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WHO WE ARE
Studio GT&P is a design firm founded by Gianluigi Tobanelli in 1985. We are small and we like being that way. We work at a human scale, building long-standing partnerships with our clients and with each other. Being small makes us feel united, strong and caring.
We believe that good design helps businesses clarify and realize their vision, enhance their products and services, and serve their customers better.
WHAT WE DO
Studio GT&P is a multi-disciplinary visual communications studio with wide ranging experience
across several areas of design.
We provide the following services:
Identity (Logo design, Stationery, Signage , Style Manuals)
Packaging (Package and Brand Identity Design)
Print (Annual Reports. Company Profiles, Brochures, Product Catalogues, Newsletters & Periodicals. Direct Mail, Fliers, Promotional Material)
Interactive (Website and Web Collateral Design and Development)
OUR STRENGTHS
We are creative people.
We create outstanding designs
We are a learning firm. We are curious. We like exploring the different fields of design, technology, art, and science, having clear that our work is a mixture of all this.
We are not expensive
Our firm is small and well organized, so we can keep very competitive prices.
RECOGNITION
Over the years our designs have won respect and recognition and our work is featured in numerous publications edited by Rockport Publishers, Graphis, Rotovision, Pie Books, Thomsom Delmar Learning, ...
Marchi e loghi, corporate identity, wine label design, oil label design, packaging design, catalog design, brochure design, communication design, logo design, logotype design, corporate identity, wine packaging design, oil packaging design.
Wine label design - Packaging logos
Studio GT&P is a design firm founded by Gianluigi Tobanelli in 1985. Our strength lies in the capacity to find the right words to attract consumers’ attention and direct their choices, all this in collaboration with our clients, optimizing marketing strategies and investments (Wine packaging design).
Studio GT&P can organize single marketing strategies or a whole campaign for any firm. Wine label design.
A brand is a recognizable image of a company (Wine label design); it is born to be reproduced and widespread, hence the need to study its usage and its use in globally recalling to mind a specific image. A firm through its brand is able to transmit to the consumer a clear idea of its activity and its products (Wine packaging design).
On supermarket shelves a product fights against its neighbours to attract consumers’ attention. The ideal packaging should be attractive, practical, informative and raise a positive emotional response. It must say: "buy me".
It is our company’s objective to combine creativity, information, pay great attention to the environment and to the choice of the various materials (Wine label design). We realize packaging design, wine label design, oil label design, spirit labeldesign, cosmetic label design, etc (Wine packaging design).
Packaging design
Communicating means knowing yourself and making other people know you. To develop an effective communication strategy it is necessary to know the market you operate in and emphasize the positive qualities and opportunities of your produc (Wine label design)t.
In this field one must find the right words which capture and direct consumers’ choices, optimizing marketing strategies and investments (Wine packaging design).
Studio GT&P can design web-sites of great visual impact (Wine packaging design).
We devote great attention to planning because a web-site can “stand out from the crowd” only if clear objectives and simplicity are used in its production (Wine label design).
Packaging design
Packaging is the science, art, and technology of enclosing or protecting products for distribution, storage, sale, and use. Packaging also refers to the process of design, evaluation, and production of packages. Package labelling is any written, electronic, or graphic communications on the packaging or on a separate but associated label.
Packaging is heavily integrated into our daily lives, we see it all around us, on everyday items such as chocolate bars and potato chip (crisp) packets- As explained below, the main use for packaging is protection of the goods inside, but packaging also provides us with a recognisable logo, or packaging, we instantly know what the goods are insideThe purposes of packaging and package labels
Packaging and package labeling have several objectives::
• Physical Protection - The objects enclosed in the package may require protection from, among other things, shock, vibration, compression, temperature, etc.
• Barrier Protection - A barrier from oxygen, water vapor, dust, etc., is often required. Package permeability is a critical factor in design. Some packages contain desiccants or Oxygen absorbers to help extend shelf life. Modified atmospheres or controlled atmospheres are also maintained in some food packages. Keeping the contents clean, fresh, and safe for the intended shelf life is a primary function.
• Containment or Agglomeration - Small objects are typically grouped together in one package for reasons of efficiency. For example, a single box of 1000 pencils requires less physical handling than 1000 single pencils. Alternatively, bulk commodities (such as salt) can be divided into packages that are a more suitable size for individual households.
• Information transmission - Information on how to use, transport, recycle, or dispose of the package or product is often contained on the package or label. With pharmaceutical, food, medical, and chemical products, some types of information are required by governments.
• Marketing - The packaging and labels can be used by marketers to encourage potential buyers to purchase the product. Package design has been an important and constantly evolving phenomenon for dozens of years. Marketing communications and graphic design are applied to the surface of the package and (in many cases) the point of sale display.
• Security - Packaging can play an important role in reducing the security risks of shipment. Packages can be made with improved tamper resistance to deter tampering and also can have tamper-evident features to help indicate tampering. Packages can be engineered to help reduce the risks of package pilferage: Some package constructions are more resistant to pilferage and some have pilfer indicating seals. Packages may include authentication seals to help indicate that the package and contents are not counterfeit. Packages also can include anti-theft devices, such as dye-packs, RFID tags, or electronic article surveillance tags, that can be activated or detected by devices at exit points and require specialized tools to deactivate. Using packaging in this way is a means of loss prevention.
• Convenience - Packages can have features which add convenience in distribution, handling, display, sale, opening, reclosing, use, and reuse.
• Portion Control - Single serving or single dosage packaging has a precise amount of contents. It is also aids the control of inventory when selling sealed one-liter-bottles of milk, rather than having one's customers bring their own bottles to fill themselves.
Packaging types
Packaging may be looked at as several different types. One broad classification is the primary package. This usually is the smallest unit of distribution or use and is the package which is in direct contact with the contents. A transport package or distribution package is the package form used to ship, store, and handle the product or inner packages.
A wide variety of materials are fashioned into different types of packages and containers such as:
• Aseptic packages
• Bales
• Blister packs
• Bottles
• Boxes
• Cans
• Cartons
• Cushioning
• Envelopes
• Pallets
• Plastic bags
• Skin pack
• Wrappers
There are also special containers that combine different technologies for maximum durability:
• Bags-In-Boxes (used for soft drink syrup and other liquid products)
• Wine box (used for wine)
Symbols used on packages and labels
Many types of symbols for package labelling are nationally and internationally standardized. For consumer packaging, symbols exist for product certifications, trademarks, proof of purchase, etc. Some requirements and symbols exist to communicate aspects of consumer use and safety. Recycling directions, Resin identification code (below), and package environmental claims have special codes and symbols.Bar codes (below), Universal Product Codes, and RFID labels are common to allow automated information management.
"Wikipedia" encoded in Code 128
Shipments of hazardous materials or dangerous goods have special information and symbols as required by UN, country, and specific carrier requirements.
With transport packages, standardised symbols are also used to aid in handling. Some common ones are shown below while others are listed in ASTM D5445 "Standard Practice for Pictorial Markings for Handling of Goods" and ISO 780 "Pictorial marking for handling of goods".Package Development Considerations
Package design and development are often thought of as an integral part of the new product development process. Alternatively, development of a package (or component) can be a separate process, but must be linked closely with the product to be packaged. Package design starts with the identification of all the requirements: structural design, marketing, shelf life, quality assurance, logistics, legal, regulatory, graphic design, end-use, environmental, etc. The design criteria, time targets, resources, and cost constraints need to be established and agreed upon.
Transport packaging needs to be matched to its logistics system. Packages designed for controlled shipments of uniform pallet loads may not be suited to mixed shipments with express carriers.
An example of how package design is affected by other factors is the relationship to logistics. When the distribution system includes individual shipments by a small parcel carrier, the sortation, handling, and mixed stacking make severe demands on the strength and protective ability of the transport package. If the logistics system is for uniform pallet loads that are unitized, the structural design of the package can be designed to those specific needs: vertical stacking, perhaps for a longer time frame. A package designed for one mode of shipment may not be suited for another.
Sometimes the objectives of package development seem contradictory. For example, packaging for an over-the-counter drug might require tamper resistance and child resistant features: These intentionally make the package difficult to open. The intended consumer, however, might be handicapped or elderly and be unable to readily open the package.
Package design may take place within a company or with various degrees of external packaging engineering: contract engineers, consultants, vendor evaluations, independent laboratories, contract packagers, total outsourcing, etc. Some sort of formal Project planning and Project Management methodogy is required for all but the simplest package design and development programs.
Sustainability involves responsible use of energy and resources. The package development process may involve a life cycle assessment which considers the material and energy inputs and outputs to the package, the packaged product (contents), the packaging process, the logistics system, waste management, etc. It is necessary to know the relevant regulatory requirements
The traditional “three R’s” of reduce, reuse, and recycle have been expanded. All levels of the waste hierarchy may be considered in product and package development.
The waste hierarchy
• Prevention – Packaging should be used only where needed: Packaging can also help prevent waste. Packaging plays an important part in preventing loss or damage to the packaged-product (contents). Usually, the energy content and material usage of the product being packaged are much greater than that of the package. A primary function of the package is to protect the product for its intended use: if the product is damaged or degraded, its entire energy and material content may be lost.
• Minimization – (also ‘’source reduction’’) The mass and volume of packaging (per unit of contents) can be measured and used as one of the criteria to minimize during the package design process. Usually “reduced” packaging also helps minimize costs.
• Reuse – The reuse of a package or component for other purposes is encouraged. Returnable packaging has long been useful (and economically viable) for closed loop logistics systems. Inspection, cleaning, repair and recouperage are often needed.
• Recycling – Recycling is the reprocessing of materials (pre- and post-consumer) into new products. Emphasis is focused on recycling the largest primary components of a package: steel, aluminum, papers, plastics, etc. Small components can be chosen which are not difficult to separate and do not contaminate recycling operations.
• Energy recovery – Waste-to-energy and Refuse-derived fuel in approved facilities are able to make use of the heat available from the packaging components.
• Disposal – Incineration, and placement in a sanitary landfill are needed for some materials. Material content should be checked for potential hazards to emissions and ash from incineration and leachate from landfill.
The Definition of Free Cultural Works logo
A logo (from the Greek= logotipos) is a graphic element, symbol, or icon of a trademark or brand and together with its logotype, which is set in a unique typeface or arranged in a particular way. A typical logo is designed to cause immediate recognition by the viewer. The logo is one aspect of the brand of a company or economic entity, and the shapes, colors, fonts and images are usually different from others in a similar market. Logos may also be used to identify organizations or other entities in non-economic contexts.
Contents
• 1 Overview
• 2 Logos today
• 2.1 Brand slogans
• 2.2 Color
• 3 Logo design
• 4 Examples
• 4.1 Logos in Subvertising
• 5 See also
• 6 External links
A logo is an iconic symbol designed to represent a company, organization, product, service, and sometimes certain places (e.g., Canada).
The word "logo" is derived from the original word "logotype". In the days before means of mechanical typesetting were invented, compositors in printing offices used to assemble, or "set" type into a composing stick, picking up individual letters as they went. An idea to save time and effort resulted in commonly used words such as "the", "and", etc were created onto a single body of type and this composite piece of type was called a Logotype. Later on as technology improved the same idea was used to create a design, or symbol representing the identity of a company or institution.[citation needed]
In recent times the term 'logo' has been used to describe signs, emblems, coats of arms, symbols and even flags. In this article several examples of true logos are displayed, which may generally be contrasted with emblems, or marks, which include non-textual graphics of some kind. Emblems with non-textual content are considered one aspect of a complete logo.
Distinct aspects of a complete logo:
• Logotype/Wordmark/Lettermark: text or abbreviated text
• Icon: symbol / brandmark
• Slogan: description of the company
The uniqueness of a logo is often necessary to avoid confusion in the marketplace among clients, suppliers, users, affiliates, and the general public. To the extent that a logo achieves this objective, it may function as a trademark, and may be used to uniquely identify businesses, organizations, events, products or services. Once a logo is designed, one of the most effective means for protecting it is through registration as a trademark, so that no unauthorised third parties can use it, or interfere with the owner's use of it.
There are several elements of a good logo. An effective logo—
• should be unique, and not subject to confusion with other logos among viewers
• is functional and can be used in many different contexts while retaining its integrity
• should remain effective whether reproduced small or large
• can work in "full-color", but also in two color presentation (black and white), spot color, or halftone
• should be able to maintain its integrity when printed on various fabrics or materials (where the shape of the product may distort the logo)
• displays basic design principles (space, color, form, consistency, and clarity)
• represents the brand/company appropriately
Today there are many corporations, products, services, agencies and other entities using a sign or emblem as logo. As a result, only a few of the thousands of signs people are faced with are recognized without a name. It makes less sense to use a sign as a logo, even together with the name, if people will not duly identify it. Therefore, the trend in the recent years has been to use both images (icons) and the company name to emphasize the name instead of the supporting graphic portion, making it unique by its letters, color, and additional graphic elements.
Emblems (icons) may be more effective than a written name, especially for logos being translated into many alphabets; for instance, a name in the Arabic language would be of little help in most European markets. A sign or emblem would keep the general proprietary nature of the product in both markets. In non-profit areas, the Red Cross (which goes by Red Crescent in Muslim countries) is an example of an extremely well known emblem which does not need an accompanying name. Branding aims to facilitate cross-language marketing. The Coca-cola logo can be identified in any language because of the standards of color and the iconic ribbon wave.
Brand slogans
Sometimes a slogan is included in the logo. If the slogan appears always in the logo, and in the same graphic shape, it can be considered as part of the logo. In this case it is a brand slogan also called a claim, a tagline or an endline or a strapline in the advertising industry. The main purpose is to support the identity of the brand together with the logo. The difference between a slogan and a brand slogan is that brand slogan remains the same for a long time to build up the brand's image, while different slogans link to each product or advertising campaign.
Color
Color is important to the brand recognition, but should not be an integral component to the logo design, which would conflict with its functionality. Some colors are associated with certain emotions that the designer wants to convey. For instance, loud colors, such as red, that are meant to attract the attention of drivers on freeways are appropriate for companies that require such attention. In the United States red, white, and blue are often used in logos for companies that want to project patriotic feelings. Green is often associated with health foods, and light blue or silver is often used to reflect diet foods. For other brands, more subdued tones and lower saturation can communicate dependability, quality, relaxation, etc.
Color is also useful for linking certain types of products with a brand. Warm colors (red, orange, yellow) are linked to hot food and thus can be seen integrated into many fast food logos. Conversely, cool colors (blue, purple) are associated with lightness and weightlessness, thus many diet products have a light blue integrated into the logo.
Logo design is commonly believed to be one of the most important areas in graphic design, thus making it the most difficult to perfect. The logo, or brand, is not just an image, it is the embodiment of an organization. Because logos are meant to represent companies and foster recognition by consumers it is counterproductive to redesign logos often.
When designing (or commissioning) a logo, practices to encourage are to
• avoid being over-the-top in an attempt to be unique
• use few colors, or try to limit colors to spot colors (a term used in the printing industry)
• avoid gradients (smooth color transitions) as a distinguishing feature
• produce alternatives for different contexts
• design using vector graphics, so the logo can be resized without loss of fidelity
• be aware of design or trademark infringements
• include guidelines on the position on a page and white space around the logo for consistent application across a variety of media (a.k.a. brand standard manual)
• do not use a specific choice clip-art as a distinguishing feature
• do not use the face of a (living) person
• do not use photography or complex imagery as it reduces the instant recognition a logo demands
• avoid culturally sensitive imagery, such as religious icons or national flags, unless the brand is committed to being associated with any and all connotations such imagery may evoke.
The Definition of Free Cultural Works logo
A logo (from the Greek= logotipos) is a graphic element, symbol, or icon of a trademark or brand and together with its logotype, which is set in a unique typeface or arranged in a particular way. A typical logo is designed to cause immediate recognition by the viewer. The logo is one aspect of the brand of a company or economic entity, and the shapes, colors, fonts and images are usually different from others in a similar market. Logos may also be used to identify organizations or other entities in non-economic contexts.
Contents
• 1 Overview
• 2 Logos today
• 2.1 Brand slogans
• 2.2 Color
• 3 Logo design
• 4 Examples
• 4.1 Logos in Subvertising
• 5 See also
• 6 External links
A logo is an iconic symbol designed to represent a company, organization, product, service, and sometimes certain places (e.g., Canada).
The word "logo" is derived from the original word "logotype". In the days before means of mechanical typesetting were invented, compositors in printing offices used to assemble, or "set" type into a composing stick, picking up individual letters as they went. An idea to save time and effort resulted in commonly used words such as "the", "and", etc were created onto a single body of type and this composite piece of type was called a Logotype. Later on as technology improved the same idea was used to create a design, or symbol representing the identity of a company or institution.[citation needed]
In recent times the term 'logo' has been used to describe signs, emblems, coats of arms, symbols and even flags. In this article several examples of true logos are displayed, which may generally be contrasted with emblems, or marks, which include non-textual graphics of some kind. Emblems with non-textual content are considered one aspect of a complete logo.
Distinct aspects of a complete logo:
• Logotype/Wordmark/Lettermark: text or abbreviated text
• Icon: symbol / brandmark
• Slogan: description of the company
The uniqueness of a logo is often necessary to avoid confusion in the marketplace among clients, suppliers, users, affiliates, and the general public. To the extent that a logo achieves this objective, it may function as a trademark, and may be used to uniquely identify businesses, organizations, events, products or services. Once a logo is designed, one of the most effective means for protecting it is through registration as a trademark, so that no unauthorised third parties can use it, or interfere with the owner's use of it.
There are several elements of a good logo. An effective logo—
• should be unique, and not subject to confusion with other logos among viewers
• is functional and can be used in many different contexts while retaining its integrity
• should remain effective whether reproduced small or large
• can work in "full-color", but also in two color presentation (black and white), spot color, or halftone
• should be able to maintain its integrity when printed on various fabrics or materials (where the shape of the product may distort the logo)
• displays basic design principles (space, color, form, consistency, and clarity)
• represents the brand/company appropriately
Today there are many corporations, products, services, agencies and other entities using a sign or emblem as logo. As a result, only a few of the thousands of signs people are faced with are recognized without a name. It makes less sense to use a sign as a logo, even together with the name, if people will not duly identify it. Therefore, the trend in the recent years has been to use both images (icons) and the company name to emphasize the name instead of the supporting graphic portion, making it unique by its letters, color, and additional graphic elements.
Emblems (icons) may be more effective than a written name, especially for logos being translated into many alphabets; for instance, a name in the Arabic language would be of little help in most European markets. A sign or emblem would keep the general proprietary nature of the product in both markets. In non-profit areas, the Red Cross (which goes by Red Crescent in Muslim countries) is an example of an extremely well known emblem which does not need an accompanying name. Branding aims to facilitate cross-language marketing. The Coca-cola logo can be identified in any language because of the standards of color and the iconic ribbon wave.
Brand slogans
Sometimes a slogan is included in the logo. If the slogan appears always in the logo, and in the same graphic shape, it can be considered as part of the logo. In this case it is a brand slogan also called a claim, a tagline or an endline or a strapline in the advertising industry. The main purpose is to support the identity of the brand together with the logo. The difference between a slogan and a brand slogan is that brand slogan remains the same for a long time to build up the brand's image, while different slogans link to each product or advertising campaign.
Color
Color is important to the brand recognition, but should not be an integral component to the logo design, which would conflict with its functionality. Some colors are associated with certain emotions that the designer wants to convey. For instance, loud colors, such as red, that are meant to attract the attention of drivers on freeways are appropriate for companies that require such attention. In the United States red, white, and blue are often used in logos for companies that want to project patriotic feelings. Green is often associated with health foods, and light blue or silver is often used to reflect diet foods. For other brands, more subdued tones and lower saturation can communicate dependability, quality, relaxation, etc.
Color is also useful for linking certain types of products with a brand. Warm colors (red, orange, yellow) are linked to hot food and thus can be seen integrated into many fast food logos. Conversely, cool colors (blue, purple) are associated with lightness and weightlessness, thus many diet products have a light blue integrated into the logo.
Logo design is commonly believed to be one of the most important areas in graphic design, thus making it the most difficult to perfect. The logo, or brand, is not just an image, it is the embodiment of an organization. Because logos are meant to represent companies and foster recognition by consumers it is counterproductive to redesign logos often.
When designing (or commissioning) a logo, practices to encourage are to
• avoid being over-the-top in an attempt to be unique
• use few colors, or try to limit colors to spot colors (a term used in the printing industry)
• avoid gradients (smooth color transitions) as a distinguishing feature
• produce alternatives for different contexts
• design using vector graphics, so the logo can be resized without loss of fidelity
• be aware of design or trademark infringements
• include guidelines on the position on a page and white space around the logo for consistent application across a variety of media (a.k.a. brand standard manual)
• do not use a specific choice clip-art as a distinguishing feature
• do not use the face of a (living) person
• do not use photography or complex imagery as it reduces the instant recognition a logo demands
• avoid culturally sensitive imagery, such as religious icons or national flags, unless the brand is committed to being associated with any and all connotations such imagery may evoke.