Village

Router

MCKL / Router

PuppSync

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Router in use in the identity programme for a pet service company

Designer Karen Messing created this charming identity programme for PuppSync, a company that provides a new way to book pet services.

Royal Children’s Hospital, Melbourne

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Router in use in Büro North’s lovely wayfinding design system

Büro North worked in close collaboration with the Royal Children’s Hospital (RCH) to develop an evidence-based design solution for its wayfinding redevelopment.

Melbourne firms Billard Leese Partnership & Bates Smart Architects partnered on this project

‘Over 500 children between the ages of 5 and 17 were engaged in the development of themes for the RCH that would underpin the unique naming strategy for the hospital. Research relating to the navigational behaviour of both adults and children was referenced throughout the design process and lead to the development of a wayfinding system that integrated the naming of destinations with highly visible and describable landmarks.

environmental themes & related characters replaced many clinical & technical terms

‘As a direct result of this consultation, environmental themes and related characters replaced many of the clinical and technical terms that had been used to describe destinations and functions in the previous hospital. As a result journeys were created that were easy to describe and remember, using simple English that could be understood by adults and children alike.

Wayfinding illustrations by Jane Reiseger introduce a playful & distinctive personality

‘Following this the theming strategy Büro North collaborated with local illustrator Jane Reiseger on the development of illustrations for the wayfinding signage to create an environment where as patients move through different floors of the hospital their journey takes them from ‘underground’ at the lower ground levels through to ‘sky’ on the top floor. Specific areas within each level are described in relation to an appropriate animal, for example, ‘Koala Ward’ exists on the ‘Tree Tops’ level.

journeys were created that were easy to describe and remember, using simple English

‘Büro North developed these illustrations to create highly distinctive wayfinding graphics and over 5,000 signs, wall panels and essential landmarks for the large hospital site and introduced a playful and distinctive personality to the interior of the new Royal Children’s Hospital.

The major journeys within had to be describable in no more than 3 simple steps

‘Based on Büro North’s own trials in the previous hospital, it was decided that the major journeys within the hospital had to be describable in no more than 3 simple steps. Büro North worked closely with the client and the design team to create an environment and develop processes that would deliver highly legible and simple journeys.

the new wayfinding system has resulted in an estimated 45% reduction in travel time

‘As a result the new wayfinding system has resulted in an estimated 45% reduction in journey times compared to the previous hospital.

Cosmopolitan magazine

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Router in use in Pentagram’s redesign of Cosmopolitan magazine

Pentagram writes: ‘Cosmopolitan is the most popular women’s magazine in the world, a publishing powerhouse with 63 international editions, printed in 32 languages and distributed in more than 100 countries. With a circulation of over 3 million in the U.S. alone, the magazine is one of Hearst’s most valuable properties and longest-running titles; it was first introduced in 1886 as a family magazine before transitioning in the 1970s under legendary editrix Helen Gurley Brown to become the sexy women’s “Cosmo” of today. Currently led by editor in chief Kate White, the magazine enjoys its status as a pop-cultural mainstay and trusted go-to source for information on topics like sex, relationships, fashion, health and beauty.

Router and Parry, by Artur Schmal, in use

‘Now, working closely with White and Cosmo design director Ann Kwong, Pentagram’s Luke Hayman and his team have redesigned Cosmopolitan to create a bold new version of the iconic magazine. The refresh launches with Cosmo’s January 2012 issue.

Two Router-heavy sample spreads from the Cosmopolitan redesign

‘With fewer words on the page, the formerly tight columns of justified text have been jettisoned for a looser, more relaxed grid that keeps the layouts lively. The redesign employs a mix of fonts (why choose just one?) that includes Helsinki, Router, and the typewriter-esque Parry and Tiempos (used for text), which communicate a sense of immediacy.’

A close-up on a pull quote set in Router

House Beautiful

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Router in use in the redesign of ‘House Beautiful’ magazine

Jeremy Mickel’s Router is incorporated in the redesign of House Beautiful magazine. This cover shows the inaugural issue of the redesign and reworked masthead, drawn by Jeremy Mickel.

This issue features both Router & Superior Title </figcaption>

Jeremy Mickel writes: ‘I worked with House Beautiful to create a new logo that would feel more fun and feminine than their previous mark. Ball terminals and tails reflect the decoration and personal style that typifies that magazine’s features. This also marked the first public use of my Superior Title typeface, which accompanied Router on the cover. The logo was subsequently adopted by other editions of House Beautiful. Art direction by Scot Schy at House Beautiful.

New York Times Magazine, special issue

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Router appears throughout this special Education issue

Chef Sleeve

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Router in use in Chef Sleeve’s packaging design system by Meenal Patel

Meenal Patel designed the packaging for Chef Sleeve: ‘a company that makes transparent sleeves that allow you to safely use tablets and smartphones in the kitchen. We developed a clean packaging system that quickly communicates what the product does through photography and informative icons (instead of a mess of words). The result is a package that can easily live in both foodie and electronics marketplaces.’

Melbourne Fringe Festival

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Router in use for the identity of the Melbourne Fringe Festival by Something Splendid

Design firm Something Splendid write: ‘Melbourne Fringe approached us early in 2009 with a challenge; they wanted to change their public perception as the ‘wacky’ alternative arts festival. They wanted to champion the independent arts without scaring away the general public, and of course they needed to grow their ticket base.

The Melbourne Fringe Festival dynamic logo — the geometric form changes shape

‘We began with a corporate rebranding of the Melbourne Fringe organisation; and then worked on re-imagining the identity of the annual festival. As a part of Fringe’s renewed marketing campaign, the project was a resounding success; the festival recorded a 42% annual growth in ticket sales.

a set of pocket-sized mini guides & postcards for the festival

Typer / Router

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