Tag Archives: Typography

Jack McKeon, Limerick School of Art and Design

Jack McKeon’s portfolio is impressive in its breadth of media (packaging design, branding, illustration, animation) as well as its range of themes. At times, it’s commercially astute and slickly professional, at others, it’s using animation to explore ideas around community and societal division, or examining Irish cultural idiosyncrasies and the country’s deepening housing crisis.

Although his work started out with an illustrative bias, relying almost solely on imagemaking, his skill with typography emerged over time and is shown across a wealth of both speculative and real life projects, from soft drink branding, to a concept for a non-alcoholic events company, to theatre posters. The Project Arts Centre in Dublin recently commissioned McKeon to create a billboard reflecting on the current state of Ireland’s capital and what it means to those living there.

Laytown Soda Co. posters
Fression branding

Panettoni Pavolucci’s Packaging Feels Like A Warm Embrace

Requena and Martí Pujol worked together for Panettoni Pavolucci to embrace color through the gorgeous use of warm hues. When paired with the elegant, oversized typeface, the packaging for the bakery’s goods feels like a luxurious hug that’s welcome to all.

SINNEK’s Bold Packaging System Visualizes The Bodywork Paint Brand’s Pillars

Sinnek is a car paint brand that promises its consumers quality, efficiency, technology, and color. The brand worked with Diego Bellorin to create a packaging system that visually translates these promises. The bold yellow hue and bold typography system create a packaging system that’s authoritative and professional while also showcasing the brand’s high-performance personality.

Light and springy new brand for Aevi

To cement its positioning as a payment partner, Anagram was tasked with updating Aevi’s branding – which had previously featured a bendy, only semi-legible wordmark. The studio focused on the ways the platform can set payments free, and built its new branding around that.

As such, the identity embraces what Anagram describes as a “light and springy” feel, focusing on loose rather than linear shapes. This is expressed via squiggly motifs and icons, as well as a new custom typeface, Aevi Basis – created by Colophon – that echoes the forms of global currency symbols.

Anagram has adopted a new colour palette as well, foregoing the “sea of blues that wash over the fintech space” for a mix of bright green, forest green, pink and coral.

Aevi’s new identity fits squarely into a burgeoning camp of finance brands embracing new approaches to design and branding, kickstarted by the likes of Monzo, Starling and Revolut in the 2010s and continued by a wave of new businesses such as Keebo and Everything.

BAZ & CO’s Basil-Based Skincare Products

The beauty industry is a crowded space. From organic products and vegan brands to “clean” lines, there’s not only a somewhat hazy description for just about everything, but a product for everyone. Yet, while some brands claim to be clean or organic,BAZ & CO  is a natural skincare line created by a farmer who knows a thing or two about raw ingredients. 

The strategy, branding, packaging, digital design, and digital development were designed by London-based agency Otherway. BAZ & CO gets named after its principal ingredient, basil, a plant known for its antibacterial and anti-inflammatory properties. The green primary packaging hue reflects the herb’s prominence within the products. In addition, the sustainable, fully recyclable packaging is made of aluminum and glass, shedding light on the importance of sustainability, especially for nature’s sake.

Because the beauty industry is so overcrowded, Otherway wanted to ensure that BAZ & CO’s packaging and branding systems were distinct enough to stand out. Using recyclable materials and inks guarantees this, and the innovative and styled typography and design styles further highlight the brand’s sustainable intentions.  

The minimalistic design was strategic, yet it also leaves room for the brand’s inevitable growth. The system’s flexibility comes from the minimalistic aesthetic deployed by the agency, allowing new products to seamlessly become part of the line and adapt the green packaging with white typography and instruction manual-inspired illustrations. 

So, sure, farm-to-table meals have been around for a while, but farm-to-face skincare products are the latest and greatest addition to the skincare industry. 

Kick it out

The charity celebrates its 30th anniversary next year, with the organisation expanding its focus over the last three decades from racism in football through to all forms of discrimination in sport. It’s currently partnering with Sky Sports, and as part of the collaboration has developed new programmes for schools, editorial initiatives and MBA in football scholarships to tackle underrepresentation.

Sky Creative has replaced the previous sans serif wordmark with an energetic new football-shaped logo, which renders the name of the charity in what looks like duct tape.

According to the in-house studio, the aim was to express Kick It Out’s grassroots beginnings and also bring in a bit more attitude, and the new look undoubtedly has a lot more personality and vigour than Kick It Out’s previous branding.

It also seems much more adaptable, able to change colour to appear alongside the logos of football clubs, many of which are more intricate crest-style symbols. In these instances, the Kick It Out branding holds its own without undermining the club.

Its tape-style type also feels right at home in some of Kick It Out’s creative executions – for example, ‘If you see it or hear it report it’ pasted on the walls of the men’s toilet, or even at a larger size in the centre of the pitch.

Morag Myerscough’s artwork in the sky

Her colourful set of banners marks the first time the flags along London’s Oxford Street have been handed over to an artist.

The installation consists of 105 individual four-metre flags, which have been created using recycled marine plastics. Stretching from Tottenham Court Road on the east side of Oxford Street to Marble Arch in the west, the rows of overhanging flags reveal the message ‘Time for Clean Power’. It’s the first time the flags have been curated by an artist, and the first time they’ve been used to champion an environmental cause.

“My work is synonymous with bold colours and powerful positive messaging. It is so wonderful to see Europe’s busiest street filled with colour and hope,” Myerscough said of the project.

“With this work I wanted to put out an optimistic approach towards our future, if we work together we can help make the changes we need to happen. The oranges, greens and blues represent the sun, sea and air that we need to power ourselves to a renewable future.”

CNET’s new identity

As tech has evolved over the last two decades to influence almost every aspect our lives, the media company decided to expand its coverage and advice to what matters most in modern life – including money, home, wellness, culture and climate.

To coincide with its refreshed editorial approach, CNET enlisted the help of New York and San Francicso-based studio Collins, which was tasked with crafting a new brand strategy, brand story and visual identity for the media company.

Collins’ brief was to turn CNET from a tech review site into an editorial-first brand known for its useful information and expertise, putting it alongside the raft of other news organisations that are placing renewed emphasis on trust, including the New York Times and the Guardian.

Least favourite fish gets a rebrand

Ever heard of Patagonian toothfish? Slimehead? Peekytoe crab? All of these none-too-delicious-sounding fish have been the subjects of successful rebranding campaigns, becoming Chilean sea bass, Orange roughy, and mud crab, in a bid to get people eating them.

Chicago-based practice Span Studio is hoping it can work some similar magic on Asian Carp – an invented, catch-all name for various types of carp which escaped from fish farm retention ponds in the 1970s, and have since taken over the Illinois River. The fish have impacted biodiversity and ecosystems, and there are fears they will go on to damage America’s Great Lakes.

The logo appears on a set of concept packaging designs, which envision how Copi might be sold – all emphasising the locally caught aspect. The ‘Eat well, do good’ tagline is the final element, with the rebrand designed to get people buying the fish at the supermarket, or ordering it from restaurant menus.

Plum Guide’s new ad campaign

Plum Guide is a travel brand which proclaims to curate stays in the “world’s most remarkable homes”. Its new campaign, by Stink Studios, doesn’t waste time trying to seduce audiences with visuals of these destinations though, and instead points out just how many holidays you are likely to have left, depending on your age.

The campaign is rounded off by the tagline ‘No time for average stays’. It’s a different approach for the holiday industry, which can often feel awash with identical campaigns showing palm trees and immaculate beaches. Though it might also make you feel like time is running out, a point brought home by Ali Lowry, chief brand officer at Plum Guide.