Finn M.-Design & Art Direction

ADIDAS YGT FY24 REBRAND

CAMPAIGN IDENTITY, VISUAL LANGUAGE, SPECIAL BUILD ACTIVATIONS

We launched You Got This, a global campaign designed to uplift athletes of all levels and help them reconnect with the joy of sport. The message is simple and bold: no matter who you are or what you play, You Got This.

Through dozens of film and still assets, the campaign reached athletes worldwide, from amateurs to professionals, dancers to footballers. At its core, it reminds every athlete that pressure is universal, but it's also something you can overcome.

NEW DESIGN SYSTEMS:

We developed the new typographic design systems using the updated brand typefaces Denton and AdidasFG. This included creating guidelines that ensured brand consistency across all layouts, while also allowing flexibility for translations and market-specific adaptations.

2D CAPTURE:

A key part of my role was developing the 2D capture. I worked closely to shape the visual approach. All photography is captured in-game and aimsto reframe pressure and focus on the positive rallying cry 'You Got This' as they play as part of the year's biggest football tournaments.

EURO COPA:

I worked as the primary designer for Chapter 2 of the brand campaign, focusing on 2D executions for Euro Copa. This included leading the development of typographic systems, visual treatments, and market-ready adaptations to ensure the campaign landed with impact across all regions.

OLYMPICS:

For Chapter 3, Olympics I supported on design systems, visual language, and post-production, ensuring consistency with the wider campaign while creating guidance for these assets to be adapted the work for local markets.

CAMPAIGN ROLLOUT:

With the updated 2D language established, we created inspiration toolkits and special build, site-specific activations for local markets to drive the campaign launch.

TRUE & FALSE

TYPE DESIGN, BOOK DESIGN, EXHIBITION DESIGN

A Post-Truth typeface for the Post-Truth era.

DESIGN + PROCESS:

This is a fully functioning font if you would like to use it, please reach out.

RESEARCH & PROCESS:

Bastardville is a font which is designed on the most broken down forms of Baskerville.

In 2013, Errol Morris ran a study in The New York Times with 45,000 unknowing participants to find what typeface is considered to be the most believable, under the guise of a test to measure reader's optimism. Baskerville was overwhelmingly considered the most reliable typeface.

But if the truth began to decay and become irrelevant in a Post-Truth age, what use will the most truthful typeface have in a world. Bastardville is a response to this. Broken down until only the remnants of the typeface remain to reflect the truth being eroded in the Post-Truth era.

Baskerville was repeatedly scanned at a low dpi, printed and scanned again until the most broken down form of the type remained. Then tracing over the letter forms in Adobe Illustrator and transferring them into Glyphs, creating Bastardville as usable type. Bastardville is not made to be easily legible, it is made only what was left of baskerville. Bastardville is a font which is designed on the most broken down forms of Baskerville.

Continuing on with this project Science Gallery Dublin commissioned me to create a book and exhibition for their exhibition FAKE.

The book contains a collection of texts dealing with the idea of Post-Truth and falsehood. Consisting of a Post-Truth Manifesto, Nietzsche, Socrates and Tweets from the public.

Fully case bound with silver foil embossing on front and back covers, printed on 1550gsm Munken pure rough.