Frost*

Frost Design is an independent ideas studio of 30 people. We understand design. We understand business. But most importantly we understand the business of good design. Founded in London by Vince Frost and now also based in Sydney, we are an interdisciplinary creative studio who work seamlessly across a variety of media for a diverse range of international clients.

Flip Dot Wall Summer Sequence

Project: Stockland Flip Dot Wall - Summer sequence
Client: Stockland

Coined the "Flip Dot Wall", Frost Design created an interactive art piece that utilises over 9000 revolving dots to create unlimited animations. The wall is 5 metres wide and 6 metres high and illustrates images or text in either black or brilliant red. As the dots move through their paces they create a subtle audio ambience and air-movement that extends the experience beyond the visual. One of its great advantages is that the piece can be programmed to carry a multitude of sequences – some poetic, some factual, and some simply fun. It can change according to season, event or achievement, and can be adapted for functions in the foyer to become part of the entertainment.

Sydney Dance Company brochure

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Ampersand Volume 3: Digital Issue 1

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Sydney Opera House new shop graphics

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Denim-Bar at Myers Melbourne City

International Fashion Group (IFG) imports and distributes premium denim brands such as One Religion and Seven For all Mankind. They approached Frost to create their first retail concession store in Myer Melbourne. Surrounded by competing brands, the challenge was to create something that would really jump out and act as a strong brand in its own right. Working with the long, narrow space we branded it the 'Denim Bar'. The logo is in bold letterpress type, a playful reference to denim's wild-west history and the patina of worn jeans. The 40sqm space was painted black, giving it presence against the other mainly light concessions. The bar itself is painted day-glo orange, a vibrant contrast to the black space and a striking backdrop for the merchandise. It also acts as a centralized storage unit, overcoming one of the restrictions of the narrow space. We approached illustrator Paul Davis to create a series of quirky illustrations to add another dimension to the branding. The illustrations draw customers in with their amusing take on denim, wrapping the back wall, change rooms, columns and display bench.
The t-shirt line is displayed on three wall-mounted sets of antlers, adding a fun 3D element. IFG plans to roll out the design across 40 concessions over the next two years.

Ampersand Global Issue: South Africa

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Channel [V] and Channel [V]2 Rebrand

Channel [V] came to Frost Design to refresh its identity in response to the explosion in music-related entertainment and the need to compete with new advances such as music video streaming on mobile phones.

A key part of the strategy was to move the brand from a music TV brand into a live brand that has an active role in its audiences lives. Channel [V] had inherited elements of its identity, including the brackets around the V from its parent offshore, and carrying these forward into the new identity was a legal mandatory. What started out as a design restriction became the creative idea - we dimensionalised the name Channel [V], making it into a object that could then become an environment for its broadcast design and a stage for live events. Instead of being a stylistic device, the brackets have a real purpose. Part of the brief also involved reflecting Channel [V]'s changing in programming that was part of the re-launch, which was a shift to genre-specific timeslots rather than continuous hits. Building on the 3D logo approach, we created themed rooms for each genre. Each featured its own colour and animated transition from the main logo to a genre-specific adaptation of the mark.

Frost art directed all elements of the new identity roll out, working in collaboration with 3D Animator Gary Nicholson of Nicholson Beyer.

Sydney Dance Company Cafe Concept

Project: Identity and environmental graphics
Client: Sydney Dance Company
Launch date: December 2006

When you enter into the Sydney Dance Company’s offices  at heritage-listed Pier 4 in Walsh Bay, you can only enter through the Pier’s café. When Frost was asked to redesign the café identity and collateral, we took the opportunity to consolidate the café and dance company identities, creating a strong and unified front door to both businesses.
The visual language of tonal photographic imagery was playfully extended to the café’s signature image of two ‘dancing spoons’. The dancers arm applied to the café counter welcomes you in and displays the specials in handwriting on it’s super-scale palm. At night the internally illuminated counter acts as a giant lightbox, giving the space a gentle glow and generating a more sophisticated mood  for dinner guests.

Creative Director: Vince Frost
Designers: Caroline Cox, Bridget Atkinson

Director's Cut Set Design

Sydney Dance Company

One of the key considerations for the Cut set was that whatever was produced had to be easily transported around the world. It also needed to work with complex rigging structures that could change from venue to venue. Keeping this in mind, we thought that it would be interesting for the set to be a completely separate structure that grows upwards, rather than being a stiff and cumbersome physical structure that relies on its surrounding environment and drops from the ceiling. Drawing on the 'cut' theme, we made the set an organic and delicate structure Ã¢ÂÂ with its own 'skin' that makes it vulnerable to being cut. The set weighs a mere 60kg and saved the company considerable transportation and building costs. We designed the set so that the act of inflation could be part of the performance. The material interacts with the light and the dancers in different ways throughout the performance, with invisible tie-lines that allow it to move and change shape. The inflatable set was created in collaboration with Nick Crosby, from the London company Inflate.

Director's Cut Campaign and Promotional Collateral

Sydney Dance Company

'The Director's Cut' was a suite of three different performances to celebrate Graeme Murphy's 30 years with Sydney Dance Company. It was also a chance to promote the dance company's new logo, which we had also designed for them. When we started working on the project, the choreography and music had yet to be decided so the title was the main clue we had to work with. With the campaign identity, we used the idea of 'Cut' very theatrically - with dancers hanging off the letter 'C' and blood running down their arms. This sets up an interesting interaction between the typography and the photography, and was an opportunity to take an element directly from the new logo and incorporate it into the design. With the huge red 'C' and the 'bleeding' dancer, the poster became extremely striking visually, and placed on bus shelters all around Sydney, was instantly recognisable and remembered.

POL Oxygen Stretch Magazine

POL Oxygen approached Frost Design to do a special edition of the magazine with Vince Frost as guest Creative Director. In the initial briefing, it was discussed that it would be all about people who move effortlessly between creative fields. Creatives like Catherine Martin, Gotan Project, Marc Quinn, Floria Sigismondi, Graft, Jun Takahashi, 2X4, Viggo Mortensen, Kenny Schachter and John Pawson. We came up with the notion of Stretch and set about stretching the boundaries of magazine design. The magazine itself is stretched. At 550mm, Stretch is double the height of a standard POL Oxygen magazine, with a horizontal split down the middle so it folds to fit on a library shelf. The split changes the way the reader interacts with the magazine, breaking conventional ways of reading. The bronzed skeleton sculpture by Marc Quinn used on the front cover, again reinforced the stretch theme. It unfolds to reveal a midget - a stretch on reality that is only revealed once you open the cover.

Frost Bite Exhibition

Object Gallery approached us to create their first exhibition on graphic design. As graphic design surrounds us, the aim was to create a dynamic exhibition that was accessible and not precious. You could either interact with multimedia on a 3D asterisk or flick through one of the books or magazines whilst sitting on one of the huge foam letters. Instead of being hung like paintings in a gallery, digital prints rested against walls. Held at the Sydney Opera House, the space had no windows, so we took the opportunity to darken the space further. The floor was covered in monochrome images of letterpress type and the walls were signwritten with large-scale letters on black. On entering the space you were met with a huge asterisk printed with examples of work, also holding books, magazines and LCD screens, showing different scales of work. This then projected further onto the back wall.

Freestyle Identity, Book, Collateral, and Website Design

Object Gallery/Melbourne Museum

Freestyle is a ground-breaking exhibition and book of contemporary Australian design for living. The challenge was two-fold - create a solution that is a strong statement about design in its own right while also being able to effectively present the works of 40 other designers without getting in the way aesthetically. Also key to the brief was incorporating the branding of sponsors Bombay Sapphire. Our idea was based on using a blue transparent perspex square as a framing device for the artist and their work (while also acting as a reference to the sponsor's brand and their iconic blue glass bottle). Each of the 40 designers was photographed in their own environments interacting with the blue frame in their own way. The square form was carried through to the Freestyle identity, which uses a modular geometric type, and using the squares as the structural grid for the book, website and other collateral.

http://www.freestyledesign.info

Ampersand Magazine Design

D&AD (British Design & Advertising)
Volume 1, Issue 1, March 2006
Volume 1, Issue 2 - May 2006
Volume 1, Issue 3 - June 2006

D&AD is an educational charity with a purpose to set creative standards, educate, inspire and promote good design and advertising. Ampersand is D&AD's members magazine with content ranging from latest news and views, industry related features and profiles celebrating the world's most inspiring creatives. In a nutshell, Ampersand is a magazine obsessed by ideas. The Ampersand name came about for a number of reasons. First it was at the heart of the D&AD logo. Secondly it expressed connection - the glue that could hold an infinite diversity of content together. Lastly, within a masthead, the ampersand could portray the home of all great ideas - the thought bubble. Printed on 100% recycled paper and using vegetable inks, Ampersand lives up to D&AD's goal of environmental practice.

Mushroom Records Identity

Warner Music

Mushroom Records started out in the late 1970's, signing acts such as Spilt Enz, Skyhooks and Kylie Minogue to become Australia's leading independent music label. Warner Music Australia bought the label in 2005 and approached Frost to create a new logo and identity. The brief was to stay true to the label's independent roots, while creating a new look that could carry it forward as the banner for Warner's Australian artists roster. Our idea is based on mushrooms growing up to form the letter 'm'. The simplicity of the symbol and complete integration of the mushroom visual into 'm' was critical to delivering a marque that could work at a very small scale on CDs as well as acting as an iconic and merchandisable brand. The supporting identity drew on other mushroom references, including 'mushroom bag' stocks - also helping to give a street feel true to its independent roots.

Frost Design 2007 A Frost* Interactive Experience Terms and Conditions

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