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APA Identity
Font Used: Helvetica Neue
APA’s (Angus Pond Architects) aim is to be ‘independent, optimistic and free’. The practice has a unique approach, defined by the use of interesting materials and led by an ambition to ‘provide buildings, objects and spaces with a strong sense of purpose, meaning and emotion’. APA felt strongly that they did not want their practice represented by a traditional logo or wordmark, but instead, they were interested in the development of an ‘anti-logo’ which is dynamic and free to evolve and reflect their reactive working method.
Our solution was to develop a graphic pattern, based around geometrical interpretations of the lowercase letters ‘apa’. This pattern can be reconfigured in numerous different ways to create a flexible identity system. The challenge was to produce an ever-changing pattern while retaining a clear and recognisable identity. On letterheads and business cards the pattern is reproduced using a combination of blind embossing and delicate printed line. On the website the pattern comes alive as an animation. There are three variations of the animation which are linked to APA’s three key areas of work: buildings, objects and spaces.
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MoreySmith: Fifteen Newspaper
Fonts Used: Logotype – Bespoke, Body copy – Helvetica Neue
‘Fifteen’ is a newspaper designed for interior designers and architects MoreySmith in celebration of fifteen years of business. The newspaper consists of project highlights from the practice’s portfolio with client quotes. The cover contains a fold-out project timeline. The newspaper and its visual language is an important part of our identity for MoreySmith.
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Ellis Miller Architects Identity
Font Used: Helvetica Neue
Ellis Miller architects’ ethos is rooted in the modernist British architectural tradition. They design sustainable, humane buildings which are sensitive to their context. In our early discussions with the practice, key phrases used to describe their work emerged such as ‘brutal simplicity’ and ‘making the everyday beautiful’. These became drivers in our conceptual approach to the identity. We created a bold, typographic logotype based on vertical, structural connections between the letter forms.
We applied the logotype to various media in a number of ways. It is screen-printed onto raw cardboard CD covers, stencilled directly onto the weathered yard office doors and animated for digital use such as the website and screensavers. A bold colour palette and rigorous typography form the visual language which is applied across all office communication material. We also developed the website which forms an integral part of the identity.
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Stanton Williams: Volume
Font: Logotype: Bespoke, Body copy: Avant Garde
Volume is a book documenting the first 25 years of internationally renowned architects, Stanton Williams. The book was conceived to be forward-looking rather than retrospective and represents a shift in the work and working methods of the practice with the emergence, over recent years, of large-scale buildings and public realm projects. As well as presenting the practice to an external audience the book was also conceived as a ‘spiritual guide’ and manual for the Stanton Williams studio. Working closely with the directors throughout the entire process, we designed the book in parallel with the practice identity. This provided a unique opportunity to extend and develop the visual language beyond the basic communication requirements. The stencil font, that we created for the logotype, was extended into a full alphabet and is used for the front cover and chapter divider pages.
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Crafts Council: Japanese Jewellery exhibition
Font Used: Helvetica Neue
We designed the marketing identity, exhibition graphics and gallery guide for Contemporary Japanese Jewellery, an exhibition at the Crafts Council, London. The exhibition revealed the depth and development of contemporary jewellery-making in Japan. Working closely with Stickland Coombe architects, we produced a labelling system for the display cases that played on the sushi-style conveyor belt concept, this worked in conjunction with the printed gallery guide.
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Design Museum: Brit Insurance Designs of the Year Awards 2010
Font Used: Helvetica Neue
Designs of the Year is the Design Museum’s annual awards event. An exhibition showcases approximately one hundred of the most innovative and forward looking designs from around the world and the winners are announced at an event held at the Design Museum, London.
We were commissioned to design the exhibition and related graphic material for the 2010 awards which we applied to all communication materials including invitations, event graphics and the awards catalogue.
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Derwent London: The River & the Railway
Fonts Used: Le Corbusier, Helvetica Neue
The River and the Railway tells the story of property investment company Derwent London. The book outlines the 25 year history of Derwent Valley Holdings and its merger with London Merchant Securities in 2007 which has its origins in the nineteenth century. The book reveals Derwent’s philosophy and approach and how it works closely with leading architects, artists and designers to produce inspiring office spaces in London. The book consists of 160 pages with a case bound cloth cover and slipcase. Screen printed card dividers are inserted at the beginning of each chapter. A six page fold-out features a photo-montage of a fictitious street composed entirely of Derwent London buildings. We were involved in all stages of the process from planning and story-boarding to design. We worked closely with Derwent London and writer Hugh Pearman. The book was produced in an edition of 2,000 copies with a limited run of 100 slipcases.
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V&A Ceramics Galleries
Fonts Used: Helvetica Neue
The V&A’s ceramics collections are one of its greatest glories and unrivalled in the world. The galleries were purpose-built in 1909 and were refurbished and reconfigured by architects Stanton Williams in 2009. The display presents over 3,000 objects which tell the story of ceramics, from the earliest Chinese pottery to contemporary ceramic art. We designed the gallery identity and interpretation graphics, working closely with architects Stanton Williams and the V&A curatorial team. There is a sequence of seven connected galleries, each with an individual theme. At the heart of the display is a rigorous label information system which can be easily updated by the V&A. The labels are printed onto magnetic substrate which carefully integrates with the display cases. Large scale graphics, such as dates, are painted directly onto wall surfaces to provide narrative and aid navigation. Relief letters are inlaid into the ceiling cornicing listing the rich vocabulary of the ceramic process.
In the gallery devoted to materials and techniques, a unique piece of low-tech interactive furniture, ‘Basic Making’, explains the process of making ceramics. The display is designed to appeal to a family audience – engaging and educational without becoming over-simplistic.
From the Editor
It was only a matter of time before I featured the newly updated Cartlidge Levene website—because events like this only occur once every five or so years ;) They’ve gone out with the old flash site and in with html, oh and did I forget to mention that they have a plethora of new work as well? ;)
If you’re not familiar with Cartlidge Levene, let me break it down for you: Established in 1987, legends of British typographic design, a studio where some of the best got their start still going strong today. For more of their work head on over to the archives.
Thank you once again to Melissa and the rest of the Cartlidge Levene crew for making this feature possible and as always for the support :)
If you’re new here, don’t forget to Subscribe & follow SI on Twitter for your weekly dose of visual crack. ;)
This post is tagged Books, Business Cards, Cartlidge Levene, Exhibition, Identity, Print, Stationery
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