Watson names and brands The Moraine, a community in the Rocky Mountains.
The brief required the New York-based branding agency to reach active people who want to hike, bike, climb and ski in pristine nature without ignoring the nearby urban convenience. To capture that meeting point, Watson opted for The Moraine as the name, after the point at which two glaciers merge their lateral edges into a single ridge.
“Located between Boulder and Longmont, it sits at the intersection of urban energy and Colorado’s active outdoor culture,” explains Executive Creative Director Chris Dixon. “It appeals to people who want the best of both: access to vibrant communities, innovation, culture and connection, alongside the freedom to explore the mountains.” A moraine is the product of convergence, which applies to the community in a multitude of ways: the meeting of people and nature, of work and recreation, and of the neighbouring communities that shape the stretch of Colorado within which it exists. From that convergence, Watson built a brand strategy around aspiration, adventure and modern alpine culture.
The logo builds on that idea through two elements. A rough-hewn rock sits beside a simple pitched house, and together, their silhouettes resolve into an ‘M.’ “The logo takes that idea of living close to nature and uses very straightforward symbols to communicate that,” Associate Design Director Mauro Simeon tells us. “Stylistically, we wanted to keep the logo as rough as possible to honour the character of Colorado’s nature.” The rock has jagged, irregular edges rather than conforming into a tidy geometric shape, aiming to mirror a real piece of Colorado rock.
An icon set expands out from that same visual language, including a fir tree, a fish and a house – with each one possessing the same angular character as the mark. Across signage, totes, screens and more, Watson set the pictographs directly into running sentences, tucked in beside the words they represent. “We wanted to create an icon set that speaks the same language as the logo and, in the long run, can be recognised on its own,” Simeon reveals.
Typographically, phrases like ‘Up and out’ and ‘Roam Rest Repeat’ arc across photography, screens, signage and the water bottles that hang off a hiking pack, set on an irregularly jagged baseline. “The type sits on the same angular path that the stone in the logo is shaped from,” Simeon explains. The logo and the angled type function as two distinct elements, but their shared geometry, natural and random, knits them together. “On a communication level, the type treatment communicates movement,” he says. “The movement of going up and out into nature. The movement of climbing in challenging environments or riding a downhill bike on a trail. The movement of rocks rolling down a hill.” It ties the type to the active life the residents are there for and to the way Colorado's terrain behaves.
Holding it all together is Neue Montreal – a clean, grotesque sans serif chosen for what it leaves room for. “It’s a great typeface that feels outdoor but also leaves room for other elements in the brand system without being distracting,” Simeon tells us. The reasoning reflects how Watson thinks about a system as a whole. “The beautiful thing in branding is that a visual identity is a combination of a variety of brand elements. So not every element has to communicate everything, but the sum of all the elements has to cover what the brand wants to say.”
The same principle shapes the imagery, with commissioned active lifestyle and urban neighborhood photography by James Stukenberg sitting alongside CG renders of the building and interiors. “From the beginning, we viewed the photography, video and rendering work as part of a single story rather than three separate visual languages,” Dixon reveals, with the renders communicating architecture and interiors while the photography captures the lifestyle – the two bound by a shared tone, colour palette and pacing.
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Content taken from The Moraine
