The Edit: five projects including Carla Palette’s sophisticated identity for SOIL Skincare

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.

Berlin-based cosmetics company SOIL Skincare believe that there is no one-size-fits-all solution for facial problems and that instead, they require tailor-made remedies specific to the individual. Designed by fellow Berliner Carla Palette, the brand’s identity revolves around a custom wordmark derived from the typeface Americana Regular; with the addition of dots above its ‘O’ and the trimming of its most prominent serifs defining its individuality. The surrounding graphic language is intended to feel as open and transparent as possible; mirroring SOIL’s ethos towards skincare. Through the repetitive, pattern-like use of Neuebe®l&Mark’s Elgoc Thin, as well as a host of natural colours, Carla Palette’s solution exudes a sophisticated and fundamentally natural aura.

In just over half a decade, British personalised stationery maker Papier have attracted more than a million customers around the world; challenging a static industry devout of new ideas. Despite their success, Papier’s identity was lacking any kind of system, and on the back of an expansion into the United States, they turned to London-based branding agency Ragged Edge to reinvent and add rigour to their brand. Their solution goes beyond aesthetics to focus on the transformative power of a blank page, imagining Papier as an emporium full of magic. As its core is an elegant logo and wordmark, both of which mirror the charming nature of paper and ink while capturing the sophistication of a classic notebook.

Founded in 2012 by Swedish freeskier Jon Olsson and Norwegian product designer Truls Brataas, Db is a globally recognised travel brand that makes bags, backpacks and luggage tailored towards a sporty, active lifestyle. Tasked with reinventing their extremely versatile packaging system, Oslo-based agency Goods faced the challenge of producing a premium yet cost-effective and sustainable solution. By removing excess layers like thin papers, envelopes and hangers, they were able to produce a flexible cardboard system in which all of the relevant information is printed flat on the box; even the onboarding for Db’s online members’ club. Despite its apparent simplicity, the packaging is given the required premium touch through the addition of beautiful, two-tone landscape photography, as well as the playful use of the brand’s existing typeface, Lyon from Commercial Type.

The result of British graphic design graduate Kyle Lamond’s final year thesis project, Graphic Brutalism explores the involvement and understanding of brutalism within our industry; featuring input from designers and studios such as Mane Tatulyan, Tim Tijink, Daniel Zenker and Studio Quatrième Étage. The cover design sets the tone for the book and its contents, aiming to emulate the texture and dimples of the large concrete structures often associated with brutalism. In production, the typeface choices of Neue Haas Grotesk and Editorial Neue were screenprinted first, before the dimples were pressed into the cloth materiel that encases the 52-page book lying within.

There are around 30 million sheep and 72 native breeds in the United Kingdom, yet the price of wool has been steadily falling since the 1950s due to the introduction of synthetic fibres. Founded by Caroline Fay-Fright, Hyht is a knitwear brand that’s aiming to revive the dwindling fortunes of the industry by only sourcing and producing their garments within the boundaries of the British Isles. Taking visual cues from this concept, London-based creative director Ali Hanson set out to create an identity for Hyht that respects the history of British wool production yet feels fresh and future-facing. The centrepiece of his solution is the characterful custom wordmark, which was inspired by a trip to the St Bride foundation library in London; within which he studied typefaces dating back hundreds of years. It’s accompanied by Dinamo’s sans serif Helveesti – a choice Hanson explains was inspired by the connection between its “sharp, pointed edges” and the “‘prickly’ feel of wearing a new woollen jumper.”