WIP
2026
Los
Companeros
2025
Los
Companeros
LOS COMPANEROS
Bee farm
Area
Branding
Type design
Los Companeros
Client
LOS COMPANEROS
Bee farm
Area
Branding
Type design
Los
Companeros
Client
Il progetto fotografico per la campagna ‘We Hate Summer’ dello shop di abbigliamento streetwear Outlaw mette in scena la nuova collezione autunno-inverno 2023, caratterizzata da colori vivaci e audaci. Le foto, scattate presso lo scenario suggestivo dell’Argentiera in Sardegna, contrastano l’estetica estiva con l’energia vibrante dei capi, celebrando l’arrivo della stagione fredda. Le immagini sono destinate poi ad essere utilizzate sui social, e alla creazione di un lookbook cartaceo al fine di pubblicizzare al meglio i prodotti e lo shop.
Pastoral landscapes, minimalist serif fonts, or stylized bee motifs: This branding project throws conventions out the window. The honey jar label becomes a canvas for raw typographic experimentation.
Pastoral landscapes, minimalist serif fonts, or stylized bee motifs: This branding project throws conventions out the window. The honey jar label becomes a canvas for raw typographic experimentation.
Pastoral landscapes, minimalist serif fonts, or stylized bee motifs: This branding project throws conventions out the window. The honey jar label becomes a canvas for raw typographic experimentation.
Pastoral landscapes, minimalist serif fonts, or stylized bee motifs: This branding project throws conventions out the window. The honey jar label becomes a canvas for raw typographic experimentation.
Credits:
Project: Red Whale studio
red whale
red whael
Credits:
Project: Red Whale studio
Type: RWC
Photo: RWC
The identity begins at the intersection of lettering and illustration. By pushing letterforms, distorting proportions, playing with rhythm and overlapping shapes. The logotype morphs into a dynamic, liquid composition. The name "los Companeros" and the lettering together develop a distinct graphic language on their own, inspired by mexican street food ahestetic.
The typographic system was tought from the start as part of the packaging design and not applied afterwards. This allowed the graphic research to move from a two-dimensional identity study into a real product context, where composition, colour and typography work together to create a cohesive visual experience.
By treating typography as the primary narrative engine, the project can be both visually loud and structurally disciplined; but more than that, the aim was to elevate the jar from a disposable container into a bold graphic object you’d proudly keep on display.
