Danish Brands

DANISH BRANDS A COLLECTION OF THREE BRAND IDENTITIES FOR NEW DANISH BUSINESSES IN THE HOSPITALITY INDUSTRY IN COPENHAGEN

Philip Linnemann

Danish Brands Final Major Project May 2012 BA (Hons) Graphic Design Communication Chelsea College of Art and Design Tutor: Geoff Thomas-Shaw Typed in Chrono.

Cover in Helvetica.

By Philip Linnemann

2

Contents

Danish Brands

Contents 1

Foreword

2

Danish Minies

2.0

Introduction

2.1

Logo

10

2.2

Typography

12

2.3

Colours and pattern

14

2.4

Application

16

3

Kaf’bar 9

3.0

Introduction

22

3.1

Logo

24

3.2

Typography

26

3.3

Colour swatches

28

3.4

Colour match

30

3.5

Patterns and symbols

32

3.6

Application

34

4

Andersen Hotel

4.0

Introduction

42

4.1

Logo

44

4.2

Typography

46

4.3

Colour swatches

48

4.4

Application

50

5

Contact

57

4

8

3

1 Foreword

Danish Brands

1

Foreword In my 3 year journey throughout the Graphic Design Communication course at Chelsea College of Art I have been introduced to a huge array of different aspects within the world of graphic design. Out of all these disciplines it has from the start been the art of branding and visual identity development, which have attracted me the most. From addressing the right values of a given brand to surrounding them with a sustainable concept and to then develop a visual language that tells that story appropriatly is a comprehensive, yet a very rewarding process. It is a skill that, if done correctly, can not only improve a given business’ ability to visually communicate externally, but can also help repositioning its business strategy to the better.

This book is a celebration of my passion for brand development and includes a collection of three brand identity developments for new Danish businesses in the hospitality industry opening in Copenhagen, Denmark in Summer 2012. Although the publication features many of the same elements used in so called brand books intended for design agency clients to understand the use of their newly developed brand identity, the purpose of this book is slightly different as it is merely intended for any interested reader to understand all the technical details and thought processes that I have been through throughout these projects.

The three brands work within the same industry, but their business approaches are radically different from one another and have led to three distinctively different design solutions. I hope you will acknowledge the design concepts behind the three identities and enjoy the visual solutions they have led to.

4

2.0 Introduction

Danish Minies

2.0

DANISH MINIES Danish Minies is a new company based on a unique concept within the Danish food scene. The traditional and famous Danish lunch called ‘smørrebrød’ (open sandwiches on rye bread) have been reinterpreted by Danish Minies into delicious miniature finger food that provides a new dimension to Danish minimalism and our relationship to the historical ’smørrebrød’.

01 Danish Minies in take away packaging

The concept of turning the traditional open sandwiches into miniature finger food makes the concept an exquisite Nordic pendant to the more internationally renowned sushi and tapas kitchens.

Danish Minies is based on the Danish tradition of minimalism and simplicity as well as on reappropriating the conventional within a relatively classic food scene.

02 Master logo lock up (logo type and mark).

The company works both as a restaurant and catering service and sell a small selection of other delicacies in the restaurant in Copenhagen, Denmark.

01

8

2.0 Introduction

Danish Minies

02

9

2.1 Logo

Danish Minies

X

X

1â „3X

3X

03

03 Definition of logo lock-up proportions.

2.1

LOGO

04 All the sandwiches are small delicious round objects and match each other beautifully on the plate.

The Danish Minies logo consists of a logo type and a logo mark. It is clean, simple and concise. The logo type and logo mark are handcrafted and based on a bespoke typeface I have developed exclusively for Danish Minies and reflects the core brand values of minimalism and reappropriation, as described on the next pages.

The round shape of the monogram represents the round sandwiches and places them as the centre of the brand. It can thus act on its own and constitutes the largest part of the branding on packaging. Over time, this means that DM might become the nickname for Danish Minies just as Pret À Manger is being shortened to Pret in everyday speech, which can have a strong positive impact on the brand.

04

10

2.1 Logo

Danish Minies

1 1/2 X 06 X X

1/4 X

05

4X

1/2 X

07 05 Minimum area of isolation around the logo lock up.

06 Minimum area of isolation around the logo mark.

08 Danish Minies sell a selection of miniature delicacies in their shop such as these beautiful quail eggs, which are also used as toppings on some of the sandwiches.

07 Minimum area of isolation around the logo type.

08

11

2.2 Typography

Danish Minies

2.2

TYPOGRAPHY An innovative concept needs an innovative identity, which is why I have developed a unique bespoke typeface for the brand.

09 Type specimen of DM’s bespoke typeface Frk. Jensen Regular.

The typeface Frk. Jensen Regular is a display font that defines the logo type of Danish Minies and is used for all headlines and titles. As visualised below, the typeface is a modern interpretation of classic bracketed serif typography.

The contrast of maximum and minimum stress have been transitioned and modernised into monoline and half the serif shape cut off. This effects a simulation of a wider stem, and by having an open kerning, the type thus comes to represent the core values of the brand; minimalism, exquisiteness and reappropriation.

10 Frk. Jensen Regular compared to the classic bracketed serif typeface Baskerville.

Frk. Jensen has in many ways taken inspiration from this font, but has still got a distinctively different and modernised appearance.

The secondary typeface of the brand is also a redesign of classic typography and has got several similar characteristics, although being markedly different.

The two typeface thus match and work harmonically with one another.

09

10 lowered ascent line

angled topserif

wider aperture

angled topserif

wider aperture

12

stem simulation

bracketed serif

open joint

smaller dot

wider aperture

no beak

larger eye

no spur

angled spine

2.2 Typography

Danish Minies

11 Frk. Jensen is the primary typeface of Danish Minies.

11

It is named after a famous Danish food enthusiast from the beginning of the 20th century that made the Danish kitchen into what it is today. Frk. is short for Miss.

Mercury 12 Mercury is, just as Frk. Jensen, a redesign of a classic modern typeface.

12

It is simple and clean and works great as a text typeface, which is why it is used for all body text.

13 Mercury Bold is used for subtitles and highlights in text.

13

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz ABCDEFGHIJKLM NOPQRSTUVWXYZ

abcdefghijklmn opqrstuvwxyz 13

2.3 Colours & pattern

Danish Minies

2.3

COLOURS & PATTERN Naturally, one of the major influences on the pattern and colour choice in the Danish Minies logo is the Danish flag, Dannebro. Dannebro is one of world’s oldest flags and is a proud symbol of the Danish nation and its traditions.

The flag has strong links to our historical link to Christianity, and the colours represent dedication, aspiration and effort, connecting it to our old monarchy and Northern European war history.

18 Example of brand pattern in use.

The Danish Minies logo mark uses the red colour and white space to underline the link to Denmark and Danish culture, both through its similarity to Dannebro as well as the link to simplicity and taking effort.

19 Close up of the herringbone repeat pattern.

The herringbone brand pattern also makes a subtle reference to the strong fish and sealife culture of Scandinavia, which additionally constitutes a large part of the Danish Minies menu.

18

15 Primary colour, Danish Red

15

R 255 G 30 B 35

15 Primary colour, Black

16

R 0 G 0 B 0

15 Secondary colour, Grey tone

17

R 210 G 210 B 210

19

14

2.3 Colours & pattern

Danish Minies

15

2.4 Application

Danish Minies

16

2.4 Application

Danish Minies

17

2.5 Grids & guides

Kaf’bar 9

18

2.5 Grids & guides

Kaf’bar 9

19

3.0 Introduction

Kaf’bar 9

2.0

KAF’BAR 9 Kaf’bar 9 is a young Danish coffee bar, roastery and shop located in central Copenhagen, Denmark. The meaning of the word is based on Danish slang for ’Coffee Bar’ and the number is linked to the street address.

01 Examples of packaging in café environment.

Kaf’bar 9 is based on a homely and laid-back atmosphere, functioning as an alternative to the mainstream high-street coffee retailers and as a retreat from the hectic city life in the centre. In short, they sell good quality coffee at affordable prices in a young and welcoming environment.

02 Logo type stencil.

Kaf’bar 9 also focuses on high quality coffee and takes effort in hand-picking the best coffee from all over world. This is also mirrored in their interior design, being based on true design classics from Eames to Jacobsen, Panton to Corbusier.

01

02

22

3.0 Introduction

Kaf’bar 9

23

3.1 Logo

Kaf’bar 9

3.1

LOGO The Kaf’bar 9 logo is unique, with lettershapes and colour swatches based on their brand heritage from Ray and Charles Eames’ distinctive design approach to match the design objects that are used for the interior of the café. It is warm, organic and optimistic, mirroring the homely and young atmosphere you meet there.

The logo reflects the company’s positive attitude and high quality service and is divided into two sections, ’Kaf’bar’ and ’9’, which respectively constitutes one and two-thirds of the logo dimensions.

01 Definition of logo proportions in primary colours.

The type is bold, modern and clean and the colours expressive. The apostrophe is integrated in the ’f’ and makes a smooth transition in the positioning of the letters.

The apostrophe can also link to the circular formation of coffee beans, making its swirl and colour distinction a central element of the brand itself. The iconic 9 numeral has its heritage from large numeral posters from the Eames Office and both elements can work as secondary logo variants on their own.

The dimensions of the logo makes it ideal for social media profiles and defines the dimensions of various print material as seen on the opposite page.

03

32 X

27 X

11 X

34 X

23 X

2.5 X 5X

24

3.1 Logo

04

04 Minimum area of isolation around the logo type.

05 Minimum area of isolation around the logo mark.

06

Kaf’bar 9

X

05

2X

06 / 07 Example of coffee packaging label.

If allowed, the logo is always top-centered and defines the width of the label.

In this way the logo promotes a bold branding.

07

25

3.2 Typography

Kaf’bar 9

3.2

TYPOGRAPHY The Kaf’bar 9 logo is build upon bold graphics and typography. The primary typeface Eames Century Modern Stencil is expressive, round and playful.

The typeface is a display font and is thus mainly used in situations where there is a need to highlight bits of text as e.g. on loyalty cards, price tags and invitations.

The iconic logo mark ’9’ is as illustrated below, inspired by numeral typography used at the Eames Office and has got a woodcut feel to it.

08 / 09 The ’9’ logo mark is inspired by the large numeral posters from the Eames Office.

The secondary typeface of Kaf’bar’s visual language is called Archer and is a quirky, yet authoric slab serif typeface that plays on lots of the same premises as the primary typeface. It comes in a wide range of different weights and stands in good contrast to the bold logo. It is used for all body text.

08

09

04 The Eames Century Modern Stencil typeface is drawn by the typefoundry House Industries that makes lots of quirky typefaces and colourful graphics.

10

26

3.2 Typography

Kaf’bar 9

11 Eames Century Modern Stencil is a display font that acts as the primary typeface of the brand.

11

It is bold and playful and is mainly used as individual letters and numerals.

Archer 12 Archer is the secondary typeface of the brand used for body text.

12

It is a slab serif font that likewise acts playfully and stands as an excellent contast to the logo.

13 Archer Bold is used for headlines, titles and hightligts in text.

13

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz 27

3.3 Colour swatch

Kaf’bar 9

3.3

COLOUR SWATCH The colours used in the logo are taken from the classic warm and matt colours of the design movement of the late 1950s and 1960s. The colours reflect a homely and positive atmosphere and can be linked to the earlier ages of modern design and what has often come to represent ’the good life’.

The use of colours constitute a very dominant aspect of the brand and are truly expressive in their bold and distinctive swatches and complimentary shapes.

Apart from representing the diligent use of colour is the mentioned design movement, the wide colour spectrum also helps to distinguish the different coffee bean varieties from one another.

14 14 Lamps designed by the famous Danish architect Verner Panton from the same time as Eames.

15

15 The main inspiration of the colour swatch comes from these iconic and pleasing glassfibre Herman Miller Eames chairs.

28

3.3 Colour swatch

Kaf’bar 9

16 Master logo in primary colours.

16

17 Master logo in secondary colours.

17

18 Primary colours R 42 R 253 G 54 G 189 B 0 B 77

18 R 0 G 0 B 0

19 Secondary colours R 42 R 253 G 54 G 189 B 0 B 77

19

20 Secondary colours R 80 R 210 G 49 G 174 B 19 B 43

20

21 Secondary colours R 9 R 190 G 40 G 157 B 59 B 96

21

29

30

3.4 Colour match

Kaf’bar 9

3.4

COLOUR MATCH As previously described, the colour swatch constitutes a large part of the brand.

It is bright and wide and with the fragmented bold Eames Stencil font it invites for experimentation and expression. The bullet points bellow describe how the colours should be used and matched in order to achieve the most ideal expression.

22

22 In the logo lock up the ’9’ should always have a light colour tone and be placed on a dark coloured background.

23

23 The different parts of the lettershapes in the stencil typeface can be given different colours to make them more decorative.

25

24 This loyalty card shows how the lettershapes can be given different colours in order to create a more expressive impression.

24

Kaf’bar 9 / Antonigade 9

25 This colour break is also represented in the ’f’ of logo to distinct the apostrophe from other round lettershapes and create a colour match with the ’9’.

/ 1109 København K / +45 33 13 59 06

31

3.5 Patterns & symbols Kaf’bar 9

26

26 An array of different symbols and lettershapes.

27 A set of symbols designed by the Eames office for Tigrett Enterprises.

27

3.5

PATTERNS & SYMBOLS

28 Example of how the symbols can be used to create aesthetic patterns.

Patterns and symbols were widely used by Ray and Charles Eames which have inspired a collection of various symbols that can be used to enhance the playfulness of the brand and work as alternative communication and decoration for event invitations, online communication, fabric print pattern and more.

Since the letterforms of the primary typeface are quite distinctive they can act as individual symbols on their own.

28

32

33

3.6 Application

Kaf’bar 9

34

3.6 Application

Kaf’bar 9

35

36

37

3.6 Application

Kaf’bar 9

29 Logo mark in negative on tea towel.

29

38

3.6 Application

Kaf’bar 9

30 Logo mark on tea bags.

30

39

41

4.0 Introduction

Andersen Hotel

4.0

ANDERSEN HOTEL Andersen Hotel is an independent modern, stylish and city-chic boutique hotel located in the heart of Copenhagen’s meatpacking district. The hotel is traditional, yet trendy. Stylish, yet contemporary.

01 Andersen Hotel logo mark on cufflinks.

Andersen Hotel’s name is a reference to the family name of the owners of the hotel as well as a clear reference to Denmark’s grandest author, poet and playwriter, Hans Christian Andersen. In this way the brand has an international understanding and relevance, while being rooted in the independent and family-run premise of the services and unique offerings the hotel provides.

02 Andersen Hotel logo type in the corporate colour Dark Indigo.

H.C Andersen’s relevance has had a great influence on the brand and its values, as it has inspired the company to focusing on providing adventurous experiences and key assets and services expressing passion, imagination and fulfilment.

02

01

42

4.1 Introduction

Andersen Hotel

43

4.1 Logo

Andersen Hotel

4.1

LOGO The Andersen Hotel logo is build upon the concept of the hotel being ’The beginning and ending of every story’.

The ’beginning’ is represented in the lettershape of the monogram, which is inspired by initial lettering from Hans Christian Andersen’s time. It is elegant and characteristic and works well as a repeat pattern as well. The ’end of story’ aspect appears in the logo type, which represents the end of a storyline with its lowercase lettering and full stop at the end. The kerning of the letters is very wide in order to balance the logo and give it character.

03 Definition of logo lock up proportions.

The subline ’since 2012’ has been added to showcase the youthfullness of the hotel and stand as a contrast to the classic visual feel of the identity.

03

24 X

32 X

andersen hotel. since 2012 20 X

44

4.1 Logo

Andersen Hotel

X X

3X

04 05 1/2X

04 Minimum area of isolation around Andersen logo type.

1/2X

05 Minimum area of isolation around Andersen logo mark.

X

2X

06 The lettershape of the Andersen monogram has taken inspiration from decorative old initial lettering as seen on this picture, which marks the beginning of the story.

06

45

4.2 Typography

Andersen Hotel

4.2

TYPOGRAPHY The Andersen Hotel identity is entirely based on classic typography and lettershapes to make a strong connection to fairytale writing and create a visual language that expresses luxury, quality and commitment.

As the primary typeface of the brand a beautiful and delicate serif typeface called Plantin is used, which many people recognises from the identity of the lifestyle magazine Monocle. Plantin is, apart from being used in the logo type, represented in headlines and in situations where there is a need to express class and sophistication.

Gotham is an new interpretation of a sans serif typeface. The typeface belongs to the group of geometric sans serifs and is typically used in contexts where you want to communicate accurately and bluntly. Gotham is very widely applicable and available in many weights with extensive character set. It is used as a complement to Plantin for body text and information-borne communications. In situations where Plantin is too delicate, Gotham is used to bring modernity and edge.

Plantin 07 Primary typeface of the Andersen Hotel brand identity.

07

Apart from being used in the logo type, it is being used in headlines and situations where there is a need to express class and sophistication.

ABC DEF GH I J K L M NOPQRSTUV W X Y Z a bcd efg h i jk l m n o pq r st u vw x y z

46

4.2 Typography

Andersen Hotel

08 The monogram can be used in a slightly darker colour on the Dark Indigo to create a deep texture as seen on the ring binders on the next pages.

08

Gotham 09 Secondary typeface of the Andersen Hotel brand identity.

09

It is used or body text in situations where Plantin is too delicate, to bring modernity and edge

10 The condensed version is mainly used for the infographics on the Andersen Hotel website.

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz

10

ABCDEFGHIJKLM NOPQRSTUVWXYZ 47

4.3 Colour swatch

Andersen Hotel

4.3

COLOUR SWATCH The corporate colour of Andersen Hotel is the Dark Indigo blue. It functions as the primary colour for all communication material that covers the entire organisation Andersen Hotel as for example the website, stationery and guest book. It is based upon the inspiring infinity of the night and star signs’ wondrous and mind-opening associations of the an unexplored universe.

To the area accommodation associated with hotel rooms, the colour Menthe is used. The colour is used as a continuous colour on products and communication material associated to the rooms such as bath items, bags, chocolates etc.

For the Andersen restaurant and bar a beautiful Rose red is being used.

The colour is used as the primary colour for communication on e.g. menu cards, wine lists, restaurant identity etc.

The pastel green and rosa colours play on the innocent and dream-like reflections of what is yet to be explored, associated to ones early memories of childhood.

11 Corporate colour, Dark Indigo

11

R 15 G 25 B 50

12 Accomodation colour, Menthe Green

12

R 175 G 225 B 210

13 Restaurant colour, RosĂŠ Red

13

R 250 G 150 B 120

48

4.3 Colour swatch

Andersen Hotel

14

14 Andersen logo type in corporate colours.

15

15 Andersen logo type in accomodation colours.

16 Business cards in corporate colours and matches in accomodaton and restaurant colours.

16

49

4.4 Application

Andersen Hotel

18 17 Andersen logo type on bathroom products.

18 Andersen logo type on complimentary chocolates.

17

50

4.4 Application

Andersen Hotel

20 19 ’Belly band’ for newpapers and magazines.

01 Andersen logo type and logo mark pattern on conference material.

19

51

52

53

4.4 Application

Andersen Hotel

21 Andersen Hotel website with infographic features set in Gotham Condensed bold to give it a modern edge.

21

54

4.4 Application

Andersen Hotel

55

5 Contact

Danish Brands

Contact Philip Linnemann hello@philiplinnemann.com www.philiplinnemann.com _ As the projects are still in progress you can follow their development on my website, which will be updated regularly.

Please get in touch if you have questions about the project or any other enquiries.

Thank you for your attention.

Philip

57