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Moriarty by Bond, United Kingdom

Opinion by Richard Baird

Branding by Bond for London-based event planning business Moriarty

Inspired by the spontaneity and celebratory energy of parties and exploring the idea that curating great events is an art form, design studio Bond crafted a visual identity for new luxury event planning business Moriarty based around a series of abstract ink illustrations. These are paired with high quality dyed papers and boards, bringing a measured and distinctive contrast to printed assets that included folders, business cards and pitch documents.

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Institute by Commission Studio, United Kingdom

Opinion by Richard Baird

Logotype, stationery and website by Commission Studio for New York-based full service creative studio Institute

Institute is a full service creative studio from New York working with clients to connect with people through creative direction, live experiences, concept development, content creation, production and post-production services. Institute’s work is described as being underpinned by thoughtful and meaningful creativity, and although their clients are often high profile, their presence is intentionally modest. London-based Commission Studio worked with Institute to develop a visual identity that would not overshadow their work and express their taste and attitude. This included stationery set, business cards and website, linked by the concept of magnetic strips, a technology that can open doors.

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Kristin Jarmund Architects by Snøhetta, Norway

Opinion by Richard Baird

Visual identity designed by Snøhetta for Oslo-based Kristin Jarmund Architects.

Kristin Jarmund Architects is an oslo-based architectural studio with a design philosophy that is focused on using a simplicity of form and a clarity of purpose to address complex problems, while at the same time, allowing for a contextual and human sensitivity. Reduction, as well as the duality inherent to the studio’s work, was the founding principles of their new visual identity, created by Scandinavian studio Snøhetta. This can be seen in the juxtaposition of type and image, and the recurring motif of extracts within both of these.

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