
Energy is information before it is a commodity.
Overview
Oil, gas and electricity decide most of what happens in the country, yet the reporting around them arrives as fragments: a decree here, a production figure there, an outage nobody explains. The information exists. The meaning does not.
So the brief was never a news logo. It was an intelligence platform — one identity that can carry a breaking headline, a map of fields and pipelines, an expert quote and a long report without ever changing its voice.
The film
Two cuts, built from the same grade and the same rhythm — one Arabic, one English — so neither audience receives a translation of the other.
Creative direction
The direction was built around a single responsibility: translate technical, political and operational energy information into something immediately understandable without losing authority.
Every decision — from the editorial hierarchy to the pace of motion — serves that balance. TAQA needed to feel coherent across a breaking alert, a detailed map, a report and a campaign film, not like separate formats wearing the same logo.
The challenge
Energy branding defaults to two failures: the corporate blue of an oil major, or the alarm red of a rolling news channel. One feels owned by the industry, the other by the crisis.
TAQA had to sit between them — credible enough for a ministry to quote, quick enough to publish an outage in ten minutes, and legible on a phone in low light in the middle of a power cut.
Strategy
The strategic line came out of the way Libyans actually talk about news: shen ya3ni — so what does that mean? Every piece of output has to answer that question before it earns a headline.
That turned into an editorial contract, not a slogan. Numbers arrive with consequence attached. Decrees arrive with who is affected. The platform's job is interpretation, and the design system is built to make interpretation look like the point.
My role
I led the creative direction across the identity, information hierarchy, visual system and launch campaign, then designed the motion language and edited both film cuts. The work was delivered as a connected publishing system rather than a collection of isolated graphics — a working kit the newsroom can use every day.
Process
Visual system
Deep teal as the ground, a single industrial orange for whatever matters most in the frame, sand and slate for everything that supports it. The wordmark is built from the Arabic and Latin forms of the same word, so neither reads as a translation.





Motion system
Motion here is structure, not flourish: everything enters on the same easing, holds long enough to be read, and leaves without a transition. Each format is a template — headline, map, quote, report — so a story published at speed still looks composed.






Icon system
Refineries, wells, grids and tankers reduced to a single stroke weight so a map can carry twenty of them without turning into noise.




Launch campaign
The campaign opens on the tension — a country that produces energy and still waits for answers — and closes on the promise the platform can actually keep: explanation.








The creative system continues in a new project.
Explore: TAQA AI Agent System →A barrel is a number. What it changes is the story.