CALINA Beauty Meets Functionality
Calina was made for ColourPop Cosmetics Created by Camryn MacDonald
Anderson University 2019
TABLE OF CONTENTS 4
Problem
8
Concept, Research and Development
16
Evolution
26 27
Finished Specimen Regular Oblique Numbers Punctuation
28
In the Real World
34
Citations
22 24
PROBLEM
ColourPop’s current typeface and logo is reflective of their fun and youthful audience. While this young look can be appealing for that generation, the logo looks unsettling and inconsistent as some letters are capitalized with an uneven baseline, creating a look that’s cheaper than the company’s products. The current logo is also interrupting from the rest of the working type that is used throughout the website creating a further tension for the typeface.
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CONCEPT RESEARCH and DEVELOPMENT
Other cosmetic brands and the type they used served as inspiration for the new design. I discovered that less expensive brands are sans serif while more expensive brands have more elaborate serifs.
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ColourPop cosmetics was founded in 2014 in Los Angeles and they pride in being wallet and animal-friendly. They create products that are accessible to everyone while still being of high quality. ColourPop needed to have a typeface that is clean and unified enough to be read from all point sizes but also maintain the youthful and accessible appeal that makes this brand fresh and distinctive.
While I was looking at ColourPop’s website I realized that there are many effective typefaces used throughout so I knew that this new typeface needed to integrate smoothly with the current type. I researched the current typefaces used for main titles or subheadings on the site to consider for this new design. The three adjectives used for inspiration for this new design was youthful, functional, and candid. I used these adjectives to remain true to the young and fun audience, but also create a look that is more professional and stable than the current logo. 12
When I first began to sketching this new design, I experimented with different line weights and stance of the letters C and O. I finally settled on a thick to thin line weight that would create interest and a more youthful look for the letterforms. The typeface Optima served as a basis for this design, as the various lineweight of each letter creates a timeless look. I created a stance that is tilted slightly to the right to show movement and lead your eye to the next letter. After deciding on this stance and line weight, I was able to transfer this design to other letters.
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EVOLUTION
After deciding on the stance of the letter O, I was able to translate this form to other letters, like b and C. With this thick to thin line weight, I had to make sure that the lines did not become too slim or heavy in order for the rest of the letterform to be seen at all point sizes. A thicker and bolder ascender and descender creates more stability for the slightly right stance of the letters.
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When transferring these sketches online, I again had to focus on the thin and thick stoke of each form to make sure the line remained visible throughout the letter. I also had to compare letters to make sure the line weight was balanced with one another.
C
b P h
FINISHED SPECIMEN
A B C D E F G H I J K L M N O P Q S R T U V W X Y Z Regular Set 22
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 Oblique Set 24
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
1 2 3 4 5 6 7 8 9 0 Numbers Set 26
,. / $ ?& Punctuation Set
IN THE REAL WORLD
CITATIONS https://colourpop.com https://unsplash.com/photos/1cHnHtuNAcc https://colourpop.com/pages/about-us https://unsplash.com/photos/jVSbAFJBVsg https://unsplash.com/photos/uWQJL61drKM https://unsplash.com/photos/l3fh8RDxCvA https://unsplash.com/photos/jVSbAFJBVsg
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