The art biennale Anozero’21—22: Meia-Noite was curated by Elfi Turpin and Filipa Oliveira in Coimbra, Portugal. Coline Sunier and Charles Mazé’s visual identity is based on the combination of two symbols, ○ and /, extracted from Anozero’s existing graphic identity to create a continuity with previous editions. In the designers’ hands, ○ becomes a moon ? and its fluctuations ???????? and / becomes the night ////////// and ////////// its ////////// troubles and uncertainties //////////, evoking the biennale’s curatorial project. From abstraction to narrative: from a circle to the moon (or a disco ball?), from shading to twilight.

All communication materials are set in Charles Mazé’s Mercure (Abyme, 2021), Regular, Italic and Transcript. The choice of a serif typeface gives a literary and scientific aspect to the communication – an echo to the Joanina library in Coimbra and its incarnation of western knowledge – and differentiate the design from the past visual identities of Anozero.

LWLA (formerly Larry Weaner Landscape Associates) is a leader in landscape design, installation, and management, known for their innovative blend of ecological restoration and native garden expertise. Upon stepping into their fourth decade, they decided it was time to partner with a team to help elevate their brand and digital presence into something that was more reflective of the work they produce—we were excited to join them in this journey.

To begin this new design partnership, we underwent a rich discovery phase to uncover a set of core values and attributes that would honor their legacy and celebrate their collective team. These attributes provided us a strong foundation for brand work that inspired design choices and created a singular voice for LWLA to be used in years to come.

Within the brand evolution we created a cleaner, crisper, and more modern visual system that would allow their work to shine. A custom typographic logo provided an elegant way to honor their legacy, showcase their plant expertise, and celebrate their strength in partnerships. The system overall uses simple typography, spare layouts, and smart grid structures to clearly communicate and showcase the beauty of their work.

Using the brand discovery as our starting point, we then dove deeper into the specifics of where their brand was to live within digital space—uncovering audiences, aligning on desired outcomes, and curating thoughtfully organized content. This discovery work was then tested for accuracy and intent in a robust wireframing exercise to lay strong groundwork for the design to come.

We then translated this new identity into the digital space by building upon themes and systems established within the marketing materials. Strong typographic moments to proudly share their perspectives and large, sweeping photographic moments to celebrate the beauty of their results.

Throughout this process we partnered with writer, Sandy Moore, to curate and implement an authentic written voice for LWLA, and developer, Impart Creative, to bring the new website to life.

Branding and creative direction: Lucy Price
Website strategy and design: Ali Doucette
Website build: Impart Creative
Copywriting: Sandy Moore
Photography: client provided

Visual identity and website for FLOR, a youth movement that promotes nature and biodiversity. The objective? To build a platform for Danmarks Naturfredningsforening (Danish Society for Nature Conservation) that supports local initiatives and youth communities fighting the biodiversity crisis in the middle of which we find ourselves.

From planting trees and scattering seeds, to spearheading national campaigns, FLOR connects youth with the environment, ultimately paving the way towards a flourishing and biodiverse future.

The National Film School of Denmark is a state school located in Copenhagen. It has eight programs: documentary director, fiction director, animation director, producer, scriptwriter, cinematographer, sound editor, film editor, game developer. Lars von Trier and Susanne Bier are among the famous graduates.

Independent creative company Barkas (Denmark/Sweden) created the new visual identity for the school. The typeface used is Reply by Kasper Pyndt, a Danish graphic designer and founder of Approximate Type.

The identity is a colourful new direction, symbolising this diverse new era. It embraces flexibility with a bilingual modular system, providing endless compositions within one frame.

In the article for The Brand Identity, founder and creative director Mike Wittrup explains:

To accommodate this, the typographic direction was intentionally straightforward, for the sake of legibility and versatility. To keep things simple and easy to work with we use one typography and one weight.

Senior Designer Marie Dissing adds:

His minimalistic yet subtly detailed sans serif was the perfect choice to balance out the expressive colours, different styles of photography and edgy motion, and add a timeless modern feel to the identity.

Read the full article on The Brand Identity.

Thomas Coward is a Melbourne based product designer. SPGD were asked to create an identity and website that reflected his work and flexibility through a broad range of products and projects he works on.

A logo was created by heavily manipulating Akzidenz Grotesk to create a completely individual outcome for his practice. On Thomas’s website, visitors are welcomed with an animated logo, showing its the flexibility in movement.

Lausanne by Nizar Kazan is used throughout.