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Identity Collection 2010

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  • The Typographic Treatment
    Blocked out type like this isn’t anything new, and has seen something of a renaissance recently, especially with phrases split over lines or words broken into syllables. I wanted to bring back the essence of the counters in the letters but using a device that was unique and fitted with the mood of the name. The solution was to crack the letters in line with their counters where possible. The first syllable uses one horizontal crack to allow a simpler, faster reading of the name.

  • The Typographic Treatment
    Using a customised version of Bodoni to float two words together the logotype aims to show simplicity and balance. Negative space is cut into the last letter of the first word, and first letter of the second word to marry them together and speed the pronunciation. A contrasting slash is added to the negative space when the logotype is used in isolation.

    Rendered in silver foil against monochrome the logotype is strong and simple and is complimented with the use of a strong green-blue or purple gradient that creates a very original and distinctive brand within its sector.
  • The Typographic Treatment
    The logo is a playful and equally contrary take on the two keywords. The identity, though, revolves around the all-important ampersand.

    Finding the right one for this identity was crucial – it holds both words together and forms the foundation for how the identity is to be read. Emigre’s Missionary face (Miles Newlin 1991) was perfect for this; the flowing, whimsical flourishes collect into an elegant and playful open face that perfectly toys with legibility, avant-garde enough to compliment the strong, stark forms of Linotype’s Alternate Gothic No.2.