Independent London-based design agency Studio Jubilee have recently updated their website and portfolio. Their brand identity work for South Australian photographer Peter Ahrens—which included a new logo-type, website and stationery set—really stood out for its use of a weighty fluorescent white material choice and tactile print process to enhance a reductionist single font approach.
The project is accompanied by a great write-up, published below, that brings to the forefront the level of physical detail and nuance which underpins what is a limited set of assets to complement Peter’s philosophy and offer contrast to the detail of his work which will be appropriately positioned at the heart of communication. To some this will seem basic but to those familiar with material weights, letterpress print finishes and hierarchical communication this is a solid example of a contemporary restraint.
Frederik Laux is an award winning German portrait, fashion, lifestyle and editorial photographer with a client list that includes Alliance and Mercedes-benz. His new visual identity, developed by Stuttgart based design agency LSDK, takes a competently spaced but generic condensed, sans-serif logotype and executes it as a redacted three-line mark die cut by hand across a print solution that mixes the cool and dark greys of uncoated unbleached boards, a pastel green paper, bright fluorescent stickers that cut diagonally through the stationery, the quality and authoritative weight of a letterpress business card with hand painted edges and the unusual detail of a portfolio case with a strap made from bike inner tubes.
Design studio Two Times Elliott have just published their recent brand identity work for Odmé, a Paris fashion brand that creates handcrafted, elegant and timeless accessories with understated and urban sensibilities.
The studio’s solution—which includes a logo, logotype, website and collateral—plays very well to the luxury and crafted conventions of the industry and the urban qualities of the brand through the expense of what looks like a black foil letterpress business card, the responsivity of a website that mixes street photography with decay and graffiti, plenty of space and a bold secondary serif, and the restraint and perceived exclusivity of a blind deboss leather tag.