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Ridley designed by RE:

Logotype and envelope designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Ridley is a pioneer of digital architectural services and operates as a central hub from which builders, developers and architects can collaborate. Originally established, and continuing to operate as an architectural documentation specialist, Ridley, from its premises in Australia and the Philippines, has also grown to become a leader in Virtual Design Construction. This is a practice that involves attaching live data to every aspect of a 3D model in order to provide a comprehensive overview of a structure, the process of its construction and significantly reduce the cost of its development.

Designed by RE:, Ridley’s new brand identity is based around the concept of seeing the bigger picture through a variety of individual elements, the character, culture and people of its business, and its architectural practices. This is visualised as a variety of cropped, cut sans-serif logotypes, animated logo, a bright colour palette, human-centric data, and type that runs across multiple planes.

The crops, cuts and partial views of a sans-serif logotype and its application across walls, as stickers applied to curved and box packaging, ink over the surface of stationery, running off the edge of corporate brochures and as a parallax animation, draws plenty of variety, aesthetic impact and communicative value from what is a simple and fairly neutral choice of characters. It is a familiar concept but not often done so well. Each challenging people to see different and individual elements come together as a whole by adjusting their viewpoint. This approach effectively plays with three-dimensional space, both literally as wall decals, and suggestively, running off the sides of print work.

Logotype designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Contrary to current and popular architectural identity conventions such as light and dark concrete grey boards, white inks and foils, blind embosses and grid pattens etc, RE:’s solution is bold and vibrant, combining bright dyed boards and papers, oversized type and a single ink economy. It confidentially blends the accessible, playful and humanistic (culture) with the cold and functional (data). The black ink across yellow board has a strong construction sensibility while other colours appear simply in service of brand character and as a reflection of a positive and energetic brand culture.

Logotype and business cards designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Logotype and business cards designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Logotype and envelope by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

The colour choices make it clear that Ridley is as much about people as it is about the technology that underpins its virtual architectural proposition. This furthered by the introduction of what RE: describe as human-centric data placed throughout the office and across the collateral as a way to help those who engage with the brand better understand the company, projects and the people who work there. This neatly blends corporate data with the activities of its staff across business cards, clock faces, USB sticks and door decals, and is the detail that really gives the project its personality and multidimensional quality. These are clever and like the logotype, have a variety, are well executed and neatly bound by the colour palette.

Design: RE:
Fonts Used: Circular & Montserrat
Opinion: Richard Baird

Clock face by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

USB stick designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

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Door decals by RE: for digital architecture and documentation service Ridley

Corporate brochures by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Logotype and headed paper by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Logotype and tube designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Logotype and packaging sticker designed by RE: for digital architecture and documentation service Ridley

Logotype, stationery and print designed by RE: for digital architecture and documentation service Ridley

Logotype as a wall decal designed by RE: for digital architecture and documentation service Ridley. Featured on bpando.org

Website designed by RE: for digital architecture and documentation service Ridley

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  • Jack S

    Would you happen to know which font’s are being used in this identity? Very nice.

    • No I don’t, I will, however, ask a designer at RE: on Monday and get back to you.

      • Jack S

        Thanks Richard. 🙂 I enjoy reading your posts. Very insightful. Since a lot of the projects, have a type influence, would it be possible to list typefaces used in each post? I noticed you have it for some posts. Excellent work on the blog!

        • Hi Jack, glad you like the articles.

          I’ve been retrospectively adding font details to each post, it’ll take a little time as I have to confirm these with the studios behind each project. Bear with me and I’ll try to get these sorted.

    • Koks

      Hi Jack,

      I’m about 90% confident the font used in application is Sailec by Type Dynamic: http://www.myfonts.com/fonts/typedynamic/sailec/

      Altough the wordmark itself seems to have a custom “y”

      I hope it helps. Really nice font BTW, I’m using it for my own brand materials & website.

      • Thanks for chipping in Koks. I’ll get in touch with RE: and see how close you are.

    • Ryan from RE: has very kindly confirmed that the fonts used are Circular and Montserrat, correctly spotted by Robert. I’ve added links to the article if you want to purchase these.

      • Jack S

        Thanks Richard. 🙂 Keep up the wonderful work. Always a joy!

  • Sometimes the font is most definitely the popular Circular from Lineto. See the 3:s. The wordmark seem to be some sort of mix between Montserrat and Circular. Late Sunday night guess 😉

    • Spot on.

      • Haha, still got it! Curious to know why Circular wasn’t used in the wordmark as well. Or viceversa.

        • Ryan’s exact description was a “custom cut of LL-Circular and Montserrat” So a fusion? But you’re right, there’s not much contrast between the two so you might have thought a hard consistency throughout might have been good. Got your e-mail, great ideas and will get back to you asap.