Un.Ltd is an organization that pools funding and media resources for charities that work to overcome youth disadvantage. Formerly MAYDAY (Media Assisting Youth) the brand was suffering from negative associations with the name and failing to resonate with a very discerning and often cynical audience.
Not-for-profit organizations often face the challenge of appealing to a very broad and diverse set of stakeholders. Our strategy identified that the main target for Un.Ltd was Marketing, Advertising and other Media professionals as they represented the single source of revenue for the charity. It was with this in mind that the MAYDAY name was replaced and Un.Ltd was created, positioning the brand in a more positive light and emphasizing the unlimited potential of disadvantaged youth.
The lines of the logo and visual identity bleed off the edges creating a visual metaphor for the brand name, whilst the separation of the ‘un’ from ‘ltd’ helps to reinforce the brand purpose of ‘un’doing the consequences of youth disadvantage.
The brand redesign culminated in a launch event at the Ivy featuring all of the media elite, resulting in a significant increase in donations year on year and brand awareness peaking at the highest levels the charity has experienced.
Next Wave is a biennial festival and artist development organisation, presenting genre busting new work by the next wave of Australian artists.
Designed for tactility, as well as visual inspiration, our lookbook features mixed page sizes, paper types, and raw-edged binding, giving the piece a rugged feel.
Commissioned by the Nike Foundation in support of ‘The Girl Effect’. We created the look and feel of the youth charities at the Gate’s Foundation Family Planning summit in London this summer.
We were asked to create bold graphic materials to disrupt the norm and grab the attention of the attending politicians, policy makers and world leaders. Key items of data were illustrated and screenprinted onto newsprint, which was then pasted up around the Westminter venue.
Partner booths, benches, physical representations of data and a pledge booth where delegates could hold up pledge signs were also created. By the end of the one-day summit, over $2.6 Billion had been committed to provide access to contraception to 120 million girls and women in the worlds poorest countries by 2020.
Design and art direct the quarterly lifestyle supplement for the weekly Spectator magazine. Bold layouts to give the supplement a classic look and feel. We introduced commissioned illustration to break the pace of an otherwise photography-heavy publication.
Documenting New York based Singaporean photographer, John Clang’s solo exhibition, Being Together, this catalogue also serves as an extension of the exhibition at the National Museum of Singapore. This book presents 5 family-themed series comprising a total of 93 works that were created between 2001 and 2012. This book also includes essays by Szan Tan, Patricia Levasseur de la Motte and Gwen Lee.
To celebrate the indomitable spirit of human relations, this publication is made up of papers of varying textures, sizes and colours that manage to complement each other as well – reflecting the harmony and intimacy that can still exist even if a family faces disparity. The loose leafs of varying irregular papers and photographs of different families all bound together in one book serves as a reminder of the ties that bind in this isolating urban society.
Not In Any Order is a book that takes a critical look into the Singapore contemporary art scene from 2006 to 2010, and provides topical essays and 80 informed, lively and insightful reviews written by Lim Kok Boon, an educator, artist and art critic. Reviews of exhibitions include established Singapore artists such as Chua Chye Teck, Chun Kai Feng, Donna Ong, Genevieve Chua, Heman Chong, Jeremy Hiah, John Clang, Michael Lee, Tang Ling Nah, and Zhao Renhui.
This book is a work of art itself. To complement the rigorous research and rawness of the reviews, the cover was deliberately made in a way it can be give a worn look like a collector’s archival book when it is used over a period of time. The use of bulky wood free text paper with ruffled edges helped to complete this look. This is an art history book that’ll look better as time progresses. The creases and folds that we so often avoid are honoured, and the user becomes part of the book. It’s a bit like art really. Art needs the audience to make it: to make sense, to make whole. So, a single grid design and serif set typeface were chosen for a classic feel that I think will still be relevant in decades.