I first learned about the talented creative team of Oat when I was writing about their work for a feature on Oh So Beautiful Paper. The brand identity work I profiled was such a great example of the kind of print results that can be achieved when combining different paper stocks and production techniques. Jennifer Lucey-Brzoza and Rory Keohane are the principles of Oat, a multi-disciplinary design studio in Massachusetts. It was during this process they shared they were getting ready to launch their new stationery line, NOAT. Turns out I was already a fan of NOAT and didn’t even realize it.
You know when you see something you’ve never seen before and then suddenly it starts showing up? This was my experience with NOAT. I happened to be reviewing submissions for Legion Paper’s NSS Class of ‘70 promotion when I first noticed their work. The simplicity of the design and attention to detail caught my eye. Little did I know at the time they were the same team behind the brand identity design I just wrote about earlier that month.
The line is unlike anything I’ve seen thus far, a minimalist aesthetic with special attention paid to the details of design and production; this is a stationery line designers (and discriminating buyers) can appreciate. “Noat designs paper goods and curio for those seeking a quiet sense of cosmopolitan style. An austere mysticism and modernist perspective are whispered through simple pleasures that deepen senses. Our greetings cards, stationery, art prints, fragrances and incense embody still reflection and a spirit of mystery.” And that is exactly how I’d describe the vibe I felt stepping into their booth at the National Stationery Show this past May.
You can clearly see the influence their surroundings have on their work. Working out of a carriage house “filled with Northern light and spacious white solitude,” that sense of space is conveyed in their design aesthetic. I have to say experiencing their booth was one of the highlights of NSS for me.
And of course I wanted to share that experience with Parse & Parcel’s audience, so I’ve included a set of three in the current issue of The Parcel – the hardest pat was choosing just three. Here’s a closer look at the ones selected – Palmistry, Horizon and Khamsa. Each one is a great example of how combining strong design with simple, thoughtful production details can transform print design.