Diploma Project Documentation by sargam gupta

identity design for dev kabir malik Diploma Project 2010 Documentation

Design Sargam Gupta

Project Mentor Dev Kabir Malik

Guides Alison Byrnes Danika Cooper Ravindra Gutta

identity design for dev kabir malik Created by Sargam Gupta

“Whatever it is you’re seeking won’t come in the form you’re expecting.” Haruki Murakami

Contents 06

Foreword

Phase I:

Phase IV:

Feedback &

Research

Re-clarifying

Core Learnings

Strategy 16

Phase II:

A Few Words

Clarifying

Phase V:

of Thanks

Brand Strategy

Creating Identity

Phase III:

Phase VI:

The

Creating

Final Logo

Touchpoints

87 Bibliography

“Identity is the unique character of a group or brand – a combination of reputation, name culture, manner and values. Identity design represents these qualities and in doing so adds value to them and presents itself as a necessity for every company. The identity designer has to become intricately involved in the group or brand in order to understand and thus influence its presented image. It is not just a logo mark, but an entire system of communication.” Pentagram

Foreword Since the beginning

services never really brand

of time, the need to

themselves extensively.

communicate has emerged

Could this probably be one

from a set of universal

of the reasons why most

questions – Who am I?

remain unheard of? There is

Who needs to know? Why

an inherent need to create

do they need to know? How

awareness for design firms to

will they find out? How do

come out in the open.

I want them to respond? Individuals, communities,

dev kabir malik is the

and organisations express their

creative director of Dev

individuality through their

Kabir Malik (DKM) Design

identity and personality.

Studio, New Delhi. He is a graduate from the National

My diploma project revolved

Institute of Design’s graphic

around creating a visual

design program and is known

identity system for Dev Kabir

for his bold image making

Malik design studio, New

and typography. He is also

Delhi, and using strategic

interested in conceptual art.

branding to explore and experiment with effective

Often, clear communication

visual communication media.

is mistaken for effective

It is ironical that the design

communication. Not

firms that provide branding

all messages need to be

enunciated clearly. Some need

Why this project?

to be shouted while others

What resonated with me the

may be whispered or even

most about this project was

slurred. Dev Kabir Malik

that the client and I both share

design studio believes that

an avid interest in typography

effective communication

and how it can affect the

really requires a distinct

tone in communication. Not

voice and personality. The

many people understand the

overall approach to design is

importance of typography and

holistic, but unlike most ‘big

how the power of words can

picture’ projects, the details

change with the way it is set.

are looked into with great care

This project also struck the

and craftsmanship in order to

perfect balance between the

create solid foundations for

real world scenario and room

these visual systems.

for design experimentation.

Services offered range from brand development and strategic design, to fundamentally graphic design based services like corporate identities and logos, type design, publications, web design, posters and so on. 7

“Know Thyself ” Plato

phase i: research

a Understanding DKM Initial Thoughts

Understanding dkm Most brand identity initiatives

few books and doing some

entail redesign. While

research on marketing,

redesigning, three crucial

I realised that it was not

questions to be considered are,

helping. Everything was too corporate, and what I needed

a What is the business

was creative insights. I started

imperative to change?

with some basic things like jotting down attributes of the

a What elements need to

firm, what was unique about

be maintained to preserve

their work environment and

brand equity?

what could be the possibilities in terms of promotion.

a Should the change be evolutionary, or revolutionary?

Certain things had been predefined about the project.

It always takes time to get

For one, the colour scheme

used to a new working space,

of red, black and white was

and though my mind was

to be retained from the

brimming with questions, it

previous identity and the logo

drew a blank when I had my

mark was to be preferably a

first meeting with the client.

typographic integration.

He wanted me to decide everything, and everything is not always a great place to begin with. After reading a

Phase I: Research | Understanding DKM

Examples of the studio’s work along with the previous logo.

attributes

touchpoints

functional criteria

Bold

Products

Bold, memorable and appropriate

Fun

Employees

Immediately recognizable

Young

Packaging

Legally protectable

Crisp

Publication

Has enduring value

Fresh

Emails

Works well across all media

Music

Networking

Works in black and white and in colour

Flexible

Business forms

Iconic

Advertisements

Typography

Public Relations

Contemporary

Word of Mouth

Image Making

Signage

Initial Thoughts Identity

Themes

What you see is what you get,

A theme can become a

design movement inspired,

statement that is identified

& different avatars for

with the design firm. Themes

different categories of work.

could be Indian, social, illustrative, typographic,

Web

design awareness,

Promotional Videos, music,

sustainability. However,

interactive interface &

care would have to be taken

blog like – a space where the

to ensure that the ‘topic’ is

team can upload work in

neutral in order to avoid

progress and their reflections.

unnecessary controversies.

Products

A Design Palette

Fun – T-shirts, badges,

An archival reference of visual

posters, postcards, calendars.

templates for clients, in order to help them articulate their

Utility – pen drives, stationery, planners, organisers, mouse pads, notepads, bags. Random – playing cards, storage boxes, customised music CDs and so on.

needs better.

Phase I: Research | Initial Thoughts

a This project did not have much grounds on which I could base my logo iterations. To get started, I did a spontaneous and quick brainstorming of approaches and treatments that could trigger off some initial iterations.

logo treatment Counters

Stacking

Design Principles

Form

Opacity

Visual Anchor

Substitution

Merge

Hierarchy

Subtraction

Lateral Inversion

Figure & Ground

Placing

Glyphs

Precise

Weights

Mnemonic

Tactile

Strokes

Equations

Modular

Font Styles

Grid & Guides

Geometric

Handwritten

Smaller Elements

Dimensional

“It’s always better to be looked over than be overlooked.” Mae West

phase ii: clarifying strategy

a Type Integrations Research Tools Key Findings Brand Map Tone Positioning

Type Integrations a My initial explorations revolved around coming up with clever integrations of the letters D, K and M. They then moved on to something more organic and less rigid, and eventually became more like style treatments instead of a logo. The typeface was chosen on the basis of its form and the message it communicated.

A few rough doodles before trying them out on the computer.

Phase II: Clarifying Strategy | Type Integrations

Typefaces used (right to left, top row downwards) – Gotham Rounded, Baskerville, Helvetica Neue, Didot, Calvert MT Std, Poster Bodoni, Archer Italics, Adobe Jenson Pro, Futura and Handwritten.

a After exploring type integrations, I started creating logos which could be taken forward in terms of application, or the tone of communication for which would be less serious. From playing with pictograms, to making seals and experimenting with form, I tried out a range of things.



Typefaces used (right to left, top row downwards) – Akzidenz-Grotesk, Bauhaus 93, Bauer Bodoni, Akzidenz-Grotesk, Birch Std, Unknown, Baskerville, and Dev Kabir Malik’s Signature.

Phase II: Clarifying Strategy | Type Integrations

Do something revolutionary. Panel Discussion, August 4

km Typefaces used (right to left, top row downwards) – Birch Std, Dev Kabir Malik’s Signature, Officina Serif, Univers Condensed, Akzidenz-Grotesk.

a These iterations revolve around the idea of using DKM as a seal and a brand in itself, and trying out variations using different approaches.

the graphic designer’s toolkit

Typefaces used (right to left, top row downwards) – ITC Officina Serif and Dinpro, Officina Serif and Akzidenz-Grotesk, Handwritten, Pen tooled, Champion and Adobe Jenson Pro and Ziggurat.

Typefaces used (right to left, top row downwards) – ITC Officina Serif, Pen tooled, Univers, Calvert MT Std and Bodoni.

Research Tools The essence of the design

and re-analyse my findings.

studio had been lost in

After about two months of

my attempts to create more

reaching nowhere, I was told

logos that might be picked.

to go back to research and

After producing more than 60

look for some core findings.

logos, it was time to look back

Coherence Meaning

Sustainability Differentiation

Vision

Value Commitment

Authenticity

Flexibility

Reference: Designing Brand Identity, Alina Wheeler

Phase II: Clarifying Strategy | Research Tools

mission

target market

effective solutions and

into new business ventures,

making communicative

revitalising their existing

material more engaging and

business, event organisers,

easier to comprehend.

publication houses, content

To guide clients in choosing

Broadly put, people looking

organisation related fields,

vision

campaign and awareness

Effective Communication

related organisations.

approach to work

competitive advantage

into effective visual

customised solutions, striking

communication media that

a balance between the big

is backed by multilayered

picture and details as well as

meaning and concept.

strategy and design.

services offered

measuring success

To translate thoughts

Visual Communication Media

The ability to provide good

Number of clients that come, and by an analysis of the

current marketing

client after communication

Website, word of mouth,

media for the them has been

clients, market reputation.

created and executed.

Key Findings a DKM works with the classical foundation in design, but is new and engaging all the same. The studio also believes in guiding the client completely and providing customised solutions to each.

keywords Multilayered

Contrast:

Holistic

Big picture vs. Details

Personalised Attention

Structured vs. Unstructured

Open

Traditional vs. Contemporary

Bold Sophistication

Familiarity vs. Unfamiliarity

Responsible

Memorable vs. Underplayed

Classical Foundation

Bold vs. Subtle

Phase II: Clarifying Strategy | Brand Map

Brand Map a The priority is to deliver strategic, unique, memorable and well executed solutions in design and guide the client.

services

attributes

Print Media

Responsible

Website

Personalised

Identity

Attention

Publication

Trust

underlying concepts

Art vs. Strategy vs. Design Execution

Contrast Sophisticated

Emotive

Memorable

Solution Centric Methodology Rendering Personality

Tone of Communication a From the key findings, I proposed that in everything that is created for the firm, it should be personalised and the underlying tone should reflect contrast and juxtaposition of different elements. It should be bold, and have an element of surprise. Each element should stand for one aspect of DKM. Logo mark: Playful Bold: Colour Sophistication: Pattern Neutral, underplayed: Lettering Emotive: Texture Dynamic: Stylistic Treatment tone of content: Friendly Simple and jargon free. Continuous. New. Changing. Personal attention

Phase II: Clarifying Strategy | Positioning

Positioning Supporting every effective

and messages, positioning

brand is a positioning

takes advantage of changes in

strategy that drives planning,

demographics, technology,

marketing, and sales.

marketing, cycles, consumer trends, and gaps in the market

Positioning evolves to create

to find new ways of appealing

openings in a market that

to the public. Positioning

is continually changing. A

enables companies to turn

market in which consumers

obstacles into opportunities.

are saturated with products

art

design

strategy

Everything that DKM does flits between art, design and strategy and that is how it was decided that it should be positioned as in the market.

“A logo is a point of entry to the brand.” Milton Glaser

phase iii: the logo

a Iterations The Final Logo

Iterations a Using contrast as the main keyword, I started working on more iterations. Finally it was decided that the iteration using the signature K could be taken forward.

K’s done by Dev Kabir Malik

Phase III: The Logo | Iterations

Working with different K’s and typefaces

The Final Logo In almost everything that is

On a surface level, it has the

executed by the studio, one

elements of the signature,

thing that is consistent is the

juxtaposed with clean and

element of contrast. The design

sharp type. At a deeper level, it

of the DKM logo is not just a

represents structure and a break

play of typography but it is also

in that structure. It also reflects

memorable and has multiple

contrast in the sense that it

levels of meaning.

communicates a serious yet playful identity.

TYPEFACE SIX POINT FIVE ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789

a The font Typeface Six Point Five is chosen on the basis of the characteristics of D and M. The M is sharp and crisp, providing a conspicuous element of contrast.

“It is never too late to be what you could have been.” George Eliot

phase iv: re-clarifying strategy

a The Problem New Keywords Ideations Narrowing Focus The Big Idea

The Problem While trying to come up

How can one single visual

with an identity for a

represent graphic design?

graphic design firm, one

None of the keywords had

of the main problems that I

enough matter to lend and

faced was that the logo was

support a complete visual

not enough to lend a strong

system. Additional elements

visual language to the identity.

were needed in order to bring

The starry K from the identity

the identity together, and in

could not be used either, as it

order for these elements to

is irrational since the k stands

work together, a meta concept

for something and should not

was needed.

be given more importance that it was already getting.

New Keywords All the keywords that I had

emerged – Surprise, Curiosity,

come up with earlier did not

Impossibility, Remedy and

lend any visual language to

Larger than life.

the identity, and could be termed as boring even. The

On the basis of these

application needed a new set

keywords, I had to come

of keywords in order to have

up with visual scenarios,

a fun visual idea. After some

and the possibility of using

braintstorming sessions with

a mascot was given serious

the client, some keywords

consideration.

Phase IV: Re-clarifying Strategy | Ideations

Ideations Concept 1: The Egg Keywords: Cracking an idea, Surprise

{ Characteristic and playful icons (typographic or vector). Web animations of cracking and exploding. Random things coming out of the egg.

Concept 2: Diagnostics Keyword: Remedy Design gives a solution, just like a doctor. There are no multiple options in medicine, why should it be so for design?

............................

E XTREME

Each project is divided into the

A ‘thermometer’ could be given to the

percentage of art, design and strategy that

clients on the basis of how chronic their

has gone into each one of them.

problem is, red being for extreme.

Phase IV: Re-clarifying Strategy | Ideations

Concept 3: The Flying Pig Keyword: Impossibility If pigs were to fly is a common phrase denoting impossibility.

A rough iteration of the flying pig

Concept 4: Signposts Keyword: Curiosity A web-centric concept, this idea mainly revolved around signposts pointing at different directions or paths, and the freedom to choose any which one. Within these signposts, there could be one “surprise” page, which could lead to any page in the website on being clicked.

Concept 5: Ant Keyword: Large scale Ants are hardworking, and represent large numbers and teamwork. However, they do not represent Dev Kabir Malik design studio at all.

Phase IV: Re-clarifying Strategy | Ideations

Concept 6: Cat Keyword: Curiosity Curiosity killed the cat is another common phrase from which the idea of the cat as a mascot came about. However, this has a slight negative connotation and can be mistaken as inquisitiveness. Also, there is confusion in terms of who is curious, the firm or the audience.

Narrowing Focus Finally three ideas were short

had a tendency to become

listed, including the flying

too over whelming and the

pig, diagnostics and the egg.

diagnostics idea too clinical

After much deliberation, the

and gimmicky.

idea of the flying pig made most sense, since the egg,

The Big Idea Trying to achieve the

implementation. While the

impossible was taken as the

work is based on classical

main idea around which all

fundamentals of graphic

the communication media

design, it is transformed into

would position itself.

something that is familiar, yet unfamiliar and memorable.

DKM believes that the boundaries of design can

Here the logo would remain

only be pushed if the

constant while everything else

realms of impossibilities are

around it would be dynamic.

nudged, and beliefs only hold true, if they are put to

Phase IV: Re-clarifying Strategy | The Big Idea

Strategy should not only work around users, but also potential users. Panel discussion, August 4

Logo

Look and Feel

Targeted Messages

Core Messages

Understanding Firm

Ref: Designing Brand Identity, Alina Wheeler. This pyramid illustrates that the identity process cannot be supported without understanding what the organisation stands for.

“You should be able to cover up the logo and still identify the company...” Michael Bierut, Pentagram

phase v: creating identity

a Logo Lettering Logo & Lettering Pattern Colour Mascot

a Look and feel is the visual

program cohesive and

language that makes a system

differentiated. All elements

proprietary and immediately

of a visual language should

recognizable. It also expresses

be intentionally designed to

a point of view. This support

advance the brand strategy,

system of color, imagery,

each doing its part and

typography, and composition

working together as a whole to

is what makes an entire

unify and distinguish.

The Logo By juxtaposing two contrasting elements and bring them together, the logo not only integrates Dev Kabir Malik’s signature with typography, but it also reflects structure and a break in that structure. It is memorable, and compact enough to be a seal and appear in marketing media.

a The logo works in both black and white and colour, with background and without. It can be down sized to just 5 mm in height and still be easily recognisable.

Phase V : Creating Identity | Logo

Preferred

One Colour Option

Alternate Option 1

Alternate option 2

Lettering Lettering is a word (or words)

The logo is not the only

in a determined font, which

element that makes the

may be standard, modified, or

identity of a company. Since

entirely redrawn.

in this case, the logo does not give the name of the company

Lettering not only needs to be

(Dev Kabir Malik) additional

distinctive, but it also needs

logotype is required. This

to be durable and sustainable.

lettering can also be used

Legibility at various scales

individually without the logo.

and in a range of media is imperative and needed.

a Typeset in Mrs. Eaves Petite Caps, the units refer to the kerning in between the lettering.

Shortlisted 1, Gotham Book

Shortlisted 2, Chalet London Nineteen Sixty

Phase V : Creating Identity | Lettering

The units refer to the kerning in between the lettering.

Final Iteration, Mrs. Eaves Petite Caps

Mrs. Eaves abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 49

Logo and Lettering

a The logo and lettering may need to be used together. They have to be placed in the identical proportion as shown above.

Pattern A pattern creates recognition even when used individually. The role of the pattern here is to bind the identity together and help maintain consistency.

Phase V : Creating Identity | Colour

Colour The dkm identity uses the

The colour red communicates

combination of red, black

strength and confidence. It

and white in all its media.

is memorable. The contrast

The percentage of these

between black, red and white

colours used depends on the

complements the concept

message that the medium is

behind the identity.

trying to communicate.

RED

PROCESS BLACK

PMS 485 C

C0% M0% Y0% K100%

C0% M100% Y100% K0%

RGB 0, 0, 0

RGB 255, 0, 0

HEX #000000

HEX #FF0000

Mascot “If pigs were to fly....” The role of the mascot is to lend visual aids to promotional material. It does not have to be used everywhere, and can be omitted where deemed unnecessary.

Iteration 1

Iteration 2

Phase V : Creating Identity | Mascot

Iteration 3

Iteration 4

Iteration 5

Iteration 6

Phase V : Creating Identity | Mascot

It is all about details. Panel discussion, October 22

“Dwell in possibilities” Emily Dickinson

phase vi: creating touchpoints

a Official Media Promotional Media Products Identity Crisis Book Identity Guidelines Other Iterations

a The design of the core brand

ensures that communications

identity is only the beginning

stay fresh and relevant. Will

of the identity design process.

the new identity facilitate

Key applications that represent

brand extensions in the future?

real future scenarios need to be

No one can say with absolute

identified in order to develop a

certainty which new products

complete visual language.

will be launched in the next five or ten years. A flexible

Identity systems must

infrastructure needs to be

continuously demonstrate an

anticipated in order for it to

inherent flexibility. Flexibility

be accommodated in future.

Official Media This involves formal medium of communication, which includes stationery, letterheads, visiting cards, envelopes, presentations, proposals and so on. Here the biggest challenge was picking out the right elements for each media. The pig is used only in the visiting card, while the letterhead and the envelope use other elements like colour, logo and lettering. “When in doubt just remove, but be thoughtful of what you remove...” Laws of Simplicity, John Maeda

Phase VI : Creating Touchpoints | Official Media

Promotional Media There was a lot of

ever required. The artworks

confusion as to how the

basically set a visual style and

firm wants to promote itself,

explore how the identity can

whether using products or

be visually applied.

posters or billboards. The big question that remained was

Campaigns are interesting

that in what context would

only when they are dynamic

the public would access

and the concepts are subject to

the material. However, one

change from time to time.

thing was certain that either way there would be artwork

Liberty is maintained in terms

required for it. I came up

of the use of brand elements.

with a few neutral posters,

As far as the basic rules are

the artwork for which could

kept in mind, one can take the

be tweaked and used where

identity forward in any way.

a These posters were designed to be of multiple use like emailers, product artworks, in web, and to be put up in design colleges, and other public places.