Adapted from Good Design: Deconstructing Form and Function and What Makes Good Design Work (Rockport Publishers)
By Terry Marks
IDENTITY
HAZLITZ BESPOKE STATIONERY
BROWN DESIGN, LONDON
Hazlitz wanted to create a contemporary brand that would challenge the more established and stuffy stationers such as Smythson. To do this, the design would use traditional materials and print techniques applied to traditional elements such as business cards, letterhead, and so forth. But to stand out, it all had to be done with a twist yet still imply a level of personal, high-end service that Smythson was famous for. After all, the target audience was socially prominen, high-brow Londoners. The name Hazlitz was inspired by William Hazlitt, a prominent nineteenth-century English literary critic, grammarian, and philosopher.
The design is based on reams of paper and a complementary font. Letter-spacing, stroke density, and negative leading and tints were carefully prepared. The client liked the simple, pared back typographic approach common to premium brands. The designers established a black-and-white design and then focused on the quality of materials and print techniques such as engraving, embossing, debossing, and foiling items that their customers wouldn’t sniff at.
