K E L A B I T C O M M U N I T Y I N M A L AYS I A
BRAND IDENTITY
BY N ATA L I E PA S N I N
CONTENTS BRAND OVERVIEW Page 1 RESEAR CH Page BARIO LOGO Page Colours Page Tour ism Campaigns Page Bar io Map Page Authenticity logo Page Swing tag Page
2 3 4 5-6 7 8 9
PACKAGING Rice Page 10 Salt Page 11 Cinnamon Sticks Page 12 PROMOTIONAL ITEMS Calender Page 13-14 Mug Page 15 Clock Page 16
Page 17 Colours Page 18 Page 19 Page Way finding brochure Page Tickets Page Employee Uniform Page
20 21 22 23
Visitor name tag Page 24 Bag Page 25 Umbrella Page 26
BRAND OVERVIEW
The governing body of the Kelabit Community, Dato Isaac Lugun, intends to preser ve their cultural her itage and identity. They also wish to incorporate the social and economical changes within the past 60 years, due to the introduction of Chr istianity and increased Kelabit mobility to urban areas for fur ther education and employment. Through this process, they wish to create a brand for the Bar io region and develop a logo for the new community museum that will be located on the Kelabit Highlands. Cultural appropr iation has been considered with a representation of the community’s culture and symbols being incorporated into the logo designs, (Rogers, 2006) to ensure the most memorable features of Kelabit Highlands are recognised through their brand identity.
1
RESEAR CH Many elements found in the research process were considered and applied dur ing the development of the Bar io and Museum logo designs. Colours to suit the culture and environment of the Kelabit Highlands were implemented on a more personal basis.
COMMUNITY MUSEUM LOGOS
25
25
20
20
15
15
10
10
5
5
Green
Nature
Mountains
Predominate element
Circles
Type
Pattern
Infrastructure
Predominate element
Nature
2
BARIO LOGO
The logo for the Bar io region has been carefully considered to incorporate the fauna and flora of the community. The purpose of the logo is to include as many impor tant aspects of the community in the most simplistic form. The details in the logo design are easily identifiable and help to determine a destination’s future in that they make promises to the tour ists who visit as well as to the inhabitants (Blain, Levy, Ritchie 2011) who belong to the Kelabit community. A simple outline of the objects was conducted, ensur ing the design does not become over detailed and a coloured texture has been used to encapsulate the natural aspects of the Bar io region.
3
COLOUR The logo shows few colours, with a gradient and textural effect, adding a similar character istics to that of the ar twork seen in a number of Kelabit houses. The colours selected represent the natural and agr icultural aspects, which is a significant element to the Kelabits culture and identity. The green and lime colours symbolise nature as well as the Highlands aspects of the community. The yellow represents the tropical atmosphere and the red has been deliberately incorporated as it is a common colour used in both the Malaysian and Indonesian flags.
CMYK 23, 2, 75, 0 RGB 203, 216, 102
CMYK 13, 15, 92, 0 RGB 227, 202, 57
CMYK 23, 9, 100, 0 RGB 208, 206, 44
CMYK 24, 94, 100, 20 RGB 163, 43, 6
Br ight colours ha ve been chosen to symbolise the vibrancy of the community and their culture. All detailing has been outlined in black, ensur ing clar ity and enabling the logo design to stand out pleasantly with the colours used as well as the surface the logo will be used on.
4
TOURISM CAMPAIGN
A Tour ism Campaign has been created representing some key elements that can be found in the Kelabit Highlands. Four phrases, relating back to the photograph has been placed in a manner that will entice the audience to become interested in visiting and learning the culture of Bar io. The posters read, ‘Learn a new skill’, ‘Embrace a new culture’, ‘Make a new family’ and “Find a new you, in Bar io’. The adver tisements can be displayed in a shopping centre, bus stop, online and on pr int form (such as a newspaper or magazine), which will allow different demographics to be reached through the designs.
5
TOURISM CAMPAIGN
All the four posters displayed on the previous page can be displayed separately, with the words ‘In Bar io’ at the end of each catch phrase to preser ve the direct connection to the community. The image for this par ticular adver tisement differs to the images seen on the previous page, as it is focused on showing the beauty of the village itself and highlighting the ‘Kelabit Highland’ element of the photograph. A var iation of images can be used to suppor t the phrases, and they can be altered accordingly to the location they are being adver tised in.
6
MAP
A map design located at the Airpor t of the Kelabit highlands has been inspired by the colours used in the Bar io logo. The green and orange vibrant colours allows the signage to stand out. The colours also capture the vibrance of the Kelabit communities culture. The key has been completed with universal symbols, allowing people tra velling from around the world to read the map with ease.
7
MADE IN BARIO AUTHENTICITY
The authenticity symbol has been created to have the ability to work on different applications. The flower image, inspired from the Bar io logo can be displayed in the circular shape as a whole or alternatively cropped, with only half of the flower design being shown. The colours and subtle detailing can also be altered as seen on the examples to the left and on the next page. The ‘Made in Bar io’ wordings wrap tightly around the circular shape of the flower, creating a harmonious design.
8
SWINGTAG
The swing tag shape has been inspired by the flower shape of the logo and authenticity symbol. A perforated section has been included at the bottom of the swing tag to allow visitors the option of removing the pr ice of the item if they were to give it to someone as a gift. The colour of the flowers can be altered to definite the labelling of different items on sale such as hats and bags. Once the perforated section has been removed, the “Made in Bar io’ wordings will still be displayed, however the flower will only be seen as half.
9
PACKAGING: RICE
The r ice packaging has been designed using recycled paper, allowing the Kelabit community to be involved in helping the environmental issues occurr ing world wide. The simplistic design allows clar ity of all the information and also allows the logo to stand out effectively against the dark colours. The shape of the packaging has been deliberately designed to allow ease of pour ing the r ice for cooking. For fur ther assistance, the inside of the lid has measurements for precise cooking. A small window with the shape of 3 leaves, has been incorporated providing a sense of sophistication to the design and creating a link to the Bar io logo.
10
PACKAGING: SALT
Using a similar concept to the Rice, the salt packaging has been designed with the use of recycled paper. However, alternatively to the Rice packaging, this design focuses more on the colours found in the Bar io logo. With the use of greens, oranges and yellows to create a circular pattern inspired from the shapes in the logo, the pattern wraps around the packaging creating a distinct connection to the logo design. Once opening the tab for the design, the inside is coloured green, also inspired from a predominate colour of the logo. The ‘Made in Bar io’ symbol can be seen once being opened.
11
PACKAGING: CINNAMON STICKS
Using a similar colour scheme as the previous two packagings, to retain a sense of consistency, the cinnamon stick wrapping design has been inspired by a tr iangular pr ism shape. This allows the cinnamon sticks to fit nicely in the shape of the packaging and can be compactly packed while tra velling. The design also includes a perforated opening, to allow easy access to the content inside. A leaf pattern has been used, inspired from the Bar io logo, as well the two colours of green and orange, the most predominate colours from the logo design.
12
PROMOTIONAL ITEM: BARIO CALENDER
A twelve month calender has been designed, inspired from the elements found in the Bar io logo. The twelve images are been placed in an environment which represents the Kelabit culture and colours. The use of unrealistic colours has been deliberately used to create a somewhat abstract ser ies of images to retain interest and allow the buyer to see elements from the Bar io culture on a monthly basis, even after they have left the Kelabit Highlands. The logo has been placed in the r ight hand side corner of each page, to create a distinct connection as to where the images were inspired from.
13
PROMOTIONAL ITEM: MUG
A dr inking mug with a unique handle has been designed, inspired from the flower which is one of the most dominant elements in the logo. The handle has holes to allow the purchaser to place their fingers through them or alternatively, hold the around the cup if they prefer. The cup design itself has been left with a simplistic, clean white colour, to direct the focal point to the br ight and vibrant colours of the Bar io logo.
15
PROMOTIONAL ITEM: CLOCK
A flower based clock design, inspired from one of the images from the calender design, has been developed with the use of the colours and a few elements found in the Bar io logo. A ser ies of colours also found in nature has been used allowing the design to create a sense of realism. Simplistic design focused on the imagery, which contains a number of var ious applications found in the Bar io logo.
16
MUSEUM LOGO The Kelabit community museum’s logo for Ter ipun Tauh has incorporated the woven pattern, which is found in many of the items, such as sun hats and carry baskets that are made by the local residents. The shape of the logo has intentionally been designed to represent the architecture of the museum’s roof. The roof design has two sections of a similar shape, hence the reason for the separation between the logo. The segregation has also been included to reflect upon the separation of the words ‘Ter ipun Tauh’, allowing the typography and design to complement each other. With an understanding of some of the key differences of the Kelabit’s culture, the symbols, colours and cultural character istics, these factors have been referenced in the design, to create a feeling of familiar ity in the logo design. (Jones, J 20111, p.370) A similar textural design as the Bar io logo has been incorporated, symbolising the native landscape of the surrounding area.
17
COLOUR
A var iation of orange and brown has been selected to represent the landscape and natural elements used to build the existing buildings around the community. As the museum’s main purpose is to display the crafts made by the Kelebit residents, the textured colour has been carefully chosen to display the tones that are commonly used in the house decorations, descr ibed as Bunga Ruma, (Flowers) and the items made in the Highlands, such as woven hats and carry bags.
CMYK 20, 30, 77, 0 RGB 207, 172, 90
CMYK 13, 66, 100, 2 RGB 1212, 111, 19
CMYK 59, 36, 100, 19 RGB 106, 119, 39
CMYK 27, 26, 91, 1 RGB 193, 172, 63
These symbols and colours are representative of Kelabit’s identity and adds value to the heirloom items which will be on display in the museum. The textural effect fur ther provides a realistic feature of the ear thy feel that resembles the environment of the Kelabit Community. Similar to the Bar io logo, the design has been outlined in black, ensur ing the logo is well defined and will stand out effectively on the surface it is displayed on.
18
TYPOGRAPHY
Both logos for the Bar io region and Ter ipun Tauh have the same typeface used to retain consistency. The font, Haster istico was selected as it complements both the rounded shapes in the Bar io logo, as well as the Woven effect in the Museum logo.
For the Bar io logo, the typeface has been displayed as the default font, creating a relationship between the rounded shapes in the design and the text.
For the museum logo, the same typeface is used as the Bar io logo, to also create a relationship between the two logos. The thin typeface used reflects the border that is around the woven design.
Hasteristico Regular abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWYZ
Hasteristico Italics abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWYZ Hasteristico Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWYZ
19
INTERIOR COMMUNICATION
The Museum will ha ve an interactive board, which displays the events for the day and the times they are viewing. The map is also displayed with an orange background, allowing this information to stand out effectively. Similar information is displayed on the brochure, which is a vailable on this stand. A monthly event will be held at the museum, which will be promoted on the left of the board. Orange is a predominate colour in the inter ior wall of the museum, which provides a br ight and ‘fun’ vibe to the atmosphere of the museum.
20
INFORMATION/WAYFINDING BROCHURE
The brochure for the Ter ipun Tauh Museum will be a valiable to visitors upon arr ival, which displays a floor plan map of the Museum, which has been colour co-ordinated for easy locating. The brochure also provides br ief introductory information on the history about items on display at the museum and the Bar io community. Daily attractions and activities are also listed, which include beading and wea ving classes, a museum tour and a live dance performance, which will be available throughout the day and at different times. The tr iangular shapes which has become a predominate factor of the design has been inspired from the logo and tr iangular shape design of the logo. The tr iangular shapes are repeated throughout the brochure are a decorative element as well as displaying information and images of the Kelabit communities cultural environment.
21
TICKETS
The museum tickets ha ve been created with the two dominate colours from the logo being the main focus. Abstract tr iangular shapes have been created in the background of the tickets, which allows the tickets to become more vibrant. The green ticket has been created to represent a ‘Day pass’ and the orange represents a ‘Multi day pass’, which the customer will be able to use to access the Museum within a 3 day per iod, which will be sold at a higher rate. The design has incorporated an perforation which when r ipped will display a tr iangular shape similar to that of the logo.
22
EMPLOYEE UNIFORM
Uniform designed for the Museum employees has been created with the inspiration of the woven effect in the logo. Fur ther inspiration of the tr iangular shape found in the logo has been incorporated at the bottom of the females shir ts, as well as the color and bow tie. For the male, the ‘V’ shaped vest and opening colour has been created to represent the tr iangular shape in the logo. The female and male uniform display similar ities with the colours and patterns, however has deliberately been created to be shown on opposite sections of the emplyees bodies. The logo has been pr inted onto the uniform to create a clear connection between the logo and design
23
VISITOR NAMETAG
Upon arr ival to the museum, the visitor will have the oppor tunity to take a photograph in the photo booth in the entrance of the museum, where they can select background and enter their name. The name tag will include the words ‘Visitor’ and the year they visited the museum, as well as the logo. This allows the visitor to ha ve a memory from the museum, as well as feel a connection and a par t of the community while visiting the museum. All patterns used as background have been inspired from var ious applications used throughout the museums design, such as the tickets and employee uniform.
24
PROMOTIONAL ITEM: BAG
The promotional bag has been designed with the use of a woven fabr ic, emphasising the woven effect found in the logo design. Fur ther to this, a defined woven pattern with the use of the most dominant colours in the logo has been created in a diagonal direction, replicating the slanted tr iangular shape in the logo. The logo has been subtly placed in the corner, on a tr iangular shape, creating a consistency of the logo and many of the other items available at the museum. Two similar designs are available to visitors to choose from.
25
PROMOTIONAL ITEM: UMBRELLA
The umbrella pattern has been designed with the same pattern as the employee uniform. The cr isscross effect, inspired from the woven design in the logo has been used both inside the and outside the umbrella. The velcro strap displays the Ter ipun Tauh logo, on a vibrant orange colour, allowing it to stand out effectively. The black outline of the logo has been emphasised in this logo design, with a var iation of orange and green. The umbrella inside has a tighter version of the pattern, which differs from the top of the umbrella, which has the pattern to be wider and zoom in more.
26
REFERENCES Campelo, A, Aitken, R, Thyne, M, & Gnoth, J 2014, ‘Sense of Place: The Impor tance for Destination Branding’, Journal Of Tra vel Research, 53, 2, pp. 154-166, Business Source Complete Jones, J 2011, Visual Design in Cross-Cultural Communication, Design Pr inciples & Practice: An International Journal, Vol. 5 Issue 4, pp361-376, Ar t Source Rogers, RA 2006, ‘From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropr iation’, Communication Theory (10503293), 16, 4, pp. 474-503, Communication & Mass Media Complete
27
WRIT TEN BY
Natalie Pasnin 212166541 e: natpas123@hotmail.