, signage and t-shirts by The Studio for Stockholm-based independent electronics retailer Hages

Hages began selling shortwave radios in Stockholm during the 1940s and is one of the oldest of its kind in Sweden. While the retailing of electronic goods has changed dramatically, sold increasingly online and on price by large chains, Hages has remained true to an independent spirit and established and developed a solid reputation.

To coincide with the opening of their second store, Stockholm based The Studio worked with Hages to develop a new graphic identity, moving it from Hages TV & Video to Hage, creating a modern and reductive visual expression and reinforcing this through repetition across signage, stationery, business cards, t-shirts and bags.

Continue reading this article


Sydney Design Festival by Re

Opinion by Richard Baird

Graphic identity design by Re for the Sydney Design Festival

Sydney Design Festival has been running for 20 years, making it one of the oldest design festivals in the world. It provides its visitors with an opportunity to understand design practice in all its forms, to bring to light problem, process and response, and to foster a closer connection with the designers and businesses helping to shape our collective futures. With a change in dates, moving the festival from September to March, placing amongst a busy cultural calendar, the festival worked with Re to develop a graphic identity that would allow it to stand out and announce its new Autumn arrival across a variety of digital and printed communications. These included a responsive website, event programs, flags, banners, posters, flyers, invitations and environmental graphics.

Continue reading this article