Hannah Goldblatt

The logo is constructed from the outline of a cube, with the bottom right edge rounded. This alludes to the meeting point between science and creativity; the rigid structure of mathematics softened and smoothed by the human hand.

The core of the brands colour lies in two pastel tones, Eggshell and Rose. Most often, text and graphics sit on these backgrounds in Midnight black to give the design enough contrast, occasionally text in white or one of the pastels can sit on the darker colours, Cornflour or Midnight, when a deeper tone is needed.

The primary typeface is Galaxie Copernicus, an old-style serif that conveys elegance and authority without being stuffy. Paired with Linear Sans, a take on Swiss modernist typography with a laid back finish, the brand is able to take on both an approachable tone, and a slick, authoritative one, depending on the need and context.

Typography should align to a grid to give the content structure. Titles are large and proud, getting the point across, and words can be broken to the next line with a hyphen. Details and small runs of text are set in all-caps Linear Sans. Body copy can be set in either Galaxie Copernicus or Linear sans. Mixing Roman and italics can be used to create emphasis.

Designs should be built up from blocks of content that fit neatly to a grid. The layout should be well structured, but also embrace a fluid, playful approach. Elements can be spread apart, overlap, and break the grid, but attention should be given to the flow of visual information so that this doesn’t negatively affect readability and understanding.

The core of the brand is typography and layout, without reliance on graphic elements to drive the visual identity. However, there are a few options available if the composition would benefit from it. Arches can be used as a framing device, either as the mask for images, or outlines to contain content. The logo has a ‘tile’ option where it’s repeated to form a simple illustration.