james usill - visual communication - digital sketchbook

7/30/2019 James Usill - Visual Communication - Digital Sketchbook

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ASSIGNMENT 2

VISUAL COMMUNICATION

SYMBOLS AND SEMIOTICS15TH NOVEMBER 2012 -

31ST JANUARY 2013

To Develop Observation, Research,

Analysis , And Understanding Of VisualCommunicat ion And How I t Operates

As Key Att r ibutes Required Of Graphic

Designers .

To Employ And Develop Creat ive

Problem Solv ing Strategies , Ideas

Generat ion And Communicat ion Ski l ls .

MODULE AIMS:

To Encourage An Understanding Of

Fundamental Graphic Design Pr inciplesThrough Both Analys is Andappl icat ion,

Including An Introduct ion To , And

Basic Understanding Of , Key Digi ta l

Production Tools And Systems.

To Enhance Levels Of Visual Enquiry ,

Presentat ion And Cr i t ica l Evaluat ion.


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CONTENTS2

3. Symbols & Semiotics

4. Brie

6. Why A Pre-existing Company?

7. Pret A Diner

8. Previous Events

9. Cultural Signicance o Butteries

10. Group Brainstorm

11. Why A Buttery?

12. Representations o Butteries14. Possible Applications o Logo

15. Existing Buttery Logos

19. Pictograms

23. Olympics Pictograms

24. Minimising a Buttery

25. Modernism26. Saul Bass

27. Alan Fletcher

28. Paul Rand

29. Experiment: Paper Cut Logo

30. Photoshop & Illustrator Thumbnails

31. Crayon Logo33. Logo In Situ

34. Presentation Sheet

35. Evaluation


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RESEARCH:

SEMIOTICS

Semiotics is the study o symbols in communication. Symbols are anythingthat are a representation o another concept, idea or physical object.

Semiotics is used as a way to better understand communication behaviourand how culture is read and navigated.

Semiotics has 3 main branches:

Semantics:The study o what signs and symbols to what they stand or

Syntactics (or syntax):The study o the relation between signs and symbols.

Pragmatics:The relation o signs and symbols to their interpreters

In graphic design we use semiotics to better understand the way visualsigns are given meaning and how they are interpreted by the public. This isimportant because as designers it is our job to imbue what meanings and

values the clients desire our work to have.

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BRIEF

TAKEN FROM OUR PRINTED BREIF

BREIF:You are required to design and develop a graphic identity or a company,manuacturer, retailer, or service provider who wish to see a solution that

strongly eatures an animal image. The core o the identity will be a graphicsymbol. There is no one style that you should adopt when designing a symbol.The nature o the business and subject related inormation gatheredshould be the starting point or your design research and ultimatelyleading to a proposed solution. It is important that the content o yourdesign proposals are stated simply and are capable o reproduction ina range o sizes without deterioration or lose o legibility.

Graphic Symbols Marks, shapes, ideograms o an illustrative nature.May be representational or abstract or something in between.

For example -Penguin Book Publishersa representational, simplied image o a penguin bird.Citroen Cars An abstract geometric pattern chevrons based on an early models radiatorgrill.The ProblemPlease choose any one o the businesses listed below to base your designsolutions upon.Basketball Team * Arts and Crats Gallery * Power Tools Shop * Sportswear Shop*Restaurant * Night Club *Shoe Shop (babys to teens) * Contemporary Dance Studio *Sport Diving Training Centre * World Music Recording Studios *Tattoo/Body Piercing Studio * Fancy Dress Hire *Art DirectionYour symbol solutions must be based on animal reerences collected.(See Design Research Gathering)

Source material will need to be manipulated to convey the essential charactero the chosen company or service. The communication problem allows youto produce a solution that could be representational or abstract in concept.Ultimately the mood, content and graphic style can be serious or humorous.It will depend on the nature o your chosen client, design experimentation,visualising processes / techniques and the use and application o colour.Design Research GatheringYou are required to produce visual/design research relating to any group oanimals, (not including man). Please choose a group that provides plenty ovisual contrast amongst the individual species.For example-Birds sparrow, eagle, peacock, parrot, ostrich, penguin .Fish angelsh, stickleback, mackerel, shark, manta ray .Insects ant, bee, dragony, buttery, beetle, spiders .

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TAKEN FROM OUR PRINTED BREIF

BRIEF

Reerence source: Photographic imagesWhen you have decided on the direction o your research collect as many

photographic reerences as possible o dierent species within your chosenanimal group. Choose your images careully try to include only examples that

clearly show the maximum amount o inormation relating to colour, shape,

orm, texture/pattern.

Reerence source: Artists/Illustrators ImagesYou are required to collect a broad range o artists and illustrators images o

animals in your chosen subject group. Try to nd as many dierent graphic styles

as possible, realistic, simplied, abstract, caricatures.

Reerence source: Cultural InfuencesNative American Indian, Inuit, Aboriginal, Japanese, Indian, Chinese, Arican,

Maori Animal orms in this section may be sourced rom architectural detail,

cratworks, textile designs, religious objects etc

The Tree of Life

0.18% of the 1.7 million animals I have to choose from.

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RESEARCH:

WHY A PRE-EXISTING COMPANY?

Why choose an existing company as opposed to creating one?We were informed we could chose an existing company, or make up our own

company. I chose to use an existing company for my project for the following

reasons:

Creating a made-up company means you cannot work with any real tangible

elements when creating your branding. Rebranding an existing company you

can work with the companies values, goals, strengths and weaknesses and

build on those things to create the identity.

Rebranding an existing company is more realistic, because in real lie a

company would rarely come to you with no specications at all o what theywanted, with no idea or a name or even clear idea o what the business is. The

only time you would get this kind o creative reedom is i you were making

your own company identity.

Some o the best logos come rom abstract connections to the business,

such as the McDonalds logo, created rom the yellow arches that were part o

the architecture o the older restaurants, with the red coming rom the iconic red

roong. Or the BMW logo, which represents the movement o planepropeller blades, when aircrat production was only a part o the business

or ta small part o the companys history. You would not be able to make

these kind abstract connections i the business whos identity you are working

on does not really exist.

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RESEARCH:

PRET A DINER

Pret A Diner is a pop-up restaurant company started in 2011 in Berlin by

KP Koer (Klaus Peter Koer o Koer and Kompanie) and creative director

Olivia Steele. Pret A Diner pop up restaurants are events combining the arto Michelin-Starred ne dining in classic and contemporary cuisine with a

visual and auditory experience where a citys entire culture including ood,

art, entertainment and history are taken into account in exclusive events.

They look to create immersive sensory events , combining the ambience o

the dining experience with urban and ne art, music, architecture, interior

design and lm instillation.

Their events require you to book in advance online, and are liable to

sell out, giving them an element o exclusivity. One can nd out about

upcoming events through their email newsletter, which you can join at

the events themselves, or paying money to become join their Patrons and

Friends system. Previous events have been held in Frankurt, Munich, Berlin,

Monaco and London. In 2013 there will be events in London, Berlin,Hamburg, Rio, Venice, Basel, Ibiza, Sao Paulo and Miami.

Pret A Diner does not have a logo, they do have a way in which their name

is displayed, in all-caps with the Pret on one line and the A Diner on the

other, though there is no set type or style or it. In their publications and

on the web they have used hand rendered, collage and digital type to

represent their name. I am deciding whether to keep these elements

when creating my logo or to disregard them , or instance putting the

text on one row.

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RESEARCH:

PREVIOUS EVENTS

Italians Do It Better, London

May / June2012With the slogan o Italians Do It

Better, PRET-A-DINER seeks to create aully immersive Italian experience,

blending the legendary Mediterranean

hospitality with a showcase o everything

ranging rom contemporary Italian art,

curated by Julian Farrow, to an eclectic

line-up o live Italian musicians.

- From Bookatable.com

ree House, Frankurt

October 2011 - Guests : 15,000

ree House saw two top oors o a sky scraper in

rankurt be turned into a Tree House. Along with

he restaurant was a gallery space curated by

teve Lazarides, showcasing artists such as

Anthony Micalle, David Choe, Sage Vaughn, Bst,

oxi, Jonathan Yeo, Ron English, Lucy McLauchlan,

Kelsey Brookes, Paul Insect and Radiohead artist

tanley Donwood.

Minotaur, Old Vic Tunnels

October 2011 - London: Guests 14,000

Minotaur was an a collaborative event between SteveLazarides and KP Koers Pret A Diner held in the tunnels

under Waterloo Station. This event was not only an art event

but also a resturant with a stage, where bands and artists such

as James Lavelle, Booka Shade perorming and providing

DJ Sets.

This event was where I rst discovered Pret A Diner. I came

or the art, being an avid an o many o the Lazarides artists.

To the let is a screen printed poster or the event by StanleyDonwood, this is probably one o the ew pieces o design

or a Pret A Diner event that I really like. Which is surprising

considering how great the art and aesthetic qualities o the

events are.

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RESEARCH:

CULTURAL SIGNIFICANCE OF BUTTERFLIES

Global Meanings:

Transormation /Metamorphosis Fragility / Delicacy

Russia name or Buttery babushka also means Bow Tie &

Grandmother .

Asia - New Zealand Mexico butteries represent the soul.

Greek word or buttery Psyche means Soul or Mind.

Japan The Buttery is a persons soul. Christian Faith Due to its relations to the soul, Christ and Mary

are both oten depicted with butteries.

In the west butteries are a symbol or mental health

Butteries also represent lightness, and ne dining is all in very

small, light portions.

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RESEARCH:GROUP BRAINSTORM

When you come to the ideas generation process you will sometimes nd

ater an amount o time it eels that you have exhausted all possibilities. This

is oten because you have started without realising to ocus your ideas in acertain direction. It is at this point that another persons input can complete-

ly reresh the process and help to remove that barrier.

Ater we had chosen our animal in groups o hal the class we were given a

task in which we were given an A3 piece o paper, and wrote the name o our

animal in the centre, we then had 5 minutes to write anything which came to

mind that we elt was important about the animal, we then passed our pa-

per to the let, and those people had 2 minutes to write everything that theycould think o relating to the animal. Our paper went around maybe 20 peo-

ple beore being returned us again, this meant that you got the collective

brain power o 20 people working at maximum efciency due to the subject

being resh each time. There were some things I thought were strong that

were reinorced. I also ended up with some ideas about my animal that I

hadnt thought o beore the task.

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RESEARCH:WHY A BUTTERFLY?

Butteries have a relatively short liespan, and

much like the restaurants, are only around or a

short amount o time.

I you look at a butteries ight path, you can

never tell where its going to go

Butteries are all show, with their colours and

patterns, this reects the experience you get when

you go to a Pret A Diner restaurant.

Butteries have a delicacy to them that reects

the care and intricacies o creating ne dining.

Butteries represent new lie rom old lie,

transormation and new creation. The pop up

restaurants are always new and dierent to what

has come beore. The pupa period also reects the

preparation and anticipation building up to these

events, that are then only around or a short time.

The pupa metamorphosis process also relates

to the transormation o the spaces in which the

events are held.

Clitoria Ternatea:

Also known as the Buttery Pea

Flower. Used as a garnish to add

colour to ood in many countries.

Flight path o a buttery.

Battered wings o a damaged Red

Admiral Buttery.

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RESEARCH:REPRESENTATIONS OF BUTTERFLIES

Damien Hirsts butterfy stained glass windows.

Huge stained glass window-style paintings using the wings o butteries

Sage Vaugn butterfy paintings.

Spiraling rings o brightly coloured butteries. These have also been translated into a

video exhibition where the animated butteries spiral rantically, and slowly one by one

begin to be held in place and begin to drip paint. Sage Vaugn is a Lazarides artist who had

work exhibited in the Minotaur Lazarides / Pret A Diner event.

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RESEARCH:REPRESENTATIONS OF BUTTERFLIES

Jean Shrimpton image or Vogue shot by

David Bailey

nother Lazarides artist. Faile are a ne

rt grati duo who wheatpaste their

screen printed works.

Talk Talk The Colour O Spring

album art eaturing a painting by

James Marsh, who has designed

most o their album covers,

butteries are a moti that runs

throughout his work.

A page rom an 1800s edition o The

National Encyclopedia - A Dictionary

o Universal Knowledge. I ound some

pages rom this book in Tavistock

Pannier Market a year ago and liked the

illustrations so decided to buy them,

some o these have been the basis or

my crayon buttery images.

An ornamental style illustration by

an artist called Anom Kojar. I really

like this, though I think a style like

this is ar too detailed to use or

my logo.

A photo manipulation by an artist

called B-O-K-E who has created

many diferant animals and insects

out o water. It might be in a rather

generic style, but I think its quite

well done and the colours are nice.

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DEVELOPMENT:

POSSIBLE APPLICATIONS OF LOGO

A logo needs to be designed with its applications

in mind, depending on what kind o entity you are

designing or there may be hundreds o things it

may be applied to, all these need to be taken into

account so as to ensure that the logo is suited to its

job. One o the rst things I did in the development

process was to make a quick list o dierent

possible applications o a logo or Pret A Diner:

InsigniaonKnives&Forks

NapkinsPencils&Pens

Online

Website

Posters

Signage

PrintedMaterialsMenuLeaets

Sideofvehicles

Clothes

Plates

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RESEARCH:EXISTING BUTTERFLY LOGOS

When looking or ways to display a buttery, I decided

to take a look at some existing buttery logos. I was

looking or logos that were simple, witty or original.Below are some o the most interesting I ound. Some

are well known and well-established brands, most are

not:

he MSN logo is probably one o the most well known and

ecognisable buttery based logos. I usually am not so keen on

ector logos heavy in gradients, but this is one o the ew I like as

manages to not overdo it. The colour scheme is also nice.

his logo or CBC Radio in 1966

s a really nice example o the

ind o logo Id like to create i I

ecide to move in a modernist

irection.

he colours and symbol reect

he birth and introduction

CBC/Radio-Canada colour

elevision broadcasting.

Again, nice bold colours.

m not sure what I think o

he black dot. But Im sure it

wouldnt look right without it.

This minimalist design created

out o triangles 2 colours and

4 tones is really nice. The type

suits, but I would say that there isa slight disconnect between the

type and the symbol. It could be

because o the space between

the two. And I also think the type

would benet rom being either

capitalised or even All-Capsd.

I do like this logo, and I think the

idea o using the dot o the i isa good one, though Im not sure

that its executed as well as it

could be though. I think the dot

could be a diferant, more body-

like shape and still would tell

you that it was an i. The gradient

does seem to work, though I

dont know i I like that it goes

to pretty much 100% white.There is also a slight disconnect

between the two onts. I think

the contrast should be between

the type and the logo, not just

between the type.

This logo is quite nice. I im-

agine it being or a hotel or aresturant. It has a calligraphic

ow to it, while remaining a

sharp, smooth vector.

I think I would rather see this

logo in gold on black instead

o shades o gold. Apparently

it is supposed to represent the

letters GP but I dont really see

that in the symbol.

I it is or a resturant or hotel. I

think it gives of an image that

they would want.

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his is one o the only restaurant

ased buttery logos Ive ound.

ike the idea o using a ork or

he body o the buttery. Againdont think the type is working

ith the logo, but that may just be

ecause o the amount o space

-between.

Im Not sure how much I like

this one and I actually think I

preer the similar one on the

previous page. Its a mediocre

calligraphic emblem also not anincredible representation o a

buttery. A logo like this could

maybe do with having slightly

less symmetry, like the logo on

the previous page.

I think this logo generally

works pretty well. The act

that buttery wings look like

leaves is well observed.

I would like to do some

experimentation on

illustrator o this sort,

creating butteries out o

various shapes and symbols.

eally like the idea behind this logo.

dont really like the rogue dots at the

ottom o the let wing, which I assume

e an attempt to tie the type to thecture. But overall I think its a cool

go, though maybe with not as many

pplications.

I think the symbol is quite

clever. Being an internet

marketing consultancy theuse o code symbols makes

sense. I dont really like the

colour scheme.

Attempted logo redesign for acompany, dont really like thisvery much, apparently the logo isbased on the letter i which I dontreally see myself. Te gradient onthe type is quite nice.

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I like the idea o using the

letter B to construct a

butterys wings, though

a butteries bottom wings

are generally smaller at the

bottom and larger at the top,

so I think this logo could have

been worked to reect this,

as it is the logo looks a bit

clumsy.

his is a logo or a perumery. I

hink the seri onts reect the

quality aspect that the busi-

ess is trying to convey. I thinks an okay logo, but nothing

articularly special.

I like the crayon-ish texture

o the line, not sure I like all

the colours, and the type is

deantly not great. But I like thesymbol, I might try looking at

creating a texture like this.

omeone in my class said I should

ook at creating a buttery with

earts. Interesting to see that

omeone else has had the same

dea. It looks a bit rigid as it is,

would probably modiy the

earts by squeezing them so they

ould sit more horizontally.

Logo or Roqueort Premium

Blue Cheese. Diferent elements

work together well. The type

looks traditional which is a

desired association as they have

been producing cheese or

centuries. Beore investigating Iassumed it was or a liquor. The

name Papillon and the design

(Especially the calligraphic text

on either side o the buttery)

all reect the brands country o

origin (France).

I like the crayon-ish

texture o the line in this

design. Not sure I like all

the colours, and the type

is denatly not great. But

I like the symbol, I might

try looking at creating atexture o line like this.

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RESEARCH:PICTOGRAMS

One route I went down or my logo was to create a pictogram. A pictogram

is a way o graphically minimising something down to its bare essentials or

maximum recognition by the brain. Pictograms are now used everywhere,

rom airports and train stations to maps and road signage.

Though pictograms came back into heavy usage in the 20th century, picto-

grams origins begin much earlier, and are closely tied with the development

o early systems o writing. Languages like Cuneiorm developed as a result

o drawing lines o representational symbols, like a ace, a bird or a sh.

Over thousands o years o rewriting, these very representational drawings

were slowly minimised down to a set o only a ew lines, it is this style o

pictogram that I have looked to create.

I think that the reason pictograms are so eective is the same reason that a

successul logo is eective. Maximum legibility with minimum extraneous

details, while conveying as much as they can with the given symbol. As this

is a subject I have looked at in the past, the ollowing ew pages are scans

o a sketchbook I created on the history o language rom cave painting,

through to the printing press up until modern digital computers.

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RESEARCH:

19PICTOGRAMS


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RESEARCH:OLYMPICS PICTOGRAMS

Some o the most iconic pictograms are the symbols

created or the Olympics, these pictograms are usually

created resh in the graphic style o the games that year.

Two o my avourite sets o Olympic pictograms are those

created by Lance Wyman or the 1968 games in Mexico

and also the set created by Otl Aicher or the 1972 Munich

games. Through these designs, I have realised that even

the simplest o pictograms can display as much or as little

about an idea or culture as you want.

Wyman designs are notable or their minimisation o de-

tail, liberal use o a vivid colour scheme, lack o whole g-ures, and use o graphic symbols that relate to the sport,

like targets or archery. The sports that Wymans designs

represent are instantly recognisable. These pictograms

were a direct reerence to the pictograms o ancient

pre-Hispanic cultures.

Otl Aichers designs are probably the most iconic

pictograms rom the Olympic games, and set some

standards which many since have ollowed. Aichersdesigns were not the rst to use stick gures, but

they were the rst to have minimised these stick

gures down to a more rigid, modernist style, grid-

constructed with only straight lines and circles. You may

recognise this style o representing gures rom the

stickmen that you see on many toilet doors today, as

they come rom his designs to represent bathrooms in

the Munich Olympics. Most o the Olympic pictograms

since have simply been tweaked versions o these ones,recreated in the graphic style and colour scheme o that

year, and some have just simply reused the Aicher designs.

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DEVELOPMENT:MINIMISING A BUTTERFLY

My rst step in creating my pictogram was to experiment with

dierent ways o depicting a buttery with very ew lines. The one I settled

with was a design that looked quite like a symbol o ancient writing, like

Cuneiorm or early Chinese. I then redrew my chosen pictogram with the

pen tool in illustrator, I then experimented with dierent brush styles to see

which one would give it the kind o thick but painterly and calligraphic brushstrokes I was looking or. The two designs I am most happy with are the two

thicker versions at the bottom.

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RESEARCH:MODERNISM

The designers I have decided to look at in this project are

primarily modernist. These designers were attempting

to move away rom what they considered to be the

clutter and mess o design at the time, transcending

convention with clean, angular geometric shapes and

intelligent use o vivid primary colours. I have looked at

modernism because, like pictograms, everything that

sums up what modernism stands or is what can be

considered to make a successul logo. Much o modernist

design had an almost utilitarian purposeulness.

Elimination o extraneous details, a minimal,

eye-catching colour pallet and hyper-legible typographyare all staples o the modernist international style.

While being a rejection o the traditional, many o these

designers also looked not towards technology but also

towards skill in their practice. In doing so most o these

designers rejected the growing trend in the mindset

that one could learn to use the equipment without

having the background in the history and intricacies o the

proession. They valued a rened, purposeul naloutcome over a clutter-laden visually heavy process piece.

Its difcult to explain modernism without it sounding

like a cold, unemotional philosophy, but I really dont

think it is. I you are to strip back an image o an

emotion, lets say love, hate or ear, you can be let with

the raw energy and impact o that emotion, without

any distraction or diversion, increasing the impact o

these eelings, whatever they may be, that you desire toconvey. Its a way o expressing yoursel, not an

expression. It can be un and playul, it can be brutally

serious or it can be aggressively eective. Much like the

onts o the international style, it is a style that can be

applied to all situations, its message all depends on what

someone is trying to say.

1.

2. 3.

4. 5.

6. 7.

1. Erik Nitsche

2. Max Huber3. Germano Faciti

4. Max Bill

5. Erik Nitsche

6. Josef Mller-Brockmann

7. Max Huber

Some favorite modernists:

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RESEARCH:MODERNISM: SAUL BASS

Saul Bass was a New York born Graphic Designer best

known or his poster designs and lm title sequences.

At one time, title sequences were viewed as being

mind-numbingly boring. Something you had to sit

through and try not to eat all your popcorn beore the

movie started. Saul Bass animated title sequences were

attention grabbing, and helped orm a whole new way in

which audiences could be drawn into the lm they were

watching beore it had started. One o my avorite title

sequences o his is his animated type or Alred Hitch-

cocks Psycho. These titles eatures type that becomes

ractured and dissected by graphic lines.

His best work used heavily stylised and simplied ob-

jects and gures represented in his iconic, much imitated

paper cut-out style and a bold vivid colour pallet. Saul

Bass also created allot o iconic logos that are still in

use today, most o his logo design involved emblematic

symbols that could stand alone rom whatever their log-

otype was. I really like a lot o these logos, especially the

AT&T logo and the black Warner w logo.

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RESEARCH:MODERNISM: PAUL RAND

Paul Rand was an American Graphic Designer

whos iconic designs, branding and art direction or

companies like IBM, UPS and changed Graphic

Design and inuenced the popular shit towards the

Swiss / International style. He came into notoriety or

his cover designs or the magazine Direction, which

he produced at no charge in exchange or creative

reedom. He was one o the great celebrity Graphic

Designers who brought credibility to graphic design

as a career.

Rand was inuenced by the German ornamentaladvertising style o Sachplakat, where 1910s designers

like Lucien Bernhard sowed the seeds o modernist

design. My avourite work o his is his poster work.

Whether designing a book cover, a poster or a

magazine cover, his work was all just as arresting

and impactul. In act he said himsel that he didnt

dierentiate between desiging a hardback book

cover or a sot back book cover. Showing, in my

opinion, that he believed that all printed media,regardless o price and audience, should be o the

same aesthetic quality. Which is to say, o a high

aesthetic quality.

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DEVELOPMENT:

EXPERIMENT: PAPER CUT LOGO

One thing I have really wanted to experiment with is creating shapes rom cuts o paper to give them a more nat-

ural, organic look, most modern design that attempts to emulate modernist design ends up looking obviously like

an illustrator vector. I ripped each shape individually, and then live traced them on illustrator. In the end I decided

to mirror one o the wings or both wings to give it more symmetry.

actually think this style turned out better than I expected. One thing I dont like about this paper cut is the right

angles o the wings. I never created this design with aim or it to be a nal logo. I I were to take this logo on to

develop I would recut the paper so that it had the same quality o line on the inside o the wings as on the outside.

Ater talking to my lecturer, he told me that one way to make it look more interesting could be to add a third

colour, and one way o doing that could be to have an overlap between shapes with an opacity.

The rst suggestion was that I should overlay the wings so that they meet to create a body, this was really hard to

make work, especially with the right angle shapes o this test paper cut, being the corners o the paper. The other

was that I could make wings with two segments to each wing, which overlap to create a second shade o red.

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DEVELOPMENT:PHOTOSHOP & ILLUSTRATOR THUMBNAILS

1.

2.

3.

4.

5.

6.

These were some initial thumbnail sketches created on Photoshop. As my drawing skills are not incredible, I nd

using Photoshop allows me to create and experiment with ideas I could not show by hand.

1. Simple silhouette

2. Segmented wings with 79 separate sections. I created this thumbnail in a really nice colour pallet lling in

each section with a separate colour, which took a couple o hours. But the computer turned of and I lost my

work.3. Silhouette punched out o a circle with the bevel / emboss took to give it a 3D badge efect.

4. Rorschach test style logo.

5. Block o texture rom a butterys wing. I think this would make a good logo, but would need a lot o devel-

opment rom how it looks now.

6. I wanted to see what a colourul, illustrative symbol would look like, so I took this illustration o a buttery,

live traced it on illustrator and coloured it on Photoshop.

When I rst opened up illustrator to create my logo, I decided to just doodle around on the sotware and create

some purely digital looking buttery orms, without inuence o my previous ideas, one thing I tried to do wascreate a buttery out o circles. Though the one shown in blue did seem to vaguely show a buttery orm, it

certainly didnt work too well, as a symbol and wanted to create something more interesting with it. I decided

to use the same style o opacity overlay as I used with the paper cut logo, which didnt work either, but I did see

that there was a buttery like shape emerging rom the overlay colour in the darker red. I removed the shapes

around this symbol and I think it works as a logo.

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DEVELOPMENT:CRAYON LOGO

As shown in my logo research there was one logo that created a really nice quality o line through

a drawn crayon texture. I really like the textured, thick, bold lines that oil pastels make. So taking

reerence rom my pictogram research I decided to try some diferent methods to minimize a

buttery with oil pastels.

The two that I think look most interesting I have circled in red. The one on the right reminds me

o the cuneiorm style glyph I created on page 24. I think this is more successul than that one

because it has more character and is more buttery-like.

I then took these drawings into illustrator and live traced them:

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DEVELOPMENT:CRAYON LOGO

I tried out a variety o dierent typeaces, including Didot, Perpetua, Helvetica,

Toronto Subway, Gill Sans and Akzidenz Grotesk. I also tried out dierent drawings and

compositions. In the end I have decided to choose the drawing on the let, with Akzidenz

Grotesk (Shown on the bottom design) with the symbol in the colour o red shown in

these designs.

Ater trying numerous variations, the ont I have used or my logo is Akzidenz Grotesk Extended.

Akzidenz Grotesk is a ont that was created by Hermann Berthold in 1898.

Regardless o the date o its creation it looks new and accessibly clean, something that speaks to

the modernist aesthetic o the mid-20th Century, being the most widely used sans seri typeace

until the introduction o Helvetica.The ont was used as the primary model or Max Miedinger

when creating Helvetica. Helvetica was designed to compete with Akzidenz Grotesk as the most

widely used sans-seri typeace. He sought to make Akzidenz Grotesk look more even and clear,but in doing so I think Helvetica ends up more angular and rigid than its predecessor. Akzidenz

Grotesk was already one o my avourite onts due to its exibility and character, but I have gained

a new appreciation or it ater realising why I like it when compared with Helvetica. I think this

ont is a good choice or my logo, and that it sits well with the symbol I have created.

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DEVELOPMENT:FINAL LOGO & IN SITU

Front o Menu & Napkins

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PRESENTATION SHEET

C=9

M=94

Y=86

K=1

[BLACK]

Colour Scheme:

ABCDEFGHIJKLMNOP

QRSTUVWXYZ&

abcdefghijklmn

opqrstuvwxyz

Logo Typeface:

Akzidenz Grotesk Extended

House Typeface:Akzidenz Grotesk

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EVALUATION

I really enjoyed this project. Its been a really interesting journey towards the

nal outcome. I have looked at new processes and styles or image making

that I plan to use in the uture, and returnedto and developed styles I hadalready used. I think my nal outcome has eectively drawn rom both

primary directions o my research. It has the minimisation and reduction

o modernist design, but also o the primitive symbolism o the art o our

earliest history.

When I went to the Minotaur event, I ound that the Pret A Diner restaurant

was not just the catering or the event, but that Pret A Diner themselves puton really impressive events around the world. There is a lot to work with with

Pret A Diner and I think they were a really good company to choose or a

project like this.

I think with the initial basic glyph symbol I potentially took the idea back too

ar, not conveying enough o the ideas. I think it was a good idea to go back

and start with a new idea, and I think what came out o it was ar superior tothe cuneiorm glyph-style pictogram.

I wasnt able to use InDesign at home as since the new InDesign has been

released documents created on older versions o InDesign rom previous copies

o Creative Suite dont open on CS6 and vice-versa. I I were to have a project

o this sort again I will make sure to have upgraded my Creative Suite to the

latest so that I can work at home.

We live in a technological age, in which our possibilities or creativity are

greater than ever i harnessed with imagination and consideration. It

can greatly inorm that consideration to look back at the works o others.

I we do not learn rom the past we will hardly be creating things that say

anything new. Through looking at my avourite designers work and nding

what I see to be the real essence behind modernism it has helped me to

understand how to strip my concept back to the basic idea Although I have

james usill - visual communication - digital sketchbook

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