“Released quarterly as a printed magazine, Alquimie is a written emulsion of alcoholic and non-alcoholic drinks. Covering wine, beer, spirits, bitters, coffees and other solutions of interest; Alquimie explores the liquids themselves — their origins and stories. Working with photographer James Morgan, the inaugural edition of Alquimie included over 160 images across 152 pages.” – Alquimie
Melbourne based graphic design and visual communications studio ThoughtAssembly, responsible for developing and managing Alquimie’s name, brand identity, print and art direction, utilise the thick white ink and warm concrete grey substrate of the business cards, a traditional, open, hand-sewn detail of the magazine, tinted photography and the well spaced uppercase serif characters of the logotype to hint at the history and craft the publication looks to uncover, its authority and high quality.
Media Creator is a Swedish print production and project management company that utilises a flexible web-based system that pairs a ‘intuitive computerized system’ and translation service, with ‘alert’ and ‘friendly’ staff to streamline their entire print process.
Utilising a predominantly two-tone colour palette, san-serif typography and bright contemporary illustrative detail, MediaCreator’s new visual identity, which included a new logo, stationery set and website created by design bureau Lundgren+Lindqvist, balances production efficiency with individual character and infuses it with a sense of support and accessibility.
Of all BVD’s recent projects, which includes their packaging for 7-Eleven – a blog favourite this and last week -, it is their work for Swedish copywriter Mattias Jersild that really stood out for me. It is an incredibly simple but wonderfully laid out, spaced and restrained solution that introduces variety through an interesting mix of lowercase, sentence case and uppercase typography set out as paragraphs and footnotes using the Swedish typeface Indigo. A choice that, by drawing on classic 15th and 16th century literary references, digitally adapting these to fit contemporary printing techniques and giving ‘optimal legibility to ordinary type sizes’ – works well to convey a sense of timelessness, professionalism and academia.
There is an honesty and straightforwardness in the uncoated nature of the paper, the single black ink print treatment and the way the logo-type sits unassumingly within the body of the content – marked only by a change to and motion of an italic – which feels complementary rather than appearing overtly individual. The absence of iconic or superfluous detail clearly places language at the very heart of the identity with a modernistic design sophistication and although I cannot read Swedish I have no doubt that there is a personal relevance to every word.