Oliver Grace has updated the identity of the Australian brand Redheads, drawing inspiration from its archives of the 1960s and 70s. The project simplifies the historic Ms Redheads icon, whose hair is now treated as a graphic flame flickering across the bottom of the packaging. The goal is to modernize this national institution while preserving its original spirit, ensuring it remains recognizable both in-store and on e-commerce platforms.

The new logo features Fusion from the Blaze Type foundry. This typeface was chosen for the specific details in the lowercase l, t, and a, which add a touch of personality to an otherwise understated structure. This typographic choice bridges the gap between the Swiss design rigor historically present in Redheads’ identity and a more contemporary, effective aesthetic.

To ensure consistency across the range, a flexible grid system was implemented. This allows visual elements to adapt to vastly different formats, from small matchboxes to four-kilogram charcoal bags, while clearly integrating mandatory regulatory information. This modular organization provides a technical balance between respecting a well-known visual heritage and meeting today’s logistical needs.

Sheila Gaffney’s retrospective exhibition Embodied Dreaming is currently on display at the Blenheim Walk Gallery, Leeds Arts University, from October 4, 2024, to January 11, 2025. Curated by Marianna Tsionki, the exhibition showcases a diverse range of Gaffney’s works, including sculptures, drawings, video installations, and previously unseen models, emphasizing the importance of the creative process in her artistic practice. The exhibition draws inspiration from Gaffney’s doctoral thesis on psychoanalyst Christopher Bollas’ concept of “embodied dreaming,” exploring themes of identity, gender, and memory.

The exhibition is accompanied by an essay written by Griselda Pollock, offering a theoretical perspective on Gaffney’s central themes. The publication, edited by Christopher Sand-Iversen and Marianna Tsionki, was printed by Northend Print and published by Really Simple Syndication Press. Pollock’s essay delves into how Gaffney’s work bridges craft with psychoanalytic theories of embodiment and self-construction, presenting a rich intersection of practice and theory.

The publication's design incorporates the typefaces Silvana Text and Fusion, developed by Blaze Type. Printed on Fedrigoni paper, it reflects the tactile engagement Gaffney has with her materials, enhancing the conceptual depth of her work. This thoughtful publication design highlights the materiality central to Gaffney’s art, offering an intellectual and aesthetic framework for interpreting her oeuvre.