Our latest pick of new designs includes a ten logo system for a Norwegian concert hall by Oslo studio Heydays, a charming series of letterpress posters for the Ditchling Museum of Art + Craft and a clever visual identity for an architectural studio by Freytag Anderson. First, though, is Alexander Boxill’s work for the 2015 Lovie Awards…
Alexander Boxill – LOVIE 2015
Promotional posters and campaign imagery for this year’s Lovie Awards (celebrating online creativity) feature an inventive take on the scheme’s logo, with a colourful image of a clay heart created by London studio Alexander Boxill.
Creative director Violetta Boxill says the idea was one of six presented to Lovie – to make it, the studio designed a polypropylene mould scored with intersecting diagonal lines and bent to make a faceted surface, which it filled with plaster and left to dry for 24 hours. The resulting shape was then refined with a blade and sandpaper, and the finished heart was photographed by Andrew Penketh using coloured sheets of paper and gel-covered lights to create a rainbow effect. An accompanying mailer features close-ups of the image alongside copy in typefaces MFred and Mercury Text.
“The entire approach was just one big experiment, really. I couldn’t predict if the casting would work or how the light would bounce around it’s surface, [but] Andrew is a long term collaborator, and we enjoy working in this way,” adds Boxill.
Judith Wilding – Ditchling Museum of Craft
Designer and typographer Judith Wilding (Delicious Industries) has created a charming series of promotional posters for Ditchling Museum of Art + Craft using wood block type from the museum’s collection.
Wilding printed posters in her studio using a Farley proofing press. Type is accompanied by large-scale laser cut and hand-cut lino shapes, and angled compositions are used to create a more contemporary effect than horizontal rows of text.
Wilding says the mix of traditional techniques and contemporary design aims to reflect the museum’s modern outlook, “while remaining sympathetic to its identity”. It’s nice to see its expansive collection being put to good use and the posters work well within the 18th century cart lodge where they’ve been placed.
Leo Burnett – Creative Circle magazine 2015
Each year, the Creative Circle publishes a magazine showcasing winning and shortlisted entries to its annual awards scheme, alongside content inspired by a different one-word theme. Leo Burnett was asked to design 2015’s magazine, and commissioned original content based on the idea of “truth”.
The minimal cover features a series of different-sized brightly coloured circles, which each represent a different element of the magazine: pink symbolises paper and yellow ink and binding, for example, with sizes determined by weight or volume. The magazine is packaged in a clear acrylic slipcase with platinum edging, a nod to the organisation’s 70th anniversary this year.
“We wanted to create something very tactile this year, with a bit more value – something that you wouldn’t just pick up once,” explains group head of design Marc Donaldson, who designed the magazine with Tim Fletcher. “We started out with a simple blank white cover, then experimented with pie charts, and eventually, the circles came to represent the physical truth of the mag itself,” he adds.
Circles are also used in section openers to represent the number of projects nominated for a gold award versus those which received it. An introductory section contains a series of illustrations, letters and quotes from creatives responding to this year’s theme, including typographic statements from Rick Banks, a playful sketch from Flo Heiss and photographs by Paul Zak.
In some cases, submissions are published in the exact format in which they were delivered – emails containing quotes are reproduced in full, and photographs of screenshots from Donaldson’s computer show some texts as Word documents, with a desktop background revealing the date and time they were received. “We tried to present work and submissions in a truthful way…It felt quite nice and honest, showing how the whole thing was put together,” adds Donaldson.
The agency also produced posters for the awards ceremony, which took place in London last night, using circles to visualise truths about the ad industry. One, for example, shows two circles representing the number of male versus female ECDs (above left), while another visualises the different ages of creatives attending the event (above right, showing 25-35, 35-45, 45-55 and 55-65 from top to bottom).
“They were quite tongue-in-cheek, but I think it helped bring the whole thing together on the night,” adds Donaldson.
Freytag Anderson – Fraher Architects
Next up is a clever concept for Fraher Architects by Glasgow studio Freytag Anderson, which features a logo made out of a plan view of the letter F. As the studio explains on its website, intersecting compartments can be used to store text, images, patterns or textures, giving the practice a flexible system that can be adapted to suit a range of applications. Line weights and compartment sizes can also be manipulated, and the device has been put to good use as a wall graphic directing visitors around Fraher’s South London office (pictured below).
The colour palette couples scarlet with white, black and warmer shades of grey, and graphics will be used alongside Colophon’s Apercu typeface. It’s a great idea and well-executed, and you can see more images of the project here.
Heydays – Fosnavaag Cultural Centre
Fosnavåg konserthus is a concert hall and music centre built on the west coast of Norway. Oslo studio Heydays was tasked with creating an identity for the venue and devised a system of ten logos based on the Beaufort Scale (used to measure wind at sea). Each logo is designed to represent a different mood or type of music, as shown in the scale below. “Going from calm to stormy, the dynamic identity reflects the contrasts and nuances in both music and the dramatic location,” says the studio.
The colour palette features a strong blue-green with shades of grey, and the contrasting green is used alongside black-and-white imagery to dramatic effect on posters and programmes, while italic text mirrors the design of the various logos.
It’s a distinctive design and the studio has produced a huge range of collateral so far, including a responsive website, ads, stationery and merchandise as well as signage, a donations wall in the venue and a short film for use before shows, which features animated versions of the logo responding to sound. In a clever added touch, the building’s exterior signage (which features the logo) changes throughout the day to reflect the sound level inside.
See more images of the project here.
Forma & Co – Ham on Wheels
Forma & Co has created a colourful bike-based identity and interiors system for Ham on Wheels, a fast-food restaurant in Barcelona serving cocas (pizza-style baked bread snacks with tomato and ham) in an area popular with cyclists.
The name plays on the Spanish for ham (Jamon), with the logo set in a circle to represent the wheel of a bike. Forma & Co also worked with designer Chu Uroz on the restaurant’s interior, creating patterned and typographic covers for cured hams suspended from the ceiling, yellow cycle lanes on the floor and bike-wheel coasters. It’s a fun, bright and cheerful design and works particularly well in the restaurant, adding some warmth and humour to the industrial design.