Bedow

New work! Book design for Jenny Källman

Ghost Hunting is the fifth and most comprehensive publication from Swedish artist Jenny Källman. Källman’s work is rooted in an analogue photographic tradition but with an unmistakable constant curiosity about the specific characteristics of the photographic medium. Ghost Hunting contains photographs, stills from film and installation images from Källman’s over 20 years of artistry.

Mirrors, shadows, and reflections are common themes in the works of Jenny Källman. These recurring themes are interpreted visually using mirrored titles and text fragments which can be read with the help of the mirror insert on the flap of the front cover.

Published by and the Swedish Association for Art Texts by Masha Taavoniku and Sara Walker. Printed in an edition of 3,300 copies, of which 50 bibliophile copies have a mirror mounted on the flap of the front cover. Stitched paperback, 264 pages, 230×280 mm.

Vårt senaste förpackningsprojekt "A Lovely Atmosphere" vann Månadens design i Resumé!

”En väldigt vacker liten låda” vinner årets sista omgång av Månadens design Pappersmatrjosjkan från GBGT Box vann juryns hjärtan direkt och förde tankarna till finsnickeri och större hållbarhetsfrågor.

We are looking for a freelance 3D🔥Artist to create photorealistic product renders. Please share! ❤️

Packaging design for

'A Lovely Atmosphere' consists of five different boxes, with each box telling a story and offering a visual interpretation of the five layers of the Earth's atmosphere. The title of the outmost box is typed with an anamorphic perspective to visualise the gravitational loss that occurs in the final layer of the atmosphere – the exosphere.

When opening the box, the tray unfolds to reveal the next layer of the atmosphere. The boxes’ trays are made of coloured board. Each box has a seamless cubic shape thanks to precision slicing, a technology GBGT Box has spent years perfecting.

Inside the final box lies a precious gift, a Ginkgo seed, which recipients can plant to contribute to a lovely atmosphere.

Resumé skriver om vårt nya förpackningssamarbete med GBGT Box

Designprojekt påminner om förpackningars påverkan på klimatet En matrjosjka, eller rysk docka, har inspirerat Bedows projekt där förpackningsdesign ska påminna om påfrestningarna som tillverkningen av förpackningar har på planeten.

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Packaging design archive

Biggans, 2016

Family-owned food brand Biggans have been serving fish paste to Swedes since 1952, but needed to reach a new, younger group of consumers. Böcklingpastej is a popular staple, but is traditionally consumed by older generations.

It may seem strange to anyone outside of Sweden, but Biggans is one of several smoked herring fish pastes available in Scandinavian supermarkets. As a result, the packaging refresh needed to make the product stand out on crowded shelves as well as appeal to a younger audience.

Biggans needed the packaging of its böcklingpastej redesigned for the retail market, including metallic tubes and cardboard packaging used in displays. An unusual product demanded an unusual approach, and the final concept was built on the tagline, ‘a box full of ocean.’

Biggans’ tubes of böcklingpastej were transformed into a shoal of herring by printing a single layer of blue ink onto their silvery aluminium surface, giving the packaging the appearance of fish scales. As the tubes are removed from their cardboard box and sold, they reveal a set of oceanic illustrations and eventually, once empty, an idealised ocean floor.

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Packaging design archive

Monachus, 2020

The tiny Monachus distillery sits at the tip of Croatia’s Istria peninsula, where the land dips into the shimmering Adriatic sea. The gin takes its botanicals from the hillsides here, and borrows its name from Monachus Monachus, the endangered Mediterranean monk seal that used to live on these shores.

You often find that small, independent distilleries have a unique connection to the landscape around them. A sip of Monachus should transport you – however briefly – to the salt-flecked, pine-scented coastline of Istria.

Every aspect of Monachus gin is defined by its sense of place. Inspired by the natural history of Istria and the Adriatic sea, we drew on the elements that make this place unique: not just the monk seal, but the salt, sea, wind, stone, and pine. And to reflect the craft and care of a small-batch gin, we put hand-crafted elements at the heart of the branding.

The logomark is a seal tumbling in the waves, stamped by hand onto each bottle. The labels take one of five shapes: the Bora wind, the waves, the salt in sea and air, a pebble from the shore, and a pine cone from the hills. And the packaging is plastic-free, to match the distillery’s ethos.

Packaging design archive

Coop, 2021

Coop Sweden was founded in 1899 as a member-owned cooperative and over the last century has grown into one of the nation’s largest retailers, operating close to 1,000 stores across the country. Like all grocers of this size, Coop offers a vast range of products at numerous different price points, from international staples by global brands to its own range of branded products — including several lines of pastas and sauces.

With so many different products on offer in Coop’s stores, it’s essential that each range has its own distinct personality. This makes the retail experience smoother for customers and ensures that Coop’s own products can compete with other brands. For this range of Italian pastas and sauces it was vital that the packaging was bold and modern to stand out on the shelves, and that all of the design elements paired well with Coop’s corporate brand guidelines.

Not just the home of pasta, Italy is the birthplace of one of history’s most celebrated mathematicians and geometrists, Leonardo Bonacci, or Fibonacci. He discovered a numerical sequence closely related to the “golden ratio”, a value found widely in nature that was believed to create geometric harmony by the artists of the enlightenment.

Our approach to Coop’s pasta range was to apply the golden ratio liberally to all items of packaging using a modular grid system in which Fibonnacci’s harmonious proportions take the form of coloured blocks in a vibrant modern palette. On top of this sits Coop’s own brand typeface interspersed with a set of numerals to resemble pasta and a range of mono linear illustrations that bring the raw ingredients of the product to life.

Packaging design archive

Essem Design, 2017

A Swedish manufacturer of artisanal products for hallway interiors, Essem takes aesthetic inspiration from the functionalist era of the 1930’s, a prolific and innovative time for Scandinavian product design.

Essem is very serious about hallways indeed, believing that “the hallway is the architect’s way of saying hello and goodbye.” It is not only a functional room, but also a space that creates a first and last impression. This high regard for hallways was the cornerstone of their packaging design.

The packaging design for Essem’s hat and shoe racks is tied together by simple abstract illustrations of each product accompanied by a scaled up product name in Futura typeface. This same simplicity and focus on heritage carries over to the natural cardboard used in packaging materials and the monochrome palette throughout.

Packaging design archive

iNature Skincare, 2013

Australian cosmetics brand iNature creates natural skincare made with as few ingredients as possible and free from parabens, artificial colours and fragrances. Its range focusses on keeping skin hydrated.

iNature produce three products at different levels of hydration — Hydrate, Nourish and Repair — all of which are made from Calendula officinalis, a type of European marigold long used in traditional medicine for its healing properties. The Calendula used in iNature is grown exclusively on its Australian plantations.

Calendula officinalis is the key ingredient in all iNature’s products due to its capacity to keep skin hydrated. The flower and its hydrating properties became the visual devices by which to define the brand.

The iNature logo mark depicts a calendula flower with its petals transformed into droplets of water and its monochrome packaging features one, two or three stylised droplets, in yellow, orange and red watercolour. The combined effect of these elements clearly symbolises the hydrating properties of the brand’s products.

Packaging design archive

St Erhard, 2018

German craft brewery St Erhard is located in the Bavarian region of Bamberg. It specialises in modern versions of traditional Bavarian brews, created and packaged for an international market.

Most of St Erhard’s competitors trade on Bavaria’s rich legacy of brewing, using blackletter type and old fashioned illustration to firmly ground their product in the visual language of the region’s past. St Erhard wanted to break from that tradition and do something different that was still clearly steeped in German design traditions.

The Bauhaus school of design is replete with typographic and geometric designs that are distinctly German, signifying Germanic heritage without feeling tired or clichéd. In the world of Bavarian beer branding, links to the Bauhaus are nonexistent, and their angular shapes and primary colours presented the perfect palette with which to modernise the St Erhard brand.

Each of St Erhard’s premium brews — Farmer, Mayflower and Saison — was assigned its own colour and geometric shape and a custom-drawn type treatment in which letters were reduced down to their most elemental forms. The influence of the Bauhaus extended right through to the production methods with foil blocked labels nodding to the school’s considered craft.

Packaging design archive

Swee Kombucha, 2022

Swee is a kombucha born in the Georgian capital of Tbilisi, a city with a rich culinary and cultural heritage in its own right, deepened by a myriad different influences over the centuries. Swee brews its probiotic ferments from a careful selection of local, all-natural ingredients to create a range of refreshing drinks that are delicious and good for the gut.

The packaging design is built around the tagline “100% Natural”, to reflect the brand’s commitment to using all-natural ingredients. Visually, this is communicated through a modular system which focuses on the drink’s unique list of ingredients.

The ingredient list forms the basis of its design, taking what is typically functional information and turning it into a visually rich infographic system. Each ingredient is represented by a bespoke colour and pattern which combine to create unique chromatic graphics, representing the percentage value of each ingredient. This offers limitless potential for variation as the brand grows its offering and clearly embodies the brand’s tagline.

Packaging design archive

Nunchi, 2018

A reimagination of L’Heptaméron des Gourmets, a fanciful book of short stories and recipes edited by early 20th Century Parisian chef Édouard Nignon.

The original book was produced in a limited edition of 150 exquisite copies, designed and fabricated with the utmost attention to detail. The updated edition needed to display the same meticulous qualities, respecting traditional materials and processes but with an updated, contemporary twist.

L’Heptameron des Gourmets was created with utmost respect for the original, featuring two custom typefaces — a classic sans serif and a brutalist typeface inspired by Poul Kjaerholm’s cubic PK71 table. These typefaces also form the basis of Nunchi brand. The book itself is a matryoshka of handmade layers, featuring a letter pressed book made from handmade paper, wrapped in a hand-sewn Japanese boro quilt, enclosed in a birchwood case and finished with a hand-calligraphed washi paper box.

Where Nignon employed the finest writers of his day, the new L’Heptaméron des Gourmets invited some of the best contemporary craftspeople to contribute their skills to each stage of production. The final product was a treat for gastronomes, collectors and bibliophiles alike, published in a limited edition of 777 impossibly detailed copies.

Packaging design archive

Essem Design, 2015

A Swedish manufacturer of artisanal products for hallway interiors, Essem takes aesthetic inspiration from the functionalist era of the 1930’s, a prolific and innovative time for Scandinavian product design.

Essem is very serious about hallways indeed, believing that “the hallway is the architect’s way of saying hello and goodbye.” It is not only a functional room, but also a space that creates a first and last impression. This high regard for hallways was the cornerstone of their identity.

The brand is tied together by a distinct typography that nods to the functionalism and industrial heritage of Essem’s production chain in Småland, southern Sweden. This same simplicity and focus on heritage carries over to the natural cardboard used in packaging materials and the monochrome palette throughout.

Packaging design archive

Toolflex, 2018

Toolflex products are beautifully engineered, modular systems that are equally at home in a busy modern workshop or a minimalist home. The people that buy them have similar sensibilities, so a spartan approach to their assets was key.

The French expression ‘mise en place’ means literally ‘everything in its place’ and refers to a chef’s preparation of dishes before dinner service begins. ‘Everything in its place’ also neatly summarises the Toolflex ethos; pragmatic, minimalistic and hygienic.

Toolflex products are utilitarian home hardware, a brand category previously lacking any defined visual language. ‘Everything in its place’ informed the creation of that packaging design language; a vector pattern inspired by a rigid grid, exacting photographic styling and crisp, minimalist design.

Packaging design archive

Mikkeller + Bedow, 2012

In Spring 2012, Bedow brewed a series of limited edition beers with brewmaster Mikkel Borg Bjergsø of brewery, designing four unique labels to complement these unusual brews. Each label features one of four seasonal symbols printed with thermosensitive inks. When the bottle is cold, the symbol represents the previous season, but as the bottle warms in the hand or is drained of liquid, the symbol changes to reflect the current time of year.

Packaging design archive ⁣
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Index Shoehorn, 2011⁣
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By reducing all redundant decoration only functionality remains — Index is a shoehorn in its most refined form. The shoehorn and its packaging is designed by Bedow and is named after the index finger you use to put your shoes on.⁣
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New work! Branding and packaging design for .wine⁣
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Carbon-intensive glass packaging makes up more than half of wine’s greenhouse gas emissions, but that could be about to change. Candour is in the business of making fine wine more approachable, more environmentally friendly, and much more fun. Its range of carefully-curated canned wines aims to turn the snooty and outdated world of wine on its head, offering consumers something that looks as exciting as it tastes, without costing the earth.⁣
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Insight⁣
The world of wine is awash with beautiful labels and elaborate type design that tells consumers little about either the flavour of the wine they’re buying or the provenance of the wine itself. Different regions have different regulations for what can and can’t be included in commercial wine, which makes it hard to know what’s really in the bottle. Candour wants to change all that.⁣
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Concept⁣
Transparency is at the heart of everything Candour does, from the winemakers it sources from, to the carbon footprint of its packaging, right the way down to the clear communication of flavour profiles on its cans. This commitment to honesty is behind the name Candour, meaning open and honest, and led to a design direction underpinned by the tagline “Honestly Delicious Wine.”⁣
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Solution⁣
Typically the flavour of wine is expressed according to three profiles – fruitiness, acidity and body – fine nuances that have a huge impact on what you enjoy in the glass. To express these differences across Candour’s limited edition wines, a variable word mark was created that subtly changes according to the wine’s unique notes, so that the flavour of the wine can be interpreted by just looking at the type on the label.⁣
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Gold in European Design Awards🥇

Our packaging design for Swee Kombucha is shortlisted in Guldägget

Här är nomineringarna i Guldägget 2023 Åkestam Holst har flest vinstchanser, men en annan byrås kampanjer har flest nomineringar. Här tar du del av hela listan på kampanjerna som har chans att vinna Reklamsveriges finaste utmärkelse.

Excited to share the news! Bedow will be the design partner for Coop Trading in Copenhagen when over 3,500 Coop (private brand) products will be redesigned.

Coop väljer Bedow när 3500 produkter ska få ny design Coop trading står inför en omfattande omdaning av sina produkter under varumärket Coop när fyra nordiska marknader ska förenas. Nu inleder bolaget ett nytt samarbete med varumärkesstudion Bedow för att ge över 3500 produkter ny design.

Glad to share that our record sleeve design for Folke Nikanor has been awarded ”Excellent Work” and is selected for the Tokyo Type Directors Club annual book. Category: Experimental Work

Custom type archive ⁣
Adisgladis, 2015⁣
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Adisgladis is a small shop in Stockholm that is researching products for a positive way of living, including clothing, accessories and gadgets. With sustainability in mind, they always look for new products to make your urban and outdoor life as comfortable as possible.⁣
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“Researching Positive Ways of Living” is more of a philosophy than a concept. Curating a store where every single item has been thoroughly examined requires knowledge and ambition. Using elements associated with research, their philosophy smoothly transitions into the visual identity.⁣
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Connected pipes build the foundation of the identity. They appear in the logotype, pattern and a custom-drawn display typeface. Together with a clean color, bright yellow, the brand expression express honesty and curiosity.⁣
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Custom type archive ⁣
Sing a Song Fighter, 2016⁣
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Hand drawn alphabet for the Swedish band The Hope Singers album It’s Time For...⁣
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Custom type archive ⁣
Vasas flora och fauna, 2018⁣
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Strandgut is the German word for jetsam, the discarded materials cast overboard from a vessel to lighten its load at sea. It also references the tracks from previous albums that have washed up on this new recording.⁣
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Jetsam is a naturally ephemeral product made up from hundreds of different discarded materials. The album name, Strandgut, is a metaphor for the songs floating across the Baltic sea to finally wash up on the shores of Germany.⁣
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The gatefold sleeve of Strandgut’s vinyl LP features portraits of all three band members sculpted from jetsam washed ashore on a nearby beach. They are complemented by a custom seaweed-inspired typeface made from hand-drawn calligraphic strokes, designed to give the lettering a feeling of impermanence.⁣
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Sleeve design archive
Vasas flora och fauna, 2018
Startracks

Sleeve design archive
Jon Brooks, 2015
More Than Human

Sleeve design archive
Dieter Moebius, 2014
More Than Human

Sleeve design archive
Folke Nikanor, 2022
Sing a Song Fighter

Sleeve design archive
Vasas flora och fauna, 2017
Startracks

Sleeve design archive
Karl Jonas & Blood Music, 2105
Sing a Song Fighter

Sleeve design archive
Robert Aiki Aubrey Lowe, 2017
More Than Human

Sleeve design archive
Boreal Network, 2016
More Than Human

Sleeve design archive
Second Hand Orchestra, 2015
Sing a Song Fighter

Sleeve design archive
The Passenger, 2013
More Than Human

Sleeve design archive ⁣
Vasas flora och fauna, 2015⁣
Startracks⁣
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