Palmist Branding Manual by Shawn Banks

BRAND MANUAL

TABLE OF CONTENTS EXECUTIVE SUMMARY 1. RESEARCH • • • • • • • • •

TARGET MARKET INDUSTRY DESCRIPTION COMPETITION PRICING RESEARCH SOURCES RESEARCH ANALYSIS PRIMARY RESEARCH PLAN INTERVIEWS FOCUS GROUPS

2. DESIGN BRIEF • • • • • • •

PROJECT OVERVIEW & BACKGROUND CATEGORY REVIEW TARGET AUDIENCE REVIEW COMPANY PORTFOLIO BUSINESS OBJECTIVE DESIGN STRATEGY PROJECT SCOPE

3. BRANDING • • • • • • •

CLEARANCE COLOR PALETTE USAGE TYPEFACE STATIONERY PROCESS COLLATERAL

EXECUTIVE SUMMARY As a creative, millions of concepts enter and leave the mind each and every second of the day in search of the perfect idea. Well now you can capture that idea with the Palmist. The Palmist is a drawing tool that can capture and transfer all of your hand rendered works and ideas at any place and time. With this highly innovative and powerful function, the Palmist is changing the way you capture your imagination.

RESEARCH

MARKET ANALYSIS TARGET MARKET The target marketing aimed for this product is the creative professional around the ages of 22-35-age range living within the United States of America. According to a NAMTA market study in 2008, there are 4.4 million active artists in the United States alone. 387,000 of these artist are considered professional artist and out of school. Furthermore, the total of spending on art supplies by this group $1.25 billion. Targeting this demographic seems ideally correct for a newer business given the growth of these artists yearly and their high purchasing of artistic materials annually.

INDUSTRY DESCRIPTION As soon as The Palmist meets a stable point of fruition, its financial records and tracking will be based upon the ever-fluctuating “Art Material” industry. Why the term usage of “fluctuating”? According to a 2012 Key Findings report from NAMTA, from retailer’s standpoints; from 2005-2011sales have increased, decreased, and increased again. In 2005, the buying rate was at a 70% rate. From here all the way up to 2009 the rate dropped by 34% resulting in a low percentage of 36. Shortly after in the years 2010 and 2011, sales steadily picked up again (201052%, 2011- 51%). Currently it is at a “stand-still”. To go into specific details of what products make up the industry there are a vast majority of categories. As for the industry art materials, such as drawing materials, (pencils, pens, etc.) painting materials (paints, brushes, and washes), mixed media/crafting materials (collages &hand/scrapbook making), 3D art (ceramics/ sculpture), fiber art (fabrics/quilts), and digital art (tablets/mouse mediums). This product attacks two sections of the art material industry. This places The Palmist in the direction of drawing materials and digital art medium. The NAMTA report is at 97 percent in terms of purchases made on art supplies. 74% of that 97% is spent on drawing materials. This includes pencils, pens, markers, etc. This is a high percentage for the Palmist. In addition with that, there is also numerous amount of art supply generally manufactures drawing instruments, including ones with digital enhancements.

COMPETITION DIRECT Derwent, Faber-Castell, Staedtler, Prismacolor, Koh-I-Noor, and Reeves) and the world’s leader in technological art mediums, Wacom.

INDIRECT Crayola. Crayola is for more of an immature audience. Crayola’s products are utilized by a demographic in their early years of elementary and pre-school. Each company has primary products available for consumer purchase then they expound off that primary creating various products with different features. For The Palmist, the plan is to follow this function. The general product will be providing the base drawing instrument with a general medium and then later more prototypes will be created based off of the primary model.

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COMPETITIVE ADVANTAGE What makes The Palmist stand out amongst its hand rendering competitors? What advantage does it possess over the other major companies who create similar tools? It’s simply advanced and enhanced technology. General fine art pencils are created and manufactured through major brands. The attention is shifted to the top brands that overwhelmingly capacitate the art retail outlets. These companies are the direct competitors. The brands of Derwent, Faber-Castell, Staedtler, Prismacolor, Koh-I-Noor, and Reeves are all top high quality manufactures within the art supplies industry. The fair advantages The Palmist has over the competitor’s drawing instruments are that they’re limited and do not possess the recording feature that it does. As for the other direct competitor, there is Wacom. Wacom is a leader in creating stylus and tablet workspaces for digital artist across the globe. They also have a similar working device similar to The Palmist. That device is called the “Inkling.” It’s a device that records all drawing strokes except with a digital tracking clip at the end of the drawing surface. Since the product’s release, it has known to be a catastrophic downgrade compared to its allied products. The inkling fails to maintain synchronism with the recording function of the digital pen movement, which defeats the whole entire purpose of its manufacturing. The Palmist places the recording function inside of the drawing device therefore it is easily traceable through one’s hand. The Palmist also isn’t just a “digital” stylus, it’s more of a natural tool for everyday artist who draw. Lead, ink, and digital are all selective prototypes for the user when choosing this device. All of these features out-perform and hold more value than the Wacom branded product, which in fact what will also make it more reliable and marketable.

PRICING In terms of pricing this product, as a startup company with this being The Palmist brand’s first initiated product we will be a status quo oriented brand. The product is high in quality but yet extremely new to the market so there cannot be extremely high prices because buyers and testers must experiment with the Palmist. From here the brand will reach a more prestigious status. Take heed, the target market are creative professionals in the arts industry throughout the United States. Many of these artists are selling their work or either employed, so surely the price range we formulate will fit their budgets suitably. The start-up being $69.99 with an increase depending on medium. Also, given those artist job functions; in the professional world innovative tools like The Palmist are seen as a “time-saver” and work enhancers that will push more possibilities and reach deadlines regarding their projects.

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RESEARCH SOURCES DATABASES “Koh-I-Noor Hemusmark AD.” Seenews Research & Profiles (Company Profiles) (2013): 8437-8441. Business Source Complete. Web. 5 Aug. 2014. Summary: An overall company profile of “Koh-I-Noor”. Provides information on the products they sell and market. This report also gives financial data from the years 2008-2012. “Worldwide Office Supplies Mfg Industry (NAICS 33994). (Cover Story).” Worldwide Office Supplies Manufacturing Industry Report (2010): 1-104. Business Source Complete. Web. 5 Aug. 2014. Summary: Numerous tables of data referring to the world wide office supply industry. These reports touch on different countries which display demographic statistics. Sikes, Lucinda, and Washington, DC. United States Public Interest Research Group. Art And The Craft Of Avoidance: Toxic Art Supplies Lack Warnings Despite Federal Labeling Law. n.p.: 1991. ERIC. Web. 5 Aug. 2014. Summary: The U.S. Public Interest Research groups findings, determining how manufacture comply with the Federal Labeling Law. Which despite that law, products are still sold without notification labels. Mizell, Lee, and Arts National Endowment for the. “Geography and Public Participation in the Arts: U.S. Census Regions.” National Endowment for the Arts (2005): ERIC. Web. 5 Aug. 2014. Summary: Documentation of participation within the arts throughout United States regions. Data is dated from 1982-2002. This data includes demographical stats, the artistic landscape, consumer spending, and more. Wood, India Hart.”Namta Artist & Art Materials Study: Key Findings 2012.” Hart Business Research (2012): Namta. Web. May. 2012. Summary: Detailed data source that revises key findings within researching the market in purchasing artist materials and the artists themselves who are buying them (U.S. & Canada). Interviews, surveys, data tables, and graphs are all provided. Namta Artist & Art Materials Market Study: USA 2009.” Hart Business Research (2009): Namta. Web. 2009. Summary: Report from 2009 on the active artist in the United States at that present time. Also goes into finer details over viewing the art retailers and suppliers throughout the landscape. “Lead Pencil and Art Good Manufacturing Industry in the U.S. And Its International Trade” By Supplier Relations US, LLC March 2010.” M2presswire (2010): Newspaper Source. Web. 12 Aug. 2014. Summary: 2010 industry report on the lead pencil & art good manufacturing industry holding recordings of financial data, the competitive landscape, costs and pricing of items and more. This report is one of the most recent findings within this industry.

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BOOKS Baron, Dennis E. A Better Pencil: Readers, Writers, And The Digital Revolution. Oxford: Oxford University Press, 2009. eBook Academic Collection (EBSCOhost). Web. 31 July 2014. A widely ranged publication speaking on how authors, writers, can transfer and adapt into the digital world. A guide explaining how far technology has come, from writing in pencil to writing in pixels.

“Crayon Manner.” Grove Encyclopedia of Materials & Techniques In Art (2008): 152-154. Art Source. Web. 31 July 2014. Crayon Manner is an encyclopedia excerpt from the “Grove Encyclopedia of Materials & Techniques in Art”. It reviews an 18th century method of drawing with pencil or chalk but through engraving.

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Sullivan, Chip. Drawing the Landscape: The Art of Hand Drawing and Digital Representation. Hoboken, New Jersey: Wiley, 2014. eBook Collection (EBSCOhost). Web. 31 July 2014. An excerpt of hand drawing in a digital form. Covers the basis and traditional background of free hand drawing and how it is being transitioned into a digital medium today.

Cain, Patricia. Drawing: The Enactive Evolution of The Practitioner. Bristol, UK: Intellect, 2010. eBook Academic Collection(EBSCOhost). Web. 31 July 2014. Book that covers the ground base theories of the practitioner their utilization of drawing. It identifies the theories and the thinking process behind drawing; while highlighting actual methods.

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Samara, Timothy. Drawing For Graphic Design: Understanding Conceptual Principles And Practical Techniques To Create Unique, Effective Design Solutions. Beverly, MA: Rockport Publishers, 2012. eBook Academic Collection (EBSCOhost). Web. 31 July 2014. Explains how drawing can be the sole-based function in designing an entire project. It also gives subtle details on how designers have approached drawing-based designs.

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PERIODICALS Young, Susan R. “Atlas Pen & Pencil Corp.” Souvenirs, Gifts, & Novelties 46.4 (2007): 122. Business Source Complete. Web. 31 July 2014. Summary: Background information provided on Atlas Pen & Pencil Corp who are manufactures for souvenir pens and pencils. Explore the company’s designing staff and team and see what they do in order to make their products a valued item. Kirchner, Lauren. “Drawing Materials 102.” Drawing (2161-5373) 10.38 (2013): 64-71. Art Source. Web. 31 July 2014. Summary: An explanation of the many different mediums used in drawing. It discusses many of the materials used and the history behind them. Hopper, Robin. “Pencils, Crayons, Pens, & Trailers.” Pottery Making Illustrated 12.5 (2009): 41. Associates Programs Source Plus. Web. 31 July 2014. Summary: A guide on how materials used to create graphic artworks. Mainly focusing on pencils , crayons, and pens that are made of ceramics. Caldwell, Serenity. “Fiftythree Pencil.” Macworld 31.3 (2014): 40. Business Source Complete. Web. 31 July 2014. Summary: The article introduces you to the “Fiftythree Pencil”. A Bluetooth enhanced pencil stylus used for iOS. Selznick, Brian. “Human Mistakes And Trembling Lines.” Horn Book Magazine 90.2 (2014): 24-25. OmniFile Full Text Mega (H.W. Wilson). Web. 31 July 2014. Summary: The author of this piece is an illustrator himself. In the reading he describes the process of his work and the utilization of his Staedtler leadholder instead of mechanical pencils due to their overwhelming sharp point. Camhy, Sherry. “Using a Pencil like a Brush.” Drawing (2161-5373) (2013): 14-16. Art Source. Web. 31 July 2014. Summary: Discusses the neutral bond of usage that drawing and painting both have. Describing how a pencil can be utilized like a brush. More mechanics of sharpening and methods are mentioned as well. Moyer, Richard, and Susan Everett. “Everyday Engineering: What Makes A Bic Click?.” Science Scope 32.8 (2009): 3842. Education Source. Web. 31 July 2014. Summary: Richard Moyer breaks down the structure and mechanisms on how the Bic pen works. It covers the science of engineering concepts and history of the ballpoint pen. Students also are input into exploring these theories as well.

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Huang, Gregory T. “Microsoft’s Magic Pen.” Technology Review 107.4 (2004): 60-63. Canadian Reference Centre. Web. 31 July 2014. Summary: This excerpt in detail of the creation of Jian Wang’s digital pen for Microsoft. He describes its concept and process of how it came to be. He also entails on why he feels it is the “Universal Pen” and the landscapes it transforms. “Fast, Fun, Fascinating Facts about Pens and Pencils.” Souvenirs, Gifts, & Novelties 45.4 (2006): 77-79. Business Source Complete. Web. 31 July 2014. Summary: Providing “Snapple Facts” about pens and pencils that many may not be aware of. Touches on how Nicholas Conte, a French chemist who brought the process of creating pencils into fruition. The makers of gel reed pens are also revealed. Yoder, Dorothy. “Making a PENCIL.” Fun for Kidz 11.6 (2012): 20-25. Canadian Reference Centre. Web. 31 July 2014. Summary: The creation of pencils. In-depth explanation of the factory process, formulating the pencils. Entails from the wood being sanded, to the painting of its exterior, and the eraser being attached. Wong, Bill. “The Year of the Digital Pen.” Electronic Design 61.4 (2013): 64. Business Source Complete. Web. 5 Aug. 2014. Summary: This article is an overall round review of N-trig Ltd.’s DuoSense Digital Pen 2. Article includes engineering and assemblage photos to show how the pen functions and is structured within and it’s exterior. Dixon Ticonderoga, Co. “Pencils Stay Sharp against Tablets with Strong Growth.” Business Wire (English) 3: Regional Business News. Web. 12 Aug. 2014. Summary: An excerpt from Dixon Ticonderoga Co., explaining why regardless of the technological advances of tablets and digital drafting/writing utensils, it has not killed their desire for the usage of traditional pencils. Collier, Bill Schaer, Lillian. “Pen Making101.” Canadian Woodworking & Home Improvement 64 (2010): 34. Associates Programs Source Plus. Web. 12 Aug. 2014. Summary: Explains several of methods in creating different models of pens. These models include the ballpoint pen, roller ball pen, and fountain pen.

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WEBSITES Stern, Joanna.” Replacing the Bic: Smart Pens Turn Handwriting into Digital Text.” ABCNews. np. Web. 22 Nov. 2013. Summary: Speaks on how technology has made incredible enhancement to pens. They give 4 brief examples of such technology with the “Livescribe 3”, “Equil Jot”, “Samsung Galaxy Note S”, and “Bottom Line” pens. Zephos.” 10 Awesome Drawing Tools That They Never Gave You In School.” Mostly Imaginary. Zephos drawing on Thesis, n.d. Web. 25 Jan. 2011. Summary: A list of 10 drawing tools that are not modernly presented to the average school audience. This list includes the leadholder, the pencil extender, the paper blending stump, and more. Lewis, Tori.” Pencil Pushers Unite! 5 Innovative Writing Tools.” Brit + Co. np. Web. 5 September. 2012. Summary: A short list of innovative writing tools. The products listed are immensely genre-bending and game changers and the descriptions and photos within the article clearly display how so. Geek, Uber.” Amazing New Pen Doesn’t Need Any Ink At All.” Wonderful Engineering. np. Web. 17 Feb. 2014. Summary: Goes in behind the scenes of Pininfarina’s (who is known for their car concepts) pencil/pen concept. The 4.EVER Pininfarina Cambiano is an instrument that has a duality feature between pen and pencil. Constructed by a special metal material, it marks like a pencil but is permanent like a pen. “14 Innovative and Creative Pens.” Toxel. np. Web. 20 Jan. 2010. Summary: A list of creative boundary breaking pens with unique technical features. Some featured in this web article are the “Inkless Pen”, “Laser Pen”, “Ruler Pen”, and the awing “Color Picking Pen.”

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RESEARCH ANALYSIS In reference to all of the total resource findings, each particular source category, maintained within a consistent subject or topic. The databases are the most potent and detailed sources found. The foundation and the functionality of the business relies strictly and solely off of those statistics. The entire market analysis study has been heavily referenced from this data.

DATABASES The database sources collected are the most useful and informal sources of all the researching categories. Reason being is specifically due to the information and data collected through statistics and actual functioning businesses. This will provide an appropriate guide on how to formulate and structure this business being created and what finer details and logistics that must be paid attention to as an emerging brand.

BOOKS For book sources, these books are based off of the referenced aesthetics of the drafting tool that the brand is creating.

PERIODICALS Out of the 4 research categories, periodicals have the largest count in terms of sources. 13 periodicals/articles were collected in total. All were prove to be to have relevance in terms of actual manufacturing and engineering process of creating a drawing instrument. These sources will serve much purpose during the design process.

WEBSITES The website sources have one common consistent aspect, innovation. The majority of my articles here are focused on researching what’s really out there. What products that aren’t being advertised largely but innovative wise are groundbreaking. These sources were generally lists and product descriptions of writing/drafting utensils that have fascinating and uncanny features within their respectable structures.

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PRIMARY RESEARCH PLAN The subject regarding to the primary observant resource was a visit to the “PLAZA Arts” store located in Washington D.C. There, a visual observation was done on consumers who enter the store searching for and choosing the specific product they are seeking. What was observed is why they possibly made that choice. As a secondary research method, another observation was performed; only this time at “Utrecht” art supplies store. The same observation methods were utilized. These experimental visits were done to see how consumers in different locations go about making their purchases.

OBSERVATION RESEARCH ANALYSIS The primary location for this location was first at Plaza Arts located on K Street out Farragut North. At this location, the supply isles for drafting tools in particular are extremely widespread. This means everything for drawing isn’t placed all on one isle. This also means you may have to maneuver through a select few of isles to find exactly what you may need. Here, 8 customers entered the store. 4 of those people in particular who seem to be in search of drawing utensils. Out of these 4, an older man who looked between the ages of 45 and 50 years old; and a young woman who looked as if she was in her early twenties (21-23 years old) served as informal sources of observation. The elderly man is on an isle where graphite, charcoal, and inks are sold in bundle packs. For 10 minutes straight he fiddled back in forth with different branding packages, a 12 pack of Faber-Castell and Derwent pencils. The next observation, the young girl spotted 2 isles down was standing at in front of a display of fine liner pens. Unlike the older man she did not ask for the assistance of an employee. She seemed to be clear in what she wanted but she still took her time in making sure she made the right selection for her. After seemingly sticking to the Copic brand of markers she started picking up individual pens at random sizes (millimeters) and testing them on a small sheet of paper she pulled out of her back pocket. In doing this she obviously was testing line quality and functions with each pen she tested until she received her desired result. Similar to the two patrons at the Plaza Arts store, the McPherson Square located art store Utrecht didn’t show much of a difference in how customers meticulously went about selecting drafting products. The difference was that unlike Plaza, the majority of the drafting tools (pens, pencils, markers, etc.) were all compiled into one isle. Their selections of tools were also limited in terms of loose products. To define the term “loose” means unpackaged products. Generally everything is packaged at Utrecht. These aspects limit the consumer because they can’t actually try out the products to see what they are getting before they make a purchase. Therefore, because of the condensed isle and ultra-packaging at Utrecht, decisions seemed forced and take much longer because one must ponder if they are getting the correct tool for them without opening the package. What was obtained from this observation was presentation; packaging to be specific and how it captures the attention of a consumer quickly but also can cause limitations in testing a product.

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INTERVIEWS SCRIPT For the interview process, three visual artists were asked to answer and give their perspectives on the questions below in the script: 1. When contemplating drawing tool purchases, what are you looking for in functionality of the tool? 2. Are name brands important in your shopping process? If so what are your favorite brands and why? 3. Between, pencils, markers, and pens, which do you prefer? Explain some of the advantages and disadvantages of each one. 4. How do you specifically utilize your drafting tools? 5. What are some features or mechanisms of some drawing tools you’d wish you could eliminate or add? 6. Do you find it an inconvenience for you to buy multiple drawing products just display variation in a project? 7. Given that technology plays a gigantic part in everything in today’s society, the new drawing mediums such as drawing and painting digitally, what are your opinions on those? 8. Do you currently use any of the digital mediums or any thoughts of experimentation with them? 9. The traditional drawing tools that have existed before the major digital age, how would feel if those tools were re-modeled with digital enhancements? Would that be something you’d view as convenient and would you utilize it? 10. In summation, with all of the many selections of pens, pencils, markers, etc. Do you honestly even feel that the quality or specifications of these products actually determine the outcome of someone’s work? Do all of these product variations really change the dynamic of a finished work or do you that power lies in the hands of the artist themselves?

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INTERVIEW ANALYSIS 1. “I’m looking for standards in drawing tools, pencils in particular HB grade. Pens differ on projects, calligraphic or outlining etc. Generally nothing special, things that can get the basic drawing job done; but I’m open to newer products.” 2. “No, not too big on particular brands; unless another artist in the field recommends a specific brand for a product.” 3. “Definitely a pencil. In comparison between the three, for pens you have more options in choosing a specific selection and have a variety in stroke. Markers, in comparisons may bleed and lack versatility. And pencil is a better option than both in my opinion because markers and pens are permanent. Pencil is erasable and you can always make changes.” 4. “Usually I draw to map everything out. Early process all the way to its finishing process it never really stops within my artistic process.” 5. “For pens and markers concerning its stroke, how fast it dries, control, etc. For pencils; mechanical pencils (despite not being problematic) and their breakage and it’s effect on the paper’s health in comparison to a standard drawing pencil.” 6. “I would only have this with pencils, you need to know the limitations of a pencil. Pricing it isn’t an issue for pencils either because I preserve pretty well. For pens however it’s understandable if you need more variety and could bring a little more to the price.” 7. “I feel you should try to dabble in a little of both, it’s good to have a good foundation in traditional mediums and later incorporate those skills within the newer digital mediums. It’s a new age, learning the digital aspects are critical in today’s generation despite the purists who go against it.” 8. “Only a few, just scanning, alterations in Photoshop or Illustrator for illustrations in particular. However, I plan to experimenting more with the arising digital options.” 9. “Sounds rather interesting, but it depends on its functions. I definitely would experiment based upon the idea or concept alone.” 10. “It’s a little bit of both. It all depends on the artist’s familiarity with that item. If you have crappy materials, despite the artist’s talents it still can be negatively effected; but predominantly it’s the artist’s responsibility in the control of quality.”

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MELVIN HORTON (GRAPHIC DESIGNER/FINE ARTIST)

1. “Generally, I’m looking for pencils, all different grades or types. An example would be, graphite, charcoal, woodless graphite, color pencils; things of that nature.” 2. “Only brands I’m familiar with that I feel I work well with. Reeves, Faber-Castell, and Prismacolors are my favorites to refer to.” 3. “Pencil, mainly because I really don’t use markers or pens much in my work. Pencils, you can erase and use them for about any project; very vital instrument in my opinion. Besides pencils and colored pencils I lean more towards paints as a variation in medium.” 4. “I draw everything, from the start of the project towards the end. Even if I’m working on a painting I draw the foundation line work then paint over it, and for portraits I use them for that and shading of course.” 5. “Definitely I would say longer lasting leads. I draw so much and color/shade with them in large portions of my work that they tend to file down so easily.”

ERICA JONES (FINE ARTIST)

6. “Of course, because of the quick filing of the pencils I use, I’m constantly making trips to Michael’s and purchasing more which gets costly.” 7. “Honestly, I don’t really have an opinion on digital mediums because I never use them. However, from what I’ve seen from fellow peer’s work that does utilize them; the results are outstanding. Surely, I plan to get into them more once I’m trained properly through school.” 8. “No, currently as stated I haven’t used any.” 9. “I like the whole idea of that happening more, but I’m not in a rush for it to happen. I’ve always utilized traditional tools for all of my work so I’ve become accustomed to how they are. In the future, I may say different, but as of now I’ll pass.” 10. “Sadly yes, you would think as a fine artist I would disagree; but the truth is that materials wear out and have to be replaced. If they aren’t replaced it will clearly show in that artist’s work; poor quality is hard to hide even behind skill.”

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1. “Pencils, mechanical and lead holders only though. Those are my favorites to use because they’re easier for sketching in my opinion.” 2. “No, not at all I don’t even pay attention to brands I just look at the product that I fill may serve my best purpose.” 3. “Both pen and pencil equally, I don’t really use markers. Pencils are good for pre-sketching before a design and I can jot down ideas quickly and erase things I need to change. I like using some pens for inking my sketches before transferring them into the computer. They show better on screen than pencil alone.” 4. “When starting my planning process I sketch, it’s really the only time I draw these days. Sketch with a pencil for everything within a sketchbook and for logos or small illustrations I’ll ink those with a pen.” 5. “I would say make stronger lead for mechanical pencils, they break easily and you always have to replace them. That’s why I buy lead holders, the 2mm lead is stronger and works like a regular pencil in a mechanical body.” 6. “Not necessarily for me. I just need my pen and pen. All the variation is seen on screen from the sketching stage.” 7. “Digital is everything. We live in a digital world, so everything must go through technology; even drawing supplies in my opinion. That’s why we have the tablets and stylus because everything is easier to distribute and share digitally. So in my opinion they are vital to art as a whole.” 8. “No tablets or stylus pens at the moment, but everything else yes. The Adobe Creative Suite predominantly is what I use along with a scanner for sketches. However if I see newer products that can benefit me in my work, I’ll make that investment in owning them; it all depends.” 9. “It depends on what it does for me. I expect this to happen anyway due to the culture but personally it has to be something I’ll actually use. Overall, the idea will certainly help those in the design field for sure.” 10. “I would say yes, only if its severely damaged though. If a pencil is broken, a marker dries out, or a pen tip disfigures or wears down then that product is useless at that point. And assuming if someone uses broke products (which I doubt), the outcome won’t be pretty at all.”

PALMIST MANUAL • RESEARCH

ROBERT GRAY (GRAPHIC DESIGNER)

FOCUS GROUPS Once the prototype of the Palmist was created, the three interviewees utilized and gave their personal evaluation of the product. MH: “After spending a week with the prototype using it to draw out some pre-portrait line work using the recording function built within the Palmist; I am impressed. The product is extremely convenient in my opinion. The 2mm lead fill gives off the same feeling as a standard pencil, which I like, and it’s erasable so my mistakes were easy to correct. The design of the pen is very sleek, modern, but also simple. There is only one button on the pen that records and connects to Bluetooth when held down. And that’s where the “WOW” factor comes into play. When I connect the device to the computer through USB it opens a folder showing the drawings I’ve stored and then gives me export options. When converting to an .eps or .ai file, when opened in illustrator the lines are already converted into strokes fro me so I don’t even have to retrace the image. Saves me plenty of time and work!” EJ: “I dabbled with the Palmist for a day and it’s already too advanced for me. Despite that, it does have some convenient strength points given that it’s erasable and the 2mm lead is just ordinary graphite. However, as for the recording mechanism I don’t see the major point behind it because I never need to scan or transfer my drawings digitally. When I sketched up something small and entered the USB into my computer the export options just confused me. I had no idea what any of the file types were except for .jpg files. I would say once I start to incorporate more digital elements within my work then maybe I ‘ll have use for this product; but as for my current usages it serves no purpose. I would go along and say this would be a great product for those who more technologically advanced in their work.” RG: “I love this product! It’s the perfect tool for those in the graphic design industry. This product completely erases the thought of using a scanner in my opinion. For my logo sketches, designs, brainstorming ideas; this thing records everything I need when I need. And that’s my favorite function about the Palmist. You can carry it on the go, so no matter where you are you can crack open your sketchbook and jot quick ideas down that you would have forgot about later down the road. The exporting feature is also pretty cool; I can export it to almost any visual file extension. The .ai and .eps functions probably won’t be touched for what I do because generally my sketches aren’t presented as final logos. Therefore, automatically converting them into workable vectors is unnecessary for me. All in all though, I find the Palmist highly useful and recommend that all graphic designers or any profession that incorporates drawing to invest in one of these immediately.”

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DESIGN BRIEF

PROJECT OVERVIEW & BACKGROUND The Palmist is an instrument which development and goal is to change the general focus of how artists and creative process and document their ideas. Based upon market studies within the art materials industry (i.e. drawing products), many of today’s manufacturing companies re-distribute products that have been used for numerous decades without much of additional or technological enhancements. These products of course refer to drawing pencils, fine liner pens, and stylus utensils for digital drawing. For the Palmist, its general function is similar to these products; however they do not possess the additional recording and digital port asset. With that additional feature to the drawing utensils, when drawing out initial concepts or ideas for further project development will be eligible to capture and save ideas and drawings that you create at your most inspired-driven sessions. Based on a product evaluation, here are the product advantages and differentiations between other drawing tools in the market in comparison to the Palmist: Wooden pencils tend to wear down in size due to sharpening over a period of time. The Palmist is a structure that utilizes 2mm leads for pencil usage, no replacement of body structure needed. The Wacom inkling utilizes a recording clip for their digital stylus, but errors due to distance malfunctions. Therefore drawing data is hard to store. The Palmist’s recording feature is built within the model itself, monitored by a recording button and motion sensor; therefore distance and storage issues are eliminated.

CATEGORY REVIEW The Palmist brand is an art material producer and manufacture based out of Pasadena. The Palmist drawing instrument itself will serve as the general product for sale for the company’s primary endeavors. As the company continues to evolve secondary products and assets for the pen and marker models will also be available for consumption. At this particular time, the art materials industry/market is at a “stand still” as a whole. However, for drawing and digital mediums specifically; those are two sub-genres of the market that are flourishing. From NAMTA reports, drawing materials make up a large amount of the United States’ consumption of art materials in summation. Digital mediums are also making a large consumer growth with the art mediums available through technology as well. Therefore, the Palmist will sell within this market. It fits into both of these categories perfectly due to its balanced function, so there are no pits that this product can fall into in terms of finding a marketplace.

TARGET AUDIENCE REVIEW The Palmist brand of product is directed at creative professionals from ages 22-35 years in the U.S. (men & women). According to a NAMTA market study, 4.4 million artists are active. 387,000 of them are career-bound/ developed artist. The growth of spending of this particular group of individuals continues to evolve and build even larger amount, which currently sits slightly of 1 billion dollars.

PALMIST MANUAL • DESIGN BRIEF

COMPANY PORTFOLIO The Palmist’s drawing instrument is not an ordinary drawing tool. It’s an advanced model of your typical drawing tool. Drawing pencils, pens, and markers have been utilized for decades in need of constant replacements and are limited to what its functions are. The Palmist is a forward step in the art of capturing and conceptualizing project ideals. It does this of course through the act of drawing, which generally is a step always taken from any creative within this particular industry. This is an instrument not only for its handy use though, but also mental usage as well. With a built-in recording function you now have the ability to capture your hand-rendered imaginations and ideas. This product has never been created before in this specific form. And it is a huge improvement from Wacom’s digital recording device the “Inkling”. From it conquering the “Inkling’s” major weakness and its clearly advanced function beyond general drawing tools, the Palmist is already a proven standout product in comparison to its cohorts. A product line for the brand has been created on what will be serviced through retail outlets.

RECORDABLE DRAWING INSTRUMENT • • • • •

Uniform structured body Built-in Recordable Button Function 2mm Drawing Lead (9H-9B) Built-in USB Function Built-in Bluetooth Function

BUSINESS OBJECTIVE The objective for this brand is to sell the product, selling the collateral product pieces to consumers. As far as distribution is concerned, all products will be manufactured at the headquarters in Pasadena. From there, targeted stores and outlets will include first major art outlets, then general locations. The art outlets targeted are all PLAZA Arts, Utrecht, and Michael’s locations within the United States. General locations such as Wal-Mart, Target, and Best-Buy are also confirmed locations for consumption. These locations were key and thoughtfully chosen based off of what departments are based at those locations.

PALMIST MANUAL • DESIGN BRIEF

DESIGN STRATEGY As for the creative direction in terms of design for this product, from the logo, to the colors, and its presentation; all of these aspects must coexist with the product itself. This device is modern, cutting-edge, innovative, sleek, and intuitive. The design must present the mood of progression and “forward-thinking” within the ever-changing product realm. The function is the largest marketing tool in reference to the product as a whole, so the design from all aspects must mimic what is being branded and sold.

PROJECT SCOPE To bring this product into fruition, first and foremost conceptualizing and solidifying identity is vital. The company’s design aspects presented must be attended to with accuracy. From there, developing and creating product line collateral should be formed. Once those aspects are complete, this sets up an appropriate platform for distribution and marketing of the main product.

PALMIST MANUAL • DESIGN BRIEF

PALMIST MANUAL • DESIGN BRIEF PALMIST MANUAL • SECTION • TOPIC

BRANDING

CLEARANCE

x =height of "A" x

The “A” in the Palmist logo measures the height around the symbol and the spacing between the symbol and the typography.

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COLOR PALETTE

PANTONE Cool Gray 11 C C= 0 M= 0 Y= 0 K= 80 R= 88 G= 88 B= 91 HEX= 58585B

PANTONE 1788 C C= 0 M= 93 Y= 84 K= 0 R= 237 G= 57 B= 54 HEX= ED3936

C= 0 M= 0 Y= 0 K= 5 R= 241 G= 241 B= 242 HEX= F1F1F2

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SECONDARY COLORS

C= 0 M= 0 Y= 0 K= 100 R= 35 G= 31 B= 32 HEX= 231F20

C= 0 M= 0 Y= 0 K= 0 R= 255 G= 255 B= 255 HEX= FFFFFF The secondar y colors for the brand are pure black and white for s pecific alternative usages only.

PALMIST MANUAL â&#x20AC;˘ BRANDING

USAGE

CORRECT

INCORRECT

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TYPEFACE

AUNCHANTED BOLD abcdef ghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 .:,;{”!?} Above is the official typeface for the brand utilized in the logo and throughout this manual.

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STATIONERY

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PROCESS LOGO SKETCHES

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POSTER

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PACKAGE

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WEBSITE

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COLLATERAL ADVERTISEMENT

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POSTER

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PACKAGE

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WEBSITE

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DRAWING INSTRUMENT/TOOL

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