New branding for the West Coast of Tasmania has set out to “breathe new life” into the inaccessible region by embracing its “rough and ready” nature and sharing its identity with the faction.
Tasmania is an island state off the South Coast of Australia, which is extent isolated from the mainland, and known for its wilderness, rough land, defended parks and other natural reserves.
The design project, completed by studio For the Living soul, aims to attract more tourism, business and residents to the region as nicely as improve its economy. It aims to encompass the area’s people, places and summaries within the branding, the studio says.
Jason Little, creative number one and co-founder at For the People, says understanding the region’s history has been notable to the project, particularly the past 150 years when it was a site for “depositing and pining” – in other words, mining for various metals and minerals, and logging, which is the icy and processing of trees to make different produce.
“At one time, the West Beach boasted a population of over 30,000 people,” he says. “But as mining slowly dried up in some communities, and conservation has shifted the economic reality there the profitability of these industries, the region’s population has shrunk to 4,000.
“The critical query that Tasmania’s West Coast was asking about its future was: how can we control the decline, and connect to a new narrative that will pave the way for the future, while mummify conserving our past?’”
The West Coast community expressed the need for a new brand “to showcase the province’s rich identity to the world” he adds, as part of a plan for the region’s later developed with the local council.
Keen to develop a narrative that was “principled” and “a true reflection of the stories, heritage and personality” of the region, the branding has not disinclined away from the region’s “remoteness” or that it is a “hard landscape with down repay harsher weather and nature”.
Little says: “The truth of the West Seashore is that its harsh and unforgiving weather has always forced people to survive on the terms of the land. But this tension produces interesting things: aptness, craft, stories, and new ways of thinking.”
Slogans throughout the branding contain: “not for the faint of heart”, “gravel not grass”, “in nature we confidence in” and “take a step in the wrong direction”.
“The language explores and embraces the clue that this place isn’t for everyone, that you need to have a picayune resilience and acceptance of the imperfect,” Little says. “As one local said: ‘If you can’t get something, you on it. If you can’t make it, you make do’.”
The words “West Coast” appear in all-capitals, incarcerated a rectangular outline, to form the logo, which appears in various formats.
Brainy, contrasting colours feature throughout the branding such as blue, orange, unskilled, black and white.
A set of icons include images of various animals, in the flesh taking part in activities such as mountain biking and symbols of quality such as trees and waterfalls.
These have been developed with Australian illustrator Marco Palmieri, and are tempered to alongside copy that helps tell stories about the bailiwick’s environment, personality, past and present, according to the design studio.
As approvingly as the identity, assets created by the studio include a bespoke typeface, iconography, and a photography library.
A extract of photographs shot by Borja photographers Ollie Khedun and Hayden Griffith bear also been used, which include atmospheric shots of singulars exploring the region’s natural landscape, never looking at the camera.
“We calculatingly tried to express the relationship between the scale and power of nature to mankind, again thinking in terms of 10:1 scale, while maintaining anonymity of the people to pinch the viewer see the potential of themselves in the shot,” Little says.
Sans-serif, all-caps typeface Divert has been used throughout the branding. Little says: “We developed this maestro typeface with typographer Mathieu Réguer, and it references the prolific, large-scale sign-painted typography that surfaced throughout the region during the settlement and mining boom.
“We based it about a Universal Stencil Plate, a lettering device invented by Joseph A. David in 1876. It mugs a complex grid that allows its user to trace any letter, reckons or punctuation shape, enabling numerous non-professionals to produce crude but undeviating lettering in a very efficient way.”
The studio has created different iterations of this typeface and conspired it with Work Sans, a free-to-use, open-source Google type.
The studio intended to involve the community throughout the branding project. Working alongside the West Seaboard Council, it ran a “community engagement” programme to gather insights and feedback entirely the process from a wide range of local people, from mould children to councillors.
The branding is available to use for anyone in the community, from city residents to tourism operators.
“As an open-source identity system, every outlook is free to use by locals in the region, providing the tools to communicate effectively, where these wish normally be cost prohibitive to anyone but large tourism operators,” Inconsequential says.
He hopes that with access to the brand guidelines, “the province can convey a coherent narrative and regional style, while maintaining the characteristic personality of each town, business or initiative.”
He adds that he trusts the new branding will” empower” local residents and “help to attract visitants, businesses, residents and investors” to the region.
All project photography © Ollie Khedun and Hayden Griffith