Julia Denes is a designer of handmade contemporary fine jewellery created from high-grade materials. Her visual identity, developed by Australian design agency Studio Sammut, is incredibly simple but delivers a nice balance between classic and craft-technique, contemporary aesthetics, detail, consistency and quality through the well spaced characters of Austin, its smart contrast of sharp and circular serifs, heavy vertical and light horizontal strokes – drawn out by the fine line border of the business card – and the light, geometric and broadly spaced sans-serif letter-forms of the secondary typeface below. A black letter-pressed print treatment delivers a light depression across the surface of a weighty uncoated cream substrate adding craft texture and a tactile quality to the high fashion cues of the typography.
The result has a reductionist sensibility that cleverly communicates the key propositions of material, quality and design across a few simple but communicative assets that appropriately frame the intricacies and organic detail of the jewellery.
Based on the ‘matrix of intersecting, wireframe boxes’ that surround the theatre’s architectural structure, the original identity drew on the ‘heritage of theatre, while alluding to the contemporary nature of the performances’ with a proprietary typeface that mixes slim and broad, humanist, and geometric characters with sharp junctions and terminals, stencil cut detail, dual lines and a fluorescent tube finish. This has now been expanded on under the theme of ‘new light’ with a direction that allows the typography to play an integral role in illuminating theatrical scenes through some really well shot scenes executed across the collaterals. The result is a clear juxtaposition of light and shade that delivers a strong sense of space and dramatic performance.
Sam Flaherty is a Sydney based freelance graphic designer and art director with a client roster that has included Citibank, Penguin Publishing and Panasonic. His visual identity, a juxtaposition of machine production and hand-finish – communicated through stamp and marker detail, craft material and personal language alongside modernistic non-hierachical, sans-serif typography, grid-based layouts, conventional print techniques, a limited colour palette and plenty of space – bound together by a contrasting circular logo-type – neatly reflects his belief in ‘clear, concise messages through design elegance and reduction’. It is a design solution that resolves a personal but professional approach through a smart combination of creativity and restraint, an aesthetic that is consistently reflected throughout Sam’s portfolio.