Thirst | Communication Design Practice

Close Navigation>


We wanted to capture the dynamic medium of water in ways that avoided the clichés of waves and ripples. This aligned with Fluidity’s approach. The physical effects of water became the most interesting, and we all became enamoured with how water modifies what we see: through distortion of refraction, through movement of drops and waves.

Still image, <a href="" target="_blank">Purification</a>, 2005, by Bill Viola

We are designers, architects, engineers who simply happen to specialize in the expressive medium of water. We are enthralled by our media, which very much seems endlessly interesting and engaging. Jim Garland, Founder, Fluidity

During visual research, we discovered a typographic sample from an experimental novel designed by Swiss designer Karl Gerstner that seemed to speak to refraction. This inspired similar visual explorations, each expressing a different physical quality of water.

Page from <em>Schiff nach Europa</em>, 1957, Markus Kutter + Karl Gerstner. An experimental novel about a journey from New York to Europe. <a href="" target="_blank">Image Source</a>.


These visual studies began to open a conversation as to how this “logo” should never be the same way twice, just as water never stands still. We wrote custom software in Processing that allowed for a near-infinite exploration of possible forms within a set of variables: density, distortion, and detail.


Once the concept had been established, we worked with Fluidity to refine the finished identity system. Visual forms that felt too stylized or too complex were rejected in favor of those that were more graphic, more bold.

As water’s form comes directly as a result of the surrounding environment, all of Fluidity’s varitions are derived from its base form.

To Top
Close Navigation>