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Martino Group designed by Studio Hi Ho

Logo and labels for Australian property developer Martino Group designed by Studio Hi Ho

Martino Group is an Australian property developer with a ‘holistic approach that encompasses art, design and architecture’. Their visual identity, developed by Melbourne-based brand and communication studio Hi Ho, extends a simple typographic observation and minor adjustment into a system that conveys a ‘beautiful but functional’ philosophy, and unites the group’s latest property developments and the limited edition prints and carefully selected hand washes that fill them.

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Marwood designed by Everything In Between

Logo and box design with linen embossed texture by Everything In Between for London-based tie and neckwear brand Marwood

Marwood is London-based tie and neckwear brand founded in 2010. Its collections, handcrafted from British lace and cloth, are sold internationally to boutique stores such as Barneys New York, Tomorrowland Tokyo, Liberty London, and through online retailer Mr.Porter. Multi-disciplinary design studio Everything In Between (EIB) recently developed a new visual identity, label and packaging solution for Marwood that shares the tactile qualities of the product – through material choice and texture – but also delivers sharp professional contrast in their use of geometric form, type and a glossy black ink treatment.

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Mattias Jersild designed by BVD

Logo and business card with an Indigo type-only design solution for Swedish copywriter Mattias Jersild created by BVD

Of all BVD’s recent projects, which includes their packaging for 7-Eleven – a blog favourite this and last week -, it is their work for Swedish copywriter Mattias Jersild that really stood out for me. It is an incredibly simple but wonderfully laid out, spaced and restrained solution that introduces variety through an interesting mix of lowercase, sentence case and uppercase typography set out as paragraphs and footnotes using the Swedish typeface Indigo. A choice that, by drawing on classic 15th and 16th century literary references, digitally adapting these to fit contemporary printing techniques and giving ‘optimal legibility to ordinary type sizes’ – works well to convey a sense of timelessness, professionalism and academia.

There is an honesty and straightforwardness in the uncoated nature of the paper, the single black ink print treatment and the way the logo-type sits unassumingly within the body of the content – marked only by a change to and motion of an italic – which feels complementary rather than appearing overtly individual. The absence of iconic or superfluous detail clearly places language at the very heart of the identity with a modernistic design sophistication and although I cannot read Swedish I have no doubt that there is a personal relevance to every word.

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