Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Brief/Rationale
To create a brand identity, representative of a portfolio of work. That can be used across a variation of brand promotional materials, including business cards, promotional pack and social media assets. The identity must be translatable to work changing in style and colour, as the designer develops. A branding solution from emerging surface print designer focusing on theory of colours and the way in which colour and shape interacts with the design process. Heavily influenced through Scandinavian design of theoretical colour experts such as Joseph Albers. The solution encompasses the experimental techniques and approach of the designer.
Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Research
Research stages investigated into brands inspiring the designer such as ‘Marimekko’ is successful Scandinavian service print designer. With a distinctive logo mark that consists of an adaptation of a modernist font of the time, representing the key brand ethos and direction. Investigations into similar brands, in terms of products that are on offer, as well as style were carried out. Brands such as Oliver Bonas, Anthropologie, Zara Home etc. were visually analysed in order to gain greater knowledge and understanding of similarities within branding of this industry. Smaller brands such as Rose & Grey and Persora were also looked at, in order to see the way in which new brands within the industry gain notoriety quickly, and also respect amongst the target audience themselves. Further investigation into audience persona was elaborated on, giving a clear idea into the type of person who would buy into the brand, giving the designer a key target audience. Allowing for investigation into the types of brands these people already investing, thus allowing for a basis for further research of how to visually put the brand on state to be familiar to the key target audience. Market leaders such as MADE.com and John Lewis visual styles and language were analysed in order to understand the way in which they put across the product, picking up on subliminal differences from the competition. Such as the use of high contrast serif typefaces to highlight key information, contrasting against the traditional rigid structure of sans serif typefaces used throughout the industry.
Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Initial Ideas
Initial type experiments allowed for critical feedback from both the designer and other graphic design specialists, to narrow down the initial concept three ideas based around representation of the brand the work itself. One being based around a sans serif equal weighted typographic outcome representing clarity and contrast against handmade mark making techniques, bringing them to the forefront of any outcome in which the branding sits. The next being focused around a traditional serif typeface with a modern twist, through the removal of the fill, therefore rejecting the traditional values of what should be a traditional typeface. This could also be called experimental, the way in which the designers experimental with the use of colour and shape within her work. The third and final focusing on more traditional values yet has visual alterations which are not apparent upon first glance, further exemplifying experimentation in traditional practice, giving it a modern twist, the way in which the designer uses digital experimentation to bring to life traditional specialism. All of which consisted of a wide kern in order to allow more whitespace around the logotype itself, meaning once it was placed on top of work the work itself would not be visually distracted from. A name change was decided to be able to make the brand more personal and allow the target audience to buy into a person, rather than the large brand. Something which was highlighted in research would work whilst the target audience; this was taken into consideration of the design styles. The name changes to a more personal basis allowed for also a change in tone of voice for the branding, the use of the full
name required a more personal representation of the designer herself; allowing for official move away from the common visuals found within the industry. The third idea of the traditionalist font which been altered in a modern way was taken forward to the design process to be further explored and edited to be able to create a new and unique visual solution to the branding for this designer.
Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Development/Design
In response to critical feedback the development of this logo was preceded in which typeface was best fitting for further representing the designer’s personality as well as her work. IvyMode was selected as the chosen typeface to be able to be edited into the final logo, due to its high contrast subtly flared serifs, diamond dots angled as extenders, complementing the novel ligatures and stylistic alternates that can be found within the base of the design. Lowercase lettering was used to be able to give a more approachable and friendly initial impression on the audience, once again playing on the idea of the personality of the designer themselves coming across through the design. Kerning between the lettering itself was made wider in order to allow for negative spaces previously discussed. Cuts and breaks were made between various elements where the contrast was lower in comparison to the thicker parts of the glyph itself, due to such a high contrast this does not affect the legibility. In doing so the way in which the experimental shapes that are included within the surface print design work itself are clearly represented through the typeface. This is then complemented by the smoothing of alternate corners on each letter, once again directly visually representing the experimental nature of shape and colour within the work. Overall the manipulation of the typeface creates a completely unique logo marks the designer herself, visually expressing the very core basis of her unique work.
Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Application
The logo itself was applied to various sections of each print the designer had created, reassuring the visual contrast and complimentary style of the logotype. The mix of smooth and pointed corners, contrasting against the direct rigid diagonal lines of the extenders and smooth curvature of other elements of the lettering, directly visually represent elements that can be seen in the work it has been laid upon. The logo mark was also used within business communications, such as business cards a monochrome palette was throughout the branding in order to keep the focus on the work itself, due to the colourful nature of the work itself either black or white (whichever has the most contrast with the work it’s been placed on) will be used. In order to draw extra attention to the branding itself without directly visually distracting from the work beneath raised spot gloss was applied to the logotype, adding visual point of difference to competitors designs. Allowing the very personalised branding to be memorable in the mind of the consumer. This is an important factor due to the fact that the brand is new in order to gain notoriety. Further promotional business collateral design, such as paper bags have been designed ready for when the designer deems appropriate to be able to start distributing their work. In order to present the branding to the client themselves a simplified version of the design process and application process were brought together within a branding booklet justifying each design decision made throughout the process, and the way in which it relates to the work.
Callum O’Reilly
Abigail Curtis - Branding
OUGD603
Evaluation
I believe that the brief was met completely, in terms of creating a brand identity which is clearly identifiable and has been influenced by the designer’s works herself. The key feature in the brief itself was to create a design that was representative of the portfolio work. Unique modification of the typeface used within the final outcome is influenced directly through the designer’s use of technique and skill, leaving the designer with an outcome entirely relevant and unique. The identity is translatable to be used across a various plethora of platforms due to its simplistic nature, allowing for pure clarity when used in both print and digitally. The visual representation ties in with the fact that the brands new and has been influenced by target audiences current market position and lifestyle choices, making the design itself instantly familiar with the target audience. The collateral design that has been created to go alongside with the branding itself takes into consideration the scale and production methods of the prints when transferred from traditional methods into digital. Classical designs were created with the consideration of the target audience in mind the needs of an emerging designer, promoting not only the brand but the work itself every visual point of contact. Working on this live brief with the client was a smooth process due to the consistent level of communication between myself and the client. Ideas were presented in a way that breakdown the key design changes, and design decisions allowing for clarity for the client themselves. It was made evident to the client that their work and brand ethos was highly researched into, and highly influenced the design decisions made in the outcome itself.