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Klim / Pitch

Pitch

Porter & Plot

Pitch in use in the identity programme for artisanal wine maker Porter & Plot

Pitch in use in Dia’s identity programme for Porter & Plot wines.

Pitch is rolled out seamlessly across all applications from the lables to the web

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.’

We are fans of this good-looking, minimal approach

H Syrah

Pitch in use for “H” Syrah by Parallax Design

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

The annual report uses a stunning & simple binding — a single staple in the center of the AR

Pitch in excellent use for the Annual Report for the Calgary Society for Persons with Disabilities, designed by WAX in Calgary, Canada.

It’s always exciting to see design that’s as visually powerful as it is poignant

Verdi identity

Pitch in use for the Verdi identity by Patrice Barnabé in Barcelona

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

‘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: ‘It’s a rare thing for concept and execution to be so perfectly aligned’

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

Pitch & Founders Grotesk in use for ‘Vekst i det vanskelige’ by Catherine Griffiths

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.’

One of 12 essays in the book, typeset in Pitch with accents set in Founders Grotesk

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.

A selection of spreads from the book

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.’

The index is typeset in Founders with Pitch marking the chapters
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