Beer mats

For this project, Another Kind Studio wanted to craft an identity that felt fitting for a site with such a massive legacy. Situated on the grounds of what was once the largest brewery in the world, we designed a new pub brand for Ninety One to honour that heritage while carving out its own modern space on Brick Lane in East London.

From the deep greens and warm oranges to the period inspired typography, we designed the brand to live and breathe in physical spaces and feel totally at home in its surroundings. Explore the new visual identity in action below across tactile menus, custom tap badges, wayfinding signage, and matchboxes.

For the full project please visit the Ninety One project page on our website.

Stacked logo

Logo animation

Drinks menu

Heavy weight team T-shirts and branded pint glasses

Branded matchboxes

Custom beer tap badges for the Ninety One house lager

Hand-painted wayfinding signage by Rayment Signs

In-house poster templates

Brand guidelines

Ninety One website

The Düsseldorf Düsterboys: Nenn mich Musik.

The Düsseldorf Düsterboys is a band from Essen, Germany (near Düsseldorf). Nenn mich Musik (Call me music) is their first album. The album cover does without any colour, fully relying on the power of type and illustration. The drawings were created by Hans-Joachim Behrendt, a German wood engraver and illustrator. Arranged in a circular fashion, they are reminiscent of an eye, forming a greyish iris around the white pupil at the centre.

The name of the band is set in Robert Slimbach’s Garamond Premier, an old-style typeface that comes in four optical sizes. Quite appropriately for an album cover, the cut intended for largest sizes (Display) was used in the Light weight. The two content words use the capitals of the Roman style (with some tracking thankfully added). The only obvious difference from the off-the-shelf font is the modification of Ü whose umlaut dots have started floating around. The first word of the band’s name, was – shall we say, crammed? –into the large counter of the first D. Its letters were taken from the italic style of the Light Display cut. The first two letters have merged into a Th ligature (which Robert Slimbach is quite fond of, judging by its presence in many of his fonts); the glyph seen here is the swash variant of the ligature. The e is, surprisingly, nothing more than an e.

The title of the album is fairly hidden in small type in a corner of the cover. (Before learning that this is the title, I assumed it to be the label that published the album.) The capital letters (with some tracking thankfully added) are taken from Gill Sans Nova, a redrawn and expanded version of the original Gill Sans typeface. The N and E glyphs with protruding elements are swash variants. U with a spur is taken from Stylistic Set 2.