Considered refinement of a classic modernist typeface was the perfect logo solution for one of the UK's most celebrated young architectural practices.
Our approach to the typographic design reflected the practice's ethos and the logotype development has become part of the company's presentation; as an explanation of the attention to detail which defines their work.
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'Builders and Students'; this was this target market for Farmview's brand-less diluted orange drink.
The combination of a down-to-earth name with super hero imagery delivered a 300% increase in sales. This success led to further capital investment for an additional line to produce a second flavour. A third flavour is waiting for a release date.
For builders and students everywhere, happiness comes in a bottle.
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For a number of years the college had been aware that its prospectus and marketing material were not as effective as they should be for a modern education provider.
In collaboration with the college we set about rationalising the written content, assessing how best to refine and control the flow of information online and in print.
Commissioned photography, by Susie Rea, brilliantly captured the dynamic of the college, which in conjunction with a strong typographic structure created a backbone for the brands visual framework.
Applied to print literature, online prospectus, advertising, exhibition material, and office collateral, the communication strategy has positioned the college to deal with the next three to five years of growth with ease.
And we also got to inject new life into an established logo along the way.
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Traditional and pioneering; the tension generated by these conflicting characteristics help define The Diocese of Down and Dromore. Central to the success of the identity project was the re-crafting of the diocesan crest and careful negotiating with the Office of the Chief Herald of Ireland. The result is a modern heraldic achievement within a D-shaped shield capable of clear reproduction at small scale.
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Part One of a set of publications for the RUA which showcase selected work from the annual exhibition.
Removed for two years from its natural setting in the Ulster Museum the exhibition was housed initially in Harland and Wolff's Drawing Office. The venue for each year became the inspiration for the catalogue design and additional publicity collateral.
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There are times when graphic wit is required to help us see past cliched terminology and engage with truth. This was one of those times.
The central theme of transformation was depicted in a series of illustrations which bring a challenging but light-hearted and humorous feel to an important book for our generation.
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