Jay Corder, Architect

Contributed by Lesley Taylor of Austin-based FÖDA Studio.

Jay Corder identity design

Rebranding is easy when a client’s portfolio is made of unabashed architectural decisions, incisive detailing and methodical execution.


Retire the “Design House” name and identity, and re-launch the firm under the new name and identity of Jay Corder, Architect.


Brand consultancy
Context & research
Identity design
Web development

Jay’s personality is reflected in the range of architectural drama in his work; this afforded us the rare freedom to make grand gestures with an unapologetic color palette and rich materials with subtle haptic qualities.

Typography in general — and the wordmark specifically — are carefully “blocked” to emulate mass void relationships rather than just hierarchical relationships.

Messaging and tone is direct, polite, well informed and to the point; just like our architect, his firm, and this post.

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design

Jay Corder identity design


Creative director: Jett Butler
Designers: Jett Butler & Dale Wallain
Project manager: Lesley Taylor
Code: Matthew Williamson
Shot by Sheerin Vatankhah & Claire Zimowski

FÖDA elsewhere on Identity Designed: Michael Hsu Office of Architecture, Violet Crown Cinema.

View more work on the FÖDA website. Follow FÖDA on Twitter.

5 responses

  1. Let me start by saying I think the website looks lovely.

    I think the brochure looks nice, although I can’t really be sure. Same with the copy – we’re told it’s “direct, polite, well informed and to the point”, but it’s hard to tell when we can’t really read it. I like that the post is short, but I think it’s too short. What exactly is an “unapologetic color palette” (yellow?) and what are the haptic qualities and how were they achieved? (Side note: I’d use tactile, personally, unless there’s a good reason for using haptic.)

    I also have to say I really don’t like how the word “architect” has been broken up. It seems to break grammatical rules simply to look nice, but ends up jarring to read as arc-hit-ect. A product of the way people process language means I first read ‘arc’ ‘hit’ ‘etc’, which didn’t make much sense.

    There’s also a slight problem with consistency, at least for me. Why is the stationery different to the business cards and website? If I saw both, I might wonder if one was the old design, and one was the new.

    But let’s end on a positive note so that I don’t sound entirely like a miserable old git. I love the simplicity of the design and I like the wordmark a lot. I really like the reference to mass-to-void, which wasn’t immediately apparent but now makes perfect sense.

  2. I agree with Richard on the consistency of the materials. Was there a reason for the collateral to be different?

    Love Austin by the way. Great city.

  3. C+

    I wanna know why the designer put those characters in that way. Is it because it looks like a building?

    So many designers create so many similar identities, with similar color themes, similar shapes, and similar logic and creativities. They so enjoy their works, but I’m actually very disappointed.

  4. Can definitely agree with Richard here, not feeling the inconsistencies, the palette to me is unappealing and doesn’t fit an architect, in my opinion, it makes me think of a construction site, not a polished, and well-built building designed by an architect. That yellow truly is ugly.

    The broken up type doesn’t make sense to me, it seems like a following of a trend, y’know the one, where designers split up words and print them in huge type on shirts. It’s clunky, and not how words are intended to be read, even if it is breaking a bit from the conventional. And it also could be hinting that the architect will produce buildings that are clunky and barely put together and out of place, like the type.

    The typeface itself I’m fairly sick of seeing everywhere, the thin lines within the type is almost lost at smaller sizes, and the filling in of the counters seems almost like what you’d see on a teenager’s shirt with some phrase like ‘Rock is dead’ or something silly and juvenile.

    The type is too thick and ‘full’ to represent an architect, I feel that a slimmer typeface that was more strong on structure, maybe one that reflected the scaffolding and supports and beams etc involved in a building would make more sense.

    Overall I get the feeling that this is a young, bright eyed, but not too professional architect (no offense intended to Jay Corder).

    Not keen on this, but good work anyway to the designers, I know a lot of effort was put into this, but for me personally I’m not feeling it.

  5. I really like this, its a good fit for me for a company that prides itself on contemporary, high-end residential architecture. Its bold and modern and the choice of type reflects that. I like that this identity is about the personality of the company. The word mark itself makes me think these guys might make interesting use of space and the contrasting in-lined type and blocked type suggests the use of different materials to construct buildings and spaces. The layout of the copy and the word mark is interesting and engaging but remains clear and legible. I think there’s a really consistent feel to the identity and the choice of alternate colours for print and screen is appropriate, creating a very premium look and feel to the stationary and card but making the website feel welcoming and shifting the emphasis from identity to the product, it’s a great showcase for some beautiful homes.

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