August 29, 2011
For my graduation project, I chose to challenge myself by designing the corporate identity of an imaginary brand. Building the concept; defining the target audience; shaping the soul, the character and the appeal of the brand accordingly.
I was influenced by the various products which are sold in vending-machines in Japan. These machines are positioned in critical locations to aid the customers in their time of need. I was thrilled by the notions of self-service and user-friendliness; for they enabled us to eliminate the middle-man (the salesmen) and cross out any external factors (such as; the location and the design of the shop, the music playing withing the shop etc.) to smooth out any problems one might face at the purchase points.
I decided that the corporate identity of this brand should mimic fast-food culture in textile, provide an alternative to the existing system and communicate efficiency and practicality. The ultimate purposes of this shoe brand are; to make the customer feel comfortable wearing it to a club, easily hop on-off public transportation, change into them while driving the car, slip one on and go shopping, secure their feet with comfort on long distance traveling and provide an alternative to the shoe that you left the house with in the morning.
After building the concept and defining the target audience, I focused upon other aspects of my project. The vending machine was going to contain 6 different shoe sizes (for both men & women) with 7 different colors for each shoe size. The shoes had to be folded in half in order to fit into the package and into the rows of the vending machine. Therefore the shoes had to be designed in a way that enables it to be folded in half. With this in mind, I decided to name my brand Pabucuyarım; for ‘yarım’ means ‘half’ in Turkish and the name itself is mentioned playfully in a Turkish riddle for children.
Below, you can view the step-by-step evolution of the design process.
You can view the finalized version on Behance.
February 7, 2010
LOVE the simple, retro-inspired identity for London cafe Milkbar… and the ‘mapkin’!! Genius!
Logos for the Australian Tourism Exchange (ATE) 2009 for Tourism Victoria
Beautiful work for The Modern Flower Company in London – created under the direction of Suzy’s previous employers, London design firm Multistorey.
Unpackaged signage and shopfit (above) and branding (below). Read more about this unique store and the creative brief on Suzy’s website here. This work was produced under the direction of Suzy’s London employers Multistorey.
Suzy’s bookshelf… full of inspiration!
Identity for weaver Carla Grbac – Suzy’s inspired design takes inspiration from technical weaving diagrams and the large weaving loom used by Carla to create her designs.
Preliminary sketches for Pixel Flix Identity
Identity for Pixel Flix
Working drawings and finished branding for Melbourne-based personal stylist Frockerphiliac.
February 4, 2010
With a combined 14,000 employees in offices around the world, Towers Watson is the newly minted “professional services” firm created by the merger of the 5-year-old Watson Wyatt Worlwide and 76-year-old Towers Perrin, officially established earlier this month. Towers Watson offers services in Benefits (retirement, health and group benefits), Risk and Financial Services (insurance consolation, investments, risk management), and Talent and Rewards (executive compensation, employee rewards), all of it a nice presented package that is actually easy to understand. With a new name that literally merges the two companies, Interbrand was given the assignment to create the new visual identity.
It became evident that Towers Watson’s primary strength would be its combined attention to relationships, both with clients and employees. Through workshops and discussions about personality and brand archetypes, a strategic positioning, “Clarity through perspective,” was developed that would guide and support the creative development.
— Interbrand Project Description
The new logo represents each Towers Watson’s employees’ personal commitment to its customers by “putting their names on the line” with a personal signature of the company. The identity is a combination of a strong, pragmatic wordmark and an approachable signature symbol. The organic, hand-drawn nature of the logo and graphic system creates a personal and distinctive look amidst the impersonal, corporate, language of its competitors. To echo the hand-drawn nature of the logo, a customized, scripted typeface was created along with a library of illustrations.
— Interbrand Project Description
The new logo strikes a pretty good balance between seriousness and friendliness. The wordmark is as buttoned-up as it gets, all uppercase and black as a CEO suit, and it’s so refreshing to not get another all lowercase rounded wordmark. Meanwhile the TW monogram is loose and dynamic and makes a nice complement in shape and color to the name. I typically don’t like to say “This logo looks like…” but I was reminded of the Wynn brand. First, formally, as it’s a signature. But, second, philosophically, as a way to humanize an out-of-scale organization.
Clarity, a proprietary handwritten font for Towers Watson. Image removed by request. Official name of the font, “Mister K for TW,” provided by Interbrand.
The applications succeed similarly in appearing fresh yet not alienating towards a business-minded audience. The thick boxes behind text is nothing new, and Franklin Gothic is fairly conventional choice, but in conjunction with the handwritten font, it all manages to feel contemporary enough. Overall, a solid introduction for this new company.
February 3, 2010
Based in Philadelphia, the Pew Center for Arts & Heritage is a collective of seven grant-making initiatives dedicated to supporting local artists and heritage organizations. Originally, each initiative had its own logo, lacking any consistency with the others. Because of that, there was no indication that it was part of a greater entity. Another problem was the absence of an umbrella logo for the Pew Center. The challenge for London-based johnson banks was to solve a rather specific client brief.
Although they wanted at one level to present themselves as a unified “Pew Center,” they still wanted to show that they worked across dance, exhibitions, arts fellowships, theatre, management, heritage and music, all within the Philadelphia area.
— johnsonbanks case study
Glancing at the Pew Center’s web site — as its civilian audience will experience it, and not presented in a case study — you might think the logo to be the white square, and that the other words and colors were designed purely for the website’s navigation. Checking johnsonbanks’ project description proves otherwise. This megalith of a logo includes the organization’s full name, the seven initiatives, the word “Philadelphia”, and a mammoth palette of eight colors. Designed to adapt to different situations, the primary logo system has three forms, each with varying scale and detail. The largest holds a record-breaking 25 words.
Deeper in the system are treatments designed to push individual initiatives. Each maintains the typeface, 8-color standard, the word “Philadelphia”, and a tiny “The Pew Center for Arts & Heritage.” It’s unclear whether these are meant to be the official logos for the initiative. If so, they certainly won’t work at small sizes. Other than that, the designs show just how recognizeable and flexible the “colored cards” concept can be.
A minimal sans-in-square logo isn’t particularly groundbreaking for an art institution. What makes these logos worth noting is the ironic use of that solution — where the bombardment of simplicity creates a clutter that’s hard to miss. Aesthetically, it isn’t the most beautiful, nor the most interesting thing. A family of icons representing the initiatives would’ve been simpler to manage than type. Accusations of bad design decisions about scalability and printability are certainly expected and valid. In the end, though, it’s those risky decisions that make the logo stand out. Most importantly, the design tends to the client’s need of a flexible system that reflects the relationship of an organization and its constituents.
January 12, 2010
Cool corporate design for Will and Jamie’s by Designers Anonymous.
Will & Jamie’s
Describing the partnership of two dairy farmers, who produce their own fresh yoghurt drinks in Pembrokeshire, Wales.
Will Prichard and Jamie Adams conducted market research to see how people reacted to their product.
The overwhelming feedback from consumers was that they loved the story of the two dairy farmers behind the delicious yoghurt drink. From this research we created a number of names including, quite simply ‘Will & Jamie’s’, this became the chosen brand name.
With the name in mind, we created a pantomime cow to establish the nature of their product and
Will & Jamie’s partnership.
We created this version was created for use on the packaging for Will & Jamie’s Fresh Yoghurt Drinks.
The lettering was hand re-drawn to fit the curved edges of the roundel. The droplet and udder colours related to the flavour of the drink. Seasonal Fruits (pink colour featured) became the hero colour for the main logo.
The colour palatte on the packaging was kept deliberately simple to keep production costs to a minimum. The black roundel plus a simple colour code for the flavour variant, which is featured in the pantomime cows udder.
On the back of the bottle Will & Jamie are out of costume, there is also a short story of the products origin.
To add provenance to the brand, we commissioned propmakers to make a bespoke pantomime cow costume. A photoshoot was organised at their farms in Pembrokeshire, and the farmers were shot in different positions and situations to express a variety of messages. E.g. The cow curtsie’s for the complement slip.
We worked closely with an experienced prop-maker to create the costume from a series of sketches of the logo from different angles. It took 2 weeks to complete. Unlike Will & Jamie, we were a bit too tall for the costume, so we looked more like a panto horse!
A series of ads featuring the cow.
We have film footage and a series of photographic stills of the cow running towards the gate to greet you when you visit this website (This will be added to the homepage in the near future).
To see the website, visit willandjamies.co.uk
Will & Jamie taking a break.
The cow icon was re-drawn to make it appear shivering against the chiller delivery van.
Promotional umbrella give-aways featured the cow icon laying down looking ominously at the sky… Cows always seem know when it’s about to rain!
January 9, 2010
Cool brand identity for Creative Thread by Designers Anonymous.
Project: Corporate Identity
Deliverables: Logotype, stationery, marketing materials
Combining creativity with traditional methods, for a costume, prop & interior decor company.
Based on a classic cotton bobbin, but with a little piece of ‘creative’ pink thread. The pink thread is used to illustrate different messages across brand applications.
The business card featured the cotton-bobbin, the pink thread spelled out a simple greeting.
Launch party invite
Where possible the Creative Thread cotton bobbin replaced a circular element within the illustration, on this occasion it was a cherry on a cake (literally).
The thread is printed on the bag, giving the illusion that the handle is made from the same piece of thread.
January 3, 2010
Project Team: Michael Bierut, partner-in-charge and art director; Jennifer Kinon, designer.
<strong><a href=”http://feedburner.google.com/fb/a/mailverify?uri=wordpress/MDcu&loc=en_US”>Subscribe to The Wonderland by Email</a></strong>
December 20, 2009
December 17, 2009
December 6, 2009
Puccino’s Coffee Shop Designs
I hadn’t heard of Puccino’s before, yet I saw these coffee shop designs and in them I’ve found something appealing; sincerity. I know some of you would point out a thing or two about their marketing targets and so on. Just have a look at the designs below and see if you can tell me you don’t wonder how their coffee tastes like.