Art Direction inc. Strategy & Design
Based in London, UK
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Photo: Liam Hart, Lars Brønseth, Shahram Saadat
June 2022
DELLI is a new food app created by Depop founder Simon Beckerman. HATO were approached to create a visual identity for the brand, as well as the app and website design for their internal team to develop. Explore DELLI here.
We first looked into the history of Delicatessens around the world, finding final inspiration in the US for the DELLI wordmark. The logo sits atop earthy yet bright palettes that reference some of the masters of Italian design such as Enzo Mari. To tie it together, the photography direction is real, honest and a snapshot into the moment; no ‘can you just hold that there for a sec.’

Cooking with Scorsese: The Cookbook
HATO, Hato Press
Photo: Jack Batchelor
December 2021
A hardback addition to Hato Press’ renowned Cooking with Scorsese series, The Cookbook contains over 45 recipes from some of the world’s (and HATO’s) favourite chefs. Each chose a film and gave a recipe inspired by it. Sold in bookstores worldwide.
Combining some of the world’s most formidable and acclaimed chefs with some of HATO’s local favourites, this publication shows how film can highlight inspiration for so many different people. Design details include nods to film such as the credit style list formatting, and a campaign shoot that mirrors the films in prop form.

Art on the Underground: Rhea Storr
June 2022
Art on the Underground comissioned HATO to create artwork for 24 boards at Heathrow Airport, Escalators at Bethnal Green and Notting Hill, and the mezzanine platform at Stratford station featuring visual artist Rhea Storr’s work. The project, entitled ‘Uncommon Oberservations: The Ground That Moves Us’ features a series of large-scale captioned photographs created using an outdated military surveillance photographic film called Aerochrome.

Art Direction and design for one of Art on the Underground’s biggest projects to date. Focused on highlighting the film element to Rhea’s work with additions of film strip and colour burned edges for escalator transitions. A purposefully pixelated wall at Stratford links back to the notion of surveillance as CCTV. Caption text is irregular and slightly disintergrated to reference the film.