The National Archives

Building a brand for the home of Ireland’s written records

The National Archives exists to preserve the memory of the state and to hold Ireland’s public records so that everyone has access to them as a resource. They are responsible for safeguarding the documentary heritage of Ireland.

They wanted to transform into a more outward looking institution and enhance its engagement and perception with the general public. In an ongoing relationship we have collaborated with them across several key areas which includes book design, brand identity, exhibition design, social media and signage and environmental graphics.

A conservator returning a box to a storage shelf.
Photo: Ros Kavanagh.

The Treaty 1921: Records from the Archives

The National Archives asked us to create a book that would encapsulate the tension and drama surrounding one of the most pivotal moments in Irish history—the signing of the Anglo-Irish Treaty of 1921. The National Archives needed this book to do more than just present historical documents; it needed to tell the story of the Treaty negotiations in a way that was both visually compelling and deeply informative.

We designed the book to emphasise the gravitas of the period, using a layout that juxtaposes everyday ephemera—like ticket stubs and dinner menus—against critical government memos and drafts. This approach brought the personalities of the delegates to life and provided a fresh historical perspective.

We collaborated with the National Print Museum in creating the artwork for the cover. It draws inspiration from the Dáil Éireann letterhead, using Gaelic letterpress type.

Cover of the book 'The Trety 1921 – Records from the Archives'. The title is set in a gold foil with black and whote images of Arthur Griffith and David Lloyd George either side of the title.
An open book spread revealing two pages. The left page features a section titled
An open book spread revealing two pages. On the right side is a black and white photo of a steamboat departing from Dún Laoghaire.
A double page spread, the left page features a biography about Arthur Griffith with an accompanying portrait and signature. The right page features a biography of Robert C. Barton with an accompanying photo and signature.

Promotional Campaign

To promote the book launch, we extended the visual narrative of The Treaty 1921 into a series of limited-edition letterpress posters. Working with Mary Plunkett and the National Print Museum, we selected key quotes from the book to create a set of three posters, each featuring a different quote from the leaders of the Irish and British delegations, as well as a quote reflecting the delegates’ personalities.

Each word and phrase were carefully set to highlight the significance of the text. The posters were unified through a consistent design that emphasised their historical roots while maintaining a modern edge. The process was documented and shared on social media, generating buzz and anticipation for the book’s release. Additionally, we designed totems featuring posters quotes, which were displayed alongside guest speakers at the launch event.

 

Two individuals carefully arranging wood type blocks on a flat surface, to form a quote. Various other blocks and materials are scattered around.
A letterpress printed poster of a quote said by Arthur Griffith on 23 November 1921.
Printed Letterpress poster, with black type on cream card. It is a quote from the David Lloyd George. It says 'It was now a matter of peace or war and we must each of us make up our own mind'.

Days in the Life: Reading the Michael Collins Diaries 1918–1922

Continuing our partnership with the National Archives, we were tasked with designing a book around the working diaries of Michael Collins — a central figure in the struggle for Irish independence. This book needed to capture the essence of Collins’ frenetic life, from his daily tasks to his critical role in the independence movement.

We approached the design with a focus on authenticity and historical accuracy. The book’s structure, centred on 20 essays, was interspersed with diary pages reproduced at their actual size.

Days in the Life: Reading the Michael Collins Diaries 1918–1922 cover. The cover is a wine leatherette with a white foil block for the title, it has a closure elastic thread band and a yellow belly band featuring a portrait of Collins.
Closeup of a book spread showing a page dated 6th March 1919. It features short handwritten notes
Cover of Michael Collins’ 1919 diary. It is a burgundy colour and features a small gold embossed stamp with serif type
A cracked photo of Michael Collins in uniform. It features overlaid text of the chapter title
Three instagram style posts featuring overlaid text of the chapters title set in a condensed sans serif font over black and white photos. The titles are

On an Equal Footing With All

This is a story about how the fledgling Irish state took it’s place amongst the global community, The League of Nations. In September 1923 Ireland joined the League of Nations: the global organisation created after World War One to oversee international security and disarmament, which was the forerunner of the United Nations.

This book explores and evaluates the 23 years of Ireland’s membership of the League, up to its dissolution in 1946, using a chronological and thematic approach. It is illustrated with more than 80 images, including documents, photographs and ephemera, taken from the National Archives and other collections.

On An Equal Footing With All Ireland at the League of Nations 1923–1946 cover. It features a black and white photo of an aged Sean Lester with an unidentified colleague in an assembly. hall
A double page spread with a black and white photo of Michael MacWhite wearing the uniform of the French Foreign Legion. The right spread Mac White’s Automobile Club of Switzerland membership card.

Sustainable Exhibition Design

Part of this project also incorporated an exhibition design commemorating 100 years since Ireland joined the League of Nations. This project, which marked Ireland’s emergence on the global stage, required a design that was both sustainable and versatile, as the exhibition would be displayed in multiple venues, including Dublin, Geneva, and the United Nations in New York.

Working with John McLaughlin Architects, we developed a highly sustainable and modular exhibition design. The framework was crafted from oak, designed to be freestanding, robust, and reusable, with removable connections between modules. This allowed the exhibition to adapt to different spaces while maintaining a cohesive look. The graphic design elements were printed on highly recyclable honeycomb boards, produced locally to reduce the carbon footprint.

Read more about sustainable exhibition design in Diarmuid’s journal post Sustainability in Exhibition Design: Much to consider

 

A woman standing reading the Harry Clarke’s 'Geneva' window exhibition panel. The panels feature comprehensive text about the subject and a large digital reproduction of the glass window.
‘On an Equal Footing with All: Ireland at the League of Nations 1923-1946’ at the United Nations Building, New York
A woman stands reading exhibition panels from the League of Nations exhibition. The panels are fixed to a modular oak framework.
Míchael Martin standing at a podium speaking at the launch of On An Equal Footing With All – Ireland at the League of Nations 1923–1946. He is surrounded by totems featuring the exhibition branding and historical quotes and figures.

An ongoing relationship

Our partnership with the National Archives has resulted in a series of projects that not only modernised the institution’s visual identity but also told a story that leaves a lasting impression with the public.

Our work with the National Archives has proven that thoughtful design can bridge the past and present, making history accessible and engaging for modern audiences.

The success of our projects with the National Archives underscores our commitment to excellence in design, from concept to execution. If you’re looking for a design partner who can help you navigate complex projects while delivering exceptional results, we would love to hear from you.

A woman studies an open census book. She holds a red pencil as she examines the pages. In the background, several other people are working at desks with laptops.
Cataloguing the 1926 Census. Photo: Ros Kavanagh.