Before we began rebranding Indespension (“The experts in everything towing and trailer”), it was clear we needed to bring some consistency to the brand overall. This started by creating a simple logotype and taking the ‘in’ to run throughout the brand in the messaging. This was all tied together by the Tamba Sans, set in italics to emphasise the movement of a trailer behind a car.

The new brand launched in August 2020, with an extensive rollout of assets from the launch of their new cleaner, clearer shop site through to the gradual rollout of their stores, social assets and internal communications.

All in midnight blue and geometry. We were asked by the Ateliers Saint-Luc team to create the visual identity of the evening school, located on the Saint-Luc site in Brussels, which was created by the merge of EPS Saint-Luc and ISURU.

Everett in use by Pierre Papier Studio for Ateliers Saint-Luc, an evening school in Brussels which offers various modular study programs. Website developed by Studio Scale.

Heydays designed a new identity for Ably – a Norwegian company that is revolutionizing hospital beds and patient recovery. The typeface is Karelia Regular, which also serves as a wordmark in a modified version by Miles Newlyn.

Video for Ably, directed by Preben W. Hansen. Karelia is used for subtitles.

From design studio Clear:

Merge Capital is an innovative business bringing together local residential knowledge with big investment smarts, walking the line between high finance and the creative arts to build better places. From the redevelopment of lots once neglected to the masterplanning of shopping centres, residential areas and mixed-use developments, Merge has a knack for finding the right opportunities to spark outcomes that enhance the local community. Clear’s partnership with Merge evolved out of the success of Five Horizons Developments. Working with the Merge team Clear defined the brand, created a unique identity and led a community engagement process. The name Merge immediately inspires notions of collaboration, of growth and agility. The brand identity was designed to be dynamic and always on the move.

Melbourne-based Clear used Everett overall in the Merge Capital branding. The responsive capital M is derived from the typeface and is used throughout Merge Capital’s website.

Alexey Brodovitch’s infatuation with Didot (in the pages of Harper’s Bazaar, which he art-directed from 1934 to 1958, or on this stunning slipcase for Richard Avedon’s first monograph) is well-documented — it can almost be argued that Brodovitch single-handedly made Didot the typeface of choice for the fashion industry (see Abbott Miller's insightful article “Through thick and thin: fashion and type” in Eye 65, Autumn 2007).

The only mystery that remains is thus: where did Brodovitch get his Didot from? There's not one single Didot in Mac McGrew’s American Metal Typefaces of the Twentieth Century — although there are plenty of Bodoni revivals, starting with Morris Fuller Benton’s ATF Bodoni (1910–11), which Brodovitch duly used for the text sizes in Harper’s Bazaar (the face was available for machine setting through Monotype as well as Intertype, among others). Did Brodovitch bring back display sizes of Didot from the yearly trips to Paris (he could have bought some from Deberny & Peignot there) he was making up until 1939 (see Kerry William Purcell’s Alexey Brodovitch, p. 58)?

Was the Didot used in Observations a phototypesetting display face (this was 1959, after all)? And if so, who provided it?

Scotts at South Queensferry is a restaurant situated against the stunning backdrop of the Three Bridges and Firth of Forth, Scotland.

Alias Anostencil is used for logo and headline type.

Heard at Work is a collection of overheard exclamations that aims to capture what it’s like to work in a New York design studio. Created by Justine Braisted in 2018. Site development by Syllable.

The Architecture Division of the California College of the Arts (CCA) is an internationally recognised leader in architecture and interior design education. Its programs, which focus on digital technologies and material systems, design research and urban agency, were developed to prepare students for creative practice where material innovation and formal experimentation meet social engagement and cultural collaboration. CCA Architecture strives to develop the next generation of architects and designers, those who will go on to shape the future of the built environment.

Manual worked with the college to develop a unifying graphic identity for the division, to differentiate it within an art college with a diverse curriculum, and strengthen its wide-ranging communication materials, those that are aimed at prospective international students, faculty members and visiting lecturers. Using a simple /\ motif and employing a variety in its implementation alongside Akzidenz Grotesk Condensed Manual find an interesting balance between the structural, the material and the digital across brochures, posters and wayfinding.

Read more about this project on BP&O.

Poster design for the exhibition “Retrospective Alex Billeter – Graphiste Neuchâtelois 1914–1983” by graphic designer Chris Gautschi.

Photoshoot by Matthieu Spohn.

Suisse Int’l is available as part of the Suisse collection from Swiss Typefaces.

HomeLab is the combination of a real estate personal shopper (home) and an architecture firm (lab) specialized in restoration projects of singular homes.

Taking this dualism as well as the naming (Home and Lab) into account, we propose a functional approach for the whole identity.

http://gubbandmackie.com

“This corporate identity was made for the Berlin gallery Scheibler Mitte.

The idea came from the passage of their new building. There were red signal lines at the entrance with the words 'max. Durchfahrtshöhe'. Taking this as inspiration we developed a large variety of possibilities to use these lines.” — Marc Karpstein