I'm a graphic designer and writer in Northern Ireland. Welcome to my blog.
If you're interested in working together, visit my portfolio for a sample of brand identity projects.
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I was brought in to help Austrian cheese manufacturer Rupp with their “vision 2025.”
More info and images in the portfolio.
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I love the clean approach. I predict this design to be timeless and will not be needing any more refinement. This has been inspirational as always, David.
Keep up the good posts!
I second your notation Daniel, great work David as per usual! Love the typography and for me the one colour solution (portfolio) is truly a classic! Did you try it in red?
You removed the austrian flag from the ribbon. how did that go over? did you remove it because there was no value in showing country of provenience?
– the logo seems very big in contrast with the rather thin type. i.e. the new packaging read s “Rupp – Big Toast”, whereas I’m more accustomed to (and like it more) “Big Toast by Rupp” (like in the old packaging). Since in the dairy aisle, these are usually grouped, I’m first looking for any kind of Smoked Cheese, then the brand I like. Meaning, I first see the product with the biggest label, not biggest brand and might even choose to go for that one, unless I am already loyal. Was this a concious choice based on current consumers?
– you removed all callouts (e.g. “Fein Cremig”), which is great. Unfortunately, marketing consultants will hastily add them back in, wherever they feel it’s best. Did you supply guidelines for that case as well?
Hi Armin, most of Rupp’s exports are sold unbranded to private labels, so the provenience doesn’t take on as much importance as it might otherwise. At the same time, the stripes might’ve gone, but the basic form remains and the flag colours are still there. Plus it’s a little odd for the stripes shown only at either end instead of running the full width.
The packaging needed a hook to unify the range. Given the heritage of the name and the 40-year equity behind the design, the logo was an obvious choice.
Guidelines weren’t part of the brief. Rupp has an internal team who can do that, or they’ve also been partnered with an agency for 15 years. I was hired to bring an outside perspective.
Thanks Daniel, Irfan. The black-only design was just in case the need ever arose, but the graduated version would always come first.
Like most of your work it’s simple, clean and effective!
Great work, looks really good on the bowl.
I really like how you cleaned up the logo a bit and made it more smooth and modern. Also I liked the aspect of having hand drawn type.
I’ve been a long time follower and admirer of your work. This one, while a drastic improvement on the original, lacks the the thought and simplistic genius that flows consistently through your portfolio.
The ribbon looks like it was pulled off shutterstock. The gradients are harsh and look uninspired. The bright red edges vibrate on the muted green landscape behind it. The font used for Rupp is far to corporate to be displayed next to the the whimsical secondary font. Contrast like that can of course be a good thing but this one IMHO is far to disparate.
Whenever I do branding work I think: “would this meet D. Airey’s Standards?” and if not I go and rework things. If this were my project, I wouldn’t stamp done on it just yet.
In reply to Michael’s comment there — its a bit too easy to negatively critique work when you didn’t spend all the time sitting in on client briefs. Not saying your feedback isn’t valid, just saying parts of this are surely decisions made by a committee. While I usually am not a fan of strong gradients, sure seems that David did the best possible work within the constraints of the project.
I agree that at first the dimensional nature felt a bit weird to me, but it has really grown on me. Well-executed evolution. Great work.
Michael K, thanks for the compliment on the rest of my work. To give some extra insight, I presented two logo ideas to Rupp: a refinement (the one you see above), then a redesign (a stylised version of Josef Rupp’s signature).
The company used a scripted signature back in the 50s. I thought it could be a nice way to show the heritage and familial aspect by bringing it back, albeit a more legible version, and one based on Josef Rupp III’s signature (the current CEO).
The signature was a good option to show alongside the refinement.
Michael A, it’s one that grew on me, too. Thanks a lot for the comments, everyone.
Very friendly and inviting. That’s great work, David.
It’s clean, crisp and so inviting. It makes me feel I could just hop over (heading 2) into the mountains…! It’s absolutely ideal!
Wow, very clean typography and I love the pastoral scene. It’s both professional and inviting at the same time. Great job on the logo.
The logo update is great because you made a very recognizable update to the logo while not disconnecting the past mark from the current mark.
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