Crane by Collins
Posted: Filed under: Art and Design | Tags: American Design, Best Packaging Designs, Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding News, Branding Reviews, Coloured Paper, Creative Packaging, Custom Typefaces & Logotypes, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Collins, Designed in New York, Form Language, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logotypes, Material Thinking, Minimal Design, Minimal Logos, Minimal Package Design, Minimalist Brand Identities, Packaging Company, Packaging Design, Packaging Design Blog, Packaging Design Resource, Packaging News, Structural Package Design, Uncoated Papers & Cards, Visual Identity Design Blog Comments Off on Crane by CollinsText by Richard Baird
Time. This is central premise of Collin’s work for American stationery brand Crane, and more specifically, the bookmarking of the past and the present, and a meditation on the “concrete” as a time machine to the future. It is a reflection of what it is to put something down on paper and what makes something last.
Tangent GC Organic Soap by Carl Nas Associates
Posted: Filed under: Fitness, Health and Beauty, Packaging Reviews | Tags: Best Packaging Designs, Brand Identity Reviews, Branding Blog, Cosmetic Packaging, Creative Packaging, Design For Print, Design Opinion, Design Reviews, Designed by Carl Nas Associates, Designed in Stockholm, Fonts in Use: Akkurat, From Europe, From Scandinavia, From the United Kingdom, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logotypes, Material Thinking, Minimal Design, Minimal Logos, Minimal Package Design, Organic Packaging, Packaging Company, Packaging Design, Packaging Design Blog, Packaging Design Resource, Packaging News, Skincare, Tangent GC, The Best Packaging of 2020, The Very Best of 2020, Type Foundry: Lineto, Typography, Uncoated Papers & Cards Comments Off on Tangent GC Organic Soap by Carl Nas AssociatesText by Richard Baird
Tangent GC began as a Scandinavian organic garment and shoe care company developing products that intended to increase the life of clothing and footwear, and entered the organic skincare market in 2016. The concern given to the longevity of skin becomes an understandable extension of that original intention.
Carl Nas Associates, who have been working with Tangent GC on their packaging treatments for an ever-growing number of products over the last few years, worked on the brand’s new line of organic soaps. Just as with earlier work, which could be described as having a minimal sensibility (in the truest not trendiest sense of the word), this is very much about nuance and continuity. This post functions as an extension of previous posts. It reiterates the elegance and flexibility afforded by and present in the original type treatment and efficacy of good material choices and the communicative potential of surfaces and structures. This is a rare opportunity to see how a solution functions across time and within new contexts.
Ekta: 160 Faces by Lundgren+Lindqvist
Posted: Filed under: Art and Design, Publishing | Tags: Art Book, Artist Books, Book & Magazine Design, Book Design Review, Branding Agency, British Design, Coloured Paper, Design Blog, Design For Print, Design Inspiration, Design News, Design Opinion, Design Reviews, Design Reviews: Editorial Design, Editorial Design, From Europe, From the United Kingdom, Graphic Design, Graphic Design Blog, Material Thinking, Screen-print, Typography Comments Off on Ekta: 160 Faces by Lundgren+LindqvistText by Richard Baird
160 Faces is a new publication from Swedish artist Daniel Götesson working under the name Ekta, designed by Lundgren+Lindqvist and distributed under the studio’s publishing arm ll’Editions. The book collates 160 drawings made by the artist in 2019, and sequenced, rather than in logical pairs and with a curated rhythm, but by using an algorithm developed by the studio. Applied using modern print technologies, each book becomes a unique experience of unexpected outcomes. The viewer is thus involved in formulating meaning between human faces that were algorithmically paired, and outside of the hands of the artist. This intersection of machine generated results, a very human image and artistic expression, continues in the typesetting of title pages and colophon. Here, Lundgren+Lindqvist designed a basic framework for the artist, who wrote all the necessary text with the same crayon he used when creating the drawings.
