1.1 V I S U A L C O M M U N I C AT I O n AND DESIGN PORTFOLIO
EDW I N
-
CH A R M A I N
2021
ABOUT THE DESIGN PROJECT From Icon design to the user interface, illustration, campaign and branding this project portfolio will give you some example of design project that Charmain has managed in the recent years. Access more design project that Charmain has to handle on www.charmain.co.uk/project
01 02 03 P.07
P.12
P.19
CITYMAPPER
FRAGMENTS
INK STUDIO
Art Direction, UI & Icon Design.
Art Direction, UI & Product Design.
Branding & Art Direction.
Re-creating the ideas behind
Exploring the possibility on what
What kind of Brand Identity
“making city usable” through
we could do further with the
that a design that focus on a
exploration of design elements and
pictures that we took everyday
minimalist look with exceptional
principle.
beyond the social media context.
cutting needed ?
05 06 07 P.35
P.44
P.55
COF FEE AND BEYOND
WYL’S KITCHEN
BIBO
Branding, Lettering & Art Direction.
Brand ing & Ar t D i re ct i o n .
Branding, Illustration & Art Direction.
a coffee bean business with the
a comprehensive Branding
Have you ever wonder, how does
vision of promoting Indonesia
solution for a casual dining
fun, quirky & jolly an ancient
coffee and connecting coffee
restaurant that offers a fusion
monster god looks like ?
planters with customers.
Asian-Indonesian cuisine.
04
P.28
TABLE OF CONTENT
PUBLICO Menu, Invitation design & Artworking.
a visual identity for a new dining establishment that takes on the Art Deco concept.
08 09 10 P.64
P.73
P.82
PONDOK SURYO
JAYA SMART TECHNOLOGY
CORAL CARE
B ra nding & Art Di rectio n
Brand in g & Ar t D i re ct i o n .
Mot i o n G ra ph i c & P r i nts .
Simple “Home” recipes with
Accessibility meets connection,
A social campaign about “Coral
modern intakes, what will this
and communication. Find out
bleaching” in Indonesia.
combination creates ?
more about the new Identity of Jaya Smart Technology.
06 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
CITYMAPPER UI & Icon Desig n
DESIGN BRIEF: Provide some feedback on our product/design. The goal is to get a sense of how you think and generate the first conversation.
PROJECT INTRODUCTION: With the premise of making cities usable by using the power of mobile and data to help humans survive and master their cities, Citymapper building the best app, with the best routing and the best data in the cities where they could make a difference.
DESIGN & ART DIRECTION : Edwin Charmain
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 07
Overall the design of citymapper interface is already good, but Charmain believes that it could be more integrated and seamless through the use of right Icon and colour combination. The design of icon used on citymapper interface could be developed from its iconic logo. By doing this the company could create a coherent design and strengthen its identity. For colour combination, the combination of light and dark colour provide a contrast and hierarchy PREVIOUS COLOUR PALETTE:
of design elements. it also maintains focus on the aspect of information that is presented. so using the right colour combination could make the design more seamless.
08 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
NEW COLOR COMBINATION:
EUCALYPTUS
PICKELED BLUE
CINNABAR
PLUM
PUMICE
CHARCOAL
SHAMROCK
JELLY BEAN
VALENCIA
WISTERIA
EDWARD
LEMON
NEW ICON DESIGN:
CYCLE
BUS
FERRY
BLACK BUS
TRAM
OVERGROUND
SMART RIDE
TUBE
RAIL
WALK
REFRESH
SWITCH
FAVOURITE
HOSTORY
SEARCH
GO
HOME
SHOP
WORK
BAR & PUB
FOOD
ART & CULTURE
AROUND ME
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 0 9
10 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
For the new UI design, Charmain retains the previous layout, and focus more on its visual language through the use of new colour and icon.
The designer also introduces the new features “Around me” which gives a recommendation to the user on what activity that they could do in that area. This feature provides a new collaboration possibilities with a media company such as Time Out, where they could put a guide on “best things” to do or to go place monthly, while citymapper provide the easy transport solution through their smart ride.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 11
FRAGMENTS U I & Pro d u ct Des i gn
DESIGN BRIEF: Design a luxury accessory for Huawei W handset that addresses the artistic minded of the new cosmopolitan market.
PROJECT INTRODUCTION: The project fragments, start with defining what “luxury” is. For Charmain team, luxury is being able to store a moment and memories, Thurmes said that “We take photos as a return ticket to a moment otherwise gone”, but we haven’t really done that much with the picture that we have apart from sharing it in social media. Seeing that gap, fragments explore the new way people could share and embrace their memory.
Design & Art Direction : Edwin Charmain
Yixuan Gao
Alexander Cole
Yuqi Deng
12 | GRAPH IC P ORTFO LIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 13
In the beginning, Charmain and team are exploring the ideas of making 360 cameras in shape of case armour and jewellery. This ideas soon become redundant when they receive another brief which said that the main aspect of the phone that needs to be highlighted is their outstanding camera features. Through brainstorming process, Charmain and team start designing new product ideas with keywords “Premium expression” and “Craftsmanship”. From that, a new product called “Fragments” is born. Fragments Is a product that not only protects your phone but also enables you to share and embrace your memory. It’s a new platform to express your creativity by highlighting your “moment” in a day for the whole year (After a year the apps will save the collage automatically to Its gallery).
14 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
FRAGMENTS DESIGN :
MOODBOARD :
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 15
VIDEO EXPLANATION LINK :
Using the “Deep learning Algorithms,” the apps will
https://drive.google.com/open?id=1j1x1iHvl-nC_
extract one favourite picture on your linked social
inwlDhM21psJoSOS3AWH
media, daily. After that, it will automatically make a cut-out based on the focus point of that specific picture. (see the right page for example.)
This cut-out is shown as an evolving collage through the Fragments phone case, which used a full-colour E-ink panel, so It is fully customizable and unique for each person.
16 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 17
18 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
INK STUDIO Brand ing & Art d irection
DESIGN BRIEF: Create a set of identity and branding that represents INK style approach, vision and mission.
PROJECT INTRODUCTION: INK is an Indonesia fashion brand by new emerging fashion designer Inge Kiang.
The brands provide a ready-to-wear collection for both men and women, as well as accessories that focus on a minimalist look with exceptional cutting.
Visual Aesthetic & Design: Edwin Charmain. Fashion design
: Inge Kiang.
Photographer : Arief Permana. Make-up Artist
: Riz Camilia.
Hair Artist
: Arintha Vysistha.
Talents : Inoue Tsuyoshi Olga Kuznetsova.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 19
The branding of INK Studio reflects the same idea of the clothing style which is Edgy, Clean, and experimental.
Using black and white as its base colour and playing with the composition of its form to create an edgy, experimental yet balanced design, INK logo utilises a clean and straightforward approach instead of having lots of decorative elements and vibrant colour.
This approach, later on, is being adapted to its marketing items like the letterhead and envelope.
20 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 21
The experimental aspect of the brand established through the use of die-cutting finish on INK main logo.
The application of this approach could be found starting from INK envelope to business card, and fashion hangtag.
These items could adapt to whatever collection that the fashion designer pick by merely changing the insert page /print (look on the top and right side of this page for example).
22 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 23
24 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
More than just a name and graphic. The application of INK logo could further explored through its promotional media, like posters, electronic poster, flag chain, and billboards by combining the “diecutting” concept with the photography aspect of the collection (look on the top images for example).
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 25
26 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 27
PUBLICO M e n u , I n i tat io n des i gn & Ar two r k i ng .
DESIGN BRIEF: Design a series of Items (Invitation, Wall stickers, and Menu) for PUBLICO Grand Opening. The invitation and wall stickers have to reflect the existing Identity of Publico, while The new menu format for PUBLICO, apart from the fact that it needs to show the current identity, It needs to be practical and easy to maintain.
PROJECT INRODUCTION: Publico is a bistro and winebar. A fresh new addition to Jakarta’s restaurant scene, Publico blends the glitz and glamour of New York’s illustrious Jazz Era with a modern culinary approach that celebrates marketfresh ingredients and world-inspired flavours.
Graphic Designer : Edwin Charmain.
28 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 29
The Publico brand story is about the opulent lives of New York intellectuals and socialites during the roaring twenties era. Glamorous, illustrious, and definitely stylish, Publico dazzles and entices with its unmistakable New York Spirit: adventurous, vibrant, tenacious, cultured, multi-faceted and innovative. This is where all the glitters is Gold.
Made in dominant gold colour in combination with sophisticated black and using Art-deco elements, both the invitation and the wall stickers follows the same concept of PUBLICO brand story.
30 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
WA L L ST IC KERS :
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 31
The old menu took shape of newspaper in A3 format, although this is very creative and different, It is not really practical both for the user and the restaurants.
For the user the menu is way too big and doesn’t have a solid footing when they try to flip it, most of the time their hand just clash with one and another when they try to open the menu.
For the restaurant management, the newspaper like the menu is short-lived because it is vulnerable to water spills and with the constant-fold, the paper will eventually break within 2 weeks. apart from that If they have something that they want to change (adding a new menu, removing existing menu, changing the price, and so on) they need to reprint the whole menu again.
32 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
in response to that, the new menu took a form of an “announcement” board. Still retaining the newspaper look, the actual menu is printed on A3 Coronado paper, this A3 menu then mounted into a Leather board, that will give the menu a solid footing and protect it when it is being laid out on the table. Using this format, the management could easily change between brunch and dinner menu by simply replace the paper.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 33
34 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
COFFEE & BEYOND Brand ing & Art d irection.
DESIGN BRIEF: Re-design the company brand identity based on their new company vision to connect people through coffee as the company has grown beyond just a regular cafe that serves coffee.
Create a set of brand activations together with the new identity, to be used during their thirdanniversary campaign.
PROJECT INTRODUCTION: Coffee and beyond started as a coffee bean business with the vision of promoting Indonesia coffee and connecting coffee planters with customers.
After almost four years running, Coffee and beyond as brand has gone through some significant changes. What initially started as a coffee bean business has turned into a cafe and roastery that serve coffee and fusion dishes from around the world.
Graphic Designer : Edwin Charmain.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 35
The new identity still keeping the rustic - Industrial concept that the previous identity has (see the black and green logo). But instead of showing it through the grunge elements, the new identity explore this concept through hand-drawn ink illustration (See the supergraphic page on the right).
The new logo took inspiration from a traditional ink stamp to highlight the “Artisan” aspect of the business. The new logo emphasises the old logogram shape with a bit of adjustment on form and composition, so that old customer still recognises the company.
The combination of logo and illustration are the applied across the marketing collateral items like business card, letterhead, and menu book.
36 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 37
Apart from using illustration and stamping logo format, the brand explores further the “artisan” aspect of the business through the use of hand lettering.
These hand lettering elements are made in collaboration with local illustrator Afif Solichin and used on the variety of Coffe & Beyond items such as uniform, anniversary merchandise, and wall graphic.
38 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 39
40 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 41
42 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 43
WYL’S KITCHEN Bran d i n g & Art di recti o n .
DESIGN BRIEF: Create a comprehensive Branding solutions for a new restaurants in Veranda Hotel Pakubuwono, Jakarta. Since this restaurant is plan to be part of the hotels, it has to have the same aesthetic as the hotel.
PROJECT INRODUCTION: Located in Veranda Hotel at Pakubuwono, Jakarta, Wyl’s Kitchen is a casual dining restaurant that offers a fusion Asian-Indonesian cuisine.
Graphic Designer : Edwin Charmain.
Michelle Tjandra.
Illustrator : Edwin Charmain.
44 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 45
Wyl’s kitchen brand identity is unique in its creation. When usually a design starts with creating the logo and overall feel, this particular project already established its overall feel before the naming and branding, which is the main challange for this project.
As a response to that, Charmain chose a neutral brush typeface as it mains logo so that it doesn’t clash with the shabby chic interiors that Wyl’s has.
To make the branding more compelling, Charmain dive into the core ideas of Wyl’s kitchen as a restaurants that serves a fusion of Asian-Indonesian cuisine. Thus the first supergraphic elements in form of pattern that inspired by Indonesian culture is created as part of their branding.
46 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
S U P E R G R A P H I CS :
BALINESE PATTERN
TENUN IKAT
SONGKET PLEMBANG
TANAH TORAJA
ULOS - SADUM GODAN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 47
Appart from the patterns, there are another supergraphic elements that become part of Wyl’s branding. On deciding what kind of elements that are suitable for the illustrations, the Art director had a chat with its chef, and found that herbs are what they want to accentuate from their fusion dish. from that, a series of Herb illustration are being made as part of their supergraphic.
48 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 49
50 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
The combinations of the two supporting elements applied to the branding items such as business card, letterhead, envelope, comment card, restaurant menu, reserve sign and food identifier.
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 51
Another items, which quite important for Wyl’s branding is their room menu. Since this restaurant was planned to be part of the hotel, The owner wants another set of practical and straightforward menu to place in the hotel room.
In response to that request, Charmain & Michelle creates a small swatch card menu design as their room menu. This menu are very compact on size and easy to maintain. The stell screw mechanism allows their owner / in house designer to replace pages when needed.
52 | F&B P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | F& B P O RT FO LIO | 53
54 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
BIBO Brand ing , Interior & Art d irectio n
DESIGN BRIEF: Create a set of brand identity that is fun, quirky & jolly for a honey bread & Taiwanese restaurant. along with the brand identity creates a set of character and storyline that could act as the restaurant mascot.
PROJECT INTRODUCTION: BIBO is a Honey bread & Taiwanese fusion dishes restaurant that planned to be open in Jakarta on 2018.
Graphic Design : Edwin Charmain. Illustrator
: Dianita Soendoro.
Interior Design : SKALA Studio.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 55
The name Bibo came from an ancient God story in China. Thus Its logogram was made by deconstructing and reconstructing BI BO Chinese character.
The creation of BI BO Brand identity goes beyond logo and marketing collateral, it involves character creation and also material exploration which you could found on their business card.
Charmain used a special paper called “Lynel Fur” to create the business card. This paper has a furry feel and texture that similar to its main mascot.
56 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 57
On ancient Chinese mythology, Bibo is a good monster with intelligence. his figure is big and furry, almost like a bear. He couldn’t speak apart from words “Bi-Bo,” and the top of his head will light up if there is any danger.
Based on that the designer creates the contemporary “BIBO” character. He is a creative prankish that has a “Sloth” like figure with a small lantern on his head.
Of course, every main character couldn’t shine without a second character, so his sidekick “Pupa” a cowardly loyal “Axolotl” like minions is being made. Following that six different storylines are being created to complete BIBO Brand Identity.
58 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 59
6 0 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
the character and their six different storylines live beyond the original artwork and could be found across the brand from letterhead to envelope, folder, menu book, aprons, and interiors.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 61
6 2 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 63
PONDOK SURYO Bran d i n g , Inter i o r & Ar t di recti o n .
DESIGN BRIEF: Create a new Identity for Pondok Suryo Restaurant that inspired by their tradition, vision and mision.
PROJECT INRODUCTION: Pondok Suryo is an Indonesian restaurant that serves East Java dishes such as fried duck, rawon, tofu eggs, and pecel.
Using simple “home” recipes that passed through generations, they carefully selected and customtailored their ingredients to make sure that only the best quality ingredients are used to create their dishes.
Graphic Designer : Edwin Charmain. Photography : William Kalengkongan. Food Styling
: Emilia Nico.
Interior Design
: Ellyana Tse.
MINT Design Studio.
6 4 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 65
On creating Pondok suryo Identity Charmain focus on the essence of the restaurants.
The shape of its logogram came from the combination of elements that tells a story of who they are, where do they come from, and what they believe (see the element explanation on the far right of this pages.)
Its logotype, inspired by the Javanese Script natively known as “Aksara Jawa” that commonly practised in the central and western part of Java Island.
6 6 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
R AY O F S UN
LOTUS FLOWE R
WE ST JAVA BATI K
The word “SURYO” in the
Lotus flower symbolises
West Java Batik ornament used
Javanese language means Sun.
“Passion,” a passion that Pondok
here because The owner of
Sun symbolizes the beginning
Suryo have for their food by
Pondok Suryo originally came
of a day and giver of life. Sun
using only the best ingredients
from Surabaya City in West Java
also has a warm attribute that
for their dish.
Indonesia.
perfectly describe Pondok Suryo as a Family restaurant that gives a cosy dining experience.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 67
6 8 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
The three main elements of the logo become the supergraphic of Suryo identity, that could evolve further into eight diverent pattern variation which usage could be found not only in their business card but also in their packaging (above) Promotional items and interiors (See next page for further details.)
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 69
70| GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 7 1
72 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
JAYA SMART TECHNOLOGY Brand ing & Art d irection
DESIGN BRIEF: Create an integrated and structured branding solution for Jaya Smart Technology that profesional, representative and could enhance their appearance products.
The new Logo should be able to easily implemented on the swatch book sample and work together with the Royal Print Pack and Royal Group Logo.
PROJECT INTRODUCTION: JST or Jaya Smart Technology is a leading company and manufacturer of secure plastic cards in Indonesia (Credit Card, SIM card, Telco Card, Contactless Card).
Graphic Designer : Edwin Charmain. Card Design
: Edwin Charmain.
Michelle Tjandra. Veronica Halim.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 73
Using access, connection, and communication as keywords the new logo inspired by the basic principle of the card transaction. It explore the elements found on Card Chip.
The Final design is implemented on vermilion, light teal, and dark azure colour to represent creativity, energy, and trust.
This new logo could be disassembled into numbers of forms, creating a pattern composition that acts as a signature elements/supergraphic of their brand identity. The application of this element could be found on their marketing colateral like the business card, envelope, letterhead, and name tag (See next pages for the design.)
74 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
LOGO EXPLORATION :
FINAL LOGO SIGNATURE USAGE :
SUPERGRAPH ICS :
Supergraphic 01
Supergraphic 02
Supergraphic 03
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 75
76 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 77
The use of Jaya Smart Technology supergraphic goes beyond their marketing colateral (letter head, business card, envelope, name tag).
Starting with circular and line elemets, The creative direction of the photography elements, to the use of vermilion, light teal, and dark azure colour, JST website also utilise the same language as its branding.
As a whole set of Identity, The new visual language provide a comprehensive brand identity that represent the company key aspect of creativity, energy, and trust that has been part of their vision and mision,
78 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 79
8 0 | GRAPH IC P ORTFOLIO | C H A R M A IN D E SIGN
As part of their new brand identity, they also want a set of swatch book (approximately 14 different cards inside) that could display their product and finishing but with a bit of Indonesian touch.
The design for this cards varied from Indonesia traditional arts to food and landscape, each of them is handpicked to optimise the finishing that they want to show, for example, Fullface foil card use Indonesia traditional instrument called “gamelan” that has a shiny gold colour.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 81
CORAL CARE M otio n G ra p h ic & Pr i nts .
DESIGN BRIEF: Create a social campaign that addresses Indonesia Marine Ecosystem. Using a local topic that could relate to the global issue, create an infographic as one of the campaign items.
PROJECT INTRODUCTION: Coral care is a social campaign about “Coral bleaching” in Indonesia. Located on the coral triangle, Indonesia oceans have a vast type of coral reefs, but nowadays the population of some coral species were in danger due to the use of a fishing bomb and toxin to catch a fish, The careless disposal of ship anchor, or natural disaster.
This problem has been a quite widespread problem in recent years, and it is still the most discussed topic.
Graphic Design : Edwin Charmain.
82 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 83
Charmain approach on creating this campaign is quite forward yet poetic. With aim to educate Indonesian millennials and make them aware and care about Indonesia coral reefs, Charmain choose “Coral Care” as its title, and “color of the sea” as its tagline to emphasise on the most obvious characteristic that lost on coral bleaching. From that a C shape coral like iconography are made to complete its logo. The main color used for this campaign are varied from teal blue-turquoise, Dark Grey - Light grey, and Red. Charmain aproach to this color are very poetic (see pages on the right for more detail explanation.)
8 4 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
PRIMARY COLOUR PALETTE:
From that, two set of campaign posters are being made. Using image manipulation in Photoshop, creating an underwater castle like object from coral The first poster talks about how coral used as a gift. Whether it is sculpted into homeware, decoration for your fish tank, or just a lovely statue that hangs around in your living room or kitchen table. With streaking teal background, this poster has a cold feeling as if something is dying. While the second poster utilises a different approach. In this poster, Charmain arranges the coral care logogram into a branch/nerve shape that framed into a lung-like object. with the “Coral reefs help us lives.” Just like how our lung help to regulate the acidity in our body, coral reefs help to filter the water in our ocean and control the acidity on it. As reported by Lara in Earth Journalism, The acidification in the ocean will corrode the coral reef faster, and endanger its existence. This phenomenon will cause an imbalance in the entire food chain (not only the animal world but also of man because there are many communities that are economically dependent on fishing). With a simple light grey background, this poster draws people attention to its main graphics and tagline. On this poster, the use of turquoise colour represents a “refreshing” quality of the sea, while the red colour that used on its slogan represents an awareness.
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 85
The goal of Coral Care campaign is to invite more people, especially millennials to care more about coral reefs and protect its existence, because not only those coral reefs maintain marine ecosystems, but they also support our life as a natural breakwater and provided a place for a fish to live / a shelter.
Although this campaign is focused on Indonesia Coral reefs, people outside of Indonesia could ANIMATED INFOGRAPHIC LINK :
easily relate to it because “Coral bleaching” is a
https://drive.google.com/open?id=1j1x1iHvl-nC_
fairly widespread problem, that happens not only
inwlDhM21psJoSOS3AWH
in Indonesia but also on another country like Japan, Australia, and United States.
8 6 | GRAPH IC P ORTFOLI O | C H A R M A IN D E SIGN
C H A RMA I N D ES I G N | G RAP H I C P O RT FOLIO | 87
WWW.CHA RMAIN.CO.UK