Ascender – Premium Postcard
Ascender postcards use a duplexed 500gsm stock that also incorporates a subtle texture designed to enhance the look and feel of your cards, while its crisp white colour means your postcards will always hit the mark.
Based in the heart of fashionable East London, Bread Collective works across digital and traditional media and has a self-confessed soft spot for illustrative typography, murals and installations. You can catch this studio’s work in Los Angeles, New York and London.
“The ampersand design is based on a sketch from an old notebook. We created a logotype using a two-colour modular 3D design a while back that was never used, and were interested in how it could be turned into other letterforms. It evolved into its own piece with various re-drawings, experimenting with dimensions and how it would work with limited colours. We liked the idea of using an ampersand as we thought it could represent Strut and Fibre, or the idea of people working or coming together.”
Read more from the Bread Collective interview here
Typeface – Avant Garde Gothic
Strong, instantly recognizable, and modern-looking, this groundbreaking typeface keeps one foot forever planted in the 1960s and ’70s, when it made its debut in the logo and headline typeface for Ralph Ginzburg’s Avant Garde magazine. Today, the ITC Avant Garde font family carries on as a meaningful time capsule from an era when provocative magazine covers still managed to provoke. As envelope-pushing as the 14-issue magazine was, the typeface that slanted across its covers and throughout its headlines was even more so, with its exciting construction of overlapping and tightly-set geometric capitals. The shapes of this sans serif are borrowed from the 1920s German Bauhaus movement, but the early versions of the ITC Avant Garde designs, with their many unique alternates and ligatures, conjure up the typographic aura of the 1970s.