Dia writes: ‘Porter & Plot is an artisanal wine brand currently being launched by California based online retailer Club W. The Porter & Plot label is a series of high end wines from both France and the US. We created the logo, brand identity, and packaging for the new brand.’
Adelaide design firm, Parallax developed the identity for “H” Syrah. They used a beautiful mix of materials on the labels — textured paper mixed with a bright silver foil stamp. Pitch stands up to the precision of the foil stamp just as beautifully as it looks when printed in small type on the textured paper.
Parallax writes: ‘“H” Syrah by Henry’s Drive Vignerons represents a new way for Padthaway Shiraz. Changes in viticultural practice, careful fruit selection and new oak regime has produced a more savoury and elegant wine — a contemporary take on typically vibrant Padthaway Shiraz. The label represents the experimentation and journey to discover a new paradigm. Even before its official launch, “H” has made excellent inroads into both the domestic and USA markets.’
Calgary Society for Persons with Disabilities
Pitch in excellent use for the Annual Report for the Calgary Society for Persons with Disabilities, designed by WAX in Calgary, Canada.
A stunning student project by a supremely talented emergine designer Patrice Barnabé who writes: ‘Verdi is one of the most iconic movie theaters in Barcelona, and one of the few that screens movies in their original version.
‘The identity is based on the aesthetics of film scripts, using only a typewriter typeface (Pitch by Kris Sowersby). Quotes from the original screenplays are a way to promote Verdi’s independent approach to cinema.’
Kris Sowersby writes: ‘If there were a Venn diagram with two circles labelled “The Inspiration for a Typeface Design” and “The Ideal Use for a Typeface”, this project would sit squarely in the overlap.’
Vekst i det vanskelige
Designer, Catherine Griffiths, writes: ‘Vekst i det vanskelige (Growing in difficulty) is a 512-page book by Hanne Johnsen that focuses on the challenging life situations and childhood conditions faced by children and youth at risk in the Barents region, Russia.’
For four years Hanne Johnsen photographed and interviewed these children and young people, whom she got to know intimately as she observed them grow and develop. Through the conversations and recorded interviews with Johnsen, these children share their experiences and acquired knowledge of fear, violence, abuse and neglect, and their experience of development, coping, and hope.
The design and typography of the book weaves together (over four chapters in three typefaces) the different voices and layers of content: Johnsen’s photographic sequences interspersed with drawings made by the children; her observations and interviews with them; and 12 essays by those who have worked with and researched vulnerable children.’