VISUAL IDENTITY REDESIGN : LONDON BRIDGE (Graduation Project) by Debojyoti Das

GRADUATION PROJECT VISUAL IDENTITY REDESIGN : LONDON BRIDGE Sponsor : J Walter Thompson, Kolkata

STUDENT

: DEBOJYOTI DAS

PROGRAMME : MASTER OF DESIGN GUIDE

: KETKI DEOLALIKAR

2018 VISUAL COMMUNICATION DESIGN (GRAPHIC DESIGN)

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COMPLETION CERTIFICATE

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

Copyright © 2017 Student document publication, meant for private circulation only. All rights reserved. No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Debojyoti Das and Unitedworld Institute of Design. All illustrations and photographs in this document are Copyright © 2017 by respective people and organisations. Written and designed by Debojyoti Das, under the guidance of Ketki Deolalikar. Printed digitally in Ahmedabad, India March, 2018.

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ORIGINALITY STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the projectâ&#x20AC;&#x2122;s design and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the Unitedworld Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Instituteâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have neither used any substantial portions of copyright material in any document nor have I obtained permission to use copyright material. Student Name in Full: Date:

Student Name in Full: Signature: Date:

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VISUAL IDENTITY REDESIGN

LONDON BRIDGE

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

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ACKNOWLEDGEMENT I wish it was this easy to express my gratitude to all the people for whom I stand here today. I deeply appreciate all the help and support of everyone. Mr. Diptanshu Roy, my guide and mentor at J. Walter Thompson for offering me the opportunity to be a part of their agency and this project. He was always there to take things through whenever I had questions and doubts. Other than him Mr. Arjun Mukherjee, Mr. Anurag Acharya, Mr. Arnab Das, Mr. Subhabrata Bose, Mr. Nabendu Saha, Mr. Subhadeep Dawn, Mr. Krishnaroop Chakraborty these people made me feel warm and comfortable and gave me space to voice my thoughts and explore my ideas without any restictions. Mrs. Ketki Deolalikar, my internal guide. She has always been kind and patient. She was always there as a perfect listener and a great teacher, giving me inputs along every step of the way. My heartfelt thanks to her, for her genuine observations and feedbacks.

UID, for all the education on design, life and experiences. For this place, I got a chance to learn and discover what I wanted to learn. All my teachers at UID who inspired and taught me. I would like to thank those people who helped me to understand about Graphic Design, to see the greater picture of it, and transformed my learning into an experience. Few names that deserves special mention are Mr. Narendra Patel, Mr. Hitendra Vala, Mr. Sunil Gupte, Mr. S. M. Shah, Mr. Amit Kharsani, Mrs. Binita Desai.

Mr. Mukesh Singh, for keeping the positivity alive in me. For all the conversations that we have shared and share about music, life and design and for inspiring me with his experiences and stories. My house mates in Ahmedabad, Shuvam, Mihir, Digvijay, Siddharth and for their warmth and company.

All my friends and batchmates at UID, who have contributed in my growth and learning with their stories and experiences. My heartfelt thanks to Sanket, Eliza, Hemali, Vanya, Akshata, Shweta, Varun, Aman, Deep, Shaunak and Shashank for making UID seem like a second home. My Mother and Father, for all their love, care and advice. For giving me the space, freedom and opportunity to explore and grow. I thank them for being supportive to my decisions.

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"There are brands out there in the world that have an incredible influence on the culture. Numerous ones are badly done." Stefen Sagmeister

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PREFACE India is a land of diversity. It is a fact of complete astonishment, of the amount of visual information that we are surrounded with. At the same time it is a chaos, which could be simplified and filtered out. Paul Rand states, “The public is more familiar with bad design than good design. It is, in effect, conditioned to prefer bad design, because that is what it lives with. The new becomes threatening, the old reassuring.” The visual landscape of India is chaotic on one level, but there is also a richness that comes from the narrative behind the design, the limitations in the execution and the mere lack of freedom due to the bossy clients. But Michael Bierut states, “If you do good work for good clients, it will lead to other good work for other good clients. If you do bad work for bad clients, it will lead to other bad work for other bad clients.” I have always imagined a world where people would be empathetic towards good design. How nice it would be if everything around us was well designed?

Here where design education comes to place, helping you to develop that eye for detail, and develop your sensibilities. There is always a scope for change and betterment. That change has to start somewhere, and the good part is that we the designers are a part of this change. A more caring and efficient design awareness has begun in the twenty first century society, which has led to enormous changes in the world of design. Thus, when the opportunity came up to redesign the identity of a brand, I was more than excited to take it up. It made me believe that there is visual awareness among the people who wants to keep their brand contemporary. This scope for change was incentive enough to explore, experiment and implement those thoughts and put them into action, and see the outcome. This is the essence of what kept me inspired throughout the journey of my graduation project.

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INTRODUCTION Section I GROUNDWORK

CONTENTS

Jotting Down the Keywords Putting Pen to Paper Taking Things Forward Brandmark Typography Primary Typeface for Brand Brand Colours Brand Applications Finalising the Brandmark Finalising the Print Collaterals

Wear Your Love

The Brand London Bridge How the Project Started Thoughts on Existing Identity Case Studies on Rebranding

Section II DESIGN ITERATIONS

Section III BRAND CAMPAIGN

Section IV WEBSITE REDESIGN 31

161

Option 1 Option 2

Section V CONCLUSION

175

Conclusion Reflection References Colophon

VISUAL IDENTITY REDESIGN

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Introduction.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

UNITEDWORLD INSTITUTE OF DESIGN Unitedworld Institute of Design (UID) is one of the Premier Design institutes of India. The institute aims to create globally sought –after professionals who can exhibit their creativity and trigger novel trends. UID’s pursuit for excellence has made it's name shine with an extraordinary record of success in a short span. UID offers a diverse range of UG and PG courses in the area of art & design. These programs are designed with strong professional emphasis and in close partnership with the industry. Every course has been structured to deliver insights into the importance of individual and collective creativity, be it a theoretical assessment, design practice, curatorial evaluations or artistic considerations.

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UID is an institution providing creative education and promoting design competencies. The rigorous development of the student’s skills and knowledge through hands-on-experience help them to grow up as a creative individual. The aim of UID is to offer design education and to promote design awareness and application to make the quality of life more efficient and to create designers of excellence to help meet the diverse need of people.

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ABOUT ME

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I am Debojyoti Das, a student from Unitedworld Institute of Design, Ahmedabad studying Masters of Design in Graphic Design.

The degree project that ran for the duration of 6 months was full of challenges and a great learning experience.

Advertising has always been a point of interest. It has fascinated me, how brands tell their stories, not to only sell their product but also to make it an experience to remember. While interning at DDB Mudra Mumbai, I learnt that advertising campaigns are not just about making posters or TVCs. There are numerous other ways and mediums to deliver the message of a campaign to the mass.

The knowledge I gathered in the past 2 years, has helped me while working on the project. Studying at Unitedworld Institue of Design has brought out the best in me by giving an opportunity to learn as well as create a better place in the society.

THE GUIDE A guide is the faculty member at UID. A student can look for a guide based on the expertise, or area of specialization of the faculty largely. The guide in conjunction with the student will work on a scheduled time to time update and feedbacks during the period of the graduation project. For this project, I was guided by Mrs. Ketki Deolalikar, Senior Faculty of Graphic Design. With an exposure to Applied Art and Graphic Design, she have completed her Masters in Visual Arts (MVA) from Faculty of Fine Arts, The Maharaja Siyajirao University of Baroda.

Apart from being associated with various institutes, she is also involved in self initiated projects in Mumbai, Vadodara, Ahmedabad and Gandhinagar. Though I never had any classes taken by her at UID, but her often feedbacks, opinions, discussions directly or indirectly have helped me to understand and experience design better.

In her initial years she have worked with Ogilvy & Mather, working in creative department as a visualiser, designer and copywriter. Later she joined National Institute of Design, Ahmedabad as design assistant and then Maharaja Siyajirao University as a Teaching Assistant for a period of 2 years.

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THE WORKPLACE J. WALTER THOMPSON

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J. Walter Thompson incorporated by James Walter Thompson, in 1896 and formerly an advertising agency, is currently a marketing communications company. It is owned by WPP plc since 1987.

The work at JWT ranges from strategic large scale projects to small and interesting ones, making the interns working there to participate actively learn and grow. Parallel to their commercial works they also work for different awards.

The company has been pioneering brands since 1864. J. Walter Thompson (JWT), of the WPP Group, is the world’s best-known marketing communications brand. Headquartered in New York, J. Walter Thompson is a global network with more than 200 offices in over 90 countries employing over 12,000 marketing professionals. J. Walter Thompson was among the first agencies to employ writers and artists to create interesting advertisements for their clients, replacing the standard ads created by in-house departments. It was also the first agency to provide a wide range of advertising services to clients, including, copy, layout, package design, trademark development and rudimentary market research.

People working at JWT are passionate individuals who have learned how to balance work and fun, which made the workplace light and friendly. I hardly had any dull moment there. Through their experience and contribution in the field of marketing communication they have developed their own method of efficient working, which was quite enriching for me to learn and experience. The projects they work on there, are handled with thorough study, commitment, love and attention to detail.JWT constantly aims at identifying possibilities for communication and design, and coming up with solutions that are intuitive, smart and relevant.

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“I want to make beautiful things, even if nobody cares, as opposed to ugly things. That’s my intent.” Saul Bass

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WHY THIS PROJECT The end of a studentâ&#x20AC;&#x2122;s academic period at Unitedworld Institute of Design is marked by working successfully on a project, in the field of design on a topic closely allied to the discipline of their study. This is the final academic project for the student. The graduation project is an opportunity for students to demonstrate their expertise as independant practitioners of design. This project orients the students to the needs and demands of the industry and to make a clear decision about which career path they would like to follow after being a graduate. Advertising has always been a point of interest. It has fascinated me, how brands tell their stories, not to only sell their product but also to make it an experience to remember. In a country like India which has such a diverse culture and where mode of marketing and communication is constantly changing it is very challenging for a brand to reach everyone out there, with the same voice.

My internship at DDB Mudra turned out to be extremely insightful. It was my first chance to get exposed to the world of advertising. It has tought me how brands develop their language, and how do they communicate with their audience. It has made me tought and understand how branding and advertisement goes parallel. It was my first ever chance to work on live project briefs on different accounts. So when an opportunity came that involved to work on redesigning visual identity of a fashion brand, where I would be responsible to build a brandâ&#x20AC;&#x2122;s visual language from scratch and promote it through campaigns to the mass, and this also being a field in which I have never worked on, I was instantly excited to take it up, as my graduation project.

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/ SECTION I /

Groundwork.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

PROJECT BRIEF The project brief was to redesign and develop the visual identity for London Bridge. To provide a new visual language to the brand and also designing print and digital media collaterals for communication. The project duration was 4 months, starting from 7th September 2017 to 7th January 2018. The scope of work was wide and open to explorations for the brand identity, and the brief was also quite flexible to work on. Scope of Work: • Building up the brand language • Design and development of brand identities • Design and development of print collaterals visiting card, letterhead, envelope, invoice • Lookbook • In-store posters • Print & Press advertisements • Advertisement on social media platforms • Website redesign • Brand Guidelines Manual • Documentation of the project

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MAR

FEB

JAN

DEC

NOV

OCT

SEP

PROJECT TIMELINE

Phase : 1 Research + Study & Analysis Phase : 2 Ideation + Exploration + Visual Identity Phase : 3 Brand Extensions + Lookbook Campaigns Phase : 4 Print & Digital Marketing Extensions Phase : 5 Brand Manual + Documentation

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01 Initial Research 1.1 1.2 1.3 1.4

The Brand London Bridge How the Project Started Thoughts on Existing Identity Case Studies on Rebranding VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

ON BRANDING Seth Godin states, “A brand is the set of expectations, memories, stories and relationships that taken together, account for a consumer’s decision to choose one product or service over another. If the consumer (whether it’s a business, a buyer, a voter or a donor) doesn’t pay a premium, make a selection or spread the word, then no brand value exists for that consumer.” The identity of a brand is assembled by the brand owner, it reflects how the owner wants the consumer to percieve the brand - and by extension the branded company, organization, product or service. This is a contrast to the brand image, which is a consumer’s mental picture of a brand. The brand owner will seek to bridge the gap between the brand image and brand identity. And here where design comes to place to connect the audience to the brand.

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Key Pointers: • To keep it memorable. • To make it timeless. • It should be simple. • It should communicate well.

ON REBRANDING Brand identities are redesigned for many reasons. They can be primarily to capture new consumers, to reposition a company or a brand, or to offer something new. Every product that operates in a competitive market needs to be supported by branding and communication to explain to its audience why it exists or why it has changed. With an existing brand that needs reinventing a culture that already exists, together with a tradition, an attitude and a reputation, often a long standing one. There are employees, customers, stakeholders, suppliers. As a designer, it was important for me to understand the context of the brand that I was working with. To study its origin and histor, its market positioning, its competitors and the existing brand environment.

Key Pointers: • Require a thorough understanding of the brand and it’s philosophy. • To determine upto what extent the change has to be done. • Not to compromise the existing brand values, which may result into driving away the present loyal customers. • Ensure that the brand is updated gaining more contemporary position.

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1.1 THE BRAND LONDON BRIDGE London Bridge is a young fashion brand from the house of Turtle, for the urban youth of today who live life on their own terms. A non-conformist at heart, he dares to challenge the norms, break free from regimentation and think out of the box. Truly independent in thought and action, he lives for originality. He is his own man and flaunting is his mantra. He seizes every moment and makes it king-size. A brand that’s as flamboyant as it’s freewheeling, London Bridge is all about bold colours, spirited shades, trendy textures and playful patterns. Ideal for the today’s fast-movers and go-getters who like to stand out from the herd and be a part of a cool new tribe. Its unique collection of cool casuals, sporty formals, dapper denims and smart bottoms make for the all-new fab of fashion wear.

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1.2 HOW THE PROJECT STARTED For redesigning the visual identity of a brand, it is important for the designer to understand the brand's origin, it's philosophy. Every brand undergoes various stages of growth since its inception to its establishment. Before I formed any views or opinions about the brand, it was important for me to have an understanding of the story of the brand, how it started, what are it's brand values, the brand perception. Since my project involved redesigning the current London Bridge identity, I started looking at the existing identity, their website, their brand campaigns. My first go to source information of the brand was JWT's archive and internet.

I became a bit judgemental while going through the visuals and references. I already picked up a number of points showing what was wrong with the current visual identity and thought that any change that I would make will only do good to the brand. But this thinking and judgement of mine didn't took any long to change. Getting to talk with my supervisor, discussing with him about how do fashion brands work, what are the limitations and restrictions, what different approach do fashion brands take to advertise, how to decide the look and feel of a campaign according to the seasonal collections, and going through number of fashion magazines and articles and book it was slowly getting clear in my head that how should I start.

Being a design student of todays modern age, and with the immense amount of visual exposure and references found all over internet it was almost like to get lost.

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1.3 THOUGHTS ON EXISTING IDENTITY Pros: • Communicates the brand identity. • A brand color associated makes it easy to get noticed or identified. • The red color is London's most dominant color, making it sync with the brand's name. Cons: • The brandmark is confusing on whether to read LB or L3. • The red frame that is always used with brand materials often causes a visual imbalance and inconsistent use of the identity. • Doesn't look contemporary. Aspiration: • Look in sync with the current times. • Have an identity that is taken more seriously having a more consistent use of the identity. • Step ahead and differentiate from competitors.

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1.4 CASE STUDIES ON REBRANDING Since it was a branding project for a fashion brand, I looked at various other fashion brand logos, and maintained a logo journal to keep a track of what is out there. How others have approached, what worked and what didn't.

I realized that for a brand like London Bridge there was need for something more than just designing a logo, there was a need for a complete brand language and a visual system that binds everything together.

By this time I was neck deep with the all datas that I have collected, and I was gradually understanding why the current logo works and how people have identified and registered in their mind. It was designed by the people who truly understood what the brand is about and how they wanted to portray it to the consumers. I realised that I could not possibly discredit the effort, the thinking that went behind even though it wasn't executed well or precisely.

I discovered a website named 'Brand New', while I was working on my project. What it does is, it covers all aspects of the redesigning activity, right from the history of the company to the details in the current design, reasoning every step of redesigning with opinions. I used to go through these reviews during the time of my project, in order to understand how a brand redesigning works.

The logo that is currently used by the company was not created by our agency - JWT. The people owning the brand London Bridge, has made it designed by a designer and then handed it over to JWT, which somehow resulted in a problem of how JWT was taking and wanted to take the brand communication forward.

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New logo for Armani Exchange by In-house in collaboration with Anagrama. About: Established in 1991 with a store in the heart of Soho in New York City, Armani Exchange (A|X) provides clothes that “define a new dress code with a collection that takes its cue from urban lifestyle and music culture.” In other words, really expensive jeans and white v-neck shirts among other swanky clothing. Opinions:

BEFORE

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AFTER

• Officially launched but not formally announced, Armani Exchange has introduced a revised version to its logo that keeps the overall aesthetic but now presents all the elements in a streamlined sans serif approach. • The biggest change is in the "AX" monogram that has lost its serifs and Didone structure for a cool sans serif with heavier thin-thick contrast. Opening up the spacing between those elements makes it feel looser both literally and metaphorically. • The full name wordmark also has more pronounced contrast between its thicks and thins and it's all the better for it, working more in unison with the monogram and, as a piece of typography, it's more interesting.

New logo for UCB by Pentagram partner's Daniel Weil and Michael Bierut with In-house. About: The notion of bright colors has been integral to Benetton since the 1960s, but became further pronounced during the 70s. Benetton developed a technique of dyeing pre-knit garments which made possible to produce many colors of garments quickly and cheaply. The phrase “Tutti i colori del mondo” or “All the colors of the world” began appearing in ads, serving as a metaphor for not only a collection of clothing, but also as a collective identity for youth of different races and cultures. This was eventually replaced with the slogan”United Colors of Benetton”, which later became the brand signature altogether. EVOLUTION OF UCB LOGO

Opinions: • The most subtle, but central change is the United Colors of Benetton signature. It utilizes the company’s new proprietary typeface (replacing Gill Sans) designed by Joe Finocchiaro. The new signature and provides a more modern, contemporary, and ownable type family. • Over the last decade, the Benetton brand has moved away from shock campaigns and controversy towards high fashion and social dialog. This visual system allows the company to be graphically more creative.

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New logo for Calvin Klein by Peter Saville About: Established in 1968 by Calvin Klein and his business partner Barry Schwartz, “Calvin Klein is a global lifestyle brand that exemplifies bold, progressive ideals and a seductive, and often minimal, aesthetic. Opinions: • Calvin Klein's Avant-Garde-esque upper and lowercase wordmark has been around since the late 1970s. • The new redesigned logo does return to the shapes of the original, that was used in the ealier days of Calvin Klein. BEFORE

AFTER

ORIGINAL IDENTITY

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New logo for Diane Von FUrstenberg by Jonny Lu Studio About: Established in 1972, “Diane von Furstenberg founded her eponymous line in 1972. It has since become a global luxury fashion brand celebrated for its bold and creative approach to color and print, and admired for its sensual femininity. Renowned for its iconic wrap dress and signature prints, DVF now offers a full collection of ready-towear and accessories, and has established itself as a leader of creativity in the fashion industry. In May 2016, Jonathan Saunders joined DVF as the brand’s Chief Creative Officer. Opinions: BEFORE

AFTER

• The old logo was a nice DVF monogram that used a high-contrast serif like other fashion labels and brands. • The new logo is a kind of path of least resistance to coolness: default-looking sans serif, uppercase, justified. To its credit, yes, it's kind of cool. On their website, on top of a fashion photo, it looks pretty convincing. Overall, the change makes it feel more street-style than fashion-magazine-style

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New logo for Gant by Essen International About: Established in 1949 in New Haven, CT, Gant is a clothing brand best known for its dress shirts for both men and women. In the 1950s it helped popularize the Ivy League look of slacks and a shirt as the company had a big presence near schools like Yale. Opinions:

BEFORE

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AFTER

• The previous Eurostile-ish wordmark was not terrible but it didn’t feel like it fit a more upscale, slim fitting dress shirt brand. But the thin approach in the new identity helps elevate this to a luxury brand feel and seems more in tune with the overall simplicity of Gant’s products. • In addition to the main wordmark, there is a diamond “G” monogram that, if observed. • The application is as simple as it gets with nothing but the logo on bags, tags, and stationery. It’s a hard approach to pull off and this does it convincingly enough but it lacks warmth. It’s a little too spare, cold-color-hued, and maybe trying too hard to be luxurious. Overall though, by being rooted in its history and repurposed for the twenty-first century, the identity is a quiet and safe evolution with a slick new fit.

New logo for Minna Palmqvist by Bedow About: â&#x20AC;&#x153;Minna Palmqvist launched her eponymous fashion label in 2009 as a continuation of her Masters project Intimately Social at the prestigous Konstfack College of Arts in Stockholm. Minna Palmqvist does not only offer a range of readyto-wear garments, but also handmade statement pieces from the Stockholm atelier. The brand experiments with art projects related to the subject of the female body, which nurtures the inspiration for the clothing. Opinions: BEFORE

AFTER

â&#x20AC;˘ Most logos for fashion designers go for the unassuming, non-thunder-stealing aesthetic. Which makes sense. And this logo is no exception. Except for its clever and subtle introduction of the lower half of a female symbol that can only be used when there is a circle above to complete it, whether it be a button or hole in the tag. Great nod to Minna's female theme.

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New logo for Teatum Jones by Peter and Paul About: Established in 2011 by Catherine Teatum and Rob Jones, Teatum Jones is a London based luxury label recognised for its modern, polished and bold aesthetic, speaking to super smart, creative and confident women. Driven by a love of human stories, the designers create exquisite textiles layered with narrative and marry these with cool, refined shapes. Opinions:

BEFORE

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AFTER

• The old logo was pretty nice, in an elegant and modest serif. Perhaps it didn’t say much in terms of the approach or aesthetics of the fashion duo but it played will within the context of fashion brands. • The new logo is a literal 180-degree change, going from serif to sans serif, lowercase to uppercase, and easily readable to challengingly readable. • Based on the current collection shown on their website, the logo feels appropriate as there is a sense of challenging conventions with slightly awkward shapes and things that don’t quite fit right. • The logo actually works pretty well when paired with some crazier, bolder graphic.

New logo for Two Blind Brothers by SMAKK Studios About: Established 2015, “Two Blind Brothers is a luxury clothing line on a mission to cure blindness. Founders Bradford and Bryan Manning were both diagnosed with an eye disease that causes blindness over time. The production is located in the heart of the fashion district in New York City. Despite the first-rate nature of the designs, fabrics, and assembly, the value to the customer is extraordinary compared to other luxury designers because the brothers fund the operation without being paid a salary. All proceeds are instead donated to life-changing research to cure blindness. BEFORE

AFTER

Opinions: • The old logo was okay but it placed too much emphasis on its braille element. • The new logo is a much better balance of the two, with a clever nod to braille aptly executed into a single wordmark. The two black “O”s convey the idea of blindness by removing the “light” from the letters… and there is two of them, playing off of the name. • The applications are bold and graphic with minimal extraneous elements, keeping everything crisp, clear, and direct.

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/ SECTION II /

Design Iterations.

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02 Design Iterations I 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9

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2.1 JOTTING DOWN THE KEYWORDS I had a set of information that was enough to start my project with. My mentor, Mr. Diptanshu Roy would emphasize on the importance of having a core idea, that would help to build the brand's philosophy and visual language, and start the design exploration. He stressed on choosing the right words and carefully consider them when designing the visual form. Since the brand was already identified and defined, it was much easier to 'how the brand speaks' and what it wants to project. I already had a direction in which to work on, as they wanted to have the letters LB as a brand mark, along with the logotype, The cconcept and ideation phase for the visual identity began with basic doodles in my notebook. The concepts came up with the initial mind mapping and finding out the key points to consider, with respect to the brief. Since it was a rebranding project, more stress was given on the idea of the existing logo, and to try and achieve an idea which is suitable for the current design scenario and audience.

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Keyword Selected For Exploration: • Unique • Evolving • Lifestyle • Vibrant • Spirited • Energetic • Freedom of expression • Openness • Unconventional • Conceptual • Competitive • Relationship with customers • Not stereotypical • Enriched • Contemporary • Individuality • Modern • Should be clear at different sizes • Relation with existing identity

2.2 PUTTING PEN TO PAPER Many people can ideate directly on computer, as it allows you to play around with the elements. But personally, I prefer to start generating ideas and concepts on paper, then take the idea forward in a digital medium. Visualizing on paper helps me to quickly see what the idea is and what does it look like. I enjoy the raw form of an idea and the process of taking it ahead in a much polished form. Since the research was done to an adequate extent, it was important to do justice to it in the designs and explorations and the communication to be conveyed in an clear and effective way. This was the time when my ideas were to be analyzed judged and reviewed. I decided to start with the keywords that were noted down and to visualize those words into forms and ideas, keeping the existing identity in the background of my mind.

Things to Consider: • The look and feel of the rebranded identity should be modern and contemporary. • The rebranded identity should not lose it's existing identity. It should have integrated letters L and B . • Should be readable at any size. • Should be easy to be reproduced in print, web and other mediums such as embroidered shirts or buttons. • Should be on par with other competetors in the market.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

THE APPROACH The explorations started with integrating the letters L and B, as it was the brief to have and use the initial letters of London bridge. In some of the explorations the letters L and B were integrated as close as one form, and in some cases they were integrated but in a much loosened up form, where both letters could be identified seperately. Some explorations were also done by going to a more graphical approach. In some explorations a basic square or circle frame has been used around the logo. And in some cases a linear approach has been made and in parallel a bold stroke approach could also be seen.

UNITEDWORLD INSTITUTE OF DESIGN

But since the identity was to be used in any size or format or medium the linear and much bold and heavy approach could not be sufficed in the end. The options with symbols were also excluded. These explorations were later taken to Adobe Illustrator to digitise and explore them further.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

UNITEDWORLD INSTITUTE OF DESIGN

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.3 TAKING THINGS FORWARD After the first round of visualising my thoughts on paper, it was the time to digitise my ideas on computer. Basic shapes and fonts were used to digitise the ideas. Refining the shapes in computer would not only help me to see how they will look actually but also try out their applications. These explorations were first done in simple black and white then the shortlisted ones were taken forward to explore the colored options.

UNITEDWORLD INSTITUTE OF DESIGN

The first thoughts were to have a look and work on what was wrong with existing identity. So, These explorations were based on the existing visual identity of London Bridge. KEYWORDS: Original, Individual, Rooted, Unique Modern, Contemporary

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

These explorations were based on L and B integrations. These were done keeping the existing identity as a background of the new identity, as it can be noticed that the change is not very big. An option of circular and square frame were also kept. KEYWORDS: Unique, Generic, Rooted, Framed, Button, Modern, Contemporary

UNITEDWORLD INSTITUTE OF DESIGN

These explorations were done keeping in mind that since London Bridge is a fashion wear brand then thread and fabric must be the most used material for them. So, these logo explorations were linear. KEYWORDS: Thread, Linear, Rooted, Button, Modern, Contemporary, Classy, Openness, Fashion, Lifestyle, Not Stereotypical

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

The approach of these explorations were based on the vertical alignment of the letters instead of horizontal. The idea behind this was to make it one and in a single loop, which can be found while looking at the visuals. KEYWORDS: Modern, Contemporary, Thread, Linear, Loop, Unique, Individual, Vertical

UNITEDWORLD INSTITUTE OF DESIGN

Here in this set of exploration a much more graphical approach was taken care of rather being very literal. Since, London Bridge is a youth oriented brand we thought of connecting it with love. But love doesn't always mean a relationship between two human, it could be also for any other thing, such as love for humanity, love for truth, love for passion etc. KEYWORDS: Bold, Statement, Youth, Love, Modern, Graphical, Contemporary, Lifestyle, Unique

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

lb UNITEDWORLD INSTITUTE OF DESIGN

These identity options were done having an idea of using both L and B but in a way that both are letters being seperate will be kept together. Together the letters being a simple abbreviated and more understandable visual identity. KEYWORDS: Individual, Seperated, United, Modern, Generic, Abbreviation, Framed

These were some explorations in another route where we thought of using a symbol that would reflect what the brand is about. In the first symbol the idea was to use fabric texture to represent the brand. Where as in the second visual the idea was to show the four holes of a button in a loop. KEYWORDS: Fabric, Pattern, Symbol, Visual, Brandmark, Fashion, Loop, Modern, Generic

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

REFINING THE SHORTLISTED FORMS After the rounds of working on paper to conceptualize and visualize and then refining and digitizing on computer, it was the time to analyze and decide which ideas could be taken forward. I felt a bit nervous and worried about whether or not any of my options were to be taken forward or not.

Option 1

Option 2

After having a discussive meeting with my mentor, the Executive Creative Director and other art directors and copywriters we came up with 2 options to shortlist. Those designs for the shortlisted options were articulated in a clear and effective language to communicate that reflects the brands tone of voice and their philosophy. Then it was the time to refine the logos in a grid and select fonts to pair with the logo. Then while the logos were in place, it was important to see them in action, in brand applications. Mock-ups were created for eachlogo option. These would help the clients in visualizing the identity across different media platforms.

UNITEDWORLD INSTITUTE OF DESIGN

2.4 BRANDMARK TYPOGRAPHY Now we had our two shortlisted brandmarks, and it was the time to look for a logotype that would compliment the brandmark. Just like a Brand Visual have it's personality, so does it's type. Though personality is an important consideration when selecting a typeface, it should not be the only thing taken into account. The legibility, flexibility and consistency are also important for a brand identity. The typography of a logo is as important as the visual. Right type decisions, not only compliments and supports the brand but also elevates the brand. Since the brand marks were chosen, there was a need to pair them with equally effective typography.

There were a lot of things to consider to start exploring the typefaces, such as font family, font category, font availability, combinations of fonts, number of fonts, letter scaling, letter spacing, readability, legibility, fonts weights, available uppercase and lowercase and special character support.

I started out looking at several typefaces, and tried to pair them up with the Brandmarks which will go parallel. Since, London Bridge is a brand that primarily and solely targets to sell its range of products to youth, and being its identity redesigned in a modern & contemporary time, we came to a decision that the typeface will also be mdoern, preferably a Sans Serif typeface.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

LONDON BRIDGE

NOTE :

LONDON BRIDGE

UNITEDWORLD INSTITUTE OF DESIGN

LONDON BRIDGE

These set of explorations were done pairing the first Brandmark with different fonts. Out of all, Helvetica Lt Std Compressed was selected.

LONDON BRIDGE

NOTE : These set of explorations were done pairing the first Brandmark with different fonts. Out of all, Proxima Nova was selected. LONDON BRIDGE

LONDON BRIDGE

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.5 PRIMARY TYPEFACE FOR BRAND After exploring the Brandmark Typography we needed a typography that would compliment the classic typefaces Helvetica Lt Std Compressed and Proxima Nova and pair with them well. It would also form an integral part of all Brand Applications in print. We started to look at different typefaces that would work best in combination. There were a lot of things to consider before I started to explore typefaces, as font family, font category, font availability, combinations of fonts, number of fonts, letter scaling, letter spacing, readability, legibility, fonts weights, available uppercase and lowercase and special character support.

UNITEDWORLD INSTITUTE OF DESIGN

Once the logotype was fixed the next objective was to resolve the brand typography which will be used in all the brand collaterals.

LATO LIGHT // 10pt

HELVETICA LT STD CONDENSED // 10pt

GOTHAM PRO REGULAR// 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

GILL SANS REGULAR // 10pt

ARIAL REGULAR // 10pt

FRUTIGER LT STD CONDENSED // 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

HP SIMPLIFIED REGULAR // 10pt

AVENIR ROMAN // 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

FRUTIGER LT STD CONDENSED // 10pt

FUTURA STD BOOK // 10pt

GILL SANS STD LIGHT // 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

CORBEL REGULAR // 10pt

GADUGI REGULAR // 10pt

ADOBE JENSEN PRO REGULAR // 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

COURIER NEW REGULAR // 10pt

ADOBE CASLON PRO REGULAR // 10pt

MYRIAD PRO LIGHT // 10pt

LONDON BRIDGE

Narendra Parekh 319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum, Kolkata, West Bengal 700074

UNITEDWORLD INSTITUTE OF DESIGN

TYPEFACE FOR BRAND FINALISED

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

Helvetica Lt Std Condensed

Helvetica Lt Std Bold Condensed

After all the explorations we did for typography, we decided to go with Helvetica Lt Std. Helvetica is a classic typeface known for it's legibility. Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and 4 are available in Greek versions.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.6 BRAND COLOURS After fixing the Brandmark and the Logotype it was time to select the brand colours. While searching and looking for colour palettes online and other resources, I found a PANTONE Color Swatches Palette Fall 2017 for London. It immediately helped me to decide the primary brand colours. Apart from that coloured option we also had an option for black and white variant.

C = 13 M = 99 Y = 88 K=3

UNITEDWORLD INSTITUTE OF DESIGN

C = 95 M = 77 Y = 39 K = 29

C=0 M=0 Y=0 K = 95

C=0 M=0 Y=0 K=0

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

UNITEDWORLD INSTITUTE OF DESIGN

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.7 BRAND APPLICATIONS

UNITEDWORLD INSTITUTE OF DESIGN

Brand application refers to the physical representation and the continuous and consistent application of the brand identity across different visual media.

Brand application helps to assess the strength and flexibility of the design and explore the creative potential of the identity by simiulating a branded world.

Brand application is an integrated and important part of any branding. It needs to be initiated during the design and development phase. The Mock-ups help us in visualising how the Brandmark applied is relevant to a diverse range of applications. They are easily available from different sources and come in handy when you want to test and show how a certain design decision will look on the chosen medium. I have explored several Mock-ups while working on the London Bridge identity so as to get an idea of the visual language that could be created for the brand.

The Brand applications were created to see how the shortlisted Brandmarks look pairing up with the typefaces selected, and also what layout design decisions we can explore.

Narendra Shah Director

LONDON BRIDGE

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074

LONDON BRIDGE

P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 M +91 72786 58011 P 033 4407 5443 E narendra@londonbridge.in

To, Vice President J. Walter Thompson Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091 Date : Subject : Dear, Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

LONDON BRIDGE

Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Regards,

Narendra Shah, Director

LONDON BRIDGE

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074

P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

LONDON BRIDGE

Narendra Shah Director To, Vice President J. Walter Thompson

P +91 72786 58011 E narendra@londonbridge.in

Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091 Date : Subject : Dear,

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 Phone: 033 4407 5443 www.londonbridge.in

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Regards,

Narendra Shah, Director

LONDON BRIDGE

UNITEDWORLD INSTITUTE OF DESIGN

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

Narendra Shah Director

Phone: +91 72786 58011 Email: narendra@londonbridge.in LONDON BRIDGE

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 Phone: 033 4407 5443 www.londonbridge.in

LONDON BRIDGE

Narendra Shah, Director

319/7, Jessore Rd, Devendra Nagar, Amarpalli, South Dum Dum, Kolkata, West Bengal 700074 Phone: 033 4407 5443 Email: support@londonbridgein.freshdesk.com www.londonbridge.in

LONDON BRIDGE

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

LONDON BRIDGE

Narendra Shah Director To, Vice President J. Walter Thompson

P +91 72786 58011 E narendra@londonbridge.in

Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091 Date : Subject : Dear,

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074

Phone: 033 4407 5443 Website: www.londonbridge.in

Narendra Shah, Director

319/7, Jessore Rd, Devendra Nagar, Amarpalli, South Dum Dum, Kolkata, West Bengal 700074 Phone: 033 4407 5443 Email: support@londonbridgein.freshdesk.com www.londonbridge.in

UNITEDWORLD INSTITUTE OF DESIGN

LONDON BRIDGE

319/7, Jessore Rd, Devendra Nagar Amarpalli, South Dum Dum Kolkata, West Bengal 700074 P 033 4407 5443 E support@londonbridgein.freshdesk.com www.londonbridge.in

Narendra Shah Director LONDON BRIDGE

Mail: narendra@londonbridge.in Tel.: +91 72786 58011

To, Vice President J. Walter Thompson

www.londonbridge.in

LONDON BRIDGE

Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091 Date : Subject : Dear, Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

LONDON BRIDGE

Narendra Shah, Director

LONDON BRIDGE

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

LONDON BRIDGE

To, Vice President J. Walter Thompson

Narendra Shah Director

Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091

T : +91 72786 58011 E : narendra@londonbridge.in W : www.londonbridge.in

Date : Subject :

LONDON BRIDGE

Dear, Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Regards,

Narendra Shah, Director

LONDON BRIDGE

UNITEDWORLD INSTITUTE OF DESIGN

A : 319/7, Jessore Road,Dum Dum (South), Kolkata 700074

LONDON BRIDGE

To, Vice President J. Walter Thompson Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091

LONDON BRIDGE

Date : Subject : Dear,

Narendra Shah Director

A : 319/7, Jessore Road,Dum Dum (South), Kolkata 700074 T : +91 72786 58011 E : narendra@londonbridge.int W : www.londonbridge.in

Narendra Shah, Director

LONDON BRIDGE

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.8 FINALISING THE BRANDMARK It was about time to choose and eliminate design options, after a long work involving refining the logos, figuring out the logotype, incorporating my mentor's feedback and finalising the details. My mentor's feedback was very crucial in the design evolution process. We wanted to be sure to be as thorough and logical with the designs as possible, and with every element in the concept and the decision. It was important for us to finalise the strongest logo option, after all the different routes that we have explored so far. Elimination is an important aspect of any design process, because it requires you to detach from your work and review it practically.

UNITEDWORLD INSTITUTE OF DESIGN

The review sessions and discussions with my mentor helped me building and shaping up the identity. Before we proceed to design the collaterals, it was important for us to finalise the Brand-mark. After the Brand-marks were finalised and in place, it was important to finalise the colors, to make possible usage options for using the Brand-mark, to refine the Brand-mark and to test them in different sizes.

COLOUR OPTION Though initially we started to work with the Red and Blue colours from the Pantone Colour Palette for the Brand Identity colours, but later we changed our option to be in Black and White. The decision was taken so, because we wanted the Brand Identity colours flexible so that we can change it with the the creatives accordingly. Once defining the Brand Identity colours to a certain palette will limit the use and impose restirctions of the Brand-mark on creatives.

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

USAGE VARIATION OF BRANDMARK

LONDON BRIDGE

UNITEDWORLD INSTITUTE OF DESIGN

RESOLVING THE LOGOTYPE

LONDON BRIDGE LONDON BRIDGE

We had been really zooming in and working on fixing the details in the logotype. For the logotype it was important to check and take care of the letter spacing, so that it should be legible if scaled up or scaled down. The explorations were tried and tested in print so as to get a clear idea of how it will reproduce on paper.

LONDON BRIDGE BRIDGE VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

TESTING BRANDMARK IN DIFFERENT SIZES

LONDON BRIDGE

12 mm

15 mm

20 mm

30 mm

50 mm

UNITEDWORLD INSTITUTE OF DESIGN

20 mm

30 mm

50 mm

70 mm

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

2.9 FINALISING THE PRINT COLLATERALS The next step of the project was to work on and finalise the London Bridge collaterals. Our clients wanted a simple set of collaterals for their stationery, which was mainly for primary communication and legal purposes. They wanted a visiting card, a letterhead, an envelope and an invoice. Designing the stationery gave me a chance to explore layouts and typography. While making the designs many things had to be taken into account starting from size of the collateral, the colours, the typography, the type heirarchy, the chunking of information etc.

UNITEDWORLD INSTITUTE OF DESIGN

Fixing upon the right content was also crucial to avoid any kind of misinformation. We had to make sure that the designs were not complicated, easily reproducible, followed standards. A classic format seemed to work well with the design of the Brandmark which was bold, iconic and yet simple in its look and feel.

VISITING CARD

Helvetica Lt Std, Bold Condensed. 8 pt.

Helvetica Lt Std, Condensed. 8 pt.

LONDON BRIDGE

Narendra Shah Director

88.9 mm

20 mm

A : 319/7, Jessore Road,Dum Dum (South), Kolkata 700074 T : +91 72786 58011 E : narendra@londonbridge.int W : www.londonbridge.in

50.8 mm

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

LETTERHEAD

20 mm

LONDON BRIDGE

To, Vice President J. Walter Thompson Omega Building, 18th Floor (S), Bengal Intelligent Park Block EP & GP, Saltlake, Sector - 5 Kolkata - 700 091 Date : Subject :

297 mm

Helvetica Lt Std, Roman. 11 pt.

297 mm

Dear,

Regards,

Narendra Shah, Director

Helvetica Lt Std, Bold Condensed. 8 pt. Helvetica Lt Std, Condensed. 8 pt.

210 mm

LETTERHEAD

UNITEDWORLD INSTITUTE OF DESIGN

210 mm

CONTINUATION SHEET

ENVELOPE

20 mm

115 mm

LONDON BRIDGE

Helvetica Lt Std, Bold Condensed. 8 pt.

Helvetica Lt Std, Condensed. 8 pt.

241 mm

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

INVOICE

Helvetica Lt Std, Bold Condensed. 9 pt.

20 mm

Helvetica Lt Std, Condensed. 9 pt.

LONDON BRIDGE

INVOICE

Helvetica Lt Std, Bold Condensed. 9 pt.

Name:

Tin No. 1637812386

Address:

Invoice No. 00010 Date:

Phone no.

DESCRIPTION

UNIT PRICE

AMOUNT

297 mm

QTY.

SUBTOTAL

DISCOUNT

CGST

SGST

GRAND TOTAL

Terms & Conditions:

Helvetica Lt Std, Condensed. 8 pt.

1. 10% deduction on the invoice value at the time of exchange. 2. 20% deduction on the invoice value at the time of cash-back/buy-back. 3. Any scheme running at the time, would not be applicable on exchange.

210 mm UNITEDWORLD INSTITUTE OF DESIGN

Authorized Signatory

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

SHIRT TAGS

LONDON BRIDGE

LONDON BRIDGE FORMALS

LONDON BRIDGE F O R M A L S

2.5 in UNITEDWORLD INSTITUTE OF DESIGN

1.5 in

3.5 in

FORMALS

2.5 in

FORMALS

3.5 in

LONDON BRIDGE

3.5 in

LONDON BRIDGE FORMALS

1.5 in

LONDON BRIDGE FORMALS

1.5 in

2.5 in

LONDON BRIDGE FORMALS

3.75 in

FORMALS

3.75 in

LONDON BRIDGE

3.75 in

VISUAL IDENTITY REDESIGN

2 in

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

THIS GARMENT HAS BEEN

3.5 in 3.5 in

THIS IS A SPECIAL DYING PROCESS PRONE TO COLOR TRANSFER

2 in

SIZE CARE DETAILS MACHINE WASH TUMBLE DRY GENTLY DO NOT IRON

0.5 in

1.75 in 3.5 in

UNITEDWORLD INSTITUTE OF DESIGN

2 in

S / M / L / XL / XXL

3.5 in

S L I M

F I T

OVER DYED

3 in

0.75 in

3 in

SPRING SUMMER COLLECTION

SIZE MEDIUM

3 in

3.5 in

LINEN COTTON

www.londonbridge.in

CARE DETAILS MACHINE WASH TUMBLE DRY GENTLY DO NOT IRON

1.75 in

3 in VISUAL IDENTITY REDESIGN

CARE DETAILS MACHINE WASH TUMBLE DRY GENTLE DO NOT IRON

www.londonbridge.in

1.75 in

UNITEDWORLD INSTITUTE OF DESIGN

CARE DETAILS MACHINE WASH TUMBLE DRY GENTLE DO NOT IRON

3.5 in

MEDIUM

3.5 in

SIZE

MEDIUM

3.5 in

SIZE

3.5 in

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

LONDON BRIDGE

www.londonbridge.in

1.75 in

Size :

Product :

Net Quantity :

4 in

Sort No. :

Size :

4 in

Month & Year Of Mfg. :

Sort No. :

4 in

Month & Year Of Mfg. :

Net Quantity :

Maximum Retail Price :

Inclusive of All Taxes

Manufactured, Packed & Marketed By: Turtle Limited Lemon Fresh, Block-2, 3rd Floor 23/1, Kalabagan Lane, Howrah-711104, Wb, India

For Customer Complaints: Contact: Customer Care Executive Lemon Fresh, Block-2, 3rd Floor 29/1, Kalabagan Lane, Howrah-711104, Wb, India Phone : +91 33 26775311 Email : Contact@turtlelimited.com

2 in

SPRING SUMMER COLLECTION

2 in

For Customer Complaints: Contact: Customer Care Executive Lemon Fresh, Block-2, 3rd Floor 29/1, Kalabagan Lane, Howrah-711104, Wb, India Phone : +91 33 26775311 Email : Contact@turtlelimited.com

2 in

4 in

SPRING SUMMER COLLECTION

2 in

VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

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/ SECTION III /

Brand Campaign.

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“Fashion is about suspense and surprise and fantasy. It's not about rules.” Wolfgang Joop

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FASHION CAMPAIGN AND LOOKBOOK There is always a story behind every brands offerings, and their campaigns. A lookbook is what, that tells the story of a brand's collection and their campaign. The purpose of any fashion lookbook is to show off a model, a clothing line or a style, through a collection of photos. A model’s lookbook will act as a portfolio, while brands will use their lookbooks to promote a seasonal collection or a clothing line, and to give styling ideas. Some brands send them to customers as free mail order catalogs, while others simply host them online and as digital lookbooks. Almost every fashion brands usually have their lookbooks ready twice a year featuring two seasonal collections, known as the SpringSummer Collection and Autumn-Winter Collection.

Why Need a Lookbook? • A look book shows the products in action and serves as an excellent marketing tool. • A look book expresses the lifestyle of a brand to the buyer aided by props. • A look book engages the audience in a story. • A look book is one of the best ways to get your new collection the focus it deserves. It is also one of the easiest ways to reach your target market by devising a theme which gauges their attention. • It serves the dual purpose of information and inspiration. • A look book serves as a fashion/ style guide to customers by providing a completely assembled look from head to toe.

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03 Wear Your Love 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9

What's the Idea Typography Colour Palette Information Hierarchy Flat Plan Working on the Logo Unit The Grids and Guides Lookbook Mockup Promotional Collaterals VISUAL IDENTITY REDESIGN

DEBOJYOTI DAS • GRAPHIC DESIGN • M. DES • PROJECT DOCUMENT • 2018

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3.1 WHAT'S THE IDEA The month of June is a time of celebration for the high-school seniors. They cross the stage of transitioning from high-school to college with flying colors.

This Spring-Summer Collection of London Bridge is all ready to take you around the campus and make you 'WEAR YOUR LOVE', with a collection curated exclusively for the people who love the way they are, and ready to flaunt it.

They deck up for a new journey of their life. They taste freedom for the first time. They are allowed to do what they love. Their style is reflection of their personality, their individuality. Their style is what makes them unique, different from others. They create and leave impressions.

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3.2 TYPOGRAPHY Typography plays an important role in publication. Be it to provide supporting texts, or to communicate important messages. So our Lookbook was no exception. We needed typefaces that would be highly readable and legible, elegant looking, that would pair up with the theme of the lookbook and which will have variations in style. After going through hundreds of type families from different sources like my laptop storage, and different websites these typefaces were shortlisted for the project. Since, this was a one time publication neither the client nor our agency would buy a typeface.

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The chosen typefaces were: • Gotham Pro Light • Helvetica LT Std Roman • Gotham Pro Black Italic • Gotham Pro Regular • Geogrotesque Extra Condensed Bold • Jimmy Script Regular

London Bridge is a young fashion brand from the house of Turtle, for the urban youth of today who live life on their own terms. A non-conformist at heart, he dares to challenge the norms, break free from regimentation and think out of the box. Truly independent in thought and action, he lives for originality. He is his own man and flaunting is his mantra. He seizes every moment and makes it king-size. A brand that’s as flamboyant as it’s freewheeling.

Gotham Pro / Light / 10Pt / 12L

Helvetica LT Std / Roman / 10Pt / 12L

Gotham Pro / Black Italic / 10Pt / 12L

Gotham Pro / Regular / 10Pt / 12L

Geogrotesque / Extra Condensed Bold / 10Pt / 12L

Jimmy Script / Regular / 10Pt / 12L

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3.3 COLOUR PALETTE

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C=0 M=0 Y=0 K=0

C = 66 M = 15 Y=7 K=0

C=0 M = 18 Y = 68 K=0

C=0 M = 38 Y = 10 K=0

C=0 M = 63 Y = 100 K=0

C = 62 M = 54 Y = 53 K = 26

Since, this publication is all about youth fashion, targeted exclusively for the College-goers, a colour palette of bright and vivid colours was created. Props and backdrops were kept single solid coloured, making the model to stand-out. The colour palette is created in Adobe Illustrator using eyedropper tool.

3.4 INFORMATION HIERARCHY This publication does have 3 basic layers of information as in the following order:

For the Lookbook Manifesto, the chosen typeface is Helvetica Lt Std Roman, with a font size of 8 pts.

1. Image Photoshoot of the model featuring the collection.

For the Section Names, the chosen typeface is Gotham Black italic, with a font size of 53 pts.

2. Price and Product Code Written on top or bottom of the image giving information about the product.

For the Product Description, the chosen typeface is Proxima Nova Light, with a font size of 8 pts. For the Price and Product Code, the chosen typeface is Gotham Pro Regular, with a font size of 5 pts.

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3.5 FLAT PLAN

A flatplan is page plan of a publication. It is a visual representation of how a finished magazine will be laid out. It is used to help people working on the magazine to plan and understand it before it is actually printed and assembled. Flatplans are often a single document showing a series of square outlines, each square representing a page in the magazine. These squares are usually grouped in pairs (of left-hand and right-hand facing pages) to demonstrate what each page spread will look like when viewed by the reader. The relevant page number and the content of each page is normally written in each square, and can be changed around many times as the magazine goes through the production process. Sometimes the squares are colour-coded to show which pages will contain adverts, which will contain editorial, which are finished etc.

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Similarly, here on my flatplan I have planned a layout of my lookbook. It shows where there are texts, where the images are. It also helps me to decide where to use a cropped image, where to use a full-spread image and where to use a fullpage image.

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3.6 THE LOGO UNIT A logo unit for a campaign is a visual identity for the campaign, used to make the target group to remember the brand. The Logo Unit may reflect the campaigns idea, approach and the style. Several options were made and explored out of which the most appropriate one was selected and was taken forward as campaign logo.

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3.7 THE GRIDS AND GUIDES In graphic design, a grid structure made up of a series of intersecting straight guide lines that is used to structure the content. The grid serves as an armature on which a designer can organise graphic elements (images, glyphs, paragraph) in a relation to a page, in relation to other graphic elements on the page, or relation to other parts of the same graphic element or shape. Technical Specifications of the grid used: MarginsInside: 1 cm Outside: 1 cm Top: 1 cm Bottom: 1 cm

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29.7 cm

1 cm

21 cm

1 cm

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3.8 LOOKBOOK MOCKUP

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3.9 PROMOTIONAL COLLATERALS Promotional collaterals is a collection of different medias used to promote and support the sale of a product or service. For this campaign, various promotional collaterals were designed as per the medium in which it is going to be used. The basic concept behind the designs of these collaterals is to arouse curiosity about this collection and giving them the idea of what this collection is about. Collaterals for online as well as offline use were designed as per the requirement.

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Deliverables for offline collaterals were: 1. In-Store Posters 2. Print Advertisements Deliverables for online collaterals were: 1. Social Media Post that could be used for Facebook and Instagram 2. Cover photos for the brand page in Facebook

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IN-STORE POSTERS SET 1

16.54 in

This set of posters were designed featuring the 'Wear Your Love' Spring Summer collection. The layout of the posters were decided to be kept simple, only with the branding of London Bridge and logo unit of 'Wear Your Love' collection. Size: 11.69 x 16.54 in

11.69 in VISUAL IDENTITY REDESIGN

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SET 2

36 in

The approach of this series of posters was to some extent copy-driven, where dynamic typography would overlap the photograph. The copy 'Law of Attraction; defines how you can set your impression amongst others, being individual. Size: 24 x 36 in

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SET 3

36 in

The idea and approach of this series of posters was to highlight the seasonal collection. A supporting paragraph of copy is used to define the idea of the collection 'Wear Your Love'. Size: 24 x 36 in

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SET 4

36 in

This set of posters was designed highlighting the product range of 'Wear Your Love' collection. A frame has been added to emphasize more on the model. Size: 24 x 36 in

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SET 4 The approach of this series of posters was copydriven. The copy 'This is style taken seriously. This is about being yourself' defines how your style can become your identity. Fashion or styling is not only to look good, but also to mark your identity as a unique, individual.

24 in

Size: 36 x 24 in

36 in

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SET 6 The approach of this series of posters was copydriven. The copy 'Own Your Style' defines how your style can become your identity. How you style reflects what you are.

24 in

Size: 36 x 24 in

36 in

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PRINT ADVERTISEMENTS A set of print advertisements for newspaper were designed which will promote the collection. Technical Details of the newspaper :

25 cm

Newspaper: The Times of India Number of columns: 8 Size of newspaper: 55 x 34 cm Size of advertisement: 32.9 x 25 cm

32.9 cm VISUAL IDENTITY REDESIGN

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SOCIAL MEDIA POSTS SET 1 These were posts designed for social media platforms as Facebook and Instagram. The idea and approach was to take a copy driven route which will describe and support the visuals. Technical Details: Size ratio : 1:1 Color Profile : RGB Platform: Facebook, Instagram

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SET 2 These posts were designed highlighting the launch of new collection. The look and feel is rather simple, keeping white to play in the layouts, creating sufficient negetive space allowing the visuals the breathe. And also 'Less is More'. Technical Details : Size ratio: 1:1 Color Profile: RGB Platform: Facebook, Instagram

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SET 3 The idea behind creating all these visuals was to highlight the discounts and the Season Sales . Technical Details: Size ratio: 1:1 Color Profile: RGB Platform: Facebook, Instagram

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SOCIAL MEDIA COVERS SET 1 These set of creatives were made featuring the summer collection. Bright colours and bold typography were used so that users visiting the page notices and gets informed about the collection. Technical Details: Size: 851 x 315 pixels Color Profile: RGB Platform: Facebook

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SET 2 These set of creatives are rather an adaptation of the copy driven set of social media posts. Technical Details: Size: 851 x 315 pixels Color Profile: RGB Platform: Facebook

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SET 3 These set of creatives are rather an adaptation of the social media posts, featuring new collection announce. Technical Details: Size: 851 x 315 pixels Color Profile: RGB Pltform: Facebook

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SET 4 These set of creatives are adaptations of the social media posts in the format of social media covers. Technical Details: Size: 851 x 315 pixels Color Profile: RGB Platform: Facebook

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/ SECTION IV /

Website Redesign.

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THE NEED TO REDESIGN A website redesign can be a game-changer for your business, but it can also take significant resources in time and money, so it’s not a decision to be made lightly. The average lifespan of a well-designed website is 3 to 7 years, but time alone shouldn’t be the main reason for a redesign. The decision of redesigning a website depends less on trends, but more on the user experience of how customer interacts and engages to the website.

PURPOSE TO REDESIGN: • To create a visual language uniform and relevant to the redesigned identity of London Bridge. • To communicate better, making the user experience much more efficient. • Expand business. • Promotion of London Bridge. • Streamlined information. • Visual appeal in competetion to other players in the same market.

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WHAT IS WIREFRAME It is a black & white paper or digital prototype of the digital product say Web or Mobile App. Wireframes justify What will come Where & Why. Wire-framing simplify the journey of UI designing & ensure that the client & the vendor are on same page of understanding & final output. It saves further iterations & respectively the time & cost Wireframes can stretch from a low fidelity pencil sketch to a high fidelity and fully annotated diagram and all that comes in-between.

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WHAT IS PROTOTYPE The requirement of a prototype is higher than wireframe/interactive wireframe, it must be a high fidelity prototype which is interactive and fit the final user interface as much as possible. The target of prototypes is quite obvious: to simulate the interaction between user and interface as realistically as possible. When a button is pressed, the corresponding operation must be carried out, and the corresponding pages must appear, try the best to simulate a full product experience. Undoubtedly, the prototype must include the aesthetic features of a product that should have, and try to fit the final version.

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4.1 Option 1

VISUAL IDENTITY REDESIGN

LANDING PAGE

Product browsing

Account

ACCOUNT

View cart Search the website

Slideshow images highlighting collections and special offers

Now trending section showing the trendiest clothing range

#mylb shows user uploaded images and videos with the above hashtag

STORE LOCATOR

Images can be manually forwarded or backwarded

New account creation

Existing user account login

PRODUCT RANGE

Predefined color selection Predefined size Predefined price range

Locate stores

169 CHECKOUT PRODUCT SELECTION

Additional views Product view

Size & quantity selection

Recommended range of products

Check COD delivery option for your order

Order overview

Checkout

PAYMENT OPTION

CUSTOMER INFORMATION

Customer information for order

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4.2 Option 2

VISUAL IDENTITY REDESIGN

ACCOUNT LANDING PAGE New in features latest lookbook

Account View cart Search

Slideshow of images highlighting range of collection

New user account creation

Join newsletter for updates

Social media connections

PRODUCT RANGE

This option lets the user check his order status without an account

PRODUCT SELECTION

Size selection

Add to cart Alternate views

Product feature highlight

Range of products offered