Reinventing Admiral, the classic English sports brand. Gaining notoriety in 1974 when it produced the first commercially available England football shirt that featured a sportswear manufacturers logo.

Finding a new sense of purpose and direction built around the rebel, pioneer spirit they had lost over the years. This gave us a foundation to refresh their identity and give creative direction to their entire range.

Identity uses FF Mark.

Vintage ads and logo featuring Antique Olive and Kabel Black (for reference)

DystoBee is a project aimed at raising awareness about the disappearance of bees. The goal is to show the seriousness of the situation. For the time being, a world without bees is still a dystopia. The project aims to make this scenario more graspable through to the creation of false price tags to be installed in supermarkets. This project was made during my bachelor studies at LISAA Strasbourg.

The typeface Apoc is used for the logo (with its alternate B) as well as for some titles. It’s accompanied by Neue Haas Grotesk to create a strong contrast in the logo. Apoc is a font that has a lot of character especially in its spiny endings that can remind of the sting of bees. The contrast created by these two typefaces makes a lot of sense for a projects that wants to instigate a conversation about the confrontation between our present world and a dystopian future. Neue Montreal is used on the fake price tags.

Lausanne by Nizar Kazan and Self Modern by Lucas Le Bihan in use by Nick Almquist for Soft Studio, a bay area landscape architecture firm. Deliverables include a portfolio site, print collateral, and a visual identity inspired by Letraset’s Instantex.

The Carl A. Fields Center challenges Princeton students to confront institutional racism and classism through collaborative discourse and action. Isometric created a visual identity and spatial graphics that frame the experiences of students of color past and present on the walls of the Center’s historic architecture. The design makes minority voices heard and a marginalized history visible, projecting new possibilities for a better, shared future.

The choice of Onehunga Sans as a display typeface sets a declarative yet approachable tone that forcefully declares a space of equity and inclusion without feeling overly confrontational. The type is often masked in colored shapes, with trenchant, expressive angles that contrast with the rounded warmth of the font. The secondary fonts, Maison Neue and Maison Neue Mono, provide a more trenchant yet approachable counterpoint for easy absorption.