GRAPHIC DESIGN AND
BRANDING
This project is focused on the visual branding and development of a horticulture training centre for people with disablity and the adjoining nursery where they are employed. The approach that has been taken qualitates both aspects of design. The organisation’s identity must reflect the core essence of it’s purpose, it’s employees and future goals. it should be perceived as a strong entity that unites and means to work towards the well being of its candidates. The centre is a place of natural beauty, where not only plants are grown, but also livelihoods are nurtured. As a designer, taking intuition and observation to the next level through careful research is the first step. The entire project flows seamlessly right from the conceptualisation of ideas to the execution of the visual identity.
PREFACE From there onwards, further development and strengthening of the brand’s image is carried out through the collaterals and creating the packaging designs that speak of the essence of the organisation. Finally, a signage system is developed for the chosen location/centre which creates the environment that the brand wants the public to percieve.
THE BRAND Introduction to the brand ... 1 Inspiration ... 3
VISUAL IDENTITY Process of development ... 7 Logo identity ... 11 Colour specifications ... 13 Typeface specifications ... 17 Orientations ... 2 Variations ... 24 Clear Space ...25 Visual elements ... 26
PACKAGING DESIGN Strategy and solutions ... 29 The process ... 30 Design development ... 33
SIGNAGE SYSTEM Introduction ... 57 Design solution... 58 Signage set A ... 61 Signage set B... 63 Signage set C ...65 Signage set D ... 67 Signage set E... 68 Signage set F ...69 Signage set G ... 71
ONTENT
THE BRAND
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AN INTRODUCTION
HORTICULTURE TRAINING CENTRE The horticulture training centre was founded around 45 years ago, in the 1970s. It was a noble idea, that took birth from the very concept of humanity. HTC is an offspring of the NGOAssociation of People with Disability (registered in 1959), with the main goal of rehabilitation of the disabled and unfortunate. In the last 25 years, HTC has proved that people with disabilities have abilities if they are provided with the right opportunities, given the skills required to integrate themselves into society. EVERY STORY HAS A BEGINNING... The HTC began with the need to provide vocational training, particularly to people with disability, limited formal education and fewer opportunities for any kind of gainful employment. The seeds for this experiment were sowed at a campus in Lingarajapuram, beginning in experimentation with growing vegetables and flowering
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plants. The experiment slowly gained momentum with local residents showing interest in buying the plants grown at HTC. Later, in 1982, an article in an Oxfam newsletter spoke about horticulture being used as a therapy for people with disability. The urge to explore horticulture as a means of employment generation, teaching of independent living skills and as a therapy, was the basis of this association’s conception. CURRENTLY... HTC has two huge sites, which are also nurseries: one in Jeevan Bhima Nagar and the other at Kyalasanahalli. The centre at JBN has grown to attract not just trainees but also the local community. Over the years, it has become a place they go to for all gardening needs and solutions. It is not only their one stop garden requirement source, but also one people visit for fresh produce grown and sold by the trainees.
BRAND ATTRIBUTES Create Livelihood Live with nature Training and healing How to create life Garden therapy Humanity at its best Beauty of nature Symbolic of growth
WHAT
WHY
?
QUESTION: Why was it established ||||||||||||||||||||||||||||||||||||||||||||||||||
QUESTION: What is the HTC about. ||||||||||||||||||||||||||||||||||||||||||||||||||
Not just as a green eco-friendly initiative, but as a recommended therapy for the physically disabled, horticulture training is actively promoted by APD as an extremely viable livelihood option for young people with orthopaedic or speech and hearing disabilities. APD works with Government departments and local institutions to reach out to hundreds of young pwds in the age group 18-30 who have had limited access to formal education. These students are residents and temporary employees at the nursery as well.
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WHO
?
QUESTION: Who founded it
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This program was started by the APD, as its offspring in colaboration with Chris Underhill.
The combination of the much acclaimed therapeutic value of horticulture and the need for providing skills to the persons with disability, to be self-reliant, led to the establishment of the Horticulture Training Centre. It also ensures employment of the trainess in various segments of gardening, as freelance employees or in organisations that require landscaping. Helpingthese people integrate themselves into society was the primary goal of HTC.
WHEN
?
QUESTION: When was it founded
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The program was conceptualised in the 1970s. Its first step was taken during 1982 and from then on it has grown to great heights.
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WHAT MAKES HTC SPECIAL FOR ME ? Ever since I became aware of the training program at the Horticulture Training centre, that i always considered to be a nursery, it touched me. Creating livelihood for people with disability in the realm of gardening and ensuringtheir integration to society is a noble effort. My interaction with the trainees who are employed at the nursery fueled my decision to take on this project, for the betterment of HTC, and help in its popularity. I took care to avois missing any opportunity to visit the centre at Jeevan Bhima Nagar and learnt from the trainees whenever they were free to spend time with customers.
INSPIR WHY I CHOSE THIS ORGANISATION ?
For a very long time now, visiting the HTC at Jeevan Bhima Nagar has become a tradition in my family, where we offer the resident trainees all meals for a day, every few months. But the real reason, I used to visit the centre, was because of my love for nature, greenery and passion for botany. buying plants, learning about them, drawingthem, observing their colours and growth patterns was all a part of my interests during childhood. Taking up a project in association with the nursery that I have visited for years and the many trianees who have benefited from the program seemed like the right choice.
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BENEFITS TO THE ORGANISATION HTC educates those who lack the opportunities to gain a formal education. It helps them learn hoe to create lives for themselves and the nature amongst which they live. This project will help those people be recognised and bring the organisation to the notice of many who are unaware of its existence. It might aid in bringing it to the front amidst many other nurseries that are better known.
RATION Many people recognise HTC at JBN as a nursery for all gardening needs and solutions, but very few know the story behind it. The project will focus on creating visuals and designs that reflect the organisations philosophy of empowering the disabled through horticultural therapy and providing employment. It will also popularise it as a nursery with a special story behind it, that will draw interest of the public. in addition, this project will give mean opportunity to visit the nursery more often, not ust in leisure time, but also fo work related aspects, which I consider a total plus point.
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VISU IDE
AL AL NTINTITY
THE PROCESS
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DESIGN CONCEPTS
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TWO
NO GREEN POLICY
THE GROWTH PUN
Designing for a horticulture based organisation, would lend some obvious choices to the decision making process, such as the usage of the colour green. However HTC caters to the training and education of disabled people who are taught to live life even with the loss of necessary assets. Applying this concept to the branding process - The NO GREEN policy arises, where in the designs would be created for the brand without the usage of the colour green, there by handicapping the designer from an essential defining characteristic of the brand.
HTC has proved that people with disability can integrate themselves into society and grow into successful individuals, with the aid of horticulture therapy. As the trainees learn how to grow and nurture plants, they also gain an nderstanding on how to create a livelihood for themselves. Hence, the designs would incorporate humans into elements of plant life to show they are one, and grow symbiotically. In this concept, plant life may entail, roots, leaves, trees, flowers etc. This concept has been thoroughly explored as shown in the sketches on the previous page.
APPROVED
THE PROCESS
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DESIGN OPTIONS Designs have been explored in terms of shape, texture and colour of the leaf. The most lively yet minimal colour scheme was chosen. Care was taken to avoid ambiguity, thus eliminating the first shape that could be perceived as a water droplet, especially in the absence of colour. Based on these considerations, the logo was finalised, as shown.
APPROVED
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THE PROCESS
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COLOUR & FONT CHOICES
APPROVED APPROVED APPROVED
Aa Bb Cc Aa Bb Cc
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Aa Bb Cc Aa Bb Cc
APPROVED
Aa Bb Cc
APPROVED
Aa Bb Cc
THE PROCESS
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TAGLINE BRAINSTORMING
LIVELIHOOD
BE ONE WITH NATURE
SUSTAIN
LEARN TO LIVE
CREATE THE GREEN LIFE
MAN
GARDEN THERAPY
AND
LEARN LEARN TO REALISE THE HEALING
NATURE
UNITED
LOVE
POWER OF OUR MOTHER NATURE APPROVED
THE ART OF GREEN LIVING
This is a powerful statement thatreflects the methodology of livelihood. The trainees at HTC are given opportunities to create a life for themselves in the field of horticulture, while living amidst nature’s beauty.
LEARN HOW TO CREATE LIFE This tagline is mostly self explanatory and
reflects both aspects of HTC’s brand philosophy - to nurture and grow plantlife at the same time, use gardening therapy to enable disabled people to create a livelihood.
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VISUAL IDENTITY
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THE FINAL LOGO DESIGN This logo is symbolic of the unity between man and nature and the symbiotic relationship that is maintained between both at HTC. With human figures intraveinously incorporated into the the leaf, the meaning is obvious to the beholder. Gardening therapy is used to help the disabled at HTC who learn how to grow and nurture plant life. As the plants grow so do the people.
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VISUAL IDENTITY
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LOGO AND LOGOTYPE
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WORK
WITH
COLOUR
Colour plays a major role in the ideal reflection of a brand’s personality. In the realm of design, colour is very subjective. It is visually obvious yet subtle in its signifiance. The colour story for the visual identity is true to its essence: Nature. Humanity.
KI NG
H
R
COLOUR CAN BE CONSIDERED A SENSATION RATHER THAN JUST A VISUAL DIFERENCE IN APPEARANCE OR PERCEPTION.
SPECIFICATIONS
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COLOUR STORY OF VISUAL IDENTITY
COLOUR PALETTE The colour palette of the visual identity makes use of the true colours of mother nature- shades of leafy green and dark soil browns. Vibrant and translucent with the textural effect of watercolour art, the shades of the green leaf are the main characteristic colours in the logo, representing nature, vitality and growth. The human figures in the leaf that are symbolic of the veins running through are pure white, creating an interesting play between figure and ground. The colour chosen for the brand name is a hybrid between brown and wine, a deviation from the expected choice of the hue associated with nature, adding an element of surprise to the visual.
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Finally the tagline, ‘The art of green living’ is in a dark shade of brown soil that has been watered and nourished. The colour story takes inspiration from a common quote, ‘‘The tiny seed knew that in order to grow, it needed to be dropped in dirt, covered in darkness and strggle to reach it’s full potential”. Starting from the soil to the fresh green leaves, the colour of natures bounty have been incorporated in this logo.
C - 47 % M - 09 % Y - 99 % K - 10 %
C - 33 % M - 09 % Y - 99 % K - 10 %
C - 54 % M - 09 % Y - 99 % K - 10 %
C - 55 % M - 60 % Y - 65 % K - 40 %
C - 58 % M - 62 % Y - 81 % K - 65 %
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WORK
WITH TYPE
Choosing fonts for design projects is a daunting task: to pick one among thousands, to tweak characters to create perfect visual typographic architecture, to synchronise a harmony; The typefaces chosen for this project are simple and clean, yet hold the much needed spark that makes characters come alive.
KI NG
H E
THE FONT OR TYPEFACE IS THAT ESSENTIAL QUALITY THAT HAS THE POWER TO MAKE OR BREAK A COHESIVE VISUAL IDENTITY.
SPECIFICATIONS
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TYPEFACE USED FOR THE TAGLINE
AQUA GROTESQUE A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z 01 2 3 4 5 6 7 8 9
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The Aqua Grotesque typeface was created by Laura Pol. It is available on multiple public domain forums for free download and usage. The Aqua Grotesque type is a basic title font created using geometric shapes as the base for developmet. It is inspired by the 1940’s italian era. WHY AQUA GROTESQUE ? The brand identity speaks of unity, togetherness, oneness with plant life, nurturing the concept of 'self' growth within humans through learning via nature. The visual logo comprises of rigid lines in a pliant form, playful figures in rule adhering patterns with symmetry.
To keep in sync with the essence of the logo, the typeface needs to have an element of playfulness.
In Aqua Grotesque, each letter has a uniform stalk width, with the base design inspired by geometric shapes. Certain characters have quirks to them, like q, a, g etc. This font is used for the tagling - ‘The art of green living’ , in all capital.
A
SPECIFICATIONS
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TYPEFACE USED FOR THE BRAND NAME
CUPOLA ABCDEFGH IJKLMNOP QRSTUVWX YZ abcdefghij klmnopqrs tuvwxyz 01 2 3 4 5 6 7 89
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The Cupola typeface was created in 1998 by George Williams. It is available on multiple public domain forums for free download and usage. The Cupola type is an elegant decorative font with curved circular terminals. It has a good proportion of stalk width and type size, making it appropriate for use in headings. WHY CUPOLA ? The brand identity speaks of unity, togetherness, oneness with plant life, nurturing the concept of 'self' growth within humans through learning via nature. The visual logo comprises of rigid lines in a pliant form, playful figures in rule adhering patterns with symmetry.
To keep in sync with the essence of the logo, the typeface needs to have an element of playfulness. In Cupola, each letter has a unique aspect to it, the serif inspired rounded ends, swift flowing tails and non uniform stalk positioning, create a playful edgy characteristic quality, that demands attention.
H
H
SPECIFICATIONS
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DIFFERENT ORIENTATIONS OF THE VISUAL IDENTITY
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SPECIFICATIONS
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VARIATIONS OF THE VISUAL IDENTITY
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SPECIFICATIONS
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CLEAR SPACE DETAILS FOR THE VISUAL IDENTITY The clear space specifications are given, taking into consideration the various orientations of text placement around the visual. The diagrams shown here, indicate the staging specifications of the logo. It is necessary for the visual identit y to be surrounded by certain amount of clear space on all sides, to separate it from other graphic or textual elements. This ensures maximum impact and preserves integrity.
VARIABLES D = diameter X = height Y = width
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VISUAL IDENTITY
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DESIGN ELEMENTS The following visual elements are borrowed from the logo, in terms of shape, design and colour. These designs can be used in the brand’s visual communication, such as the stationery, i.e. visiting cards, letterheads, folders and envelopes. In addition they can be used in packaging designs, brochures, brand advertisemnts, signage designs and in various other relevant targets.
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PACKA DESI
AGE GN
INTRODUCTION
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OBJECTIVE AND PROBLEM STATEMENT
STRATEGY& SOLUTIONS PROBLEM STATEMENT
The current packafing solutions at APD-HTC, are simple and purposeful. However, they lack the ability to wow and attract customers. Packaging for seeds can be done in many innovative and creative methods. The challenge in this phase is to incorporate the brand identity and visual elements into a creative packaging solution for the products.
OBJECTIVE
To create variations of packaging designs for the product type - seeds. All designs shall form a coherent unit, with incorporation of brand’s visual elements.
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The concept for the packaging solutions is to create interactive designs, where in the user has to unfold layers, or cut through or untie to reach the seeds. This adds an element of playfulness and is a definite way to attract attention. The colour palette comprises of bright hues, to represent the true colours of flowers, fruits, vegetables etc. However, the body copy/ content follows either of the two shades used in the visual identity’s logotype and tagline, i.e soil and wine browns or white. Five designs have been created, for seeds of fruits, vegetables, flowers, herbs etc. Each of these designs incorporates, th ebrand logo, vusial elements borrowed
from the logo design or the shape itself. In addition, to mantain a certain cohesive identity in all the packaging solutions, a common substrate has been used in various methods. This substrate is known as gateway paper.
START
THE PROCESS
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DESIGNING AND PACKAGE DEVELOPMENT
1 2 3 4
BRAINSTORMING AND MINDMAPPING EXERCISES
RESEARCH AND CASE STUDIES
INSPIRATION AND IDEATION
CONCEPTUALISATION OF DESIGNS
8 7 6 5
CONSTRUCTION OF PACKAGES AND FINISHING
PRINTING OF SURFACE DEVELOPMENT DESIGNS
GRAPHIC DESIGNING ON SOFTWARES
CREATION OF PROTOTYPES
FINISH 30
PACKAGE ONE
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DESIGN DEVELOPMENT This cylindrical package design is meant for a combination of three varities of seeds. It is a 3in1 combo solution. The product is stored in cones,inspired by the ‘mehandi cones’ used by Indian women. The cylinder has a protruding lid and a base that is to be stcuk permanently. Each cone has a sticker on it, with the first alphabet of the seed it contains. The body of the cylinder is divided into thre main colours based on the variety of seed product it contains. For example, the current designs showcase
one package that is in shades and tints of purple for flowers (Rose, Dahlia, Pansy), whereas the other package is in shades of green - for herbs (Parsley, Thyme, Oregano). The same concept, with different colours can be used for vegetables, fruits, trees, climbers and vines, etc. Colours vary not only with change in variety but also with types. There are three paper types used in this design: Natural Evolution White - (210 gsm for the body), (280 gsm for the base and lid) and gateway paper for the cones.
SURFACE DEVELOPMENT SOWING INSTRUCTIONS PANSY Perinneal flowering plants that require full sun and cool temperatures. Prefer a moist, humus rich soil. Bloom in pink, red, orange, yellow, blue, purple, white. Will produce 30 plants approximately.
HTC
DAHLIA Summer blooms that prefer full sun and warm ground temperature. They thrive in sandy loamy soil.. Flowers are red, pink, orange, yellow, purple and white. Will produce 35 plants approximately.
THE ART OF GREEN LIVING
PANSY
DAHLIA
ROSE
ROSE Prefer full sun atleast 6 hours a day. Rich, well drained, loose loamy soil will yeild best results. A multitude of hues like pink, red, white and yellow. Will produce about 50 plants approximately.
Germination (mim): 63% Physical Purity: 98% Store in a cool dry place Valid up to: 6 months from Date of Testing
MRP: Rs. 45.00 TOTAL PRICE: (Inclusive of all taxes)
APD Horticulture Training Centre 9th B Main, LIC Colony, HAL 3rd Stage Jeevan Bhima Nagar, Bangalore Ph: 91 80 25288672 Website: www.apd-htc.org
5.0 cm
3.0 cm
3.0 cm 15.0 cm
33
5.0 cm
APD-HTC SEEDS DOT: DOP:
POISONOUS CONTENT: Not for consumption
3.0 cm
1 cm
R
D
P
PACKAGE TWO
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DESIGN DEVELOPMENT The package design is meant for a combination of six varities of seeds. It is a compact solution to hold many types of the product in one sleek design. The product is stored in the miniature cuboids. However, the contents of each cuboid are meant for one-time use, where in the user cab slit the head facing outwards and pour the seeds out. Each of the cuboids are placed adjacent to each other and stuck onto the base, directly
behind their relevant theme graphics. In the current design, each cuboid is a different colour of the herbs that will grow from the seeds - (Sage, Rosemary, Mint, Thyme, Parsley, Chives). The same concept, with different colours can be used for vegetables, fruits, trees, climbers and vines, etc. There are three paper types used in this design: Natural Evolution White - (210 gsm for the cuboids), (280 gsm for the base) and gateway paper for the slit in each cuboid.
ARSLEYC
S
THYMEP
l 6 g l
dh
S g l e
p p
I f 12.0 cm
7.0 cm
l e l d
% % l
r f d l dd l
h
ll d
Germination: 70 P ysica Purity: 98
d b
Store in a coo , ry p ac Not or human consumptio
n
d 25.25 cm
1 1
9th J h h 91 0 5 W b
p dp l ld b
The ack contains the erfect combination of herbs fo our kitchen garden. The best ingredientsto use or a easone a ette. Ex osure to sun an we - raine soi i yei in a etter crop. See s must e irrigate ai y.
1.25 cm
HIVES
HTC
A /1 / 1 1
0/ a es
y s w ll
MINT
APD Horticu ture Training Centre B Main, LIC Co ony, HAL tage II eevan B ima Na ar, Ban a or P : 8 2 288 72 e site: www.ap - tc.org
ROSEMARY
12.0 cm
O O
c us e o a
f ll t x
SAGE
PD-HTC SEED D T: 08 0 20 5 D P: 5/ 0/20 5 MRP: Rs. 65.0 -
In l iv
THE ART OF GREEN LIVING
SURFACE DEVELOPMENT
PACKAGE TWO |||||||||||||||||||||||||||||||||||||||||||
DESIGN DEVELOPMENT
ROSEMARY
MINT
THYME
PARSLEY
CHIVES
8.5 cm
SAGE
2.0 cm
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PACKAGE THREE
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DESIGN DEVELOPMENT The pyramid shaped package design is meant for a single variety of seeds. It is more creative, in terms of user experience. The product is stored in a thin cuboid of a square top, that is kept inside the pyramid. The seeds can be used multiple times depending on their size, and the volume they consume in the cuboid. The package is a no-glue design, where in the four flaps of teh pyramid are tied with thick thread that can be passed through the
holes on the tips of each side. From the thread there is a oval shaped identifier with the name of the seed written on it. It is the colour of the plant that will grow from them. Each package has the same design, and the only differentiating feature is the inner surface, where the specifications of the seeds are provided. There are two paper types used in this design: Natural Evolution White - (210 gsm for the pyramids) and gateway paper for the seed packet inside the pyramid..
SURFACE DEVELOPMENT
1
HTC
Sunflowers are vibrant yellow flowers, that bloom in spring and grow best in long, hot summers.
THE ART OF GREEN LIVING
POISONOUS CONTENT
Not for consumption
2
SUNFLOWER Contemporary sunflowers trace their ancestry to plants found at archeological sites dating from 3,000 BC. Sunflowers were first cultivated by Native Americans as a source of medicine, fiber, seeds, and oil. When the European settlers arrived, they sent seeds back to Europe. But, it was in Russia that the sunflower became an agricultural crop. It is now embraced as an ornamental flower all over the world.
5.0 cm Add diluted fertilizer into water, as over-fertilization can cause stems to bend and break..
4 6.2 cm SUNFLOWER
SUNFLOWER SUNFLOWER
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3
APD-HTC SEEDS DOT: DOP: MRP: Rs. 45.00 TOTAL PRICE: (Inclusive of all taxes)
Water deeply though infrequently, to encourage deep rooting. Can be done weekly once
9th Main, LIC Colony, HAL 3rd Stage Jeevan Bhima Nagar, Bangalore Phone number: 91 80 25288672 Website: www.apd-htc.org
They require exposure to full sunlight, atleast 6-8 hours a day. Must be kept away from harsh wind.
APD Horticulture Training Centre
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PACKAGE FOUR
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DESIGN DEVELOPMENT This leaf shaped design is meant for a single variety of seeds. It is visually appealing, and will attract consumer attention. The package is designed like a sachet, in the shape of the leaf like logo. It is compact and thin, which ensures efficiency in mass storage and transportation. The seeds are meant for one time usage. This is done by tearing the packet from the thin upper tip. The seeds acn be poured out. The only limitation in this
package solution is that the types of seeds that can be stored in this package need to be of a small size. In addition, there are certain limitations in terms of quantity that can be stored in the sachet. The body copy on each package talks about the requirements for healthy growth of the seeds. There are two paper types used in this design: Natural Evolution White - (280 gsm for the coloured leaf and gateway paper for the back cover.
SURFACE DEVELOPMENT
TOMATO
10.0 cm
Tomato seeds r equir e lo amy soil that is w ell-drained and nutrient rich. Mostl y, a light a fternoon shade is enough to mak e them thrive. Irrigate r egularly and well .
HTC
APD Horticu ture Training Centre 9th Main, LIC Colony, HAL Stage III Jeevan B ima Na ar, Ban a or P one num er: 9 80 25288672 Website: www.apd-htc.or
l
VALID UPTO: 11 Months from date of packagin g h g POISONOUS CONTENT: Not for consumptio n h b 1 /
D MRP: Rs.
g l e g
20 5 /2 5
.
Inclusive o all taxes
DOT : 09 08/ 1 OP: 15/09 01 30 00 7.0 cm
45
(
f
)
46
PACKAGE FIVE
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DESIGN DEVELOPMENT This design is inspired by the jelly cups that are available in markets. The package is a plastic cup that hold the seeds with a peel-off top surface. Each of these plastic containers are stored in a box that can hold 27 of them. The design for the peel-off surface is bright and colourful, based on the plant seeds it contains, as shown below. This is a creative package solution, that will not only ensure customer attention, but will also enhance
SURFACE DEVELOPMENT
PLUM
MANGO
the brand’s recall value. It is an engaging design. The jelly cups are placed in a holder of three layers, where in each layer can hold 9 cups. There are three types of paper variety used in this package designing solution: Natural Evolution White - (280 gsm for the box), Non-tearable paper - (120 gsm for the peel-off surface) and brown paper for the holder.
4.0 cm
APPLE
PEACH
WATERMELON
BANANA
GRAPES
ORANGE
KIWI
1.0 cm
KIWI
22.0 cm
22.0 cm
50
DE
SIGN SIGN
INTRODUCTION
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NORMS FOR SIGNAGE DESIGN
SIGNAGE DESIGN Signage, refers to the design or use of signs and symbols to communicate a message. Signs are any kind of visual graphics created to display information to a particular audience. This is typically manifested in the form of wayfinding information in places such as streets or on the inside and outside of buildings. Signs vary in form and size based on location and intent.
Some common signage shape conventions are widely known and respected. For example, the usage of rectangular signs is to portray general information to an audience. Circular signs often represent an instruction that must be followed, either mandatory or prohibitive. Triangular signs are often warning signs, used to convey danger or caution.
The main purpose of signages is to communicate and to convey information such that the receiver may make cognitive decisions based on the information provided. In general, signs may be classified according to the certain functions: Provision of information, Guidance of direction, for identification purposes and safety/regulatory signages.
This project focuses on creating a hierarchical set of signages that may be used across all of HTC’s compounds. However, this manual provides specific information with respect to the Horticulture Training Centre in Jeevan Bhima Nagar, Bangalore.
Signage is distinct from labeling, as it does not convey detailed information about a particular product or service.
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TYPES OF SIGNS Informational
Signages conveying information about services, facilities, such as maps, directories, or instructional signs
Directional
Signs showing the location of services, facilities, functional spaces and key areas on sign posts or using directional arrows
Identificational
Signages indicating services and facilities, such as room names and numbers, restroom signs, or floor designations etc
Safety & Regulatory Signages giving warning or safety instructions or connveying rules and regulations.
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OBJECTIVE AND DESIGN SOLUTION
HIERARCHY OF SIGNAGES
A BRAND IDENTIFICATION
HTC is a large botanical garden centre and nursery, that also provides training to underprivrlrged folk. The current signage system at their facility, lacks the apppropriate level of aesthetic quality required. In addition, there is no system that is adhered to for the placement, positioning and design equity. The objective is to create a hierarchy based signage system for targeted key areas and pathways.
C DIRECTIONAL
F SAFETY & REGULATORY
This includes the external and internal signage that will re-inforce the brand image and identity.
Directions within the plant nursery to different types and categories of flora and plant life.
Signages that inform about the specific ‘Do’s and Dont’s’ within the HTC compound
B
D
G
DIRECTIONAL
Directions to key areas in the compound including the visitor centre, glass house, nursery etc.
IDENTIFICATION
Designational signs that inform the customer about the current plant category they are looking at.
INTERACTIVE
Decorative signs that add an element of fun and directly appeal to the customer.
E INFORMATIONAL
Signages placed in each plant category to indicate the cost.
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PLAN OF THE HTC COMPUND IN JEEVAN BHIMA NAGAR
GARAGE & TOOL SHED
RESIDENTIAL BLOCK
B
A
A
C
B
G
A VISITOR CENTRE
F
F
C
This plan is the top view of the Horticulture Training Centre, located in Jeevan Bhima Nagar, Bangalore. It represents the positioning and placement for each of the signages being designed for the system. Placement may vary mrginally as the map is not to scale.
EDUCATIONAL CENTRE
F
D D E
SIGNAGE SET-A
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DESIGN DEVELOPMENT 2 0 ‘‘ 30 ‘‘
The brand name is the most important sign that is needed for any area. It is the identification mark for the organisation. Here, two sets have been created: each displaying the logo and brand name. The external sign is to be placed atop the entrance gate, whereas the internal signage can be placed within the compound, near the entrance. A visual element that contains only the logo is created to act as a totem pole.
COLOUR PALETTE
The standard collours that are used in the vsual identity for the brand have been utilised.
80 ‘‘
30 ‘‘
5 ‘‘
Though the visual identity has been created using Cupola, a decorative font, the same cannot be used for this signage. A legible typeface that can be read from a distance of minimum 50 feet must be used. Most of the signages created for this system utilise Sakkal Majala (regular). Typefaces for two other languages, Hindi and Kannada, will be used too.
30 ‘‘
SIZE SPECIFICATIONS
5 ‘‘
All dimensions have been specified in the adjacent shown visuals. 30 ‘‘
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18 ‘‘
13 ‘‘
FONT SPECIFICATIONS
To be placed near the visitor centre; Made of artificial wood and Vinyl
The main brand signage. Router cut embossed letters on artificial wood panels
A totem pole that is to be positioned adjacent to the main brand signage
SIGNAGE SET-B
5 ‘‘
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DESIGN DEVELOPMENT
The colour palette borrows colours from the brand’s visual identity. The combination of these colours forms a visual balance
FONT SPECIFICATIONS
The typeface used in this signage is Sakkal Majala (regular). A certain amount of typographic changes have been made, in terms of height and width of the charcaters.
SIZE SPECIFICATIONS
All relevant dimensions have been specified in the adjacent shown visual. Breathing soace of 0.5 inches has been maintained on all sides.
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2 0 ‘‘
COLOUR PALETTE
2 ‘‘
This is a directional signage design, where the key areas in the HTC compound have been identified. This signpost will be placed at two positions in the garden centre, as shown on the map. In each position, the direction of arrows will change. The targeted areas are: Glasshouse, Plant nursery, Visitor Centre and Educational BLock. In this design, all the signs have been connected by chians. However, they can be used individually also, for identification purposes, near the designated area.
This signpost is made of artificial or synthetic wood. With Vinyl coating. This particular signage is to be placed near the visitor centre as shown in the map. However a similar signpost, with variations in directions of the arrows will be placed right in front of the educational block.
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SIGNAGE SET-C
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DESIGN DEVELOPMENT
COLOUR PALETTE
The colour palette borrows colours from the brand’s visual identity. The combination of these colours forms a visual balance
FONT SPECIFICATIONS
The typeface used in this signage is Sakkal Majala (regular). A certain amount of typographic changes have been made, in terms of height and width of the charcaters.
SIZE SPECIFICATIONS
All relevant dimensions have been specified in the adjacent shown visual. Breathing soace of 0.5 inches has been maintained on all sides.
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5 ‘‘
This is also a directional signage design, that is only meant for the plant nursey. It displays the plant categories and in which lane of the nursery they can be found. The categories can be varied based on the different HTC compounds, however the main categories are mentined here. It is a 8-way sign post, and is only placed at one position in the entire area. The alpha-numerics in the green circles represent the lane number in which the particular plant category may be found.
11.5 ‘‘
3.5 ‘‘
This signpost is made of artificial wood and vinyl. It is to be placed at the entrance of the plant nursery.
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SIGNAGE SET-D
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10‘‘
13‘‘
This sign is meant for identification and informational porposes. It indicates the position of the plant categories, within the nursery. It displays a photograph of the type of plant, the common name, scientific name and a short description of that particular category. Only one design has been shown here, but the same template will be applicable for all other plant categories.
8‘‘
DESIGN DEVELOPMENT
COLOUR PALETTE
The colour palette borrows colours from the brand’s visual identity. The combination of these colours forms a visual balance
FONT SPECIFICATIONS
3‘‘
Three typefaces have been used to create this signage. They are as follows: Sakkal Majala (regular) for the main heading. Country Blueprint for the scientific name. Century Gothic for the body of text that describes the plant category.
SIZE SPECIFICATIONS
All relevant dimensions have been specified in the adjacent shown visual. Breathing soace of an iinch has been maintained on all sides.
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SIGNAGE SET-E
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DESIGN DEVELOPMENT This is a design idea for placement of the ‘pricetag’ on each plant. Since the cost varies not only by plant type/ category , but also by size of the sapling, a more compact sgnage that can be placed in the pot is required. This design is a blackboard with a wooden frame. The price is written by chalk and can be changed based on seasons or other reasons. Each board is placed inside the pot, by immersing the wooden stick. Rectangular frame of dimensions: 4.5’’ * 3.5”
Metal wire and plate used to make the structure. Signage printed on vinyl. This is to be placed inside the pot
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SIGNAGE SET-F
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DESIGN DEVELOPMENT
11”
These designs are made for safety instructions, warnings and regulations. There are two versions for the designs, that go hand-in-hand. A pictogram and a textual signage. These signages can be placed on exterior walls of the visitor centre and educational block. In addition. they can be erected on posts , and placed within the nursery, depending on the message on the signage.
COLOUR PALETTE
A slightly muted colour palette as opposed to the brighter green hue that was used in previous signages.
11”
FONT SPECIFICATIONS
11”
Only one typeface has been utilised, to keep the message loud and clear., i.e Sakkal Majala (regular)
SIZE SPECIFICATIONS
Each message is designed as a set of one pictoral and one textual signage. In most of them, the square and circle have same dimensions, however, the width of the textual signage increases for some of the messages.
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The width of this particular signage design is increased by 1 inch, ie. the new dimensions are: 11’’ * 12”
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SIGNAGE SET-G
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DESIGN DEVELOPMENT This is a decorative andinteractive signage design, that conveys playful messages to the customer to entice them and convince them to make purchases. In the form of a speech bubble, they display a message from the plant to the customer. They can be placed on walls of the buildings, within the visitor centre and on poles/sign posts within the plant nursery.
FONT SPECIFICATIONS
The typeface used in this signage is called Long Island (Antiqua).
SIZE SPECIFICATIONS
One standard size is maintained for all the signage designs, as shown below. There is no variation required.
COLOUR PALETTE
Pretty pastel colours are used for these signages so that they stand apart from the other functional signs created.
9”
8”
The dimensions of the triangular element are as follows: Height: 2” Width: 2.5”
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C - 40 M - 00 Y - 24 K - 00
C - 30 M - 00 Y - 40 K - 00
C - 02 M - 19 Y - 07 K - 00
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AARUSHI SAXENA | FASHION COMMUNICATION | NIFT BANGALORE