the other day i received a new project and im so excited for it since its logotype designs and since today was my day off uni i went and did a few sketches for it along with watching the last airbender and having some milk and cookies because thats always a good snack
“Long known as one of Melbourne’s top Cafe’s, the owners of Operator 25 asked if we could revitalise the brand and the Cafe’s interior. Our new graphic treatment draws on the cords and connection holes from traditional telephone exchange switchboards.These foundation elements were streamlined into a pattern recurring across artwork and menus. “
Pop & Pac are a graphic design studio based in Melbourne, Australia. Their combined passion for all things design has seen them traverse the Australian and UK creative landscape for over 20 years. Along the way they have honed and enhanced their design and creative powers. With experience in agencies that include large international corporate branding giants and local boutique design superstars, their solutions are strategic and unparalleled due to their meticulous craft.
Goddamn, that’s a good logo. I watched the reveal trailer early this morning, and aside from thinking about how likely those folks are to lose or break their screens; or how glad I am that motion controls don’t look like they’re in the picture; or how it’s nice that this machine is kind of a throwback to the original Famicom in a lot of ways; all I could think about was how friggin’ awesome the Switch’s logo is. Honestly, it’s the best console logo since the Dreamcast or Gamecube.
1. It’s elegant and simple. A rounded square, cut in half – one side filled, one side empty. Add a high dot on the left side and a low dot on the right side, and it’s complete. Simple. Effective.
2. It uses the most iconic feature of the product to communicate its idea. “All right, we’ve got these two controller doohickeys-” “JoyCons.” “Okay, Jon, ‘JoyCons,’ and we slide them onto either side of the screen-” “That’s the console, Fred.” “Would you shut up, Jon. Jesus. I’m trying to figure out what stands out the most about this thing.” … The JoyCons take the controller layout that everyone’s more-or-less familiar with, and seem to use it to a rather unique effect; and, because of the way that they are split, they made the perfect subject for the logo. Moreover, with just a simple animation and sound effect, it was perfect for a clever motion graphic.
3. It alludes to something familiar. It’s no coincidence that one side is empty and one side filled. If we removed the red field and rendered the logo purely in black and white, it would look quite similar to a yin yang - which is surprisingly fitting when one considers what the Switch is. “Oh hey, you’ve got some console in your handheld.” “Oh hey, you’ve got some handheld in your console.” Provided everything I’ve been taught about the yin yang isn’t total bullplop, it’s a nice allusion to the machine’s duality. Seriously, if they release a version of the Switch featuring a black JoyCon L with a white stick and buttons, and a White JoyCon R with a black stick and buttons, I AM FUCKING SOLD.
I probably forgot about some reasons the logo is awesome, as it’s been some time between when I initially thought of this and when I actually had time to write it. I really like that logo. If I ever find out who designed it, and if I ever meet whomever designed it, that person is getting a handshake and a drink.
“One of Canada’s top chefs was re-launching his restaurant, from the space to the menus. A new identity was needed to tell his story. Inspired as much by +tongtong’s marriage of organic elements and contemporary materiality as by Chef Lee’s philosophy of cooking, the identity reflects the essence of what good food is about and the elements that come together to create a memorable dish. Imagery has a raw sensuality and sense of craft that mirrors Chef’s deep love of food, while texts give voice to his sense of playfulness and the restaurant’s spirit of conviviality.”
Blok is a design studio specializing in brand identities and experiences, packaging, exhibit design, installations and editorial design. Since 1998, they’ve been doing what they love, which is collaborating with thinkers and creators, companies and brands, from all over the world, taking on projects that blend cultural awareness, their love of art, and their belief in humanity to advance society and business alike.