Zimpler is a cutting-edge payment method for forward-thinking individuals who value instant and direct transactions without delay. It's a reflection of a fast-paced, on-demand lifestyle and a tool for living life to the fullest.
At Bold Scandinavia, our team developed a new brand identity for Zimpler with a behaviour-oriented approach. The concept of "instant response" was translated into a visual language based on responsive behaviours, giving the brand a snappy and progressive energy, and expressions of unruly personalities. The identity includes a distinct typeface, a vibrant and unique colour palette, an energetic image style and a versatile but module-based layout system.
I had a key role in developing the foundation assets and visual representation of the progressive and responsive nature of our concept. In collaboration with design and digital teams, we co-created a design system with a distinct expression across all touchpoints - from the payment flow to the website and communication campaigns.
In collaboration with Feixen Studio (Luzern, CH), I was specifically assigned to design the bespoke numbers for the commissioned typeface by expanding the brand experience through numbers and data.
DESIGN CONCEPT | INSTANTANEOUS RESPONSE
Our new visual system for Zimpler was based on three responsive elements: scale, position, and personality. The integration of these responses created a progressive and distinct expression engaging users on a interaction level, enhancing the brand's digital experience.
Responsive behaviour on key graphic
Responsive behaviour on typography
Symbol UI function: Thinking mode (left); Progress mode (right);
Module-based design system
Key pattern design system / incremental grid / simple (B2B)→ expressive (B2C) / 3 responses in both static and motion
Website design and responsive behaviours application
UI interactions, responsive behaviors (sketches)
UI interactions, responsive behaviors (sketches)
BESPOKE | COMMISSIONED
The project involved the design of bespoke numbers based on the commissioned brand typeface, with the goal of creating a more distinct expression for use in even the most limited applications, such as the payment flow.
In my previous role at Fjord, a design and innovation consultancy under Accenture Interactive, I contributed a visual design concept to our team with a sub-identity for Fjord in Switzerland.
The concept for this project was to reinterpret the official F logo into a dynamic form that was able to visually convey the themes of "shaping" and "building" together, including moving images. This approach allowed the sub-brand to be flexible and adapt while having room to grow into new forms from simple to expressive shapes, while still maintaining its recognisability.
The resulting identity captured the spirit of Fjord and its focus on shaping the future and driving progress.
The client was a Swiss company who aimed to launch a new greener energy source as an alternative to noisy diesel generators. Their product is a shipping container-sized battery that gets recharged through hydro power and is delivered to events, festivals, and outdoor venues straight from the power plant.
This was an unrealized CVI (proposal) that was presented during the early stages as a concept for bringing the brand to life. The approach was to develop an identity that would work for both B2B (direct audience) and B2C (indirect audience) audiences, including green organizations who influence and raise sustainability concerns with stakeholders in mind.
This thesis project investigates the interdependece in visual communication in a experimental, and oriented by a theorical-practical approach. The Research combines the theoretical framework, followed by a practical design experiments to develop visual languages with a goal of formulating a poster series, as the medium, that aims to create a visual experience based on the interdependence through the visual elements of typographic form and image.
The methodology employed can best be described as empirical and causal, supported by other methods such as observation, analysis, comparison and analogy. The project is simultaneously research-based in its conceptual dimension permeated by a philosophical tone, and practice-based regarding its visual designing dimension.
This poster series was designed for a fictional event that focused on the use of moving graphics. To create these posters, I experimented with the interaction of time, rhythm, and contrast. Through this process, I developed several versions of the final product, each showcasing the power of the moving image in design.
Based on the function ’Text to Points’, We create a tool that can help you to create your version for different typefaces. These typefaces are composited by different shapes, including 2D and 3D shapes. You can easily type the word which you like and use the sliders on the right top to change the wave mode, wave speed and the size of the shapes.
For the Posterslam exhibition at the Basel School of Design, I created a typographic poster that was printed in silkscreen. The theme of the exhibition was "State of Being," and my poster conveyed this message through designed letterforms.
I conducted a visual study to investigate the different levels of interpretation and dimensions that legibility and form can reach in order to capture the viewer's attention. By printing the poster in silkscreen, it allows the viewer to experience the message on both a visual and physical level, from reading it from a distance to coming closer and feeling the haptic structure of the letterforms, which adds a sense of presence to the piece.
Growing up in a multicultural and diverse family, I have always been fascinated by the different journeys I took to visit my family roots in Switzerland, Denmark, and Brazil.
This project is a personal exploration of those journeys and the memories that still linger from my childhood. Each journey (chapter) is introduced with a continuous landscape that sets the stage for the story that follows. The typographic setting is composed within this frame, giving shape to the narratives and stories.
The chosen fonts were carefully selected to create contrast between the old memories and the new times in which the images were archived, allowing me to reconnect with those memories and the emotions they evoke.
In the Authorship course, students were asked to create a series of visuals designs through four techniques. These images were supported by in-depth visual explorations with the purpose of describing the designer themselves as content within four chapters (techniques): typographic form, graphic shapes, photography, and slogan.
The approach for this project was to incorporate humor and irony into the message, as well as connecting the different elements from graphic shapes into typographic form with the contrast of organic and static shapes. At the end, it was developed a catalogue with these designs that later was composed into a final poster design that showcases one element from each technique.