Campsite is a New York based design blog and studio run by visual designer Max Ritt.
St. Paul based design Joe Anderson aka Hip Street created this lively and appropriately tarnished branding for Mugly Coffee Roasters. The parts of the project which grabbed my attention were the smart poppy color palette and the unique custom type work. Distressed and vintage looking type can often look as though it is trying to hard. Where those examples fail Anderson succeeds by using a medley of fonts textures intertwined with some peculiar illustrative elements.
(via Design Work Life »)
New York based design studio Mother recently designed a beautiful set of printed materials and ephemera for the opening of the new Maison Gerard gallery in Manhattan. The designs sport the classic brand elements and sensibility of Maison Gerard while also displaying a more modern refined look.
Hub Concierge is a service allowing guests at small boutique hotels to access relevant information about the city including restaurant recommendations, shops and more. The branding idencity, icon design and visual design for the app and website was done by Toronto-based Michael Mavian.
(via Design Work Life »)
Anderson Design Group was approached by architect/farmer Michael Rahal with the awesome and unique opportunity to create the brand and packaging for Rahal Farms. The resulting designs are a full dose of classic typography and imagery offset with a modern and engaging style and color palette. Were I to happen into Fernvale, Tennessee I would definitely stop off to check out Rahal Farms. There are some great sketches which provide insight into the process behind their work after the jump. A well deserved hat tip to Anderson Design Group for this one.
(via Design Work Life »)
I have admired the work of Anagrama for quite a while now, and their recent branding for La Fabrica del Taco is no exception. The work is colorful, poppy, and modern. However through the color palette and typographic references they have made, especially through the hand drawn script for the logo Fabrica is instilled with a very classic aesthetic as well.
(via The Fox Is Black »)
Jesse Campbell’s subtle and clean branding and collateral designs for the restaurant Corso 32 really caught my eye. Nice attention to detail and use of materials. I especially like the logo in the etched glass, and carved into the wooden serving board.
(via Design Work Life »)
There is a new little sandwich shop in Cobble Hill sporting a nice clean branding. The identity and custom typeface was created for Van Horn sandwich shop by Michael Freimuth. I particularly love the custom typeface called Sans Horn, which is a super clean rounded sans serif with both regular and lite widths. The great photographs here showing the shop and some of the ephemera were shot by Bob Martus.
I have wanted to bring some plant life into my studio for quite a while, but being the obsessively organized minimalist that I am it has been difficult to find a solution that fits my requirements. Mosser is a small(desk size) terrarium, with a beautiful round clump of moss. Self sustaining, it only needs a spritz of filtered water ever 2 weeks. The power duo Jennica Johnstone and Noah Atkinson of CoLabs. The branding and packaging also deserves a great amount admiration, as I know with a little less care the simple moss ball would remain exactly that.
(via iso50 »)
Admittedly I have not had the opportunity to taste the liquid gold of Austin East Ciders, but I do have to say the brand and packaging designs are amazing. East Cider’s amazing design is thanks to Austin logo design powerhouse Simon Walker.
(via Design Envy »)
Italian confection maker Sabadì recently got a brand makeover and update to their packaging. Happy Centro took the standard approach to communicate the companies values and product through the brand they developed. Sabadì has focused on creating “eatables that have a magic inside”. The designers took those magic ingredients and created fun characters of them to adorn each different package.
I absolutely detest going into the pharmacy, and it has to do with a very American problem. They all have the same cheapo carpeting and terrible lighting. Swedish pharmacy chain Vårdapoteket is an experience right up there with visiting Moma, or a brand new Muji store. Their new branding(by Stockholm Design Lab) features the human body and anatomy in an upbeat color palette as design elements and patterns, which create a fun approachable retail environment.
Some fabulous branding and interface design by the always impressive Hyperakt. Commissioned by WNYC’s Studio 360 to rebrand teachers, Hyperakt has truly redefined the image of teachers as what they are. The stewards of our future, and the creators of change. I truly love all the connect the dots elements from the typography it is used to create to the fun little icons.
(via NOTCOT »)
Currently I am sitting at my desk infatuated with the brand identity and retail space for the Baker D. Chirico an artisan bakery with a handful of locations in and around Melbourne, Australia. The branding and collateral work was all done by Fabio Ongarato Design, and the as far as I can gather the store interior was designed by March Studio. There is a wonderful juxtaposition happening between classic and collage elements, and modern components such as the organic undulating skeletal shelving which doubles as design and product display.
(via Design Work Life »)
To emphasize their new product line of 100% organic and self harvested canned goods Fruita Blanch has paired up with Barcelona based Atipus to create an new identity and packaging system. The resulting labels are of a single universal size, meant to fit any jar size without obscuring the contents, which are the most delectable part.
Seeing a branding project in a portfolio can often be pretty bland. But when it is accompanied by something such as a sketch or photograph capturing their process or mode of creating the finished identity it adds so much more value and power to the work. I am definitely not trying to devalue powerful and creative logo and identity work, but for creatives I think it is just more interesting to know where they started or how they go to their solution. Like a mechanic or a computer engineer we want to see under the hood. Ideas don’t have moving parts, but there are things that make them tick, and those little components are never seen again after the final product is polished vectorized and set in the correct PMS color.
The logo here was designed by Emily Kane was designed for a group she helped found during her masters studies in graphic design. The group’s goal is to promote the current ambitions for our space programs through creative and visual means.
(via Identity Designed »)
Normally when I find myself in a wine shop I tend to be more trusting of wines, which have a classic timeless design. Labels that feel like they could have been the same for nearly 100 years. But every once in a while I come across a vibrant modern design that makes me rethink that. This branding for Urban Wineworks by the extremely talented Foundry Collective is a perfect example of this. Their design rethinks what parts and faces of a label need to accomplish specific tasks. Instead of sticking to any existing label convention they have turned this label in to a simple organized puzzle of rectangles containing type, graphic or texture.
(via Design Work Life »)
I am really wishing I could get my hands on some of these John & John potato crisps. Since they are based in the UK and only seem to export to Germany that appears out of reach. I have to imagine how amazing they must be since I am definitely the kind of guy who would just a book by it’s cover, or a edible item by it’s packaging. Design for their beautiful product line and website is rumored, but not confirmed to have been done by Peter Schmidt Group.
Bill Hovard recently led his team at Hovard Design in the design of an identity for Eastfield Village. Eastfield is the lifelong project of Don Carpentier, which exists as an 18th Century village in upstate New York. Many buildings and structures on the brink of extinction were transported to Carpentier’s property and recomposed into a looking glass into another time. The identity itself uses raw materials like craft paper and burlap, as well as period printing techniques including letterpress and rubber stamp.
(via Design Work Life »)
Personal projects come in all shapes, sizes, and mediums, but Branding 10,000 Lakes sounds and is badass through and through. Minnesota designer Nicole Meyer has undertaking a gigantic, 27 year long side project, which is to design a logo for a lake a day of which there are ten thousand in Minnesota. The beauty here folks is that you aren’t going to have to wait nearly 3 decades to see this collection of gems because Nicole has already been cracking and has designed up a whole bunch of amazing logos so far.
(via Pitch Design Union »)
This is one of those self initiated projects that cuts through all the client less clouds and kicks serious ass. Designer Christopher David Ryan created this logo for the nice broad mock client Hip Hop. He really nails it with the layering of the two component words, and the execution is all there. The letters just meld together into an unbreakable type mark.
(via Typeverything »)
