Simple, elegant circle device used to great effect for Finca Cucó wines. Designed by Atipus, Barcelona.
The “cucó” is an architectural piece typical of the Priorat region. It is a stone cottage with a small entrance (in the form of an “o”), located on the cultivated land. This cottage was used as a refuge in bad weather, and also as a place to rest when the farmer have to travel between their lands.
The Grogger Team were fortunate enough to spend a delicious evening with charming, knowledgeable and beautiful restaurant manager of Trinity, enjoying superb food and excellent wines. Ever mindful of Grogger’s keen eye for design, we were delighted to sample the Peite Salé (French for ‘salted pork’!?) produced by Raimond de Villeneuve of Chateau de Roquefort in Provence, France.
Chunky, retro, eccentric typography with a gold embossing over the top, it’s right up our street. And the wine, fresh, lively, perfect summer drinking. Check out the who range of labels, as well as other designs for the likes of Niepoort Ports, from Alessandri Design, Austria.
Thanks to Trinity for eight faultless courses and perfect wines to match.
Earlier today, the Grogger Team managed to sneak off proper work for a quick tour of the Natural Wine Fair at Borough Market to view the wares of many knitted-sweatered Frenchies. We didn’t get much time to sample the wines, but the bottles on show generally conformed to the typical style of organic/biodynamic design: earth tones, recycled paper, folky illustration, biodegradable corks made from reclaimed pubic hair, etc.
Grogger has long been a fan of biodynamic wines (the principles are crazy, but the wines are darn tasty) but there’s a tricky line between reflecting your wine’s Earth Mother credentials, whilst still acknowledging that wine is essentially a luxury product that should appeal to those outside the Birkenstock bubble. We managed to photograph a few our our favourite designs; charming, natural, but not too beardy…
Our favourite was this simple, cutout crescent moon label…
It seem as though David was commissioned to develop a fresh look for the ailing (now dead!) wine chain, but his work was never used. As he explains:
The demise of Oddbins is sad but a rebrand may not have saved them – given the way most people buy wine today. The business models have changed, but Oddbins didn’t, and it’s probably just another high street sector that the Tesco juggernaut has killed off.
My main problem with the Oddbins approach is that they focused on an existing/ageing market base and forgot that as their customers got older, they might want to think about attracting new ones.
I could go on in detail about what we proposed to re-awaken the brand and give it renewed vigour (which all fell on deaf ears). And I seriously doubt we were the first to try (and fail).
The most obvious creative suggestion was to renew the personality injected by Gerald Scarfe, and we proposed several quality illustrators to pick up where he left off… Sanna Annukka to name one (this was three years ago).
But the owner didn’t see a problem, didn’t ‘get-it’ and was happy with the existing bland culture, so there was no appetite to move forward and the rest is history. Perhaps it was our failure also for not getting these points across.
We love what David had done for the brand. Simple, bold and with a sense of humour befitting of Oddbins. It’s uncomplicated, but still retains the hand-drawn hotch-potch aesthetic that many of us who worked at Oddbins remember from handwriting tasting notes and painting windows. See more of the project on David’s website here.
When Les Mason passed away in Istanbul in October 2009, aged 85, he was attending an AGI Conference, his fervour for design and thirst for knowledge undiminished. An imposing individual both intellectually and physically, the American-born Mason is widely regarded as Australian graphic design’s most significant figure. Feared and admired by colleagues and clients alike for his candour and unbending approach, Mason cut a swathe through an industry inhibited by British manners when he arrived in Melbourne from California at the start of the 1960s.
After a brief period with ad agency USP Benson, he set up Les Mason Graphic Design in 1962. The studio flourished and he quickly acquired high-profile clients and a stream of award-winning projects, but it was his long stint as art director of Epicurean, Australia’s first food and wine magazine, that many regard as his defining work.
Designed by Dominic Hofstede, Les Mason: Epicurean Magazine 1966 – 1979 is a beautiful limited edition publication featuring color reproductions of covers and a selection of internal spreads from the 77 issues of Epicurean Magazine that he served as creative director.
Find out more out the limited edition book here. Thanks to Alan for the find.