Crowne Chauffeur Services

“I was approached by Crowne Chauffeur Services and asked to re-invent the company’s brand by providing them with a updated, simplified design. The client wanted something that would immediately say ‘luxury’ without being pretentious, something which would help build on their already established reputation. After a period of research into the clientiele they wished to attract, it was clear that Iconography was the way to go. From meeting with the client it was clear that there was a desire relate the brand to the timeless style of the classic Crooners, Dean Martin, Sammy Davis Jr, Sinatra, classic powder blacks, pristine whites and warm gold are used throughout the brand now, which replicate the timeless ‘class’ of that era.

Over a number of weeks I worked with the client to introduce luxurious elements to the brands image. Foil blocking was used for the print work, business cards were created using superior cotton duo plan paper and debossed with the company’s new Iconic logo.”

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Lisn Music

“We decided to create some double bonded cards for Lisn Music with matte foil embossing. We have also just created a very cool mailer: In the age of digital music, Lisn also recently asked us to design and produce something physical that could be posted to potential clients and reflect their cutting edge and forwarding thinking approach to music synchronisation. The end product consisted of a fold out mailer which housed a cd and doubled up as a stylish print.”

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Ford Property

“Ford Property stationery, duplex printed on puffin blue & sombre grey paper.”

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Analogue

“Crafted by Leeds based design studio Analogue in their signature pink and grey color combo, the new cards are treble, (yes treble..) bonded Colourplan card, supplied by respected and traditional paper merchants GF Smith and provide a bespoke branding opportunity that can delicately echo a client’s visual identity. Each layer is 250gsm making the over all weight 750gsm, double the thickness of standard cards! They are then block embossed in matt white and gloss back to create a slick contrast to the grey card.”

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Møller/Holm

“Self-initiated folio corporate identity project for Melbourne-based architect studio Møller/Holm.

The design reflects the studio’s Danish heritage, as shown through the colour palette as well as the patterning which was inspired by European half-timbered housing. Applications include business card, letterhead, presentation folder, CD and notepad.”

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Lundgren+Lindqvist

“About a year ago it struck us that we really needed to rethink our visual identity. We have travelled quite some way since we first started out, soon three years ago. Along the way we have developed both as a company and as individuals and the original identity and Flash-based website suddenly felt like a pair of old, worn out jeans.

Consequently, it was time for something new. As per usual in the design industry, client work is always prioritized over the work you do for yourself. Hence, it took quite some time to develop the new identity and website. Now the last pieces have finally arrived from the printer, ready to share with you.

Our business cards are triplexed GF Smith Colorplan (Cool Grey, Bright Red and Pristine White) and have negative embossing, foil blocking and UV-varnish. The letter paper is Colorplan Pristine White with negative embossing and the S65 window envelopes are made out of Colorplan Cool Grey.

The promotional poster, which was mailed to selected advertising agencies, clients, design magazines and blogs, to promote the new website, is printed on both sides on MultiArt Silk paper with partial UV-varnish and water-varnish finishing. One side displays the actual website and the other the underlying code, two sides of our business. The intentional typo in the headline (neue instead of new) hints of the use of the Helvetica Neue typeface throughout the identity.”

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Screenprint Productions

“Pushing the ‘S’ in screenprinting, we developed this simple brand device. It allowed us to enhance key words, create messages relevant to the target audience and comment on the media in use – such as Sealed for packaging tape.

This created an instantly recognisable, fun and ownable graphic device. A range of production techniques available from the company were showcased on a selection of materials and.”

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Filthy

“We strongly believe in the value of print, so as a print-based designs studio, we feel it’s important that our stationery is a showcase of what we can do within the medium.

We created a bespoke logo that was then embossed across all of our stationery, creating a latex texture on uncoated paper. We used a color palette set in black & white, with a hint of turquoise to demonstrate the attention to detail we like to achieve with all of our projects.

All printing and finishing produced by Generation Press.”

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Render Architecture

“We were approached to name and design the identity and website for a startup architecture & CGI studio based in Aberdour, Fife. The chosen name Render, is relevant to the business as they specialise in the rendering of 3D architectural drawings and visualisations. The creative approach was derived for the name render and the way that un-renedered images and objects are displayed by the way of a wireframe box with strikethrough. Using these boxes we created a bespoke type based identity and graphic language which is modular in its design and like architectural building blocks can be moved, stacked and used to create a variety of shapes and designs.

The business cards below have been white foiled into 540gsm duplex colourplan as well as the design and implementation of a Cargo based CMS website.”

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Studio Savvy

“As a design firm I knew it was important for us to have business cards that represented a high level of quality, design, and production techniques without being trendy. I stuck with a classic black and white setup, but wanted to add a twist that would make these cards stand out from the pack. The cards were printed on a privately-owned letterpress by a friend of a friend. We used 92# Reich Savoy for the top and bottom layers, and I had him sandwich in a 100# cover sheet of French Paper’s pop-tone in black licorice.”

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