Freswich
What to name a brand of sandwiches that stand out for the freshness of their ingredients? “FRESWICH”. It’s fairly obvious, but we mustn’t forget that it’s often the most obvious things that work best, and when it comes to the difficult art of naming products, this is a golden rule. This very desire to be straightforward and simple led us to create a logo in which the word “freswich” (written in lower case, true to the humble simplicity of a mere sandwich) appears in parenthesis as an obvious representation of the parenthesis formed by the slices of bread that make a sandwich, and also the parenthesis in time involved in stopping what you’re doing to enjoy a bite. The symbolic image of the main ingredient is realised in a single colour on the background (white for the basic range, beige for the vegan, and black for the “chef” range) in a way that helps identify each variety and, additionally, leaves the front of the pack uncluttered, emphasising the clear window through which the sandwich reveals its contents.
Luxury Skin Cells
The main goals were:
-Creating an image with its own personality, consistent with the product quality standards and the “Luxury Skin Cells” range concept.
-Conveying these attributes: elegance, sophistication, gentleness, exclusivity.
Usually finishes like stamping, embossing, shine and metallic finishes, and so on, are different resources added to the design in order to add premiumness to the product look. Here the idea was to use all those finishing resources as the design and layout key elements . On the one hand, an organic metallic shape which evokes the idea of cells and that transforms on each box to personalise each of the products. On the other hand, the text is blind embossed without ink, giving the “cells” the maximum focal point of the design. The jar has been designed with colours and forms in harmony with the range.
Marina Alta
The brief was comprehensive: to design a new bottle and new graphics for Bodegas Bocopa’s best-known and best-selling wine. Accordingly, it had to maintain a certain connection with the previous design. With regard to the bottle, one fundamental requirement was to reduce the weight of the glass to under 600 g (in some countries the wine is exported to, bottles heavier than this are not allowed or are taxed for environmental reasons), and the other was to maintain the height and style of the previous bottle: Rhine-like, narrow (unlike those for Burgundy) and without shoulders (as opposed to those for Bordeaux).
To achieve a lightweight bottle, highly original or disruptive forms must be avoided, since these types of shapes, generally asymmetrical or with irregular surfaces, featuring drawings or engravings on the bottle itself, require a greater amount of glass and make it impossible to reduce the weight (the proposed design weighs less than 540 g). It is in the proportions and the harmonious outlines of the curve and counter-curve forming the transition from the trunk to the neck where the elegance of the bottle’s shape is found, differentiating it from other Rhine-style bottles.
The graphics begin on the capsule with a striped pattern that gives it a nautical feel, then continue with a bas-relief anchor on the glass of the bottle and conclude with a narrow label with curved upper and lower edges, suggesting the sails of a ship or the waves of the sea. A bold and powerful sans-serif typeface counterbalances the soft lines of the bottle and label and makes the brand, which is already very successful in the market, the focus of attention.
Freswich
What to name a brand of sandwiches that stand out for the freshness of their ingredients? “FRESWICH”. It’s fairly obvious, but we mustn’t forget that it’s often the most obvious things that work best, and when it comes to the difficult art of naming products, this is a golden rule. This very desire to be straightforward and simple led us to create a logo in which the word “freswich” (written in lower case, true to the humble simplicity of a mere sandwich) appears in parenthesis as an obvious representation of the parenthesis formed by the slices of bread that make a sandwich, and also the parenthesis in time involved in stopping what you’re doing to enjoy a bite. The symbolic image of the main ingredient is realised in a single colour on the background (white for the basic range, beige for the vegan, and black for the “chef” range) in a way that helps identify each variety and, additionally, leaves the front of the pack uncluttered, emphasising the clear window through which the sandwich reveals its contents.
Zara Fragrances
They requested a unisex container, with a touch of colour in the glass, which could be customised to make special editions. It is a fragrance for a young target, and the brief insisted on it being ‘minimal’. We designed this cylindrical bottle, an elementary form, with two indented areas into which two opaque pieces fit, dividing the bottle into four parts: two transparent, and two coloured sections that can be swapped for different versions. The lid, also cylindrical, is an extension of the body and is in the same colour.
Random
There are two key characteristics for street furniture components: utility and integration. The utility of this fence is to protect specific landscaped areas from being walked on or occupied by dogs; thus, it has to meet some basic requirements in terms of its height and the size of the openings. However, there is another functional aspect that interested us, one affecting the manufacturing and installation processes. To simplify them, we designed the fence as a series of modules that are installed with gaps between them, so it can be adapted perfectly to the measurements of the area to be fenced without the need for onsite welding or creating custom pieces, offering, in addition, the variety provided by a multitude of possible combinations.
The integration of the fence into the city environment was something that concerned us a greatly because we understand that these elements have to be designed to fit into any urban setting without dominating, but instead harmonising with the surrounding architecture, taking into account the plethora of metal handrails, guardrails or balustrades in many different styles that are found in any street. We decided on a simple design, discreet, with straight lines, in order to achieve this integration, but having more appeal than the classic, boring, barred railings repeated ad infinitum. As the modules have slight differences between them, they allow fences to be created without repetition, but with a certain rhythm and flow of their own.
The play of vertical and oblique lines of this fence produces a sensation of movement as the observer moves forwards, while the narrow profile of the bars renders it almost invisible when viewed from a distance, where its presence as a barrier is unnecessary.