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Reviewed Nov. 18, 2016 by Armin

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Fun, mysterious, and serious… it’s all here, with work from Barcelona, Minneapolis, and London.

La Porca by Olga Capdevila

La Porca by Olga Capdevila

La Porca (the female pig) is a tapas bar in Barcelona specializing in pork dishes and featuring a charming pig as its mascot, created by local designer and illustrator Olga Capdevila. Paired with the chunky ITC Clearface, the pig pimps with equal delight desserts, beer, weekly dishes, and vegetables. The thick line drawings go great with the font and the single color approach gives it a vernacular aesthetic. The pig is accompanied by a wide range of other subjects, like chickens and fish, that add festiveness to the menu and welcome guests on a hand-drawn mural on the inside of the doors that swing open into the street. You do you, pig! See full project

Tenth Muse by Studio MPLS

Tenth Muse by Studio MPLS

Tenth Muse creates custom, personalized botanical fragrances from sustainably-sourced natural ingredients and has a new identity designed by Minneapolis, MN-based Studio MPLS that combines “clarity and beauty with intrigue and mystery”. I would say that description is extremely accurate as all the monograms and ornaments are beautiful but why they are shaped like keys or why there is a creepy bird is a mystery. Slight joking aside, this does have the flair of some kind of sexy magic potion brand if Harry Potter and Fifty Shades of Grey had a sophisticated baby. The dark green and copper color palette is rich and mysterious while the overall typography is elegant and upscale. Completely random way of closing this paragraph: I feel like the bird is giving me the stink eye. Get it? Stink? Perfume? See full project

The Old Vic by Pentagram

The Old Vic by Pentagram

The Old Vic is one of the most renown theaters in London with a legacy dating back 198 years. The theater’s new identity designed by London-based Pentagram partner Harry Pearce relies solely on Akzidenz Grotesk Bold Extended and uses size, color, and a stroke-only application to add diversity to the layouts. In general, stroke typography is hard to make look good but here, thanks to the large surface of Akzidenz Grotesk Bold Extended, there is enough room to let those strokes clearly define each letter and not get all filled in and smushed. The combination of fill and stroke type works great in the copy-heavy posters. Even on its own, as in the stationery, the logo has an old-world bluntness that looks as it belongs in Letters of Note. See full project

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