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Projects
Chocolate Amatller Brand
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Chocolate Amatller Brand

The brand CHOCOLATE AMATLLER appears throughout its extensive history in a multitude of different forms. Unlike the current orthodoxy, the brand identity was limited to its name and was not necessarily linked to a unique visual representation. Each artist made their own brand logo, designing it according to their own creative style, whether it was meant for the packaging of a product, a poster or a calendar.

The option we adopted was extracted from a poster celebrating the brand’s centennial, work of the most famous Art Nouveau illustrator, Czech Alphonse Mucha. The decision to add "Barcelona 1797" as the brand subtitle reveals its origins and projects a unique, distinctive and very pertinent profile. On the one hand, it claims the little known role of Barcelona as the pioneer European city in the chocolate mechanization process, an event that happened just before AMATLLER was founded. On the other hand, the perception of the Barcelona brand reinforces and gives international projection to the obvious affinity of their values. CHOCOLATE AMATLLER like Casa Amatller, its owners’ famous Modernist building on Passeig de Gràcia, reflects their history and a genuine Barcelona character.

This execution is part of the global project CHOCOLATE AMATLLER.


Amatller, Brand

Baldo and Kimba, pet food brands
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Baldo and Kimba, pet food brands

A redesign of the visual identity of the Baldo and Kimba brands dedicated to pet food and associated products, aimed at dogs and cats respectively.

The packaging redesign project also addressed the identity of the Baldo brand. The reproduction of specific calligraphy, with the fluidity of the handwriting, gives it a friendly and familiar feeling. The predominating structure on the packaging of the products - the blue circle including the rest of the text - contrasts in its formality with the reproduction of the trademark, which stands out despite its moderate size. A work carried out in parallel with the Kimba cat food brand.


Baldo / Kimba, Brand

Balliu Brand
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Balliu Brand

Brand updating maintaining its main traits, its distinguishing circle and its tall "ll", but improving the brand legibility through adjustments in typography, size and space between letters.


Balliu, Brand

Castey Brand
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Castey Brand

An update of the CASTEY brand, the Spanish leader in cast iron cookware. An inverse colour version was made in corporate yellow, offering superior legibility on black, which is the most frequent background in the brand’s communication materials.

The new brand baseline "Hi-Quality for Hi-Cooking" was included. The brand application manual was also developed to establish clear usage rules.


Castey, Brand

GoldenBridge brand
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GoldenBridge brand

As shown by the packaging productions, the breadth of the cereal ranges behind the GoldenBridge brand name reveals the great variety of consumers and reasons for consuming one product or another. This means that the design must give each option a different profile and that it is vital to highlight the descriptions and be able to recognise each product from a photographic still-life that is attractive and has impact.

The whole affects the visual prominence of the common brand to a greater or lesser degree. GoldenBridge’s prior visual identity was thus a striking red shape with the name and a white suspension bridge inside it (see image 3). There was no problem with rethinking the brand so that it would not clash with what was considered a priority - giving each range its own profile. For a confidence-inspiring and more discreet brand role, we chose a neutral and contemporary typography, dispensing with rootless symbolism. The only value to be considered was already incorporated into the brand - the international nature of the English name that refers to the foreign origin of this product category.


GoldenBridge, Brand

La Granja Brand
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La Granja Brand

The graphic identity of the La Granja brand had not changed since the founding of the firm 50 years previously. Apart from the fact that its look corresponded to the brands of the time, which still had its charm (see image 3), the most important thing was a long-term presence which was not worth interrupting with too radical a change.

In these cases, the guideline consists of retaining the essence and polishing the brushstrokes so that, by staying faithful to a style and a time, the brand’s validity does not suffer. In the original graphics there were visual imbalances that were corrected using a calligraphic lifting, while using extra elements that gave it a rather outmoded and little qualitative air. The result maintains the familiar and friendly character of the original, very suitable for a food product in this category, adding greater fluidity and balance in the writing.


La Granja, Brand

Mas Pere Brand
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Mas Pere Brand

One of the requirements in the briefing for redesigning the Mas Pere brand was to maintain the shield that appears above the name. As a symbol, the shield combines a reference to a certain origin - e.g. family or geographic - and an appeal to a current value from the past, tradition.

In the international markets in which the brand operates, the association between “cava product” and being a “traditional production in Catalonia” was possibly not as evident as in this our country. In this regard, the presence of the Catalan shield was informative, although as a concept it does not provide any exclusiveness within the scope of mostly Catalan cava brands.

To give the presence of the shield on the label more significance we proposed associating it with the Latin motto “Vitis Cataloniae” (see image 2). As well as making it easy to identify the shield’s origin, this gave rise to explaining, for an audience not familiar with the subject, another highly outstanding feature of the cava - that by preference it uses indigenous grape varieties. From the graphic viewpoint, the text of the legend completes the ensemble presided over by a shield now dignified and more credible, flanked by two griffins (a legendary creature half eagle half lion) with ornamentation that reflects a real historic representation.

For the name, we chose a typography whose modern simplicity draws from classical sources, in a balance that reconciles today’s validity with the symbolism of yesterday.


Mas Pere, Brand

Möller For Man Brand
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Möller For Man Brand

Möller For Man is the brand that assembles the men’s cosmetics products, in parallel with the women’s line, under the brand name Anne Möller. The general revision of the design of its identity was based on extending and deepening the brand’s internationalisation and opting to capitalise on the impact of its presence on the most essential aspect, that of finding the greatest functional effectiveness in simplicity.

The previous visualisation of the brand was complex (see image 2). It maintained the explanatory base-line “Traitement Suisse” which was almost illegible and made the applications of the brand difficult. In addition, using French as the corporate language made the “Pour Homme” of the third line aimed at the male target audience less understandable in certain markets. In short, “Möller For Man” became the brand name, using a new, clear and timeless typography, with the technological touch that the consumer’s perception correctly attributes to the brand. A brand that is now less conventional and rigid, having abandoned the central positioning and having been arranged in two lines aligned to the left and with identical letter heights.


Möller For Man, Brand

Pastoret Brand
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Pastoret Brand

When the name and graphics of a brand transmit a large amount of information about it, it must be ensured that the profile that creates its perception in the mind of the consumer is completely coherent with the positioning objectives. Otherwise communicating a great deal is dysfunctional.

This was the situation that arose with the long brand name “El Pastoret de la Segarra” (see image 2) which appeared associated with a naïve illustration of the person in question, a little shepherd. Complex and clumsy at the same time, overall the brand name evoked perceptions that in no way fitted the reality of the brand and even less what it wanted to be in the future.

The most relevant connotations that the logo put over, such as freshness and naturalness, were expressed from the packaging, thus lightening the overload of communication from the brand name. Here the decision to opt for an exclusively typographic brand name was vital, discarding any illustration which, whether through what it expressed or due to the style in which it was done, could polarise tastes and lose validity over time.

The brand bane was shortened by routinely using: “Pastoret”. Two of the brand’s original credentials were used alongside it: “La Segarra”, the agricultural and livestock region where it comes from, and “Familia Pont” which relates to the company’s family and artisan roots, as well as the personal commitment of those in charge to always offer high quality.


Pastoret, Global Project, Brand

Simón Coll Brand
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Simón Coll Brand

Over 170 years the brand's visual identity had gone through all kinds of evolutions and regressions. The previous design consisted of the name in an italic typography with script capitals, which was not perfectly legible. The brand name was sometimes associated with an old illustration of a sailboat. This sailboat, in a rather coarse drawing and often just a sketch, was evocative of the Atlantic voyage raw materials like cocoa had to take in the 19th century.

The traditional and expert dimensions of the brand were values that could be enhanced in order to convey a higher perception of quality. But basically because they correspond to a bare fact to be capitalized on: the company continues to produce chocolate using to its own traditional methods, importing cocoa beans and roasting them in a unique way that gives its chocolate special flavour. The sailboat stood for this continuity. SIMÓN COLL had to appear, as was its right, as a genuine chocolate maker and this is expressed through the description "Xocolaters" in the brand's base line. The use of Catalan reveals the brand roots as well.

Changing the typography to capitals recovered the original style of the brand and greatly improved legibility. The cleaner and more important presence of the brand allowed us to add elements showing its values and to include a new version of the SIMÓN COLL sailboat illustration as a watermark.

This execution is part of the global project SIMÓN COLL.


Simón Coll, Brand

Chocolate Bars Mould
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Chocolate Bars Mould

Having updated the brand and the design in the wrappers of Simón Coll chocolate bars, the task remained of personalising the bars themselves, which had been anonymous up to that point. In addition to this first aim, changing the mould of a chocolate bar involved adjusting the portion of consumption, although we had to maintain its overall dimensions and total weight.

This was therefore compensated according to the thicknesses and the reliefs in the chocolate, aspects which would be defined by the volumetric design of the bar. Being very easy to shape, the fine granulometry of our chocolate enabled very delicate lines to be reproduced in the mould. The new design of the bar identifies the surface of each portion with the brand, while the depth of the groove that surrounds it makes it easy to break off.


Simón Coll, Brand

Via Avgvsta Brand

Via Avgvsta Brand

The reproduction of an authentic Roman coin was chosen from among different options as the symbol to be associated with the brand: an aureus with the effigy of Emperor Augustus, promoter of the VIA AVGVSTA in the 1st century BC and from whom it got its name.

The descriptive line "Gourmet Foods From Spain" describes the defined Brand Territory: a product range with different categories of high quality Spanish food products.

This execution is part of the global project VIA AVGVSTA.
http://www.via-avgvsta.es


Via Avgvsta, Brand

Viar Brand
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Viar Brand

The Viar brand has a traditional family profile, having existed for 70 years specialising in the production of all types of nougat with a great reputation for quality among those in the know. Despite this, in its latest stage the brand was represented with an appearance in line with the most conventional and undifferentiated code of food consumption. The name of the brand, in a standard italic typeface and with an ostentatious initial “V”, was situated circumscribed in the recurrent red oval shape, an archetype of impact and dynamism.

In the redesign, we chose to create a specific calligraphy for the brand which preserves and more intensely reflects the most relevant features of its profile, such as its artisan nature and its painstaking quality. The stationary applications have also been produced for the new corporate identity.


Viar, Brand

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