Segue

Zig Property is a leading Australian architecture firm that has converted a former broadcasting house into a variety of apartments. The distinctive exterior, reflective of an era marked by daring experimentation and functional design, which pairs well with the mid-century modern interiors that convey a sense of timeless elegance and artistic flair. With the exterior and some apartments complete, ZIG aims to start promoting it to the public to start selling the homes in the development. To do this, they need a property brochure to advertise the development. 

The idea for the layout was that keylines were used to create rectangles across the page. Not only is the image cropped into a rectangular frame, the keylines seem to continue the rectangle but also creates an edge of the rectangle itself, with the other end being the edge of the text box. The rectangles serve as guides, much like how the modular system works to incorporate large amounts of text.

On page 4 and 5, the keylines create a square within which the text is locked, leave a large amount of negative white space for the refined clean and elegant feel. One the facing side page 4 is an image locked within a rectangle, but it gets to fill the entire page. 

Pages 6 and 7 had a lot more text, so a lot more rectangles were needed. A rectangle was created with the edge of the couch image to the keyline at the bottom of the page, meanwhile a pull out quote sits idle inside that rectangle, but the top of that textbox sits on the same guideline as the paragraph on the left facing side page 6. Meanwhile a lone paragraph at the top creates a rectangle in and of itself, its own little text box.

The visual identity was made up of geometric shapes that serve as the gridlines and guides. There are interesting layouts where the colored rectangles could cover up parts of the wordmark while revealing others. I explored type lockup in creating the letters with geometric shapes and also iterated some versions where the letters had cutouts of circles and rectangles. The end result was to create the wordmark with a typeface that looked like it was made up of rectangles with rounded corners, and I redesigned the E with three rounded rectangles for an interesting take on what still reads as an E.