BPO


NAU by Design by Toko, Australia

Opinion by Richard Baird

Logo and business cards by Design by Toko for Cult's new contemporary furniture range NAU

NAU is a new Australian furniture brand created by the premium designer furniture and lighting retailer Cult, and features work by futurist designer Gavin Harris and Adam Goodrum, a designer that believes an object justifies its existence through story and detail. Design by Toko worked with Cult to develop name, and create a logo and brand identity for NAU that would extend across business cards, stationery, brochure, exhibition stand and website. This is inspired by and makes a connection with Australia’s unique and diverse landscapes through compelling photography by Brooke Holm, and using a broad but complimentary colour palette.

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BP&O Collections — Red In Branding

Selected by Richard Baird.

Red in branding, packaging and graphic design

A collection of some of the very best brand identity and graphic design projects that effectively utilise red, reviewed and published on BP&O. This post features work by Toko, Bond and Character, and covers simple logo and stationery projects, and extends to broader brand identity programmes. These play with large areas of red, red as highlight or a small conceptual accent, and includes four-colour reds, spot colours, dyed papers and boards. Be sure to click the images to read more about the project and the intentions of each design. Check out more colour collections here.

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Fabric of Onehunga by Richards Partners, New Zealand

Opinion by Richard Baird.

Brand identity and brochure by Richards Partners for Auckland residential development Fabric of Onehunga

Fabric is a residential property development project and new pocket neighbourhood within the area of Onehunga, one of Auckland’s oldest suburbs and a brownfield site of warehouses with a light industrial heritage. Developers Lamont and Co., alongside Colliers International, commissioned graphic design studio Richards Partners to create a brand identity for the development that would link brochures, specifications pack, website and a variety of print communications for the showroom.

Richards Partners’ concept reflects the architecture and surrounding context of Fabric, which takes its name from the historical use of the site as a clothing factory, through logotype connected by the thread-like qualities of hyphens, built up into a custom display typeface, and the material quality of uncoated dyed papers, fabric cover and blind deboss. This post was updated August 2017 with a bunch of new images.

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PizzaLuxe — Trinity Kitchen Leeds by The Touch Agency

Opinion by Richard Baird.

Print for PizzaLuxe designed by Touch and illustrated by Damien Weighill

PizzaLuxe began in 2011 as a single restaurant located on London’s Brick Lane hand making good-value, freshly baked pizzas using locally sourced, ‘deluxe’ ingredients. To coincide with an expansion into the Stratford’s Westfield Centre, the brand approached Edinburgh-based design studio The Touch Agency in 2013 to develop a new visual identity that would communicate their core values within a more ‘polished’ environment.

In 2014, The Touch Agency continued to expand on their original visual identity as PizzaLuxe opened its third location within the street-food themed space of Trinity Kitchen in Leeds, designing new menus, business cards, coasters, promotional cards and broadening illustration. To coincide with the launch of The Touch Agency’s new website, this post was updated August 2017 with brand new images.

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Maven by Design By Toko, Australia

Opinion by Richard Baird

Logo and business cards designed by Toko for architecture recruitment agency Maven

Maven is described by Design By Toko, the Sydney-based design studio behind its recent rebranding, as a top-tier architecture recruitment agency operating worldwide. Drawing on the built environment and with the intention of expressing the agency’s prominence within the architecture industry Toko developed a brand identity of simplicity and impact through bold solid form and single colour that links business cards, brochure and soon to launch website. This use of form and colour, its dominance across each touchpoint, establishes a strong continuity, yet is softened using lighter colour and over-print in its implementation across Maven Publishing’s Chasing the Sky, a book that showcases twenty of Australia’s leading women in architecture.

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