ANGELS’ SHARE
Angel’s Share is a refined yet inviting wine bar concept located in Jesmond, Newcastle upon Tyne, UK. The name refers to the small portion of wine or spirit that evaporates during the aging process — a poetic detail that I wanted to weave throughout the identity. The concept began with my research into depictions of wine throughout history.
The owner’s vision was to create more than just a wine bar: they wanted a space that educates patrons and fosters a deeper appreciation for the heritage, regions, and rituals surrounding wine. This informed every design decision — from typography and iconography to materials and messaging.
The branding
The logo balances historic charm with modern precision. The type design features adjusted kerning to resemble stamped or embossed markings, a subtle nod to traditional winemaking techniques and packaging.
I was particularly captivated by the various shapes of wine glasses depicted in old paintings — red wine glasses, goblets, white wine glasses, champagne flutes, coupe glasses, stemless wine glasses, and more. Each shape felt elegant, distinct, and full of character. I began sketching these different forms, fascinated by how they convey stories of time, place, and culture.
From this exploration, the logo icon was conceived — not by forcing a literal angel into the design, but by allowing the forms of historic glassware to subtly shape a silhouette of one. The result is symbolic and quietly expressive, avoiding anything overly obvious or cliché — something that was important to both me and the business owner.
This modular icon system also sets up potential for brand expansion, with different “angels” representing various future branches or takeout elements.
The Logo
The logo for Angel’s Share has been crafted using the typeface Baskerville, a serif typeface designed by John Baskerville, an English printer in the 1750s–1760s. This choice was intentional, as Baskerville’s work is deeply rooted in the history of printing and stamping typography, making it a fitting reference to the tradition of winemaking, where labels and marks have historically been imprinted onto barrels, corks, and bottles. Aesthetic and Historical Connection. The printing aesthetic of Baskerville subtly hints at the craftsmanship involved in both traditional typography and winemaking. By incorporating this typeface, the brand establishes a strong historical narrative that aligns with the authenticity and heritage of wine production.Kerning and Spacing
The kerning in the logo has been deliberately adjusted to create fixed spacing between letters. This approach mimics the effect of letters being stamped or embossed onto surfaces, reinforcing the raw, crafted aesthetic of the brand. This design decision ensures that the text maintains a consistent rhythm, much like the structured yet organic nature of winemaking.
\
The raw aesthetic of the typography is further reflected in the materials associated with wine and bar culture, such as:
- Wood (barrels, furniture)
- Leather (seating, menus)
- Metal (bottle openers, fixtures)
- Cork (wine stoppers, texture elements)
inspiration
VIRGIL (ABOVE) Book page,
1757. Printed by John Baskerville. The typefaces created by Baskerville in the eighteenth century were remarkable- even shocking— in their day for their sharp, upright forms and stark contrast between thick and thin elements. In addition to a roman text face, this page utilizes
italic capitals, large-scale capitals (generously letterspaced), small capitals (scaled to coordinate with lowercase text), and non-lining or old-style numerals (designed with ascenders, descenders, and a small body height to work with lowercase characters).
VIRGIL (ABOVE) Book page,
1757. Printed by John Baskerville. The typefaces created by Baskerville in the eighteenth century were remarkable- even shocking— in their day for their sharp, upright forms and stark contrast between thick and thin elements. In addition to a roman text face, this page utilizes
italic capitals, large-scale capitals (generously letterspaced), small capitals (scaled to coordinate with lowercase text), and non-lining or old-style numerals (designed with ascenders, descenders, and a small body height to work with lowercase characters).