DXB102
20 15
VISUAL COMMUNICATION DESIGN PORTFOLIO
DESCRIPTION A coherent series of visual representations within a given theme, accompanied by an articulation of design decisions. This document is the visual design of the kine mouse and it’s acconpanying, graphic, brand and identity packaging for effective visual communication.
DESIGN STYLE DESIGN VISION LOGO RHETORICAL IMAGES THEORY OF DESIGN DECISIONS INFORMATION DESIGN REPRESENTATIONAL INFLUENCES PACKAGING DESIGN
REPRESENTATIONAL INFLUENCES REFERENCES
asthetisch DESIGN STYLE
K I N E
Inspired by Lauer Pentak’s theories of design process, Where the artist or designer plans the arrangement of elements to form a visual pattern1, The visual communication of the Kine device is inspired by the simplicity of design elements brought together to create an eclectic relationship between perceived texture and minimalism. Similar to the suggestions by Pentak, these elements will vary-from painted symbols to written words with a consistent result of visual organization2. The design of the visual communication bounces between Memphis Milano and Bauhaus with colors inspired by aesthetics of the flesh and 90's new-age technology. I looked to Memphis Milano for my inspiration because of its heavy influence in design, as an era that redefined contemporary art direction. I then abstracted the principles of the Memphis Milano movement into key points; bold Sections and thin Lines. In conjunction, I chose the colour navy blue as the central thematic emphasis through my visual communication because reflects a “cool� atmosphere and appeals to a youthful but mature audience.
1 2
(Pentak, 2000) (Pentak, 2000)
sehvermogen DESIGN VISION
K I N E
Kine is a revolutionary piece of wearable technology that was created to change the way we interact with our immediate work environments and the way we create. Established keywords from the start were minimal, calm and advanced technology which would assist in creating a brand identity spoke for itself, and could be relatable to people across different creative platforms. This set of graphic design elements has to be placed before the public to convey a predetermined message. An industrial product has to meet consumers' requirements. As Wucius Wong says, A good design, in short, is the best possible visual expression of the essence of "something," whether this be a message or a product.1 To communicate Kine faithfully and effectively, I examined the best possible way the elements of the designs could be shaped, made, distributed, used, and relate to the environment. Therefore the creation is not only just aesthetic but also functional, while reflecting or guiding the taste of the time.2 The logo, rhetoric images, information design and packaging, were ideally constructed to reflect the tactile device aesthetic and the changing demographic of computer literate individuals.
1 2
(Wong, 1972) (Wong, 1972)
ORIGINAL NAME: The Air Mouse alternatives: -TOUCH -FINGERTIPS -SENSE
CONCEPT -WIRELESS MOUSE -HEALTH MONITOR -FOR CREATIVES AND DESIGNERS
DEVICE: SPECIFICATIONS AND DESIGN SKETCHES
LOGO: DESIGN INTENT
KEYWORDS: MINIMAL CALM ADVANCED TECHNOLOGY
LOGO: ANALYSIS AND INSPIRATION
minimalism postmodernism 80’s italian post mod memphis milano
LOGO: DESIGN STYLE
kine. ki ne
k k
LOGO: DESIGN SKETCHES GESTALT PRINCIPLES PROXIMITY SIMILARITY CLOSURE
kine.
kine. kine.
kine.
think
plan
execute
ORIGINAL LOGO
LOGO VARIATIONS
Logo redesign
Logo redesign
The redesign of the logo was inspired greatly by the requirement of the gestalt principles to be more reflective of the image. It was clear that upon redesign, the entire ethos of the brand was redefined and established as a company that is both people and design focused. By keeping most of the original gestalt principle elements; similarity proximity and closure, and reintroducing new classifications, the new logo takes on principles such as balance of elements to create a design that makes the appearance of a “whole�. The redesign also has contrast of elements in scale, tactile texture through a design style that gives the composition depth and simulates physical qualities, as well as the Positive and Negative space created through the use of colour emphasizing the relationship of design elements in a composition. In this instance, the object or element constitutes the positive, and the space or environment in which the element exists is the negative1.
1
(Klimchuck, 2006)
rhetorisch RHETORICAL IMAGE
K I N E
In art as in communication, the artist or designer is saying something to the viewer. Here the successful solution not only is visually effective but also communicates an idea. Any of the elements of art can be used in communication1. Purely abstract lines, colour and shapes can be very effective in expressing ideas or feelings. Other times communication is achieved through symbols, pictorial images that suggest to the viewer the theme or message. The symbol is just the first step; How it is used provides the unique and successful solution. These descriptions are evident in a majority of Memphis Milano and Bauhaus designs. In the original compositions, I looked to the aforementioned design posters where the placement of objects in the center and simplicity of the images mirrors the minimal use of text. These principles of design can be encompassed under The Framal Reference. The framal reference marks the outer limits of a design and defines an area within which the created elements and left-over blank space, if any, all work together.2 If it is, then the frame should be considered as an integral part of the design. The visual elements of the visible frame in the Kine rhetorical should not be overlooked. If there is no actual frame, the edges of a poster, the page of a magazine, the various ~faces of a package all become framal references for the respective designs.
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(Pentak, 2000) (Wong, 1993)
RHETORICAL IMAGE: RESEARCH
STORY BOARD
POST MODERN ART
CONSTRUCTION OF MEANING Rhetor:
Third Party of Higher Intelligence
Audience: Designer Purpose: To suggest a better alternative to traditional methods CENTRAL LOCATION OF OBJECTS
LOGOS ETHOS PATHOS STYLE:
ILLUSTRATIVE 3D IMAGE
THEME: POSTMODERNISM/ BAUHAUS TROPE: METONOMY IN THE CATCHPHRASES VISUAL PUN + HUMOUR
BAUHAUS
reinvent yourself.
original rhetorical images
original rhetorical images
REINVENT YOURSELF
EVERYWHERE
DON'T
YOU
FORGET
KINE
rhetorical image redesign
GO
YOUR
Here in the simplistic redesign of Kine, within the framal reference lies the picture plane. The picture plane is actually the plane surface of the paper (or any other material) upon which the design is created.1 The icons are directly printed on this picture plane, but they may appear to be above, below, or unparallel to it because of spatial illusions, which will be change with the materiality of the design. For the design and structure, design in this sense is not just an icon that is seen, but a shape of definite size, color, and texture. The way unity is created, constructed, or organized along with other images is often governed by a certain discipline which is called "structure."2 This theory will be further explored in the information design.
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(Wong, 1993) (Wong, 1993)
entscheidungen THEORY
K I N E
The thoughts and theory behind the information design are similar to those in the rhetorical image. The design style is both illustrative and vernacular but refined. The blend of the two however creates a new aesthetic that reflects the nature of the creative brand. The principles of the information design involve penetration of the surface plane where the forms appear transparent. There is no obvious above-and-below relationship between the illustrations yet the contours of the shapes remain entirely visible. There are also major features of union where the illustrations are joined together to become a different, bigger image. Subtraction is also present where there are overlapping elements of a negative form on a positive form1. The gestalt principles of the images in the information design are the relationship of proximity and similarity of image styles. This in turn generates Unity which occurs when the shapes and symbols look similar to one another as a cohesive whole. In information design, Most representational forms capture the basic characteristics of shapes and avoid subjects with unusual, less familiar details. Various ways of drawing an object have been explored, and subsequently applied to the design of representational images. It was first decided whether to present the icons as geometric shapes or as realistic organic shapes, and therefore how abstract it could be to still satisfy design goals. A preliminary search into a range of specimens was essential, so that their particularities could be compared and general features extracted2.
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(Wong, 1993) (Wong, 1993)
grafiken INFORMATION DESIGN
K I N E
Movements are emphasized through both the icons on the information design and the process of wearing the object. For the information design these movements are coded as gestures of body motion, and time sequence. (Symbolically encoded because "any serious system of movement notation avoids words because they are a strong deterrent to international communication, and self-interpretation)1. Often the redundancy of bilateral symmetry consumes space better devoted to fresh information2; but here there is an integrated complexity of dual movements, as the users movement requires symmetric repetition of the hands. The motion of the user as represented through the information design means the two, are similar through their mirrored pairing. They become visually integrated through the touching of the hands, and overlapping paths of movement, as well as the convergence of perspective radiating from, for example, the flatland floor to a vanishing point exactly midway between the outstretched hands.3 A subtle, graceful, profoundly simple design, with a straightforward complexity, a forearm of modern dance and movement innovation.
1 2 3
(Tufte, 1990) (Tufte, 1990) (Tufte,1990)
I N S T R U C T I O N
ONE
G U I D E
TWO
THREE
FOUR
ENSURE YOU HAVE THE RIGHT SIZE BAND FOR YOUR WRIST.......
rEMEMBER TO PEEL OFF EACH ADHESIVE STICKER OFF THE FINGER PADS.......
FIVE
SIX
READY SET GO
WWW.KINE.COM
The approach to this task was to simplify and clarify the use of the Kine device by illustrating the motions of an abstract idea. This was done to show the flow of a process of using the device from initial wearing to full system configuration. The information design makes the steps visible and easy to navigate and also shows structure and order in initially chaotic data. Also choosing a limited color scheme that related to the data and theme appeals to users that may be color-blind. The style of your elements can convey meaning1. Objects and icons are differentiated by size, color, pattern, and placement. Thin lines for the illustration were used as they are generally preferable to thick lines, which may compete with text and other information.
1
(Emmerson, 2008)
einflüsse INFLUENCES
K I N E
Organic Hand Sketching
Adjacent Text Placement
Multilayers Colour Scheme
Minimal Data Representation
Harmonious Colour Scheme
Clarity of Information
Information design INFLUENCES
This personal project is inspired by the urban farming movement. The hand bound book acts as a reference guide on the indoor, year round, urban farming method, Window Farming. The book visualizes various types of data and instructions covering everything from assembly to mounting to coming up with a growing plan.
Simple Infographics in Relation To Text
Information design INFLUENCES
In an age of ubiquitous Google Maps and navigation systems that will talk to you, I love the unique maps collected by the Hand Drawn Map Association. Below is a nice example from the HDMA site.
Strategic Colour Use and Placement
Interlocking Elements for Continuity
Information design INFLUENCES
verpackung PACKAGING DESIGN
K I N E
Packaging design is a creative business that connects form, structure, materials, color, imagery, typography, and ancillary design elements with product information to make a product suitable for marketing. Packaging design serves to contain, protect, transport, dispense, store, identify, and distinguish a product in the marketplace. Ultimately packaging design resolves the marketing objectives of the product by distinctively communicating a consumer product’s personality or function.1 Through a comprehensive design methodology, the packaging design for Kine uses many tools to solve complex marketing problems such as ease of interaction and accessibility for the user through navigation. Using an effectively resolved design strategy, the product information is communicated to the consumer. Packaging design must function as the aesthetic means of communicating to people from all different backgrounds, interests, and experiences, therefore, an awareness of anthropology, sociology, psychology, ethnography, and linguistics can benefit the design process and the appropriate design choices. Specifically an understanding of social and cultural variations, non-biological human behaviors, and cultural preferences and distinctions can aid in the comprehension of how visual elements communicate.2
1 2
(Klimchuck, 2006) (Klimchuck, 2006)
four years ago three people had an idea. an idea that would change theway we percieve technology; an idea that considered the way we move, the way we work, and the way we connect with others. reinvent yourself
e x t e r n a l a r t w o r k
i n t e r n a l a r t w o r k
four years ago three people had an idea. an idea that would change theway we percieve technology; an idea that considered the way we move, the way we work, and the way we connect with others. reinvent yourself
The goal for Kine is not to create a design that is purely visually appealing since packaging designs that are solely aesthetically pleasing do not necessarily achieve marketable results. Creatively accomplishing the possible marketer’s strategic objective through an appropriate design solution is the primary function of the packaging design.
There are varying concepts relating to the basic principles of packaging design. The principles defined here can significantly enhance the understanding of what makes the Kine packaging design layout work. First is the exploration of Balance where the convergence of elements makes the appearance of a “whole.” Visual balance is created both through symmetry and asymmetry. The Tension present in the design also complements this balance of opposing elements though a layout that utilizes the principle of tension to stimulate visual interest by giving one element greater stress or emphasis.1 From here there are elements of positive and negative design which is present in the opposing relationship of design elements in the compositions. The object or element constitutes the positive, and the space or environment in which the element exists is the negative. Similarly, are the position of the elements in relation to one another within the visual format. These positions create a focal point that in turn guides the viewer’s eye.2
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(Klimchuck, 2006) (Klimchuck, 2006)
einflusse INFLUENCES
K I N E
Kinetic Singapore has produced some perfect packaging for new sushi store Maki-San utilising fun, food-inspired repeat surface patterns.
Mouse Graphics, a Greek design agency, designed this food package to match the client’s expectation of an elegant, yet simple design idea that can be implemented in different food products, such as flour, pasta, etc.
This design comes from New York's RoAndCo Studio - aimed specifically at men. Based on a new theme each quarter, SVBSCRIPTION packages include items geared towards individuals who have an appreciation for design, culture and quality. RoAndCo explain, "For their debut parcel, SVBSCRIPTION asked for packaging that would be beautiful, practical and iconic. We packaged the items in natural wooden crates, nailed them shut and wrapped them in brown kraft paper for shipping.
Małopolska’s Red Corals Box This package includes a necklace of red corals in a very creative way, as it does not only hold the red coral necklace, but also lets the corals appear on the package cover as part of the overall design. This design has been created by Studio Otwarte, Poland.
PACKAGING INFLUENCES
Burgopak offers a broad range of innovative packaging formats designed especially for the SIM card market. Their designs consider and ensure SIM card security and protection, material reduction, cost effectiveness, brand enhancement and added value towards marketing communications.
The layout design for this package was inspired by its main function as a graffiti remover. The package has been designed by Casandra Straus.
Designed by Kevin Angeloni “Another way of seeing the gray pencil that everyone knows and is an indispensable tool for all creatives. The pencil is contained in a thin glass cylinder topped with a cork. Everything is placed in a plexiglass holder.”
Stockholm Design Lab created a design and packaging concept when the company combined its various food and catering units under the IKEA brand. The aim of the Swedish Food Market is to enhance the Swedish identity of IKEA.”
PACKAGING INFLUENCES
To paraphrase the famous Marshall McLuhan expression, “the medium is the content” in this packaging extravaganza. Τhe symbiotic relationship of medium and message, (of which the media guru preached), is here translated into the eccentric coupling of package-product. Αn ‘outerinner’ game of illusions is played here, for the eyes of the consumer.
Package design concept for a pillow protector. Clear and transparent smokey gray vinyl re-sealable closure, large silver grommet for hanging display, option to print on vinyl or insert into pocket.
All packaging of 100×100, except for the obvious elements, is made of the same material: corrugated cardboard, to which the seeds of various herbs are added in the manufacturing process. When the container is no longer useful, it can be planted and the seeds will sprout.
PACKAGING INFLUENCES
verweise REFERENCES
K I N E
Bibliography
Emerson, J. (2008). Visualizing information for advocacy: an introduction to information design. Available online: http://www.tmplab.org/wiki/images/a/a7/Visualizing_Informat ion_for_Advocacy_-_An_Introduction_to_Information_Design.pdf Lauer, D. A. and Pentak, S. (2000). Design Process in Lauer, D. A. and Pentak, S, Design Basics, Orlando: Harcourt Brace and Company, pp.3-18
Klimchuk, M. R., Krasovec, S. A., & Books24x7, I. (2006). Packaging design: Successful product branding from concept to shelf. Hoboken, N.J: J. Wiley & Sons. (ebook available via the Library catalogue)
Tufte, Edward R. 1990. Escaping Flatland in Tufte, Edward R, Envisioning information, Cheshire, Conn: Graphics Press, pp.12-35. Nathan Shedroff: Information Interaction Design: A Unified Field Theory of Design. http://www.nathan.com/thoughts/unified/ (Accessed March, 2011). Wong, Wucius. (1972). Introduction and Form in Wong, Wucius, Principles of two-dimensional design , New York: Van Rostrand Reinhold, pp.5-13.
Wong, Wucius. (1993). Representational Forms in Wong, Wucius, Principles of form and design, USA: John Wiley and Sons, pp.185-233.
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ololade. m. adeniyi