Otherway draw on the charm of traditional greengrocers in their characterful identity for Weezy
London-based design and advertising agency Otherway have put a contemporary spin on traditional greengrocers in their identity for Weezy; a delivery service that provides supermarket goods in just a quarter of an hour.
Pulling on the heritage of 20th Century European sign-painting, and the homegrown nostalgia that comes along with it, Weezy’s identity is charming, characterful and fundamentally friendly – looking to represent an independent tone of voice missing from the likes of supermarket conglomerates – all brought together with a striking colour palette.
Intelligently appearing typographically referential to sign-painting, and not portrayed in an out-of-touch and skeuomorphic fashion, the brand utilises forms familiar to the context of greengrocers – such as a-boards and price labels – finding a balance between sentimentality and function. The typeface doing the heavy-lifting to provide this tone comes courtesy of Northern Block’s Moret, set in title case to counter the prominence of capitalised digital brands.
“It evokes the feelings of quality and trust we associate with classic British grocers, confectioners and corner shops,” Senior Designer at Otherway Tom Moore explains, adding, “we wanted something simple and functional to sit alongside the bright eclecticism of the rest of the brand,” choosing the Acumin family to achieve as much. “The variety of weights available with Acumin allowed us to transfer a utilitarian feeling inspired by modern labels,” Moore tells us, used across digital space and printed matter.
Alongside the quirk, character and acuteness of the identity is total confidence in the brand and what they do – something that is necessary for the latter to be so successful. This confidence is no more greatly summaries that the elementary lowercase logomark, set in Franklin Gothic Condensed, repeated and often oversized to conjure an immediate familiarity – as if we’ve known Weezy all along. This familiarity felt within Franklin Gothic is twofold, due to its association with editorial headlines. “It gave us the perfect balance of friendliness and quality,” Moore concludes, “we decided it didn’t need any further decoration as it would always be used alongside other bold graphic elements,” keeping things reserved and ultimately supportive.