The Edit: five new projects including WebFlight by Resoluut

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.

Utilising a software called Mendix, Dutch tech company WebFlight create ‘low code, high impact’ solutions for businesses to help them spend less time on menial tasks, increase revenue and generally transform their working methods. Inspired by those transformational qualities, Amsterdam-based design agency Resoluut devised a ‘grid of growth’ as the centrepiece of their work to rebrand WebFlight. The grid is constructed from a series of “low left, high right” triangles, representing growth, and informs a robust logo and layout system influenced by design icon Ken Garland’s unused early work for Weir Group. The triangular ‘W’ marked is combined with the typeface choice of Poly Sans, with its bold and rounded forms making for a natural pairing. “Poly Sans made the best choice since it matches the ‘W’ mark with its ink-traps,” Art Director Wouter van Faassen tells us, while it “also represents a certain kindness to the technical looks that the WebFlight brand has in general.”

Located in northwest Greece, Parga Beach Resort is a luxury beachfront hotel that takes pride in its remarkable verdant gardens; offering a laid-back experience in bungalow-style buildings scattered amongst ancient olive trees. Finding heavy inspiration in the hotel’s gardens, London-based Greek designer Miltos Bottis’ identity solution combines elegant serif typography with a colour palette that brings nature to the forefront.

Referencing the birdseye view of office spaces, Poznań-based digital design and branding studio Uniforma have created a geometric logo and visual language for interior design company HOOF. The brand symbol itself shows two seats on the opposite side of a table, illustrating a meeting and the company’s broader collaborative values. The identity’s geometric forms are complemented by Swiss Typefaces’ Suisse Int’l, which Uniforma’s Creative Director Michał Mierzwa explains was chosen due to HOOF’s desire “to be associated with Swiss simple, elegant design,” as well as their appreciation of modernist brands such as Vitra.

Combining packaging design and a launch campaign, Tasmanian multi-disciplinary creative Megan Perkins has brought playful typography and bold colour to the brand of Taylor & Smith Distilling Co., a boutique distillery bringing qualities from the Tasmanian landscape into small-batch, experimental spirits. Her solution brings the brand’s key ingredients and their environmental influences, such as single malt barley, pristine glacier lake water, the sun and the clear blue sky, to the forefront, both tonally and graphically. Their debut whisky product is housed within a striking, reusable display box that allows light to reflect, permeate and showcase the golden liquid within; while the light theme continues with curved sunshine-inspired typography central to the brand’s launch campaign.

Based in Ireland, van Dijk Architects utilise more than 20 years of experience and a 500-strong team to lead construction and development projects in Ireland, UK, Poland, Libya and UAE. Tasked with modernising their brand, Dundalk-based design studio Grandson devised a geometric ‘VDA’ logo as an evolution of its predecessor; reflecting architectural form, building blocks and the various sectors the firm work within through its modularity. The mark is accompanied by CoType Foundry’s precise sans serif Aeonik, which Creative Director Killian Walsh suggests was chosen for its “humanist warmth” while possessing a wide range of weights “to create a good hierarchy.”