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.
Considered a pioneer upon its launch in 2015, Sound is a ‘sparkling water for all the senses’ infused with organic tea, botanicals and fruit extracts. More than half a decade later, despite its strong start, the brand had developed into a niche player within an innovation-hungry, crowded market; leading its founders to turn towards New York-based brand innovation consultancy Redscout for a reinvented identity and packaging system.
Redscout’s solution embraces Sound’s name and origin story, revolving around a graphic system of colourful waves to represent not just a harmonic relationship between body, mind and motion, but also the care-free spirit of the product itself. Intelligently doubling up as an ‘S’ motif, the waves bring a distinctly vintage feel to the packaging alongside bright flavour-based colours that contrast elegantly with the friendly choice of Colophon Foundry’s Raisonné. “It’s distinct, rounded letterforms enable it to stand on its own and speak to Sound’s joyous brand personality,” Redscout add. The rebrand certainly seems to have paid off, with stockists on the US’ West Coast going from 5 to 500 since its launch.
Based in Glasgow, Friends of Wilson produce design-led acoustic wall panels, hanging screens, room dividers and artwork in an attempt to blend functionality and creativity for the ever-changing requirements of the modern workspace. Fellow Glaswegians Everything Will Be Fine, a graphic design studio founded by Kerr Vernon, developed the foundations of FOW’s visual identity around the typeface SM Maxeville from Dutch type foundry Soft Machine. Embracing its distinctive stencil construction in reference to the die-cuts found in many of FOW’s products, the identity combines a straightforward approach to layout with a harmonious balance between soft and bold colour.
Hoping to give a new lease of life to clothing and accessories, Plus Mûrs from Paris and Naranjo-Etxeberria from Madrid have linked up to create and launch a DIY pack of six fabric patches. Named ReMake in reference to the reinterpretation of others work, the designs feature contrasting typefaces that feel reminiscent of the punk, rock and skater cultures that patches have been popular within throughout their respective histories. The collaboration between the two design studios is intended to be an ongoing dialogue, with a second complimentary drop in the works. Available in limited quantities, the patches can be purchased at shop.plusmurs.fr and naranjoetxeberria.com/store.
Magu is a Brazillian restaurant that celebrates vegetarian cuisine as a spectacle in its own right, and not just as an alternative to meat. Carlos Bocai and Julia B. Aguiar’s Anywhere Studio designed its visual identity, print collateral, packaging and signage, finding inspiration from the restaurant’s in-depth knowledge of ingredients, culinary culture and gastronomic techniques. Therefore, the resulting visual language is composed of combinations of abstract watercolour illustrations, representing close-up crops of ingredients and the unexplored universe within each one. The illustrations are accompanied by a sober colour palette and a characterful combination of typefaces, with Radim Pesko’s Agipo leading the way alongside Gust’s Latin Modern and Delve Fonts’ Overpass.
Founded by Elena Nies and located in London, Nies Fine Art offers a curated selection of Asian, African and European sculpture; providing expertise from each region for buyers and paying special attention to the historical importance, technical and artistic quality of each object. For its identity, Antwerp-based creative agency ssnn intelligently devised a modular graphic system that allows the three different origin regions to be seamlessly highlighted. Subtly shifting in relation to each artwork, the identity is suitably supportive while packing considerable typographic punch; combining the fluid curves of Victor Bartis’ Kaftan Serif with the clean lines of Milieu Grotesque’s sans serif Maison Neue.