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The magazine Desktop invited a studio from each Australian state capital to create a psychogeographic map of their city.
Dan Pike’s response utilised the geomapping ability of Instagram to capture the landmarks and moments that have made an impression on The Letter D.
As the creative directors of the 2013 AIA Brisbane Regional Architecture Awards, Owen and Vokes and Peters asked The Letter D to develop the graphic direction for the event.
To convey the ‘Garden Variety’ theme, which guides the attendees dress-code, a modular identity system was developed, connecting images from the John Oxley Library archives of garden parties in the Brisbane region, with ‘ordinary’ paper stock tones, and typography referencing a community notice vernacular.
The email invitation adopted an adjusted image version, to directly engage with attendees.
Dan Pike was asked by AGDA (Australian Graphic Design Association) to sit on the judging panel and review the past two years of design output, from Australia and New Zealand.
With a weekend in Adelaide to scour over 1800 entries, a short film documenting the process was made by Earl Carter, Andrew Ashton and Scott Matthews, and can be viewed here.
The Letter D was invited to take part in Brisbane’s Terrible Twos exhibition. An initiative by The Design Kids, pairing emerging design students with established design studios, to work collaboratively on interpreting a compound word for auction.
We had the pleasure of being teamed up with Billy Blue student Lachie Brown, settling on Day-Break.
While collaborating on various other projects, the copywriter Alan James asked The Letter D to assist in typesetting and specifying one of the pieces he was putting together, as part of an exhibition of his text-based artwork.
Referencing oval vanity mirrors, the diamond-etched lettering creates a bevel-edged effect reminiscent of traditional mirror signage.
‘Signs of Life’ opens at the Redland Art Gallery, from the 4th to the 29th of December.
Marie-Louise Thiele was developing the media strategy and launch of the new Mitchell Ogilvie store, and asked The Letter D to produce an invitation to accompany a suite of pocket squares, to be given to each invitee.
As there were four colours of pocket squares we proposed four kinds of invites to match the multiple tones, layered to create a solid platform for the silk squares to travel on.
After the success of HEAT Architecture, the Queensland Government extended their HEAT initiative into fashion, asking The Letter D to develop a refreshed graphic direction.
Taking the form of a file directory filled with Queensland fashion talent, the system will rollout across various collateral soon.
Photography courtesy of the designers.
As part of a trans-Tasman alliance with Webb’s in NZ, Michael Reid asked The Letter D to develop an ad for Joseph McGlennon’s upcoming exhibition, to be printed in Webb’s catalogue.
As promised, we’ve had a chance to photograph the suite of collateral produced for the 2010 AGDA National Awards Gala Presentation Dinner.
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An origami pyramid was developed for the centrepiece, with the inside printed as a poster. A nod to Al Jaffee, as when folded only the 2010 identity was visible, with the red cross created by the internal reflection.
The combined A6 ticket for the Gala Dinner and After Party was perforated for each event with a stub provided as a memento. The location images on the reverse referenced the event’s satellite imagery, with X marking the spot.
In keeping with the theme of generic design formats, A4 menus were folded down to A5 ‘tents’, with all type set in the standard Times New Roman.
And lastly, the wine labels took a literal direction, with white for white and red for red — and a zig-zag initial (W/R) for those that were stumped by the colour system.
It has been a solid few months, finalising the art direction for the 2010 AGDA Awards, culminating in the Presentation Dinner, with a full showcase of the collateral uploaded soon.
Photography by Seesaw.
