A custom-made binder designed as an
introduction manual to foreign exchange
trading. Although conceived as a work tool, the
binder served equally as an instrument for
raising CMC's profile, then trading as Currency
Management Corporation and just starting to
make inroads into the foreign exchange sector.

As the client was aiming to bring forex trading
to a wider audience in competition with banks
and other established financial institutions
we saw the need for the brand to project an
air of solidity but devoid of the 'stuffiness' then
associated with the world of banking.

We introduced an innovative feature to
this otherwise technical document. We
incorporated advertising. The concept was
a great success. It made the most of the
opportunity to market to a captive
audience and it provided a lighter note
in between sections.

CMC's range of product brochures was
graced with cutting edge illustration and
photography, which we mostly sourced from
libraries, following painstaking image searches

When images could not be found we
arranged for and directed photo sessions
at CMC's offices in Old Jewry.

this image was conceived and directed
just as CMC was revolutionising forex trading
with the introduction of online trading. The
objective was to underscore the message that
traditional trading values remained intact in
spite of the technological innovation.

The photography selected had to fulfil
stringent criteria. It had to fit the elongated
format chosen to keep the literature looking
sharp, fresh and minimalistic, with plenty
of white space on the page.

At the same time the images had to
revolve round and complement the
company's colour space, predominantly
featuring shades of cobalt blue. When
we could not locate images that fitted
our criteria what we did find was
painstakingly retouched.

Complex graphs were drawn up, illustrating
the merits of CFD trading and then artistically
interpreted for use in this brochure.

When CMC's online trading platform
was awarded Millenium Product status
we were asked to design a PR piece
incorporating press cuttings and quotes
from industry leading figures.

Prudential Bache needed a small brochure
as a prompt aimed at new and existing clients,
drawing attention to the Prudential's forex
trading facilities. The visual language had to
articulate the global nature of the corporation
as a que for stability.

At the same time we were asked to
reflect the precise but fast-moving
nature of forex trading, whilst avoiding
conflict with the company's values of
solidity and stability.

The branding for Sultan´s Cuisine
was developed to evoke the exotic, earthy
flavours of Middle Eastern cuisine, and affirm
the food's wholesome provenance.

We employed a subdued, neutral colour
palette, centering round the beige and
brown hues of the logo to allow the pictures
to 'jump' out of the page.

Subtle but intricate design detail
was introduced on the pages to hint
at the luxury status of the brand.

Targeted marketing pieces were
produced to raise awareness
and facilitate ordering.

The packaging design was employed
as a prime point-of-sale marketing
tool. Golden, sculpted or calligraphic
lettering worked well with the
festal logo and a sculpted gold frame
opens a bright viewing 'window' onto
the luxurious pictures of the products.

Whilst the main elements of the
packaging remain constant, bold
block colours are employed skilfully
to bring a self-assured confidence
to this premium brand. So it was
yellow for the light freshness of the
sponge cakes...

...a toned-down red for the
warmth of the walnut pies...

...orange for the spicy
richness of the date pies...

...and cool brown for nutty,
traditional baklava.

Arabella is the sister brand of
Sultan's Cuisine offering a delectable
selection of nuts, dried fruit, Turkish
delight and nougat. The packaging had
to reflect the aspirations of the brand as
premium and authentic, and allow an
enticing view of the actual products.

Hamilton Forbes was a fledgling corporate
hospitality outfit who commissioned us
to design an identity and a corporate folder
to accompany client proposals.

We decided that the best way to maximise
value for the client was to build the identity
round a small selection of iconic sporting
images. The pictures had to hint at the
exclusivity of the brand and use the thrill
of the occasion as a powerful emotional
trigger to influence sales.

Clean solid colour was used to good
effect providing a crisp backdrop
for the client's message.

The images helped us define the colour
space for the brand which was based on
the greens of the playing field and a vivid
red for the heat of 'battle'.

Our approach to the design of this annual report
was guided by a number of underlying messages.
One was the innovative method of calculating health
risk; another was to help the client stamp its
relatively new presence in the UK reinsurance market.
We proposed a mostly grey colour palette and plenty
of white space, punctuated by a measured amount
of yellow highlights reflecting the logo.

Most images were 'de-coloured' lending a
serious tone to the document...

...and occasionally full-colour images were used but the colours were toned down.

We were asked to produce design proposals
for renovating the reception area in keeping with
the company's newly designed brand identity.

We decided to liberally include curves in
the design, reflecting the roundness of the
logotype and the planets in the logo. The
curves transform an unwelcoming square
space (with square columns) to a friendly,
relaxing interior, assisted by the pastel
colourways sympathetic to the branding.

Carefully tuned accent lighting would
highlight the reception desk as the focal
point of the space.

We produced a significant amount of work
for Reliance National over a period of four
years. This annual report cover was based
on a library image which was retouched to
harmonise with the corporate blue. The
exaggerated perspective of classical pillars
is a visual cue for solidity.

A number of full-page pie charts
were produced to illustrate
financial performance highlights.

This is a corporate communication,
announcing the company's move to glorious
new premises in Leadenhall Street.
The card incorporated a foldout map.

The annual report of the year following
the move features a nighttime picture of
the new building.

In a working relationship that commenced
over 20 years ago, we have produced a series
of annual brochures and souvenir menus
for the brands of Globus, Cosmos and
Monograms. Under the title 'Welcome to
London' this 2001 cover greets guests with
the welcoming face of a uniformed escort.

Paris day excursion by
Eurostar train.

Souvenir menus are offered to guests
at dinner, during an evening that combines
dining with a visit to the theatre. The
design challenge is to incorporate the
theatre posters in a manner sympathetic
to the menu and the restaurant venue.

This elegant graphic combines the
Brasserie Roux logo with a picture of
the building in perfect harmony with
the menu text, which could easily
appear harsh without due care.

Here again, the banner 'Shownight
Theatre Evening' has been incorporated
in the poster of the play, perfectly in
tune with the poster, borrowing the style
and texture of the poster.

In line with the design objectives,
this souvenir menu adds appeal as
a memo of the guests' glamorous
visit to Simpsons.

Parco's restaurant, situated at the Sedgwick centre,
Aldgate, was a bright mix of luxurious dining and
Italian flair. Over a period of twelve years we took
care of the brand and marketing collateral, more or
less until it closed down following redevelopment
of the centre. The freehand, sketchy logo echoes
the iconic canopy at the entrance of the restaurant.

When we were commissioned to design the menu,
our challenge was to create something that
encapsulated as far as possible the great number of
diverse elements that characterised the restaurant.
The gigantic, modern glass roof and facade let the sun
right into the restaurant and allowed uninterrupted
views of surrounding city buildings. From the ground
level, fully grown trees stretched 40 feet high,
their canopy reaching eye level with the diners. We
created a playful illustration as a narrative of
all these attributes.

An embossed, gilt border round
the features illustration hints at a
touch of luxury.

An orgy of appetising colour spills out
from the first page.

In a rare 'fling' with designing interiors we
designed the interior of Cafe St Pierre, at Clerkenwell
Green. The brasserie interior was later used for fashion
photography and the journal of the Chartered Society
of Designers commented on how in its simplicity,
the design relied on the customers to supply the
colour. The logo was reworked to reflect the
simplicity of the design.

The menu design followed suit in its
compactness and simplicity.

The thinking behind this corporate
folder for Design First was to articulate
the company's approach and persuade
that design can add value.

For design to be effective, good
communication is vital. This spread
puts the point across unequivocally
while managing to remain elegant
and lighthearted.

The key message in this rate card is
value for the client and transparency of
charges. A selection of x-ray images
was used as a metaphor.

We were asked to design a presenter for the
submission of tenders, suitable for self-assembly,
in order to include customer-specific pages for
each tender. It had to be highly finished, reflecting
the quality aspirations of the company. We
engineered a cover that could incorporate the
pre-printed and custom pages, wiro bound and
folded to look like a smart, slim booklet.

A branding project, aiming to stir up
enthusiasm in a 'tired' company where
business had declined and directors'
morale was low.

We researched and edited a number
of library images to communicate the
market positioning of the company.

The website design had to be kept
simple, with a certain immediacy, fit for
busy people looking for a solution. We
aimed to win trust at a glance and win
over prospects with the proposition of
minimising the stress of moving.

Proposals for the corporate identity of a
technology startup with the name 'Anthropics'.
The brand's promise was to provide a life-like
interactive experience via a virtual person
who could give presentations, answer questions
or offer directions online.

We conducted a study of common visual associations
with humanness and technology. Our presentation
was in essence a juxtaposition of organic and machine
forms and how they might happily co-exist.

In essence, our challenge was to communicate
that technology could be humanised.

This image was picked to express the emotive
power of human contact and therefore, by extension,
the commercial benefit of this technology.

The colour space of the presentation
aimed to balance businesslike efficiency
with human appeal.

Securitytec is a retail frontrunner in state-of-
the-art digital security systems. The company's
growth has been attributed to cutting edge
product offering, in-depth product
knowledge combined with old-fashioned values
in customer support. The crisp transparent feel
articulates eloquently the company's
USP of user-friendliness and clarity in spite
of the highly technical nature of the product.

The website and online store design is
in seamless continuity with the brand image
but introduces a retro element to convey
the company's 'old-fashioned' values in
customer care.

Sunchaser is an innovative, upbeat yacht
charter broker. The company's strap line is
'a breath of fresh air in yacht charters'.
Aiming to bring a refined level service to lower
value yacht charter clients, it needed a fresh,
vibrant and distinctly modern look, to distance
itself from run-of-the-mill competitors who had
'been around for years and it showed'.

We designed a number of key visual
elements, a visual language that would
make the company's communications
instantly recognisable. One of them was
the take on nautical stripes that help define
the top lefthand corner of the page; ...

...another element was the sweeping
curves we gave to the picture boundaries,
hinting at the curvy shape of a sail,
and yet another was the golden stars derived
from the imagery of a chart compass.

A wide range of colourways to
stimulate and surprise.

We went to great lengths to keep price
lists clear and readable and to prevent
them dominating the page.

The exhibition stand design evolved from
functional needs. We made provision for a
small office/kitchen space but softened its
presence by introducing the same sweeping
curves we used in the brochures, a subtle
cue for the shape of a sail.

An additional benefit of the curved walls
was to lend openness to the space on a
relatively small stand.

A good example of reinforcing the
brand through consistency. All key
elements are present again in this
Yacht Partnership brochure.

Here are those sumptuous sweeping
curves again, framing an uncluttered
text page.

Our design for Boat Trader, the popular
title of Marine Trader Media illustrates how,
by thinking latteraly, certain obstacles
can be converted to assets. The arch over this
exhibition stand encases two unsightly
steel girders (they can just be seen extending
toward the ceiling).

We shaped the girder casing to evoke the
bow of a boat, introduced round 'portholes'
and used block colour to shout aloud the
colours of the brand.

The result is a striking design that cannot
fail to attract and be remembered.

A 'look and feel' study for the Premier Yachts
website, clearly aimed at the luxury market.