Pescheria Pedol
For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.
Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.
At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.
Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.
The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.
The new identity has already been rolled out to the company’s Instagram and Facebook profiles.
The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.
1 Comment on “Pescheria Pedol”
About the retouching of the lettering, I saw this done precisely with Copperplate for a prototype cover design over 30 years ago. And the question I asked my fellow graphic designers at the time seems even more relevant today: isn’t there something similar to Copperplate but without serifs? Regularly repeating such retouching for each new cover commission would have been an interesting even enjoyable experience (with Illustrator 3), but perhaps not very profitable…
In this present case, it’s worth noting that the E-S, H-E, R-I-A approaches were more accurate in the previous version. Playing with irregularities to create a old-popular-ad-look can be a deliberate choice (the color two), also with two or three ligns (why DAL is so compact?), but I don’t think that was the intention. The typographic composition is not neutral, playing with a retro-modernist 1900s spirit.
Regarding the logo, I don’t understand why it doesn’t seem to want to score up to the same illustrative historical coding, and it intend to have the properties of a pictogram. Where previously one had the impression of being able to find fresh fish in a aquarium.
If it differs from pictogram in its complexity, it does however refer to a fish template: a synthetic monochrome outline which fits into a regular geometric shape, while the lettering appears more irregular and compressed. The repetition reinforces the cognitive message of the same regularity, rather than variety or originality. It reminds me more of the flat marking on frozen packaging, a picto readable in all languages without cultural reference.
Yet, that’s not the case at all: look at this swordfish head, a lord of the Mediterranean sea; and this other coral-colored one, a rock fish? Mamma mia!