RT Rondelle in use for OC’s new identity designed by Identity Marketing.

OC is one of South Australia’s leading names in real estate. The co-founders Alex Ouwens and Nathan Casserly joined forces with Identity Marketing Agency to strenghten the brand's presence. The scope of this project covers just about everything, from branding and identity, to property marketing, website design and development and more.

From Identity Marketing;

Working alongside Identity Marketing, OC sought to take everything recognisable about the existing brand and refine it into something sharper and more sophisticated, with a hint of playfulness. Smaller decisions like reinterpreting their iconic orange and expanding around the “Let's Make It Happen” tagline sat alongside more significant ones: contrasting serif and sans-serif fonts, bold new layouts, and a new brand voice. All carefully considered to elevate the brand for the next decade. Stronger, bolder, and ready for the future.

The annual South Australian Music Awards celebrate excellence in the state’s contemporary music industry and take place each November in Adelaide, South Australia. As a key event on the UNESCO Adelaide City of Music calendar, the awards have become a standout fixture in the local cultural landscape.

For the 2024 edition, Adelaide-based creative Saige Prime designed the visual identity. His work encompassed creative direction, logo design, animated screen visuals for the ceremony, and visuals used for the promotion ahead of the event.

Farmacia by Nguyen Gobber was used as the primary typeface, paired with Neue Haas Grotesk by Christian Schwartz.

As stalwarts of the indepedent coffee trade in Adelaide, Altura Coffee were in need of re-establishing themselves as tried and trusted purveyors of all things coffee across the city and South Australia. A scrappy and tired identity gave way to a contemporary overhaul by Susu Studio, built on confident typography (Wraith Mono by Double Dagger), a strict colour palette and a robust layout system that could adapt to a wide variety of products.

The hyper-detailed identity update encompassed establishing a revised brand strategy & tone of voice through to packaging and custom signage for Altura’s new HQ and café in the west of Adelaide.

The website additionally uses MT Mighty Mono.

Motiv created the visual identity for the Moments of Clarity wine range by Utopos Barossa Valley. They designed a series of abstract labels based on variations of the same graphic elements arranged in distinct compositions and colors. The font used for the logo is Mint Grotesk (from Lift Type), to which a blur effect is applied.

MyBudget provides debt assistance and budget management for individuals in the form of programs and apps. Company founder Tammy Barton worked at a debt collecting service and felt things could be better:

“I could see that traditional banking wasn’t helping people. If you want to get ahead, to live your best life, you need a different set of tools. You need a system and support that helps you plan for the future—to look ahead, not behind you,” says Tammy.

The company website uses Ciutadella as the main typeface, paired with DM Serif Display for selected headlines. The typefaces for the MyBudget logo appear to be Rage Italic and a customized FF Sari (or Barmeno) Italic.

The Latin part of Nanum Myeongjo and Surt are the fonts in use on the website of Adelaide’s Oval Hotel:

A destination hotel at the heart of the city of Adelaide. Set at the iconic Adelaide Oval, our unique address places you within minutes of the vibrant city centre, while enveloping you in the tranquillity of the surrounding parklands.

The foil-stamped cover typography pairs contoured Plantin Condensed with Serapion Italic. The title on the spine is set in all-caps Bureau Grot.

2019 was a special year at Wirra Wirra vineyards. It marked 125 years since RS Wigley planted the first vines on the iconic McLaren Vale property, and 50 years since Greg Trott took the reins, creating one of Australia’s most respected wine brands.

To celebrate this milestone, a 132-page hardbound book, The Highly Improbable Audacious Adventures of Wirra Wirra was published. The publication celebrates the love that wine identities have for Wirra Wirra’s modern founder Greg Trott, whilst also exploring the left-of-centre and eclectic story of Wirra Wirra itself.

In the book, period correct typefaces and typesetting methods from two distinct periods combine with original illustrations and photography found in the Wirra Wirra archives. The book also features elements which bring the quirky tales of the winery to life, such as the cricket bat bookmark inspired by Wigley and Trott’s love of cricket.

Body text is set in Century Schoolbook with Serapion Italic for emphasis.

Captions use all-caps Century Schoolbook Monospace. The block quote is set in center-aligned Plantin Condensed.

This section combines Cooper Black for headings with Futura for text.

Fuller are a leading independent brand communication agency, home to strategists, creatives, digital natives and craftspeople. Eight years after their last rebrand, Fuller decided a fresh look with a restrained, timeless quality was needed.

Through the confronting process of analysing their own brand, it was realised that the brand’s strength was in the parts that made Fuller whole — the history, family, staff and diverse range of clients. This concept is visually communicated in the arches, triangles and geometric shapes that combine to form the logotype.

The colour palette reflects Fuller’s origins in writing and newsprint, with a bright indigo accent reminiscent of a blue biro breaking up the minimalistic black and white designs. To avoid flourish and transcend design trends, Plain by Optimo was selected as the primary typeface.

Logotype for Adelaide based reissue label Isle of Jura – a record label from Kevin Griffiths (Jura Soundsystem) focusing on reissues of lost musical gems. A sublabel dubbed Temples of Jura caters for original artist material from a variety of genres.

“Art is magic. Creating music is like pulling a rabbit out of a hat, you are producing something out of nothing. A thing now exists in the world that was not there before”.

Life Christian Centre's annual conference, Empower, gathers leaders, speakers, and church members from all over the world for a weekend to inspire, equip and empower the body of Christ. The conference took place from 13th to the 15th of July 2017 at Life Christian Centre in Adelaide, South Australia.

State Theatre Company South Australia is the state’s flagship professional theatre company performing an annual season of classic and contemporary Australian and international theatre works at its main performance home – the Dunstan Playhouse. The Company is a major community and cultural resource for all South Australians and is vital to artistic life in the state. — State Theatre SA

The identity and this leaflet were designed by Frame, using Alias Sabre as the headline typeface.

FULLER were engaged by Yalumba Family Vignerons to tell the story of a brand new Cabernet Sauvignon & Shiraz high end wine. Yalumba had always considered themselves understated, but with continued consumer interest in high end wines, Yalumba wanted to release arguably their best vintage, 2012. With a $400+ price tag the story have to be authentic and engaging.

FULLER tackled the challenge by delving into the Yalumba history books to find a story worth telling. Five generations, 167 years Yalumba is Australia’s oldest family owned winery.
Fred Caley Smith emerged. He was a family member who took Yalumba’s handshake to the world. Born in 1864 his thirst for new adventures and knowledge inspired his family to dream a vision that would last for generations. His legacy that lives on is Yalumba. A 150 page book was conceived.

The Journey
Key statements from the book would be used as typographic circular arrangements. Each clock circle reflected a moment in time, a transient movement. Photography was art directed as brooding, historic and suggestive. Typography was selected to give a sense of tradition (GT Sectra) and sophistication (Aperçu and Domaine Sans Display).

The Style Capsule is an online fashion boutique that provides not only an expertly curated range of women’s clothing, shoes and accessories; but also offers a number of specialty services, including same day hand-delivery and face-to-face consultations with a personal stylist.

The Style Capsule logotype utilises typography in an understated but memorable interlocking configuration, which at once alludes to the shape of an opened capsule, an ‘S’ letterform, and a ‘C’. This configuration also provides some welcome visual interest and point of difference to an otherwise straightforward, familiar fashion logotype — helping to strike a balance between classical and innovative.

Krass is an intellectually engaged publication; bold in content, targeted in scope and elegant in design. Artists, academics and activists come together in its pages. Krass converse with photographers, politicians and provocateurs.

Krass is for the defiant and the curious. At at increased page range of 142, encased in silver metallic stock with black pigment foiled text, the bold cover represents the intrepid content within. For the third time running, Simon Pearce of Adelaide agency Frame Creative designed the layout, as well as an exclusive font for the issue, aptly named Sinner (Frame Type) — a brutal, neoclassic typeface referencing historic Germanic, blackletter letter-forms, constructed from a strict grid base and system of shapes, the geometric structure is modern and bold in character.

Issue 3 features Abdul Abdullah, Helen Razer, Ishmael Butler, Julian Klincewicz, Maryam Namazie, Sampa the Great, Sanam Sindhi, Saul Williams, Senator Scott Ludlam, Siri Hustvedt, Stanislava Pinchuk (Miso). Plus contributions by Phoebe Collings-James (NYC), Raquel Nave, James Hartley, Moonassi, Ben McGee, Emily Wake and Shane Levene.

The Good Fortune Market is part of this year’s 2016 Ozasia festival. Ozasia is Australia’s premier international arts festival with an emphasis on all things Asian. — Good Fortune Market

Festival logo, set in caps from Formular Bold.

Adelaide Festival, including the iconic Adelaide Writers’ Week, is widely recognised as one of the world’s leading multi-arts events for its innovation and bold artistic vision. The identity of the 2015 edition was designed by Voice®, using Formular (Brownfox, 2014) as the main typeface family.

Stationery

The website was designed by IS Design + Digital and developed by Ruciak. Most of it uses Formular Mono. The big numerals are from GT Pressura Mono Bold (Grilli Type, 2012).

Website, Music and Theatre categories index

Mogwai poster

Bill Viola daybill. Here and elsewhere, Formular is paired with GT Pressura Mono, which is narrower than Formular Mono.

The Writers’ Week Guide was designed by Voice® and DesignLab. The text typeface used for this booklet is Corpid Condensed (LucasFonts). Here, the eye-catching numerals are taken from Formular Black.

Writers’ Week Guide, timetable detail

Volunteer shirt

Krass —

KRASS is establishing itself as a bold, distinctive and highly respected voice in the art and design world — we were described by All Day as a “poetic and eclectic ode to beauty and print”. With the tag line independent, ambitious, gracefully impolite, we pride ourselves on featuring diverse opinions and thoughts.

A bold and striking use of Alias Text by Frame Creative for Krass Journal Issue 2. Harbour was used for Issue 1.

The secondary typeface is Fugue, with some interspersed italic characters, and apparently with a customized straight-sided ‘D’.

Logo for creative practice Lost Projects. Lost Projects is a repository of ideas — the realised and the imagined. The accompanying illustration was developed to invoke a dream-like state with a focus on the soft and the feminine.

The Market Kitchen is a food, tourism and education hub for people interested in high quality South Australian foods. I was approached as a freelancer to design the branding for the kitchen and subsequent events.

Collateral included labels, packaging tape, poster and flyers. Primary design considerations included easily distinguishable branding and economic production. These challenges were overcome by using a single tone black imagery and type on green colour paper to keep printing costs to a minimum.

The photocopied look on coloured paper combined with the busy, multiple font approach is a homage to the posters usually adorning local market walls, with an additional contemporary twist.

Alexander Brown Architects approached me about creating a visual identity, free from the constraints of current trends. Having a clearly defined vision for the firm, I went about reflecting the modernist principles represented in their architecture into their corporate branding. The end result was a modernist design that achieves an understated sophistication.