Every day, our inbox overflows with interesting and inspiring projects from all over the world. To make sure more of them receive the attention they deserve, we have THE INBOX, a collection of five of the best projects, every week. If you are interested in sending us your work, download our submission guidelines from our Information page.
Stavanger-based communications agency Fasett have redesigned Havfram’s visual identity, aiming to align with the offshore renewables and wind contractors goal to become one of Norway’s industry leaders. At the core of their solution is a multi-faceted logomark, which intelligently represents wayfinding, always pointing forward, while also forming an ‘H’ within its negative space. Always placed to the left, it’s accompanied by classic sans serif Neue Haas Grotesk for the wordmark, which in turn is always placed to the right. “Neue Haas Grotesk was a bit of a pragmatic choice as well as a stylistic one,” explains Fasett’s Bernt Henrik Kommedal, adding that they “wanted a typeface that balances the light, modern, borderline trendy symbol with something more solid and classic.” Overall, the visual identity intentionally portrays Havfram as the serious and vastly experienced company they are while staying in tune with their forward-thinking ambitions within a rapidly-evolving industry through contemporary type, colour and layout choices.
Aiming to celebrate the brand’s quirky aesthetic, Melbourne-based studio Both have created a vibrant and typographically challenging visual identity for nearby jewellery company Mea Culpa. The studio’s concept revolves around the unconventional, from the unexpected wordmark placement on printed materials to the clashing use of neon red (Gmund Action Electric Blood) and marbled blue (G . F Smith Marlmarque Aegen Blue) paper stocks. Typography is set in Polytype’s sans serif Roquefort – a rather fitting choice for the convention avoiding theme due to its wide forms and curved flourishes.
KAJET is an independent arts and culture magazine focused on Eastern Europe, aiming to provide a platform for neglected Europeans by challenging stereotypes, shifting perspectives and documenting lived experiences. Its fourth issue, titled ‘On Periphery’ was designed in close collaboration with London-based design studio Regular Practice and is the largest edition yet with 33 authors spread over 316 pages. The magazine’s content deals with the complex notion of periphery by uniting research with visual arts, academic writing and playful graphic design.
Conceptualised by Paris-based graphic designer Léo Maubert, Pleasant is a brand of cosmetics that intends to highlight the rigour and modernity of its formulations while remaining as simple and pure as possible. Its visual identity combines the technical feel of Dinamo’s Monument Grotesk Semi-Mono with a straightforward grid and alignment system. Aiming to be as pure as possible, Maubert designed each application to include only the absolute essentials, balancing calming messaging with soft colours and emotive photography.
Based out of San Francisco, Roam make the world’s first low-cost lightweight exoskeleton – a mobility-enhancing product that gives its users freedom over restriction. Ahead of the launch of two new products for the health and performance sectors, they approached Denver-based design studio Mast for an update and extension of their brand that would allow for futureproof evolution. As a result, Mast developed a system that embodies Roam’s core mission of accessible mobility. They created a flexible set of simplistic patterns; each based on science, technology and the human body. Built from lines and circles, the patterns inject energy and excitement into Roam’s digital and physical communications alongside vibrant colour and pared-back typography.