STUDIO INSIGHT
COMPUTERARTS.CREATIVEBLOQ.COMSEPTEMBER 2019
Joanna Waclawski
Project manager
Previously a project manager at Fanatic Design in
Bristol, Joanna moved to London in 2017 to join
Rose, and has since managed projects for clients
including Bletchley Park, The Shard, ENO, The
London Coliseum, NPG, NHM and the V&A. Rémi Mortimer
Designer
Rémi worked for Et Al Design Consultants and
Future Cities Catapult before joining the Rose
team in 2016, where he’s been the lead designer on
projects for The Olympic Studies Centre in Lausanne,
Bletchley Park, The Shard and 10bet.Betting regulations and the importance of
providing a responsible gaming environment were
among the challenges we had to address. And we
did so by ensuring everything was as transparent
as possible, and aiming to put the bettor first.What’s it like working at Rose?
Yafet Bisrat: There are two things you notice
straight away. One is the electric pace we’re
expected to work at: time is money, and time
waits for no one. The other is the importance of
a great idea. Our unwritten rule is to make sure
everything we design, from a quarter-page advert
to a global rebrand, is underpinned with logic.
One of the reasons we’ve forged long-term
relationships with our clients is our knack of
producing challenging, award-winning work
that answers the brief while still being able
to deliver on time and within budget. That’s a
win-win-win situation for the client, their
audiences and ourselves.
JW: It’s worth noting that where we work is very
unusual. The Old School in Rotherhithe is over
300 years old, so there are some creaky stairs,
random bees escaping from the chimney, and
antique interior details. But it all adds to the
character of the place! We occupy the entire
building, which gives us plenty of space to work,
spread ideas out on walls and host clients, but it
also stays very peaceful.What are you working on at the moment?
GB: A really exciting and diverse range of projects,
from gin packaging to Royal Mail stamps, to
an identity for one of the oldest law schools in
London. We’re also rebranding a national music
charity and a major London cultural venue;
creating a big fundraising campaign for King’s
College London; and rebranding a group of
regional theatres.How do you think your work is likely to change in
the coming years?
RM: The development of storytelling is going
beyond still imagery and becoming increasingly
reliant on moving image or motion graphics. With
attention spans diminishing, we have to consider
motion to deliver a brand message directly and
clearly to relevant audiences.
AE: The way technology is rapidly advancing, at
some point it’ll be the norm for us to use VR to
sell a concept to the client. They’ll be able to
see and experience the brand as if it’s already
there. So that just leaves the challenge of
learning to use it...
YB: Tech and new marketing innovations are
helping push branding into new areas and require
designers to think one step ahead, which is great
if it’s done with purpose. The only problem is
when those outputs - which are effectively tools -
act as the starting point and drive the idea.“Everything we
design, from a
quarter-page
advert to a
global rebrand,
is underpinned
with logic”
Below: Six years on from designing
Bletchley Park’s brand identity, Rose was
asked to create a campaign identity for
its new cinematic exhibition, celebrating
the role of the code-breakers in D-Day,
75 years on from the invasion.