(Est. 1994) “The story of how Sawday’s began explains a lot. Two decades ago, Alastair Sawday was a tour guide in France, exploring the country and getting to know its secrets and its characters. […] Everything that followed sprang from that simple purpose and 25 years on, it’s still what we do. We meet people, we find special places and we share them with everyone looking for something that breaks the bland mould which so much modern accommodation seems to be printed from. Our carefully curated guides and website are just a slightly neater, less wine-stained version of those original notes. We still look for authenticity, warmth and character, places that embody the slow life and where hours of love have been poured into the tiniest detail to create those simple, personal joys that make something truly special.”
Damon Charles project page
We drew an updated wordmark for Sawday’s which felt friendlier but also more sophisticated, while retaining the interesting quirks of the existing mark.
Notable features we worked to retain are the tail of the lower and uppercase ‘S’, the distinctive shape of the ‘a’ and ‘w’ characters, and the rhythm between all the lowercase letters (especially the a-w and d-a relationships).
We created a system of textured, painterly graphic elements reminiscent of landscape, walls and enclosure. Sawday’s use a wide variety of photographic imagery from different locations in different seasons, so a wide palette was devised based on temperature and vividness that could be matched against any photo.
Images (opinion after)
The old logo was a bit murder-y and, while I assume it was the Sawday name that carried the connotations of unique lodging, the harshness of the logo wasn’t too reassuring. Keeping the same letterforms, the new logo is a smooth (literally and metaphorically) update that maintains the quirkiness of the original but gives it a contemporary flair and a properly “finished” look vs. the crappy auto-traced look of the old one. The identity comes with a very pretty color palette and a great approach to abstract illustrations that echo nature landscapes through a torn-paper motif that manages to be homey and not corny. The pairing with the thin stencil serif is interesting but also kind of jarring — on their website it feels like the logo is for one company and the stencil for another. Still, it’s all nice and travel-y.