Freddie Hall’s copy-and-type-led identity for Juump playfully recreates the feeling of queueing
Launched with the intention of altering how we queue, Juump hopes to give people back the time they spend in line – such as at reservation-free restaurants or barbershops – by allowing you to wait online in a virtual queue. Partnering with NYC-based designer Freddie Hall, the collaboration saw the British creative shape a punchy copy-and-type-led identity for the digital platform.
Opting for a combination of Reckless Neue and Denim from Displaay as the brand’s primary typefaces, Hall tells us that “Reckless is timeless yet punctual, charming and reliable,” reminiscent of more historical typefaces whilst maintaining a modern level of approachability. “For the secondary typeface, the system uses Denim,” he explains, “ideal for the more granular workhorse applications across print and digital,” utilising the sharp functionality of the sans serif in contrast with Reckless’ pronounced structure. “The duality of the two typefaces fosters a tension between classic and contemporary,” Hall suggests, “reinforcing Juump’s readiness to say goodbye to what once was and embrace what could be,” as championed in the punchy wordmark set in Pangram Pangram’s Right Grotesk.
“The condensed letterforms of Right Grotesk used in Juump’s wordmark stand rigid and upright,” Hall details, “as if they themselves are too waiting in line,” creating a rhythm for Hall to disrupt. “At first glance, the logo feels sturdy and unmoving,” he explains, “however its subtle curves and unique anatomy feel whimsically human,” in reference to the platform’s offering, cementing Juump in the here and now – a novelty directly juxtaposed through the use of 19th-century Rowlandson illustrations.
“I wanted to truly ground the identity in the past tense,” Hall recalls, introducing imagery courtesy of the British Library Public Archives, “and I knew that illustrations would be the perfect vehicle to do so,” showing authentic tableaus of antiquated lifestyles. “The Public Archives offer a wealth of artwork collected from different moments throughout history,” he adds, “and uncovering Rowlandson’s work from the 1800s was the impetus that propelled the visual language into a true sense of time,” providing a tongue-in-cheek tone to the brand. “I knew without hesitation,” Hall concludes, “that it was the perfect counterpart to the identity.”
Rowlandson, British Library Public Archives