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Harry Bennett
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Both explore sculpture and space in their elegant identity for musical furniture producer Minim


Both explore sculpture and space in their elegant identity for musical furniture producer Minim
Both explore sculpture and space in their elegant identity for musical furniture producer Minim
Both explore sculpture and space in their elegant identity for musical furniture producer Minim
Both explore sculpture and space in their elegant identity for musical furniture producer Minim
Both explore sculpture and space in their elegant identity for musical furniture producer Minim
Both explore sculpture and space in their elegant identity for musical furniture producer Minim

Minim craft semi-sculptural products suited to housing and displaying musical instruments with the aim of encouraging the reorientation of spaces to better embrace music. Turning to Both to develop not only their identity but also their extended brand, including its narrative, name, printed matter and art direction, the Melbourne-based studio developed an equally as sculptural and striking identity; one led by the notion of space, physicality and construction.

The identity itself revolves simply around Minim’s characterful logomark, which was designed and optimised to thrive when adorned to any material at any scale. “The concept for the logo is tied to the nature of music itself,” Both tell us, “as repetition and patterns are key foundations of the way music is constructed.”

“For certain deliverables like the tape and tissue paper, we have really leaned into this idea of repetition,” they add, “and created an endless pattern where there is no start or end to the logo;” a sentiment in line with the brand’s tone of voice and narrative. This sentiment is further bolstered by the tactile printed solutions produced across the identity, which provide a timeless and elegant platform for Minim to thrive upon.

Basing the logomark on Colophon Foundry’s Space Mono, the identity’s supporting typeface keeps it in the family, opting for Mabry as the bold and rigid logomark’s understated counterpart. “We love Mabry for its classic yet somehow very contemporary appearance,” Both explain, “and unusually character-filled letterforms.” As a result, the typeface brings a playful typographic underpinning to the identity, without losing touch with the sophisticated products that Minim craft.

Imbuing the brand with a similar sense of refinement is the identity’s muted colour palette; one characterised by the product’s raw materials – such as brass, stone, timber, leather and aluminium. “We knew when starting work on this project that there might be more colourful pieces and finishes added to the range down the track,” Both recalls, “it's important to us to ensure that branding can grow and evolve over time,” they add, deciding on a monochromatic palette to ensure a continual relevance. “It will work alongside pretty much any future colouring or materials as the Minim product range continues to evolve,” Both add, “similarly, our approach to the art direction and styling of the imagery for the product range was to keep things bright and somewhat neutral.”

Graphic Design

Both

Typeface

Mabry and Space Mono (customised) by Colophon Foundry

Photography

Shelley Horan

Paper

Curious Collection by Arjowiggins

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