Jetwing is Sri Lanka’s preeminent hospitality company, with a couple dozen properties spread around the idyllic island. When creating the brand’s logo, I wanted to evoke the country’s cultural and natural assets, but with a modern, forward-looking execution that reflected the business’ aspirations. And while the company’s rather unusual name has no special meaning,

I knew I would have to help consumers make some sense of it within the logo.  

 

To accomplish these goals, I based the contemporary typography on the curvy calligraphic styles of traditional Sinhalese script. Then, I used the tittle of the I as an opportunity to create a stylised butterfly – its colourful wings acting as a nod to the company’s name and the country’s abundant wildlife. 

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When Steigenberger Hotels, a Germany hotel management company, decided to boldly rechristen itself Deutsche Hospitality, it required a logo that to match the confidence of the new brand name. By embedding an H within the D, I created a contemporary, visually powerful monogram to reflect the professionalism and trust that the company built its reputation around. Subsequently, I also created or refined logos for the Deutsche Hospitality’s consumer brands: Steigenberger Hotels and Resorts, Jaz in the City and IntercityHotels.

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Recently ranked as the Number 1 resort in the world by Tripadvisor, Kurumba is a private-island property that started tourism to the Maldives. When it came time to update the logo for the distinguished brand, I wanted to bring in all the colours and energy that define the beautiful isle, while also promising guests the elegance and relaxation expected from a Maldivian resort.

 

Remaining clean and simple, I gave the logotype a classy little twist by adding a ligature to connect the U and the M. The letterform was then paired with a vibrant, organic paint stripe to create a distinctive, tropical, luxurious and localised logo.

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The UK’s longest-established science centre, Techniquest is an interactive museum in Cardiff Bay, dedicated to stoking curiosity and delivering the experience of scientific discovery.

 

By forming a question mark from the Q in the brand name, I found the perfect logo device for communicating this mission. The rotated punctuation could even be used independently from the logotype, providing the visual identity with a versatile mark for a wide variety of applications. The bright palette allowed the logo to change colours from one usage to the next, reinforcing the family-friendly centre’s sense of fun and dynamism.  

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Grasshopper Adventures is a bicycle tour company that guides travellers through Asian destinations. The logo was designed to be fun and friendly, making the brand approachable to a wide range of international consumers. The playful treatment of the G can be seen as both a smiling grasshopper’s head and as handlebars. The letter can even stand alone as a mark. Likewise, the encircled bicycle icon has become an emblem used on the company’s cycling

T-shirts.

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“According to Laos tradition, stories of history were not passed on orally, nor were they written –they were woven.”

 

Building on the success of the Southern Laos regional campaign, I was invited to design a new logo for the countrywide Laos destination brand. Inspired by the lush textures of traditional, handmade textiles, this logo offered a total reinvention of the country’s visual identity. The woven illustrations embedded within the Laotian-inspired script tell the story of the nation’s traditional art, spiritual culture, plentiful nature and the great Mekong River. While this logo never made it to market, as the tourism authority decided to delay rebranding, it remains one of my favourite destination logos. 

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DAWA is a line of long-lasting, insecticide-enhanced mosquito nets created by TANA Netting. The logo for this brand needed to reflect the product’s innovative design while giving buyers confidence in the net’s strength and efficacy. With bold, thick typography, the letterform is strong and contemporary. And the combination of the strokes for the As and W helps to subtly suggest the shape of a protective tent.

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To stand out from a crowded market of luxury hotels in Bali’s Seminyak area, it was important that the branding for Double-Six fully embodied the property’s unique brand pillars, ‘create’

and ‘play’. So for the logo, I used a playful little visual trick, combining the middle crossbar of the capital E and the brand name’s hyphen, causing the viewer’s mind to create the

missing element. 

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Rhythms is a chic eatery within the music-themed Jaz Amsterdam hotel, which is managed by Deutsche Hospitality. The restaurant slowly evolves from a relaxed lunch spot into an EDM-fuelled, late-night bar, so it needed a dynamic logo that could communicate its many moods. Drawing on the musical names of the venue and hotel, the logo incorporates VU metres from the DJ’s mixer, showing the gradual rise in energy and volume as day turns to dusk.

 

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Given a name like ‘Comma’, it’s nearly impossible to not include the punctuation mark somewhere within the logo. But for a B2B company that specialises in the serious business of interim management of internal communications, the identity needed to be clean, professional and straightforward, just like the services they offer. An in-your-face punctuation mark would

just look garish in this context. So I very subtly embedded the comma within the counter of the letter A. 

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I created this logo for a capacity-development initiative by the United Nations Development Programme (UNDP) and Netherlands Development Organisation SNV. I’m pretty sure that the general public is sometimes confused by the complex terminology and endless acronyms used by NGOs. I know I sure am. So I decided to create a simple visual explanation The Power of How within the logo. The stacked circles, created from the letter O in each word, gradually grow in clarity and weight, communicating the programme’s mission to strengthen the capabilities of people and institutions in developing countries.  

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Can you spot the visual pun within this logo? Clue: as the brand’s name suggests, the advertising agency it was created for had 5 partners.

 

Whenever I can find a happy coincidence within the shapes of the letters in a brand’s name, I try to capitalise on it, as these types of playful treatments prove to be very memorable. Once a viewer sees a visual trick, they’ll remember it forever. Such a device is particularly appropriate for an advertising agency that wanted to be seen as highly creative and effective at making its clients’ brands memorable.  

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Brands named for animals are often given rather ‘cheesy’ visual identities. (Pardon the pun.) I wanted to break that with this logo for Holy Cow, a British producer of organic soft cheese. The embellished script I used for the letterform provided me with a stylistic inspiration for the mark. The resulting calligraphic illustration of a cow is both upmarket and approachable, perfect for the high-priced shelf in a grocery store’s dairy aisle. 

Agency / HGV