Increaseo is a full-service digital agency offering web design, development, customised content marketing, and social media strategy. The logo uses lowercase Helvetica. Playfair Display is the brand’s primary typeface. It’s paired with various sans serifs; Roboto on the business cards, Poppins (menu) and Hind (copy) on the website.

Sydney based hospitality group The Fresh Collective delivers exceptional experiences and event catering services across a portfolio of premium event venues, cafés, restaurants and retail stores in Sydney, Brisbane and Melbourne.

Previously called Fresh Catering the group underwent a rebrand to better reflect their offering beyond catering. As a result they needed to update their online presence. Harley Johnston Design was approached to help showcase their offering online. After discussions about the goals of the project we set about mapping out the different sections of the site. The Fresh Collective website needed to clearly show the three main areas of the business; Catering & Events, Cafe & Store, and Dining & Bars in an easy to navigate fashion, these areas were housed in an elegant slide out multi levelled navigation panel. The complex site structure was also assisted in the cleanly resolved footer which highlights the main sections as well as the most visited pages.

The aesthetic style used the brand identity with plenty of considered white space and a split screen image treatment which allows the beautiful photography to shine. A boxed grid style is due throughout the site to connect relevant information in a precise fashion. Careful attention was paid to animations and transitions to allow areas like the scrolling split screen effect, image galleries, fixed footer and main navigation to feel natural and effortless. The yet unreleased Söhne from Klim was used for body copy and subheadings, with Le Jeune Deck by Commercial Type in all caps for headlines and sentence case for quotes.

One of the main focusses of users is finding the perfect venue for their next event. Seeing as Fresh offers over 100 venue spaces in three states we designed an easy way for users to filter the venues based on their needs. This filter was carefully considered for both mobile and desktop and can be called upon easily even when scrolling through all the venues.

Various levels of spaces needed different amount of content on each page, showcase venues are exclusive to Fresh and offer multiple spaces inside where as some spaces are independent and have less info. To cover this a module approach was taken to allow venues information to be covered in a clear and elegant way.

Studio Photography: Jason Loucas
Brand Identity: Juicy Creative
Web Design: Harley Johnston Design
Web Development: Assemble (NZ)

M Le Magazine Du Monde International is an annual English-language publication for the non-French readers of M Le Mag, a weekly magazine by Le Monde. The annual presents a selection of portraits and stories previously published in the weekly magazine.

The release of this initial issue coincides with the eighth anniversary of M Le Mag, an occasion that led to a restyling of the weekly publication, with new typography and new sections. The International issue comes in a bigger format, a special paper stock and a strong emphasis on photography, making it a cherished collector’s item.

The texts are set in Grifo while headlines are set in Grifito and Grifinito from R-typography, paired with Berthold Akzidenz Grotesk Wide (page numbers, some lead paragraphs) and Akzidenz Grotesk Condensed (headlines).

Located three kilometres from the Brisbane Central Business District, Milton Green spans over four hectares and is home to a mix of national and multinational organisations and government bodies. The precinct fosters a dynamic workplace, balancing permanent on-site amenities including a child care facility, visitor car parking with an ever changing programme of events. A complex site to access from the main arterial road, motorists can find themselves caught in swift traffic flows, often overshooting Milton Green by several kilometres.

Dotdash designed a wayfinding communication strategy built on a street address system. The visual communication and signage system implemented the brand font Noe Display (designed by Schick Toikka from Berlin/Helsinki) as the hero typeface.

Calibre (Klim, New Zealand) was selected as the primary communication typeface. Calibre’s clean, engineered geometry offered clarity and legibility for pedestrians, cyclists and motorists in a busy built environment.

Back in 2016, the Jazz ao Centro Clube (JACC) came up with the idea for the Museu Temporário de Memórias, an exhibition at the old Armazém de Fazendas, at Rua velha, where objects and stories from Coimbra’s downtown merchants were remembered. They form an important part of the city’s history.

This was the very first initiative of JACC to perpetuate the memories of the historical center
of the city. However, its heritage is much more that what could be shown there.

The Digital Archive of Coimbra’s Historical Center (ADCHC) aims to preserve
all of these memories and make them available online for those who want to consult them.
It also aims to foster the community contribution by uploading content, and encourage the artistic creation with the latter, providing them free and dynamically.

This dissertation is about the back-end and front-end development of the website of the Digital Archive of Coimbra’s Historical Center and the respective interface/interaction design. In addition, it is about designing its graphic identity and dissemination artifacts.

Mentors: Pedro Martins and João Bicker, University of Coimbra.
Screen printing and binding by Joana Rua and Catarina Lopes.

Amnesty International has chosen to celebrate the 70th anniversary of the Universal Declaration of Human Rights with a photography exhibition titled Les uns envers les autres at the Wanted Gallery. Studio be-pôles designed the communication including posters using Plaak, drawn by Damien Gautier and available from 205.tf.

Paris Avant-Première —

brings together a community of young galleries and independent spaces in Paris which, for 3 days, open their doors and highlight the new Parisian and international art scene.
Before the effervescence of the FIAC and Paris Internationale, this new annual rendez-vous establishes a further course dedicated to emerging artists.

The visual identity, realised by graphic designer Jeanne Triboul, focuses mainly on the combination of two fonts: Keops Sans Display for the titles to give presence and character to the logo and identity, and Sainte Colombe for the running texts, to counteract Keops’ strength and to bring delicacy to the whole.

Redesign of the Lettres libres collection by Lux Éditeur, a series of pamphlets, columns, and inquiries articulating virulent denunciations. These books offer indignant perspectives on the world that call into question the established order.

The collection’s redesign was done under the direction of Catherine D’Amours (Nouvelle Administration).

An impact investment firm focusing on infrastructure and natural resources, Vision Ridge Partners accelerates financial support to sectors including renewable energy and EV charging networks. We created a new brand identity system to better match their prestigious reputation in the sustainable investment space.

To mirror their unique positioning and prestigious reputation in the sustainable investment space, we paired an uppercase sans serif (Maison Neue) with a distinctive, modern serif (Noe Display and Noe Text) to strike a balance between traditional and contemporary.

Following the murder of investigative journalist Ján Kuciak, who had been working on a piece linking high-level political corruption in Slovakia with the Italian mafia, people have taken to the streets in the largest protests since the 1989 Velvet revolution, demanding a thorough, independent investigation and the resignation of the government.

The mass production of protest posters, flyers, banners and pins was made possible by a freely distributed DIY kit. Boris Meluš, co-designer of the kit templates (along with Ľubica Segečová, Boris Belan, Tomáš Klepoch, Diana Majdáková, Viliam Csino, Zuzana Suchová, and Romana Lazarová) from the creative center Nová Cvernovka, employed simple images inspired by the graphics of the 1989 Velvet Revolution and unified by the use of our font Manu Emphasis, from Typotheque, an energetic handwriting typeface, supported by Sonda by Ondrej Jób, an unreleased typeface. (More information and images here).

Graphic identity for the International Animal Day.

Client: Ajuntament de València, 2017.

Apple goes non-San Francisco and even went for Optimo’s types. The newly introduced Spotlight feature in Apple’s News app uses both Display and Text styles from François Rappo’s Practice, alongside Mark Simonson’s Proxima Nova.

Valor Econômico is the largest financial newspaper in Brazil. It is based in São Paulo and was first launched in 2000. Back then three external designers worked on the project alongside with the newspaper art director, Silas Botelho, the Englishman Simon Esterson, the American John Belknap and the Scotish Ally Palmer.

Gerard Unger’s typeface Coranto 2, a refined newsface with distinctive character and clarity, is put to great use in titles and continuous text.

Eleni Debo is an illustrator and visual artist. Her work is often characterized by a narrative quality. When she asked Dogma to develop a visual identity and website to support and promote her work, we used this quality as the basis for our concept.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

It isn’t adored by quite as many young fans as other riders of the current geo-sans wave — typefaces like GT Walsheim, LL Brown, and LL Circular — but FF Mark is one of the more popular releases of the last three years, and it’s picking up steam. You see it in industries from tech to editorial, in print and on the web. As a plain, clear sans with a moderate x-height it works reasonably well in most of these environments, yet it’s often called to do jobs it’s not really meant to do: especially pages full of light body copy where the design’s uniform stroke and letter widths paint a pretty drab monotone.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

That’s not a period, it’s a ®. Trademark symbols have become like terms and conditions texts: legally required, but practically useless. Designers prefer to make them as small as possible to get them out of the way of their logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Designed by Hannes von Döhren and Christoph Koeberlin in 2013, FF Mark filled a gap in FontFont’s library: a geometric sans with a large lowercase. This sample image is by Pentagram, who is admirably steadfast in crediting the type they use.

This major redesign for Mastercard, however, is exactly the kind of mission FF Mark was trained for. Pentagram began by refocusing on the iconic interlocking symbol, now nearly 50 years old, wisely clearing it of its clutter and moving the name to the side or below. The new circular typeface obviously echoes the symbol’s geometry, but it’s not just about circles: FF Mark’s other characteristics fit well too — its broad stance, open forms (‘s’ and ‘c’), the roundness of the ‘m’ arches and ‘t’ tail.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

This redesign is not so much a revolution for Mastercard as a callback to the best logo of the brand’s past. In 1979, “MasterCard” was set in ITC Avant Garde Gothic, stamped boldly over the center of the circles. This was replaced in 1990 by an ill-advised italic which was later littered with a drop shadow in typical ’90s fashion. Going back to a geometric sans serif is a no-brainer, but Avant Garde is rather cold and closed. Switching to all-lowercase FF Mark refreshes the banal corporate presentation with a more approachable air.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

As we can expect from an experienced firm like Pentagram, the logo and type harmonize naturally. The designers resist the urge to rationalize the geometry via some contrived construction grid. And all the work is thoughtfullly implemented in a variety of environments where bite-size chunks of type combine with large images and the overlapping circle motif.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

These teaser images for the new identity came out pretty nicely. It’s solid work. Not thrilling, but as fresh a look as you can expect from a multinational payment network. The question remains, however: Will FF Mark be the only part of the typographic palette for this new identity? Will it be used to set long passages of text? Will it be pushed beyond its purpose? We’ll have to wait for the answer because the redesign was just announced today. (Mastercard.com is still set in Accord Alternate, a 2010 face that already feels dated, perhaps because it piggybacks on the well-worn spurless concept from 20 years ago.)

Source: www.youtube.com © Mastercard. License: All Rights Reserved.

This mockup (not necessarily a final design) overlooks a basic principle of setting body text: the more space letters have inside them, the more space they need between them.

I hope this teaser video is not an indication of FF Mark’s intended role, because some of these screens make all the most common geo-sans mistakes: a light weight, spaced way too tightly, for all the text on the page. A financial services company striving for clarity and simplicity should take the readability of mundane info as seriously as its logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

At its core, this is a strong mark, returning Mastercard to its former glory, by emphasizing not the name, but the symbol: a couple of unmistakable dots that shine your way to a shop door, even from across the street.

The Outpost is a beautifully designed, biannual magazine from Lebanon that explores possibilities in the ever changing Arab world. A very subtle visual system catagorizes the varied content of text, images and infographics. It was designed by Rifle, a brilliant young design firm known for their eclectic editorial design projects and careful consideration for typography.

Outpost:

The Outpost is a magazine of possibilities. It identifies, understands and analyzes the conflicts, morals, energies and opportunities of a changing Arab world and lays down possible futures. It aims to ignite a socio-cultural renaissance in the Arab world through inspiring its readers to explore a world of possibilities.