Jenna Morse
Quality&Design
Quality&Me
Throughout this final year on the course I have found myself to be very focused around retail and in particular brands and design that have a high quality of luxury or bespoke design. This publication explores this and includes studios and projects that I find very inspirational. Within this retail sector there are three areas of design that particularly interest me. These subjects have been made into three seperate chapters that focus
on projects specifically within that area. These chapters are: Quality & Branding, Quality & Editorial and Quality & Packaging. I feel all my work done this year fits into these categories. By constructing this publication I have revisited studios and designs that have influenced me through my journey on the course, as well as exploring new projects that link with my current practice and have a level of quality and design that I aspire too.
Quality&Branding
The bright, bold colours of this design are very engaging and the contrast of the bright yellow and crisp white is very aesthetically pleasing. The scalloped edges is appropriate to the design and gives a very high quality finish. The type style is very playful and naive and the script appearance really compliments the rest of the design.
The Special Group
The special group has this to say about the project, “We are pleased to have worked with Katie Lockhart to bring a bit of understated seaside luxury to Waiheke Island, in New Zealand. Now completed, the Oyster Inn programme includes a full brand design, from identity and stationery through to signage and collateral for the inn, restaurant and bar, retail shop and website. It opened in November to much fanfare over its top rate service and honest, simple, local food. So if you haven’t made plans to sail over, do.�
Ro & Co
Ro & Co is one of my favourite brand and identity studios. I feel that their style is crisp and elegant as shown here in this project for Loeffler Randall. The elements work together seamlessly and I love how there has been an introduction of print and contrasting colour. The photography of the pieces is also to a high standard and really puts across the work in a positive light as the coloured backdrops and composition arrangement compliment well. Projects like this demonstrate to me that simple solutions
are sometimes the most successful if they are done to a high standard of execution. For example on most of the products just the logo has been applied but it is the consistency and injection of additional elements that make the design be engaging. This is how the studio describe themselves, “RoAndCo, founded in 2006, is a multidisciplinary creative agency that serves as a visual thought leader, aiming to thoughtfully distill a client’s inspirations.”
Maud
Maud have this to say about the project, “QT Hotels approached us to design a brand for their first of several spas around Australia, with the stipulation that the identity of each should be inspired by the culture of its location, the first being on Australia’s iconic Gold Coast. We took inspiration from colourful beach huts and natural stocks to create a vibrant, approachable brand.”
For me this project is extemely engaging due to the bright colours incorporated into simple, yet powerful print variations. They jump away from the more natural appearance of the textured stock and I like the contrast of the block colour on this surface as it adds another level to the design. The inspiration and concept for the work is also strong and clear to see.
Dittmar
The process of design as stated by Dittmar, “Lovely Day is an emerging fashion brand out of Adelaide. The brief called for the development of an identity reflective of the current and future directions of the brand, leaning towards a clean (but fun) minimalist aesthetic. The brand had to work alongside the collections, rather than competing with them. Patterns have been derived from the
seeds of pomegranate and dragon fruit, using colour to create a vibrant application reflective of the brand.� For me the use of colour is fantastic and I love how the three tones used are so bright and exciting as it is more uncommon in this field of design. It is also interesting how the print is inspired by the seeds of a pomegranate.
Raw Color
As an individual that loves print and pattern this branding project was very interesting to me. The logo is strongly considered and I think the level of manipulation it contains is very clever. For a start how it can be repeated to create a large scale pattern is very interesting and obviously very relevant to the brand itself. I also like how colour can be applied along with varied opacities to manipulate it further. I think the fact that all these changes can be made and yet the brand still remains clear shows how strong the identity is and how memorable it will be for the audience. Here are the thoughts behind it, “The unique character of the Textile Museum is the combination with its production and development facility the TextileLab. In the identity the focus is on visualizing the combination of these two characters of the institution. Depending on the focus one of the two will be highlighted with a more intense opacity than the other one. Departing from the icon it serves as the basic element to construct a big variety of patterns. The colour palette is based on 5 hues that are used in a variety of intensities. By mixing and multiplying several layers new colours appear.�
Socio Design speak about the brand and their design decisions, “Soap are a new digital and mobile development agency based in London. They differentiate themselves from their competitors through the craft and detail imbued in their service. We created a brand story and identity system that represented Soap’s distinct perspective and applied it to both print and digital collateral. The result was a paradoxical brand that reflected Soap’s craftsmanship and tactile work ethic through 1930s industrial insignia, pastel colours and metallic foils. This unusual combination helped to define a distinct brand style that communicated the core values at the heart of the business, and set Soap apart from their competitors.”
Socio Design
I love the pastel colour palette and I think it works especially well with the hint of gold foiling as it gives a luxurious appearance. The variety of colours work as the rest of the design choices have been kept so consistent.
Blok Design
Blok Design have put in a lot of consideration for the concept of this life changing organisation. “SHE (Sustainable Health Enterprises) is a New York based organisation whose mission is to improve the quality of life for women and girls in developing countries. Their first initiative, SHE/28, addresses the lack of affordable menstruation supplies in Rwanda. The identity needed to capture the heart and soul of a brand that empowers women and girls to stand tall and proud. Thus the wordmark
itself “stands tall”, emphasised by the bold underscore and colour palette. The text creates an empowering dialogue that strengthens the brand’s values. The deliberate space beneath “SHE” allows initiatives to find their place within the parent brand, as in SHE/28.” I love the simplicity of this concept and design as I think it gives an identity to the brand without being overpowering to the overall message. The use of colour and composition create a strong overall appearance.
Manual
To me the core of this identity is the logo, as it clearly demonstrates the main theme of the restaurant and how the idea has been applied to other aspects creates an extremely memorable aspect. The use of high quality stock would also subconsciously transfer onto the link with the food served. This is the studio’s take on the project, “The Slanted Door has
defined modern Vietnamese food in San Francisco. Manual worked closely with the Phan family to identify the values and personality of the restaurant, before undertaking a redesign. The mark references the ‘slanted’ aspect of the name and utilises a single line to bring a distinct element to the identity. This unifying line also conveys the notion of connection.”
The Perky Bros discuss the background of No. Six Depot and also their approach to the branding. “No. Six Depot is a family owned, small-batch coffee roaster and café nested in the beautiful Berkshires. Located in a historic train station on 6 Depot St, they serve teas, salts and coffee from small farms and roast on location. Their identity juxtaposes a mix of unique rural and modern elements, drawing inspiration from their own backyard railroad and unique approach to keeping it simple and true.”
Perky Bros
I feel that this is another example of how simplicity can often reign supreme in a brand and identity project. The typeface used is bold and clear to read with a ‘no fuss’ aesthetic that links with the personality of the brand itself. The introduction of the stamp also backs this up as it represents heritage and old techniques, using simple processes to create a strong outcome.
Heydays
Within this design the logo plays an important role in the identity of the brand. The dotted typeface is unique and I like how it has been applied to other areas of the collection, especially when paired with the laser cut process, as it creates a very interesting interactive element. The colour palette is simple, with complimentary tones and textures. The
photography is great and the yellow adds a fun touch. Heydays say that, “Nöra is a design house in São Paulo and London. Their projects range from delivering seats for Wembley Arena to furnishing high-end offices. Inspired by their services, we created a sophisticated identity with a playful twist.”
Quality&Editorial
This editorial piece is very exciting to me, I love the combination of coloured stocks and the variation of format sizes. Because of this interesting aspect the type and layout have remained simple so that the overall appearance isn’t too overpowering.
clase bcn
How Clase bcn describe their design process. “We see design as an essential tool which helps us all to go forward and add value to companies, brands and projects. A way of providing solutions to real problems of identity and communication, facilitating change, but carefully bearing in mind the audiences to whom we are talking.�
Deutsche & Japaner
The studio provide some backround information for this project, “Deutsche & Japaner was invited to design a notebook for Imprimerie Du Marais, Paris. Being one party of a total 8 brought together in the final package. Other designers invited to this wonderful exercise were our dear fellows Johannes Breyer, Grandpeople,Visiotypen, Inventory Studio, Studio Will, Camilla Diedrich and Brogen
Averill. Embossed, hot foiled, sewn, varnished, silk screened. 2 Pantones.� I love how at a glance these publications have a scrappy and unfinished appearance, due to the free ends of thread but then once looking closer it is clear to see the amount of time that has been put into it from the consideration of colour to the high quality foiling and embossing.
An introduction to the project by Designer, Chloe Galea, “Limited edition box-set design for Phillip Pullman’s epic trilogy – His Dark Materials. To celebrate the themes and characters in the book, as well as engage an adult readership, a series of bespoke patterns were created.”
Chloe Galea
This project focuses on the design of covers rather than the layout of content and type styles etc. I like how all the patterns are different yet it is still clear that they are all still part of the same trilogy collection. This is due to the constant colour scheme, with each publication having a different tone as the base colour. The pattern style is also very similar even though different styles have been illustrated.
Shaz Madani
Description of editorial piece by Shaz Madani, “Large format magazine produced as part of London Fashion Week. The creative was carried across window installations and instore graphics.� This publiation design appeals to me on a number of levels. The photography is engaging and I love the use of colour, light and shadow to create
interesting back drops. The layout composition is also interesting with a large amount of white space along either side. The bold letterforms create impact especially when paired with the bright colour on opposing pages or the crisp white. The cover type is very strong and links well with how it appears in the content, even with the detail of incorporating the horizontal line consistently.
lg2
lg2 descibe the concept of this publication. “The luxurious Ritz-Cartlon Hotel was the venue for the 2012 edition of La Vittoria. It also inspired the branding of the event, the various rooms echoing both our modern era and the times of Louis XVI. Spiral scrolls and minimalist geometry, gilding and fluorescent colours created the backdrop for this period of French history and were complemented by architectural elements and photos of chefs reminiscent of statues from that century.�
Within this publication there is a strong colour theme of a light mint green that remains constant throughout. It has been used on a lot of pages as a replacement for the more common white. The format also steps away from convention with it being in a square shape. I really like this as it makes layout compositions different from most. The cover also has a luxury feel, I like the hardbound cover and how the binding is a strong contrast of black along with the bright red that is also incorporated.
Menta
The cover is what really drew me into this publication. The laser cut aspect is very eyecatching especially with the bold and decorative print that shows through. Because of this it also creates something that is more dimensional due to the shadow it creates. Menta talks through the project, “Publication for
Sanz Espacio Creativo, a studio which specialises on ephemeral architecture. The major services offered by the company can be found here, together with reports on some of their most recent major international projects. The commissioning of this new company profile came from the company’s request for a brand new trend-setting makeover.”
Artworklove
Artwork love discuss the content and concept of this project. “Press Dossier showcasing the new ‘Krug Lovers’ campaign “Create your own version of happiness”. The booklet documents a work from the Dutch artist Scarlett Hooft Graafland, commissioned by Krug Champagne. The combination of papers, textures, formats and colours creates a tailored object, reflecting the craft
based nature of the artistic collaboration.” There is so much interactivity within this publication due to the large range of formats used. Because of the variety of paper size it really alters the composition as after each turn of a page there is new shapes and layouts to be seen, new aspects getting uncovered. The use of coloured stock really exaggerates this.
Lotta Nieminen talks through the basis of this publication, “Visual identity and layout for the written part of my BFA thesis. The subjective text is divided into four chapters, one for each year of my undergraduate studies. Narrower, colored pages were used throughout the book to display textual and visual references.�
Lotta Nieminen
Again this a publication with interesting manipulation of format, however this example does it on a much more subtle scale. The pastel colours are very aesthetically pleasing to me, especially against the fresh white.
Esther Rieser
Here is a description of the publication by designer Esther Rieser. “This small booklet is divided into three parts: A is theory, B is picture and C is archive. It is held together solely by a rubber band, suggesting incompleteness and allowing the content to be supplemented with new pages. The design on the cover is a
reference to the old jackets of school books.� One thing that interests me here is how each chapter title is clearly visible from the cover page, due to an innovative use of format. I like the use of pattern on the front as I feel it adds interest to otherwise a very simple aesthetic.
Victor Arraez
Some background information behind this publication, “My graduation project in Valencia was to create a workspace for silk-screening and editorial production, adapting an unused space of the school, getting all the furniture and instruments necessary, producing an exposure unit and repairing some old printing tables stored in the school. The goal for this place was to be an open space for people to work on their own projects. This kind of space, common in most European schools, didn’t exist
in Valencia’s design school, so it became a great opportunity for both the school and myself, since they were letting me actually build a space from scratch and turn a project into a reality, that otherwise would have been unaffordable. The aspect that drew me to this publication was the binding. I love how it is visible to see and the coloured stitching compliments the colour scheme of the rest of the publication. The printing technique adds to this.
Quality&Packaging
Anagrama
Anagrama explains the background information for Viviana and the ideas behind the design, “Viviana is a brand for highly nutritional food products made with natural ingredients, antioxidants and super-foods located in Monterrey, Mexico. Honesty, one of the main values that the brand represents, is the main reason we decided to maintain the consistently simple in the logotype and packaging. The main reason we decided to use product images on the packaging was the need to make sure one of the main product traits, being pure and trustable, was communicated
effectively. In addition to this, we located the product description on the upper part of the packaging making it easier to be read through the opening process for it’s consumption.� I love the clean appearance of this packaging the logo is simple, yet effective and the linear appearance looks great in black and white. The use of photographic imagery is very relevant to the brand and I think it works so successfully due to the bright colours of the products themselves. It makes an impact on the clear white space.
Construct London
The simplicity of design reflects the simplicity of the product and shows how natural it is. The packaging lets the juice do the talking with the transparent labelling and the bright colours shine through attracting the consumer. The photography plays an important role in portraying the brand as it demonstrates the ingredients used but in a contemporary style that is fun and visually appealing to the audience. Construct explains how this
brand came about. “Radiance Cleanse was founded in 2009 by two best friends, Christina Agnew and Clare Neill, who both believe passionately in the huge benefits of juice cleansing. Clare and Christina wanted to pioneer the UK’s first high quality, nutritional and organic juice cleanse programme, and they wanted to make it available across the mainland UK. And so Radiance was born.�
Studio Chapeaux
Studio Chapeaux explain the back story to this packaging design, “The story of Linvard Bo Lapp and his travelling companion Ephraim Fao is one of discovery. Scouring the globe to unearth the sweetest delicacies of far-away countries. This is reflected within the new packaging creative for their syrup range: designed and illustrated to look like different stamps, the visuals show
snapshots of those travels and discoveries – just like the Lapp & Fao syrups, each one a delicious souvenir in a bottle.” I feel this packaging successfully merges a traditional style with a contemporary twist. I like how the design has such a strong connection with the brand as it strengthens the identity and makes it more memorable to the audience.
Bessermachen
The colours used within this packaging really appeal to me and I think they compliment together well within the set. I like how an aspect of the label has been made transparent so that an element of the content can show through, adding texture to the composition. Here is what Bessermachen has to say, ““Karamelleriet” is a product of 2 enthusiasts, a common dream, and the respect for old handcraft. This is complete handmade products from own production.
The new visual universe must reflect the exact values and at the same time being innovative and dare to be different. With a new identity that contains everything from logo and packaging to display and flyers “karamelleriet” has achieved an expression that is the caramel production worthy. The entire expression is based on the most essential: the caramel. The contrasting curves which occurs during the whole process and the simple and elegant expression the finished caramel has.”
The incoporation of pattern and process here is amazing and gives an incredibly luxurious appearance.
Rice Creative
Rice Creatives thoughts behind the design, “Marou created a special edition chocolate bar for exhibiting at the 2012 Salone de Mobile in Milan. The packaging we designed for the occasion would stay true to the standard bars and press further the attention given to lovingly hand printed details. We strayed from the traditional motifs to embrace a more modernist approach, incorporating the well known Wallpaper* asterisk mark into a new pattern.�
Mouse Graphics
Mouse Graphics take on this brief, “Our client asked for an aura of exclusivity which should be rooted in elegance. We had to convey simplicity and hint at a different modus vivendi. We had to address a wide range of products including olive oil, flour, pasta, herb infusions, fleur de sel, etc. Many of them are based on the Triticum Dicoccum variety of wheat seeds a dual core crops. We opted for a design which would convey the dual nature of these seeds as well the harmony
and balance. We also decided to do so through a strong visual statement regarding space and matter. Using Lucio Fontana’s famous Tagli (slash) pieces as additional inspiration, we designed simple white surfaces - packages which are distinguished by the illusion of a cut, a twofold spindle like incision on paper. Blurring the distinction between two and three dimensionality, this is also a simple but decisive design gesture that alludes to a space-system and calm connoisseurship.”
Spread Studio
Spread Studio describing their practice, “Spread Studio is a multidisciplinary design studio specialised in the fashion and lifestlye industry. Based on an international network of creative partners, spread studio offers both small scale branding services as well as full scale productions.� The monochromatic style works well with this packaging
as it enhances the print designs. The natural theme of the design is very effective and the contemporary style of the illustrations bring the product into the now. The promotional photographic images are clever and I love how the print travels from three dimensions to the flat surface of the background. The labels are simplistic so they don’t compete with the bold pattern.
Kokoromoi
Kokoromoi talk through aspects of the design, “The visual identity is built on the custom-made typefaces, Fazer Grotesk and Fazer Chisel, which have taken their forms from the classic ‘FAZER’ sign at the renowned Kluuvikatu location. The typefaces are used comprehensively for all the visual communication and marketing materials. They are utilised everywhere from the logo to the menu boards and price tags and with single characters that take over the packaging materials, clothing and the decor of the walls. Other custom-made graphic elements utilised in the identity, in addition to the typeface, are various patterns that Kokoro & Moi designed to be used in wallpaper, napkins, take-away packaging, and staff accessories among others.” I like the strong use of a consistant style. The type design is very memorable and the singular letters make a bold statement.
Empatia
The colours within this packaging have been used very sparingly but I feel that this limited uses creates a lot of impact within the composition. I also like how the circular swatches of colour have also been applied on top of the photographic images as it creates an interesing effect. Empatia’s thoughts behind the brand and design decisions, “White, yellow and blue. We gave this newly brand a whole
graphic universe. Pure and simple. Professional and playful. Swish® is a Sweden seafood company that offers premium fresh fish and seafood from the waters of Sweden. From the ocean to your plate, Swish® demands perfection. In order to achieve this perfection, we develop a deeper process of branding, revealing unexpected opportunities for this newly company, and giving our client opportunities beyond the expected.”
Blow
A small explanation behind this packaging project from Blow, “To further explore the possibility of astrobrights paper for Polytrade, we have designed a series of packaging by using astrobrights paper, including wine, chocolate, mooncake, tea packaging and gift box.� The use of pattern here really appeals to me as it is something I am very interested in and passionate about. The level of detail is amazing and really compliments the bold use of colour, especially with the contrast of the black. The logo sits comfortably in the centre in a luxurious gold and stands out against the other busier areas.