Salbini by Studio Brave
Posted: April 29, 2019 Filed under: Fonts in Use, Home and Garden, Logo Reviews, Material & Print Specs | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding News, Branding Reviews, Condensed Logotypes, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio Brave, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logotypes, Sans-serif Logotypes, Sans-serif Typography, The Best Brand Identities of 2019, The Best Business Cards of 2019, Type Foundry: Klim Type Foundry, Visual Identity Design Blog Comments Off on Salbini by Studio BraveOpinion by Richard Baird
Salbini, formerly Fesal, is an online retailer of premium European furniture and appliances based in southern Italy and shipping internationally. It deals in both one-off purchases and tailoring for large commercial projects, offering both local and global brands. Fesal comissioned Studio Brave to rename and refresh its brand and overhaul its online store. While the project features revisions to type and the introduction of colour, it is the combination of cropped imagery shot by Traianos Pakioufakis and high quality material choices that stand out as a simple and compelling of articulation of craft, quality and elegance. These images link printed materials such as post cards, business cards, letterhead and certificate sleevers with a redesigned e-commerce website.
Everlea by Studio Brave
Posted: November 12, 2018 Filed under: Property, Uncategorized | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Catalogue Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio Brave, Designed in Melbourne, From Australia, Graphic Design, Graphic Design Blog, Illustration, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Material Thinking, Property Development Logos, The Best Graphic Design Work of 2018, The Best Logo Designs of 2018, The Very Best Brand Identities of 2018, The Very Best of 2018, Typography, Wordmark Design Comments Off on Everlea by Studio BraveOpinion by Richard Baird
Everlea is a new property development described as a private sanctuary of townhouses located in the Melbourne suburb of Keysborough, an expanding community marked by its space and natural surroundings of native trees, shrubs, parkland and a landscaped network of safe pedestrianised streets. Developed by SB&G, working in collaboration with Bruce Henderson Architects, landscape architects Tract and Kathy Demos, Everlea “offers a pairing of design expertise guided by a vision of individuality.” Naming and visual identity, designed by Studio Brave, is based around the notions of “establishing an authentic life”, “the everlasting landscape” and “space to grow”, and touches upon the themes of family, home, community and environment. This is expressed through a series of commissioned illustrations by UK artist Tom Abbiss Smith. These illustrations link every customer touchpoint, from bound booklets to binder to single house-style sheets and website.
246 Queen by Studio South
Posted: October 23, 2018 Filed under: Logo Reviews, Property | Tags: Art Direction, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Catalogue Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Studio Brave, Designed in Melbourne, From Australia, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo Designs, Logo Opinion, Logotypes, Material Thinking, Property Development Logos, The Best Graphic Design Work of 2018, The Best Logo Designs of 2018, The Very Best Brand Identities of 2018, The Very Best of 2018, Typography, Wordmark Design Comments Off on 246 Queen by Studio SouthOpinion by Richard Baird
246 Queen has a long and storied history. Opened in 1964 on Auckland’s Queen Street, it heralded a new era of modern architectural vision, exclusive boutique-based experience and an urban post-war retail sophistication. The building played host to fashion shows, designer concessions, furniture showrooms and contemporary dining. However, the architectural ideas drawn up by the original architects Rigby Mullan (Alan Rigby and Antony Mallen), remained only partially realised. These are now being paid homage to in the building’s renovation by the Wilshire Group working in collaboration with architects Fearon Hay, once again becoming a mixed-use space of food and drink, retail and commercial opportunities across eight floors.
Architectural details include a distinctive fascia of curved windows and accents, floor to ceiling central glass light well, exposed ceiling and concrete floors. This sits within a district of 20th-century architecture and mid-century landmarks, a broad range of coffee shops and casual dining, the Auckland Art Gallery and the century-old Albert Park.
The marketing of the building and its spaces is aimed at what are described as design-savvy directors. Those with companies within the creative sectors, smart PR, marketing, bespoke legal and financial services, those who have developed award-winning digital experiences or are tech innovators. Essentially, those with clients who expect the structure and space to fit the nature of the companies they intend to work with. In this way, modernist architecture functions as a material symbol of the pioneering spirit that now exists within the less material worlds of the service led and digital sectors.
The marketing language and the graphic identity of the building, designed by Auckland-based Studio South, draws on the history and original vision of the building. This revolves around the modernist, and aimed at those that recognise or are drawn in by mid-century architectural heritage and an associated graphic history, and desire access to contemporary international food and high-quality services in building and locally. This manifests itself through type and text, colour, material and structure, and through a graphic motif that is inspired by the building’s curved accents and large rounded windows.
