As the smart home becomes adopted by the mainstream, Hive's rapid growth convinced parent company Centrica to expand into new markets and further innovate in the category. This meant the brand needed to evolve to compete with international players such as Google’s Nest. We were tasked to help this transformation while bringing Hive's proposition of ‘Living Brilliantly’ to life.
At the heart of our solution, a living mark built on the metaphorical “Hive”. In it’s static form resembles the unmistakable motif of the bee variety, but becomes a three dimensional representation of the home when in motion.
The mark forms the basis of the graphic system, using dimensionality and perspectives to tell stories about Hive products and services. The ‘perspective panels’ help us narrate scenarios, frame imagery and serve as dynamic surfaces to showcase products.
Combined with a warm human-centric tone of voice and bright situational photography, the new brand is designed to demonstrate how switching from one-off connected devices to full smart home solutions can enrich everyday living.
The brand re-launched in the UK, Ireland, North America and soon Italy.
Created with the team at Wolff Olins
With new threats from boutique gyms and cult spin classes such as Soul Cycle, Virgin Active came to us to create a new product offering around their group cycle classes. Following the success of The Grid, Wolff Olins set off to create a innovative product to launch across the global network.
Our insight was simple. The energy of a group not only made classes more entertaining, but pushed riders harder which resulted in a better workout. Yet despite being in close proximity, the group riding experience has always been focused on solo performance.
The Pack shifts this focus by dividing the studio into three teams, pitting them against each other in a series of ‘Pack Challenges’. These challenges motivate the laziest of spinners, yet are designed to ensure no one is ever singled out. This makes for a fun yet gruelling ride, perfect for our ‘exertainer’ audience.
We developed the product over 4 months through a series of sprints. Starting with mapping out both trainer and rider journeys, we created a blueprint for a team-based spin concept. Power, endurance and cadence based ’Pack challenges’ were then developed with seasoned spin instructors.
Next, a brand identity was designed which suited the of multi-disciplinary nature of the project. Digitally it addressed the needs of good information design and provided engaging in-game animations. Spatially, it made use of lighting for immersive real-time feedback and provided guidance on studio layout. Verbally it gave trainers tools to motivate their class. Visually it informed campaign art direction and allowed us to create everything from gamified achievement badges to the monolithic marque.
Finally, the end of the project saw us create a fully functioning working prototype which later formed the basis for the finished product.
Created with the team at Wolff Olins.
The Tusk Conservation Awards highlights inspirational conservation work in Africa. Ranging from the protection of endangered species and threatened habitat to the promotion of environmental education and the development of community driven conservation.
As a vast and culturally diverse continent, we looked into the many influences that could capture TUSK’s roots. Taking cue from tribal art and patterns, which are often used for celebration, we developed a ownable pattern that subtly incorporates the four letterforms of TUSK. Each letterform could also be used separately to create four unique additional patterns. The use of black and white with an accent of orange alludes to the bold confidence of the organisation and is a reference the African landscape.
Through careful positioning and thoughtful reveals, the logo seemingly appears and disappears into the pattern through a series of touch points. This included the website, awards programme, event stage design and the official Land Rover sponsored transport. In addition, we worked with the Mamas of the Enkiito village, Kenya to craft traditional beaded wristbands in the brand’s signature patterns. These were worn worn by nominees and celebrities to help raise awareness of the cause.
Created with Stuart Radford, Oli Bussell and the team at The Partners.
Brand New Best Voted Rebrands 2014 - #1
The Drum Design Awards - Chairmans Award
D&AD 2015 - Wood Pencil
Fresh Awards 2015 – Gold in Brand Identity
Brand Impact Awards 2015 - Not-for-profit
Moving Brands was asked by Fast Company to create a hypothetical new brand for Hillary Clinton. With only five days to deliver, and without access to Hillary, we knew we couldn’t create something with the same thinking and craft our process would ordinarily support. Instead, we chose to use this opportunity to challenge the conventions of political brands, question the notion of a logo and give an insight into the branding process.
During the 5 days, I led the London team in conjunction with the SF office to gather insights, conceptualise and reimagine Hillary Clintons brand.
Created with the team at Moving Brands.
With the £3.8B merger of Dixons and Carphone Warehouse, we were tasked to consolidate the two after-sales services of Geek Squad and Knowhow. The vision: create UK’s one-stop-shop for all service needs, from white goods to technology, no matter where it was bought.
Our answer: Team Knowhow, a team of experts with all the skills to keep life working. A character brand of four experts, reflective of their real-life counter parts, designed to demonstrate the breadth of the offer and TKH’s proposition to it’s customers.
Working with animation gurus Animade, the characters were packed with charm and personality. Each developed with individual behaviours that could be used throughout the customer journey, from sulking at bad feedback to radiating ‘service magic’ when the job is done.
Taking a page from instruction manual vernacular, the informational yet friendly style allowed us to unify character design, product architecture, navigational icons and typography under one visual language. While observational humour that celebrated everyday triumphs and bugbears around technology kept our tone of voice warm, humorous and relatable.
But it didn’t end there, a comprehensive experience piece allowed us to develop a range of ‘service magic’ moments to enhance customer experience. Whether it was custom emojis in SMS confirmations to bright pink socks that were worn at home visits, we made sure the brand was packed with personality at every touchpoint.
Created with the team at Wolff Olins.
Ireland’s largest telecoms business eir has undergone a period of change. Moving Brands was engaged as eir’s lead creative partner, to clarify and streamline its business architecture, transform the brand identity, and set the direction for over 100 agencies in the launch of its new brand.
My role was to help translate the new brand values and the feeling of 'Living life on eir' to a physical retail experience. The final deliverable – a concept store in the heart of Dublin’s city centre.
Playing on the idea of 'an elevating experience', the store physically and experientially reflects the uplifting effect of eir's products and services. Floating lighting and surfaces highlight key products, while the store layout leads customers from the busy street to a interactive 'eir Bar' at the back. The project also covers POS design, signage and wayfinding, as well as proposed finishes and materials.
Created with the team at Moving Brands.
Opera Australia is Australia’s national opera company. Each year it hosts over 600 performances in venues across Australia. Along with Artistic Director, Lyndon Terracini's vision of creating a new opera for everyone, We were tasked to breathe new life into their brand and attract new audiences.
There's so much more to opera than just the performance on the stage. From the costumes, to the set design, to the directors, this new brand seeks to express that opera is anything but one-dimensional.
We first devised a logo system that could open up opera. From OA, to OPERA, to OPERA AUSTRALIA, the identity expands to contain the rich and diverse range of activities the organisation represents.
We also introduced a series of vertical bars, inspired by musical notation, that represent the different instruments and voices; These vary in thickness and length to help visualise the crescendos and diminuendos that are present in any aria.
Imagery was designed to communicate the mood and uniqueness of each production; For the 2014 season, we concept and art directed 12 shots, each with it's own distinct visual style to help people understand opera's breadth. By engaging internationally acclaimed Australian fashion photographer, Georges Antoni, we were able to bring this to life, and add a contemporary twist to the classic content.
Created with Chris Maclean, Ami Gainford and the team at Interbrand Australia.
Brand New Awards 2014 - 'Best of Show'
Brand New Awards 2014 - 'Best of Category'
Brand New Best Voted Rebrands 2013 - #11
After rebranding Telstra in 2009, the biggest telco in Australia successfully shed it’s image of a dry, blue and orange corporate brand. Through the effective use of our flexible brand system and targeted ad campaigns, the company engaged the youth market once more and won them over with a superior product. The successful integration of a NPS system helped improve the service and become one of Australia’s most loved brands once again. But what next?
Not one to be content with being market leader, Telstra developed a new strategy to bring a “Brilliant connected future” to Australia. With it, a vision of a brand built for the digital age, which values simplicity and quality above all else. With this in mind, our team set off to evolve and improve the brand once more.
Our first step was to distil the spectrum device to it’s essence. We replaced the old spectrum which was formed by five individual tints, with one seamless gradient. The six Telstra colours was now reduced to four gradient spectrums. This gave us a new, slick device which is used to contain both imagery and act as a branded backdrop. When placed behind phones and devices the spectrum aligns itself with the chime line, creating one continuous ray of light.
Next we looked at the retail system which contains offer and bundle information. We created a expandable system with enhanced hierarchy. Highlighting only the price and a maximum of three key features. This forced product teams to select the most relevant information, enhancing clarity of communications.
We worked with RG/A to develop interaction principles based on light and transparencies as well as a cohesive UI system named ‘Telstra OS’. This seamless approach to type, iconography and layout unites both digital experiences and printed collateral. With the these elements in place, we finally created comprehensive literature and packaging systems which could be easily adopted by the internal teams at Telstra.
Created with Chris Maclean, Ami Gainford, Flicka Davidson, Dan Ingham, Ed Hall and the team at Interbrand Australia.
For their S/S11 campaign, SABA wanted us to refresh the brand and enhance its premium nature. Our approach looked at the brand’s DNA, developing a design-led strategy that would underpin SABA’s creative vision with a theme and direction for their new-season collections across a broad range of communication channels.
SABA’s heritage is one of considered, intelligent design with timeless appeal and modern-day relevance. Drawing inspiration from their streamlined silhouettes and pared-back elegance, we introduced the element of water as the season’s guiding principle, one that perfectly complements the pure, bold, and effortless nature of the brand’s cleverly distilled S/S11 collection.
Devoid of the superfluous, our striking, multi-channel campaign eloquently captures the energy of the new season across print, catalogue, DM, online, film, eDMs, windows and in store.
Created with Anita Liu at Eskimo.
Pink Diamonds are the rarest stones on our planet, with only 0.1% of diamonds classified as pink. It is still a mystery how these ancient stones came to inherit their unique hue. Each year a secret tender is held, with only a select handful of ateliers and buyers invited to bid on these sought after stones.
Yet with all this exclusivity, mystery and magic that surround these stones, they have always been marketed as a commodity, largely due to the mentality of mining giant Rio Tinto.
Ateliers told us, if White Diamonds were love, Pink Diamonds were passion and desire. We embodied this idea in a personality, the Femme Fatale. A archetype that has existed throughout history. One that has had the allure to make empires rise and fall. Yet she is intelligent, sophisticated and savy. All women want to be her, all men desire her.
We built our brand around a unfolding story, one inspired by Noir films & novels. The classic era of the Femme Fatale.
The narrative is non-linear. As you are immersed in the middle of each scene, there is a mystery to what happened before and what happens next. The tone of voice adopts the role of a on-looker, narrating as the story unfolds, creating drama and intrigue at every turn.
The photography style was cinematic and heavily influenced by Film Noir. High contrast shadows and low-lit scenes are washed with a pink hue to reflect the colour of the diamonds. We engaged internationally renowned photographer Daniella Federici to create eight shots for each chapter of the brand story.
Lastly we created a bespoke typeface, one that was delicate and had a modulated stroke. This effectively mimics the glint of a diamond as the form disappears and reappears on the page. This both became the basis of our logo type, and served as a headline typeface for all our communications.
Created with Mike Rigby, Briton Smith, Diana Chirilas and Lex Courts at Interbrand Australia.
QAG and GOMA are two separate art galleries, with two different personalities, managed by the same body. The challenge was to reposition its two sites, the Queensland Art Gallery (QAG) and Gallery of Modern Art (GOMA) into a single QAGOMA brand, whilst simultaneously celebrating their differences. They are the Yin and Yang of one another – together telling two halves of the same story, the story of art.
QAG and GOMA are treated as two siblings with distinct personalities and perspectives on art, rather than two separate brands, or buildings. No matter which gallery the visitor is in, the other gallery can provide a point of view. QAG represents a classic view of art, GOMA, contemporary. This is explained as you enter each space.
The galleries either question, compliment or contradict one another. Like siblings, sometimes they argue, sometimes they agree, other times they finish each others sentences. The differences in tone are also represented typographically, with QAG statements always set in light, GOMA in bold.
The identity system is designed to accentuate the different perspectives each could provide. It has the potential to surprise by folding around corners, up steps or by splitting in half across surfaces.
Created with Mike Rigby, Chris Maclean, Diana Chirillas, Anna Brocklebank and the team at Interbrand Australia.
REBRAND Awards 2012 - Best in Show
Spikes Asia 2012 - Silver Spike
AGDA Biennale 2012 - Distinction, Logo
AGDA Biennale 2012 - Distinction, Range
IDCA 2012 - Best Branding Campaign
Type Directors Club of America (TDC58) - Winner
New Theatre is one of Sydney’s oldest, proudest and most independent theatre’s. With 80 years of rich history, firm beliefs and an undeniable passion for the arts, New is a peoples theatre in the truest sense. Their ethos is about celebrating alternative theatre and helping to grow the careers of anyone and everyone who wants to get involved.
This ethos is celebrated through a bold and unexpected identity. At the centre of it all, a new logomark referencing unexpected twists and turns in the form of an ‘NT’ device, that stems from the word mark. The logo combines the three initial letters of The New Theatre into one simple mark. The unique mirrored structure of the mark allows applications and messaging to be rotated. The device is used to communicate the theatre’s aims for constant reinvention, transitions and alternative viewpoints. It allows New Theatre to sit proudly at the centre of their productions, literally stamping them and claiming them as their own. The idea of 'new' collaborations with local businesses and the community also comes to life through product and event partnership.
Created with Mike Rigby, Chris Doyle, Diana Chirilas and Lex Courts at Interbrand Australia.
Brand New Awards 2011 - 'Best of Show'
Spikes Asia 2012 - Bronze Spike
AGDA Biennale 2012 - Judges Choice
2014 REBRAND 100 - Distinction
Create Design Awards - High Commendation
The Institute of Molecular Bioscience is a organisation that focuses on fuzzy research, research at the edge of science on topics that we have little or no understanding about. This research often has no tangible outcome, but could eventually form a basis for significant breakthroughs.
Our brief was to increase awareness of IMB. Help the public understand the importance of what might seem like pointless research that only a few can understand. The aim was to find common ground between the public and our scientists. Something universal that everyone could understand. Our solution was in the feeling of curiosity.
We created a brand that would constantly reveal and surprise. One that would make you start to doubt that all that you knew was complete.
We made this possible by creating a identity made from a single set of building blocks. Each representing a piece of research. This set of building blocks were used to create everything from our typeface to our icons.
Our identity, like our knowledge is often incomplete. Combining our system with the verbal concept of Blanagrams, our words always seem to hint at an answer, but the result is often unexpected. Similarly, this visual trick could be used across to our pictograms.
Through various touch points, this visual metaphor allowed us to demonstrate the importance of finding the missing pieces and filling in the gaps in knowledge. It is our hope that this new brand can capture the imagination of the public, and allow them to appreciate the significance of discovery once more.
Created with Chris Maclean, Maria Fontenelle and the team at Interbrand Australia.
SKY New Zealand and TVNZ recently launched a new affordable and flexible pay TV product called IGLOO.
‘IGLOO’ offers an affordable and flexible pay TV option, for those that want a bit more than free-to-air with less commitment, cost, and content, than the full-service SKY TV solution. The product allows customers to ‘pick n choose’ from a 30 day channel pack of 11 SKY channels and video on demand service, without the need for a contract.
We were tasked with creating the brand, including naming, visual and verbal identity and brand rollout.
Our brief was to turn a standard black box into a compelling and entertaining brand experience. So rather than focus on the device, our idea was to create a new species of entertaining, family friendly creatures called IGLOO.
IGLOOs are colourful characters that love to dress up as their favourite stars. We also created a distinctive verbal identity for IGLOO, which is witty, irreverent, and distinctly Kiwi. IGLOOs even have their own language called ‘IGLISH’ which consists of any word with double O in it.
The IGLOO creatures provide several useful roles throughout the brand experience. From entertaining you, to explaining the various package options through to helping to make the set up process easy and fun. The whole brand revolves around ease of use, entertainment and fun.
The brand is also designed to engage internally with every new member of staff receiving their own special IGLOO avatar created for use on their business cards.
We also designed the packaging, elements of the merchandise, TV user interface and website.
Created with Mike Rigby, Chris Maclean, Chris Doyle, Andi Yanto, Joao Peres, Jimmy Cooper and the team at Interbrand Australia.
Cannes Lions - Bronze Lion
Brand New Awards 2013 - Comprehensive Identity Program
Brand New Awards 2013 - Logo and Identity Animation
Decibell was a collaboration between Eric and his best mate Nelson. Nelson was in the audio electronic business, manufacturing for brands like Panasonic and Logitech. But he never had his own house brand. Eric was in the business of making and building brands. So it was inevitable that Decibell would one day be born.
Playing on the word 'decibel', the emblematic bell is used to signify the clarity of sound and provides a monolithic mark that represents the brand. This emblem is proudly cut into each and every pair of headphones.
DB-01, the first batch of Decibell headphones was designed ground up. From it's minimal form, vibrant colours to the packaging itself, everything was reconsidered. With the aim to create a beautiful and quality pair of headphones that everyone could afford.
The Melbourne Red Cross Headquarters is a state-of-the-art building built to withstand earthquakes and other disasters to ensure that it can continue to function in a national emergency.
Although extraordinary, the facility is cold and clinical. Our task was to create an environment that would make the hundreds of staff feel proud of the work they do, and serve as a visual tour for guests and visitors.
Based on the idea of 'The Amazing Journey'. We transformed two floors of the building to visually narrate the many processes the blood goes through from donor to patient. The journey is littered with facts and stories about blood and features iconic characters that has contributed to The Australian Red Cross. Visitors will be able look into the labs at each stage and a iPad app was developed to provide additional information at each stop.
Created with Chris Maclean, Flick Davidson and the team at Interbrand Australia.
In 2010, I was invited by UTS Research to return and design a third exhibition. The brief from the client was simple, to increase exposure of the university by highlighting research strengths, in return, increasing funding and opportunities. The result was the first of a exhibition series named; Inquiring Minds, Inspiring Solutions. Chapter one of this anthology featured a three month exhibition, showcasing four main areas: diabetes, invasive species, trees and bacteria.
The exhibition played on the theme of the delicate balance of man and ecosystem. Using hard, graphic lines, in contrast with organic lighting and membrane structures, we were able to create a immersive experience within the concrete concave of the UTS tower.
Deliverables included an animation, art direction of two documentaries as well as exhibition graphics and collateral.
Pike Withers is a interior design firm started by Amanda Pike & Edwina Withers over a decade ago. Working mainly in the hospitality sector, their clients include a host of luxury resorts.
With a staff count of twelve, they pride themselves on their close and personable working relationship with their clients. For their new identity, they wanted something that will allow them to shift into the bigger corporate space, whist remaining true to their core values of integrity and respect.
They also wanted to inject a level of curiosity into their identity, a trait that drives their creative and sparks new ideas in their day-to-day work.
Designed at Eskimo.
Tokyo Type Directors Club - In Book
As part of Sydney Design 2011, eskimo is hosting a screening of curated design films, titles and shorts on our rooftop in Surry Hills.
The event will bring a feature film based on the theme of ‘design for film’ as well as a curated, playful selection of shorts from around the globe. This is creativity through design that aims to inspire, and provoke thought and discussion around design on screen.
The identity we created communicated motion in every sense, from the blurred typography that gives it a sense of dynamism, to the changing RGB split that allows the identity to morph into different colour variations. We collaborated with animation studio zspace to create a motion assets and a video texture that was used in both online and in the event space.
Designed at Eskimo.
Tribe Studio Architects is a boutique architecture firm in Surry Hills. The studio designs beautiful houses, interiors, retail and corporate spaces.
The founder and principal Hannah Tribe is influenced greatly by the minimal Japanese aesthetic, and this is often reflected in her work.
The identity we created reflected this philosophy. We convinced her to drop “Studio Architects” in the logo, and created a monolithic mark. The rounded geometric face is echoed by the corners of the collateral, which includes business card, compliments slip, thank you card and a custom folding envelope.
Designed at Eskimo.