July 2016
A Branding & Identity Design Journal By Julie Aaland
MODULE 3: Designing for Production & Media 1
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FOREWORD In the third and last issue of my Professional Journal I take on the final stage of the design process- Designing for Production and Media. I will look at traditional and contemporary practices used in the professional industry. In order to complete my MA project I will research methods and practices relevant to finalise designs for implementation. This issue I will look at material, printing processes and examples of production and media. My research will include examples from the food industry as well as looking at other areas of design. I will look into methods enabling me to visualise ‘Ugly’, and implement it on different touch-points. I will experiment with media to communicate and balance imperfect visuals. Visuals with the right amount of glitch. As this module concludes my project I will summarise my experience and learning outcomes from this year as a MA student in branding. GOALS FOR MODULE 3 • • • • • •
Gain advance knowledge of traditional and contemporary production practices. Learn and adopt professional design and production practices. Design for application and media. Design effective packaging by applying appropriate methods. Conclude project informed by advanced research into theory and practices. Experiment with a range of conventional and unconventional visual elements, materials and techniques.
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TABLE OF CONTENT
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SUSTAINABLE DESIGN FOR PRODUCTION
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MATERIAL AND PROCESS
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DESIGNING THE HEALTHY SNACK OF THE FUTURE
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PACKAGING HEALTHY
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TRADITION VS. DIGITALISATION
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COMMUNICATING FOOD CASE: OATLY & TIBITS LONDON
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DESIGNING THE BRAND BOOK CASE: JAMIE OLIVER
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REFLECTIONS: SUMMING UP
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PRODUCTION: SUSTAINABILITY
ETHICS, SUSTAINABILITY & ENVIRONMENTAL CONSIDERATIONS In developing branding and identity design a variety of material, production methods, and media will be considered for different qualities and benefits. What goes in to choosing the right method, paper quality, ink and media for a project? Let’s start by looking at the sustainability factor. Ethical and environmental considerations are important when assessing material and processes. In my research I consider ethics and sustainability as a fundamental requirement, and this way a delimitation in terms of production and media chosen. As my project idea is based on waste reduction and sustainability all idea proposals should be in line with these values. Rather than looking at it as an restriction, I chose to look at this as an opportunity to prove that sustainability does not have to be limitation, but rather an opportunity.
1. CHOOSING MATERIAL The easiest step in creating greener print will be to choose recyclable, renewable, and biodegradable materials. Use vegetable-based ink and materials produced under fair working conditions. Every aspect of the finished product plays a role in making a project more sustainable. 2. DESIGN SUSTAINABLY Creating sustainable print also reflects back on the design process. Look at size of paper, size of fonts and use of ink. The less material that is used, the more sustainable the final product will be. This will potentially also save cost. The concept of reducing resources also goes in line with the vernacular design principles constraint and thrift.
“It is estimated that over 45 trillion pages are printed each year and that 30% of print materials are never “consumed” or used because they become outdated 3. LIFE CYCLE CONSIDERATIONS or no longer needed.” (Art of the start, In considering the durability of the product it is important to consider 2014) area of use. How long will the product A first solution to this challenge should be relevant, and what material is most be to make print more relevant. To create appropriate for the life-cycle of a smart, exciting and useful material that product? Can it be re-purposed, reused matter. If it will go to waste, why spend or recycled after the intended lifespan? the time, money and resources? As a Take packaging, where there is a need to first step, evaluate, is it necessary to evaluate what goes to waste after use. Is the best solution to use biodegradable print? material that create less waste after The next step will be to go beyond just use, or consider other materials such the ink or paper used, and consider the as glass that might enable packaging whole process of creating sustainable to be re-purposed or recycled after it has served it’s purpose as packaging. print design. The whole lifespan of a product, from production to disposal should play a role in the design of sustainable print. In order to be confident that materials are created ethically using the best materials, it will be vital to choose the right printer. 6
SUSTAINABLE PACKAGING DESIGN has become a design trend in recent years with the need to be perceived as eco-friendly becoming more and more important. The look of bare cardboard gives the illusion of sustainable packaging, which makes it a popular choice for Eco friendly packaging, but it is not the only option. Many brands have experimented with different materials and packaging in an attempt to find sustainable packaging designs.
The Dream Ball Project is a great example of how innovative design can impact on life in a positive way. Unplug design made the ball using the aid boxes delivered to Africa and then gave them to local African children to play with.
REFLECTIONS
A well known example of sustainable packaging is Pumas ‘Clever little bag’. Successful in reducing 65% cardboard usage, saving 1 million litres of water, 8500 tonnes of paper and 20 megajoules of electricity.
CONSIDERING SUSTAINABILITY As my project idea is focused around waste reduction and sustainable values, these considerations should also be made in regards of material, production and design. I will implement elements of vernacular design in considerations for sustainable design. The main consideration will be thrift, durability and creating simple designs
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applications that will create less impact on the environment. In terms of material and production, this will mainly apply to choice of suppliers, inks and materials. Choosing suppliers that have acknowledged certificates, using vegetable ink and unbleached, uncoated paper, will be good ways to make the products more sustainable. Also considering the whole life-cycle while designing. Less is more.
PRODUCTION: MATERIAL AND PROCESS
ALTERNATIVE MATERIAL “Common problems faced when considering the introduction of alternative processes and material to a project are restraints of budget and time. Print manufacture has become highly commodified, and there is now a plethora of companies that can offer competitive prices and short delivery times.” (Mason, D., 2007)
Price and time: According to Daniel Mason, industrial processes are higher in cost of producing mouldings or tools prior to manufacture. Printing process will have set-up costs, but this price will rarely have this impact on final value. Lead time will vary from different processes. The more reliant on tooling, the longer it will take to prototype, develop and produce a product.
“The fear of the unknown can often make designers reticent about proposing a new substrate or manufacturing method. It is about being deliberate and conscientious about sourcing suppliers and building a relationship with them. The supplier holds the knowledge.” (Mason, D., 2007)
MATERIAL TRENDS In line with the WGSN trend EDGELAND S/S 17 food and packaging will embrace a more folkloric direction with playful crafted materials and surface patterns. Another way the EDGELAND trends approaches packaging is through use of gritty and industrial elements and textures.
In ‘Materials, Process and Print’, Daniel Mason explains how unconventional material can lift a design to new heights. However, it is also important to not be overly swayed by the excitement of discovering something that has never been attempted before. It’s about a balance of innovation and functionality. In this book he goes deeper into conventional, and less conventional materials including: Acrylic, Bible paper, Book Cloth, Coloured Paper, Cork, Corrugated Cardboard, Felt, Flexible, Pvc, Grey Board, High-density foam, Metal, Mirri board, Newsprint, Paper, Polypropylene, Polystyrene, Rigid Pvc, Rubber, Self-Adhesive, Synthetic Paper, Tyvek, Velcro, Wood and many more. Each material with their own list of requirement to consider. The important part to evaluate which material is right for a specific project or design. It’s about matching the right material with the right design idea.
This is demonstrated through concrete covered bottles, as well as plain or tinted cardboard and wax paper work instead of mass-market solutions that celebrate honest and simple qualities. One example that embodies the beauty and simplicity of this trend is Voyageur du temps.
PROCESS “Processes can be divided into a number of relevant areas. Variants of the lithographic printing process are the most commonly encountered, and, where ink to material is concerned, each process has very specific characteristics that are peculiar to only itself.” (Mason, D., 2007)
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“Common problems faced when considering the introduction of alternative processes and material to a project are restraints of budget and time.” (Mason, D., 2007)
VOYAGEUR DU TEMP is a California bakery and cafe serving hand-crafted, artisan goods. The ‘time traveller’ inspired brand use subtle illustrations combined on the packaging to reflect their core values. The bread bags feature custom illustrations resembling high end wrapping paper, printed on grease proof paper. This translucent and delicate paper, combined with brown card and grey coloured paper, gives it a timeless overall look. The contrast between the two materials used, empasises the functions of each material. The simple and subtle design also allows the material to speak, and add to the expression.
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The branding across all product to is understated, yet very chic. The use of patterns, material and colour allows the product to stand out, while delivering a customer experience that begins as soon as you unwrap it. The design is aimed at a demographic that appreciates quality and design. . The packaging gives a feeling of luxury, artistry and tradition.
CONTRASTING UGLY In trying to visualise ‘Ugly’, I have found it challenging to find a balance between too Ugly, and not Ugly enough to make a statement. By looking at industry examples of different touch-points, such as Voyageur Du Temp, I have found inspiration to balance the amount of Ugly. By taking my project back to the core idea, Ugly fruit and vegetables, I have been able to simplify and create a stronger visual language. What makes it ugly? The shape, the size, the wrong measurements. In my visual language I have focused on creating a contrast between the ugly vegetables, and other
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elements used. Organic, crooked, lumpy, vegetables, and vegetable prints, against straight and static measurement lines. This creates a simple message that reference the initial idea, as well as reinforcing the Ugliness of the vegetables. REFLECTED IN MATERIAL This idea of contrasting Ugly with straight and clean, will also be reflected in the materials used. Old distressed and ‘ugly’ wood against clean and simple glass. Recycled brown card, against delicate translucent paper. By implementing the concept of contrast, I will be able to create the right balance of Ugly.
PRODUCTION: MATERIAL
‘UGLY’ TEXTURES: In developing designs for production I have looked at ways of creating visuals that has a slight glitch or imperfection. I have found that mistakes can sometimes occur and create unexpected visal details.
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THE RIGHT MATERIAL: In order to create the right visual expression, it’s important to consider different materials and production methods. A good way to find the right material for a project is just trying it out. One of the methods and materials I have tried is laser engraving on wood.
BALANCE: To balance the roughness of the wood I have implemented more delicate material such as translucent paper and glass. The purpose of this was to create balance, as well as emphasise the roughness of the wood.
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WEBINAR: PACKAGING
WEBINAR: BRANDING THE HEALTHY
SNACK OF THE FUTURE Healthy snacking is the future of eating. And the future consumer is Generation Z. ‘The big picture’ Webinar on healthy snacks and gen Z revels what ‘s important when design for gen z and the health conscious consumer. A birds-eye view into the world of Generation Z, their relationship with health and snacking, and key considerations for brand owners and marketers when targeting this influential consumer group. In this webinar The big picture looks into what brand should consider when designing for Gen Z. They also mention that Gen Z and Gen Y are overlapping in a lot of areas. SEAMLESS DESIGN aesthetic is a hygiene factor for the highly digital and visual future consumer. The most visual generation to date. The new generation has the attentions-pan of a goldfish. The are drawn towards visuals that are immediate and easy to decode. System1 design is a concept that ingrates this. System 1 design is about relying on design elements that cam be intuitively decoded. Making it quick and easy for the consumer to understand what something is. 360 DESIGN The idea of not just thinking of design just as packaging or standard touchpints. Think about the whole brand world and where it can be applicable. A holistic 360 brand language. Be innovative, do something unexpected, disrupt traditions and norms. Gen Z look to redefine norms, and push change, and they look for brand that carry these same values of change. This can be applied to any touch-point, amongst other- packaging. Challenge what’s normal. Whether it be design or functionality.
TONE OF VOICE Tone of voice is an important consideration when design for a young audience. The same concept of being unexpected and different applies here. Being rebellious and rude can have more impact than being politically correct and ‘kind’. SHOUT, don’t whisper. Popular messages to communicate is strength, mindfulness and health. BE OMNI Mass-marketing is dead. The new generations are experiencing brand when they want, how they want, meaning brands need to be where they are. Their life is fluent, likewise their view on health... Younger people today change their diet, exercise regime and general health change and they dip in and out of different trends. They have a more holistic and long-term view on health. Looking good, and feeling good. To be omni brand should look beyond their category . Being fluid and changing up product offer. Again, unexpected is good. Omni also applies to having a holistic approach to values on sustainability. Young consumers today are more environmentally conscious than older generations. Brands need to have a holistic approach to sustainability and health. Communicating these values through packaging will be important.
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NOFILTER To the point. Championing transparency. Less is more. The new generation appreciate ‘extreme’ simplicity and brands that are straight to the point. In terms of packaging design it is important to promote simple recipes, natural ingredients and simply showing what’s in the food. Say exactly what you are. Visually and in words.
SOCIAL CURRENCY The contemporary consumer is hyper aware of how they are perceived online, and offline. The food they consumer say something about who you are. They share their food experiences online, via Instagram, Facebook or Snapchat. However, offline is definitely not dead. Food experiences are also shared offline. Creating new experiences that consumers can share, real time, offline... ( and then probably document and share online) Younger people are willing to give more for unique experiences that are shareable, and make them look good. The products you consume become a social badge.
The Chobani pop up shop in Soho is a great example of expanding a brand through making it a social experience and making the consumer look good.
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WEBINAR: PACKAGING
PACKAGING HEALTHY SNACKS OF THE FUTURE
Here I have selected a few examples from The Big Picture webinar. Different approaches to package healthy snack of the future. Brands that are doing packaging right today. The most impact concept to focus on is System 1 design, simplicity, and a straightforward, no bullshit tone of voice. Focus on a holistic approach to health. The new generation also look to be surprised by brands pushing boundaries and doing something unexpected.
FOCUS ON INGREDIENTS: Kind bars are known for their simple design, focusing on the simplicity of the ingredients and showing the product, by leaving most of the packing be transparent. Kind bars champion transparency by being honest about what the product is, ingredients you can see and pronounce.
TONE OF VOICE: Rude health has a no bullshit approach to health. They are playfully ‘rude’ and are straight forward in their message. The ‘rude’ message is balanced by more playful graphics and colours on their packaging.
SIMPLICITY: Emma & Toms is an example of extreme simplicity and no bullshit. The packaging states what the product is with simple, descriptive colours. No graphics or gimmicky catchphrases.
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REFLECTIONS
BOLD AND UNEXPECTED: BLK water creates a bold expression by using black, which is unconventional for water bottle. The expression is extended thorough a hidden message that is revealed when the bottle is empty.
HEALTH OF THE FUTURE In the start of this module we learned about semiotic packaging. Semiotics can lay a foundation for packaging design, but there is a lot of considerations to make, beyond semiotics. From the ‘The Big Picture’ webinar on designing the healthy snack of the future, I learned a lot about how to design for a health oriented target group. I also became more aware of the different elements of what goes into designing packaging for the new generations.
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This audience and category calls for simplicity, honesty, and breaking the norm. The healthy snack of the future is focus on the ingredients, and being transparent about what the product is. Tone of voice is important for this target audience. They down want propaganda and spin. They crave realness, authenticity and a no bullshit approach. They are also constantly on the look out for something to share. Online, and offline. The products they consume become a social badge.
CASE STUDY: TRADITION VS. MODERNISATION
BRAND REFRESH: TRADITION VS. MODERNISATION CO-OP VS. INSTAGRAM REFRESH
In today’s digital age it is vital for brands to stay on top of technological trends and adjust what accordingly. It becomes a matter of balance between modernising and treasuring the core of a brands identity. Two recent of examples of this is CO-OP and Instagrams design refresh. Good branding is often about creating visual expressions that are bold, recognisable and potentially iconic. Brans that have been around for a while will ,inevitable, have to adapt to changes in society. Big or small. Adjust visual language and make minor tweaks, or re-brand completely to get people excited about the brand again. In recent times there has been multiple examples of brands overhauling their identity with mixed reactions. What happens when an iconic design is changed to the point where it has little to no connection with the initial Brand design?
INSTAGRAM REFRESH Instagram recently unveiled a new logo, which, according to Adweek.com, may well go down as one of the biggest design fails of the year. The new design is a modernized and simplified camera symbol over an rainbow colour gradient background. This design replaces an iconic and beloved icon which is one of the most instantly recognizable logos in tech. The modernized Instagram design has received a lot of attention, most of which negative.
“Unfortunately, while it may render better in some environments, it’s a very forgettable image that will get lost on people’s phones amid the thousands of other similarly uninspired designs of most tech Apps.” Adweek.com The argumentation for the refresh is to modernize the old icon that has been pretty much the same since the start. The new design is meant to be more dynamic and versatile, fitting into a new, broader visual identity. Does modernization and versatility have to exist in place of tradition and recognition? An interesting contrast to the Instagram refresh, is CO-OPs newest approach to re-branding. Co-Op has re-branded, dusting off a logo from 1968 amid a major restructuring of its membership scheme. North led the re-branding by creating a modernised version of the 1968 cloverleaf logo, which has been designed as a visual reminder of the company’s roots. “Returning to the familiar can be a radical act, but it is the timeless quality of this iconic logo that makes such a move possible – it is distinct, recognisable, approachable, and dynamic, giving us the opportunity to signal a shift back to the ideas that made the Co-op special for its customers.” North partner Sean Perkins
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CASE STUDY: ICONIC VS. MODERNISED
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REDRAWN FROM ARCHIVE MATERIAL The ‘new’ brand design has been redrawn from archive material and a new colour scheme has been introduced to enhance the original 1968 Co-op colours, while a new typeface has been introduced to work across all print, digital and in-store touch points. This including signage, shop environments, packaging, uniforms and vehicle livery. Co-ops design director Ben Terrett says: “With the new membership offer our own brand products become more important than ever and this new look
brings a simplicity and helps them stand out more. We want all our products and services to be simple and user focused and this is an essential part of that work.” Due to the recognition and history of the old clover design, Co-Op is able to modernise their Brand while linking it to the traditional design and Brand Identity. In comparing Co-Ops re-branding, with the new Instagram design value of tradition and recognition becomes evident. Modernisation is important and inevitable, but careful considerations to the history of the brand needs to be made.
REFLECTIONS
“Returning to the familiar can be a radical act, but it is the timeless quality of this iconic logo that makes such a move possible – it is distinct, recognisable, approachable, and dynamic, giving us the opportunity to signal a shift back to the ideas that made the Co-op special for its customers.” - North partner Sean Perkins DIGITAL VS. TRADITIONAL. This case study and comparison has not been the most impact in terms of my project development. As the two brands are not placed in the same category, the comparison is not as relevant. However, I did find the case of Co-Op re-branding and return to old design very interesting. Discussions with industry people and tutors I found that it’s a case that has been in the works for a long time. Although it was not impactful to the development
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of my project, I did learn to make consideration for or against taking modernisation too far. Considering the importance of creating design that will be able to live on through time, and across media. Dynamic, without blending into the sea of modernised visuals. Again, the importance of finding a balance in the visual language becomes evident.
MEDIA: COMMUNICATING FOOD
THE ART OF
COMMUNICATING FOOD Food is and integral part of life. Everyone is a consumer of food, and everyone seem to have an opinion about it. For a lot of people, food is not just about surviving. Consumers are spoiled with endless options and varieties to meet their many needs and desires. How do brands today convince consumers their product is the right choice? The number of new niche diets and food trends today is tremendous. As is opinions of professional and hobby nutritionist. Everyone seem to have an opinion about what is the most healthy, tasty or trendy thing to eat. As food is often a thing of habits consumers don’t always make conscious decisions while choosing which products they buy. Let’s take a look at what brand are doing to convince consumer they are better, and make people actively chose their product over the alternatives. YOU ARE WHAT YOU EAT? As social status is connected to everything you purchase today, the food you buy also represents who you are. The values of the food brands you consume, reflects the values you hold as an individual. Brand values can, and should, be communicated throughout all touch-points, as well as advertisements. Tone of voice is usually imperil in communicating values. TONE OF VOICE What determines the right tone of voice? Who’s talking and who are they talking to? Deciding the tone of voice is generally focused around target audience and knowing who you’re trying to reach, what they find interesting, funny, provocative. What is the intended reaction? As an interesting case I have looked at OATLY Milk. They use a very direct and personal tone of voice, speaking directly to their consumer or critics. The way they design their packaging translates into simple and effective ads, no bullshit and a little bit of humour.
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MEDIA: COMMUNICATING FOOD
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ACROSS MEDIA: OATLY carries out the same tone of voice consistently across platforms.
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MEDIA: ADVERTISEMENT
IMPACT THROUGH SIMPLICITY Through looking at some of the frontrunners in food advertisement today, it’s easy to see that simplicity rules. Especially if the goal is to communicate a message that goes beyond ‘delicious food’. I have looked at hod brands communicate vegetables and fruit product specifically. Simplicity, bright colours, freshness, metaphors and bold imagery is effective ways to communicate vegetarian or vegan products. Being able to take away enough to make it simple and impactful, but leaving enough information or detail to get the message across is an art. Before tone of voice, simplicity and execution, comes choosing the right message to communicate. What does the consumer wish to get from the choices they make regarding food. Nutrition, ethics, environment, status, cost, convenience, or other factors are in play. Consumer needs can be hard to predict, which is why is will be important to have a clear view of who the audience is. To develop a effective message, have a clear and narrow audience in mind. When you try to reach everyone, you usually end up reaching no one...
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CASE: TIBITS LONDON
TIBITS- FRESH, DELICIOUS & EASY GOING
VEGGIE BUFFET
“Once upon a time vegetarians had little choice, restaurants overflowing with meat and skimping on veg. Our heroes - three brave brothers from Switzerland - decided to change this. Christian, Daniel and Reto Frei and their dream - a delicious and fresh vegetarian buffet, as speedy as a fast food joint and as cosy as corner café. “ That’s what Tibits claim on their website. Do they live up to the hype? Located in the end of fashionable Heddon Street, just off Regent you find Tibits London. A vegan and vegetarian pay by weight buffet. It doesn’t look strikingly vegetarian by first glance, but has a natural and relaxed vibe to it. As you enter you’re met with an array vegetarian and vegan salads, hot dishes, soups and desserts. All clearly marked with allergens and content for convenience. All placed on a oval ‘food boat’. The variety is complete, but not overwhelming. The staff is accommodating and easy going, and the food- as delicious as they claim. The restaurant lives up to the promises made on their website. But how do they attract consumers to come try their food? From looking into vegetarian and vegan consumer trends, I have realised that they are a thrifty bunch. Usually updated on new products or services that fit their dietary needs. And where to find them. However, the market of vegan and vegetarian brands is more saturated than just a few years back. So how do you win over the vegetarian/ vegan, health conscious millennial consumer? Let’s look at Tibits approach. The brand communicates a story of family values and community. They offer their customers loyalty benefits, and they share their recipes through their recipe book or for free on their website. All giving the impression that they actually care about their customers, and adding a value of transparency. Tibits also communicate community by inviting their customers to special vegan and vegetarian events.
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REFLECTIONS
MARKETING VEGGIES Tibits has previously promoted their brand through different campaigns. In their ads they use visual metaphors that communicate health in a fresh, simple and modern way. These examples of ads use only the fresh ingredients, fruit & vegetables, not showing the dishes or products they offer. This way the ads focus more on eating vegetarian/vegan, and communicating the values of the brand in a playful way. The different ads are similar but with small variations focus on different values. The first ad communicates the health benefits the food has, the second one communicates their stands against eating meat, and the last ad communicated their vision of being a modern and contemporary vegetarian option. These ads are very simple in it’s message, serious, but with a playful undertone. It appeals to vegetarian and vegans, but at the same time not provocative or judgemental enough to scare meat-eaters away.
COMMUNICATING FOOD Through looking at different examples of food advertisements I gained knowledge on how to create, as well and visualize values. I tried different approaches to visual language and tone of voice. In the end I found that simplicity will be the most important value to consider, in order to get the right message across. Whilst experimenting with visual language and tone of voice in advertisements, and getting feedback on this touch
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point, I have also adjusted the overall visual language and expression of my brand. This has enabled me to better create a consistent and stronger brand. Creating an ad or poster is a good test to see if people understand the brand and the values you’re trying to express. From trying different visuals and analysing feedback, I was better able to determine which visuals were most effective.
MEDIA: PHOTOGRAPHY
FOOD PHOTOGRAPHY Tone of voice is important when communicating food, another important element is the visuals. Illustrations, graphics, photography or a combination of the elements. There are many ways to visualise food. There is a lot of things to consider when photographing food. Changing lighting, angles and composition will create different expressions. Photography trends change and develop through time and introduction of new technology. In 2016 we will see greater emphasis on storytelling. LOOKING BEYOND THE PLATE “In order to set themselves apart, photographers, bloggers, and brands must present more than just a beautifully plated dish. Readers and customers are looking beyond the plate and want to see the story around it. More intricate lighting that implies a certain atmosphere, animated gifs, and overhead shots of food scenes are supporting the overall theme of storytelling.� (Evi Abeler, 2016)
ANIMATED PHOTOGRAPHY Animated gifs started to enter the mainstream food photography scene when Instagram allowed its users to add fifteen second motion pieces into their stream. They usually show one or two elements in an action loop, while the rest of the image remains still. Picture tea being poured into a cup and only the stream is animated. Animated gifs can also be used to show stop motion. As new trends emerge in the food industry they will also have an impact on food photography.
EXPERIMENTING WITH LIGHTING According to Food Photography expert, Evi Abeler, soft, diffused light has dominated food photography for well over a decade. It did not matter what kind of food or mood, everything was photographed with soft light. In photography, soft light means that you can catch all the details. More dramatic natural and artificial light with black shadows and blown-out highlights, can loose detail but add drama, dimension, and depth to compositions. More experimental lighting techniques have started to come back to the scene and will get more attention.
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REFLECTIONS PHOTOGRAPHING FOOD This module I have worked a lot with finding the right balance between the visual elements to include in the brand identity. I experimented with photography and how to find the right vibe, and presentation of the ugly vegetables. The earlier stages of design development were centred around farming and vernacular design, trying to create a hand crafted and authentic visual language that referenced farmers markets a more vintage look. In order to translate this visual language in photos I tried to create a composition of fruit and vegetables placed on a wooden cutting board. In later development I have moved towards a visual language that focus on contrast between the ugly and refined. Focusing on simplicity and cleaner visuals, that will enable the ugly vegetable to stand out and create a stronger expression. While experimenting with food photography I learned a lot about how different light and focus created different expression. I also learned a few tricks on how to make the food look more fresh and appealing. One of the tips I received during tutorials was to spray the food with water, to create the illusion of freshness. In later stages I have also experimented with incorporating elements such as branded wrapping papers and logo.
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FIELD RESEARCH: TOUCHPOINTS
GOING OUT IN THE FIELD
SHAREABLE: Rev de Cuba Nottingham is good at vernacular design and creating a shareable experience.
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REFLECTIONS
KuPP LONDON: Use of material and food presentation
FIELD RESEARCH This past year I have used research as an excuse to go out to eat. I have become more conscious about the restaurants and products I chose. Always considering, why did I choose this specific restaurant or product? What made me go for this and not that? I have become aware of all the different
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touch-points that go into creating a holistic dining experience. Anytime I’ve seen a piece of good design I have made sure to snap a photo. I have found inspiration in looking at what works and analysing why.
MEDIA: THE BRAND BOOK
DESIGNING
THE BRAND BIBLE
Without set guidelines, a Brand can spin out of control and become an inconsistent mess. A Brand Book is the physical manifestation of the concept that is a brand. Whether referred to as Brand book, Brand Guidelines, Brand Bible, Identity Guidelines or Visual Style Guide, this document is what define the standard elements of the Brand Identity and how to implement these across media. Every brand, from start-up to Apple, needs a set of guidelines to maintain their identity. This document can range from a couple of pages to a couple of hundred pages, and set the tone. There are a number of different examples to look at for good brand book design. Some more technical focusing on design guidelines, other focusing more on the personality and values of the bran. The important part is to consider who the brand book is directed at.
REFLECTING JAMIE A strong example is Jamie Oliver Brand guidelines. It balance values of the brand with design guidelines and application. The brand book shows people how to use the brand. How to reflect Jamie Oliver, and how Jamie the person, and Jamie the brand relate to one another. The brand book also distinguish between premium and mass. The guidelines are technical, but communicated in a simple and easy way, making it easy to understand and this way easier to implement.
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REFLECTIONS
CONTENT VS. DESIGN: While researching different Brand Books I have come across deifferent approaches. Some focus more on content and technical guidelines, other more on design and feel of the brand. Macaroni Grill is a great example of a combination of both, impecably designed.
BIBLE OR GUIDELINES? In this last module I have looked at a variety of different brand books and design guidelines. There are a lot of ways to design it, depending on the type of brand and the intended audience. Is the brand book intended for technical designers to implement the design following strict rules of how the logo should be implemented consistently, or is it more important to create simple design guidelines, and focus on personality, tone of voice, and the values of the brand being implemented consistently?
NEW FOCUS I have done research and development of packaging for a sub-brands. However, through the visual development and research I have done, I have come to the conclusion that packaged goods will not be essential to the launch of the concept. In order to keep it simple and consistent in the first stages, I have chosen to focus on fewer touch-points. What I have learned about packaging for the health conscious consumer will be applied to take away packaging. This will also allow me to create a simple brand book, without, overwhelming amounts of technical specifications. This In order to find the right approach for way , making it easy to understand, as my Ugly brand, I have chosen to focus well as implement the brand guidelines. on values, tone of voice and overall feel of the brand. Also bringing the tone of voice into the design and communication of the brand guidelines.
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REFLECTIONS: WHAT HAVE I LEARNED?
ONE YEAR AS
A POSTGRADUATE
As the year comes to an end, I reflect back on what I have experienced and learned this year as a MA student at Nottingham Trent University. Three modules completed, have I learned anything? When I first arrived in the UK last September I had no idea what I was in for. This year as a postgraduate student at NTU has been eventful, and I have learned a lot. These are my top 5 learning outcomes: 1. GETTING THE RIGHT IDEA Getting an idea is challenging. Getting an idea right, even more so. This year at NTU I have gained experience in idea generation. How to come up with ideas, and how to determine if it’s the right idea... Or more so, is it the wrong idea? In generating ideas everything can be right, until it’s proven wrong. Elimination of bad ideas is done through several steps and methods. 2. RESEARCH. Do the background work, and you’ll be able to be confident in your work. Design, research, testing and production are all important bricks. You need all these bricks to build a solid foundation for appropriate and exciting design. 3. LATERAL THEN VERTICAL. This is a very simple idea that I have found represent the creative process perfectly. And as you practice it, you gain a new view on how this idea drives great design. Lateral thinking is about trying all possibilities, rational and irrational. This year I have, through trial and failure, learned how to speed up the process of lateral thinking and trying out ideas. Quick ways to see if a potential idea has legs or not.
4. DON’T FALL IN LOVE... Don’t fall in love with an idea. Don’t fall in love with a design. Definitely don’t fall in love with a typeface. I’ve learned to keep personal opinions separate from design. Personal style should be reflected in my work, but how I personally feel about the design should not. I have learned to kill my darlings, and not spend time grieving the time I spent developing the idea. Spending a lot of time trying to make an idea work, does not mean it ever will. I have also learned that dead darlings might come back in a different idea or setting... 5. PUZZLING THE PIECES TOGETHER. Through development and lateral thinking I have gone through a large amount of directions for visual language and final outcomes. Through this experimentation I have moved towards a final solution that I can be confident in. The last stages of finalising has been about puzzling the right pieces together, making sure ever piece fits correctly and that it creates a whole picture that makes sense and that appeals to the right audience.
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REFLECTIONS
WHAT WENT WRONG? In this last module the focus has been to design for production and media. To complete the idea that emerged in the first module. In researching and applying production methods I have continuously developed the idea and the visual language of the brand. I have learned that the brand design is consistently in development. Considering feedback and adjusting can be an amazing or detrimental thing. I have come to realise that feedback can be inconclusive depending on audience, and it’s hard to please everyone. In this module I have learned how inconsistency in feedback from different people can make it challenging to make a consistent decision. In the last stages I spent to much time adjusting the design. This left me with less time to implement the final solution as I had planned in the beginning. Looking back, however, I would still not settle on a design that I was not completely happy with. This last module has been centred around completion of a project. The two modules should have laid the foundation to have design ready for implementation, application and production. However, I have learned that in the creative process it can be challenging to define something as ‘done’. I have continued to develop and adjust design and idea, and in some cases the design has been affected
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by chosen techniques or methods for production. I have continued to experiment with materials and new textures, but with a stronger focus on how products would go into production, and how viable solutions are to the real world. Price, and time has also had to play a part in design decision in order for solutions to be realistic. Where the two previous modules were centred around lateral thinking, this module has definitely taught me the importance of vertical and practical thinking in the last stages of design. Design can be innovative, beautiful and appealing, but if it’s not realistic it doesn't have a place in the commercial world. THE NEXT STEP As graduation is approaching I have begun to look at ‘what’s next?’ In this last journal it won’t be a new module. Next is preparing for a career. Throughout my studies I’ve been told the creative industry can be a competitive and cruel world. Differentiation is key. What makes you special? What makes you different? Why are you better than the next guy? These are all questions that needs to be answered and preferably showed through original work.
REFLECTIONS: SUMMING UP
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REFLECTIONS
TO SUM IT UP
KEY FEEDBACK: Feedback from peers, tutors and workshops: • • •
Make it creative and bold. Bigger statements and bolder visuals. Think about the whole picture, and make sure everything fits together. SHOUT, don’t whisper. Make sure the audience understand the message and humour.
WHAT HAVE I LEARNED? • This module I have learned to explore various solutions for application and media. • I have learned that testing application and media can lead the design in a different direction. • I have learned that the design is not finished, until it’s finished... Which is never. • I have learned to not fall in love with design elements, and to have a distanced and factual approach to design choices. • I have learned the importance of making concise decisions, and focus on one message/story. • Dynamic design, authenticity and tradition can go together. Tradition does not eliminate the opportunity for modernisation. • Humour- it’s harder than it seems... WHAT COULD HAVE BEEN BETTER? In this last module I spent too much time on developing the core design of the brand, and changing the visual language back and forth between, vintage old and distressed, and more modernised and dynamic. In the end I believe I found the right middle ground that communicated the right message for the initial idea. However, this left less time for developing the final application and media outcomes. I chose to focus on the main areas of application. Ideally I would spend more time developing the individual touch-points. WHAT’S NEXT? As this is the last module and completion of my MA project, the next step is the real world. As I leave NTU I have gained broad knowledge on creative development and branding. I have gained confidence in my work that will enable me to approach employers and clients with the right background of knowledge and skills.
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SOURCES BOOKS Ambrosse, G., and Harris, P., (2009). The Fundamentals of Graphic Design. Switzerland: AVA Publishing SA Bennett, A. (2006). Design Studies: Theory and Research in Branding and Identity. Princeton Architectural Press Mason, D., (2007). Materials, process, print. Creative solutions for graphic design. UK: Laurence King Publishing Ltd Neumeier, M., (2007) ZAG- the number-one strategy of high-performance brands. US: New riders Noble, I. and Bestley, R. (2007). Visual Research: An Introduction to Research Methodologies in Branding and Identity, AVA Publishing Pipes, A. King, L., Production for Graphic Designers Wheeler., A., (2006) Designing Brand Identity: A complete guide to creating, building and maintaining strong brands. John Wiley & Sons, Inc.
ONLINE Banks. T., (2016) Co-op restructures, rebrands and revives 1968 logo (Online) Available from http://www.designweek.co.uk/ issues/23-29-may-2016/co-op-restructures-rebrands-revives-1968-logo/?cmpid=dwweekly_2322642&utm_medium=email&utm_ source=newsletter&utm_campaign=dw_weekly [Accessed: 24nd May 2016] Banks, T., (2016) The photography trends designers need to know (Online) Available from: http://www.designweek.co.uk/the-photography-trends-designers-need-to-know/?cmpid=dwweekly_2210809&utm_medium=email&utm_source=newsletter&utm_campaign=dw_weekly [Accessed: 28nd May 2016] Jamie Oliver Brand Guidelines (Online) Available from: https://issuu.com/bellfrog/docs/jamie-oliver-frv-brand-guidelines [Accessed: 24nd May 2016] Award Winning Restaurant Menu Designs and Themes Available from http://www.dzineblog360.com/2013/07/award-winning-restaurant-menu-designs-and-themes/ Abeler, E., (2016) Top Food Photography Trends in 2016 (Online) Available from: http://foodphotography.about.com/od/Food-Photography-Basics/ss/Top-Food-Photography-Trends-in-2016.htm#step3 [Accessed: 28nd May 2016]
WEBINARS The Big Picture, (2016) Designing for Gen Z: branding the healthy snacks of the future Available from: http://www.bigpicture.co.uk/ about/webinars/webinar-archive/ [Accessed: 22nd May 2016] The Big Picture, (2016) Crafting the next story: millennials, storytelling & craft spirits (Online) Available from: http://www.bigpicture.co.uk/about/webinars/webinar-archive/ [Accessed: 22nd May 2016] The Big Picture, (2016) Health At Shelf series: pack trends (Online) Available from: http://www.bigpicture.co.uk/about/webinars/ webinar-archive/ [Accessed: 22nd May 2016]
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Julie Aaland N0655826
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julie.aaland022015@my.ntu.ac.uk