Quite Quiet combines innovative industrial aesthetics with emotional jewelry design. Their philosophy is that real luxury is created when all aspects of a product are applied with the utmost care – from clear design principles, to fair-traded materials and sustainable production.

At the core of the brand world is the custom drawn word mark, translating “Quite Quiet” into a calm typographical image. To achieve this aesthetic, we combined the elegant contrast that’s typical for serif typefaces with the basic letterforms of Calibre, a sans serif with a modern look and feel, and avoided the use of any superfluous graphic décor. Off-the-shelf Calibre is used for all text, on the stationery, the website, and elsewhere.

See more images in the case study on g31design.com.

Identity by Luke Perkins for the Sit Still Kid’s Salon using JAM Type’s JT Marnie both in-store and online.

Theodore find solutions in music for agencies and brands, discovering tracks and artists to enhance campaigns through music supervision and licensing. Walking encyclopaedias of music from hip-hop to acid jazz to country, they’ll get it right.

Our new flexible identity references the foundation of all music and the wide reaching knowledge of Theodore. The identity uses one typeface – Suisse Int’l designed by Swiss Typefaces.

Business card.

Letterhead.

Theodore’s homepage shows a bottom-aligned navigation bar, with above it miscellaneous video- and music-related video footage.

Architecture and design. Two disciplines are mixed in Twobo, a studio of architecture and product design based in Barcelona. Two perpendicular planes cross each other to build a monogram (an uppercase T from Mallory), a testimony that small details influence our perception. The plans unfold to create a new space; an architectural landscape that recalls paper and cardboard models.

Website homepage.

Website detail.

Website detail.

Альянс (Alliance) is a certification company based in Moscow. Certification enables you to demonstrate that the products or services you offer are compliant with the national and international standards. The challenge was to design a new website and stationery for Alliance.

Our idea is based on the principle of transparency. We realized that the certification process seems to be very difficult and frighteningly confusing for most of the customers. We wanted to change this stereotype by showing certification as something very simple and clear. This principle formed our visual language. We visualized each of the certification industries using transparent 3D objects. We designed a monochrome website, leaving the corporate gold color only in accents, using few text styles, making typography as simple as possible, thus focusing the client’s attention on the main thing — company's key services. The website layout reminds of the certification document exemplary.

We also designed and produced stationery for Alliance. The principle of transparency was implemented in the selection of the printed materials — we used transparent envelopes for invoices and letters, white or light grey paper for blanks and business cards, correlating them with the website’s imagery. In this case, transparency also means trust that is formed between the customers and the company.

Graphic identity for Creixem al Carme, a cultural initiative born with the aim of strengthening the relationships between the cultural-educational environments and their neighbors in El Carme, the original urban nucleus of the city of Valencia. 73% of the city's cultural activity is concentrated in this neighborhood. Its surroundings are made up of vestiges and layers of history that are still preserved in the layout of its streets.

The aim was to create a dynamic and attractive graphic identity that would value the three premises of the project: ‘the basic is extraordinary’, ‘art as a learning tool’ and ‘the environment constructed with layers of history’.

The brand identity is built from a wide range of bright colors that combine to generate different layers to solve all communication needs of the project. La Nord, a sans serif typeface with gestural details in its characters, gives clarity and proximity to the identity.

For the visual system, the basic geometric shapes (square, circle and rectangle) allude to the learnings of art. These shapes are playing, moving and deforming to provide, along with the range of color and typography, endless visual solutions.

Creative Studio Unravel is a Seoul-based interior design studio, focused on creative spatial design solutions. Graphic designer Jaehoon Choi designed their visual Identity and the company's new project book, archiving their works in 2018.

The book uses a minimalist approach for typography and photography. The stationery (post deliveries, message card and invoice) is designed with the same identity system, using the Suisse Int’l typeface.

Collins:

01—Challenge
Target partnered with design & architecture publication Dwell, and co-designers Chris Deam and Nick Dine, to develop a revolutionary home collection titled Modern by Dwell Magazine. The line has been custom-designed for style seekers who want to create a relaxing and welcoming residence with a modern aesthetic, but believe that obtaining this look means having to sacrifice comfort. The new collection features more than 120 items. The range of pieces deliver home decor and furnishings designed to be an integral part of daily life, allowing guests to modernize their home with products that are as functional as they are beautiful.

02—Solution
Target engaged COLLINS to help design a dynamic and modular system to be applied to across the Modern by Dwell Magazine brand, packaging, communications and retail environments. To bring the spirit behind the collection to life, Target & COLLINS drew inspiration from the same modernist ethos that Chris Deam and Nick Dine used to approach the product design.

The original ambition of modernist design was democratic — the goal was to make great design affordable, and not just for the wealthy. This new line by Target and Dwell Magazine speaks to that nascent intention of modernist design — it is the kind of design that’s within reach for everybody. Our shared solution celebrates a deep respect for American modernism, while organizing all of the different elements in an inviting and uplifting manner.

The logo is in an unidentified (custom?) sans serif, vaguely related to the Dwell logo. Other texts are set in roman and italic styles of Mike Abbink’s FF Milo Serif, which is also the main typeface in Dwell magazine.