The Best of BP&O — January 2019
Posted: January 31, 2019 Filed under: The Best of BP&O Comments Off on The Best of BP&O — January 2019Selected by Richard Baird.
Five projects that stood out in January and have made it into BP&O’s Best Of Series. Between them, these typically balance a strong singular concept or an appropriate confluence of ideas with a compelling visual character and clear communicative intention that appropriately play with form, colour, type and layout, as well as material, texture, image and print finish.
BP&O, in this end of month review, tries to recognise both the smart use of small budgets—those that channel spending into the most appropriate assets—and those projects with a broad and holistic quality, establishing a continuity (conceptual and/or visual) across multiple touch points. Many of the projects share a concise aesthetic expression, yet there is nuance and strategic weight to these, so do click through and read more about each of these. Alongside reviews BP&O introduced a new text series, the first of which Collation & Curation, experiments with two interwoven narratives; the delineation between the practice of collation and curation in design publishing and how the new metrics of the net impose themselves on today’s design work.
The Best of BP&O — December 2018
Posted: December 31, 2018 Filed under: The Best of BP&O Comments Off on The Best of BP&O — December 2018Selected by Richard Baird.
November’s highlights included Studio South’s graphic identity for property development opportunity Outline, The Studio’s work for Brilliant and Metric’s graphic identity for Vega Scene. There were, however, five projects that stood out and have made it into BP&O’s Best Of Series. Between them, these typically balance a strong singular concept or an appropriate confluence of ideas with a compelling visual character and clear communicative intention that appropriately play with form, colour, type and layout, as well as material, texture, image and print finish.
BP&O, in this end of month review, tries to recognise both the smart use of small budgets—those that channel spending into the most appropriate assets—and those projects with a broad and holistic quality, establishing a continuity (conceptual and/or visual) across multiple touch points. Many of the projects share a concise aesthetic expression, yet there is nuance and strategic weight to these, so do click through and read more about each of these.
The Best of BP&O — Logos of 2018
Posted: December 28, 2018 Filed under: The Best of BP&O Comments Off on The Best of BP&O — Logos of 2018Selected by Richard Baird.
As brand identity programmes become increasingly more sophisticated, as sound, touch and smell become folded into this experience, communicative weight has eased off of the logo. This has seen the logo become increasingly marginalised and the logotype stylistically ubiquitous. However, the mobile screen and signage, the bookmark and the supergraphic, where these multi-sensory tools are unavailable, are spaces in which a smart logo can function, building an association, utilising memorability and developing an immediate recognition. Highlights in 2018 included Commission’s monogram for Rimowa, Nunchi by Bedow and Enter Arkitektur by Ragged Edge.
This post, the last of five—also check out Packaging of 2018, Graphic Identities of 2018, Books and Magazines of 2018 and Studios of 2018, features techniques such as playful allusions, a sequential out-of-the-box quality, a smile in the mind moment, and an adaptive and invitational container for custom type and different languages. These draw a visual and communicative value from simple graphic gestures and used within both large and small-scale identity programmes and projects.
