Arch Residential | Visual identity
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About

Arch Residential is a lettings focussed agency based in Borough, South East London. Arch Residential approached me to help them create a stronge… Read More
Arch Residential is a lettings focussed agency based in Borough, South East London. Arch Residential approached me to help them create a stronger and more memorable visual identity to support them in their business expension on the London and UK market. As the main constitutive logo element I created an iconic symbol from the first letter of the company name -A. I have decided to create a spiral around the letter to inense the territory expension concept but also to create a structural and architectural depth, inensing the arching construction. I have also been inspired by some labyrinth garden shapes and by the crescent London streets shape, known as some of the most wealthy London streets, Egerton Crescent and Pelham crescent being the two main ones, both with terraced houses and sharing a communal garden. Read Less
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Visual identity | Stationery design
 
Arch Residential is a lettings focussed agency based in Borough, South East London.
 
 
Arch Residential approached me to help them create a stronger and more memorable visual identity to support them in their business expansion on the London and UK market.
 
As the main constitutive logo element I created an iconic symbol from the first letter of the company name. 
I have decided to create a spiral around the letter to enhance the territory expansion concept but also to create a structural and architectural depth, enriching the arching construction. I have also been inspired by some labyrinth garden shapes and by the crescent London streets shape, known as some of the most wealthy London streets, Egerton Crescent and Pelham crescent being the two main ones, both with terraced houses and sharing a communal garden.
 
Business cards, compliment slip and letterhead have been printed on the GF Smith Smooth Colorplan Digital White paper range using a dark blue and a metallic bronze solid Pantone ink to make sure that all the graphical elements and texts remain extremely sharp even if printed in a really small size.
 
Regarding the typography, I decided to use Fedra Sans and Fedra Serif A fonts family. It is really important for me to use a serif font to enhance the body text legibility and to keep the sans-serif for the logo, headlines, titles, subtitles and abstract texts. A consistent font family is the best tool to be able to generate harmony as much as distinction and contrast. Fedra Sans was designed in 2001 and Fedra Serif in 2003 by Peter Biľak.
 
Fedra Sans humanises the communicated message and adds simple, informal elegance. An important criterion for the type designer was to create a typeface which works equally well on paper and on the computer screen. The typeface attempts to reconcile two opposing design approaches: rigidity of a typeface designed for the computer screen and flexibility of a handwriting. 
 
Instead of seeking inspiration in the past, Fedra Serif is a synthetic typeface where aesthetic and technological decisions are linked. Fedra combines seemingly contradictory ways of constructing characters into one harmonious font. Its humanistic roots (the rhythm of the handwriting) is balanced with rational drawing (a coarse computer-screen grid). The font also comes in two different versions with different lengths of the ascenders and descenders (stem lengths). Version A matches the proportions of Fedra Sans, with a large x-height and short stem length, which make it work well in small sizes and in low-resolution print.
 
Peter Biľak was born in Czechoslovakia and lives in the Netherlands. He works in the field of editorial, graphic, and type design, teaches at the Royal Academy of Arts in The Hague. Started Typotheque in 1999, Dot Dot Dot in 2000, Indian Type Foundry in 2009, and Works That Workmagazine in 2012. Member of AGI (Alliance Graphique Internationale).