Elizabeth Drummond Capstone Book: The Art of Process Art 580/Spring 2019 Kansas State University Professor Daniel Warner
The Art of Process
“THE CREATIVE PROCESS...
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...IS AN ORGANIC LIVING THING,
AS IF IT WERE IN THE SOULS OF MEN” CARL JUNG PHILOSOPHER 1875-1961
The Art of Process
10 INTRODUCTION Project Parameters Project Goal Project Materials Project Research Project Data Project Resources
THESIS
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46 IDEATION Project Mood Boards Project Sketches Project Concepts
DEVELOPMENT Layout Development Project Materials
56 DEPLOYMENT Project Final Style Sheet Project Final Layout Project Final Cover
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OBJECTIVE & PARAMETERS
GOALS & INTENTIONS
Develop and execute a project, in any medium, that is inspired by the previous research conducted for the capstone thesis paper.
Design a book about the design process
Thoughtfully identify a problem or question for which the final project execution can solve or answer. Consider personal interests and strengths as a designer when choosing direction and materials. Carefully gather and record the original and ongoing research for the project’s capstone process book. Consider the target audience when beginning to develop solutions, ensuring that it remains clear and consistent throughout.
Write and design a resource that provides strategies and techniques for creative process development Identify critical stages of the creative process to inspire organization and productive output Provide insight from professional creatives in Kansas City and surrounding communities Articulate strategies for creative stimulation and client/designer relationships Create a hand—bound creative process resource
The Art of Process
PROJECT MATERIALS
Time Interviews Books Coffee Parameters Articles Websites Revisions Digital Camera Dissertations Experts Quotes Concentration Motivation Photos
Guidance Inspiration Lighting Meditation Computer Adobe Critique Travel IPad IPhone Techniques Sketchbook Photo Studio Paper Markers
Guile Note cards Strategy Binding Materials Binding Tools Push pins Post-its Cork board Organization Concept wall Intuition Perspiration Pencils Pens
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PROJECT DATA & RESEARCH Much of my research involved a combination of interviews with designers and design firms. During the last eight months, I have traveled to Kansas City a dozen times for in—person conversation and creative process observation. I exchanged many emails and messages through social media platforms, and was given the opportunity to sit in on a creative brief jam session with a large room of designers, media specialists, marketing professionals and executives. I extracted creative process advice from visiting artists at Kansas State University along with inspiration from the University’s digital creative educators.
The Art of Process
PROJECT DATA & RESEARCH LITERARY RESOURCES
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The Art of Process
PROJECT DATA & RESEARCH VISITING KANSAS CITY DESIGN STUDIOS
Carpenter Collective Kansas City Design Agency 1803 Wyandotte St #102, Kansas City, MO 64108 Bernstein—Rein Kansas City Advertising Agency 4600 Madison Ave, Kansas City, MO 64112
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Voltage Kansas City Design Agency 523 Walnut St, Kansas City, MO 64106
Willoughby Design Kansas City Advertising Agency 602 Westport Rd, Kansas City, MO 64111
The Art of Process
CAPSTONE THESIS RESEARCH PAPER
MIDWE
MARK MAKING Branding and Identity Design in Kansas City
The The Art Art of of Process Process
KANSAS CITY
Kansas City Missouri, like many other growing cities in the United States is continually buzzing with new activity, new industries, new events, and so on. It is a diverse city full of rich cultural history, a thriving economy, and amazing barbecue. In a place like Kansas City, there are not only well-established businesses, but also younger industries as well as brand new kids on the Kansas City block. With this type of amalgamated and competitive economy, it is easy to understand why the presence of branding and identity design is one of the more effective ways for these industries (any variety) to communicate with the public about who they are, what they do, and why the Kansas City community should pay attention.
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The diverse environment of Kansas City lends itself nicely to any designer
complete facelift in the past five years, and its visual identity is part of its
or firm that is interested in branding and identity visual communications.
rejuvenated appeal. Furthermore, there are a wide variety of new indus-
Kansas City is home to large corporations like Boulevard Brewing Company,
tries breaking ground every week, and places like these need a solid and
the Veterans of Foreign Wars, H&R Block, and Russell Stover Candies. While
successful visual identity to help contribute to their growth. Places like this
these industries all have brand identities already, they are each large enough
are generally ones that provide services like food and beverage industries,
industries to warrant seasonal and/or specialty campaigns that need an
health and wellness specialists, and civic or non-profit establishments. A
identity of their own; this is where a branding and identity designer or firm
branding and identity designer or firm has so many options when it comes
might find a plethora of work. Beyond that, the Kansas City area is also a
to their portfolio, but beyond that, a great deal of stability and reassurance
community of growth where there are localized and established businesses
in job security knowing that in a thriving community like Kansas City, there
in need of an identity refresh. The Kansas City Streetcar went through a
will always be a need for visual identity and communication.
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Within the limits of Kansas City, both in Kansas and Missouri, there are 2.3 million people (Wikipedia), and swimming amongst those people are the creatives responsible for much of the visual information around them; specifically, visual brands and identities. Without realizing it, when the public is exposed to this bombardment of visual information they make choices and develop opinions that are associated with that information. They are quick to recognize reliability and integrity, and even quicker to recognize the opposite. This information is powerful, persuasive, and represents a larger whole that relies on the successful execution of their distinctive visual brand and identity. Of course, there are always additional factors in one’s success like profits, revenue, employment, and so on. However one’s visual brand and identity is often the opportunity for a solid first impression on the public; the first handshake if you will. That initial impression will stick, and the visual brand and identity is hopefully one that has been carefully constructed with versatility and sustainability in mind (Adams, 88-115).
MAP COURTESY OF WIKIPEDIA
SEATTLE, WASHINGTON
5 YEAR POPULATION GROWTH IN 10 LARGEST CITIES ACROSS THE UNITED STATES
2018 —— 3,5000,000
2% GROWTH 2013 —— 3,300,000
CHICAGO, ILLINOIS 2018 —— 2,900,000
5% GROWTH 2013 —— 2,400,000
SAN FRANCISCO, CALIFORNIA 2018 —— 850,000
7% GROWTH 2013 —— 710,000
LOS ANGELES, CALIFORNIA 2018 —— 4,000,000
5% GROWTH
HOUSTON, TEXAS
2013 —— 3,700,000
2018 —— 2,100,000
8% GROWTH 2013 —— 1,500,000
DETROIT, MICHIGAN 2018 —— 700,000
NEW YORK, NEW YORK
3% GROWTH
2018 —— 8,600,000
2013 —— 650,000
11% GROWTH 2013 —— 7,200,000
KANSAS CITY, MISSOURI 2018 —— 2,300,000
4% GROWTH 2013 —— 2,000,000
TAMPA, FLORIDA 2018 —— 3,000,000
4% GROWTH 2013 —— 2,700,000
MIAMI, FLORIDA 2018 —— 2,800,000
7% GROWTH Information provided by the United States Census Bureau Map courtesy of adobe.com
2013 —— 2,100,000
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The use of branding and identity design is something that has been around for longer than you might think. As far back as 3000 B.C. humans were marking stones, tombs, and goods to indicate ownership. The development of writing was utilitarian in nature; the need to identify and quantify things. In 2500 B.C., Egyptians marked their jewelry and hand stamped seals that held identifiable markings that belonged to nobility, and in 200 B.C., Europeans developed family and business crest markings that were used on a wide variety of goods and documents. For thousands of years up until the present there can be seen a clear trail; from the birth and development of branding and identity to now, a time when branding and identity can make or break an industry’s ability to make an impact (Wheeler, 58-61). Branding and identity are purposeful and practical. They are designed to accompany so many different aspects of a business. Letterheads, business cards, signage, clothing, advertising, packaging, deliverables, and the list goes on. Branding and identity are both inclusive and exclusive: inviting and enticing in an inclusive way, those who are unfamiliar, and then offering to provide goods and/or services that make one feel they are part of the exclusivity of the brand itself. Most of all, branding and identity design is a snapshot of an industry or business; a snapshot that must be memorable, legible, versatile and distinct. Although we all might think we could design a brand or identity for a business, it is not as simple as it might seem. The irony of this is that the process and journey through the development of a brand or identity is convoluted, and yet the final results will more often than Image courtesy of Identity Designed
not yield the most simplified essence of the business; but it is this precise journey that must be taken to then arrive at visual communicative magic.
PHASE 1
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DISCUSSION &
DISCOVERY
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Most designers, whether part of a small design boutique or a design team
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at a large firm, generally follow the same mantra when it comes to the development and execution of a brand or identity. The process itself is a must, and each step towards the final product is a necessary part of the journey. In most cases, the first thing that must be done is to get properly and thoroughly acquainted with the business, its place in a larger environment of competitors, and its overarching strategy and purpose. This can sometimes take several sessions and hours of discussion and note taking to finally synthesize what is hopefully a clear and concise list of attributes to consider during the design phase later (Wheeler, 64). Whether a company calls it the discussion phase, the research phase, the discovery phase, or the
COREY MORRIS
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VP OF MARKETING @ VOLTAGE
ice-breaker phase, it is an important cog in the final visual identity machine that will be developed. When recently speaking with Corey Morris, Vice-President of Marketing at Voltage in Kansas City, he explained,
1. Photograph courtesy of VoltageKC.com 2. Voltage Logo courtesy of VoltageKC.com
“This initial phase, when we are sitting around and talking to the clients about who they are, it’s a really good time to just sit back and listen. Of course, we ask lots of questions and record the answers we get, but sometimes there are other casual comments made between the clients that we are also paying attention to. Sometimes these unguarded and unscripted moments are the ones that allow us to really get down to the bare bones of the company, and discover what the client’s intent and end-goal really is.”
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This phase can help the designer or team clarify strategy and develop some
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good initial concepts to take into the next phase. During this time, it is imperative to become intimately aware of not only the needs of the client, but the
ANGELA SNYDER CREATIVE DIRECTOR @ WILLOUGHBY
needs of the client’s customers, because they are the real audience. The business, i.e. the client(s) must be interviewed in detail with the intent to gain the inside knowledge necessary to eventually translate visually. Angela Snyder, an Art Director at Willoughby Design in Kansas City, recently shared a list of questions that her team might ask a client, ranging from ambiguous and cosmetic to more intimate and methodical.
Specifically, what do you do? What is the essence of the business? What products or services do you provide? What types of imagery can be associate with your product/service? Who are some of your major competitors? How are they competitive? What makes your business unique? What qualities and ideals would you like to be associated with? What qualities and ideals would you NOT like to be associated with? 4
What shapes might be harmonious with your business? Colors? How do you see your business growing? Time it might take? What type of customer are you aiming at? Is this to specific or too broad?
3. Photograph courtesy of willoughbydesign.com 4. Logo courtesy of willoughbydesign.com
What type of market are you in? Industrial, domestic, national, international?
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This list is a great example of the types of questions that most designers
TAD & JESSICA CARPENTER
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and teams would ask a client during the initial meetings and conversations. This client discovery will eventually help the designer develop a list of attributes and objects that will move them forward to the next phase. According to Tad Carpenter, a well-known brand and identity designer, this list of words, phrases, ideals, and objects have to be combed through several times. When speaking with Tad Carpenter and his wife Jessica Carpenter who co-own and operate the Carpenter Collective, a small design boutique
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in Kansas City, they agreed that this part of the branding and identity process is the most crucial to the successful development of a visual identity. Jessica said, “The best brand strategy is developed as a part-
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nership between the client and design team. This is a key component to establishing a road map that guides us in expressing the brand’s attributes to the consumer through design. The best brands and identities require courage and a strong vision.”
5 & 6. Photographs courtesy of CC.com 7. CC Logo courtesy of CC.com
“You get so much information from the client, but then you really have to start organizing it, underlining the most important, crossing out the least important, and widdling away at it until you finally arrive at what is hopefully a shorter list. Then the words left can be cross-combined to create harmonious combinations and interesting juxtapositions. This is where we start our ideation phase, and things start to move from the list to a visual representation of these combinations. This is where some very magical design moments and surprising realizations happen.”
PHASE 2
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DEVELOPMENT &
DEFINITION
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Once this “roadmap” has been developed, most designers and design
Throughout this phase, it is important to not spend too much time being
teams take to the visual phase of design. It is at this time that the ideals
visually literal. Keeping in mind that the end goal will be something stra-
and attributes identified and defined are visually translated into the
tegically and purposefully simplified, this phase should produce a wide
graphic essence of the brand. While the first phase was a very analytical
variety of sketches and concepts that can be repurposed with other
and pragmatic way to organize the information (a left-brained activity),
ideas and can be realistically translated according to the brand’s design
the next phase is much more creative and innovative (a right brained
parameters. Generating designs with specific symbols that support the
activity). Most designers suggest using tangible materials for most
brand’s ideals can be a successful strategy and should be thoroughly
of this phase; a pencil and paper, textiles and patterns, or 3-dimen-
explored. For example, a lion can represent superiority or royalty as
sional objects. This nourishes a creative environment; a playground
well as strength, and a flower can represent love, freshness, and growth.
for collaborative ideas, allowing ample space for the right side of the
Slanting lines or arrows can mean forward motion and speed, and
brain to work its magic. Designers and teams would also agree that the
hearts, eagles and crowns are all images that communicate ideals.
computer can limit the intuitive and improvised design moments that
There are thousands of possibilities, and in combination with some
can happen during this phase, stifling both the designer and the brand’s
of the other initial ideas, a designer or design team can create a whole
visual potential. It is this initial design phase that can give birth to new
new set of concepts to work with. This may seem time consuming and
and better ideas, and in combination with the list of attributes, a new
tedious, but this technique will definitely bear fruit.
set of ideas begin to emerge. While some of these initial ideas are good, according to Tad Carpenter,
“They are probably good because they have already been done.” So, it’s important to not commit to anything at this point, or to even play favorites. There should be no judgement at this time…it should be a fluid output of ideas, saving the critique for later in the phase. Sometimes, what might seem like a bad idea can take a new and exciting shape when combined with another idea, so everything is worth saving for the refinement part of the phase.
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During a recent interview with Steve Bernstein, the CEO and president of Bernstein-Rein, a design and marketing company in Kansas City, he provided some insight on how his design teams might tackle this phase.
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“Our teams divide and categorize the information gathered from the first phase: culture, customer, voice, benefit, value, and the x-factor. These concepts are then cross-ex-
STEVE BERNSTEIN CEO & PRESIDENT @ BERNSTEIN-REIN ADVERTISING
“Branding & Identity Design is the synthesis of objective reality translated into subjective expectations.”
amined, combined with each other, and ultimately manifested into visual representations. We are always aiming for innovation and creativity but are also refining that in combination with concepts that have been embraced in the past to hopefully develop something new. But it isn’t just about how the brand looks, but also how it functions in a variety of settings and applications, and furthermore, how that brand can be more refined and minimalized for smaller applications requiring a more abbreviated design concept. The final design will hopefully be an aesthetically pleasing concept that embodies the most essential of ideals while maintaining versatility
8. Image courtesy of BR.com 9. BR logo courtesy of BR.com
and intention: beautiful utilitarianism.”
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This technique employed by Bernstein-Rein is (not surprisingly) similar to techniques practiced at other firms in the Kansas City area. This phase is one of consistent editing and refinement, step-by-step, with consideration for applications, operations, parameters, and the needs of both the client and the customer. Angela Snyder from Willoughby Design provided a short list of “targets� that her team aims for on each and every project. Although the path may differ from client to client, these questions help the design team establish checkpoints that lead to the next phase or encourage a revisit to the current phase where new ideas can once again be cultivated.
Is the design successful when applied in one single color? It must be able to translate in a monotonal environment; this is especially important when considering digital applications. Is the design visible and legible at a distance? It must contain enough mass to survive a certain level of distillation, pixilation, and lighting. Is the design legible in all aspects? Is there enough contrast to distinguish between the brand and the background? Is there enough contrast to distinguish between multiple elements of a brand? Is the brand harmonious and balanced? If there are multiple elements, do they work together in a productive and evocative way? Compositional decisions are important and help establish the tone of the brand. Is the brand as simplified as possible? Has it been stripped down to its true essence? In the end, a simple brand concept can successfully achieve all of the above, sometimes more easily than a design that is highly detailed and complex.
In order to get to the final phase of the branding and identity design process, a designer or team must be able to answer yes to the questions above. If there is even one resounding no, then it must be considered, and adjustments must be made accordingly. By the end of this phase, one should be left with a small handful of options that can then be further refined in the next phase of development.
PHASE 3
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DISTILLATION &
DEPLOYMENT
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The final phase of this process begins with a small handful of visual concepts to work from that contain the most essential ingredients of the business, and how the business is perceived by the public. It is
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once again imperative to not only continue catering to the needs of the client but of the customer as well. Not only will the brand represent the company, but it will also become a symbol of how the company is perceived by the masses. In the end, it is the public who will decide how successful (or not) the brand is, and all that the designer has control over is how to differentiate the client from its competitors in a sustainable and memorable way (Shumate, 43). According to Marty Neumeier, the author of The Brand Gap, a brand is a person’s gut feeling about a product, service or company. He says,
“It’s a gut feeling because we’re all emotional, intuitive beings, despite our best efforts to be rational. It’s a person’s gut feeling, because in the end the brand is defined by individuals, not be companies, markets, or the so-called general public. Each person creates his or her own version of it. While companies can’t control this process, they can influence it by communicating the qualities that make this product different than that product. When enough individuals arrive at the same gut feeling, a company can be said to have a brand. In other words, a brand is not what the client says it is. It is what the collective “they” says it is. A brand is an approximate—yet distinct—understanding of a product, service, or company. To compare a brand with its competitors, we only need to know what makes it different. Brand management is the management of differences, not as they exist on data sheets, but as they exist in the minds of people.”
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10. Photo courtesy of wikipedia 11. Book cover courtesy of google.com
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This particular frame of references is an interesting one indeed and
During this final stage of development, a designer or design team should
helps clearly put into perspective the reasons why a customer’s opin-
have a handful of final concepts for the client to then choose from. What-
ion is just as important as the client’s opinion. During this final phase
ever designs make the cut, they should be the best-of-the-best ideas and
of branding and identity design, the customer’s relationship with the
be presented in full color and rendered completely. Each idea should
product or service must be at the forefront, for it is this relationship
communicate effectively and be presented in a variety of ways to high-
that the client hopes to ignite and nurture with reliability and quality. In
light its versatility and flexibility. Finally, each idea should be treated as
the end, an entire experience will have been developed, and the visual
the final design, giving no special attention to one over another. If the
system preserves that experience in hopes of making a lasting impact
designer or design team is not 100% on board with one of the choices,
on the consumer.
then it should be scratched. Lack of confidence in the design means a lot and can inadvertently impact not just how the designer talks about the
Aesthetically speaking, the final design must also be visually recognizable
design during presentation, but how the client will receive the informa-
and legible, and pleasing to the eye. While we have always been taught
tion. Each design concept at this time should be the cream of the crop
to not judge a book by its cover, in this particular setting, the customer
and all realistic options for the client to choose from.
does it anyway. If the customer likes how something looks, they gravitate towards it intuitively and unconsciously. They pick up and purchase the product or they sign up for the service; and if they like it, they remember what it looks like, and they seek it out again. They tell their friends, they put it on social media, and word spreads like a wildfire, instantly establishing the brand’s reputation and consistency based on its visual identity. This initial first impression not only needs to be authentic, versatile, and distinct but must also be aesthetically pleasing and unforgettable (Neumeier, 37).
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During these final meetings between designer and client, it is a crucial time to get feedback. Perhaps not just feedback from the clients themselves, but also a sampling of customers who might be able to provide some unsolicited and surprisingly helpful insight. Sometimes and brand needs to go for a test drive to ensure that it is effective, likable, and significant enough to make a lasting impact. Designers and design teams can sometimes lose sight of the small details and get creative tunnel vision. The additional sets of eyes can spot the smallest of discrepancies and provide crucial data about their first experience with the brand and identity of the client. According the Tad and Jessica Carpenter of the Carpenter Collective,
“A client’s brand and identity are what distinguishes them from their competitors and creates overall interest and trust in the product or service. The brand and identity are more than just a logo. It is a visual system created with typography, pattern, color, imagery, composition and voice. Our goal is to create a proprietary brand experience that is true to who your brand is and how you aspire to grow.�
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This is an endpoint that most designers and design teams hope to finally arrive at. Not only should the final design be something that the client believes in, but the client’s customers can believe in as well. Voltage, another design studio in Kansas City, also strives to cultivate and build a relationship between client and customer through the client’s branding and identity. On their website one can find a brief description of their methodology about branding and identity design. It states,
“The story of your company is a critical element to communicate because it provides identity and connection with your customers. There are many elements that make up a brand beyond the logo that is often seen as the signature of the brand itself. Voltage works with their clients to review all current elements, identify areas to address for consistency and need, and develop deliverables. We will update and rejuvenate your brand, provide brand and identity guidelines for you to use across your company’s platform of products and services, and effectively develop and deploy a brand that you can truly believe in.”
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WHAT NOW?
Once a brand and identity has been chosen, fine-tuned, and then launched in real time, the relationship between the designer and client does not come to an end. With all of the technological advances, modifications, and updates that arise, so do new problems with the branding and identity that need to be addressed. The way an individual or group of people interact with information may change again and again, and the brand must remain malleable and innovative in the face of those changes. Ideally, the designer or design team will be there to help make that possible. According to Willoughby Design in Kansas City, their small creative teams not only develop a brand and identity for a client but emphasize the importance of a sustainable and professional relationship beyond the project’s original goals and intent. Emphasizing the continued cultivation of that relationship gives the client security in knowing that there is a support system behind their brand, and that system is in place to help maintain success and encourage growth and advancement heading into the future.
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The purpose of this thesis was to provide insight on the development and design of a brand and/or identity system, specifically in the Kansas City area. However, this thesis can easily serve as an outline about the techniques and practices employed by not just designers in Kansas City, but anywhere else in the world. In the end, branding and identity design transcends geography and is applicable everywhere. Branding and identity design are a complicated and variable process that differs dramatically from client-to-client and produces a wide variety of solutions that are themselves individualized and fostered. Because branding and identity design is distilled and simplified, it becomes a universal language that translates from region to region and can unpredictably resonate and connect with people.
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CONCLUSION
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The design firms represented in this thesis all took their time to meet with me one-on-one to discuss their individualized design and branding process. They are all firms that reside in Kansas City, range from large marketing conglomerates to small design boutiques, and have all designed branding and identity systems for local businesses in the area. Bernstein-Rein is a large advertising and marketing company that has been in business since 1964. They have the most experience with concepts of sustainability and longevity in design and are dedicated
While these firms are just a miniscule sampling of the design businesses
to each stage of the process in order to arrive at a successful resolu-
in the Kansas City area, they are a sampling with a wide variety of tech-
tion. Willoughby Design is a moderately sized firm that has been in
niques, processes and execution. I chose the four design firms based
business since 1974. Willoughby specializes in branding and identity
on both their similarities and differences in order to provide the reader
design, employing some very unique methods to arrive at a resolution.
with an accurately variable experience. While their differences are not
They themselves have a striking brand of their own which is an effec-
surprising, some of their similarities are, and help further support the
tive preview of the wide variety of designs they can achieve, and plat-
idea that branding and identity design is a unique animal that takes a
forms they can manipulate. Voltage is another moderately sized firm
variety of paths to arrive at the same destination.
that was started approximately 10 years ago. This firm specializes in not only designing a brand or identity, but also successfully utilizes those
Hopefully, I have provided a clear overview of how the process of brand-
designs across all digital platforms. Finally, the Carpenter Collective is
ing and identity design functions. As I stated in the beginning, branding
a small design boutique that brings with it a strong point of view. Tad
and identity design is hard to fit into one specifically molded process, but
and Jessica Carpenter collectively have over 40 years of branding and
instead should be treated accordingly based on the needs and parame-
identity design experience, and efficiently provide a client with designs
ters defined by the client and the customer. The end-goal is always the
that are visually creative and stimulating. They specialize in providing a
same: communicate an idea, product or service in an aesthetically pleas-
client with a brand that has personality and a visual system that feels
ing way that can be versatile in function and application and endure the
cohesive and streamlined.
strong tides of change that will inevitably come.
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Works, Interviews, Websites Cited Adams, Sean. Masters of Design: Logos & Identity: a Collective of the World’s Most Inspiring Logo Designers. Rockport Publishers, 2008. Boyd, Linzi. Brand Famous: How to Get Everyone Talking about Your Business. Wiley, 2014. Drummond, Elizabeth S. “Bernstein-Rein.” Steve Bernstein, CEO/President. 17 Oct. 2018 Interview. Drummond, Elizabeth S. “Carpenter Collective.” Tad and Jessica Carpenter, Owner/Operator/Designer. 19 Nov. 2018 Interview. Drummond, Elizabeth S. “Willoughby Design.” Angela Snyder, Junior Designer. 14 Oct. 2018 Interview. Drummond, Elizabeth S. “Voltage.” Corey Morris, Vice-President of Marketing. 27 Oct. 2018 Interview. Meggs, Philip B., and Alston W. Purvis. Meggs’ History of Graphic Design. Wiley, 2016. Millman, Debbie. Brand Bible: the Complete Guide to Building, Designing, and Sustaining Brands. Rockport Publishers, 2012. Neumeier, Marty. The Brand Gap: How to Bridge the Distance between Business Strategy and Design ; a Whiteboard Overview. New Riders, 2006. Shumate, A. Michael. Logo Theory: How Branding Design Really Works. Elfstone Press, 2015. Wheeler, Alina. Designing Brand Identity: an Essential Guide for the Entire Branding Team. Wiley, 2018. White, Alex W. The Elements of Graphic Design: Space, Unity, Page Architecture, and Type. Allworth Press, 2011.
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https://voltagekc.com https://b-r.com/work/ https://carpentercollective.com https://willoughbydesign.com/about/ https://en.wikipedia.org/wiki/Kansas_City,_Missouri https://www.census.gov/topics/population.html
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PROJECT IDEATION
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PROJECT STYLE GUIDE
BOOK DESIGN PRIMARY COLORS BOOK DESIGN SECONDARY COLORS
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SPRINGSTEEL SERIF 35PT springsteel serif
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Mr. Eaves 30pt Mr. Eaves
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Mr. Eaves Bold Mr. Eaves Regular Mr. Eaves Book Mr. Eaves Light Mr. Eaves Thin
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PROJECT STYLE GUIDE UPDATE
BOOK DESIGN PRIMARY COLORS BOOK DESIGN SECONDARY COLORS
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C:5 M:99 Y:73 K:0 #E32144
C:5 M:99 Y:73 K:0 #E32144 80%TINT
C:5 M:99 Y:73 K:0 #E32144 70%TINT
C:5 M:99 Y:73 K:0 #E32144 50%TINT
C:5 M:99 Y:73 K:0 #E32144 35%TINT
C:5 M:99 Y:73 K:0 #E32144 20%TINT
71
SPRINGSTEEL SERIF 35PT springsteel serif
25pt
springsteel serif
20pt
springsteel serif
14pt
springsteel serif
12pt
Mr. Eaves 30pt Mr. Eaves
25pt
Mr. Eaves
20pt
Mr. Eaves 15pt Mr. Eaves 12pt Mr. Eaves 10pt
Mr. Eaves Bold Mr. Eaves Regular Mr. Eaves Book Mr. Eaves Light Mr. Eaves Thin
The Art of Process
73
The Art of Process
75