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10 years, 1 logo

Categories: Tenth anniversary, Useful/interesting

We like to ensure our designs are long-lasting – a philosophy perfectly demonstrated by our very own logo, designed by Kris a little over a decade ago.

Although the Supercool brand identity has evolved over the past 10 years, from crazy-busy multi-font-waterfall graphics, to stylish, sophisticated duplexing and foil-blocking; our logo has remained a consistent element.

As the logo is such an important part of our company and brand, we really should acknowledge and thank designers Paul Renner, Edwin W. Shaar and Tommy Thompson.

Renner was the German typeface designer who designed the typeface, Futura; first released in 1927, it was originally cast in Light, Medium, Bold and Bold Oblique weights. In 1955, Shaar and Thompson were responsible for the Extra Bold Oblique cut used for our logo.

We're in … assorted company. Other brands with Futura logos include Absolut Vodka, Domino's Pizza, Red Bull and Louis Vuitton. It's also starred in a fair few film posters and title sequences, being employed for movies such as 2001: A Space Odyssey, Eyes Wide Shut, The Royal Tenenbaums and The Life Aquatic. (Kubrick and Anderson clearly fans of our beloved geometric sans serif.)

Another claim to fame – Futura is one of surely very few examples of type on the moon; it was selected as font of choice for the plaque left by astronauts of Apollo 11 in 1969. Impressive – but personally I'm not completely convinced by that kerning on the word 'WE' . Or indeed 'A. D.' …

Futura has served us well and we've no plans to change our logo in the near future.

In fact, Futura Extra Bold Oblique is currently being used to advertise some super-trendy headphones, so is showing no signs of ageing. Much like our good selves.


This is the fourth in a series of blog posts commemorating Supercool's decade of design.

HQ heritage

Categories: Jewellery Quarter, Learning things, Tenth anniversary, Useful/interesting

Since the beginning (aka 2004), Supercool has been based in the same building in Birmingham's Jewellery Quarter.

When we moved from the rear office to the front a few years back, it prompted us to do a bit of digging into the history of this listed building. Our tenth anniversary seems as good a time as any to share what we found out.

From some internet-based detective work and a visit to the Pen Museum down the road we discovered that, along with neighbouring buildings, our office seems to've formed part of St Paul's Pen Works; home to one of Birmingham's foremost pen nib manufacturers, George W. Hughes. (The factory moved to Legge Lane from nearby St Paul's Square, hence the name.)

A bit more interweb trawling uncovered a box of 'Geo. W. Hughes' pen nibs for sale. Despite its bruised and battered state, we had to buy it.

Why is it called the 'Million Pen'? Perhaps it commemorates the millionth nib produced in the factory? Was it manufactured after the factory had turned over its first £1million, maybe? We can't find the answer to that, so it remains a mystery.

Possibly an even greater mystery is the nothing-short-of-bizarre packaging design.

Along with the nib's name, the design features what appear to be a duck and a dog on the front, as well as some exotic-looking script; with the side of the box sporting another line drawing of the dog, now holding the duck in its mouth.

On first look this seems to make no sense, and have zero relevance – but one of the more believable suggestions I've come across for this peculiar animal pairing is that these creatures are in fact a goose and a fox. The clever, quick-witted fox – standing-in for Geo. W. Hughes' pen nibs – is doing-away with the goose, which represents the out-dated, out-foxed quill pen. Ah-ha!

The 'hieroglyphs', however, remain unexplained …

On the underside of the box is a big wodge of copy signed by George himself, warning people off inferior copies of his stellar product. It's incredibly old-fashioned and quite, quite ace.

Incase you can't quite make it out in the photo, it says:

"St. Paul's Pen Works, Birmingham. GEORGE W. HUGHES having, after many years of unceasing effort, succeeded in bringing the manufacture of STEEL PENS to the highest point of perfection, regrets to be under the necessity of cautioning the Public against base imitations of the Genuine Article, which disreputable parties have endeavoured to foist upon the Public. None are genuine but those with this Signature, thus– Geo W. Hughes"

Final fun fact: these very same nibs are important enough to form part of a National Trust collection.


This the second in a series of blog posts commemorating Supercool's decade of design.

We are ten

Categories: Tenth anniversary

2014 is the year Supercool celebrates a decade of design.

And this is how it all began …

Our origins can actually be traced back even further than 10 years, to a conversation between two people who met on a university trip to Thailand in 2002.

Both James and Kristian liked the idea of starting their own design agency; an agency with a ubiquitous Thai phrase at its heart – 'sabai sabai', which loosely translates as ‘easy-going and happy, with all as it should be’.

Planning for this new venture began while they were still at university, but in those days it was mighty rare for graduates to form a start-up without first gaining experience at an established company. So what did James and Kris' tutors think of this adventurous, entrepreneurial spirit?

Clive College – visual communication tutor, University of Central England (now Birmingham City University)

We were conceived in Thailand but we're proud to be born and bred in Brum. Supercool officially launched as a partnership in January 2004 from an office in the former Geo. W Hughes Pen Works in the city's Jewellery Quarter, which is still our home to this day.

Pen nibs, made in our office when it was a pen factory

Cutting our teeth on editorial design, our first big commercial contract was the design and artwork of 6 different publications for a local publisher. It was a good grounding in turning around quality work, sharpish! We've also always had close ties to the local arts scene, which began by working with MA Fine Art students on their final year catalogue.

Our portfolio quickly grew to incorporate branding alongside design for print; but Kris was missing home and returned to his native Norway in 2006. He remains a close collaborator, and Supercool's design style still reflects our Scandinavian heritage.

Also in 2006, I joined the company after a stint at ad agency McCann Erickson, and Supercool went super-official by becoming a Limited company. Proper grown-up.

By 2010 we'd started doing an increasing amount of digital work, and realised we needed another pair of hands. Happily, Josh and Supercool found each other, and The Angell joined as a full-time Supercooler in early 2011.

And that's an incredibly potted history of Supercool's first 10 years working with some great clients, on design that makes a difference.

Here's to the next 10 … sabai sabai!


This is the first in a series of blog posts commemorating Supercool's decade of design.