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The Glass Touch

April 4, 2019 by Patricia

PROJECT: FULL BRANDING SUITE + PROFESSIONAL WEBSITE DESIGN

Britney Glass, the founder of The Glass Touch Interiors, is one of New Jersey’s premier interior designers. She describes herself as a design-obsessed Hollywood Regency Queen, florist, and curator of bold, sophisticated and unforgettable interiors. When she asked me to design her brand identity & website last year, I knew we were going to go all out bold and beautiful and luxurious!

I had so much fun working on her overall design! My own style is normally very clean and minimalist, but I also enjoy over the top decorating. It was a chance to go all out, and it was just FUN! ⠀⠀

MOODBOARD

moodboard and color palette for The Glass Touch Interiors

I’ve been saying this since last year – maximalism is back with a vengeance. After decades of bland minimalism, people are decorating to the max. Rich details, profusions of plants, lush tablescapes, ornate embroidery – they’re all back!

Britney’s brand is the very definition of glamor and Hollywood regency mixed with baroque rococo. Her moodboard captures that aesthetic. It’s moody, luxurious, and richly detailed. The color palette is full of deep purples, a lush mauve, and sophisticated green, all accented with rich metallic gold.

LOGO DESIGN

logo design for The Glass Touch Interiors by Fancy Girl Design Studio

The logo design process was so much fun! Britney was very sure from the start that she wanted a lion emblem to represent her own personality. I designed this custom emblem with ornate swirls against a deep purple background and paired it with equally luxurious typography.

BRAND GUIDE

Brand Identity Guide for The Glass Touch Interiors, by Fancy Girl Design Studio

I also designed custom patterns, some ornate & lavish, others in a faux tufting texture that she absolutely loved. (It’s a nod to how much she loves to use tufting in her interior design work. Naturally, I had to create it for her brand as well.)

Logo design mockup with tufting pattern for The Glass Touch Interiors, by Fancy Girl Design Studio

STATIONERY SUITE

Stationery suite for The Glass Touch Interiors with baroque patterns in deep purple and metallic gold

The stationery suite uses the custom patterns and textures, and also the various logo versions.

WEBSITE DESIGN

bold and luxurious website design for The Glass Touch Interiors by Fancy Girl Design Studio

We wanted her website design to be equally rich, bold, and luxurious, with lots of ornate details, but without being overwhelming. Tip: when using patterns and detailed backgrounds, include generous amounts of white space around the text. It draws the eye towards the copy.

I was so happy she decided to move her website from Squarespace to WordPress, because it gave us so much more flexibility in terms of functions and layouts.

Another thing I admire about Britney – she really knows what she wants, and wasn’t afraid to curate her galleries to show only the ones that represent the work she wants to be known for. It’s very tempting to fill your gallery albums with all of your projects. But it’s a lot more effective to be intentional about choosing only those that appeal to your ideal client and positions your brand persuasively.

Do check out her website!

Filed Under: Featured Projects, Uncategorized

About Patricia

Patricia Alix is the founder and creative director of Fancy Girl Design Studio, a luxury brand and web design studio based in Singapore. She specializes in crafting elevated brand identities and bespoke websites for interior designers and creative female founders who are ready to be seen as the leaders they are. Her mission is simple: to show the world just how good you are.

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Hello and Welcome!


Hi, I’m Patricia, the girl
behind Fancy Girl Design Studio.
I love pretty things, clever words, fonts, colors, the Oxford comma, and exclamation points!
Won’t you grab a cup of tea with me and stay a while? Let’s talk all things pretty.

ABOUT ME

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THE EXPERIENCE CONTINUES ON INSTAGRAM @FANCYGIRLDESIGNS

The typefaces surfacing this week share a theme: n The typefaces surfacing this week share a theme: not serifs broadly, but a specific vintage register, letterforms with visible weight variation, a slightly worn edge, the sense that someone drew them by hand. 
The Ashcombe Hall has the gravity of a country house library, the kind of face you'd expect stamped in gold on a leather spine. Vintage Serenade moves looser, more lyrical, closer to something a calligrapher would have signed.
Design has swung this way before. When the Industrial Revolution made everything fast and identical, William Morris and the Arts and Crafts movement answered with ornament, with craft, with the visible mark of the maker. The clean grid had its long turn at the wheel. This particular kind of type, textured, hand-cut, carrying a sense of history in the strokes, is having its own.
The antiques returning to people's living rooms and this type returning to branding are doing the same work. Both are reminding us a skilled hand was involved.
The Victorians read morning glory as fleeting love The Victorians read morning glory as fleeting love. I read it as a flower that simply knows when to leave the party.
#vintagetypeart #botanicaldesign #floraldesign
She used to sit across from people while they figu She used to sit across from people while they figured it out.
Now she's the one they came to hear.
That's what this moodboard is all about.
Another sneak peek. Monograms are my favorite thin Another sneak peek. Monograms are my favorite thing to design.
The best marketing strategy? Be really, really goo The best marketing strategy? Be really, really good at what you do. Everything else works better from there.
There's a lineage running through this one. Ever There's a lineage running through this one. 
Every object here survived because someone refused to rush the first pass. That's what craftsmanship actually is, a decision rather than a finish, made once, correctly, by someone with the patience to do it properly. Cornicing nobody hurried. A pattern made stitch by stitch. A tack room that assumes you already know what you're looking at.
The eighteenth century understood something we're still relearning: ornament is a form of discipline, not decoration for its own sake. That's the instinct behind this palette, this pairing, this whole quiet insistence on doing it right.
I am so excited to be working on this brand identity!
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