Tag Archives: Typography

Ragged Edge rebrands Gaia, a startup offering the world’s first IVF insurance

Offering the world’s first IVF insurance, Gaia was created after its founder, Nader AlSalim, had a firsthand experience of what is a complex and expensive procedure. He was inspired to find a way of helping other families access IVF without succumbing to the financial hurdles that often make it impossible or unsustainable in the long-term.

Ragged Edge’s refreshed branding for Gaia counters these depictions, instead offering an inclusive, welcoming picture of the modern family, as well as a more empathetic and realistic understanding of the IVF journey. Using simple yet effective collaging techniques, it shows the many experiences one can go through during this process, as well as the different kinds of people that choose to use IVF.

This diversity is further embraced through Gaia’s new wordmark, which features both an uppercase and lowercase ‘a’ to represent the fact that no two families are the same. Meanwhile, an inspiring yet grounded colour palette aims to capture the difficulties of going through an IVF journey without compromising the optimism needed along the way.

As a whole, Gaia’s new identity is empathetic yet realistic. Unlike other organisations within the fertility industry, it does not shy away from the fact that the success of IVF is never guaranteed, and the process itself may not be an easy one. But nor does it make the treatment feel out of reach. Instead, it presents IVF as something that everyone should have access to, no matter their financial situation or the makeup of their family.

New look for Wok to Walk

Wok to Walk began life in 2004 as a tiny restaurant in Amsterdam, inspired by the founders’ travels around Asia. Fast forward to today, and it’s a global food brand with over 100 sites in 20 countries.

Inspired by this ancient form of cooking, the new logo features a wok with a lightning bolt in the middle, which doubles as a signature W. Building on the dynamic mark, Without created a suite of patterns that sit across uniforms, takeaway bags and typographic posters.

A refreshed colour palette introduces new gradients inspired by the cinematography of Hong Kong director Wong Kar Wai. Meanwhile, a new photography style and art direction seek to translate the colours, flavours and emotion of Chinese street food, instead of falling back on tired clichés.

The brand’s renewed emphasis on copywriting also focuses on food quality, seasonal recipes and ingredients, rather than price or meal deals. In this vein, the chefs – who attend circus school as part of their training – have been renamed as Woksmiths to highlight their cooking credentials.

Monzo reveals cheery brand refresh

Launched in 2015, Monzo is heralded for breaking the curse of dry, corporate brands in the personal banking sector. Its uplifting colours, down-to-earth voice and intuitive experience marked a clean break with the traditional banks, winning over a generation of millennials and beyond.

The new identity centres on the coral hue that made Monzo stand out in the first place, supported by ‘deep navy’ and ‘soft white’, and a wider secondary palette. Colours have been dialled up in the M logomark, which will be rolled out in touchpoints such as the app icon, though the shape of the logomark remains unchanged.

In terms of typography, the friendly, rounded Oldschool Grotesk was chosen as the display typeface, while a custom version of Universal Sans – Monzo Sans – will be used as the primary typeface for functional purposes.

A “warmer” approach has similarly been taken to the art direction and brand photography, as well as a suite of illustrations created by Ola Dobrzyńska.

Jamie Oliver’s pasta brand

Otherway was enlisted to create the design identity for Pasta Dreams – a partnership between TV chef Jamie Oliver and Taster, a company comprised of food sub-brands which are all focused entirely on home delivery.

According to Otherway, the aim was to step away from what people might traditionally associate with Italian food, with an emphasis on retro design details.

The playful identity comes to life in a set of animations. Blobs of olive oil float through the air, and in the Pasta Dreams logotype, they rise up to form the counters in the letters A and R.

The psychedelic imagery carries through to the packaging, which highlights the “shapes, swirls, and splashes” people come across when cooking pasta and features a warm palette of peach, orange and brown.

The Pasta Dreams design concept seeks to appeal to younger customers rather than Oliver’s “traditional audience demographic”, yet there was an important balance to strike between unexpected and on-brand.

Zero waste supermarket Good Club as Dizzie

As Good Club has grown and its ambitions have changed, the team commissioned Nice and Serious to find a look and feel that was more upbeat and eye-catching, and the updated visuals are certainly hard to ignore. A bold primary colour palette of pink and red gives the brand a sense of fun and friendliness, while secondary colours, such as blue, purple and yellow, add extra vibrancy to packaging and imagery.

This palette is accompanied by an array of endearing illustrations by artist Anthony Orozco that include silhouettes of refillable food items on pot labels, and a cast of playful brand mascots composed of the pots themselves. Encouraging potential and existing customers to utilise Dizzie’s refill options – a core part of the company’s mission and a bigger focus this time around – was one of the main objectives for Nice and Serious.

Speaking of the challenge, the agency’s creative director, Peter Larkin, says, “We wanted to elevate the experience out of the eco-clichés, and onto the shelves of everyday customers across the UK…. From the simplified product illustrations through to the Dizzie ‘whoosh’ and brand mascot, we created an identity full of movement and character.”

Finally, to reinforce the idea that refills can be fun, rewarding, and hassle-free, the agency developed an upbeat tone of voice to reflect this: “For the tone of voice, we set out to conjure up those little joyful moments that are totally unique to the refill experience,” explains Larkin. “So whilst being familiar (and sometimes frank) was important, it also meant using words to surprise and satisfy. Our motto was to channel ‘written ASMR’.”

Roundhouse’s new identity 

Housed in a Grade II listed former railway engine shed in Chalk Farm, the Roundhouse has emerged as one of London’s best-loved arts venues over the last five decades, known as much for hosting world-famous musicians as putting on theatre and spoken word events.

More recently, through its youth programme, the venue has also enabled fresh creative talent to take part in workshops, learn how to break into the industry, and use affordable studio spaces to make their own work.

2023 is set to be a big year for the institution, as it opens a new state-of-the-art creative centre and co-working space for young people. To mark this new direction, and following an initial pitch process, Studio Moross was commissioned to create a new visual identity in keeping with its work.

Reviewing the existing branding created by Magpie Studio, which featured a circular logo that nods to the venue’s instantly recognisable performance space and red brand colour, the design team decided to retain – and build on – these core elements.

“We developed the logo into a spotlight that can ignite colour in its surroundings, creating a hotspot. The colour palette was broadened with bright energetic colours, including an acidic lime, creating a neon clash and glow,” says the studio.

The new logo is rendered in the brand’s core typeface, OZIK by Nuform, and comes in three brand colours. “The typeface has a lot of character, it’s fun and contemporary with a dash of nostalgia … fitting for a youth-powered venue that’s over 170 years old,” the studio adds.

The first ever gig poster for the Roundhouse informed the team’s choice of OZIK. The font is also used in headlines to create a more youthful aesthetic, while a secondary typeface, Works Sans by Wei Huang, is used for body copy to allow for focus on the messaging.

Other key elements include adaptable photo treatments, which place cut-out subjects against flat, bold colours to unify images into the wider visual design, and dynamic gradients which extend the idea of light beaming onto content. A new website designed and developed by Glasgow-based After Digital will launch next year.

Kathrein Privatbank rebrand

Kathrein Privatbank is a private bank in Austria, aimed at helping its clients to better manage their finances and ultimately “better live their narrative”. To do so, it offers a highly personalised experience through its range of products and services.

&Walsh drew on the bank’s Austrian heritage for its visual identity, in particular the art movement Vienna Secession – which took place in the country at the turn of the 20th century. Its members rejected ‘traditional’ art styles, and promoted a move towards more unified disciplines of painting, architecture and sculpture. Founding figures included artist Gustav Klimt, architect Joseph Maria Olbrich, and designer Koloman Moser.

&Walsh’s identity reflects society’s collective reevaluation of money – with many individuals now seeking specific values and narratives, rather than just pure financial gain. Potential customers may be drawn to the fact that Kathrein Privatbank invests in “sustainable solutions, artificial intelligence, and the arts”, and as such, these three areas are reflected in marble sculptures designed by &Walsh.

Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh

“In the identity, we focused on bringing forward Kathrein’s Austrian roots in combination with their deep commitment to personalisation to separate them from their larger international competitors,” says Jessica Walsh, founder of the studio.

The Olympic brand gets a refresh

Every four years, the world watches on as the next host country of the Olympic Games is announced. The anticipation surrounding that announcement is closely followed by the reveal of the design identity for each Games – an occasion that gets designers talking as much as the general public.

The design heritage for the Olympic Games is so illustrious that it’s easy to forget that the Olympics has a brand of its own to look after. And since the last development of its identity, in 2011, the organisation’s needs have evolved, explains May Guerraoui, the IOC’s head of brand management. So began an extensive process to evolve the brand, which has been revealed through a gradual rollout, and is expected to be implemented in full by the Paris 2024 Games.

The Olympic colours – second only to the iconic interlocking rings in terms of recognisability – have been “subtly optimised” to have more impact and flexibility, she explains. These have been joined by an extended palette of complementary colours reflecting the gold, silver and bronze medals, to be used for cases like data visualisation and infographics.

Illustration by Abbey Lossing

“Art and creativity have played a big role in Olympic history, and not only in the iconic Olympic Games’ design. From 1912 to 1948, art competitions were held alongside sport – with Olympic medals awarded to architects, poets and artists,” Guerraoui says. “We wanted to bring this idea of championing the arts back into the brand identity.”

Olympic Sans was designed by Fabian Harb; Olympic Serif was designed by Seb McLauchlan
Image: Naoya Suzuki

“For example, we have put the athletes at the heart of the evolved identity system with the Field of Play (FOP) design, a graphic system that expresses the Olympic brand through colour and geometry inspired by the Games,” Guerraroui says, from courts to tracks to lanes. “It was a way to incorporate the Games into the brand in a timeless way, without featuring a specific athlete or moment in a way that a photo would for instance.”

DesignStudio’s Casavo rebrand

Casavo is a digital platform for buying and selling homes, offering a mix of properties from trusted agents, as well as houses acquired by Casavo directly. To date the focus has been on properties in Italy, Spain and Portugal, however a recent round of investment means the business is now expanding across Europe.

DesignStudio has rebranded the company to reflect its global – or ‘glocal’ as they describe it – scope, as well as its ambitions to evolve from a home-buying platform to a full digital solution for sellers and buyers. The new identity also had to speak to a broad range of consumers, spanning several generations of potential clients.

Casavo’s previously blue and pink, sans serif wordmark has been replaced with a more characterful, black and orange version – designed to flex across Casavo’s online and offline presence. The rebrand includes subtly different palettes of neutrals, blues and greens for brokers and buyers, however orange plays the starring role, appearing prominently on Casavo’s website and app.

DesignStudio has also introduced a suite of new monoline illustrations, depicting symbolic motifs of roofs and trees in Casavo’s outdoor ads. Photography feels more lifestyle than your traditional real estate agent, showing happy people sprawled on sofas and beds.

Soho House launches new magazine with a splash

Soho House is known for its luxe members-only clubs around the world, as well as a growing array of offshoots, like its plush homeware and skincare ranges. So the new Soho House magazine may surprise those who would expect the dimmed lights and muted luxury of those spaces to be translated onto its pages. Yet surprise is exactly what recently appointed editorial creative director Andrew Diprose, who previously worked at titles like Wired, GQ, and Elle, was hoping to achieve.

The magazine, Diprose says, is entirely new, and not a revival of House Notes, the publication that Soho House used to produce before the pandemic. Its launch dovetails with Soho House’s new awards (which he also worked on) celebrating talent across the worlds of culture and creativity, and is being used to support the scheme by housing a range of profiles on the winners. Spot acting elite John Boyega and Paapa Essiedu in the issue alongside fashion designers Harris Reed and Bianca Saunders.

The first issue has a core palette of six splashy, ice lolly hues that pop off the page, while the bold display typeface is joined by a bubbly guest typeface, which Diprose says has “just the right amount of readability”. The hyper-saturated palette is woven throughout the issue: you’ll see it in the colouramas used in the photoshoots, or the illustrations by Lucy Jones commissioned for op-eds, or even in the objects that Christopher Mitchell shot for the still life story.

It might be a “glorious experiment” but the design still relied on plenty of “geekery”, he insists, whether in the similarity between the CMYK and RGB references that ensure consistency across print and digital, or the ‘golden ratio’ created by the page proportions. “Obviously anyone who is geeky about design is going to love sneaking in a golden section to a page layout!”

Some design elements, like the condensed display typeface and the grid layouts designed to evoke the brand’s square logo, will remain as the “nuts and bolts” of future issues, yet the rest is open to evolution. “It’s all up for grabs!”

Soho House magazine is available in the private members clubs, and will be stocked at selected newsstands and galleries; sohohouse.com