SendEAT is an online food delivery company operating in the Portuguese market. They approached VOLTA in search of a new name, visual identity and website design that would better define its business and its service. The company prides itself on a great restaurant network, impeccable service and the possibility of tracking your delivery route in real time.

VOLTA’s approach focused on what we thought was the real advantage point of the company, compared to other food delivery services: seeing your order travelling through an online map, in real time, and having that comforting feeling of knowing your meal is about to arrive.

After throwing on the table several options, we decided to go with SendEAT, as it expresses a direct relation between eating and an order delivery service. When it comes to its visual identity, instead of focusing on the clichéd fork, plate or spoon shaped logo, we took inspiration on the city maps the orders travel through. We decided to stencil the word’s lowercase characters, as if they were cut by the streets the orders travel through to reach their destiny. Bold and punchy colours were used, in order to give feelings of variety and dynamism and to cater to different tastes and options, just like the company’s service does.

We also decided to create a tagline to best express SendEAT’s brand promise, using a common phrase, and adapting it to the company’s main service reality: Eat’s on your way.

The result is a simple yet vibrant brand identity, with a contemporary look & feel and a clear message: we want to get the best food to the best customers - our customers.

The symposium “either or. as well as. in between. — thesis about new exhibition design.” allows an insight into the current exhibition scene. with lectures from curators, architects, designers and scientists, the edi — Exhibition Design Institute of the University of Applied Sciences Düsseldorf and the NRW Forum invites you to discuss the status quo of exhibiting.

With lectures by
Matěj Činčera, Jan Kloss and Adam Štěch (Okolo, Prague)
Barbara Holzer (Holzer Kobler, Zürich/Berlin)
Tom Ising (Herburg Weiland, München)
Luise Reitstätter (Universität für angewandte Kunst, Wien)
Herman Verkerk (EventArchitectuur, Amsterdam)

Don Quixote is very hard to read: it's quite long, boring, old and it's written in old Spanish. The intention of this magazine is to modernize Cervantes' classic and make it attractive to younger publics, placing it out of context and using photography and typographic variations. The editorial concept and the art direction are based on the mental distortion and inconsistency of the main character. He maximizes or minimizes everything according to his own interests, seeing everything in black and white, just believing nothing but his delirious truth. To foster its reading, the complete novel would be divided into 12 issues; this is number 1.

See the full mag on Behance.

WOW’s identity was designed by studio Desisto in 2017. A custom weight of Calma Display and NewParis Skyline are in use.

NewParis Skyline is part of the NewParis typeface, available from Swiss Typefaces.

The Spark Works identity was designed by studio b.a.-ba in 2017.

Spark Works is a strategic human-centered innovation firm providing research and advisory services. The visual identity system, equally fun and professional, is based on the fact that they adapt their method of work according to every customer.

Simplon Norm is part of the Simplon typeface, available from Swiss Typefaces.

Homepage. The black-patterned bubble morphs as mouse hovers.

From the website:

In 2018 the Austrian capital is celebrating Viennese Modernism. Four of the era’s chief protagonists died 100 years earlier: the painters Gustav Klimt and Egon Schiele, the architect Otto Wagner and the universal artist Koloman Moser. Each played a leading role in making the fin de siècle period such an important time for art in Vienna and Austria. Klimt and Moser were cofounders of the Vienna Secession – which has remained one of the most important spaces for visual art ever since it first opened. To celebrate the incredible achievements of these exceptional artists, Vienna is not only devoting a year-long series of exhibitions and events to them 100 years down the line, but has also set up this page as a digital Secession. A place where you can immerse yourself in the era in which they lived and interact with the artists themselves. You will soon see that all four of them had one thing in common: they were ahead of their time. Their work set new standards and continues to inspire people all over the world to this day.

Most of the website is set in Graphik while Louize Display is invoked sparsely for visual punch. The overall direction of space-dividing thin lines and intentionally blurred hierarchies does sometimes get confusing, though.

The alabaster bust automatically rotates but will also subject to mouse dragging.

The Co. is a premium work experience that uniquely weaves life and business together through an inspired sense of adventure and purpose. Everything we do orientates you towards a successful business adventure. Whether it is connecting you to the best of the neighbourhood, making sure you are in good company or providing quality, design focused facilities, we are committed to your world working well so that you can get get on with your walk.

For The Co. identity, Singapore-based design studio Parable choose to “put aside pre-conceived notions of the style and design artefacts that usually come up with the "office" genre.” With vivid colors and a neat palette of grotesk typefaces composed of Stratos and two widths of Druk , they “focused on experiencing and speaking to people on the ground afresh to understand the meanings and unique stories that come along with the people behind the Co and its community.”

Some typographic elements coming from Input (arrows, punctuation marks) and elements from wayfinding and compasses completed the system.

The Living Food is a Barcelona-based grocery store and deli stocking organic and vegan foods. Francesc Moret Studio worked with the store to develop packaging for its range of nine vegan cheeses. Drawing on the brand's established visual identity of silhouettes, Francesc Moret Studio builds a visual language with a bold graphic style, typographical nuance, and a modern and distinctive colour palette, with the intention of conveying an honest and conscientious brand position and expressing the crafted quality and full flavour of its cheese range.

Where graphic device and deli wordmark are bold — using Knockout in all caps, without word spaces — Freight, used to identify cheese variety, is light, detailed and traditional in its serif flourishes and stroke contrast. Together, these feel in line with both strong initial and a nuanced residual flavour profile, modern outlook and traditional craft, while the use of Aperçu for descriptions layers in an element of the current.

Read more about this project on BP&O.

For Hard Candy Shell's 7th birthday, a new logo set in Sharp Sans 2 (using both Lubalin alternate ligatures and custom ligatures). Primary use is HCS Violet, with black and white as secondary usage. An ‘HCS’ secondary marque was also developed but is used rarely.

Secondary marque

Brand identity project for a cinema school in Cartagena, Spain close to the Mediterranean sea. Read more about this project on Behance and on rubioydelamo.com.

This 1970 magazine ad for the lingerie company, Gossard, features the typeface Futura.

Futura Bold is used for the headline, and Futura Light is used for the smaller copy.

Entirely set in different weights of Futura PT

In Search of the Present is a new series of exhibitions on a 3–4 year cycle held at Helsinki’s Espoo Museum of Modern Art (EMMA). These intend to tackle many of the existential questions that we face in an ever changing world. The first exhibition, inspired by Olavi Paavolainen’s essay collection from 1929, took place between October ’16 and January ’17 and was a study in the representations and expressions of human identity in the digitalized world.

Drawing on the themes of change and the passage of time, Finnish graphic design studio Werklig developed a brand identity connected by a sense of movement, implied in the cropping of text across posters, books, and supergraphics, physically in the motion of outdoor campaign posters and digitally in the scrolling of social media content.

Read more about this project on BP&O.

The Outline is the latest online venture from now seasoned publisher, Josh Topolsky following his founding of The Verge and run with the web edition of Bloomberg Businessweek. The website foregoes a more traditional web format in favor of “the stack”, a non-linear feed of articles, notices and advertorials.

The experience provides a wide typographic palette, centered around Göran Söderström’s Eksell Display and Phil Baber's lively Maria for rich headlines and supporting elements. The body text is set in Fakt by Thomas Thiemich, with Portrait by Berton Hasebe rounding out the mix, appearing in a bunch of unexpected places.

Seasoned type designer Stéphane Elbaz is credited as design director, with technicalites handled by Code and Theory.

On moblie, Portrait appears as byline a role filled by Fakt in wider versions.

Track One tracks the general Melbourne public’s differing perspectives on the matter of Formula One races over the course of nineteen years. A range of interviews were conducted with the intentions of revealing why people think differently about Australian Grand Prix.

19.5×26 cm

Olapic website.

“Olapic is the leading visual marketing platform for the curation, activation, and analysis of Earned Content. Olapic works with hundreds of global brands to amplify marketing and e-commerce channels with images and videos from real people, creating more personalized and powerful brand experiences.” — Monotype PR announcing their acquisition of Olapic.

The website (and identity?) was redesigned in May 2016, including work by in-house designer Brendan Mahony. (See the previous identity at work.)

Olapic website.

Olapic website.

Olapic website.

Olapic whitepaper.

Olapic whitepaper.

Olapic whitepaper.

The Olapic logo is likely custom lettering. Its structure has a lot in common with Beirut Poster by Luzi Type (compare), with curves added to the characteristic wedge serifs. The previous logo was designed by Tam Cai using Museo Sans.

Collected Coffee is a New York-based coffee subscription service committed to sourcing the world’s best coffee beans, prepared by speciality roasters. The service worked with Canadian design studio Fivethousand Fingers to develop a brand identity, which included logo, packaging and web design, that would be perceived as intelligent, cultured and curious to a sophisticated coffee enthusiast. This was achieved through a contemporary gallery-like aesthetic of plenty of white space, still life photography and clear product insight, consistently expressed using Calluna, that builds on the curatorial nature of name and service.

Read more about this project on BP&O.

Cultural scholar Loes van Schaijk and Photographer Marieke Odekerken created the beautiful content for The High Lonesome Below Sealevel, a book about bluegrass music in the Netherlands. AU REVOIR (Danny Lelieveld & Alicia Breton Ferrer) did all design for this book.

Fantastic use of Hoefler & Co. fonts in this new site for recording duo Palaxy Tracks.

“Transformation Projects is a partnership founded by two charismatic and active individuals who produce events and communication plans for a wide variety of clients in the social and cultural sectors. Their identity and website were designed to reflect their outgoing character, their creative and wildly fun productions, and the dynamism and scalability of the services they offer.” — Fivethousand Fingers

I am more impressed with the logo for this firm than its website (which relies on poor freebie webfonts and typography that could use refinement), but I’ll give the web design some credit for its color and whimsy.