The Edit: five projects including Tangent’s ebbing-and-flowing identity for The Turner Prize 2023

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.

For the 2023 edition of The Turner Prize – the UK’s most prestigious contemporary art prize – Towner Eastbourne (a cinema and an art gallery with an extensive collection, located on England’s south coast) was selected to host the event. Coinciding with the gallery’s centenary celebrations, the occasion was certainly one to celebrate. To set the stage, Glasgow-based design studio Tangent was invited to develop a fitting identity – one that was accessible, celebratory and reflected the ethos of the gallery. Drawing inspiration from Eastbourne’s seaside environment, they created a visual aesthetic based on the ebb and flow of tides to support diverse messaging at different stages of the campaign. Awash in uplifting gradients composed of bright hues, the visual language not only represents the location, but also suggests themes of renewal and the ebb and flow of art styles over the years. This identity was applied across digital, social, print, and outdoor mediums, with a scaled-back version within the exhibition environment to ensure it complemented the work of the shortlisted artists.

Dripping with gothic glamour, Baroness Beatrice by Want Studio is a captivating typeface that marries modern elegance with the mystique of blackletter design. Inspired by narratives of female strength, its sharp characters are tailored for headlines. It beautifully intertwines the boldness of medieval times with sleek contemporary charm, making it an ideal choice for projects requiring a touch of aristocratic elegance or a dash of commanding assertiveness. Created and distributed by the Brooklyn-based studio’s type design arm Want Font, this typeface invites you to explore a blend of history and elegance, complete with uppercase and lowercase sets, numerals, commonly used accents, and symbols.

In an industry rife with greenwashing and empty promises, Wholesome aims to stand out by truly and wholeheartedly embodying its values. The online eco-health pantry underwent a comprehensive brand overhaul executed by New South Wales-based design studio Universal Favourite. The new visual identity, guided by three principles – organisation, curation, and distillation – encapsulates the brand’s mission to provide high-quality, planet-friendly products at affordable prices. The logo, set in the Gooper typeface, conveys a sense of community and playfulness, while the carefully selected trio of typefaces – which includes Maison Neue and Kale Sans Mono – ensures the typography is as diverse and high-quality as the brand it represents.

Meet Plume, the largest healthcare provider for the U.S. trans and non-binary community. Established in 2019 by doctors Jerrica Kirkley and Matthew Wetschler, Plume is a beacon of transformation in trans healthcare. Their approach is rooted in bridging care gaps and championing inclusion. As they embark on a significant growth phase and forge partnerships with major health institutions, they unveiled an identity, developed by the London design agency Human After All. The concept of ‘Finally Home’ was a key driver in the development of the project, accentuating the idea that every individual’s body is their private sanctuary, and they alone have the power to define it. Therefore, the brand’s visual language, though coherent, is not limited by rules, but instead invites endless unique combinations. A vibrant colour palette, striking typography, and hand-drawn illustrations come together, underscoring ‘self-expression’ as the identity’s central theme.

In 2023, UK-based designer Curtis Rayment embarked on a new venture outside of his day-to-day practice – joining the RYSK Racing team and putting his karting skills to the test. In addition to the on-track action, this opened up opportunities to travel, understand kart mechanics, and… bring his design expertise to the grid. A chance to redesign the team’s graphics emerged with the new season, leading Curtis to develop a unique system inspired by the helmet design of the team’s founder. He employed a graphic subtraction method, deconstructing and rearranging elements from the original design to create a fresh graphic system. The final design, paired with two modern typefaces, became the new identity for the kart graphics and team merchandise, defining RYSK Racing’s look for the season.