With a diverse team of operators and an expansive network, Liquid 2 champions exceptional founders to create pioneering companies. They invest in founders and relationships, partnering for the long term as lifetime investors.

Knowing Liquid 2’s established relationships, Slope Agency chose a vibrant royal blue that honored Liquid 2’s classic hero blue, and designed a streamlined logo that kept the spirit of their original L2 mark. These visuals created an excellent base for the brand identity system, for which the agency's brand strategy work was also a main inspiration.

The idea of a lifetime partner traveling with a founder for their entire journey from as early as pre-seed inspired a linear graphic system that dynamically draws out pathways that structure the visuals. Sleek sans serif fonts follow the same linear design, but lead bold, oversize type moments on the website as a nod to the ways Liquid 2’s diverse portfolio of over 800 companies stands out amongst peers.

The brand typefaces are Halyard Display and Neue Montreal. Autaut Grotesk served as the base for the wordmark.

See the full case study on Slope Agency's website.

Everybody's Perfect is a queer movie festival which promotes LGBTQIA+ rights throughout different events: films, performances, exhibitions and lectures.

The Everybody’s Perfect festival kicked off with the pre-event exhibition around Lake Geneva: The Perfect Guests (see the dedicated post). We were asked to design the festival poster as well as the exhibition poster. We had to create an identity that worked together for both events.

To create the festival's identity, we established a connection with the exhibition poster by zooming in on the same photograph of actress Sandra Guldberg Kampp captured by Camilo Agudelo. We also worked with the photographer’s analog film burns.

The text layout is inspired by movie posters, credits, and subtitle aesthetics. We have faded out parts of the dates and titles to make a reference to the moving camera and create a bridge between the photo exhibition and the film festival. We chose a mint Pantone color to contrast with the tone and vibrancy of the photo and to resonate with the location of the exhibition: Lake Geneva (French: Lac Léman).

The 80-pages paper program for the 10 days festival incorporates the graphic elements of the visual identity. We used Grotta, created by Due Studio with a complementary font, Bw Nista Grotesk by Branding with Type. The challenge was to establish a clear typographic hierarchy that would make the program easy to read. Given the need to convey a lot of information, such as film summaries, schedules, language details, style information, and awards, we aimed to create a dynamic, playful and rhythmic design.

The Geneva-based queer film festival, Everybody’s Perfect, organized an exhibition titled The Perfect Guests. This exhibition was displayed on 60 billboards, stretching across 650-meter around Lac Léman, or Lake Geneva. It featured a wide range of filmmakers, actors, artists, and experts, all committed to advocating for positive representation of the LGBTQIA+ community.

The Perfect Guests exhibition took place throughout the month of September 2022. It showcased photographs by Camilo Agudelo, taken during the past four editions of the Everybody's Perfect Festival.

We were commissioned to design the exhibition poster and panel layouts, aligning them with the festival's graphic identity that would take place a few weeks later.

For the poster, we used a photo of Sandra Guldberg Kampp captured by Agudelo during the screening of the film Kød & Blod by Danish director Jeanette Nordahl. The close-up on her eyes engages and challenges the viewer. The text layout draws inspiration from movie posters, credits, and subtitle aesthetics. To create a feeling of motion and connect the photo exhibit with the film festival, parts of the dates and titles were intentionally blurred, akin to the effect of a moving camera. Additionally, we chose a mint Pantone color to contrast with the vibrancy of the photo and harmonize with the exhibition’s location at Lake Geneva.

These initial choices set the foundation for the visual communication, which extends to the overall festival identity happening later during the year (see the dedicated post). We used Grotta, created by Due Studio with a complementary font, Bw Nista Grotesk by Branding with Type.

Asfen is used for the title of the bookl Hermai by Artes e Engenhos. Asfen is paired with Founders Grotesk, Charter Italic, and Adobe Caslon Italic. The page numbers use the “White alt” style of Decay (Due Studio).

Lebre – Lances de Hermes is a performance by Alexandre Pieroni Calado, João Ferro Martins co-created by Raquel Pimpão/Sofia Queiroz and text by José Miranda Justo. The book Hermai was designed by Ilhas Studio as if “something went wrong: pages that appear to have been badly printed and folded, images that dragged.”

History and art through the eyes of one of the most iconic Spanish pop artist.

After several years designing #VersionaThyssen, we had the chance to take part in a very cool project together with the Museo Nacional Thyssen-Bornemisza. They wanted to promote several pieces of their collection through the figure of Alaska, one of the most iconic artists of La Movida. The videos show Alaska’s visual universe with a modern touch and a bold style; referring to pieces that range from Carpaccio’s details to the Russian vanguards and how they inspire music and literature.

Our graphic proposal creates a coherent system for the four videos and at the same time, allows each one to have their own personality depending on the picture showing. We achieved this combining different typefaces that conceptually and formally matched with the era and aesthetic of each painting.

As we said, each video has its own typeface related to the painting’s era and aesthetic. On Carpaccio’s Joven caballero en un paisaje, we chose Faglia Serif by Natalia Timea because of the serifs’ resemblance to knight’s aesthetics. A similar choice for Thomas Cole’s Expulsión. Luna y luz de fuego. Here we chose Faust by Bouk Ra for its gothic aesthetic, height and the serifs that looked like flames.

With Pollock, we used Pilowlava from Velvetyne. The dripping style, typical in Pollock’s work inspired us to pick up this font with similar details to its paintings. And lastly, for the Russian vanguards, we chose Due Studio’s Nodo, a geometric typeface with rational aesthetics that reminds the shapes of the paintings of the Russian movement.

In April 2022, the 26-year-old Ostkreuz photographer Sebastian Wells travelled to Kyiv because he no longer wanted to work on art projects as Russia invaded Ukraine. “I didn’t know what I wanted to do there either … And so I just went there, without any aim or goal …”. Two days after his arrival, he met 21-year-old Vsevolod Kazarin, who had just made a name for himself in fashion photography. “He was now practically unemployed and didn’t know what to do with himself either,” recalled Wells. They spontaneously decided to start a project with and about young people in Ukraine and so the foundation was laid for an extraordinary art magazine called Soлomiya (Ukrainian for ‘peace’).

On the 103rd day of the Russian invasion of Ukraine, work began on Soлomiya. With the premiere edition, Kazarin and Wells wanted to show what there is to defend in Ukraine: Young people with hope and courage, who grew up in an independent country and who are not ready to give up their freedom.

The first issue was printed by Pinguin Druck Berlin and is entitled “War but Art”. Designed by Anne-Lene Proff and Peter Bünnagel from the Berlin design studio Kollektiv Scrollan in cooperation with the Akademie der Künste, it contains photographs, collages, texts and illustrations and features work by well-known Ukrainian artists, such as Sasha Kurmaz and Mykola Ridny, as well as new and emerging talent.

The logo and editorial are set in Jan Fromm’s typeface Nice, which is published by Fontwerk. Apart from Nice Micro, all optical sizes are used: The logotype with a custom-л was created by Jan Fromm using Nice Poster, inside the magazine both Nice Headline and Nice Text are being used. Other typefaces in the issue include the extraordinary Habitas by Tightype and Grotta by Due Studio, which underlines Soлomiya’s typographic claim.

This weekly diary for the year 2020 was created for Hoppípolla Edizioni. It is conceived as the visual connection between digital and analog, sounds and words. The diary is split in four parts; every season has a spread made from a kinetic typographic video with sounds designed by Tommaso Marconi and a Spotify playlist with seasonal music by Italian designers and musicians. Furthermore the diary includes an infographic section where users can collect data and organize and plan jobs or group projects.

Find more information about this project on our website studiomistaker.com or Behance.

Sound design: Tommaso Marconi
Playlists curated by: Splendore (Spring), Beat Soup (Summer), Francesca Pignataro (Winter)
Typeface: Grotta Semibold by Due Collective
Paper: Fedrigoni Arcoset, Fedrigoni Sirio Ultra Black
Offset printing: Printaly.com, using Pantone 802U and holographic paint