Daniel Hopwood is a small bespoke London-based multidisciplinary design studio – working within the fields of architecture, landscape architecture and interior design – that offers its clients a creative, practical and personal service.
The studio’s identity, created by Two Times Elliott, takes the often ornamental detail of monograms of the past—a traditional distillation of a craftsman’s pride in product quality and individualised service practice—and gives it a very contemporary, geometric resolution with a solid sense of structure— through a simple consistent line weight and negative space—and a duality that mixes an H with what looks like a table and chair pictogram. Set alongside the broad, generously spaced characters of a sans-serif logo-type and a striking economical single red spot colour, the identity achieves a nice but subtle thematic union of layout, build, furnishing and functionality while the use of an uncoated, mixed-fibre, recycled substrate and a blind deboss across the collateral add a crafted, sustainable undertone that conveys an appreciation for material and material texture.
Established by Italian duo Giuditta Brusadelli and Augusto Arduini, The Clocksmiths is a graphic communication and brand identity design studio whose philosophy revolves around bringing order and detail to complex systems.
Their visual identity and stationary solution—designed in house—neatly leverages the associated patience, precision, professionalism and crafted quality of a clocksmith – through the fine line weights, generous letter and line spacing, traditional lock-up and copper foil print finish of the logo-type. And infuses this with the confident durability and industriousness of uppercase characters, concrete grey substrates, blind deboss and a weighty duplex business card, the subtle technological utility of the secondary typeface and the contemporary restraint of the layout.
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.