Alex Creamer ex­plains how Re: Syd­ney de­vel­oped the new iden­tity

Computer Arts - - Projects -

1 From old to new

The pre­vi­ous ACRF iden­tity was straight­for­ward, with a crab as the can­cer ref­er­ence, and a sim­ple sans serif font. The colours were muted and their tonal­ity re­flected a sense of griev­ing and loss. So the new iden­tity needed to com­mu­ni­cate much more – that the foun­da­tion is a force for good.

4 Ty­po­graphic ap­proach

Quite early in the process, we came up with a dis­tinc­tive ty­po­graphic ap­proach to re­flect the cen­tral idea of the iden­tity. We wanted to cre­ate a type­face of vary­ing weights to rep­re­sent how some can­cers are close to dis­ap­pear­ing, while oth­ers re­main still very vis­i­ble.

7 Bold colours

The orig­i­nal colour was a light green-aqua. We needed to be much bolder, so we punched that up to a teal colour. The colour laven­der rep­re­sents can­cer in all its forms, so we chose a vi­brant pur­ple to com­ple­ment the teal, and the pink makes sure the pal­ette was bright and flex­i­ble enough.

2 Pos­i­tive al­lu­sions

The cen­tral idea is the no­tion that a world with­out can­cer is a world with­out can­cer re­search. We wanted to be bold and catch the at­ten­tion of peo­ple, but didn’t want to al­lude to death too much. The copy­writer was in­volved right from the start, as a lot of the brand is built upon that tone of voice idea.

5 Be­spoke type

We com­mis­sioned Paris-based ty­pog­ra­pher Mathieu Réguer to cre­ate the be­spoke type­face which we felt needed to en­com­pass a va­ri­ety of weights. At our re­quest, Réguer then built an al­go­rithm into the type­face, al­low­ing let­ter weights to al­ter­nate depend­ing on the let­ter pre­ced­ing it.

8 Hu­man iden­tity

The hu­man el­e­ment of the iden­tity was in­cred­i­bly im­por­tant. The il­lus­tra­tive style – cre­ated by ju­nior de­signer and il­lus­tra­tor Olivia King – is friendly, or­ganic and hand-drawn, and in­cor­po­rates ‘smile in the mind’ ideas that re­late to the mes­sag­ing of the over­all iden­tity.

3 Tone of voice

We al­ways get the copy­writer in­volved right from the start, es­pe­cially with char­ity brands. A lot of the out­put they work with day-to-day is on a smaller scale, so hav­ing a strong tone of voice was very im­por­tant for them to trans­late the brand across other touch points.

6 Strong logo

The logo is a sim­ple stacked ‘Aus­tralian Can­cer Re­search Foun­da­tion’. We in­cluded the top-level do­main .Can­cer­Re­search in much of the ma­te­rial, as a sign-off to the mes­sag­ing. The full stop sym­bol­ises the end of can­cer, which ties in nicely with the iden­tity. It’s de­fin­i­tive and strong.

9 Strength and de­fi­ance

For the pho­tog­ra­phy, find­ing the right tone was also cru­cial, to add warmth and com­pas­sion to the im­agery. The pho­tog­ra­phy strives to cap­ture real peo­ple with a sense of strength and de­fi­ance, with­out over­tones of sad­ness or pity. It was im­por­tant to find that mid­dle ground.

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