The Edit: five new projects including Figment by Foreign Policy
Each and every day, we're lucky to discover dozens of interesting and inspiring projects from around the world. From global identities and campaigns to side projects and independently published books, The Edit is home to five of them; every two weeks.
Singapore-based design studio Foreign Policy have delivered a refreshingly dainty and ephemerally-driven identity for Singaporean property purveyor Figment; reflecting the care and luscious finish of the homes they provide. Inspired by the unique rooftops found across the city, Foreign Policy have reflected a unique character across an iterative and expandable wordmark and brand collateral – a personality also conveyed in the studio’s local approach to the brand experience. Working with local makers, Foreign Policy produced a number of bespoke kits curated for those making a Figment house their home; including a Nespresso pod holder and handsoap.
Subscription-accessible independent font library Specimen has the objective to make quality and contemporary typefaces approachable and attainable – appealing to all budgets under the sun. Utilising Swiss Typeface’s Circular B, Parisian graphic designer Léo Maubert looked to design a cohesive and graphically reserved identity and website, producing a brand that supports the magnificent typefaces it provides rather than detracting the attention from them. Not without charm, however, the wordmark carries different character widths – encouraging a subtle dynamism alongside a yellow feature colour.
Sitting on a base of rose, gold and green, the identity for Warsaw-based patisserie MUUS is not ashamed to have a sense of luxury at its core – contrasting charmingly ostentatious pattern and colour with refined, if not opulent, typography. The sophisticated identity is made possible by the work of similarly Warsaw-based design studio Redkroft, who turned to the aesthetic of traditional Warsaw cafés as their primary source of inspiration – using it as a starting point to modernise without reduction; keeping heritage at its heart. Pairing charismatic abstracted forms representative of the patisserie crumbs, as well as terrazzo, with rich colours and refined typography, Redkroft has shown how a reserved, somewhat conservative, visual language is not always stuffy and predictable.
Viennese design practice Studio Es have looked to the past, present and future with their identity for Present Perfect, a production studio producing a vast array of cultural content that spans disciplines and outcomes, utilising an equally vast and talented network of creatives. Crafting Present Perfect’s website, identity and name, Studio Es ran with the foundational concept of time across the production of the project; due to its importance and contextual relevance within the field of image production. “Day and night as the measurement of time were directly translated to black and white,” Present Perfect’s Elli Schindler recalls, referring to the identity’s colour palette and day/night mode on the website. “To get a certain depth for the brand’s appearance the colours on the website are inverted by night,” they add, “so that ‘black and white’ becomes more than just using ‘no colour.’” Allowing the photography to perform uninterrupted, Studio Es opted for Monotype’s Neue Haas Unica as their primary typeface, thriving in its elemental subtly and sophistication. “Considering the wide range of photography styles as well as the broad application of them in the real world,” Schindler concludes, “it felt natural to go with something reduced – to fully set the focus on the concept.”
In an identity reflecting their practical ethos of tactility, patience and craftsmanship, Melbourne-based furniture and interior design studio Coco Flip have undergone a rebrand courtesy of graphic design studio JAC&, following a celebration of Coco Flip’s 10th anniversary. Based in Collingwood, Australia, JAC& have employed Displaay’s Dazzed as the one and only typeface of choice for Coco Flip, intelligently relying on the killer combination of cleanliness and character that the typefaces is instilled with. “It’s impeccably designed, but still feels approachable,” Jacinta Lippold of JAC& explains, “just like Coco Flip’s products.” Reservedly applying their typographic treatment against a subdued and blithe colour scheme, Lippold recalls these contextual decisions; telling us “the colour scheme is largely influenced by Coco Flip’s products and the Australian landscape,” further cementing the brand’s intentions of personality, place and proficiency.