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DESIGN 451
“I love the comment, ‘You must love designing for a living.’ At that point, I usually start to laugh or break into uncontrollable tears.” —Andrew Lewis
DESIGN 451 JACLYN SALEM
TABLE OF CONTENTS 1. 2. 3. 4. 5.
SELF PORTRAITURE JOURNAL SPREADS TYPOGRAPHIC MANIFESTO THE BRAND GAP: LOGO TAXONOMY THE BRANDING OF FOXGLOVE
01. SELF PORTRAITURE
SELF PORTRAITURE This semester, the focus was on brand development. We began the semester with a “self-branding” of sorts: self portraits. We looked to art history, both classical and contemporary, for inspiration with artists such as Rembrandt, Kimiko Yoshida, Shelby Lee Adams, Loretta Lux, and Sally Mann. Looking to these portraiture artists, we started thinking about our own self-portraits. What does it mean to be me? How do others perceive me. I started collecting 5-adjective lists from my friends and family to gain an even better (or perhaps a more well-rounded) sense of self. We were assigned two selfportraits, one of which was requrired to be photographic, and thus the quasi-ridiculous photoshoots began. The first day, half of the class showed up in some of the craziest clothes. Is this who we are? How do I balance what others think of me with how I see myself? The inspiration for my first portrait came directly from my current life. Already a few weeks into the semester, I was feeling the stresses of having absolutely zero days off during the week. I had an internship at Yee-Haw, and new job at McKay bookstore, and school to deal with just for STARTERS. I have absolutely NO days during this semester that I don’t have a sizeable, unmissable commitment. Time and time again, I over-commit myself with my inabilty to say no to ANYTHING. If I want to do it, I DO it, and my life is a big ball of crazy 24/7: I wouldn’t have it any other way though. It’s not that I have an inability to make decisions; I do it every day in design. It’s that I have so many diverse interests and things competing for my attention and time and I want to do it all, so I try to do it all, and there you have it.
PORTRAIT ONE: Through brainstorming with Seth Collins, I came up with the idea to utilize balloons as a metaphor for all of the different things competiting for my attention. THe idea is that I would be struggling/juggling the balloons at once. I wrote things like “choose this” “choose that” “I like this” “I like that” “I like this too” etc on the balloons. The photoshoot wasn’t going well honestly. The white backdrop wasn’t large enough, the balloons were going everywhere, I was wearing these ridiculous purple heels that I couldn’t pose properly in...I could go on. On one of my balloons, I had drawn arrows going in all different directions. Why couldn’t this one balloon function as all of them combined? It was more ambiguous, I wasn’t beating people over head with my message, and it was much more compelling to look at; you didn’t look at it, get it immediately, and move on immediately.
PORTRAIT TWO: For portrait two, I knew immediately that it would have to be something that dealt with books and literature. Books are my go-to item at the start of a project. Books are my comfort. I’ve worked in bookstores for over 4 years now— it’s just a large part of my life. I began reading at a very early age, and it’s something that has always stuck with me. Books make me feel safe, and they also provide an escape as well as information. They show off the diverse interests of the worlds’ population and are an amazing learning tool. And it doesn’t stop at books. I love magazines, internet articles, fanfiction...you name it. See the passion “leaping off the page?!” ha. I joke. ;) Anyway, portrait two was shot by Seth Collins in Borders bookstore, my place of work at the time. At the beginning of this project, I surveyed many of my friends and family for my top 5 personality traits. I tallied up the results and put the most common answers closest to my head. I then substituted the characteristics with attributes of protagonists or antagonists from novels that I have read.
[PHOTOGRAPHIC] SELF-PORTRAIT #1 In this piece, the balloon functions as a symbol for my diverse interests and the myriad of choices that I am forced to [not] select amongst on not only a day to day basis, but in the grander scheme of life-choice, decision making process. The balloon is literally between myself and the audience. It is a barrier
to both myself and others; it is not the metaphorical “wall that needs to be broken down.” The arrows and color of the balloon also represent my tolerance level and all of the ideas that I am open to, my highly adventurous spirit, and my flexibility and adaptability to change.
SELF-PORTRAIT #2 (on right) In this piece, I am photographed in my “natural” surroundings, in a place that I am comfortable, surrounded with objects that provide that sense of stability, truth, escape, and curiosity. The titles of the books surrounding me represent books whose characters or ideas match characteristics of my own, polled from my family and friends. The books
closest to my head are characteristics that were the most numberous in my poll. The photograph is in black in white so that the colors from the “infographic” of sorts pop off the background. There is no conceptual reason behind the colors of the levels of my personality, other than mere separation of the number of times that the trait was suggested.
JOURNAL SPREADS From the portraits, we moved on to an exercise in layout design. Using our selfportraits, we designed 2 journal/magazine layout spreads for ‘Self-Titled,” a name created with the “Diana Proven Method of Naming Anything.” In making the journal, the challenge was to create dynamic, engaging spreads that also had a nice flow and dialogue with the previous spread. In the final version of the first spread it functions as more of a “title spread.” It features a large photo that takes the highest level of hierarchy in the layout; your eye immediately goes to that yellow balloon, where you will read the opening part of the excerpt from the book The Wind-up Bird Chronicles by Haruki Murakami (my favorite author). After you read the opening of the quote and to balance out the yellow on the opposite page, I added yellow lines in various shades to connect the two pages as a spread, without creating too much competition between the two sides. I went back and forth with different point sizes for the text, and finally decided on a rectangular block of text that wasn’t extremely large because I didn’t want to two pages to compete for hierarchy. The size of the spreads themselves also changed in the final piece. When printed, I realized that the spreads didn’t make enough of a statement and that they were too small to hold any weight. In the final version of the second spread, I began with the photo that I selected, but quickly realized that it fell too flat. All of the colors in the photograph were competing with each other, I was front and center in the spread, and it is a GOOD photograph, but it was also missing something. I took the opportunity to design the photograph into something more calculated. I took the polled answers from my friends and family and put them around my body— the qualities with the most tallies closer to my body and so on. And instead of leaving just the characteristics, I substituted those characteristics with books whose characters truly exemplify that characteristic. The end result is a spread that contains an infographic (I love infographics). The text in this spread is composed of text from several different books I’ve read including: The Wind-Up Bird Chronicle, Sputnik Sweetheart, I’m a Stranger Here Myself, House of Leaves, Harry Potter and the Sorcerer’s Stone, Animal Vegetable Miracle, The Phantom Tollbooth, and more. The body text is a literal mesh of my interests as well as a symbolic reference to the different characteristics that I possess. This is one of my favorite projects that I’ve done so far, engagment wise. I really enjoy layout design, and found this project to be very fun to do. I like the challenge of making layouts look interesting in an individual spread, as well as keeping with an overall flow and gestalt amongst several pages at once.
02. JOURNAL SPREADS
I just thought this looked cool.
SO AT THE BEGINNING OF THE SEMESTER, MY COMPUTER DID WHAT ALL COMPUTERS INEVITABLY DO IN THE MIDDLE OF IMPORTANT, [UNSAVED] WORK: MY HARD DRIVE CRASHED.
03. TYPOGRAPHIC MANIFESTO
This is a page of invisible process.
My Mac ate my homework.
This is the second time my hard drive has crashed. HONESTLY, MAC?! RANT> RANT> RANT> RANT> RANT> RANT>
Oh, was that hours of work that I just ate? Nom. Nom. Nom.
TYPOGRAPHIC MANIFESTO So after the loss of my work less 2 days before due date, I redesigned all of my work to the best of my ability, and here is the result. The manifesto is composed of a series of personal mantras that I try to live my life by. I am currently doing an internship at Yee-Haw Industrial Letterpress, and was inspired by the work that they did to play with type and making different weights, kerning and sizes work together to form my manifesto mantras. It is a series of 4 statements.
01.
JACLYN
A Manifesto
A BE AMBITIOUS! EVEN IF
YOU
don’t get exactly what you want,
YOU’LL STILL
END
UP
with something
AWESOME.
02.
JACLYN
A Manifesto
ASTRIVE RIGHT
ea y THING.
TO DO
THING
even when it’s not the
03.
JACLYN
A Manifesto
A
AD VEN TUR OUS! open
BE
BIGa. BE
TO
experiences
04.
JACLYN
A Manifesto
A be tolerant!
LOVE
YOURSELF OTHERS.
PCAN NEVER BE E O P L E ANYTHING BUT
THEMSELVE
04. THE BRAND GAP
THE BRAND GAP. After self-branding, the class turned to real logos. We were assigned to collect 100 logos to analyze and decode 20 of them, and read The Brand Gap by Marty Neumeier. In this book we learned about the methodoly behind successful (and non-successful) branding, and how they are created. Neumeier sets up the book in a series of checkpoints for brand creation. While analyzing logos, I began to get a better sense of why some stick with me, and why others do not. I categorized each logo according to a preexisting logo taxonomy system, and created visual graphs to display the information.
05.
FOXGL VE A POTHECA RY
THE DESIGN BRIEF// JACLYN SALEM. THIS IS A DESIGN BRIEF FOR: FOXGLOVE. A 1600s/1700s, speak easy-style apothecary that can predict your future, send luck your way, cure what ails you, and be a haven to learn and grow.
//WHO? The primary audience is more specifically for the spiritual, those who prefer natural remedies to western medicine, and for those who practice wicca, the modern new-age religion or other similar factions. The secondary audience The audience is for men + women in their mid-twenties and up. For the younger crowd, it is a place to learn, and for the older crowd, it is merely a shop.
//WHAT? Foxglove is an apothecary that sells products such as essential oils, herbal remedies, tools, etc to equip others to make magick as well as part library where one can relax and read, look up remedies and spells, or get advice.
PROMISE: FOXGLOVE promises to provide well-stocked, quality wares and to provide a comfortable place to learn and gain information. TONE + PERSONALITY: As shown in the mood board. The colors are ‘dark and mysterious.’ It is a dungeon of sorts, but a stylish, comfortable, warm one! I envision it as a mixture of very masculine worn, wooden tables, and comfortable chairs. It has masculine lines and archituecture, but with feminine details and pops of bright color. It incorporates this mixture of science and medicine with magick and the occult. There is a ‘steampunk’-like style to it as well. (*Steampunk is industrial revolution meets victorian era.)
//WHY? Right now, this business doesn’t exist. I am somewhat creating something that I, personally, would love to have as a resource. I am riding on a very new, up and coming trend of new-age medicine, and feel confident that this could be something amazing. In my experience in bookstores, the related sections are so popular: always filled with people, books always checked out. So many people are curious about their future.
//HOW? SCHEDULE: (*subject to change as necessary) OCT OCT OCT OCT OCT NOV NOV NOV NOV NOV NOV
17: Turn in Project Brief and Mood Boards. Begin Logo work 19: Rough draft of logo due. Get critique for final logo. 24: Final logo due. Begin work on Application 1. 26: Continue work on A1. 31: Continue work on A1. 2: A1 Due. Begin Application 2. 7: Continue work on A2. 9: Continue work on A2. 14: A2 Due. Begin work on Application 3. 16: Continue work on A3. 21: A3 due for crit
POSSIBLE APPLICATIONS: -WEBSITE -TAROT CARDS -PACKAGING FOR: -INCENSE -HERBS -OILS -GEMS/STONES -ROOM LAYOUT/DESIGN -INTERIOR DESIGN -STORE FRONT WINDOW -OUTDOOR SIGNAGE -”GETTING THE WORD OUT” CARDS -LIGHTING DESIGN -FURNITURE DESIGN -INTERIOR WALL DESIGN -ARCHITECTURE OF SHOP -LIBRARY REFERNCE SHEETS -CARD CATALOG CARDS
CHECKPOINTS 1-6, 9 & 10 //Checkpoint One: 1. Who are you? What is your company? What is your passion? Write your company’s obituary. My company is a 1600’s/1700’s style apothecary that exists in today’s times. We sell both used and new items, but it is dependent on the item itself. Books for example, can be sold to us as used, but items like herbs and oils are obtained through reliable sources. Our passion is to provide materials that serve the Pagan community, as well as anyone who requires the use of our products for medicinal purposes. Our products appeal to the spiritual. Our passion is healing and spellwork through use of nature’s elements. We sell high quality, reliable products, at affordable prices. We also are very open to helping newcomers and people who need recommendations for more than just your basic needs. (*note: it remains to be seen if I would like to turn this into a “soeak easy” of sorts and make it more exclusive/hidden like it would have been in the old times) //Checkpoint Two: 2. What do you do? Clarify what business youre in. Your core purpose. Your purpose gives you direction. This should not take more than 12 words, If it does, go back to chkpnt 1. We sell good-quality, apothecary products and equip others to make magic. //Checkpoint Three: 3. What’s your vision? While a purpose can be abstract, a vision should be concrete. It is an illustration of the future that can be shared. You can “see” a vision. This store exists in an old building. It will have wooden floors and a fireplace. The store will be divided into two sections: a library section and a wares section. The library section will have several comfortable chairs to sit in, welcoming discussions and questions/ answers with others in the store or shopkeepers. The library will operate as a regular library operates to keep costs down for customers. The other side of the store is where the products are sold: oils, stones, tarot cards, herbs, incense, candles, etc. Any needs that the modern spiritualist/medicinist would need. This shop is a mix between science and the mystic. I want people to feel comfortable asking questions or coming to shopkeepers for help. (*not sure about the following*) I would like to make this difficult to find and make it authentic as if it existed in the old times. Back then, it’s existence wouldn’t have been allowed and the patrons would have been condemned. To keep with this air of secrecy I would like to make the shop a little bit hidden. Like you wouldn’t know it existed….if you didn’t know it existed. A speakeasy of sorts.
//Checkpoint Four: 4. What wave/trend are you riding? The “wicca” trend. In my experience, this is also something that doesn’t need a whole lot of push, honestly. There aren’t a lot of these stores in existence (especially in the south). In my experience, especially in places where books about the subject are involved, the books are always stolen from the library, and it’s one of the more expensive and heavily shopped sections at mckay. People are interested in knowing and determining the fate of their futures, or curing themselves or others in natural ways. It’s not about religion and definitely not against Christianity in any way. It’s about using the earth to its full potential. //Checkpoint Five: Who shares the brandscape? Many companies share the same passion and purpose. In Knoxville, the only store that I really know of is Green Earth Emporium, and Heartland Apothecary. HA focuses only on medicine though, not at all on the mystic. GEE doesn’t sell used items, and there is not really a books aspect to it. They have a few of course, but it’s not a place to obtain knowledge, only items for spells and other healing. //Checkpoint Six: What makes you the “only”? Complete this sentence 1. Our brand is the only haven that focuses on the obtaining of knowledge as well as selling products. or 2. Our brand is the only apothecary that focuses on medicine (in the form of natural healing) and learning as much as the mystical and the occult.
-Things to think about design-wise: Decoding Progressive disclosure //Checkpoint 9 Who is in your category? (Conduct a competitive audit) There is actually no one exactly like my business, but if anything came remotely close in Knoxville, it would be new age shops. {Green Earth Emporium} “A gift shop, metaphysical, and new-age inspired store in Knoxville.” 4451 Kingston Pike (865) 588-9882 Hours: Sun 1:00–6:00pm; Mon-Sat 10:00am– 8:00pm {Crystal Visions} 3001 Knoxville Center Mall (865) 546-0210 {Mystic Orb} 3722 Walker Blvd (865) 688-8743 Other closely related businesses would be Tarot readers in the area, but they obviously only focus on one aspect of the business.
No other store really has a library/ learning component. Green Earth Emporium has Tarot Card Reading classes, but nothing that is like an open-concept, library-like setup. In fact, in my experience working at bookstores and as an avid reader and library user, books on Wicca, Paganism and other various new-age materials are ALWAYS checked out, and the sections are always full of interested book skimmers. The books have quite a steady purchase index. The interest is there, even in the south. I have not heard of a secret business before (maybe because it’s a secret, yes?) but I think the possible exclusivity and mystery surrounding a secret in general…everyone wants to know about it. Everyone wants to know what it is. Everyone wants to be a part of it. I want the speakeasy of new-age shops that can predict your future, send luck your way, cure what ails you, and be a haven to learn and grow. //Checkpoint Ten What’s your name? Options: -Apotheca -The Wind-Up Bird -Wind-up -Snape’s Closet -Mist -Elixir The final name that I have come up with is Meta. I think “Meta” is “short, but sweet” and nicely relevant to my business without giving too much of it away. It comes from the word “metaphysical,” but the shortened version “meta” also sounds phonetically like the word “medicine”.
FOXGLOVE LOGO In our personal branding projects, we definitely spent the most time developing the logo. Finding something little to say a lot is no easy task. It has to be just as legible at less than an inch as it does on a store front sign. I was actually one of the first in my class to develope a successful logo, but MAN did I have problems with COLOR. COLOR! Something that I ususally have absolutely no problems with whatsoever. I’m STILL struggling with this maroonishpurple color. I’m convinced that the printers are what’s messing it up! (Talk about a blast from the 252 past...) I’ve gone through color palette after color palette after color palette and I’m finally headed in the right direction. And speaking of range, I showed wider variety with my logos than I have with anything in a really long time. When my first ideas [seemingly] weren’t working, I turned and went in a completely different direction, and basically went crazy. In the beginning, going off of my mood boards, I wanted to use dark, luscious colors and mix it with steam punk iconography and style. Steampunk was essentially what I was going for: Science mixed with Victorian style. I utilized gears, clocks, birds, demask patters, etc in my preliminary sketches, but these drawings were SO detailed that there was no way that they would work small. From there, I tried simplifying the drawings into silhouettes, and at first, couldn’t find a use for it; it just seemed so boring. Up until this point, I had pretty much ignored the idea of using the flower for which my store is named after because it seemed way too obvious and contrived, but as many of us were finding out, sometimes you just HAVE to go there for your audience— it’s all in how how USE that cliché. However, when I changed directions to the using actual foxglove, the style of the illustrations were vastly different from my brand. Bright, kiddish, bordering on crazy— and that was AFTER I did my best to reign them in and make them less so! Finally, I substituted the second “O” in Foxglove with my silhouetted illustration of a scarab beetle. Simple, still elegant, and tasteful. The logo had come full circle.
I had it in my head for the LONGEST time that I wanted to do a wind-up bird for my logo. I thought it was this perfect mixture of nature versus science. If anyone had tried telling me that it wasn’t going to work out, I would have never believed a word. I feel compelled to visit this again sometime though. I like the idea and concept of a wind-up bird, and it’s fueled even more by my favorite author that inspired the idea.
n i o d e . w n g s i g s n e d hi t f o e h e T m a n the
Oh, you know. Just a little font selection... FINAL CHOICE:
Baskerville Old Face
FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove
FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE foxglove FOXGLOVE FOXGLOVE FOXGLOVE foxglove foxglove
FOXGLOVE FOXGLOVE FOXGLOVE FOXGLOVE
foxglove
SOME VERY FIRST STEPS....
GLOVE
FOXGL VE
When it was becoming very obvious that the first steps were not working, I completely changed gears and went for a completely different style. I started making these crazy vector jewel flowers. In the end, they ended up not becoming a part of my brand, but it was one of my favorite things that I’ve made in a really long time. I think it has potential for eventual incorporation it into the design of my website, but we’ll see!
HOW TO MAKE VECTOR JEWEL FLOWERS The first step is to find several photos that are taken in a variety of angles and lighting. The angle of the flower will be the same when you trace it. Using the pen tool, trace the flower. Overlap the lines according to how the photo looks in the lighting. This will simulate shadows in the flower so that it does not appear flat. Once the flower is traced to the desired effect, use
the paint bucket to colorize each shape within the shape. Don’t be afraid to mix colors from completely different hues together. To achieve shadows, manaully gradient the colors across the flower so that the darker hues are to one side— usually in the spaces where there is a lot of overlaping in the lines. This will create a sense of depth in the 2D surface.
FOXGL VE FOXGL VE FOXGL VE
FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE FOXGL VE
STATIONARY SYSTEM After finding the solution to my logo fairly early, this gave me a head start on my stationary system, which proved to be way more difficult than I imagined it to be. Fortunately, I already had a key component to use— my hand drawn demask beetle. It was really nice to be able to get more detailed and more specific with things that I’ve already created: Just because something is not right for one application, definitely does not render it useless. The Foxglove stationary system utilizes the demask-print beetle and strives to establish a conversation/relationship with the front and back of each piece: on the envelope and the letterhead, the beetle is halfed over the edge of the piece, engaging the viewer, by compelling someone to turn the item over and, hopefully, give the item a second look.
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
FOXGL VE
4619 SALEM ROAD BOSTON, MA 02102
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
APOTHECARY
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
IN PROGRESS CRITIQUES: The enveope on the opposite page and the examples on the next page are a sample of the first color scheme that I used, a two-color scheme of burgandy/purple with gold. My classmates certainly seemed to love it, and although I had spent so many hours on it, I just hated it. It was so flat and just...not as good as I knew it could be. It wasn’t the layout that was bothering me, it was the color palette. I loved the colors and had it in my head that it would look so much different than it ended up looking in print. The interior color of the envelope printed in this horrible lime, not chartruese, and Deb still thought it was not at all fitting for the brand. (I still don’t think it should have been out of the question, it DID reflect things I used on my mood board...) So it was back to the drawing board. I looked at color combination after color combination, and tried SO many of them. Nothing seemed to be working for me. I ended up going back to my original color palette of burgandy/purple and gold, but introduced another color, a greyblue, into the mix. It really started to oome together for me after this. That, and the discovery of metallic gold paper. (and to think I was going to try to hand-paint gold leaf into that kind of detailed beetle. HA. And then the printer issues started coming up. The same color compositions looked completely different on each printer that I went to. I had to make prints of color blocks like we did in Design 252 all over agian each time that I used a different printer. These are still issues that I am facing with the project right now.
FOXGL VE APOTHECARY
346 CENTRAL ST. KNOXVILLE, TN 37919 865-306-9978
FOXGL VE APOTHECARY
FOXGL VE APOTHECARY
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
THE TRAGEDY THAT IS 2 GB OF RAM WITH 4 OPEN ADOBE PROGRAMS...
JUSTWHENYOU THINKYOU’VE
ESCAPED
252...
APOTHECARY
APOTHECARY
FOXGL VE
4619 SALEM ROAD BOSTON, MA 02102
FOXGL VE 4619 SALEM ROAD BOSTON, MA 02102 617-306-9978
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102 617-306-9978
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102 617-306-9978
FOXGL VE APOTHECARY
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102
4619 SALEM ROAD BOSTON, MA 02102
617-306-9978
617-306-9978
I happened to print this page on a piece of the metallic goldpaper that I had, and couldn’t believe that I ended up liking the “white” one best. It was this irridescent, beautiful gold, and it looked PERFECT. Exactly what I had in mind. THe dark brown that I had been using appeared flat and completely
devoid of that “spark.” It was really an afterthought and my wanting to not waste space on a color print that compelled me to put the white card on there, and it ended up being the best by far. Paper selelction really changed this brand.
sample prints go here.
FOXGL VE APOTHECARY
4619 SALEM ROAD
BOSTON, MA 02102
617-306-9978
FOXGL VE APOTHECARY
4619 SALEM ROAD BOSTON, MA 02102 617-306-9978
FOXGL VE APOTHECARY
APPLICATION 1: My first application for Foxglove is packaging design for large apothecary jars. You know the times when you haven’t made anything new for a week, and then all of a sudeen, it just hits you and you go to town and have all the answers in your head and make all these awesome decisions? That’s how I felt when my herb and oil jars came together on the night that I designed them. I had an idea in my head about what they would look like, and the next time I looked up, 4-5 hours had passed and they were almost finished. This application is made up of an “essential herbs collection” and an “essential oils collection.” They are distinguished by the shape of the label (square-like for herb, diamond for oil), which is not arbitrary; the shape of the label is conceptuallyrelated to the properties of what it contains. There aren’t any iterations that exist other than the one, because I made it all in one night. I experimented with some other simpler label shapes (right), but ended up making something a little more detailed and fancy.
FOXGL VE VE FOXGL A PAOPTOHTEHCEACRAYR Y
ET N ITAI LA LO IOLISL SC O CL OLLELCET C ITOI N ON E SESSESN
LLAAVVEENNDDEERR No. 64 64 No.
FOXGL VE VE FOXGL A PAOPTOHTEHCEACRAYR Y
OG RA GN A INCI CH E HREBR BC O CL OLLELCET C ITOI N ON OR
BBAASSIILL No. 81 81 No.
APPLICATION 2: In the beginning when I had a print off of my logo, it came up that it was a difficult logo to visualize without context. (i.e. just looking at it on paper.) Because I have already worked pretty in depth with the logo in small applications and functions, I was really intersted in creating a store front sign where the scale would undoubtably change. I researched store signs and decided that a darkstained wooden sign would be the perfect fit. My early inspirations and immediate reaction was the sign in the movie, Chocolat, where the store sign was a hanging wooden sign that had a heavy use of the hand. Because I am emphasizing a more scientific aspect, I decided to not paint the sign as in Chocolat, but rather utilize the woodshop, and specifically the laser cutter for a more exact sign. Also, If I could imagine a perfect store front, this would be it. This dark store front and gold detail is lovely. This storefront is in London, England, where I feel like I could honestly move into any building and it would be decent, if not downright perfect and gorgeous.
The sign in the film,Chocolat, which inspired the wooden storefront signthat I have in mind for Foxglove.
This is my favorite shape of the signs that I have looked at so far. I love the curvature in the top and the wood slats that are put together. The moulding around the edge is also quite nice.
OTHER SIGNAGE SHAPES THAT I LIKE
4 619
FOXGL VE A POTHECA RY
4 619
FOXGL VE A POTH E CA RY
Illustrator document for the laser cutter. Black = CUT Red = ENGRAVE White = NO CHANGE