Mouthwash Studio has designed a small identity and website for interior and furniture studio Aunt Studio. Aunt Studio has done the interior design for Mouthwash's studio.

The typeface used is Store Norske Eleganse from Skriftkompani.

Studio design by Mouthwash Studio in Los Angeles

Editorial meets vintage – romantic brand design for Olive & Co, a wedding planner in Calgary.

We created a refined typographic logo that feels both timeless and modern, paired with custom illustrative elements inspired by olive branches. The branding incorporates subtle baroque details, with ornate flourishes and vintage-inspired motifs, nodding to the founder, Elizabeth's love for classical music and European architecture.

The visual identity walks the line between modern editorial design and ornate, vintage-inspired luxury, reflecting Olive & Co.’s signature approach to event design: thoughtful, romantic, and diverse.

Democratic Futures is a collaborative inquiry between BA Hons Graphic Arts students at Winchester School of Art, University of Southampton and the Parliamentary Archives. The project explored the political archives of the 1872 Secret Ballot Act on its 150th anniversary and the implications of this act then, and now, to the democratic electoral system.

Before the Secret Ballot Act, voting consisted of employers, landlords, political operatives and clergy using strategies of intimidation to exert their influence on citizens who had to vote by voice or show of hands. Voters would be bribed or coerced into voting for candidates regardless of their personal opinions or views. The 1872 Secret Ballot Act introduced a radical reform which ensured privacy in the procedures and the act of voting, introducing the democratic electoral system. With the progression into the third and fourth Industrial Revolutions there have been rapid shifts in the quantity and quality of political information that we consume. BA Graphic Art students at Winchester School of Art have speculated on and explored how the expansion of new technologies are changing how we interact with political information, and with it, the validity, reliability and authenticity of political content.

Rather than look for answers, students worked by proposing questions of alternative futures rather than a conventional design problem. Here, investigating through speculation acts as a tool of enquiry by provoking societal and political debates while challenging existing norms. Asking questions beyond the project title allowed students to expand the boundaries of the project through developing outcomes that consider potential future realities. Students also questioned their use of conventional design decisions, and adherence to organisational structures and universal systems. Such formal principles represent a limited definition of design. To challenge conventions and norms of design approach, students participated in a series of multidisciplinary workshops which aimed to challenge these existing design structures that might allow for more shared thinking and more ‘democratic’ visuals.

The process of collaboration and speculation within a project such as Democratic Futures was fundamental to developing new learning frameworks. In this publication, which acts as a record and an extension of the project, each contributor responded to a question that frames key issues, dialogues and related debates giving context and meaning to the work produced, beyond face values. We thank the following professional contributors for their supporting roles in enhancing student understanding and helping develop alternative approaches to challenging norms: Penny McMahon – Outreach Archivist, Parliamentary Archives; Ed D’Souza – Professor of Critical Practice, Winchester School of Art; Dem Gerolemou – Designer Google; Jonas Zieher – Motion Designer, Andy Reaney – Printmaking Technician, Winchester School of Art; and the in-house design studio of Winchester School of Art, Studio 3015.

Magic as Medium was written by Shawn DeSouza-Coelho and published by THE NEAT REVIEW. From the publisher:

Magic as Medium is an introduction to linguistics, semiotics, phenomenology and the meaning of art, all through the lens of magic and theatre. It explores the space between the ideal and the real. It prods at the moment of astonishment.

Magic has been relegated to the seemingly permanent status of light entertainment, dwelling on the fringes of other, more legitimate art forms. Its profound beauty and affective power eclipsed in the eyes of its audiences, magic does not seem to offer an audience the transcendence that art does... but why not?

For the typography, Callin Mackintosh made early use of Affairs by SM Foundry, paired with Lars Mono from Bold Decisions. Illustration by Jordy van den Nieuwendijk.

Amble is an Australian outdoors clothing brand committed to sustainability; recycling post consumer bottles into fabrics and planting trees for every order.

Melbourne-based brand creation agency Date Of Birth, who were commissioned to overhaul the brand, write about the project:

Originally Team Timbuktu, Amble came to us in need of a brand evolution, and do a little growing up to create a brand that better reflects their values and position today. They wanted a new name to reflect who they are. To wander, to mosey, to amble along, without any pressure of performance. Reflecting a concept of leisurely movement, indicative of recreation was the perfect fit — rather than the ‘quicker, faster, stronger’ hectic vibe a lot of other companies go for. The branding reflected this perfectly, creating the feeling of movement and stillness at the same time.

Queens by Kilotype is used in the logo with an italic l positioned dynamically in an otherwise upright word. It is also used as some of the larger type where it often functions as a form of emphasis alongside Neue Montreal by Pangram Pangram.

As part of the brand update, Date Of Birth created new packaging, a website, swing tags, flyers, beanies, jumpers, tote bags, drink bottles, posters, and promotional graphics.

From the Biennale of Sydney website:

The publication was designed using DaVinci (Virgile Flores) and Atlas Grotesk (Commercial Type). Editorial coordination by Cherie Schweitzer and Sebastian Henry-Jones. Creative direction and design by Zolo Press; design development by Fumi Congan; production coordination by Paul Murphy with the support of Base Melbourne.

See also the post about the Biennale’s visual identity.

Figo offers premium pet insurance plans for dogs and cats. Their new and compelling brand identity was designed by Imagehaus who built the typography with IvyPresto for headlines and IvyEpic for smaller text.

Visual identity designed by NIZAR KAZAN + CO for the Swiss artist Jean Gfeller. The project includes a logotype set in Millionaire and a multi-purpose paper (heat-stamped on ivory rag paper) that allows the artist to sketch and the gallery that represents him to produce certificates of authenticity and visual supports, among other things, all using Lausanne.