Tag Archives: Typography

Goolf brand identity

Goolf is a matchmaking app that’s designed to connect fellow golfers with one another, aimed at both amateur and experienced players – or anyone interested in hitting the fairways. The brand commissioned Wildish & Co to help bring the sport’s old-school reputation up to date and appeal to newer players.

The revamped branding incorporates a vintage illustrative style, taking inspiration from historic golfing iconography and 1970s crazy golf. The logo is one of the most striking elements, featuring a curving ‘G’ that nods to both the shape of a golf course and the cartoonish flight of a golf ball.

The typography used in the header is inspired by classic golf scoreboards, with an Inter Bold typeface chosen for flexibility. A brighter, techier green was chosen for the lead colour, complemented by a more vibrant overall palette, while the photography direction gives a more relaxed sense of the sport.

Category: Brand Identity, Rebrand
Entrant: Wildish & Co
Design Studio: Wildish & Co
Creative Director: Jake Allnutt

Designer: Alisha Mann
Brand Partner: Harm Kerkhof
Producer: Andy Churlish
Illustrator: David Roberts

Eames Institute of Infinite Curiosity brand identity

The studio describes the letter as “a symbol that embodies infinite curiosity in its dynamic configurations”, able to “shift its gaze in order to observe its context, emphasise content, and carry on the Eames legacy of spirited discovery”. It’s part of a flexible design system that supports the institute’s ambition to use Eames’ design philosophy to encourage contemporary designers to solve the world’s problems.

Manual’s branding stretches across digital, physical, experiential, and editorial, with the logo displaying its more anthropomorphic qualities in motion, where it’s designed to be “always looking, always observing”. Everything is rooted in the work of the duo, with type choices and colour palettes drawn from pieces created by the pair and stored in the archive.

Eames Institute of Infinite Curiosity
Category: Brand Identity, Launch
Entrant: Manual
Design Studio: Manual
Creative Director: Tom Crabtree
Client Director: Patricia Callaway
Project Managers: Sheila Azadan, Astrid Fedel
Design Director: Frank Lionetti
Art Director: Tanner Irwin
Designers: Nathan Fyock, Daniel Surgeon, Alireza Jajarmi

A delicate identity for the World of Wedgwood

SomeOne has created a new visual identity for the World of Wedgwood, the home of the historic pottery brand based near Stoke-on-Trent.

Visitors to the World of Wedgwood can meet the people who craft the intricate pieces, and elsewhere on site, there is a gin distillery, shops, a tearoom decked out in Wedgwood, a fine dining restaurant, and a V&A collection featuring archive pieces.

The new identity showcases the brand’s signature Wedgwood blue colour – a light blue developed by founder Josiah Wedgwood while experimenting with his ‘jasper’ stoneware. This is accompanied by complementary colours that are designed to feel seasonal, and others that work year-round.

The art direction for the photography is restrained but feels in keeping with tasteful interior or beauty brands, making the most of textures associated with pottery, including powder, paint, clay, bone china, and slip (clay particles suspended in water).

As part of the project, SomeOne also created a set of illustrations inspired by the lines formed in clay on a potter’s wheel, as well as a verbal identity that aims to “invigorate” the historic brand.

It would have been all too easy to lean into typical heritage or craft aesthetics here, yet the new identity manages to gently push the World of Wedgwood in a more thoughtful direction.

Wise’s new branding reflects its shift in direction

Founded in 2011, Wise has long sought to challenge the financial status quo. Previously known as TransferWise (it dropped the first part of its name in 2021), the foreign exchange fintech allows people and businesses to move money between countries as well as spending money abroad.

Today, over 16 million people and businesses use Wise, saving them £1.5 billion compared to traditional banking fees last year alone. As it continues to make it easier and cheaper for more people in more places to use their money, the fintech decided its branding needed to better reflect its work.

Wise approached branding agency Ragged Edge to create its new visual identity. Rooted in the idea ‘The World’s Money’, the branding sees its existing wordmark and Fast Flag icon subtly recrafted for better legibility.

The agency decided to move away from the blue hue that has become a fintech convention over the last decade. Instead, green is now the core brand colour, in a nod to Wise’s previous green hued card.

A clear and confident tone of voice has been developed to be understood instantly by anyone in any language, while a new bespoke typeface, Wise Sans, incorporates letterforms inspired by scripts from across the globe.

The identity also introduces a new distinctive asset, described by Ragged Edge as a set of “graphic tapestries”, which fuses colour, imagery and texture to form a striking background for how the brand shows up both on and offline.

The design system is intended to be one of the most accessible in the world, supporting over 146 languages. Every design decision, including testing over 200 colour options, was made to exceed the standard requirements of WCAG 3.0 (Web Content Accessibility Guidelines).

Given the scale of the project, Ragged Edge and Wise decided to adapt the traditional client-agency relationship, functioning as one team throughout the process. The agency’s creative director, Luke Woodhouse, says: “It ensured the results will flow through every part of the business and product, for the maximum possible impact.”

Cleancult’s new branding heroes the refillable

Robot Food was briefed to design branding that would counter any confusion around this, and make the refill/reuse process clear from the get-go. The Leeds-based studio created a series of central pack icons that hero each product’s ‘refillable glass partner’.

Another challenge was to lean into the ‘cult’ part of the brand name whilst avoiding the more challenging associations of the word. The team utilised a range of graphic devices such as symbols and a decorative logotype, and balanced this out with an overall feeling of playfulness.

The logomark in question is composed of shapely lettering, paired with a star-shaped glint that serves as “the finishing touch, the gleam in the clean”. Other graphic elements used in the branding, such as sunshine-esque rays, emphasise Cleancult’s “positive, aspirational elements”. Robot Food added in sans serif font Brandon Grotesque for body copy, and semi-serif font Nazare for titles.

The studio was equally playful with the brand’s tone of voice, expressing the more serious sustainable messaging through slightly tongue-in-cheek copy. Finally, the simple yet striking blue and white colour palette evokes a feeling of freshness and communicates the efficacy, with bold secondary colours used to represent different scents.

“With cleaning products, one way or another it can feel like you have to make a sacrifice – between conventional and natural, eco-friendly and tough on germs, lemony freshness versus dried out hands,” says Jess Cook, client director at Robot Food. “We wanted to show Cleancult as the full solution – something we can trust without fearing we’ve made the wrong choice for ourselves, or the planet.”

The Working Assembly gives Marin Living Foods a fluid new logo

Back in 2012, when plant-based milk was still a burgeoning market, it was hard to find an alternative that was additive and filler-free. This struggle inspired California-based chef Gaina Lieu to found her own plant-based milk company called Marin Living Foods, whose mission for over a decade now has been to provide the most natural and high-quality almond milk.

In an attempt to disrupt the alternative milk category, Lieu reached out to award-winning creative agency The Working Assembly to rebrand Marin Living Foods and help it stand out from competitors in terms of visuals as well as quality.

“The Working Assembly really nailed the brief, giving our beloved brand a fresh and much needed redesign,” explains Lieu. “Our premium small batch nut milks are so much more than the plant-based alternatives out there, and they really highlighted the differentiation in all of their strategy, copy and visual identity work.”

At the core of the rebrand is a new wordmark that uses custom script to mirror the fluidity of milk and contribute to a brand-wide playfulness through movement and motion. Here, clear legibility of the brand name is sacrificed slightly in favour of aesthetic distinction — even if you’re not sure what the fluid type says, it certainly stands out on the shelf.

This is further aided by a simple yet bold colour palette that helps to foreground the wordmark on the bottle. Pink, green, brown and off-white hint at the flavours of the respective milks (which include matcha, berry goji, and ube, among others) whilst juxtaposing nicely with the expressive type design.

Finally, the brand’s playful attitude is established through a “confident, cheeky, and strong” tone of voice that draws attention and highlights the quality of the products in a knowingly boastful way — ‘Defiantly Delicious’ reads the brand’s unofficial tagline, while one of its OOH adverts proudly declares: “Our bold flavours make the almond milk aisle a little less vanilla.”

Freeform’s rebrand reflects its commitment to new perspectives

Collins has worked with Monotype to create a new variable cut of Neue Haas Grotesk, which allows letters to twist, shift and wrap around themselves. It makes for striking branding when used in static imagery, but really comes to life in motion – which feels fitting for Freeform’s new positioning as a streaming service. Collins says it’s “a voice that invites you to look again and again”.

The forms of the type are echoed in other graphic elements, for example cut-out signage boards, windows onto characters, and stills from shows. Lettering is paired with a bright colour palette, that pits hot pink and slime green against more sedate tones of maroon, navy blue and forest green.

Freeform’s backstory is as twisty as its new branding, launching in the late 70s as a religious channel and undergoing various changes in name and ownership before becoming Freeform in 2016. According to Collins, its focus for the future isn’t just a young adult audience, but the kinds of stories that “are usually on the periphery”.

Jangle, a property portal hoping to transform the market

The property sector isn’t necessarily what jumps to mind when you think of interesting design. The houses may be beautiful, but the estate agents and listings websites that feature them very often aren’t.

Starting with the name, Anagram came up with ‘jangle’ as an onomatopoeic hint at “the noise of a full keyring” and as a play on the idea that Jangle is offering buyers “the keys to the whole market for the very first time”.

The branding is dominated by a warm orange colour palette that feels fun and inviting, as well as being a far cry from the minimal and frequently cold appearance of many property websites.

This is accompanied by a cast of illustrated characters that feel reminiscent of the kind found in newspaper and magazine editorials. They’re simple and friendly and reflect Jangle’s easygoing appeal. Anagram has brought these characters to life across a range of animations, where they search, in a relaxed fashion, for a new property.

Manual unveils a ‘dancing’ logo for Louisa Parris

Tom Crabtree, creative director at Manual, says the main focus of the brief was to push the brand forward to “be more assertive and opinionated”. Early conversations with the founder discussed her own interest in “distinct typography”, as well as her disappointment that other fashion brands were “stamping out all of their unique typographic personality and opting for deadpan sans serifs”.

The studio drew inspiration from several design movements, including Art Deco, Bauhaus and Wiener Werkstätte – all of which have influenced Louisa Parris’ approach. The brand’s garment design process also played a key role. “Louisa’s bold designs often begin as hand-drawn patterns on a square grid and then evolve into prints on fine garments,” says Manual art director Jerome Louisick.

“Her process inspired us to design a logotype that was constructed entirely on a grid structure and built from straight and semi-circle lines. The unusual sizing of the letters captures the movement and free-flowing nature of the garments while creating a logo that feels both classic and contemporary.”