BP&O Collections — Banners
Posted: October 15, 2018 Filed under: BP&O Collections, Uncategorized Comments Off on BP&O Collections — BannersSelected by Richard Baird.
A continually updated collection of banners, designed as part of a larger brand identity progrmme, published on BP&O. These typically deliver an immediate graphic expression through type and form language, colour and image. This selection features the simple and singular, and those that pair those with a strong stylistic impact with those of informational detail, and includes work by studios Hey, Studio fnt and Mucho.
In the spirit of trying to challenge the chronological value-hierarchies of the traditional blog format, this post was published as a quick way to jump through BP&O’s content and gain access to older but equally interesting projects through different themes. Further, this is less about the aesthetic of a singular asset, although that is a consideration, but how each of these may fulfil a role within a broader system, click each image to read more. This expands upon previous posts under the category BP&O Collections.
LogoArchive #2 by BP&O (Preview)
Posted: August 16, 2018 Filed under: Graphic Design Reviews, Uncategorized Comments Off on LogoArchive #2 by BP&O (Preview) 
The first issue of LogoArchive in print was conceived, designed and sent to the printers (for quotation) within a day. It was inspired by a panel discussion that took place the day before at Somerset House as part of the exhibition Print! Tearing It Up. Following a successful launch and a sold-out first release, LogoArchive returns with Issue 2, which begins to reconfigure itself.
LogoArchive is founded on an enthusiasm for a well-crafted logo; a convivial metaphor, a communicative immediacy and smart use of form language. However, in print, it was never conceived as a document with a singular intention; the simple documentation of logos, rather a delivery mode in which to build a story and share thoughts. A conversation on Twitter; digital dialogue lost in the passage of time but forever coded into the electronic aether, is materialised as ink on paper and written into the story and ongoing development of the zine. This sits alongside an anthropological text; a musing on the distinctive qualities of the human eye.
LogoArchive Issue 2 is a compact 16 pages printed by WithPrint on Colorplan Ebony 175gsm with a white ink. It also features a Colorplan Candy Pink 175gsm insert printed with black, bound with black staples. It is a small second step but has ambitions to grow into a compelling and accessible series.
An early release of LogoArchive #2 is available online from counter-print.co.uk from the 28/4, and then in-store and online at magCulture, MagmaBooks and Present & Correct in London, Standards Manual in New York, Beautiful Pages in Sydney and Lorem (not Ipsum) in Zurich. Issue 1 will have a limited re-issue available at the same time as the launch of Issue 1 and will be available exclusively at counter-print.co.uk.
National Theatre of Korea Repertory 2017/18 by Studio fnt
Posted: April 9, 2018 Filed under: Art and Design, Graphic Design Reviews, Uncategorized | Tags: Brand Identity Reviews, Branding & Packaging of 2018, Branding Blog, Branding Reviews, Design Blog, Design For Print, Design Opinion, Design Reviews, Designed by Studio fnt, Graphic Design, Graphic Design Blog, Poster Design, Reverse Stress, Serif Typography, Supergraphics, The Best Graphic Design Work of 2018, The Very Best of 2018, Theatre Programme, Type Play, Typography Comments Off on National Theatre of Korea Repertory 2017/18 by Studio fntOpinion by Richard Baird
The National Theater of Korea is the first nationally managed theatre in Asia. It is something of a brutalist building of textured and geometric concrete located in the neighbourhood of Jung-gu, South Korea. Each season it plays host to a broad and diverse contemporary art program of dance, music and performance, one-off events and festivals. To celebrate and announce the new season the theatre worked with Studio fnt to develop a campaign identity for 2017–18. This took the form of a bold typographic expression which links posters, large format banners and printed programs.
