Charged with creating a cohesive brand identity and to rationalise how its hierarchy should work and be communicated throughout the hotel and its various environments, Pearlfisher say that the new identity needed to connect people directly to the experience of the destination and its elements.
“The logotype has been drawn by hand,” says Sarah Butler, Pearlfisher’s deputy creative director. “This gives a personal touch to the logo that is core to the brand values: raw, energetic, elemental, imperfect and unique, and reflective of the North Cornish coastline.”
This hand drawn approach extends to a number of illustrations that appear on various materials, from menus and booklets to the do-not-disturb hangers and the hotel’s signage.
The idea is, explains Butler, that “the iconography brings out the warm character of the brand and its personable yet sophisticated personality. The illustrations are silhouettes of real life objects,” she continues. “They’re simple and realistic with a hand drawn outline to maintain the raw elemental style of the logotype.”
Pearlfisher also designed the identity, packaging and tone of voice for Another Place, the hotel’s exclusive range of handmade products including hand lotion, hand wash, shampoo, conditioner, body wash, salt scrub and massage oil.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here.
CR In print
In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham’s Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE’s identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic’s ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.
The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.
Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.