francesca critchley
PROJECT BRIEFS 2014-2015
My inital thought was to do a mind map and quick brain-storm over any ideas that spring to mind when I think of ‘A Conversation’. There were many ideas that came to mind, but the idea that stood out most to me, and that I felt I could do a lot with was the idea of focusing on non-verbal communication, and how people communicate through gesture, body language, sounds etc.
I then focused on the idea of non-verbal communicating and produced another mindmap. I have a lot of ideas to experiment with in my project through trial and error with lots of different techniques and use of mixed media.
Sean Freema
A love for words and beautiful images led Sean Freeman to exp
a harmony of both through THERE IS Studio, specializing in crea
typography, illustration and art direction. Based in sunny East London, S
creates award winning typographic treatments and illustrations for a va
range of clients globally from advertising to music, editorial and publish
with his work being featured in numerous books and magazines. His w
is known to be as powerful as it is unique: a dynamic and organic fu
between elem
Forever curious, Sean is constantly exploring new ways of approachin
work, embracing happy accidents and with a passion for visual storyte
type, textures and everything in betw
Creative Typography To follow my idea of non-verbal communication and sign language, I experimented with photography and using hand shapes to create letters. This work was inspired by Sean Freeman and his hands-on creative typographic style. Although the actual idea behind this is extremely simple, I found this to be very effective. The letters are clear and readable and also aestethetically nice to look at. When loading the photographs onto the computer, I edited them to make the background white. This made them look presentable, clean and neat. I also adjusted the levels of each photograph to make the hand more defined, exposed and vibrant. This could be a good idea to develop as my final idea.
My final composition of ‘Hands Type’ is on the facing page.
Olivia Setreuil This particular artist specialises in illustration and screenprinting. In one of her projects Moires Patterns, she experiments with CMYK and adding black and white half tone to it. I like this style and it instantly appealed to me and caught my eye. The use of colour is so vibrant and visually stimulating.
This will fit my brief as people who suffer from deafness, have to be visually stimulated and rely on their sight and hands to touch things.
I like the effect of this experiment and the colour clashes and combinations. Its style is influenced by Olivia Seutreuil. I think this style is eye-catching to an audience. The methaphor behind this design in the context in which I am using it is to highlight touch as a sense. Touching is very important for a deaf person and crucial for them to have in different environments. The idea of a universal gesture, is so that when the deaf audience look at this poster, they instantly understand what each hand gesture means. It is important that they feel involved with the social community and not like an outcast.
Layout & Composition
Final Evaluation Colour The colour theme of my design is based around CMYK and influenced by the artist Olivia Sautreuil. I used blend modes to create an overlapping, screen-printed style but digitally. The colour of the banner across the bottom of the poster compliments the neon colour of the CMYK hands. Line The line of this piece is fragmented and overlapped. The whole style of this piece is based around imperfection. Composition The composition of each poster is simple and more or less the same layout but with a different photographic piece in the centre. All of the text is aligned right to simplify the piece and not outstage the CMYK photograph aligned centre. Texture To add texture to the poster and to adbide by the techniques of my artist research, I added an old paper technique to the background and overlayed. It compliments the sketchy nature of the edited photograph and halftone effect. Depth & Tone I added depth and tone to the hand gesture photographs using half tone effects. I did this in photoshop using the pixelate tool. I then converted it into black and white to make all of the dots black and multiplied it over the top of the colours. It is almost pop-arty. Focal Point The main focal point of the poster is the photograph. The colour combinations and clashes draw in the eye of audience. I tried not to over complicate the surrounding negative space purely to draw attention to the photograph.
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h i s i s my m o o d b o a rd to my p er s o n a l a p p ro a c h of th e p ro j e c t . I f i nd m o o d b o a rd s i m p or ta n t a nd th e y a l l ow you to v i s u a l b e i n s pi re d a nd to co l l e c t i m a g er y th a t g i ve s you a nd you r c l i e n t a f e e l or ‘s n e a k pe e k ’ i n to w h a t c a n b e c re a te d a nd de s i g n e d . A s C of f e evo l u t i o n a s a c a f e, i s a h o m e l y a nd i nv i t i n g pl a ce wi th a c h il l e d a t m o s p h ere, I wa n t to e m p h a s i ze a nd fo c u s o n th i s wi th a r u s t i c de s i g n . Af ter re s e a rc h i n g i n to H u d der s f i e l d a nd m a k i n g a m o o d b o a rd f ul l of p h oto g ra p h s of i t s h er i ta g e and a rc h i te c t u re, I wa n t to a l s o fo c u s o n th e i nd u s tr i a l h i s tor y a nd i m p or ta n ce of th i s i n th e tow n . I wil l d o th i s by u s i n g i nd u s tr i a l t y pe
fo n t s , m eta l l i c a cce n t to n e s etc . I h ave a l s o l o o ke d i n to th e p ote n t i a l p ro d u c t s th a t I coul d de s i g n th e s u r fa ce g ra p h i c s for. Th i s i n c l u de s : - Cof fe e C u p s /S l e eve s - Ta ke - ou t B a g s - Napkins - S u g a r s /S we ete n er s - Menu - G i f t C a rd s / Vou c h er s - L o ya l t y C a rd s - S t i c ker s - A p ro n s /S ta f f U n i for m Th e s e a re j u s t a few exa m pl e s of w h a t I coul d ex per i m e n t wi th . I a l s o l o o ke d a t p o ss i b l e co l ou r s c h e m e s I coul d u s e . I wil l deve l o p th i s f u r th er.
Colour Schemes When considering the colour schemes, I wanted to follow through with the idea of industrial style and accent tones. I paired colours which I considered to be the clichÊ coffee shop colours, but I wanted to try something a little different. It is essential to incorporate a range of both light and dark tones so that when it comes to composition there is the right amount of contrast and the design must also be clear and readable for the audience. Blue colours are usually stereotyped as quite cold and connote sadness, but I have chosen more of a warm undertone of blue and paired it with neutral golden colours to compliment the style I am going for. The deep purple gives a bit of depth to the palette. In terms of masculinity and femininity, I think the colour palette I have chosen is well balanced. The colours aren’t overpowering or aimed at one or the other. I will now experiment with my designs and placing the colours together.
Logo: Initial Ideas
For my logo, I wanted to create something retro looking yet authentic and classic. My initial idea was to create a badge type logo that can easily be transferred onto different products, perhaps even made into stickers to seal take-out food. I started by drawing a few rough ideas by hand to experiment with possible shapes I could use. To me, I found it difficult to create a logo that would accommodate for the shops long name. So I experimented with circular logos to see if the type could continuously flow around the shape.
Logo: Developing Retro Logo E S TA B L I S H E D
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Coffeevolution Coffeevolution Thirsty Script, Extrabold
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Phosphate, Inline
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Brain Flower, Regular
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It is crucial when branding a company to experiment with the typeface of the logo. This logo will be the first thing a customer will see, and it will set an impression straight away. I wanted to use bold fonts and have experimented with a range of script and capitalised styles. Due to the dimensions of some of the fonts, I had to adjust the height and size of the surrounding badge so that each one is well balanced and fits together nicely. I haven;t applied colour yet, I will do this when I decide on the badge style. On this page, I feel like the most eye-catching font is ‘Couture, Bold’ and ‘Phosphate, Inline’. Although none of them have the ‘wow factor’ that I am looking for, I will experiment further.
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coffeevolution coffeevolution coffeevolution Canter, Bold
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Pacifico, Regular
In comparison to the facing page, I feel like these two fonts are the most successful developments. I chose the strongest script and strongest block captial font, Canter and Pacifico. What I like about Canter, is that it is a font family, containing a range of different styles. I like the Bold 3D style the most. I think this one stands out the most and adds depth to the logo. It also compliments the theme of industrial as they could mirror the blocked style of cotton mills or terraced houses. On the other hand, I like the elegance and retro style of Pacifico. Its flowing and continuous path mirrors the name of ‘Coffeevolution’ and compliments this. After asking a range of people from my target audience, they said the style they prefer is with font ‘Canter, Bold 3D’. This is the logo I will use.
Applying Colour
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coffeevolution coffeevolution coffeevolution I think this colour works best as a background. Its deep, warm undertones contrast nicely againt the white logo.
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The rich blue colour works well againt the white logo. I like how the blue doesn’t give off a cold feeling because it has warm undertones.
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I feel like this blue only just works, if it was any lighter, it would look too pale but it adds a fresh and crisp feeling to the logo which I like.
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coffeevolution coffeevolution coffeevolution I don’t think this colour works well as a background at all. It looks dull and not eye-catching at all. This colour would work better as an accent colour, rather than a background.
This doesn’t work. Its pale colour doesn’t contrast enough with the white logo. However, I do like the colour and how it fits well with the coffee theme.
I feel like this colour is too pale for a background colour. It doesn’t have enough depth to it.
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coffeevolution coffeevolution coffeevolution After looking at wh at colours would work on a dark background, it is cl ear which colours work and which colours don’t. The ones th at did work all seemed to be the lightest and richer colours. The deeper colours didnt contrast enough. I will incorporate all of this experimentation into my brand guidelines to make it cl ear what colours can be used on wh at background etc.
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Applying Logo to Material
To get a proper feel of what my logo would look like on the merchandise and objects around a coffee shop, I photoshopped it onto certain items that I felt were important in branding Coffeevolution.
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coffeevolution The outcome in my opinion looks clean, modern and professional. I am happy with the colours I have used as theyre not overpowering and are very simplistic, the style I was going for. I enjoyed doing this, as it is a good way to present your ideas to a client as it gives them a realistic view of your design.
get your 10 th cup of coffee absolutely free! 8 Church street, Huddersfield,HD1 1DD
01484 432881
To improve these designs, I would perhaps add a little more colour from my palette I have chosen.
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Final Evaluation Colour The colour theme of my design is monochromatic. Although I did pick a colour scheme for the guidelines, I decided to keep the badge simply black or white so I didnt over-complicate it. This works well when placed on a range of different backgrounds (within the specific pantones).
get your 10 th cup of coffee absolutely free! 8 Church street, Huddersfield,HD1 1DD
01484 432881
get your 10 th cup of coffee absolutely free! 8 Church street, Huddersfield,HD1 1DD
01484 432881
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Line The line of this piece is clean cut and neat as it is created in illustrator as a vector file. This is done so that it doesn’t pixelate when it is resized. Composition The composition of the logo is simple and more or less symmetrical. All of the text is aligned central and balanced equally at all points of the design. Texture There is not much texture to this design as it is meant to have the blocky, retro kind of style. It is made of block colours with no gradients. Depth & Tone I added depth and tone to the text using the font Canter, Bold 3D. Its 3D effect creates the illusion that the text is extruding out of the page or screen.
get your 10 th cup of coffee absolutely free! 8 Church street, Huddersfield,HD1 1DD
01484 432881
get your 10 th cup of coffee absolutely free! 8 Church street, Huddersfield,HD1 1DD
01484 432881
Focal Point The main focal point of logo is the name of the coffee shop ‘Coffeevolution’. It is crucial on a branding project to make sure that the name of the shop is memorable and noticeable. In this design I feel like the name is what draws in the attention of the audience.
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Reducing the size of the logo Coffeevolution logo can be reduced in print until 30mm in height while it can be rasterized (72 dpi) to 51 pixels. If you need further reduction is recommended to use the logo optional made to support these reductions while maintaining the recognizability of the official logo. E S TA B L I S H E D
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Optional logo
Do not alter the logo
BE USED ONLY IF IT IS NECESSARY TO HAVE THE LOGO A REDUCED DIMENSIONS
The logo can not be changed. Resist the temptation to change its appearance in any case. Do not rescale without constraint and do not rotate.
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Spacing of the logo
Specific pantones
It is advisable to maintain a spacing rather plentiful around the logo. In any case not less than specified :
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These are the only colours that are to be used. Any other pantone is forbidden.
The logo can be placed inside of a photo without constraints but spaced away from the edges.
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Colour: Forbidden Logo Colours
Forbidden background colours The fund institutional is normally white or black.
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You can also use other colors except for the colors that are pale and do not contrast to the logo place on top of it.
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Layout
Layout
Logo placement in the layout
Font
In order of preference :
Size logo format Note however that the lettering of the logo must always be readable. In cases where you require a significant reduction see “ Reductions of the logo “ In an elongated format : the relationship logo / format is at your own risk . Generally with the increase of one side than the other is recommended to increase in proportion to the size of the logo.
Canter, Light Canter, Bold Canter, Bold 3D
Oswald, Bold
YCN: Live Brief
Here are a few examples of brands I consider to be of similar style to Whistles and to be inspired by. Also, a short in-sight into each company and brand: Byredo - The company Byredo was founded by Ben Gorham in Stickholm in Sweden in 2006. Byredo focuses on quality and all their products are made in Sweden. Their current line includes perfumes and home fragrance, body care products and accessories. While the focus of the brand is on unisex fragrance, Byredo has launched a few fragrances determined for women and a few fragrances classified as “for men”. Byredo is a new fragrance brand. The earliest edition was created in 2008 and the newest is from 2014. Le Labo - Le Labo was founded by Fabrice Penot and Edouard Roschi in 2006. They debuted with 10
Inspiration
fragrances. The number in the fragrance name indicates the number of notes in its composition and the name of material (Vetiver, Jasmin, Labdanum) refers to the most prominent note in it. Its packaging is simple, almost clinical/scientific looking. It is nevertheless aesthically appealing as it is clean, simple and honest to the viewers eye. Comme des Garçons - Comme des Garcons is a Parisian fashion brand run by Rei Kawakubo, its owner. Rei Kawakubo is avant-garde Japanese fashion designer whose collections demonstrate ‘anti-fashion’ elements The earliest edition was created in 1994 and the newest is from 2014. Comme des Garcons fragrances were made in collaboration with various perfumers. Their bottles and packaging is unique and very distinctive. They have a range of different series that have similar styles but they remain tasteful and simple. Aesop - Aesop cosmetic niche house was founded in 1987 in Melbourne. Its founder is Dennis Paphitis. The earliest edition was created in 2005 and the newest is from 2014. The nose who worked on the fragrances is Barnabé Fillion. Its aesthic is similar to Le Labo, where it looks scientific and informative.
After thinking about what I want to call the scent, I did a bit of research into Whistles the brand and
Number Typography
discovered that 2015 will be 35 years since Whistles first debuted itself! I then looked into number typography and thought this would be a relevant name for the scent as it is the first ever scent to be made for Whistles. Number typography is really beautiful and tasteful, and would fit the aesthetic and image of Whistles as a minimal, elegant and simplistic looking brand.
After researching into number typography, I was inspired by the monochrome work. I love how simple the colours are of black and white, but how graphic and effective it can look.
Number Typography Experiments
I particulary liked the two numbers entwining, as it is a unisex fragrance, it is symbolic of two things lacing together and becoming one as well as the name ‘35’ being a symbol of how long the company has been established. I experimented with different fonts, from sans-serif to serif. On the facing page (clockwise): Myriad Pro, Helvetica Bold, Bebas Neue, Neon 80’s, Delicate & Nouvelle Vague. I felt like the most effective fonts were Helvetica Bold as this is a traditional font used by Whistles, which is stated in the guidelines. I also thought that Delicate was effective as it looked more like a graphic than two numbers. It also looks minimal and uncluttered.
Logo Design
5 35 3
These are my three favourite logo compositions. I experimented with cutting away at the numbers on two of the designs to create a modern looking design. My other design (in the middle) was carried through from my experiment with number typography with the font ‘Delicate’. I really liked this experiement, because the font gave it a graphic image quality rather than just numbers that looked like a professional logo.
On the facing page, I experimented with placing these logos on a simple bottle. I would use a simple bottle as the final design, as I am inspired by brands such as Le Labo which uses classic glass vile bottles. The first bottle looks like a unisex perfume as the font is neither feminine, nor masculine and cannot be identified as a male or female perfume at first glance. The second bottle is the most simple as it hasnt got the text like the other two designs. This design is perhaps more feminine, but is classy, simple and the numbers look like an image which is effective and eye-catching. The third bottle is a mix between the two other ideas. This is my least favourite design as it looks odd compared to the logo placed at the bottom of the bottle as its font style clashes.
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Developing Bottle Label
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When developing the Logo, I felt like the numbers looked too big and there was no text to compliment the design and inform the audience. I added type, keeping it all centrally aligned and minimal. After experimenting with the numbers and placing them on a blank white background, I didn’t feel like it was strong enough so I placed it on a black background, and it instantly stood out and was eyecatching. I feel like this design is successful and looks clean, simple and modern. It also looks neither feminine or masculine which was essential for the design of a unisex fragrance.
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Crystalline lemon flesh blended with jasmine dew brings a luminous fluidity to the accord. The vegetal green accent of angelica evokes a parasol of petals as soft as dotted swiss, with a refined, suave and musky scent. Then comes patchouli, which gives the base note a precise architecture.
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Mock-up Packaging
After creating rough mock-ups of the packaging I have designed, it was clear that I hadn’t got the dimensions quite right. The box needs to be bigger in depth. Also, after making this, it helps to aid the development process and you can get a feel for what the design is like once it is made up. I think the box needs a little more detail and refining. Perhaps black sides? Or perhaps a splash of colour somewhere. I will make more mock ups to experiment.
I refined the stroke of the border to more of a textured brush stroke. I thought the package was lacking a bit of texture. I think this adds an element of artisticness too, and creativity which I think the company would appreciate.
An extra flap was needed when making my first mock-up, therefore one was added.
CRYSTALLINE L O N D O N
LEMON FLESH
BLENDED WITH JASMINE DEW BRINGS A LUMINOUS FLUIDITY TO THE ACCORD.
THE
VEGETAL GREEN
ACCENT OF ANGELICA EVOKES A
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PARASOL OF PETALS AS SOFT AS DOTTED SWISS, WITH A REFINED, SUAVE AND MUSKY SCENT.
THEN
COMES PATCHOULI, WHICH GIVES THE BASE NOTE A PRECISE ARCHITECTURE.
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I changed the colour of the sides and glue tabs to contrast the label at the front and back of the box. This made the front facing and back facing faces stand out more, and also gives a more edgy and monochrome feel to it.
I edited the size and alignment of the text. I feel like smaller writing makes the text look more elegant and sophisticated. I also changed the text to capital letters to compliment the text on the front of the box.
The width of each side panel was incread to 3cm to accomodate for a larger depth of bottle.
Second Attempt Mock-up
After making ammendments, I went ahead and made a second mock-up with my new design. I think the dark colour definitely looks more effective than the first design. The only issue I had was I hadn’t ammended the size of the top flaps to accomodate for the bigger depth of the box. I will ammend this before I do my final print.
ARCHITECTURE.
THE BASE NOTE A PRECISE
THEN SUAVE AND MUSKY SCENT.
COMES PATCHOULI, WHICH GIVES
DOTTED SWISS, WITH A REFINED,
ACCENT OF ANGELICA EVOKES A
PARASOL OF PETALS AS SOFT AS
VEGETAL GREEN
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BRINGS A LUMINOUS FLUIDITY TO
THE ACCORD.
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Composition The composition of each poster is simple and more or less the same layout but with a different photographic piece in the centre. All of the text is aligned right to simplify the piece and not outstage the CMYK photograph aligned centre.
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LEMON FLESH
Colour The colour theme of my design is based around CMYK and influenced by the artist Olivia Sautreuil. I used blend modes to create an overlapping, screen-printed style but digitally. The colour of the banner across the bottom of the poster compliments the neon colour of the CMYK hands. Line The line of this piece is fragmented and overlapped. The whole style of this piece is based around imperfection.
L O N D O N
CRYSTALLINE
BLENDED WITH JASMINE DEW
Final Evaluation
Texture To add texture to the poster and to adbide by the techniques of my artist research, I added an old paper technique to the background and overlayed. It compliments the sketchy nature of the edited photograph and halftone effect. Depth & Tone I added depth and tone to the hand gesture photographs using half tone effects. I did this in photoshop using the pixelate tool. I then converted it into black and white to make all of the dots black and multiplied it over the top of the colours. It is almost pop-arty. Focal Point The main focal point of the poster is the photograph. The colour combinations and clashes draw in the eye of audience. I tried not to over complicate the surrounding negative space purely to draw attention to the photograph.
Final Mock-up Photos