Marquez Quevedo by La Tortillería, Mexico
Posted: March 15, 2016 Filed under: Architecture and The Built Environment, Logo Reviews | Tags: Architecture Logos, Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding Reviews, Business Card Design, Coloured Paper, Custom Typefaces & Logotypes, Custom Typography, Design For Print, Design News, Design Opinion, Design Reviews, Designed by La Tortillería, Edge Painted Detail, Foil Blocking, Folder Design, Fonts in Use: Proxima Nova, Gold Foil, Graphic Design, Graphic Design Blog, Letterhead Design, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Mexican Design, Serif Logotypes, Stationery Design, Surface Texture, The Best Brand Identities of 2016, The Best Business Cards of 2016, The Best Custom Logotypes, The Best Graphic Design Work of 2016, Typography, Uncoated Papers & Cards, Website Design Comments Off on Marquez Quevedo by La Tortillería, MexicoOpinion by Richard Baird.
Márquez Quevedo is a San Pedro based architectural practice that balances space, proportion, materials, form and colour to compose creative spaces filled with movement. Drawing on what is described as the practice’s sophisticated style and vision Mexican graphic design studio La Tortillería developed a new brand identity for Márquez Quevedo with a sense of space, structure and materiality, both in image and physical texture, that links business cards, stationery and website.
Skovin designed by Heydays
Posted: September 8, 2014 Filed under: Fonts in Use, Home and Garden, Logo Reviews | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding News, Brochure Design, Business Card Design, Catalogue Design, Colour in Use: Red, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Heydays, Designed in Oslo, Die Cut Design Detail, Fonts in Use: Proxima Nova, From Scandinavia, Graphic Design, Logo Design & Branding Blog, Logo Design Inspiration, Logo Opinion, Material Thinking, Stationery Design, Stickers, The Best Brand Identities of 2013, Uncoated Papers & Cards, Visual Identity Design Blog, Wood Textures in Brand Identity and Packaging Design Comments Off on Skovin designed by Heydays 
Skovin is Norwegian, high-end, solid wood floor specialist that combines ancient craftsmanship with modern technologies. By mixing a wood veneer business card and a traditional name drawn from the old word Skøyen, the area in Oslo where the company was founded, with geometric shapes and die cuts, panels of flat colour and sans-serif typography, Skovin’s identity, designed by Heydays, intends to express the company’s fusion of past and present process.
Carin Wilson designed by Studio Alexander
Posted: August 11, 2014 Filed under: Art and Design, Logo Reviews | Tags: Brand Identity, Brand Identity Design, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Business Card Design, Designed by Studio Alexander, Designed in Auckland, Embossed Business Cards, Fonts in Use: Aktiv Grotesk, Fonts in Use: Proxima Nova, From New Zealand, Graphic Design, Logo Design & Branding Blog, Logo Designs, Logo News, Logotypes, Metallic Spot Colours, Monogram Design, New Logo, Stationery Design, The Best Brand Identities of 2014, The Best Business Cards of 2014, The Best Logo Designs of 2014, Triplex Business Cards, Type Foundry: Dalton Maag Comments Off on Carin Wilson designed by Studio Alexander 
Carin Wilson is a renowned furniture maker, sculptor, design educator and leader of the New Zealand craft movement throughout the 1970s, 80s and 90s. As well as precisely crafted functional furniture, Carin also creates pieces that look to explore narrative through alternative form — check out his work Royal Pain in the Arse — and are influenced by his Maori heritage.
Carin Wilson’s new brand identity was designed by Auckland based Studio Alexander and recently announced as a finalist in this year’s Best Awards. By leveraging the traditional values typically associated with the craftsman’s monogram and using a contrast of heavy fill and fine lines, type size and weight, colour and the absence of colour, material choice, print finish and bilingual background online, the solution neatly resolves the heritage, craft and functionality of Carin’s work.
