Wine Bottle Label Template

Friday, November 5th 2021. | Sample Templates

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Process and poetry Process and poetry Centinela Tequila, 2012.Top: Jack Daniel’s Unaged Tennessee Rye. Design: Stranger & Stranger, 2012. Centinela Tequila, 2012.Top: Jack Daniel’s Unaged Tennessee Rye. Design: Stranger & Stranger, 2012. Reassuringly cool and expensiveRoxy Music’s Bryan Ferry once objected to the wine ordered by a journalist who interviewed the songwriter for the Wall Street Journal. ‘I hate that,’ said Ferry. ‘You hate the wine?’, asked the interviewer. ‘No, the label,’ he said. ‘I can’t drink a wine if it has an ugly label.’ (Château Figeac is one of Ferry’s favourites, partly because of its label.) Reassuringly cool and expensiveRoxy Music’s Bryan Ferry once objected to the wine ordered by a journalist who interviewed the songwriter for the Wall Street Journal. ‘I hate that,’ said Ferry. ‘You hate the wine?’, asked the interviewer. ‘No, the label,’ he said. ‘I can’t drink a wine if it has an ugly label.’ (Château Figeac is one of Ferry’s favourites, partly because of its label.) Shaw says: ‘You can be cool and subtle on a restaurant wine label, where the consumer doesn’t even see the label before purchase and it only needs to look reassuringly cool and expensive on a linen tablecloth. In a bar, with the lights and the competition, completely different rules apply.’ Shaw says: ‘You can be cool and subtle on a restaurant wine label, where the consumer doesn’t even see the label before purchase and it only needs to look reassuringly cool and expensive on a linen tablecloth. In a bar, with the lights and the competition, completely different rules apply.’ In a different sector of the wine market, Fernando Gutiérrez (see Eye 36) designs labels for small Spanish vineyards. ‘Wine is a very closed world,’ he says. ‘The people I work with don’t have big budgets and they tend to be very suspicious of design, seeing it as something superficial. They feel they don’t really need to design a label because good wine will sell out in advance, so they have not made the effort. In a different sector of the wine market, Fernando Gutiérrez (see Eye 36) designs labels for small Spanish vineyards. ‘Wine is a very closed world,’ he says. ‘The people I work with don’t have big budgets and they tend to be very suspicious of design, seeing it as something superficial. They feel they don’t really need to design a label because good wine will sell out in advance, so they have not made the effort. ‘But’, he goes on, ‘there has been a renaissance in Spanish wine, and it doesn’t have the baggage of the French. The Spanish had to reassess their identity, they had to start from scratch, and so they will take risks and reinterpret what wine is all about. His first wine label in 1999, was for Gago wine from the Toro region, which features a bold lower case ‘g’ augmented by a bull’s horn. ‘But’, he goes on, ‘there has been a renaissance in Spanish wine, and it doesn’t have the baggage of the French. The Spanish had to reassess their identity, they had to start from scratch, and so they will take risks and reinterpret what wine is all about. His first wine label in 1999, was for Gago wine from the Toro region, which features a bold lower case ‘g’ augmented by a bull’s horn. ‘I’m very close to the vineyards I work with,’ he says, ‘and I want the design to be inspiring for the guys working in the winery, to make them proud of their work. I never think of strategy and I don’t believe it’s a branding exercise; the more branded, the more superficial it gets.’ ‘I’m very close to the vineyards I work with,’ he says, ‘and I want the design to be inspiring for the guys working in the winery, to make them proud of their work. I never think of strategy and I don’t believe it’s a branding exercise; the more branded, the more superficial it gets.’ Gutiérrez explains the thinking behind the label he designed for Valdesil, a range of six wines produced from old vines by a father and his three sons. ‘The wine comes from Galicia, which is very stark, and a very white label reflected that. So I created a system, with a graphic illustration on the base of a very white label. The ground there is slate, so it’s based on that geometry, with slate colours of grey, blue and purple.’ His design for the sweet Malaga wine, Molino Real, uses a coloured die-stamp of a lizard, ‘because in that area the grapes are toasted on the roofs in the sun and lizards are everywhere.’ The label for Pegaso features an illustration of a rusty mattress, which Gutiérrez says ‘looks like their old vines.’ Gutiérrez explains the thinking behind the label he designed for Valdesil, a range of six wines produced from old vines by a father and his three sons. ‘The wine comes from Galicia, which is very stark, and a very white label reflected that. So I created a system, with a graphic illustration on the base of a very white label. The ground there is slate, so it’s based on that geometry, with slate colours of grey, blue and purple.’ His design for the sweet Malaga wine, Molino Real, uses a coloured die-stamp of a lizard, ‘because in that area the grapes are toasted on the roofs in the sun and lizards are everywhere.’ The label for Pegaso features an illustration of a rusty mattress, which Gutiérrez says ‘looks like their old vines.’ Gutiérrez often returns to his designs. ‘It’s like a Formula One car,’ he says. ‘You’re tweaking it all the time.’ So the label for M2, illustrated by Alan Kitching’s letterpress print, is being reworked to wrap around the bottle like its parent wine, Matallana. And his Rioja range, Lanzaga, is now being redesigned because the wine has, in his phrase, ‘moved up’. He wants to use typography and reference Rioja’s nineteenth-century industrialisation. Gutiérrez often returns to his designs. ‘It’s like a Formula One car,’ he says. ‘You’re tweaking it all the time.’ So the label for M2, illustrated by Alan Kitching’s letterpress print, is being reworked to wrap around the bottle like its parent wine, Matallana. And his Rioja range, Lanzaga, is now being redesigned because the wine has, in his phrase, ‘moved up’. He wants to use typography and reference Rioja’s nineteenth-century industrialisation.

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