VCP TUNNEL PROJECT
Branding
Contents
“We are a community of dynamic creatives who express our unique culture to an international audience through exclusive contemporary art.�
2
3
Branding
BRANDING
4
5
Branding
Branding
INTRODUCTION As the branding team we had to encapsulate this project and ourselves into an identity. For this we first wanted to come up with a mission statement and after much deliberation finalised it what we thought was the most appropriate. “We are a community of dynamic creatives who express our unique culture to an international audience through exclusive contemporary art.” This then got expanded upon into a manifesto and we started to conceptualise logos and identities.
“We are a community of dynamic creatives who express our unique culture to an international audience through exclusive contemporary art.”
The brand itself was designed with the following rational We are a large group of creatives - over 40 infact, each working on every project together as one collaborative, which is a large team, and a distinctive quality hence part of our identity. It shows that we have varied abilities & talents, and that we are a community. The Maltese words in the title, and the subtle nods to design aspects in Malta, also show that we are proud of our herritage and culture. The symbol of the 4 and the eye shows the playfulness and light heartedness of a young team, yet the typography and light strokes show professionalism and a modern take of Maltese design. Finally we mark our starting year, as opposed to a finishing year with hopes that this project goes on, perhaps passed down each year to the next degree students, remaining optimistic and open to the public. This identity was finalised and we decided upon a visual direction, which we then sought to develop to its entirety. The logo itself was optimised for various situations, for which we asked ourselves: will the logo be acting as an introduction of the brand, rather than a sign off? Will it be used in very small spaces such as on pens to retain legibility? Or Will it be used for a watermark or pattern? This yielded solutions as to a variety of logos to fit any situation: A standard Logo, tagline logo, Symbol, Horizontal Logo; all of which got a personalised sizing and spacing guide.
In the initial group discussions we came up with the idea that the logo won’t be focused or related only to one specific space for this particular project. This is because we did not want to limit the artists from using only one specific exhibition space. The purpose of this project is to promote various artists, therefore our brand speaks for itself. It also gives the opportunity for young artists to be able to express their talents and get the most attention from their audience. Our brand can be passed on to other generations yet to come and to continue working from where we left off, by generating new ideas to this brand, keeping the same concept, and to stick to our brand guidelines. Having said that, as time goes by, our brand will be remembered as part of our history.
6
7
Branding
Branding
LOGO Headings, subheadings and text colour must reflect the colour schemes in the brand’s colour guidelines. Headings and subheadings must have their tint lowered to 80% of the text colour chosen so as to reduce heavy contrast with the background and text lightness.
To add some variation to the brand we explored a vast and varied colour palette. These consisted of sets of primary and secondary colours for the content and background respectively. We were inspired by the art, design and landscapes of the Maltese Islands since they are synonymous with the identity of Malta and the Maltese. The colours reflect not only our culture and history, but also our traditions, climate, and in general our way of life.
Both Sofia Pro Light Maltese and Sofia Pro Light Web are used in online HTML text, where Sofia Pro Light Maltese is used to write text in Maltese whereas Sofia Pro Light Web is used to write text in English. Aptifer Sans LT Pro Bold is also used in menus and submenus in online HTML. Open Sans Light is only used in cases where Sofia Pro Light Maltese / Web and Aptifer Sans LT Pro Bold are not recognized in online HTML text.
Our brand typeface is Sofia Pro Light. Sofia Pro Light should be used for all applications including long text. Sofia Pro Light is versatile since Maltese language glyphs are set in this typeface. We paired this with Aptifer Sans LT Pro Bold to define hierarchy for headings and subheadings in uppercase letters only. Aptifer Sans LT Pro is versatile since Maltese language glyphs are set in the typeface. Sofia Pro Light can be used across the brand and in long paragraphs of text using the following point size to tracking ratio. Point sizes which are not integers must have their tracking value set to their nearest integer. Aptifer Sans LT Pro can only be used in headings and subheadings in text using the point size to text ratios hereunder. The subheadings must be set to 60% of the heading’s point size, the text must be set to 40% of the heading’s point size and its leading must be set to 150% of the text’s point size. In the cases of long paragraphs of text, the leading between the heading’s baseline and subheadings’ cap height must be set to 400% of the text’s point size and the leading between the subheadings’ baseline and the text’s cap height must be set to 300% of the text’s point size. Headings and subheadings must always be left aligned and the text must be justified having the last line aligned to the left. The text must not be hyphenated.
8
9
Branding
Branding
MERCHANDISE
SOCIAL MEDIA
When it came to merchandising it was decided to not just have products showcasing the logo, but explore new development in the brands identity by producing new artwork and patterns. Inspired by the main logos as well as other patterned inspirations, these artworks were implemented on luxury/boutique items such as wine bottles, stationary items, fashion & accessories. This showcased the versatility of the brand, leaving it open to experimentation and development for possible future designs, further developing the brand and allowing for fun and artistic expression, unconfined by the rigidity usually found in brand guidelines.
We also came up with guidlines for print such as for cards and pages and layouts so that the marketing team could have something to work with. These included logo placement, image placement, margins etc. all corresponding to the size and clearspace specifications outlines previously.
Our photographic style should capture the moment, emotions, talent, people & expressions. The photos should be snapped whilst that person is laughing and not when the person is smiling whilst looking at the camera. The quality of people photography lies within their charisma and how naturally they act in front of a camera. Although photography of people is one of our main focuses, it’s not all about people. Imagery shows our island, objects, daily inspirations. Focus on colour and space. Keep the focus of your photo on specific items. Avoid generic inspirational photos, like an uphill photo to show a challenge or determination. Avoid using secondary items to portray the subject of your photo. Place the logo in one of the corners of the photo, ideally bottom. When using the logo, maintain high contrast values between the logo and the photorgraph. Place the logo on a clear area, an area which isn’t as busy. Incase neither black or white can be used for the logo, use a selected colour in the logo colour scheme in these brand guidelines.
Lastly we looked at establishing a strong online presence since this is where the group will be seen and communicated with most, as well as where projects will be seen most.
+ +
The web page can be broken down to its most basic elements the site consists of a menu bar and an empty canvas dedicated to the content needed. The grid was designed on a 1024 x 768 resolution and can be easily expanded throughout different resolutions through code. The grid is dynamic giving the user multiple options for layout creation depending on the content for each page. The columns and rows have a padding of 16px, which separates the content clearly for better visual guide. The menu bar at the bottom will always stay static thus keeping an element of consistency throughout the entire web flow. The menu bar was designed according to the logos style, simple and minimal by doing so the overall look is gathered under one solid identity. Every dimension was designed to the power of 2 for better loading times.
Finally we moved to the Facebook Page deciding on permissions and administrators, content creation, page elements such as the profile and cover photo artwork etc. We wanted to make sure it was updated every month with different designs, so that it is never static. We also wanted to coordinate the cover photo with the profile picture to explore some interesting effects. We established the tone of voice, tagging, descriptions, linking, types of content to show which would be relating to the brand etc. Lastly we included a size guide for all elements for ease of content creation for the page.
The Menu bar consists of 6 separate links in order to keep a form of symmetry flowing from the logo to the UI. Each link will direct the user to its separate page and the content will be updated in the empty canvas. The text for the menu is set at an 18pt size with a tracking of 25pt size for a better reading experience. The text is also sets to caps to establish a form of hierarchy since they are taking the form of links. The links will have different states when either on hover or clicked. We then looked at e-mail signatures establishing their lengths, spacing, logo placement etc.
10
11
Visual Artists
Visual ArtIsts
VISUAL ARTISTS
12
13
Visual Artists
Visual ArtIsts
REVERIE Chiara Attard Portughes, Denise Axiaq, Andre Grima Our idea was to create a new and surreal image of Malta, as seen through the eyes of children, highlighting a few and some of the islands most important elements, so as to entice the tourists’ curiosity. The manipulation depicts Malta’s past and present in the form of a story. Starting from Malta’s prehistoric architecture, the ‘sleeping lady’ is portrayed on a bed of roots growing from a large tree, representing Malta’s history. We decided to portray the ‘sleeping lady’ within a dream caught in a surreal Malta. The dream is represented through the form of clouds, however the clouds also act as a transition between the tunnel areas. The ‘Hagar Qim’ and ‘Mnajdra’ Temples, found in Zurrieq, a portrayed behind the ‘Sleeping Lady’ creating depth from the elements depicted in the foreground. The dream is introduced through a darker background colour, representing a typical and calm Maltese night. The clouds in the first section of this area were used as a prevention so as not to obstruct the view from the glass doors. Thus this section doesn’t include any important artwork since the doors may not be covered.
14
The dream includes different symbolic Maltese traditions, such as the ‘Luzzu’, which is carried by the moon and is approaching Malta. The ‘Luzzu’ was interpreted and manipulated this way so as to avoid its usual representation and to entice the tourists’ curiosity. The boats represent a journey through Malta, symbolising the tourists’ journey to Valletta from the port. Malta and Gozo are represented through three islands, which include various architectures through the ages. The first island includes a building found in Golden Bay, the second island includes a traditional Maltese windmill found in Zurrieq, known as ‘Ix-Xarolla’. Whilst the third and final island incorporates part of the typical skyline of Valletta including the Anglican Protestant church and Dominican church dome. All islands were manipulated and done from the ‘Fungus Rock’ found in Gozo.
hope to imprint on the visitors. The artwork was creating using photos, manipulation and digital painting. After several sketches where ideas and the layout was set, we visited all the selected locations on the island to take the necessary photographs. The process continued by editing these photos, removing backgrounds and combining them together. Lastly, the clouds, textures and other retouches were made to create a flowing and finalized artwork.
This final area depicts the island’s historical fortifications, as it will lead the tourists out of the cruise port into Valletta itself, after seeing the view of the port on their way in on their cruise ships. All of Malta’s main fortifications; Valletta, Mdina and Kottonera, are manipulated and combined into one magnificent fort. This will be the last image of the surreal and magical Malta that we
15
Visual Artists
Visual ArtIsts
IDENTITĂ€ KULTURALI Lindsay Aquilina, Jeanette Cutajar, Fabian Meli The main concept for the tunnel artwork was that of a dream. The main idea was to create a surreal piece and detach it from reality. Upon studying the literature pieces given to us, we started writing keywords from each story in attempt to find some common ground. After some thorough brainstorming, we came with a solution that incorporated important elements from each literature piece.
means that both edges had similar motifs that converged to the centre. This structure seemed the most adequate for the location because the corridor where it was going to be set was accessible from both sides. Hence, it was decided that the edges would have elements that can be interpreted both as an introduction as well as a conclusion of the artwork and that the focus of the artwork would be at the centre of the artwork.
Following the first presentation and following the feedback that we got from the client, it was decided that the artwork should reflect the Maltese culture more. The overall concept, that of a dream was kept and applied to the new concept, however, the design elements had to be changed. Therefore, we incorporated a number of traditional elements and linking it to the concept behind the Valletta 18, that is to unite different cultures in one city. The elements included were portraits of a male and female were traditional Maltese costumes. We also decided to include the icons from the Maltese old currency, a reference to the traditional Maltese feasts and landmarks of the Maltese islands. The centrepiece was comprised of a number of portraits of people from different races and ethnicities.
With regards, to technique, we first opted for mixed media, which comprised of photomontages as well as illustration, however, given certain circumstances, the main focus was illustration, and montages were only used for some small elements. Line art was used throughout the whole artwork. The watercolour effect in the background accented the artwork and made it more vibrant and eye-catching. Although colours were indeed used, the palette chosen was a light one so it would not be overwhelming. The location where the artwork was going to be applied did not have that much access to light, it had to be taken into consideration to come up with the best practical solution.
The artwork was structured in a symmetrical manner, which
16
something that should be greatly appreciated. It is nice to show the rest of the world what a small archipelago like that of the Maltese Island has to offer through art.
This project was one of the most demanding yet the most rewarding so far. Having the opportunity to use our creativity to promote our own country across the European content is
17
Visual Artists
Visual ArtIsts
FLOW Graziella Bonavia Developed by Graziella Bonavia, ‘Flow’ is a thought provoking illustration. As one can easily recognise, it reveals several elements within the Maltese Culture, including the local architecture, national plant, patterns found in traditional costumes, and jewellery, which is represented through a renowned technique, filigree. Such mentioned elements are represented in a more of a symbolic way while using an abstract style of art. One can easily identify a flow within the artwork since it is visible both through the illustration structure and it’s vibrant colours.
18
19
Visual Artists
Visual ArtIsts
MALTA Nicholas Cassar The illustration was named ‘Malta’ as a sign of dedication and in order to promote the Maltese islands. For this concept I started to evaluate and analyze the clients’ wants. The clients mentioned that they did not want dull colors and also when one looks at the illustration the viewer will be able to see Maltese characteristics. I carried out some research on such Maltese characteristics where an idea came to mind to develop something that does not look like the norm but rather every piece of the illustration instigates thoughts by using semi abstract. I focused on different elements that are found around Malta through the use of the Maltese ‘luzzu’, fireworks, Mdina and the ‘gardjola’. I tried to incorporate these elements so that I would not focus on one place in Malta but make references to various local places throughout. I made use of a lot of primary colors as well as secondary colors such as green and orange. For obvious reasons these colors represent the sun (yellow/orange) which quite well known in Malta. Blue was used for the sea and also green for the Maltese fields and countryside. After this process I was able to make a video of the whole illustration where I also made photo manipulation so that the clients will be able to clearly see how it will turn out on a scale of 1:1.
20
21
Visual Artists
Visual ArtIsts
DISCOVER Shirley Mallia Developed by Shirley Mallia, “Discover” represents Malta in a more subtle and colorful way. It illustrates several pieces that fit together, making it look like a story. Each piece reveals small elements of the Maltese culture such as the sea with the Luzzu, beautiful beaches that are scattered around the island, the promenades, the Maltese balconies and finally elements of the countryside. These are meant to grab the curiosity of the tourists, inspiring them to discover more of the islands’ beauty.
22
23
Visual Artists
Visual ArtIsts
NATURE OF MALTA Lorraine Vella The illustration with the title ‘Nature of Malta’, produced by Lorraine Vella, represents the natural elements that are found around the Maltese islands. The natural elements chosen were retrieved from various books and online sources that describe Malta’s environment. These elements were then manipulated and magnified to form a pattern for this mural. With that said, some of these elements might seem obvious to the viewer but others are open to interpretation. The vibrant colours were chosen to welcome as well as salute the viewer with a happy and calming mood to his / her voyage.
24
25
Visual Artists
Visual ArtIsts
FROM COAST TO COAST Rebecca Barry, Desiree Dimech, Silvio Micallef, Michela Mifsud, Fleur Sciortino After the first presentation and after the feedback we immediately started brainstorming and seeing what changes can be made to the art work. Being the five individuals that we are, at first we had a tricky time all agreeing on what we wanted to change because we were trying to please everybody. We sketched roughly on paper and openly discussed what we liked and didn’t like and what we felt was unnecessary. Michela had started doing some line art digitally to further create a new concept and start a story board, whilst the rest of us all came up with sketches that would be refined later. Eventually through further discussions we all agreed on a pop art inspired style that would be very colourful and bright that would look very contemporary and sleek. We used the same colour pallet throughout the entire tunnel as the keep it consistent and that way we reduce the clash of colours. We used the half-tone (dots) in the art work to add a pattern or to show texture. We made use of thick black outlines and lots of clean white space. The white space helped to brighten up the tunnel and made it feel cleaner, as well as making it seem bigger too. The use of white space also helped create a more contemporary look. We kept in mind the target audience and the fact many tourists would be passing by this hallway so we wanted to have a family friendly art
26
style that all age groups could enjoy, ranging from children with their parents to elderly retired couples. After more feedback and planning we divided the work load amongst us so that there would be consistency with our art work and that way it will look more professional. Desiree handled all the finalized line art as she was best suitable for the task. Silvio did colouring and added the dotted pattern as well as several sketches that were used, particularly in the garden scene and he also created the water that is seen on the sides and Fleur did a large amount of colouring as well as adding the dotted pattern. Michela and Rebecca designed the cabinet and planned on how it will be used. Rebecca also planned out some 3D models of ice cream. We constantly kept asking for feedback to see how we could improve until we thought there were no more changes to be made. When the art was done the presentation was made as well as a video that would show off the art work. Over all we feel quite proud of our work and we feel pleased with the end result.
27
Programming
Programming
PROGRAMMING
28
29
Programming
Programming
WEBSITE Our online present employs a clean, minimal design that would best highlight the artists’ work. Contrary to propositions discussed with the Branding team, it has been found that a six-column grid allows content to be displayed in an organized, and symmetrical fashion. The navigation bar at the bottom of the page, however, follows the imposed instructions.
152px 320px
About Us This page displays general information regarding the group and its sponsors. Activities Contains a list of all the activities hosted on the site, past and present. Contact Us This page allows the general public to get in touch with Erbgħin Kreattiv.
488px 656px 824px 992px
Contests All current contests hosted by the group are presented in this page. Media Currently displays pictures, but can be modified to host any videos posted on our YouTube page. Murals Displays all mural work created by the visual artists. The user can drag the upper banner to view the artists’ entire work.
30
31
Programming
32
Programming
33
Programming
Programming
ADVERTISING AND PROMOTION
ADVERTISING AND PROMOTION
Four concepts have been developed and implemented digitally with the aid of the Advertising department, in order to promote local talent online. Each concept has been stylized to fit into the website’s design, however they can be reworked to function as a Facebook App, if required.
2. Oħloqni
1. Għaqqadni
The interface presents a random phrase which the user is required to illustrate using the canvas provided. The artwork can be then added to the Facebook page’s gallery after verification, or shared via the user’s own Facebook wall.
The user is presented with two columns: one containing samples from various authors’ works, while the other encouraging the user to click on a phrase. As the user selects segments, they are added to the neighboring column, forming a complete work which can be shared through any social network.
34
35
Programming
Programming
ADVERTISING AND PROMOTION
ADVERTISING AND PROMOTION
3. Siltiet
4. Solvini
A set of works are presented in predetermined segments, which the user can share on any implemented social network. These posts would then link back to the full, original work.
The user is presented with a defined, segmented artwork. Once they choose to start this activity, the image is shuffled and the page’s timer initiates, counting how long it takes for the user to solve this puzzle. Once complete, the user is given the option to share their result, which is stored in a database for further use during this competition.
36
37
Programming
Programming
PARALLAX SCROLLING Promoting and enhancing the tunnel’s experience through the use of digital media is the employment of a parallax scrolling effect on the chosen visuals. This effect is created using two or more images placed at varying positions on a z-axis (this technique requires mathematical algorithms or actual 3D space). When the viewer or camera moves, the illusion of depth comes into play as each layer is pushed sideways at a rate dependent on its distance from the camera. Using 3D technology, the camera can be focused on key points of the artwork, creating a more immersive and detail-centric experience for the user. A downloadable app has been compiled, as the features used by the department are not fully compatible with the web. With more time and care, a proper, web-enabled version can be implemented into the website. Using the talents of one of the department’s members, various soundbites and tracks have been added to key points within the parallax scrolling app in order to enhance their effect on the viewer’s mood.
38
39
Programming
40
Programming
41
Sound
Sound
SOUND
42
43
Sound
Sound
SOUND TRADEMARK A short melody was composed to symbolise our company. An idea inspired by the Classic FM’s jingle, was to interpret the melody with different instruments and synthesised sounds. This created a dynamic feel to the sound trademark, yet keeping it recognisable as part of our identity. The animated logo with the different jingles could be found on this link: https://www.youtube.com/watch?v=7CfxjoUHAPs
44
45
Sound
Sound
MAKING OF VIDEOS An original music track was produced as a background for the Making Of videos. This was modified accordingly, alongside the planning of each video from the Making Of Department. To create flexibility for a variety of songs, yet keeping that same vibe, a longer track was first created from different instruments and parts. These were later collaged into a unique piece of music to suite each video perfectly, each time a different song. The music used here was on the same musical scale as the Sound Trademark and in some parts, the melody of our trademark can be heard along these tracks. We also used sounds which were also used to create some of our dynamic jingles. The Making Of Videos could be found here: http://www.youtube. com/playlist?list=PLyOkR-gKqGf4VLWPHcVh0pmTouitcRGhv
46
47
Sound
Sound
SOUND IMPLEMENTATION PROPOSAL As part of the proposal in the presentation done in front of the V18 and VCP organisations, we proposed a sound implementation that would flow along the tunnel. Imagine a surround sound in a room which would be stretched to fit the tunnel in a way that each section had its own sound which compliments the visuals. The technique offered was to use a system which consisted of six speakers positioned equally along the tunnel. These would be connected to a computer which have an external multi output sound card. From each output the complimented sound would be outputted. On the actual designing of the sound, we worked closely with the visual team to create sounds that were most adaptable, as they were the ones who knew most about the symbolism of their images.
48
49
Sound
Sound
SOUND DESIGN FOR APP A soundscape was produced as for part of an interactive application which navigates in a 2.5D environment inside the artwork. The synthetic sounds and sound effects used for the visuals were discussed with the visual team. Every part of the artwork conveyed with different visuals was expressed with selected modified sounds. This was later exported accordingly as required by the programming team to create the app.
50
51