Koji is an American songwriter, artist, and activist with DIY roots and a discography spanning nearly two decades. His debut full-length, Crooked in My Mind, blends honest vocals, thoughtful melodies, and driving rhythms that showcase experiences gained from countless miles spent on the road as a touring musician. This Polo Sport inspired classic is a limited run collaboration in support of the record's release that reflects a genuine appreciation for the natural beauty of the US and recognizes its role in his craft. Simplified details of the original patch design produces sharper prints with the added flexibility to offer alternate colorways on future tours. Following punk's PMA (Positive Mental Attitude) philosophy Koji uses his music as a platform to spread messages of unity and compassion, so it's necessary the visuals do too.
Mimicking strip windows and bold forms typical of the suburban office park, the address becomes the brand. Simple moves transform Century Gothic Bold, a popular and accessible geometric sans-serif standard on all Windows PCs, into a modern logotype that both reflects its surroundings and defines its own identity. Horizontal banding reduces the scale of the letterforms making them more approachable while an angled baseline introduces forward movement and upward growth, tying everything together. The refreshed silhouette provides opportunities for multicolored expressions, dimensional extrusions, and layered cutouts that feel familiar in their context. One challenge with augmenting legibility in this case is choosing how much to remove without losing the parallel function of address and logo from the perspective of a driver passing by at speed or one caught in the chaos of rush hour.
Cut and fill, it’s the process of excavation to balance a site by removing material from high points to infill low points until a desired grade is reached. The creative challenge is getting there using the dirt on hand, nothing trucked in or shipped out. This concept forms a strategy to rebrand Mainline Excavating, Inc. from a crew of construction workers with big shovels to a team of experienced engineers with smart solutions. Aside from letterheads and uniforms, the brand’s primary exposure is from a distance on work trucks and heavy machinery. A simple font and distinct composition do most of the heavy lifting, providing a strong silhouette capable of withstanding the wear and tear of a construction site. Conceptually a single mound of dirt is ‘excavated’ from the word itself landing inline as a natural extension of the typeface and leaving behind evidence of the process, while a series of up and down arrows are hidden within the negative space recalling the transformation of a landscape as it’s sculpted into submission by an army of excavators. The result is not a logo but a language of typographic elements that embody the means and methods of a trade with the power and flexibility to become the icon of an industry.
Pitched as a private rideshare service for executives working in Center City Philadelphia, All Day Ride is Uber before Uber. For the meeting hopping CEO or bootstrapped startup entrepreneur time wasted is money spent, and nothing is more expensive than navigating an asphalt maze in hopes of winning a game of parking roulette. William Penn’s 17th century urban utopia saw Philadelphia as a grid of streets defined by a central hub surrounded by four public squares. Although he didn’t account for the confusion of bike paths, turning lanes, and other street markings, a combination of past ideas and present conditions merge to form the heart of this brand. Cascading font weights highlight ‘Ride’ as the primary service, sending the word along a path that wraps the text like a taxi circling the newest city square before continuing on to its destination. Stylized car wraps, window decals, and vinyl stickers slapped on lamp posts pop against the backdrop of a busy streetscape. And while the concept of a personal chauffeur is nothing new, the idea to share-a-chauffeur is and ADR is set to be the de facto standard.