Informed by nature and technology, Studio Oker’s identity for Field is forward-thinking and dynamic
In a swift animation developed for tech company Field by Studio Oker, a set of wondrous landscapes emerge – a cuboid of stone and rippling water begins to take shape; an amorphous form of earth is quickly overtaken by a soft, growing carpet of moss. These abstract sculptures subtly represent Field’s area of expertise, as Europe’s largest geodata, data collection and analysis company, which provides insights and greener, safer and smarter solutions to empower the builders of tomorrow.
The many points of reference culminate in a rhythmic conversation between the natural and the technical in the identity system, which is centred around a geometric, linear logo mark. The symbol, derived from the idea of geospatial data layers, ‘represents the forward-thinking and dynamic nature of the company.’ Its simplicity also lets it travel efficiently across Field’s universe – while remaining exactingly recognisable – as it shows up on car fleets, uniforms, and drones.
The symbol, in turn, led to the choice of FK Grotesk as the leading typeface, ‘which shares similarities with the logo mark, mixing ink traps with sharp angles.’ “As Field is an extensive organisation, we needed a typeface that was versatile enough to work across all the necessary applications, from physical to digital,” notes Designer Petter Skogheim. “We came across FK Grotesk in our explorations, and the geometric construction of the letterforms linked nicely with the symbol, combining rounded details and straight angles.” The mono weight of the typeface was used for text in smaller sizes, lending further flexibility across all applications, while underscoring the mechanical precision and proficiency of Field.
A bright yet calm nature-inspired colour palette – with soft hues hinting at sand, soil, forest, sea and minerals, the very elements Field works with – pulls the identity together, along with a bespoke icon set, designed “with thin lines, to mirror the lines of topographic maps,” and animations of abstract natural elements, which were inspired by a studio trip to Berlin. “Last year in Berlin, we were fortunate to come across an exhibition by the late sculptor Anthony Caro, who used metal to craft beautiful abstract sculptures,” Skogheim recalls. “There was something about the contrast between the constructed and the organic that sparked the idea for the animations.” Crafted in collaboration with Børge Myrnes, the animations were imagined as quickly growing virtual sculptures, where their rippling growth symbolised both “geographic mapping, and the notion of progressiveness” that’s synonymous with Field.