The Edit: five projects including Mutant’s rebrand for Film Fest Gent with a wordmark set in motion

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.

Film Fest Gent, Belgium’s premier film festival, proudly launched an entirely new identity in celebration of its 50th anniversary. Crafted by Antwerp-based independent creative studio Mutant, the refreshed identity features vibrant animation and a sprightly wordmark that pays homage to the legacy of “moving images” and the circular shape of Joseph Plateau’s Phenakistoscope. Meanwhile, the colour palette has been enriched and diversified by incorporating hues from the posters of the movies shown at the festival. The team also collaborated with esteemed German illustrator, Benedikt Luft, to ingeniously reimagine Film Fest Gent’s iconic horse symbol, truly capturing the festival’s bold stride into the future of film.

A2-TYPE, a type foundry established by the London-based design studio A2/SW/HK have unveiled their latest development – an elevated online shop and font retail experience across all platforms. The arrival of A2-TYPE 2.0 now includes mobile platforms, promising an optimised and superior user experience irrespective of the device used. In the spirit of this overhaul, they’ve also introduced new fonts to their collection including WEA, Ny., and Microscopic. In order to unify their full font collection, the team have taken the time to design fresh specimens for all their typefaces, a monumental feat resulting in the creation of over 4,000 pages of newly designed specimens. On top of these advancements, the foundry has fine-tuned their online type tester, refreshed their licensing model and further broadened their reach by introducing discounts and not-for-profit licensing options, ensuring their products are accessible to the widest possible audience.

Collaborating with HBO Max, the team at Stink Studios undertook the task of reimagining Scene in Black, a dynamic, social-first initiative dedicated to celebrating black stories and forging connections between Black talent, creatives, and fans. This streaming platform – the proud host of a plethora of Black-led award-winning shows ranging from ‘I May Destroy You’ and ‘A Black Lady Sketch Show,’ to ‘The Wire’ and ‘The Fresh Prince of Bel-Air’ – was in need of a fresh logo and an accompanying visual system that unequivocally embodies expression, authenticity, and amplification. The redesign devised by the global creative studio invites engagement and magnifies the voices within the network thanks to its bold typography, meticulously selected colour palette, and dynamic movement through gradient and shape.

Renowned tech-led furniture brand Tylko has launched its first integrated brand campaign in partnership with Grey London, marking a pivotal shift from performance-focused strategies to an enduring brand-building approach. Working in unison with motion maestros STUDIO DUMBAR/DEPT®, the London agency endeavoured to elevate Tylko’s identity and communications, honing in on contemporary design systems. With the ultimate goal of shaking up the stale approach of Europe’s furniture industry, Tylko needed a bombastic visual direction – one that builds on the furniture retailers’ existing brand image, while imbuing it with a contemporary feel. The fresh campaign introduces a comprehensive motion system, displaying type in an array of grids and layouts, inspired by modular furniture units.

Brent Kendall, an independent designer based in Melbourne, developed the brand identity, web design, and campaign rollout for 116 Rokeby, an elevated 11-level office building in Collingwood, curated for professionals who demand premium design and impact. The visual identity, characterised by its minimalism and consistency, allows high-quality media to truly shine. The architectural design concept of ‘a breathing space’ has been seamlessly woven into the identity, utilising a diverse array of content pillars, a generous use of negative space, and captivating moving imagery to narrate the story.