When Markus first reached out to us to design his photography book, we were instantly captivated by his awe-inspiring landscape photos. Vast and magnificent, yet quiet and humbling—these are the words that come to mind as we imagine ourselves situated inside the 28 landscapes. With our appreciation for Markus’ work, our inclination was to keep the book design subdued with the details shown in the subtleties.
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Book Design—Often times as graphic designers, we focus our attention on layout design when it comes to a publication project. Through this project, we were reminded that the concept and creativity can also be expressed in the printing method such as book binding, cover finish, and paper (weight, colour, texture and size).
Book binding—At first, we looked at 3 possible binding options: PUR binding, Germany binding and Swiss binding. We ended up choosing PUR binding in which the spine of the book is glued with a special resin. This method allows pages to open flat and provides a very clean edge finish.
Cover finish—Keeping with the concept of earth tones, we decided to use a grey cardboard stock for the cover. The book is then wrapped with a craft paper jacket. Both the cover and jacket has a simple black foiled title.
Paper—Grey board paper: Takeo paper, GA ボード-FS グレー (2 sheets laminated together). End sheets: Takeo paper, NTラシャ 草 (a green paper stock to represent landscape colour). Body: Takeo paper, ミセスB-F (gently textured uncoated paper that is light yet slightly thicker).

Services

Location

Credits

Print

Absence by Photographer Markus Ziegler

In June of 2021, Herschel Supply Company reached out to us with the interest of working together on an internal typeface. Their design team had already begun the ground work for a serif typeface inspired by the nostalgia of advertisements from the 70s and 80s. This typeface would be used for headings and display purposes for upcoming Herschel campaigns.
During our initial briefings, the Herschel design team described the tone of voice for the typeface as the voice of an older brother or sister—someone that has gone on a few adventures of their own, explored the world and is now inviting you to come along. This narrative became a constant point of reference for us as we considered the look and feel of the typeface at every stage of the process.

During our initial briefings, the Herschel design team described the tone of voice for the typeface as the voice of an older brother or sister—someone that has gone on a few adventures of their own, explored the world and is now inviting you to come along. This narrative became a constant point of reference for us as we considered the look and feel of the typeface at every stage of the process.
The final version of Herschel Serif includes a slanted right stroke in the lowercase a, h, n and m—a reference to classics like Windsor and Cheltenham. This slanted treatment provides a lighthearted, humorous personality to the typeface. Meanwhile, the overall refined nature of the letterforms takes inspiration from a contemporary serif like Lyon.

Service

Typeface Design

Herschel Serif

Architecture has continually been a rich source of inspiration for us. In particular, we have often admired the work of Sydney based studio TRIAS from afar. Started by Casey Bryant, Jennifer McMaster, and Jonathan Donnelly, TRIAS is founded on three principles: to create buildings that are solid, simple and beautiful. Sustainability and beauty are intrinsically intertwined in all of their work. This foundational aspect of their work is what inspires us as designers—to always go beyond the surface and approach each project with a holistic design perspective.
When Casey, Jennifer and Jonathan reached out to us during their lockdown in September of 2021 to explore a new website, we were thrilled to finally connect and work together.

<h2>Brand Identity</h2>
While the main component of this project was the new website, our studio also provided a brief evaluation of the current brand identity and proposed a new wordmark and brand typography. From our discovery phase, we established TRIAS as passionate advocates for the present and future of architecture—being equally devoted to their work and also the sharing of knowledge to grow a better and more sustainable future. We wanted to establish the same dedication, intentionality and approachability through their brand typography. Through this lens, we selected Heldane and Untitled Sans to work cohesively as the visual tone of voice for the TRIAS brand. Heldane provided the warmth and approachability we were looking for while Untitled Sans offered the robust, precise and neutral qualities to balance with Heldane.

<h2>Website Design &amp; Development</h2>
Within our studio, the analogy between building a website and building a house is often used to describe the extensive process involved. In our case with the TRIAS website however, this comparison could not be more true. In many ways, our team drew inspiration from the way our client approached each house they designed, seeking out the most sustainable methods available to build responsibly and lessen their carbon footprint. &#8220;Beautiful and sustainable&#8221; is the TRIAS mantra that we also strived for.
Our team proposed to build the new TRIAS site using a headless framework while utilizing WordPress as the content management system. This allows for faster and more efficient transferring of data while reducing energy consumption when rendering web pages.
The website design sits upon a 12 column grid which give us enough structure for content layout while providing flexibility to play with alignment and emphasis on the negative space surrounding the content.
For the project page, we created a content layout module with 9+ variations, allowing the TRIAS team to bring a unique approach to each project on their site.

TRIAS

Website Redesign

2022

Brand Identity

Website Design & Development

TRIAS

Website Redesign

2022

Brand Identity

Website Design & Development

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