Brand+Magazine.pdf

SHOWCASE

OBSERVATION

ORGANIC PALETTE NATURAL SKIN HANDY NATURE

ORGANIC DESIGNOLOGY PERFECT NATURAL SHAPES THE INDIGENOUS INDIGENOUS BRANDING BRANDING

O r g a n i c I S M

NO 05

5 0

2 4 5 6 6 2 2 2 N S S I

05

8 0 0 4 5 6 6 2 2 2 7 7 9

OrganicISM

TREND-LEADING

Inaugurating the future narrative of brand values !

2012 / Oct. ( ISSUE 05 )

PUBLISHED BY

DISTRIBUTION MANAGER

Sendpoints Publishing Co., Ltd.

Limbo +86-20-89095121-8015 [email protected]

PUBLISHER

Lin Gengli

Editorial

DISTRIBUTION EXECUTIVES CHIEF EDITOR

Nicole Lu EDITED BY

Editorial Department, BranD Magazine

Peng Yanghui Yan Shengyong Lin Baotian Zhang Juan Lu Minhui Li Yingli

EXECUTIVE EDITOR-IN-CHIEF

Ryan K.L. Jiang

ADVERTISING INQUIRIES

ART DIRECTOR

+86-20-89095121-8888 [email protected]

Lin Shijian ADDRESS FLOWCHARTING

Mandy Gong CONTRIBUTING EDITOR

Davy Dooms Samo Ayoub Jordan Shevell EDITORS

Mandy Gong Ian Hanson Qianqian Lee

Room C, 15/F Hua Chiao Commercial Centre, 678 Nathan Road, Mongkok, Kl, Hong Kong Tel(HK): +852-35832323 +852-35832323 Fax(HK): +852-35832448 +852-35832448 Email: [email protected] Website: www.sendpoint.com.cn cn ISSN 2226-6542

DESIGNERS

Liu Minting Huang Xiaoqiong Wang Xue

Contributions: We welcome all excellent relevant work contributions; however, however, we do reserve the right to select in accordance to different subject matters and quality purposes. All the works will be examined with respect and appreciation.

EDITORIAL DESK

Copyrights: All rights reserved. Reproduction in whole or in part without permission is strictly prohibited.

[email protected]

T he compelling visual sual elements and rules from the nature have taught us not only the way we understand the nature, but also the way we shape the human outputs. T he products we make, the machinery machinery we produce, the way we interact, interact, the way we consume and even the way we work creatively creati vely are inevitably connected with the organicity city of our being inin relation on with the nature. The T he universe evolves around a chaotic yet organic rule. As designers, we make things real; we make rules in the way people interact inter act with visuals or other media. T herefore, we need to understand the way “natural” is interpreted in Design, creative methodology, art direction d irection and even marketing. Notwithstanding that the brand designers are limited to a couple c ouple of media, brand b rand designer are enabled of the chance to have the most direct interaction with the client and the consumer, as the key to bridge the organicity city of brand values ues to the other end.

Ryan K. L. Jiang Executive Editor-in-chief n-chief


2012 / Oct. ( ISSUE 05 )

PUBLISHED BY




PUBLISHER

Lin Gengli

Editorial

DISTRIBUTION EXECUTIVES CHIEF EDITOR

Nicole Lu EDITED BY

Editorial Department, BranD Magazine


EXECUTIVE EDITOR-IN-CHIEF

Ryan K.L. Jiang


ART DIRECTOR

+86-20-89095121-8888 [email protected]




Mandy Gong Ian Hanson Qianqian Lee

Room C, 15/F Hua Chiao Commercial Centre, 678 Nathan Road, Mongkok, Kl, Hong Kong Tel(HK): +852-35832323 +852-35832323 Fax(HK): +852-35832448 +852-35832448 Email: [email protected] Website: www.sendpoint.com.cn cn ISSN 2226-6542

DESIGNERS



EDITORIAL DESK


[email protected]




2012 / Oct. ( ISSUE 05 )

PUBLISHED BY




PUBLISHER

Lin Gengli

Editorial

DISTRIBUTION EXECUTIVES


CHIEF EDITOR

Nicole Lu EDITED BY

Editorial Department, BranD Magazine EXECUTIVE EDITOR-IN-CHIEF

Ryan K.L. Jiang


ART DIRECTOR

+86-20-89095121-8888 [email protected]


Room C, 15/F Hua Chiao Commercial Centre, 678 Nathan Road, Mongkok, Kl, Hong Kong


Tel(HK): +852-35832323 +852-35832323 Fax(HK): +852-35832448 +852-35832448 Email: [email protected] Website: www.sendpoint.com.cn cn


ISSN 2226-6542

Mandy Gong Ian Hanson Qianqian Lee DESIGNERS



EDITORIAL DESK


[email protected]



Committee

GERMAN DESIGN COUNCIL

PANTONE LLC ASIA PACIFIC

Rat für Formgebung | German Design Council Stiftung | Foundation Messeturm, Friedrich-Ebert-Anlage 49

X-Rite/Asia Pacic 36/F, 169 Electric Road Hong Kong, China

60327 Frankfurt am Main

Fax: +852 28858610

Tel: +49 (0)69 74748639

www.pantone.com.hk

Tel: +852 25686283

Oriental Motifs in Modern Design presents the motifs and patterns derived from the thousands of years of

Fax: +49 (0)69 74748619

development in Oriental culture. Each motif has its

www.german-design-council.de

unique meaning and origin as well as a great potential to be applied in modern design. The book introduces 27 traditional motifs divided into three categories, and modern design works inspired by oriental motifs. DVD-ROM that contains all the vector graphics introduced in this book is attached.

NOVA BRAND PLANNING CO.,LTD.

IDN (INTERNATIONAL DESIGNERS’ NETWORK)

Paris; 71 rue d’estienne d’orves ROSNY SOUS

Systems Design Ltd

BOIS 93110 Tel: +33 (0)1 85966158 Fax: +33 (0)9 55198159

(The Publisher of IdN Magazine)

Shanghai; Room 412, Unit 1, No.1481 Gong HeXin Road, Shanghai, China 200072 Tel: +86 (0)21 36369089 Fax: +86 (0)21 36369069

Email: [email protected] www.novabrand.net

4th Floor, Jonsim Place 228 Queen’s Road East Wanchai, HONG KONG Tel: +852 25285744 Fax: +852 25291296

Email: [email protected] www.idnworld.com

Sendpoints Guangzhou Tel/ +86 -20-89 095121 Sendpoints Beijing Tel/ +86 -10-841390 71 Sendpoints Shanghai Tel/ +86 -21-63523 469 E-mail/ [email protected] Sendpoints Online Store Website/ sendpointsbooks.taobao.com

SHENZHEN GRAPHIC DESIGN ASSOCIATION

BI XUEFENG GRAPHIC DESIGN CONSULTANT

Rm 1535, Shenzhen Scul pture Academy, No.8 Zhongkang Road, Meilin, Futian District Shenzhen 518049, China

105B-B, F1 Block Enping Road, Oct-Loft, Shenzhen, 518053, China

Tel: +86 (0)755 83953338

Fax: +86 (0)755 86093933

Fax: +86 (0)755 83953699

Email: [email protected] www.imagram.com

Email: [email protected] www.sgda.cc

Tel: +86 (0)755 86093066 86093922

Committee

GERMAN DESIGN COUNCIL

PANTONE LLC ASIA PACIFIC

Rat für Formgebung | German Design Council Stiftung | Foundation Messeturm, Friedrich-Ebert-Anlage 49

X-Rite/Asia Pacic 36/F, 169 Electric Road Hong Kong, China

60327 Frankfurt am Main

Fax: +852 28858610

Tel: +49 (0)69 74748639

www.pantone.com.hk

Tel: +852 25686283

Oriental Motifs in Modern Design presents the motifs and patterns derived from the thousands of years of

Fax: +49 (0)69 74748619

development in Oriental culture. Each motif has its

www.german-design-council.de

unique meaning and origin as well as a great potential to be applied in modern design. The book introduces 27 traditional motifs divided into three categories, and modern design works inspired by oriental motifs. DVD-ROM that contains all the vector graphics introduced in this book is attached.

NOVA BRAND PLANNING CO.,LTD.

IDN (INTERNATIONAL DESIGNERS’ NETWORK)

Paris; 71 rue d’estienne d’orves ROSNY SOUS

Systems Design Ltd

BOIS 93110 Tel: +33 (0)1 85966158 Fax: +33 (0)9 55198159

(The Publisher of IdN Magazine)

Shanghai; Room 412, Unit 1, No.1481 Gong HeXin Road, Shanghai, China 200072 Tel: +86 (0)21 36369089 Fax: +86 (0)21 36369069

Email: [email protected] www.novabrand.net

4th Floor, Jonsim Place 228 Queen’s Road East Wanchai, HONG KONG Tel: +852 25285744 Fax: +852 25291296

Email: [email protected] www.idnworld.com

Sendpoints Guangzhou Tel/ +86 -20-89 095121 Sendpoints Beijing Tel/ +86 -10-841390 71 Sendpoints Shanghai Tel/ +86 -21-63523 469 E-mail/ [email protected] Sendpoints Online Store Website/ sendpointsbooks.taobao.com

SHENZHEN GRAPHIC DESIGN ASSOCIATION

BI XUEFENG GRAPHIC DESIGN CONSULTANT

Rm 1535, Shenzhen Scul pture Academy, No.8 Zhongkang Road, Meilin, Futian District Shenzhen 518049, China

105B-B, F1 Block Enping Road, Oct-Loft, Shenzhen, 518053, China

Tel: +86 (0)755 83953338

Fax: +86 (0)755 86093933

Fax: +86 (0)755 83953699

Email: [email protected] www.imagram.com

Email: [email protected] www.sgda.cc

Tel: +86 (0)755 86093066 86093922

CONTENTS

BRAND +

LIGHTBOX SYMBOLISM

12 16 18 22 24 26 28 30 32 36 38 40 44

OXYGEN IN THE PARK FORMOSA ECOLOGY TEA GIFT SET MOOMAH VERDARIUM RICE GARDEN SOUNDWICH THE MANCHESTER FOREST ROOTS SOAP CO. M-IDEA FOREVER ALBERI MONUMENTALI – MONUMENTAL TREES BREITENTHALER THE SUSSEX PRODUCE COMPANY SAVON SU MIDI

COLOUR

48 50 52 54 56 60 64 66 68 70 72

ABOVE & BELOW ADELA LES STORE PLANTED PLANT HEIM CATALAN WINES SEMOLINA ORGANIC PASTA EKSTRÖMS WILDBERRY SOUPS WALNUT CREEK RANCH JÓ ERIKA KENNZUR URBAN SPA

74 75 76 78

130

ORGANIC PALETTE

144

NATURAL SKIN

156

HANDY NATURE

COCONUT FOUNDING FARMERS: TRUE FOOD & DRINKS STOLL&STOLL - ALIMENTOS PREPARADOS ROOTS – PLANT YOUR OWN

TEXTURE

82 84 88 90 92 94 98 102 104 108 110 114 116 120 122 126

FAT COW RRRIOT SHOP FARMEX KAI DASE VIOLINS DÁVID PETRÓ LA CANYA SELF PROMOTION WORM UND PARTNER LA CABANE D’HENRI NATURAL TEA HERBARIUM. NATURAL FABRICS WEAR SHOP. ALTUNA VIAJES DELICATE MATERIAL AMIO JACU COFFEE ROASTERY ODIN GROOMING ESSENTIAL KIT

( SPOTLIGHT ) 168

ORGANIC DESIGNOLOGY

178

PERFECT NATURAL SHAPES

188

THE INDIGENOUS BRANDING

CONTENTS

BRAND +

LIGHTBOX 74 75 76 78

SYMBOLISM

12 16 18 22 24 26 28 30 32 36 38 40 44

OXYGEN IN THE PARK FORMOSA ECOLOGY TEA GIFT SET MOOMAH VERDARIUM RICE GARDEN SOUNDWICH THE MANCHESTER FOREST ROOTS SOAP CO. M-IDEA FOREVER ALBERI MONUMENTALI – MONUMENTAL TREES BREITENTHALER THE SUSSEX PRODUCE COMPANY SAVON SU MIDI

ORGANIC PALETTE

144

NATURAL SKIN

156

HANDY NATURE

COCONUT FOUNDING FARMERS: TRUE FOOD & DRINKS STOLL&STOLL - ALIMENTOS PREPARADOS ROOTS – PLANT YOUR OWN

TEXTURE

82 84 88 90 92 94 98 102 104 108 110 114 116 120 122 126

COLOUR

48 50 52 54 56 60 64 66 68 70 72

130

ABOVE & BELOW ADELA LES STORE PLANTED PLANT HEIM CATALAN WINES SEMOLINA ORGANIC PASTA EKSTRÖMS WILDBERRY SOUPS WALNUT CREEK RANCH JÓ ERIKA KENNZUR URBAN SPA

( SPOTLIGHT )

FAT COW RRRIOT SHOP FARMEX KAI DASE VIOLINS DÁVID PETRÓ LA CANYA SELF PROMOTION WORM UND PARTNER LA CABANE D’HENRI NATURAL TEA HERBARIUM. NATURAL FABRICS WEAR SHOP. ALTUNA VIAJES DELICATE MATERIAL AMIO JACU COFFEE ROASTERY ODIN GROOMING ESSENTIAL KIT

168

ORGANIC DESIGNOLOGY

178

PERFECT NATURAL SHAPES

188


26

LIGHTBOX

28

24

INDEX 32

30

38

36

40

SYMBOLISM 18

54

76

12

72

44

16

70

22

52

66

50

COLOUR 64

75

48

TEXTURE

78

56

126

98

88

60

82

94

102

74

90

84

92

122

110

120

104

68

108

116

114

26

LIGHTBOX

28

24

INDEX 32

30

38

36

40

SYMBOLISM 18

54

76

12

72

44

16

70

22

52

66

50

COLOUR 64

75

48

TEXTURE

78

56

126

98

88

60

82

94

102

74

90

84

122

110

120

104

68

108

116

114

SY MBOL ISM

92

SY MBOL ISM

O r g a n i c I S M

OXYGEN IN THE PARK Federica Marziale

Federica Marziale Studio

2012

During the first days of sunshine in Milan, walking with David Beltran, the Art Director of Oxygen, a Communication Agency based in Milan, the designer and David made an inspection of one of the most beautiful park in Milan: Sempione Park. A walk, a warm sun and some flowers ready to bloom... this was the moment when the idea of “Oxygen in the park” was born. The project’s primary aim is “back to the nature”. “Oxygen in the park” wants to attract people every Sunday in the park and wants to invite them to live in contact with nature by healthy activities: yoga, good music, picnic, sport and food. A hippy idea hides behind this concept: an idea of freedom in the respect of the nature. In a poetical vision: the idea of picking mushrooms in the woods, of eating flowers and of making love with nature. The design of “Oxygen in the park” identity wants to be a simple communication, warm and natural with contemporary-vintage savour. It’s a little message, an invitation to let oneself go and a suggestion to live healthy. The identity has involved the design of: image, logo, visit cards, opening invitation, free cards, tickets and clothes for picnic.

-12-

O r g a n i c I S M

OXYGEN IN THE PARK Federica Marziale

Federica Marziale Studio

2012

During the first days of sunshine in Milan, walking with David Beltran, the Art Director of Oxygen, a Communication Agency based in Milan, the designer and David made an inspection of one of the most beautiful park in Milan: Sempione Park. A walk, a warm sun and some flowers ready to bloom... this was the moment when the idea of “Oxygen in the park” was born. The project’s primary aim is “back to the nature”. “Oxygen in the park” wants to attract people every Sunday in the park and wants to invite them to live in contact with nature by healthy activities: yoga, good music, picnic, sport and food. A hippy idea hides behind this concept: an idea of freedom in the respect of the nature. In a poetical vision: the idea of picking mushrooms in the woods, of eating flowers and of making love with nature. The design of “Oxygen in the park” identity wants to be a simple communication, warm and natural with contemporary-vintage savour. It’s a little message, an invitation to let oneself go and a suggestion to live healthy. The identity has involved the design of: image, logo, visit cards, opening invitation, free cards, tickets and clothes for picnic.

-12-

LIGHTBOX / BranD/ 2012E

O r g a n i c I S M

-14-

-15-


O r g a n i c I S M

-14-

-15-


FORMOSA ECOLOGY TEA GIFT SET X in yu Z h an g

V ic to r B ra nd in g D es ig n C or p.

2 01 2

The tea leaves are selected in a series of high-quality tea garden in Taiwan, which are fully grown and harvested, using the unique technology of professional tea baking masters; the taste is wonderful. On each of the tea packaging, there is an illustration of one endangered animal. During tasting the tea, people can recognize these beautiful animals. Many unique species disappeared because of human beings’ seizing their living space, because of the selfishness of them. When the silent voice roared, human beings should be humble to learn how to coexist with the ecological environment, so that each life could live peacefully in their space.

-16-

-17-


FORMOSA ECOLOGY TEA GIFT SET X in yu Z h an g


2 01 2

The tea leaves are selected in a series of high-quality tea garden in Taiwan, which are fully grown and harvested, using the unique technology of professional tea baking masters; the taste is wonderful. On each of the tea packaging, there is an illustration of one endangered animal. During tasting the tea, people can recognize these beautiful animals. Many unique species disappeared because of human beings’ seizing their living space, because of the selfishness of them. When the silent voice roared, human beings should be humble to learn how to coexist with the ecological environment, so that each life could live peacefully in their space.

-16-

-17-


MOOMAH A pa r tm en t O ne

The design team first looked to identify the essence of Moomah and simplified it into four core values: connect, create, discover, and nourish. They then developed a robust visual brand language that would convey those ideals, designing variations of the logo with everyday objects that represented each value.

2 01 0

When the design team first met with founder Tracey Stewart, she expressed a desire for Moomah to be a space that would encourage creativity and connection between parents, children, and friends, a place where imagination and wonder would feign. They sought to develop an organic and dynamic brand language to translate Tracey’s vision for a multigenerational collaborative space into a memorable brand.

They pushed the boundaries of traditional identity development by extending the brand’s identity beyond the logo and name and creating an ownable graphic vernacular that encapsulated the whimsy, wonder and heart of the brand.

-19-

O r g a n i c I S M


MOOMAH A pa r tm en t O ne

The design team first looked to identify the essence of Moomah and simplified it into four core values: connect, create, discover, and nourish. They then developed a robust visual brand language that would convey those ideals, designing variations of the logo with everyday objects that represented each value.

2 01 0

When the design team first met with founder Tracey Stewart, she expressed a desire for Moomah to be a space that would encourage creativity and connection between parents, children, and friends, a place where imagination and wonder would feign. They sought to develop an organic and dynamic brand language to translate Tracey’s vision for a multigenerational collaborative space into a memorable brand.

They pushed the boundaries of traditional identity development by extending the brand’s identity beyond the logo and name and creating an ownable graphic vernacular that encapsulated the whimsy, wonder and heart of the brand.

O r g a n i c I S M

-19-


O r g a n i c I S M

-21-


O r g a n i c I S M

-21-

O r g a n i c I S M

An Austrian environmental planning office fulfilled its dream by opening “the Verdarium“ in a little town near Vienna. The green oasis (3000 square meters) is an experimental garden and a place where completely weather-resistant furniture is sold. With a very subtle, atmospheric and, most importantly, individual design, the special character of the Verdarium has been captured and a logo which lives up to the expectations of the special place has been created. Clients are able to experience the atmosphere, materials and spacial reference for themselves. This experimental component was conveyed by creating a playful logo, the digitalisation of the customer’s handwriting.

VERDARIUM A no uk R eh or ek

m oo dl ey b ra nd i de nt it y

2 0 09

-22-

-23-

O r g a n i c I S M

An Austrian environmental planning office fulfilled its dream by opening “the Verdarium“ in a little town near Vienna. The green oasis (3000 square meters) is an experimental garden and a place where completely weather-resistant furniture is sold. With a very subtle, atmospheric and, most importantly, individual design, the special character of the Verdarium has been captured and a logo which lives up to the expectations of the special place has been created. Clients are able to experience the atmosphere, materials and spacial reference for themselves. This experimental component was conveyed by creating a playful logo, the digitalisation of the customer’s handwriting.

VERDARIUM A no uk R eh or ek


2 0 09

-22-

-23-

RICE GARDEN G ui pi ng X u


2 01 2

This project is inspired by a Taiwanese saying: dish cannot be good without a better bowl of rice. It not only reflects the eating state of the local people, but also expresses the native Taiwanese spirits. The design concept is simple and clear, to connect local food culture with seasonal vegetables.

The intimate relationship between rice and dish is united by depicting different seasonal vegetables in different months collaged with the image of rice in the calendar. This concept reminds people of the original food culture in Taiwan, the excellent taste of rice with dish. As for the visual images, the design team selects one seasonal vegetable each month, using family food idea, to fully present local Taiwanese family food specialties. The beautiful colours, wonderful smell and excellent taste of the rice with dish are all reflected in the images, which makes them irresistible for people.

-25-

O r g a n i c I S M

RICE GARDEN G ui pi ng X u


2 01 2

This project is inspired by a Taiwanese saying: dish cannot be good without a better bowl of rice. It not only reflects the eating state of the local people, but also expresses the native Taiwanese spirits. The design concept is simple and clear, to connect local food culture with seasonal vegetables.

The intimate relationship between rice and dish is united by depicting different seasonal vegetables in different months collaged with the image of rice in the calendar. This concept reminds people of the original food culture in Taiwan, the excellent taste of rice with dish. As for the visual images, the design team selects one seasonal vegetable each month, using family food idea, to fully present local Taiwanese family food specialties. The beautiful colours, wonderful smell and excellent taste of the rice with dish are all reflected in the images, which makes them irresistible for people.

-25-


SOUNDWICH A te li er N u ne s e Pã

2 01 2

“Soundwich”is a concept that mixes music and food, in the form of a sandwich created by seven renowned chefs from Porto. It is also a space where it can be experienced, a kind of escape from everyday life, to be enjoyed with cool music in the middle of the city park.

The sonority of the logo was achieved so that it resembles a vinyl record, and the entire graphic image was created and developed to translate and enhance this concept. It evokes the feeling of chic, cool, nature, vintage and has a strong identification with the city where it’s in.

-26-

-27-

O r g a n i c I S M


SOUNDWICH A te li er N u ne s e Pã

2 01 2

“Soundwich”is a concept that mixes music and food, in the form of a sandwich created by seven renowned chefs from Porto. It is also a space where it can be experienced, a kind of escape from everyday life, to be enjoyed with cool music in the middle of the city park.

The sonority of the logo was achieved so that it resembles a vinyl record, and the entire graphic image was created and developed to translate and enhance this concept. It evokes the feeling of chic, cool, nature, vintage and has a strong identification with the city where it’s in.

-26-

-27-


O r g a n i c I S M

THE MANCHESTER FOREST T er es a Sw ee ne y

2 01 2

A competition brief was given to Teresa Sweeney through her university to create, name and design branding for a museum of trees. She chose to bring the excitement of the countryside to the lives of busy city dwellers with “The Manchester Forest”, a place where families would be able to discover all of nature’s possibilities in the urban environment. She has created various promotional materials including business cards and poster designs, making the most of the beautiful organic patterns and textures typical of the subject. She has used delicate lines of detail to create a strong brand identity that would be suitable for a family audience and would be easily transferrable over a whole range of brand material.

-28-

-29-


O r g a n i c I S M

THE MANCHESTER FOREST T er es a Sw ee ne y

2 01 2

A competition brief was given to Teresa Sweeney through her university to create, name and design branding for a museum of trees. She chose to bring the excitement of the countryside to the lives of busy city dwellers with “The Manchester Forest”, a place where families would be able to discover all of nature’s possibilities in the urban environment. She has created various promotional materials including business cards and poster designs, making the most of the beautiful organic patterns and textures typical of the subject. She has used delicate lines of detail to create a strong brand identity that would be suitable for a family audience and would be easily transferrable over a whole range of brand material.

-28-

-29-


ROOTS SOAP CO. D ar re n C o ol s

D a rr en Co ol s D es ig n

2 011

Anna is a second generation soap maker, and she makes many different kinds of soaps as well as herbal salves and all natural laundry soap. Darren Cools, her husband helped design the soap branding. When setting out to brand Roots Soap Co, they wanted the packaging to reflect simplicity, tactility and natural values. They chose to print mostly on chipboard for its rough, textured look and feel, and it has the added benefit of repurposing a normally discarded product. The vision behind the design is rooted in the earth and nature, and takes its cue from a time when most O r g a n i c I S M

products were handmade and hand packaged, just like their soap. It was important to let the soap itself be the most striking thing in the presentation. Brown paper, simple, classic fonts and minimal embellishments help emphasize the natural beauty and quality of the product.

-30-


ROOTS SOAP CO. D ar re n C o ol s

D a rr en Co ol s D es ig n

2 011

Anna is a second generation soap maker, and she makes many different kinds of soaps as well as herbal salves and all natural laundry soap. Darren Cools, her husband helped design the soap branding. When setting out to brand Roots Soap Co, they wanted the packaging to reflect simplicity, tactility and natural values. They chose to print mostly on chipboard for its rough, textured look and feel, and it has the added benefit of repurposing a normally discarded product. The vision behind the design is rooted in the earth and nature, and takes its cue from a time when most O r g a n i c I S M

products were handmade and hand packaged, just like their soap. It was important to let the soap itself be the most striking thing in the presentation. Brown paper, simple, classic fonts and minimal embellishments help emphasize the natural beauty and quality of the product.

-30-


THE SOLUTION

The Carbon Concept contains and supports the brand values and can, on several different levels of abstraction, be used as the DNA and source of inspiration for the creation and evolution of the whole identity. Apart from the fact that the element Carbon forms the basis of all known life on Earth, it is exceptionally because of its diversity. Under different influences from its surroundings, Carbon can take various physical forms, each of which possesses completely unique and diverse properties, although they are identical in their chemical composition. Looking at the raw graphite and polished diamond, it is fascinating to imagine that they are both composed of the element Carbon. Just like Carbon, the brand, M-IDEA FOREVER brand is characterised by its diversity. The new brand is based on a unique style composition, which mixes poetic Avant-Garde and functional Technology. Although it is very different, and sometimes even opposite, the two elements of M-IDEA FOREVER are tied. The black and soft Avant-Garde is expressed through the raw graphite. The bright and hard technology grows out of the polished diamond. The Carbon Concept unites them.

M-IDEA FOREVER Per Madsen, Line Arlander & Christian Steen Jørgensen

Scandin avian Desig nLab

2011

THE TASK

To create a visual identity for the new Chinese high-end men’s fashion brand, “M-IDEA FOREVER”, based on a strong concept, which expresses the brand’s two fundamental characteristics; Avant Garde and Technology.

-32-

-33-

O r g a n i c I S M


THE SOLUTION

The Carbon Concept contains and supports the brand values and can, on several different levels of abstraction, be used as the DNA and source of inspiration for the creation and evolution of the whole identity. Apart from the fact that the element Carbon forms the basis of all known life on Earth, it is exceptionally because of its diversity. Under different influences from its surroundings, Carbon can take various physical forms, each of which possesses completely unique and diverse properties, although they are identical in their chemical composition. Looking at the raw graphite and polished diamond, it is fascinating to imagine that they are both composed of the element Carbon.

O r g a n i c I S M

Just like Carbon, the brand, M-IDEA FOREVER brand is characterised by its diversity. The new brand is based on a unique style composition, which mixes poetic Avant-Garde and functional Technology. Although it is very different, and sometimes even opposite, the two elements of M-IDEA FOREVER are tied. The black and soft Avant-Garde is expressed through the raw graphite. The bright and hard technology grows out of the polished diamond. The Carbon Concept unites them.

M-IDEA FOREVER Per Madsen, Line Arlander & Christian Steen Jørgensen

Scandin avian Desig nLab

2011

THE TASK

To create a visual identity for the new Chinese high-end men’s fashion brand, “M-IDEA FOREVER”, based on a strong concept, which expresses the brand’s two fundamental characteristics; Avant Garde and Technology.

-32-

-33-


O r g a n i c I S M

-34-

-35-


O r g a n i c I S M

-34-

-35-


www.alberim onumentali.it

ALBERI MONUMENTALI – MONUMENTAL TREES Paz Gutierrez & Giorgio Favotto

2012

Alberi Monumenatli – Monumental Trees is a project that creates the brand identity for the oldest trees found in the Italian territory. With the existence of numerous and unofficial sites, the purpose was to gather all this existing information about these trees and put it all into one project, one that establishes the identity of these extraordinary trees. The term “monumental” is used to describe a tree that is remarkably old, large in size or just simply very beautiful. The concept of the logo was inspired by the tree-rings, which help to determine the age of the tree. Along with the visual identity, an advertisement campaign was created, as well as the signage system. The signage system was one of the key elements of the project; the information panels for each individual tree provided all the relative information, such as the history and stats. The goal was not just to create a corporate identity, but the attempt to distinguish and “unearth” these remarkable creatures.

-36-


www.alberim onumentali.it

ALBERI MONUMENTALI – MONUMENTAL TREES Paz Gutierrez & Giorgio Favotto

2012

Alberi Monumenatli – Monumental Trees is a project that creates the brand identity for the oldest trees found in the Italian territory. With the existence of numerous and unofficial sites, the purpose was to gather all this existing information about these trees and put it all into one project, one that establishes the identity of these extraordinary trees. The term “monumental” is used to describe a tree that is remarkably old, large in size or just simply very beautiful. The concept of the logo was inspired by the tree-rings, which help to determine the age of the tree. Along with the visual identity, an advertisement campaign was created, as well as the signage system. The signage system was one of the key elements of the project; the information panels for each individual tree provided all the relative information, such as the history and stats. The goal was not just to create a corporate identity, but the attempt to distinguish and “unearth” these remarkable creatures.

-36-

BREITENTHALER A no uk R eh or ek


2 01 1

The Austrian company “Möbelbau Breitenthaler” stands for creative design combined with craftsmanship, for extreme aesthetic appeal and a true passion for materials, forms and colours. The result is timeless, beautiful furniture whose focus is always on the material: wood. With the renewed branding, moodley brand identity has set up a monument to this timeless material. It equally unifies all values described above what the company stands for.

-38-

-39-

BREITENTHALER A no uk R eh or ek


2 01 1

The Austrian company “Möbelbau Breitenthaler” stands for creative design combined with craftsmanship, for extreme aesthetic appeal and a true passion for materials, forms and colours. The result is timeless, beautiful furniture whose focus is always on the material: wood. With the renewed branding, moodley brand identity has set up a monument to this timeless material. It equally unifies all values described above what the company stands for.

-38-

-39-

THE SUSSEX PRODUCE COMPANY M eg an Y ou ng

2 01 2

For her final project at University, Megan Young decided to combine her experience in branding with her interest in sustainable living and design practices. “The Sussex Produce Company” identity design project is based on a small restaurant and shop in Steyning, West Sussex. The produce in store and the menu operate on a seasonal basis; therefore, the packaging must be easily changed. Her branding uses paper bags, food wrap papers, stickers, tie-on labels and clip on signage so that everything is easy and cheap to change. The emphasis of the branding is to promote organic, locally grown and produced foods, seasonal eating which is sustainable, and to minimise packaging and cost. A selection of simple sticker labels means that a wide range of reused or recycled containers can be used, helping the shop to be more eco friendly. The flexibility of the packaging and labelling, and ability to easily amend the labels lowers the costs spent on printing and design, leaving the most money possible to be spent on the quality food products in store. Megan Young likes to work with handmade process, and combined mono-printing, screen printing and letterpress to create the aesthetic for this project. She feels that this hands-on less refined approach is very well suited to the aesthetic of the store and to their intentions.

O r g a n i c I S M

THE SUSSEX PRODUCE COMPANY M eg an Y ou ng

O r g a n i c I S M

2 01 2

For her final project at University, Megan Young decided to combine her experience in branding with her interest in sustainable living and design practices. “The Sussex Produce Company” identity design project is based on a small restaurant and shop in Steyning, West Sussex. The produce in store and the menu operate on a seasonal basis; therefore, the packaging must be easily changed. Her branding uses paper bags, food wrap papers, stickers, tie-on labels and clip on signage so that everything is easy and cheap to change. The emphasis of the branding is to promote organic, locally grown and produced foods, seasonal eating which is sustainable, and to minimise packaging and cost. A selection of simple sticker labels means that a wide range of reused or recycled containers can be used, helping the shop to be more eco friendly. The flexibility of the packaging and labelling, and ability to easily amend the labels lowers the costs spent on printing and design, leaving the most money possible to be spent on the quality food products in store. Megan Young likes to work with handmade process, and combined mono-printing, screen printing and letterpress to create the aesthetic for this project. She feels that this hands-on less refined approach is very well suited to the aesthetic of the store and to their intentions.


O r g a n i c I S M

-42-

-43-


O r g a n i c I S M

-42-

-43-


SAVON SU MIDI C ar la Ca sc al es Al im ba u

C CA St ud io

2 01 2

This is a packaging, illustration and brand design for Savon du Midi. The packaging is made of recycled and recyclable natural products like craft paper for the box and printed with ecological ink, using only black colour. Each variety of soap has a different handmade illustration related with the natural ingredients of the soap. Savon du Midi is made of shea butter and certified organic vegetable oils. The fine blending of these oils creates its unique quality. None of them contain animal fat. The soap is manufactured in small factories with the knowledge handed down from generation to generation in Provence (France). The brand has the intention to transmit the simplicity of an organic product in order to highlight the natural qualities of the soap.

-44-

-45-


SAVON SU MIDI C ar la Ca sc al es Al im ba u

C CA St ud io

2 01 2

This is a packaging, illustration and brand design for Savon du Midi. The packaging is made of recycled and recyclable natural products like craft paper for the box and printed with ecological ink, using only black colour. Each variety of soap has a different handmade illustration related with the natural ingredients of the soap. Savon du Midi is made of shea butter and certified organic vegetable oils. The fine blending of these oils creates its unique quality. None of them contain animal fat. The soap is manufactured in small factories with the knowledge handed down from generation to generation in Provence (France). The brand has the intention to transmit the simplicity of an organic product in order to highlight the natural qualities of the soap.

-44-

COLOUR

-45-

COLOUR


ABOVE & BELOW Joshua Mid Middle dledit ditch ch

2012

Above & Below, a museum of trees, focus on engaging people mainly aged between 16 to 25. The visual language applied is cotemporary but accessible throughout the brand. The museum itself would be within a natural outdoor environment with one main building consisting of a shop, cafe and information centre. Trees have a distinct anatomy that exists above and below the ground; the logotype has been crafted to convey this structure. The logo’s graphic emblem is constructed from the cross section of a tree. This gives the type grounding and provides a visual link between the two. A graphic pattern has also been designed to take the above & below concept further by visually representing the anatomical similarity of tree roots and branches. This pattern also helps to create an atmosphere of being surrounded by all things tree-like. The brand itself has a unique colour palette that changes with the seasons, reflecting the colours of tree foliage. Campaign material would therefore change every three months; this would keep the brand fresh and seasonal.

Museo Sans is the brand typeface. It has a contemporary feel but also possesses a natural, organic form to the letterforms. All printed campaign material would be reproduced on recycled stock and substrates. Drafting paper and thick greyboard has been used to represent the contrast between the strong structure of the trees and the fragility of their leaves. The website reflects the Above & Below concept by enabling each section to move into the window using up and down navigation. As part of the first campaign, posters would be wrapped around trees in towns and cities; they would invite you to “Be a Tree Hugger” and also to download an app. This would extend the integrated campaign by enabling the use of phone cameras to take pictures of individual trees. This could then provide information such as what type of tree it is.

O r g a n i c I S M

-49-


ABOVE & BELOW Joshua Mid Middle dledit ditch ch

2012

Above & Below, a museum of trees, focus on engaging people mainly aged between 16 to 25. The visual language applied is cotemporary but accessible throughout the brand. The museum itself would be within a natural outdoor environment with one main building consisting of a shop, cafe and information centre. Trees have a distinct anatomy that exists above and below the ground; the logotype has been crafted to convey this structure. The logo’s graphic emblem is constructed from the cross section of a tree. This gives the type grounding and provides a visual link between the two. A graphic pattern has also been designed to take the above & below concept further by visually representing the anatomical similarity of tree roots and branches. This pattern also helps to create an atmosphere of being surrounded by all things tree-like. The brand itself has a unique colour palette that changes with the seasons, reflecting the colours of tree foliage. Campaign material would therefore change every three months; this would keep the brand fresh and seasonal.

Museo Sans is the brand typeface. It has a contemporary feel but also possesses a natural, organic form to the letterforms. All printed campaign material would be reproduced on recycled stock and substrates. Drafting paper and thick greyboard has been used to represent the contrast between the strong structure of the trees and the fragility of their leaves. The website reflects the Above & Below concept by enabling each section to move into the window using up and down navigation. As part of the first campaign, posters would be wrapped around trees in towns and cities; they would invite you to “Be a Tree Hugger” and also to download an app. This would extend the integrated campaign by enabling the use of phone cameras to take pictures of individual trees. This could then provide information such as what type of tree it is.

O r g a n i c I S M

-49-


ADELA Luis Othón, Uri Wapinski, Rosario Meraz, Jose Angel Pérez & Alejandra a ndra Kawas

Adela

2012

The intention was to create a Mexican furniture brand starting from the branding process, followed by the business plan, development, product design, etc. If it is started with the development of a business from its image instead of first designing the product, a different approach could have been accomplished. In that way, the products could adapt to the brand’s visual language and maintain an interesting relationship between the products and the graphic design that surround them. The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related to them. A symbol system, logo, and colour palette, along with its stationary and other selected items was developed, and at the end of the brand development, a simple item collection that involved a table, lamp and a floor cushion was designed.

O r g a n i c I S M

-51-


ADELA Luis Othón, Uri Wapinski, Rosario Meraz, Jose Angel Pérez & Alejandra a ndra Kawas

Adela

2012

The intention was to create a Mexican furniture brand starting from the branding process, followed by the business plan, development, product design, etc. If it is started with the development of a business from its image instead of first designing the product, a different approach could have been accomplished. In that way, the products could adapt to the brand’s visual language and maintain an interesting relationship between the products and the graphic design that surround them. The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related to them. A symbol system, logo, and colour palette, along with its stationary and other selected items was developed, and at the end of the brand development, a simple item collection that involved a table, lamp and a floor cushion was designed.

O r g a n i c I S M

-51-


LES STORE Balykin y kin Pavel

Playoff commun communica ication tion agency agency

2011 2011

Les Store is a network of brick and mortar store handbags, accessories and leather goods and furs. The project is to develop a corporate identity including the modernization of the logo, design elements and systems stile modular solutions for interior and shops outlets.

O r g a n i c I S M

-52-

-53-


LES STORE Balykin y kin Pavel

Playoff commun communica ication tion agency agency

2011 2011

Les Store is a network of brick and mortar store handbags, accessories and leather goods and furs. The project is to develop a corporate identity including the modernization of the logo, design elements and systems stile modular solutions for interior and shops outlets.

O r g a n i c I S M

-52-

-53-


PLANTED PLANT M ic ha l D o kt or ch ik

2 01 2

This is a “branding a festival” project that Michal Doktorchik did in a branding course at “Minshar for art” college. She came up with the idea of a “planting trees festival” in order to help and recover the “Carmel” forest that damaged seriously in the Conflagration of 2010. His idea was to raise the awareness of our beautiful nature by bringing a big amount of people to plant trees. He gave the festival a name in Hebrew -“shtol shatil” which mean s “plant a plant”. It has a catchy sound and meaning. As part of the branding, he designed a kit that was given to each participant in the festival:

-A fabric bag that can be functional for many uses. The bag is patterned with trees that can be found in the LOGO as well. -A small shovel. -A pack of seeds. On the package you can find the name of the plant with a little illustration. - A bulb of a plant wrapped with a green thin recycled paper. For each of the bulbs you can find a little label with the required information and the name of the plant in three languages: Latin, Arabic and Hebrew. For the lunch break each of the participants gets: - Set of environmental paper plates. - Cutlery that is wrapped by recycled paper.

O r g a n i c I S M

-54-

-55-


PLANTED PLANT M ic ha l D o kt or ch ik

2 01 2

This is a “branding a festival” project that Michal Doktorchik did in a branding course at “Minshar for art” college. She came up with the idea of a “planting trees festival” in order to help and recover the “Carmel” forest that damaged seriously in the Conflagration of 2010. His idea was to raise the awareness of our beautiful nature by bringing a big amount of people to plant trees. He gave the festival a name in Hebrew -“shtol shatil” which mean s “plant a plant”. It has a catchy sound and meaning. As part of the branding, he designed a kit that was given to each participant in the festival:

-A fabric bag that can be functional for many uses. The bag is patterned with trees that can be found in the LOGO as well. -A small shovel. -A pack of seeds. On the package you can find the name of the plant with a little illustration. - A bulb of a plant wrapped with a green thin recycled paper. For each of the bulbs you can find a little label with the required information and the name of the plant in three languages: Latin, Arabic and Hebrew. For the lunch break each of the participants gets: - Set of environmental paper plates. - Cutlery that is wrapped by recycled paper.

O r g a n i c I S M

-54-

-55-


O r g a n i c I S M

The brand is inspired from the mighty Alps through forms, colours, photo style and names. The language used is Norwegian Nynorsk, which makes a difference compared to other brands in the same category. Every piece of the brand is numbered, and makes each piece a limited edition; the photos as well. Every tag is a part of a big picture from each area around Sunnmørsalpane.

HEIM R ob er t Au st ne s

2 011

Heim is an urban clothing brand based on the Alps of Sunnmøre (Sunnmørsalpane) and the colours and nature around it. From the grey and white summits through the green forest, it stretches itself all the way down to the blue fjords along the west coast of Norway.

Heim means home in Norwegian Nynorsk. With Heim, the design gives you a little bit of the designer’s home, the beautiful Sunnmøre.

-56-

-57-


O r g a n i c I S M

The brand is inspired from the mighty Alps through forms, colours, photo style and names. The language used is Norwegian Nynorsk, which makes a difference compared to other brands in the same category. Every piece of the brand is numbered, and makes each piece a limited edition; the photos as well. Every tag is a part of a big picture from each area around Sunnmørsalpane.

HEIM R ob er t Au st ne s

2 011

Heim is an urban clothing brand based on the Alps of Sunnmøre (Sunnmørsalpane) and the colours and nature around it. From the grey and white summits through the green forest, it stretches itself all the way down to the blue fjords along the west coast of Norway.

Heim means home in Norwegian Nynorsk. With Heim, the design gives you a little bit of the designer’s home, the beautiful Sunnmøre.

-56-

-57-


O r g a n i c I S M

-58-

-59-


O r g a n i c I S M

-58-

-59-


CATALAN WINES G er ar d M ar ín & Ir is Ta r ra ga

t oo rm ix

2 01 2

The branding, graphic and communication code are for a catalan wines promotion project for the domestic and international audience. The project was aimed to improve the consumption and the presence of the local wines at catalan cellars and restaurants. The brand with 12 different variations (as many as wine designations of origin in Catalonia) and the synthetic graphic combined land, terroir and climate of the different D.O. through a graphical code different from that of the typical wine. Within the project, toormix worked on the brand extension for communication to the point of sale (restaurants and wineries), ads with opinion leaders quotes about catalan wines and the different support and merchandising materials.

-60-

O r g a n i c I S M

-61-


CATALAN WINES G er ar d M ar ín & Ir is Ta r ra ga

t oo rm ix

2 01 2

The branding, graphic and communication code are for a catalan wines promotion project for the domestic and international audience. The project was aimed to improve the consumption and the presence of the local wines at catalan cellars and restaurants. The brand with 12 different variations (as many as wine designations of origin in Catalonia) and the synthetic graphic combined land, terroir and climate of the different D.O. through a graphical code different from that of the typical wine. Within the project, toormix worked on the brand extension for communication to the point of sale (restaurants and wineries), ads with opinion leaders quotes about catalan wines and the different support and merchandising materials.

O r g a n i c I S M

-60-

-61-


O r g a n i c I S M

-62-

-63-


O r g a n i c I S M

-62-

-63-


SEMOLINA ORGANIC PASTA D o ro n B ad ua ch

2 011

The project consisted of a series of packages for a made-up pasta company called Semolina Organic Pasta. Semolina is the coarse, purified wheat middling of durum wheat used in making pasta. The graphic concept was to use as little tools as possible to create a lot of interest. Tried to use the pattern amongst other elements, all the prints were made using only one colour, along with the positive negative effect, to create a varied feel. As for the material, wise, recycled cardboard was used which is strong enough to contain the pasta; it has the textural organic character that I was looking for.

-64-

-65-

O r g a n i c I S M


SEMOLINA ORGANIC PASTA D o ro n B ad ua ch

2 011

The project consisted of a series of packages for a made-up pasta company called Semolina Organic Pasta. Semolina is the coarse, purified wheat middling of durum wheat used in making pasta. The graphic concept was to use as little tools as possible to create a lot of interest. Tried to use the pattern amongst other elements, all the prints were made using only one colour, along with the positive negative effect, to create a varied feel. As for the material, wise, recycled cardboard was used which is strong enough to contain the pasta; it has the textural organic character that I was looking for.

-64-

-65-


EKSTRÖMS WILDBERRY SOUPS Krs i te r L im a

2 01 2

This was a student project. Ekströms Wildberry Soups, whose current design was outdated and needed a new and fresh approach. The series contains of three different flavors: blueberry, raspberry and blackberry.

The shape of the package was also an important aspect for the final design. Again Krister wanted to give the impression of homemade and organic. The shape he came up with was practical considering shipping and displaying in the store shelves. It also gave the impression of the paper bags that mothers used to pack her child’s lunch before he or she went off to school in the old days.

From the start, he wanted a homemade and handmade feeling to the design. He wanted the new package to be more organic and down to earth, giving the package a more believable and personal look. This was achieved by the right use of paper, typography and shapes.

The typography is also a key part of the main design. He wanted a font that gave the impression of handmade and fun. The font he chose was fun and had beautiful curves to illustrate the movement for the hand.

He wanted to clearly define and show the difference between the different flavours that offered by showing a big picture in front of the package. The water drop underneath the berries shows that by blending the powder with water, we get the final product, and in the end, the water falls into the glass, ready to drink.

Since a big part of the concept for the package was organic thinking, he thought carefully on how he could make it more environmentally friendly. Compared to the old packaging it uses, 33% less paper on the outside, and the paper bags inside that contains the powder uses 50% less paper. This again helps the package to look and feel more organic and handmade. The feedback was very pleasant; people loved the overall look of the project.

-66-

-67-

O r g a n i c I S M


EKSTRÖMS WILDBERRY SOUPS Krs i te r L im a

2 01 2

This was a student project. Ekströms Wildberry Soups, whose current design was outdated and needed a new and fresh approach. The series contains of three different flavors: blueberry, raspberry and blackberry.

The shape of the package was also an important aspect for the final design. Again Krister wanted to give the impression of homemade and organic. The shape he came up with was practical considering shipping and displaying in the store shelves. It also gave the impression of the paper bags that mothers used to pack her child’s lunch before he or she went off to school in the old days.

From the start, he wanted a homemade and handmade feeling to the design. He wanted the new package to be more organic and down to earth, giving the package a more believable and personal look. This was achieved by the right use of paper, typography and shapes.

The typography is also a key part of the main design. He wanted a font that gave the impression of handmade and fun. The font he chose was fun and had beautiful curves to illustrate the movement for the hand.

He wanted to clearly define and show the difference between the different flavours that offered by showing a big picture in front of the package. The water drop underneath the berries shows that by blending the powder with water, we get the final product, and in the end, the water falls into the glass, ready to drink.

Since a big part of the concept for the package was organic thinking, he thought carefully on how he could make it more environmentally friendly. Compared to the old packaging it uses, 33% less paper on the outside, and the paper bags inside that contains the powder uses 50% less paper. This again helps the package to look and feel more organic and handmade. The feedback was very pleasant; people loved the overall look of the project.

-66-

-67-


WALNUT CREEK RANCH Caitlin Workman, Maggie Hirschi & Katie Mehan

O r g a n i c I S M

2010

This is a collaborative project resulting in an identity system and collateral work designed around a locally owned and operated ranch in Lawrence, Kansas, USA. Brand attributes include emphasis on authenticity and trustworthiness of natural foods. Their products include grass-fed beef, natural honey, and free-range chicken eggs with hopes of expanding to natural scrub and bath soaps. Operator, Tim Hamil, noted that their differentiation as a company included history of the property and ranch owners. He emphasized that the family history played a major role in his brand recognition because this created a relatable story to his customers. The ranch came to life through humorous imagery and playful copy to create an approachable and friendly brand.

-68-

-69-


WALNUT CREEK RANCH Caitlin Workman, Maggie Hirschi & Katie Mehan

O r g a n i c I S M

2010

This is a collaborative project resulting in an identity system and collateral work designed around a locally owned and operated ranch in Lawrence, Kansas, USA. Brand attributes include emphasis on authenticity and trustworthiness of natural foods. Their products include grass-fed beef, natural honey, and free-range chicken eggs with hopes of expanding to natural scrub and bath soaps. Operator, Tim Hamil, noted that their differentiation as a company included history of the property and ranch owners. He emphasized that the family history played a major role in his brand recognition because this created a relatable story to his customers. The ranch came to life through humorous imagery and playful copy to create an approachable and friendly brand.

-68-

-69-


JÓ ERIKA P et er M ul le r

2 01 2

The designer got the assignment from Erika Jo. Her identity is for handmade products. She loves nature and flowers, so she chose the tulip symbol.

O r g a n i c I S M

-70-

-71-


JÓ ERIKA P et er M ul le r

2 01 2

The designer got the assignment from Erika Jo. Her identity is for handmade products. She loves nature and flowers, so she chose the tulip symbol.

O r g a n i c I S M

-70-

-71-

KENNZUR URBAN SPA V in ic iu s C os t a

C O MM GR OU P B RA N DI N G

2 01 2

The Kennzur, an urban spa in São Paulo city, Brazil, is recognized as an oasis in the metropolis. The project design and brand identity were created with the thought of a strong element that could communicate with the luxury market in an efficient and aesthetic way. All items of ID, signature ele ments, environmental and other materials such as gift card, were designed to bring one into contact with this brand identity, to a place of well-being and quality of life capable, and to communicate with every customer like an encapsulated time by this spirit of living well.

-73-

O r g a n i c I S M

KENNZUR URBAN SPA V in ic iu s C os t a

C O MM GR OU P B RA N DI N G

O r g a n i c I S M

2 01 2

The Kennzur, an urban spa in São Paulo city, Brazil, is recognized as an oasis in the metropolis. The project design and brand identity were created with the thought of a strong element that could communicate with the luxury market in an efficient and aesthetic way. All items of ID, signature ele ments, environmental and other materials such as gift card, were designed to bring one into contact with this brand identity, to a place of well-being and quality of life capable, and to communicate with every customer like an encapsulated time by this spirit of living well.

-73-


COCONUT Nguyen Tra

2012

White and dark brown was used to symbolize the coconut powder company in Vietnam. The main concept of this branding is to make people to recognize coconut easily. In the logo, circles with different weight lines were combined to create a coconut image.

Senior Account

FOUNDING FARMERS: TRUE FOOD & DRINKS Pete r Verastegui Guasace

2012

Since September 2008, the award-winning Founding farmers has been one of the country’s leading restaurants to offer farm-inspired American true food and drinks in a modern, casual and eco-friendly setting. From their modern farmhouse, breakfast, lunch, dinner and brunch menus includes homemade and “scratch-made” traditional American classics inspired by the heartland & the American families.

began with a long process of brainstorming. Starting with the logo to the stationary, these had to suggest quality, especially the logo, because this image was to reflect the company’s idea and vision of themselves which are independent of time, therefore not based on fashion or trends of the moment. It should be memorable, simple and coherent. Peter approached it in a different manner. He was not supposed to have a preconceive notion of what the end result would look, instead the research that came with the design process would determine the end results, and indeed the final product came after many sketches and a long mood board.

At the Corcoran College of Art & Design, the Identity project was a big project of the semester; the companies each student got were already established but without a well resolved identity or brand. This project made emphasis in the design process from start to finish. Focusing in process made the students find that ideas that contained a visual statement were the most successful; the project

-74-

-75-


COCONUT Nguyen Tra

2012

White and dark brown was used to symbolize the coconut powder company in Vietnam. The main concept of this branding is to make people to recognize coconut easily. In the logo, circles with different weight lines were combined to create a coconut image.

Senior Account

FOUNDING FARMERS: TRUE FOOD & DRINKS Pete r Verastegui Guasace

2012

Since September 2008, the award-winning Founding farmers has been one of the country’s leading restaurants to offer farm-inspired American true food and drinks in a modern, casual and eco-friendly setting. From their modern farmhouse, breakfast, lunch, dinner and brunch menus includes homemade and “scratch-made” traditional American classics inspired by the heartland & the American families.

began with a long process of brainstorming. Starting with the logo to the stationary, these had to suggest quality, especially the logo, because this image was to reflect the company’s idea and vision of themselves which are independent of time, therefore not based on fashion or trends of the moment. It should be memorable, simple and coherent. Peter approached it in a different manner. He was not supposed to have a preconceive notion of what the end result would look, instead the research that came with the design process would determine the end results, and indeed the final product came after many sketches and a long mood board.

At the Corcoran College of Art & Design, the Identity project was a big project of the semester; the companies each student got were already established but without a well resolved identity or brand. This project made emphasis in the design process from start to finish. Focusing in process made the students find that ideas that contained a visual statement were the most successful; the project

-74-

-75-


STOLL&STOLL - ALIMENTOS PREPARADOS Caic o de Paula, Cristian Zampieri & Caiu s Marcell us

095design

2010

In 2009, Brazilian brothers Thiago and Leandro Stoll decided to set up Stoll&Stoll, a frozen food boutique brand with a simple purpose: tasty meals for those too busy to cook. From Brazilian favourites, such as Feijoada and Meatloaf, to the world’s icon lasagne, ten dishes are now being offered. All of them made with fresh ingredients, some of which grew in the factory’s own garden, re-enforcing the healthy and tasty philosophy. Customers can buy these meals on their own store at the factory or at most Brazilian southern estates supermarkets.

-76-

“Simple” was the word that drove the concept ideas for this job. The whole project was based and developed on simple font families, geometrical forms and illustrations to keep it easy to understand on a visual perspective. This “simple” concept provided a happy and friendly way of communication with customers, making use of clear and colourful icons to represent each principal ingredient from each dish. This also creates a nice atmosphere when having a rich flavoured, healthy and easy-to-cook meal.

O r g a n i c I S M

-77-


STOLL&STOLL - ALIMENTOS PREPARADOS Caic o de Paula, Cristian Zampieri & Caiu s Marcell us

095design

“Simple” was the word that drove the concept ideas for this job. The whole project was based and developed on simple font families, geometrical forms and illustrations to keep it easy to understand on a visual perspective. This “simple” concept provided a happy and friendly way of communication with customers, making use of clear and colourful icons to represent each principal ingredient from each dish. This also creates a nice atmosphere when having a rich flavoured, healthy and easy-to-cook meal.

2010

In 2009, Brazilian brothers Thiago and Leandro Stoll decided to set up Stoll&Stoll, a frozen food boutique brand with a simple purpose: tasty meals for those too busy to cook. From Brazilian favourites, such as Feijoada and Meatloaf, to the world’s icon lasagne, ten dishes are now being offered. All of them made with fresh ingredients, some of which grew in the factory’s own garden, re-enforcing the healthy and tasty philosophy. Customers can buy these meals on their own store at the factory or at most Brazilian southern estates supermarkets.

-76-

O r g a n i c I S M

-77-


ROOTS – PLANT YOUR OWN J od ie S mi th

2 011

Roots is a “pack” for recent allotment members. It comes with a helpful booklet and bits and bobs. One of the main aspects is making it a family occasion; therefore, there is a kid’s pack inside too. One of the main design features is how most of the elements are screen-printed. The box, bag, seed packets and pegs have all been screen-printed onto the elements.

Inside each seed packet is a helpful note card that explains which months are best to sow and harvest depending on the seeds inside. It also provides a helpful tip at the bottom. Inside the kids packet is a tick list for children to get involved with the planting and tick of all the seeds they have planted, some fun fact cards, stickers, poster and seeds. Two of the other items in the package are a calendar that can help the customer keep track of when they have planted the seeds and when to sow, harvest etc. and a tote bag. The customer can use it to carry home all the vegetables they have grown.

O r g a n i c I S M

The package aims to get families excited about growing their own.

-78-

-79-


ROOTS – PLANT YOUR OWN J od ie S mi th

2 011

Roots is a “pack” for recent allotment members. It comes with a helpful booklet and bits and bobs. One of the main aspects is making it a family occasion; therefore, there is a kid’s pack inside too. One of the main design features is how most of the elements are screen-printed. The box, bag, seed packets and pegs have all been screen-printed onto the elements.

Inside each seed packet is a helpful note card that explains which months are best to sow and harvest depending on the seeds inside. It also provides a helpful tip at the bottom. Inside the kids packet is a tick list for children to get involved with the planting and tick of all the seeds they have planted, some fun fact cards, stickers, poster and seeds. Two of the other items in the package are a calendar that can help the customer keep track of when they have planted the seeds and when to sow, harvest etc. and a tote bag. The customer can use it to carry home all the vegetables they have grown.

O r g a n i c I S M

The package aims to get families excited about growing their own.

-78-

T E X T UR E

-79-

T E X T UR E


FAT COW Gwen Chan & Bryan Lim

Foreign Policy Design Group

2012

Fat Cow is a beef restaurant employing the Japanese way of picking, cooking and serving beef. Drawing inspiration largely from the Japanese aesthetic, Wabi Sabi, with traits that include simplicity, economy, austerity, modesty and the appreciation of the ingenuous integrity of natural objects and processes, wood is used primarily as the platform of this brand communication. The non-uniformity and texture suggest the Wabi Sabi beauty of imperfection. The mark and the searing on the wood are also reminiscence of the branding of cattle.

-82-

-83-


FAT COW Gwen Chan & Bryan Lim

Foreign Policy Design Group

2012

Fat Cow is a beef restaurant employing the Japanese way of picking, cooking and serving beef. Drawing inspiration largely from the Japanese aesthetic, Wabi Sabi, with traits that include simplicity, economy, austerity, modesty and the appreciation of the ingenuous integrity of natural objects and processes, wood is used primarily as the platform of this brand communication. The non-uniformity and texture suggest the Wabi Sabi beauty of imperfection. The mark and the searing on the wood are also reminiscence of the branding of cattle.

-82-

-83-


RRRIOT SHOP Stefania Capellu po

2011

This project includes logo and stationery design for the shop Rrriot, located in Torino, Italy. Rrriot is a clothing shop, and an independent label. The owner Yoanna is a fashion designer. She designs and produces her fashion collection and she’s also constantly looking for unusual brand that sells in her shop. The logo represents a pair of scissors, related to the production of tailored clothes and wants to convey a retro but at the same time strong atmosphere, revolutionary as the name of the shop suggests.

-84-


RRRIOT SHOP Stefania Capellu po

2011

This project includes logo and stationery design for the shop Rrriot, located in Torino, Italy. Rrriot is a clothing shop, and an independent label. The owner Yoanna is a fashion designer. She designs and produces her fashion collection and she’s also constantly looking for unusual brand that sells in her shop. The logo represents a pair of scissors, related to the production of tailored clothes and wants to convey a retro but at the same time strong atmosphere, revolutionary as the name of the shop suggests.

-84-


O r g a n i c I S M

-86-

-87-


O r g a n i c I S M

-86-

-87-


FARMEX PIOTR PODGORSKI

CREATIVE MASHUP

2011

FARMEX is a family stonemason company with over 25 years of history and experience. Their main products are graves, interior elements and commercial construction stone parts. They operate in local and international markets, providing high quality services and products to differential customers. Reaching the point where FARMEX established solid market position, they have requested to adjust their brand to

O r g a n i c I S M

current company status. Design for the project was inspired by mountains and raw nature of the stone. Various colours of the stone were transferred into brand new colour scheme, based on shades of white, gray and pale blue. New logo, website and stationery were in scope of the project. The concept included elegant, simple style and clear communication of company values as tradition, precision and quality.

-88-

-89-


FARMEX PIOTR PODGORSKI

CREATIVE MASHUP

2011

FARMEX is a family stonemason company with over 25 years of history and experience. Their main products are graves, interior elements and commercial construction stone parts. They operate in local and international markets, providing high quality services and products to differential customers. Reaching the point where FARMEX established solid market position, they have requested to adjust their brand to

O r g a n i c I S M

current company status. Design for the project was inspired by mountains and raw nature of the stone. Various colours of the stone were transferred into brand new colour scheme, based on shades of white, gray and pale blue. New logo, website and stationery were in scope of the project. The concept included elegant, simple style and clear communication of company values as tradition, precision and quality.

-88-

-89-


KAI DASE VIOLINS M at th ew M el li ng

2 01 2

Kai Dase Violins & The Strad Lounge is a small business in Nottingham, England. Kai handcrafts violins in his workshop upstairs whilst The Strad Lounge downstairs is used as a showroom for his completed instruments as well as a space for performing and learning, whether it be music, dance or art. It has even been used as a recording studio. The challenge here was to condense all this information into one identifiable mark, which successfully represents every aspect of the business. To do this, the designer used curly brackets, known in music as a brace. The brace signifies 2 or more parts of music to be played at once. He took this and created a container to fit the company name.

O r g a n i c I S M

-90-

-91-


KAI DASE VIOLINS M at th ew M el li ng

2 01 2

Kai Dase Violins & The Strad Lounge is a small business in Nottingham, England. Kai handcrafts violins in his workshop upstairs whilst The Strad Lounge downstairs is used as a showroom for his completed instruments as well as a space for performing and learning, whether it be music, dance or art. It has even been used as a recording studio. The challenge here was to condense all this information into one identifiable mark, which successfully represents every aspect of the business. To do this, the designer used curly brackets, known in music as a brace. The brace signifies 2 or more parts of music to be played at once. He took this and created a container to fit the company name.

O r g a n i c I S M

-90-

-91-


DÁVID PETRÓ B og lá rk a N ád i

2 011

The identity is for Dávid Petró, a book and paper restorer in Sopron, Hungary. The goal of the project was to couple the friendly atmosphere of the small manufacture stylishly with classic and cleared shapes, in order to satisfy a wide range of audience, by taking into account the tight budget of the client.

-92-


DÁVID PETRÓ B og lá rk a N ád i

2 011

The identity is for Dávid Petró, a book and paper restorer in Sopron, Hungary. The goal of the project was to couple the friendly atmosphere of the small manufacture stylishly with classic and cleared shapes, in order to satisfy a wide range of audience, by taking into account the tight budget of the client.

-92-


O r g a n i c I S M

In the case of the business cards, they ended up printing one side of them and stamping the other one by hand. It allowed a smaller type size for the contact details (more legible too) and it was so much easier to have the cards cut by someone else. The same philosophy applies to almost everything. They did the lamps with wood from fruit boxes and wood leftovers from the walls. They also got the neighbourhood involved since the opening and asked them to bring old books with them.

LA CANYA S er gi o Me nd oz a

S er gi o Me nd oz a St ud io

2 01 2

The design team did all the woodwork and kept it simple and friendly. The same idea was applied to the branding and all that is printed. They designed a system and a “set of tools” to use, so everything is actually co-produced by the staff.

-94-

-95-


O r g a n i c I S M

In the case of the business cards, they ended up printing one side of them and stamping the other one by hand. It allowed a smaller type size for the contact details (more legible too) and it was so much easier to have the cards cut by someone else. The same philosophy applies to almost everything. They did the lamps with wood from fruit boxes and wood leftovers from the walls. They also got the neighbourhood involved since the opening and asked them to bring old books with them.

LA CANYA S er gi o Me nd oz a

S er gi o Me nd oz a St ud io

2 01 2

The design team did all the woodwork and kept it simple and friendly. The same idea was applied to the branding and all that is printed. They designed a system and a “set of tools” to use, so everything is actually co-produced by the staff.

-94-

-95-

O r g a n i c I S M

SELF PROMOTION Ida Louise Andersen

2012

In this self promotion project in college, Ida started with thinking of how she wanted to present herself, what she stands for and who she is as a designer. She wanted every little detail to be representative of who she is. She wanted to do something different and interesting, so she decided not only design her business cards, but also the A2 portfolio for her project, A3 suitcase for her sketchbooks and a net for packaging dummies. Ida appreciates good handcraft. This is something that seems to easily be forgotten in the digital world that we now live in. She wanted to use the old techniques in combination with a modern and playful expression that shows her personality in the best way. She therefore chose the Universal font which is a tall san serif font in contrast with ITC Cheltham which is very nice and soft serif font. She used wood, matt uncoated yellowish paper, leather and steel as materials. She applied bold colour to give it a playful feel and the steel to make it more rustic.

Why the unicorn

Ida has been told that her work capacity is like a farm horse. As she sees the farm horse dark brown or black, it stamps in the mud and does the same thing every day. The unicorn on the other hand has the power of the horse. The mane and the tale have shapes like flames to empower it even more. The unicorn is unique and strong and represents something magical. Ida wants people to wonder why she chose the unicorn, and through that, to add some mystery and humour to her choice. Why the symbols

Ida has used 4 symbols throughout her profile. They stand good where the unicorn is not used and they build good patterns. They also make it easier to remember the qualities and values she stands for. The star stands for quality; smiley stands for humour, lightning stands for will power and hart stands for passion for the work.

-98-

-99-

O r g a n i c I S M

SELF PROMOTION Ida Louise Andersen

2012

In this self promotion project in college, Ida started with thinking of how she wanted to present herself, what she stands for and who she is as a designer. She wanted every little detail to be representative of who she is. She wanted to do something different and interesting, so she decided not only design her business cards, but also the A2 portfolio for her project, A3 suitcase for her sketchbooks and a net for packaging dummies. Ida appreciates good handcraft. This is something that seems to easily be forgotten in the digital world that we now live in. She wanted to use the old techniques in combination with a modern and playful expression that shows her personality in the best way. She therefore chose the Universal font which is a tall san serif font in contrast with ITC Cheltham which is very nice and soft serif font. She used wood, matt uncoated yellowish paper, leather and steel as materials. She applied bold colour to give it a playful feel and the steel to make it more rustic.

Why the unicorn

Ida has been told that her work capacity is like a farm horse. As she sees the farm horse dark brown or black, it stamps in the mud and does the same thing every day. The unicorn on the other hand has the power of the horse. The mane and the tale have shapes like flames to empower it even more. The unicorn is unique and strong and represents something magical. Ida wants people to wonder why she chose the unicorn, and through that, to add some mystery and humour to her choice. Why the symbols

Ida has used 4 symbols throughout her profile. They stand good where the unicorn is not used and they build good patterns. They also make it easier to remember the qualities and values she stands for. The star stands for quality; smiley stands for humour, lightning stands for will power and hart stands for passion for the work.

-98-

-99-


-100-

-101-


-100-

-101-

WORM UND PARTNER R af fa el S tü ke n

B ür o fü r Gr af ik D es i gn

2 01 0

The expertise of insurance brokers “Maklersozietät Worm und Partner” focuses on providing personal insurances. In order to gain a more concise public presence, a new corporate design was created, which is based on a flexible word mark and an emotionally appealing world of imagery. Tree barks serve as a metaphor for the difficult terrain of the world of insurances. Connecting lines visualizes the brokers’ daily work: the professional comparison of complex insurance-products.

-103-

WORM UND PARTNER R af fa el S tü ke n

B ür o fü r Gr af ik D es i gn

2 01 0

The expertise of insurance brokers “Maklersozietät Worm und Partner” focuses on providing personal insurances. In order to gain a more concise public presence, a new corporate design was created, which is based on a flexible word mark and an emotionally appealing world of imagery. Tree barks serve as a metaphor for the difficult terrain of the world of insurances. Connecting lines visualizes the brokers’ daily work: the professional comparison of complex insurance-products.

-103-


O r g a n i c I S M

LA CABANE D’HENRI Marie-Laurence Carrière

2012

La Cabane d’Henri is a Bed & Breakfast, located next to the Bic National Park, Quebec. It has a very unique cachet with beautiful rough woodwork. When the designer first started working on this project, it was essential to create a brand that would express the Inn’s hearty side. When he was looking for some typography and materials, he needed to find something that represented the structure and identity of the hotel. The idea of using wood became an important part of his work, so he used this material for the identity cards, menus, keys and coasters. When it was time to create a publicity campaign, he had the idea of using pictures of different famous personalities named Henri on the posters and postal cards. He liked the idea of mixing photos and paintings from different times. It was really important to create a brand with a multi platform consistency.

-104-

-105-


O r g a n i c I S M

LA CABANE D’HENRI Marie-Laurence Carrière

2012

La Cabane d’Henri is a Bed & Breakfast, located next to the Bic National Park, Quebec. It has a very unique cachet with beautiful rough woodwork. When the designer first started working on this project, it was essential to create a brand that would express the Inn’s hearty side. When he was looking for some typography and materials, he needed to find something that represented the structure and identity of the hotel. The idea of using wood became an important part of his work, so he used this material for the identity cards, menus, keys and coasters. When it was time to create a publicity campaign, he had the idea of using pictures of different famous personalities named Henri on the posters and postal cards. He liked the idea of mixing photos and paintings from different times. It was really important to create a brand with a multi platform consistency.

-104-

-105-


O r g a n i c I S M

-106-

-107-


O r g a n i c I S M

-106-

-107-


NATURAL TEA R is k a T io fa ni

R is k aT io fa ni D es ig n

2 01 0

This Natural Tea Packaging Project is actually one of Riska Tiofani’s compulsory school projects. Basically, the project was about creating an eco-friendly and sustainable packaging that was made to support our global warming prevention issue that happened recently. That’s why in this project, Riska decided to use natural materials in each of layer of the packaging.

O r g a n i c I S M

In this project, she came out with a tea packaging set which consists of 3 different sizes tea boxes. Two of them were designed for loose leaves tea and another one was designed for potbags tea. All the materials that she used were 99% environmentalfriendly, started from the primary packaging to the secondary packaging. The primary packaging were made from organic gunny that would keep the loose leaves tea dry, while the secondary packaging were made from recycled board and paper which was very sustainable and environmental friendly too. The boxes were designed to be user-friendly as well. It’s easy to open and reusable.

-108-

-109-


NATURAL TEA R is k a T io fa ni

R is k aT io fa ni D es ig n

2 01 0

This Natural Tea Packaging Project is actually one of Riska Tiofani’s compulsory school projects. Basically, the project was about creating an eco-friendly and sustainable packaging that was made to support our global warming prevention issue that happened recently. That’s why in this project, Riska decided to use natural materials in each of layer of the packaging.

O r g a n i c I S M

In this project, she came out with a tea packaging set which consists of 3 different sizes tea boxes. Two of them were designed for loose leaves tea and another one was designed for potbags tea. All the materials that she used were 99% environmentalfriendly, started from the primary packaging to the secondary packaging. The primary packaging were made from organic gunny that would keep the loose leaves tea dry, while the secondary packaging were made from recycled board and paper which was very sustainable and environmental friendly too. The boxes were designed to be user-friendly as well. It’s easy to open and reusable.

-108-

-109-


HERBARIUM. NATURAL FABRICS WEAR SHOP. A rt em M as lo v

2 01 2

Herbarium is a natural fabric women’s clothing shop. Those fabrics are mainly made from linen, cotton, wool clothes (and leather too). There are young unknown designer’s works in it. You can see herbarium-dresses on the walls, which is the conception idea for this shop. All purchases here are packed with special textured craft paper or put in craft pocket.

O r g a n i c I S M

-110-

-111-


HERBARIUM. NATURAL FABRICS WEAR SHOP. A rt em M as lo v

2 01 2

Herbarium is a natural fabric women’s clothing shop. Those fabrics are mainly made from linen, cotton, wool clothes (and leather too). There are young unknown designer’s works in it. You can see herbarium-dresses on the walls, which is the conception idea for this shop. All purchases here are packed with special textured craft paper or put in craft pocket.

O r g a n i c I S M

-110-

-111-


im r t l c n t n t : l fm

fnt

O r g a n i c I S M

-113-


im r t l c n t n t : l fm

fnt

O r g a n i c I S M

-113-


ALTUNA VIAJES Ezequie l Norry & Juan Pablo Bustos Peralt a

ESTUDIO TRICOTA

2012

This Identity trademark design was created for a tourism agency from Nogoyá, Entre Ríos, Argentina. The client’s instructions were to achieve an aesthetic identity which looked classic and formal. The first stage of the process was the “naming” phase, in which, conjointly with the client, the designers chose to associate his surname to the concept of reliability. At the same time, they developed a solid concept on which they could base the design, since this allows for a more fluent relationship between the design and what it communicates. Considering these premises, they aimed at economizing resources and maximizing their utility. After a process of experimentation and concept development, the designers believe that the typographic type choice for the make was sensible and accurate. After that, they wanted to play with the contrast between a rustic material as support and a copper-coloured ink as the principal tint in the palette. This combination results in a sober and elegant piece of design. -114-

-115-


ALTUNA VIAJES Ezequie l Norry & Juan Pablo Bustos Peralt a

ESTUDIO TRICOTA

2012

This Identity trademark design was created for a tourism agency from Nogoyá, Entre Ríos, Argentina. The client’s instructions were to achieve an aesthetic identity which looked classic and formal. The first stage of the process was the “naming” phase, in which, conjointly with the client, the designers chose to associate his surname to the concept of reliability. At the same time, they developed a solid concept on which they could base the design, since this allows for a more fluent relationship between the design and what it communicates. Considering these premises, they aimed at economizing resources and maximizing their utility. After a process of experimentation and concept development, the designers believe that the typographic type choice for the make was sensible and accurate. After that, they wanted to play with the contrast between a rustic material as support and a copper-coloured ink as the principal tint in the palette. This combination results in a sober and elegant piece of design. -114-

-115-


DELICATE MATERIAL O le g B ab ic h

B ab ic h D es ig n a nd B r an di ng

2 011

Delicate Material is a handmade soap produced in a private workshop and distributed all over the world. Natural ingredients and handwork, everything in harmony, Delicate Material is nature itself. Therefore, the primary metaphor of the brand is the elements of nature: air, water, earth and fire. The elements communicate with us through invisible, ephemeral channels, our sensations. What is a world of sensations? Ether, a delicate material fills the world.

O r g a n i c I S M

-116-

-117-


DELICATE MATERIAL O le g B ab ic h

B ab ic h D es ig n a nd B r an di ng

2 011

Delicate Material is a handmade soap produced in a private workshop and distributed all over the world. Natural ingredients and handwork, everything in harmony, Delicate Material is nature itself. Therefore, the primary metaphor of the brand is the elements of nature: air, water, earth and fire. The elements communicate with us through invisible, ephemeral channels, our sensations. What is a world of sensations? Ether, a delicate material fills the world.

O r g a n i c I S M

-116-

-117-


O r g a n i c I S M

-118-

-119-


O r g a n i c I S M

-118-

-119-


AMIO Praefa Uennatornwaranggoon

Sai Uennatornwaranggoon

2012

The brief was to create a complete brand identity from a logo to brand publications. AMIO is a Maori word meaning to travel and to roam around which was inspired by Hannah’s travels. The concept is to create a simple identity which reflects on the brand and the clothing itself. Sustainability is also another major factor included while the line was designed. The brand’s target audience is people who enjoy the outdoors and backpacking. The identity was inspired by patterns often seen used by the Maori tribes of New Zealand and also the fact that a lot of Hannah’s garments are multi-functional.

O r g a n i c I S M

-120-

-121-


AMIO Praefa Uennatornwaranggoon

Sai Uennatornwaranggoon

2012

The brief was to create a complete brand identity from a logo to brand publications. AMIO is a Maori word meaning to travel and to roam around which was inspired by Hannah’s travels. The concept is to create a simple identity which reflects on the brand and the clothing itself. Sustainability is also another major factor included while the line was designed. The brand’s target audience is people who enjoy the outdoors and backpacking. The identity was inspired by patterns often seen used by the Maori tribes of New Zealand and also the fact that a lot of Hannah’s garments are multi-functional.

O r g a n i c I S M

-120-

-121-

O r g a n i c I S M

JACU COFFEE ROASTERY Tom Emil Olsen

Havnevik Advertisin g Agency

2012

The Jacu bird lives in South America and is known for something quite extraordinary. It flies from one coffee plantation to another and picks and eats the tastiest coffee cherries. The fruit makes its way through the bird’s digestive system, and the seeds of the fruit, coffee beans, come out perfectly processed. These coffee beans are among the most exclusive in the world. This story has inspired the deisgners, and the bird has lent its name to the new micro-roastery in Ålesund, Norway. Jacu Coffee Roastery was established in 2011. Like the Jacu bird, they pick and roast only the best beans. They look for great plantations, optimal processing and the roasting profiles which will make the most out of each bean. They work with passion, patience, and without compromise.

-122-

-123-

O r g a n i c I S M

JACU COFFEE ROASTERY Tom Emil Olsen

Havnevik Advertisin g Agency

2012

The Jacu bird lives in South America and is known for something quite extraordinary. It flies from one coffee plantation to another and picks and eats the tastiest coffee cherries. The fruit makes its way through the bird’s digestive system, and the seeds of the fruit, coffee beans, come out perfectly processed. These coffee beans are among the most exclusive in the world. This story has inspired the deisgners, and the bird has lent its name to the new micro-roastery in Ålesund, Norway. Jacu Coffee Roastery was established in 2011. Like the Jacu bird, they pick and roast only the best beans. They look for great plantations, optimal processing and the roasting profiles which will make the most out of each bean. They work with passion, patience, and without compromise.

-122-

-123-


O r g a n i c I S M

-125-


O r g a n i c I S M

-125-


ODIN GROOMING ESSENTIAL KIT G ia ng N g uy en

2 01 2

This is a student project to create an identity & packaging design for ODIN, a company producing and retailing men’s grooming supplies & skincare. The brand targets contemporary, young and dandy gentlemen. ODIN promotes the qualities: gentlemanly, wise and poetic. It is classic but not ritual, old-school but not hipster-like, fashionable but not fancy, refined but not luxurious. The design solution has the look and feel of old apothecary sold by sailors at the port in the old world. The packaging design aims to promote that ODIN’s products are naturally made, hand-made and finely-crafted, limited & made to order rather than commodities industrially mass-produced.

O r g a n i c I S M

-126-

-127-


ODIN GROOMING ESSENTIAL KIT G ia ng N g uy en

2 01 2

This is a student project to create an identity & packaging design for ODIN, a company producing and retailing men’s grooming supplies & skincare. The brand targets contemporary, young and dandy gentlemen. ODIN promotes the qualities: gentlemanly, wise and poetic. It is classic but not ritual, old-school but not hipster-like, fashionable but not fancy, refined but not luxurious. The design solution has the look and feel of old apothecary sold by sailors at the port in the old world. The packaging design aims to promote that ODIN’s products are naturally made, hand-made and finely-crafted, limited & made to order rather than commodities industrially mass-produced.

O r g a n i c I S M

-126-

-127-

LIGHTBOX

/ BranD / 2012E

LIGHTBOX

-128-

/ BranD / 2012E

Brand

BranD+ / BranD /2012E

G O R

N A

I C

Organic style is a nod to the stability of nature. It is an appreciation for the calm persistent attitude of nature, one that is comfortable with itself, with its ease of steady growth and of the balance of rebirth and death. Organic style is a reflection of our attraction to not only the stability of nature, but its ability to carry forward no matter what the weather brings. It is also a sign of our current distain for excess. We don’t need flash right now, nor can we afford it. We seek comfort in what we have, that it may carry us to the next stepping-stone, wherever it may be. We frown upon excess as it signifies greed, creates jealousy and portrays injustice. Excess is the imbalance of capital in a time when people crave harmony. harmony.

In nature, we find that no one tree is greedier for sunlight than another, but natural organisms create symbiotic relationships with one another so that they all may thrive. Particularly in our capitalistic economy, a dog-eatdog society where individualism reigns, we are seeing a desire for community, to triumph as a whole, and we can perceive this attitude in the clothing we buy, labels on the beer we drink, and paint on the cars we dr ive.

P A L

E

T T

E

O r g a n i c I S M

Whether a colour originates from an organic process or not, its organic nature ultimately resides in our perception and association with it. A shade of green may make one person recall their experiences as a boy at summer camp in the middle of wilderness. It may be the shade of pine trees, and the perception of that colour brings fourth memories of moose, canoe trips and campfires. Add browns to the palette and his memory may be enhanced to recall the dirt that got under his fingernails while pitching his tent, or the kindling he collected to build a fire.

By Jordan Shevell, American Graphic Designer

That same shade of green might mean something different all together for someone else. Perhaps it is the colour of a car that broke down in the middle of a family road trip, thus becoming a colour of distrust and unreliability for the driver who had to wait hours without air conditioning for AAA to arrive. For someone else that very same green might conjure the smell of crayon wax along with memories of colouring in the lines of her Disney colouring book. Though the sense of smell is much more visceral in that it can transport you to a different time and place, we create association with colour in much the same way. Colour therefore holds its meaning in subjective experience and its meaning varies and is created by the individual.

We are in a time of recession, an era of uncer tainty toward our future. We seek out comforts that remind us that everything is ok, even if it isn’t. Our attitude and desire for comfort is reflected in the colours we surround ourselves with, the colours we make, and the colours we buy. Colour is one of the many tools we use to understand the natural world around us. It is a tool that gives brands an opportunity to communicate a message about themselves to their consumers based on the experiences people share with colour. We can see distinct colour trends in fashion, art and brand design; we can even witness these colours in the new drinks that Starbucks puts out. We are in the midst of an organic style both in colour and lifestyle.

-130-

What is organic palette? It is not a question with a black-and-white answer. There is no specific property that renders an individual colour as organic. On the other hand, we might deem every colour to be organic, as each is our perception of a wavelength of light born in the natural, physical world. Reception of light through the eyes, and its translation by our brain to what we describe as colour is an organic process. How, then, can we proclaim one colour to be more organic than another? Perhaps it lies in the process of colour-making, in the origins of colours. We are more likely to find an organic palette in colours that are made from organic materials, such as purple which comes from the mucus secreted by a Mediterranean snail, or the blue dye that is produced from the leaves of the woad plant.

-131-


I’d like to take this moment to discuss the difference between the current trend of organic style and “going green”. Organic colours have been trending increasingly since the early 2000’s, contrasted by the vibrating pastels, acids and neon colour palettes of the 80’s and 90’s. The green movement is another term for environmentalism, a movement rooted in American transcendental philosophy that dates to the 1840’s. Hippies and Richard Nixon’s administration largely popularized it in the 1970’s and 80’s, and the ideology continues to integrate itself in current business practices. The movement has since evolved from uniquely the conservation of nature, to prompting individuals and corporations alike to make eco-friendly decisions about their practices, such as recycling, keeping toxins and chemical enhancements out of our food and water, and keeping hazardous waste out of landfills and oceans.

Can we then define a palette of colour as being organic, even though the nature of its meaning lies so much in the eye of the beholder? As human beings we share many commonalities in our experiences. We share the same sky over our heads, rejoice in the warmth of fire, and walk on the same earth. Though we experience our world as individuals, many of its characteristics hold meaning that has ancestral roots. Sky blue gives us a sense of tranquillity; imagine a time when pillaging, war, hunger and disease were more abundant than iPhones, and making it through to the next day was not as certain as the rising sun. Seeing the blue sky of a new day would have been relieving, even rewarding.

Organic style and environmentalism are separate topics, but they do influence one another. We have been challenged by many catastrophic events since 2000, such as 9/11, major natural disasters, climate change, global warming, and war. More and more people are concerning themselves with living more efficiently: driving hybrid cars, growing gardens, recycling and compost, engaging in more eco-friendly behaviour. In a consumer-driven economy where the consumers are going green, the sellers must follow suit if they intend on staying in business. It makes sense to use colours that reflect and communicate messages that speak the visual language of our time.

Whether our psychological responses to colour have been carried on through our biological makeup or traditions in design is almost irrelevant. It boils down to a question of the chicken and the egg, of nature versus nurture. What matters is that we do have specific associations with colour that evolve with our experiences and impact our lives on a daily basis. Think of yellow signs on the road that warn us of possible dangers, or the poster red that has us salivating for fast-food. Perhaps our association between red and food stems from medieval pleasures of roasting a pig over the red ambers of a fire, or comes more simply from the individual experience of a good burger at McDonalds.

Like all languages, colour has different meanings across cultures. Colour combinations and their associations are strongly tied to local traditions and ideologies. Where black and red can have passionate, sexual, even ominous connotations in North America, it stands for happiness in China, making it a popular palette for their wedding invitations. Brands and designers must be attentive to the impact of colours and their meaning across cultures, as people will respond differently to colour choices made for logos, product design, packaging and advertising.

The scope of colour association lies on a continuum from the individual to familial; from communal to national, all the way to associations we share as members of the human race. Red is a colour that adds humanity to a palette because we all share the same colour of blood, yet its combination with white and blue becomes distinctly American. Despite these many differences in colour association across people and cultures, the palette of colours we find in nature has many similarities that we can relate to as creatures of the Earth. We find grass and leave greens in vegetation, blues and blue-greens in the sky, rivers and oceans, yellow in the light of the sun and its violet complement in the night sky. We find neutral reds, oranges and yellows in the browns of soil, wood and the comfort of shelter. Bright colours may warn us of a venomous creature, a poisonous plant, but they also help a cardinal stand-out against the foliage to attract his mate, and a bee to find its nectar (which in return allows the flower to pollinate).

-132-

We have explored the similarities and differences in the relationships we have with colour, the evolution of colour over time and culture, and have looked at possible origins of colour meaning. Understanding how to manipulate and implement colour to convey a specific or branded message takes a lifetime of practice, study and responsibility. It is important to speak truthfully through the voice of colour, the same way we must communicate advertising messages. Consumers may not analyze the reasons behind the use of a certain palette in design, but they can tell the difference when a brand’s promise cannot follow through. Colour is a powerful tool that can make or break a brand, so know your market, do your research, and choose your colours wisely.

-133-

O r g a n i c I S M


I’d like to take this moment to discuss the difference between the current trend of organic style and “going green”. Organic colours have been trending increasingly since the early 2000’s, contrasted by the vibrating pastels, acids and neon colour palettes of the 80’s and 90’s. The green movement is another term for environmentalism, a movement rooted in American transcendental philosophy that dates to the 1840’s. Hippies and Richard Nixon’s administration largely popularized it in the 1970’s and 80’s, and the ideology continues to integrate itself in current business practices. The movement has since evolved from uniquely the conservation of nature, to prompting individuals and corporations alike to make eco-friendly decisions about their practices, such as recycling, keeping toxins and chemical enhancements out of our food and water, and keeping hazardous waste out of landfills and oceans.

Can we then define a palette of colour as being organic, even though the nature of its meaning lies so much in the eye of the beholder? As human beings we share many commonalities in our experiences. We share the same sky over our heads, rejoice in the warmth of fire, and walk on the same earth. Though we experience our world as individuals, many of its characteristics hold meaning that has ancestral roots. Sky blue gives us a sense of tranquillity; imagine a time when pillaging, war, hunger and disease were more abundant than iPhones, and making it through to the next day was not as certain as the rising sun. Seeing the blue sky of a new day would have been relieving, even rewarding.

Organic style and environmentalism are separate topics, but they do influence one another. We have been challenged by many catastrophic events since 2000, such as 9/11, major natural disasters, climate change, global warming, and war. More and more people are concerning themselves with living more efficiently: driving hybrid cars, growing gardens, recycling and compost, engaging in more eco-friendly behaviour. In a consumer-driven economy where the consumers are going green, the sellers must follow suit if they intend on staying in business. It makes sense to use colours that reflect and communicate messages that speak the visual language of our time.

Whether our psychological responses to colour have been carried on through our biological makeup or traditions in design is almost irrelevant. It boils down to a question of the chicken and the egg, of nature versus nurture. What matters is that we do have specific associations with colour that evolve with our experiences and impact our lives on a daily basis. Think of yellow signs on the road that warn us of possible dangers, or the poster red that has us salivating for fast-food. Perhaps our association between red and food stems from medieval pleasures of roasting a pig over the red ambers of a fire, or comes more simply from the individual experience of a good burger at McDonalds.

Like all languages, colour has different meanings across cultures. Colour combinations and their associations are strongly tied to local traditions and ideologies. Where black and red can have passionate, sexual, even ominous connotations in North America, it stands for happiness in China, making it a popular palette for their wedding invitations. Brands and designers must be attentive to the impact of colours and their meaning across cultures, as people will respond differently to colour choices made for logos, product design, packaging and advertising.

The scope of colour association lies on a continuum from the individual to familial; from communal to national, all the way to associations we share as members of the human race. Red is a colour that adds humanity to a palette because we all share the same colour of blood, yet its combination with white and blue becomes distinctly American. Despite these many differences in colour association across people and cultures, the palette of colours we find in nature has many similarities that we can relate to as creatures of the Earth. We find grass and leave greens in vegetation, blues and blue-greens in the sky, rivers and oceans, yellow in the light of the sun and its violet complement in the night sky. We find neutral reds, oranges and yellows in the browns of soil, wood and the comfort of shelter. Bright colours may warn us of a venomous creature, a poisonous plant, but they also help a cardinal stand-out against the foliage to attract his mate, and a bee to find its nectar (which in return allows the flower to pollinate).

We have explored the similarities and differences in the relationships we have with colour, the evolution of colour over time and culture, and have looked at possible origins of colour meaning. Understanding how to manipulate and implement colour to convey a specific or branded message takes a lifetime of practice, study and responsibility. It is important to speak truthfully through the voice of colour, the same way we must communicate advertising messages. Consumers may not analyze the reasons behind the use of a certain palette in design, but they can tell the difference when a brand’s promise cannot follow through. Colour is a powerful tool that can make or break a brand, so know your market, do your research, and choose your colours wisely.

-132-

O r g a n i c I S M

-133-


INTERVIEW WITH YURKO GUTSULYAK Designer of “Design shop oooo.com.ua”

––– What is organic palette palette in your opinion? Where is it from? –––

DESIGN SHOP OOOO.COM .UA

When we speak about organic palette, one should not imply the colour scheme only, but also a set of the materials and visual images. This is everything related to the pure innocent nature and individual products of civilization that have natural origin and are visually perceived as natural. Today the organic trend has got clearly shaped and quite well-known all over the world (in the countries with absolutely different level of economic advancement) and is easily read and un derstood by a wide circle of consumers. The organic palette is defined by the following components: 1. Colours.

oooo.com.ua is launched to make things for private connoisseurs of design highlights, for home use, something that you could get for yourself or as a gift, in a word, for people. At th e be gi nn in g, it was es se nt ia l to cr ea te a graphically simple name t hat is easy to read ( first of all, visually) and quick to remember. It is all about the way a certain name looks, not the way it sounds. The name itself defines the project’s Internet address which should be conveyed to the target audience as simply as possible. It should be a lso equally perceived in Roman and Cyrillic fonts as well as graphic language.

All the shades of green and brown, as well as white colour. The colour scheme can also be supplemented by other colours that are present in the traditional European nature (not the tropical one), for instance, sky blue, cherry colour, black, sunglow yellow etc. 2. Materials.

Craft paper, recycled paper, brown cardboard, corrugated fibreboard, cotton fabric, linen fabric, sacking, wood, hemp twine and ceramics. Sometimes other materials can be used, such as leather, glass, stone, etc. 3. Visual images.

Grass, tree, green leaf; a landscape with a lawn, pond, river, forest or mountains; clear blue sky, white clouds; birds, animals and insects (non-exotic) in their traditional environment; images that represent handicraft; various products made of mentioned materials. Th e whole variety of the natural textures can also be applied. Organic palette is closely related to the ecological palette and craft palette. Very often they can be so similar that one can easily take one for another. All of them have a similar origin and similar or identical attributes.

So, the design team came up with oooo.com.ua name, where “O” is an object, a fascination and a display of emotion, and finally it’s a round or a circle which is one of the simplest basic figures. It is a constant basis for an infinite num ber of developments in absolu tely all spheres of design. One of the main components of the oooo.com.ua identification appears to be an original decorative font designed specifically for this project. They cal led it Gerdan as each letter looks like small beads that decorate, and even emphasize a connection between contemporary contempor ary design and traditional Ukrainian arts and crafts. Gerdan is a beaded necklace in a form of a narrow strip made of coloured beads that are strung on a beading thread or hair base. They create colourful geometrical ornaments.

-134-

-135-

O r g a n i c I S M


INTERVIEW WITH YURKO GUTSULYAK Designer of “Design shop oooo.com.ua”

––– What is organic palette palette in your opinion? Where is it from? –––

DESIGN SHOP OOOO.COM .UA

When we speak about organic palette, one should not imply the colour scheme only, but also a set of the materials and visual images. This is everything related to the pure innocent nature and individual products of civilization that have natural origin and are visually perceived as natural. Today the organic trend has got clearly shaped and quite well-known all over the world (in the countries with absolutely different level of economic advancement) and is easily read and un derstood by a wide circle of consumers. The organic palette is defined by the following components: 1. Colours.

oooo.com.ua is launched to make things for private connoisseurs of design highlights, for home use, something that you could get for yourself or as a gift, in a word, for people. At th e be gi nn in g, it was es se nt ia l to cr ea te a graphically simple name t hat is easy to read ( first of all, visually) and quick to remember. It is all about the way a certain name looks, not the way it sounds. The name itself defines the project’s Internet address which should be conveyed to the target audience as simply as possible. It should be a lso equally perceived in Roman and Cyrillic fonts as well as graphic language.

All the shades of green and brown, as well as white colour. The colour scheme can also be supplemented by other colours that are present in the traditional European nature (not the tropical one), for instance, sky blue, cherry colour, black, sunglow yellow etc. 2. Materials.

Craft paper, recycled paper, brown cardboard, corrugated fibreboard, cotton fabric, linen fabric, sacking, wood, hemp twine and ceramics. Sometimes other materials can be used, such as leather, glass, stone, etc. 3. Visual images.

Grass, tree, green leaf; a landscape with a lawn, pond, river, forest or mountains; clear blue sky, white clouds; birds, animals and insects (non-exotic) in their traditional environment; images that represent handicraft; various products made of mentioned materials. Th e whole variety of the natural textures can also be applied.

O r g a n i c I S M

Organic palette is closely related to the ecological palette and craft palette. Very often they can be so similar that one can easily take one for another. All of them have a similar origin and similar or identical attributes.

So, the design team came up with oooo.com.ua name, where “O” is an object, a fascination and a display of emotion, and finally it’s a round or a circle which is one of the simplest basic figures. It is a constant basis for an infinite num ber of developments in absolu tely all spheres of design. One of the main components of the oooo.com.ua identification appears to be an original decorative font designed specifically for this project. They cal led it Gerdan as each letter looks like small beads that decorate, and even emphasize a connection between contemporary contempor ary design and traditional Ukrainian arts and crafts. Gerdan is a beaded necklace in a form of a narrow strip made of coloured beads that are strung on a beading thread or hair base. They create colourful geometrical ornaments.

-135-

-134-


––– What should a designer take into account when he/she applies organic palette in his/her design? –––

––– What are the advantage and disadvantage of using organic palette in brand design? –––

The major advantage is that the organic trend is well-known and positively perceived by the consumer. Besides, there are a lot of people and organizations that are ready to support and promote this trend. This is one of the no-lose strategies in the brand design. The disadvantage is that the organic palette is quite limited and all the possible attribute combinations are used up. As a result, most of the design projects in the organic trend resemble each other very much, and the brand individuality is lost.

––– How can organic palette impact on consumers

First of all, a designer must realize the task that is in front of him and answer the following questions: -How unique and individual, or typical and mainstream the design project should be? -How important the organic trend is for the target audience of the project? -Is the brand for which the design is created really aimed at conveying the idea of Organicity and organic values? -What physical products the design will be applied to and what are the technological possibilities to manufacture these products?

––– What kind of implication can organic palette bring? Is there any help with the realization of brand values? –––

Organic palette is used too frequently. Sometimes it is a success, sometimes not. The consumer very categorically interprets organic palette and it contains a set of clear promises. Therefore, organic brand obtains absolutely specific values that must be proved by it in the future. But very often it becomes a profiteering tool and designers and producers abuse the consumer’s trust. That’s why the organic palette could be both helpful and harmful for the brand.

psychologically? ––– ––– What are the industries that you think are suitable for organic-

Organic palette has a great influence on the modern consumer. People have got tired and disappointed with low-quality artificial products that are all around them and being stubbornly imposed by the corporations. People are in need of a psychological rest from the fake plastic environment pressure, as well as a return of their belief in the real price and value of the things they are consuming and in themselves. People seek for values rethinking and the new direction for development. And this is what the organic culture industry promises.

palette branding? –––

As a creative person, I can imagine organic palette to be applied in all areas without exception, even in the space weapons industry or in a gay club. But the vast majority of people are not ready for such radical rethinking of the world. Traditionally, the organic palette is applied in the production of food, household items, baby products, cosmetics, clothes, footwear and accessories. The organic palette is less frequently used in customer service industry.

-136-

––– What colours do your use in your project “Design shop oooo.com.ua” and any reasons for those preferences? –––

As I’ve already mentioned, organic palette is tightly related with the craft and ecological palettes and all of them have the same or similar attributes. When making the identity of the Design Store oooo.com.ua, we rather used craft palette. I had the aim of creating a light, clear, commercial style that would be reasonably trendy. I used the white and brown colours from the organic palette as well as craft paper, recycled paper and corrugated fibreboard. Orange and blue colours are also specific to the organic palette; however, they are not the determinant ones.

-137-

O r g a n i c I S M



First of all, a designer must realize the task that is in front of him and answer the following questions: -How unique and individual, or typical and mainstream the design project should be? -How important the organic trend is for the target audience of the project? -Is the brand for which the design is created really aimed at conveying the idea of Organicity and organic values? -What physical products the design will be applied to and what are the technological possibilities to manufacture these products?

––– What are the advantage and disadvantage of using organic palette in brand design? –––

The major advantage is that the organic trend is well-known and positively perceived by the consumer. Besides, there are a lot of people and organizations that are ready to support and promote this trend. This is one of the no-lose strategies in the brand design. The disadvantage is that the organic palette is quite limited and all the possible attribute combinations are used up. As a result, most of the design projects in the organic trend resemble each other very much, and the brand individuality is lost.

O r g a n i c I S M


Organic palette is used too frequently. Sometimes it is a success, sometimes not. The consumer very categorically interprets organic palette and it contains a set of clear promises. Therefore, organic brand obtains absolutely specific values that must be proved by it in the future. But very often it becomes a profiteering tool and designers and producers abuse the consumer’s trust. That’s why the organic palette could be both helpful and harmful for the brand.

––– How can organic palette impact on consumers psychologically? ––– ––– What are the industries that you think are suitable for organic-

––– What colours do your use in your project “Design shop oooo.com.ua”

Organic palette has a great influence on the modern consumer. People have got tired and disappointed with low-quality artificial products that are all around them and being stubbornly imposed by the corporations. People are in need of a psychological rest from the fake plastic environment pressure, as well as a return of their belief in the real price and value of the things they are consuming and in themselves. People seek for values rethinking and the new direction for development. And this is what the organic culture industry promises.

palette branding? –––

As a creative person, I can imagine organic palette to be applied in all areas without exception, even in the space weapons industry or in a gay club. But the vast majority of people are not ready for such radical rethinking of the world. Traditionally, the organic palette is applied in the production of food, household items, baby products, cosmetics, clothes, footwear and accessories. The organic palette is less frequently used in customer service industry.

and any reasons for those preferences? –––

As I’ve already mentioned, organic palette is tightly related with the craft and ecological palettes and all of them have the same or similar attributes. When making the identity of the Design Store oooo.com.ua, we rather used craft palette. I had the aim of creating a light, clear, commercial style that would be reasonably trendy. I used the white and brown colours from the organic palette as well as craft paper, recycled paper and corrugated fibreboard. Orange and blue colours are also specific to the organic palette; however, they are not the determinant ones.

-137-

-136-


GROVE MARKET

INTERVIEW WITH HEIDI ADAMS Designer of “Grove Market”

––– What is organic palette in your opinion? Where is it from? –––

An organic palette derives its colours from nature. Nature offers a plethora of colour variations that could be perceived as organic, but it’s the most common colours in nature that we typically think of as organic are browns, neutrals, greens and earthy tones.

Grove strives to bring together urban consumers

––– What are the advantage and disadvantage

with rural farmers and merchants to facilitate

when using organic palette in brand design? –––

cultural exchange, resulting in a strong community If what you are branding has a strong tie to nature, then an organic palette becomes both fitting and inviting. It connects your product or service to your reputation. On a more general scale, organic palettes tend to take on a more timeless feel because nature has been and will continue to be a source of inspiration for designers. A disadvantage would be that due to the palette, there is a fear of colours and type blending together and losing the “eye-catching” quality often utilized to market a product, which is why in our design we developed strong, specific guidelines to our brand to reinforce elements not getting lost or blending in.

that is more aware of Raleigh’s agricultural past and urban future. The packaging of this market was a reflection of the market’s values, as well as its modular structure and logo. In order to address the identity of the market, as well as the identities of merchants, a system of tags and stickers was developed to be applicable to a range of products from gift items to l unch carry- outs. The sticker s and tags were dominated by taglines of the market based upon the word “at”, such as “Bustlin AT the

––– What are the industries that you think are

crack of dawn”. The “at” emphasis distinguishes

suitable for organic-palette branding? –––

the market as a destination, while the variety of taglines portray the personality of the market,

The obvious are food related markets such as restaurants. Depending on what is (being) branded and its context, an organic palette could be the right pick for a variety of brands. It is more important to consider the history and relevance of each brand on a case by case basis: Does an organic palette help tell this brands story?

helping Raleigh citizens to understand the concept of a public indoor market. The brown paper and primary brown ink used reflec t the food’s origins, bringing a raw, unprocessed feel to the market, supporting an understanding and appreciation of locally grown food.

-138-

-139-

O r g a n i c I S M


GROVE MARKET

INTERVIEW WITH HEIDI ADAMS Designer of “Grove Market”

––– What is organic palette in your opinion? Where is it from? –––

An organic palette derives its colours from nature. Nature offers a plethora of colour variations that could be perceived as organic, but it’s the most common colours in nature that we typically think of as organic are browns, neutrals, greens and earthy tones.

Grove strives to bring together urban consumers

––– What are the advantage and disadvantage

with rural farmers and merchants to facilitate

when using organic palette in brand design? –––

O r g a n i c I S M

cultural exchange, resulting in a strong community If what you are branding has a strong tie to nature, then an organic palette becomes both fitting and inviting. It connects your product or service to your reputation. On a more general scale, organic palettes tend to take on a more timeless feel because nature has been and will continue to be a source of inspiration for designers. A disadvantage would be that due to the palette, there is a fear of colours and type blending together and losing the “eye-catching” quality often utilized to market a product, which is why in our design we developed strong, specific guidelines to our brand to reinforce elements not getting lost or blending in.

that is more aware of Raleigh’s agricultural past and urban future. The packaging of this market was a reflection of the market’s values, as well as its modular structure and logo. In order to address the identity of the market, as well as the identities of merchants, a system of tags and stickers was developed to be applicable to a range of products from gift items to l unch carry- outs. The sticker s and tags were dominated by taglines of the market based upon the word “at”, such as “Bustlin AT the

––– What are the industries that you think are

crack of dawn”. The “at” emphasis distinguishes

suitable for organic-palette branding? –––

the market as a destination, while the variety of taglines portray the personality of the market,

The obvious are food related markets such as restaurants. Depending on what is (being) branded and its context, an organic palette could be the right pick for a variety of brands. It is more important to consider the history and relevance of each brand on a case by case basis: Does an organic palette help tell this brands story?

helping Raleigh citizens to understand the concept of a public indoor market. The brown paper and primary brown ink used reflec t the food’s origins, bringing a raw, unprocessed feel to the market, supporting an understanding and appreciation of locally grown food.

-139-

-138-


––– How can organic palette impact on consumers psychologically? –––

I think there is a part of each of us that resonates with nature and it’s that common inspiration that warms (“warms us to an organic palette...” or “draws us to an organic palette…”) to an organic palette. It seems honest and natural, beautiful without flaunting. Our goal in branding with organic palettes, and taking advantage of what it lends itself to, was to resonate with our patrons that they were assured of a quality product via a personal interaction. The emotional connection we sought to establish was inviting and personal.

––– What colours did your use in your project “Grove Market Identity” and any reasons for those preferences? –––

For the Grove Market, we combined prominent use of a dark chocolate brown with supporting earthy tones with a bright pop teal colour. We also used Kraft paper in a lot of our materials. We chose this palette to support the core values of the market; we wanted it to feel home-grown, organic and fresh but we brought in the pop of teal to show the juxtaposition of returning to older methods of buying foods but appealing to today’s generation and desire for fresh food where the process of buying food is a delightful experience and not a chore. It was important for us to know the Grove’s application. Knowing that we wanted a publication, yet needed signage to attract attention in some areas more than others, we needed a softer colour, like the chocolate brown, to be a bit warmer than just set ting our entire pu blication in black, while the teal warmed eas ily on the Kraft paper, yet stood out on signage.


A designer should take into account the story of the brand they are telling. What are the contexts? How will people interact with the brand? What is the mission? And then how can colour palettes help tell this story. It is always valuable to perform case studies. This project was designed and researched specifically for downtown Raleigh, North Carolina, which informed many of our decisions in the system design of our branding as well as the physical product.


Any palette will bring implications and undertones to the people who interact with the brand. The way that a colour palette is applied will determine how someone is influenced by the palette and if it aligns with the rest of the brand. When done right, it should reinforce the core values of a brand. -140-

O r g a n i c I S M


––– How can organic palette impact on consumers psychologically? –––

I think there is a part of each of us that resonates with nature and it’s that common inspiration that warms (“warms us to an organic palette...” or “draws us to an organic palette…”) to an organic palette. It seems honest and natural, beautiful without flaunting. Our goal in branding with organic palettes, and taking advantage of what it lends itself to, was to resonate with our patrons that they were assured of a quality product via a personal interaction. The emotional connection we sought to establish was inviting and personal.

––– What colours did your use in your project “Grove Market Identity” and any reasons for those preferences? –––

For the Grove Market, we combined prominent use of a dark chocolate brown with supporting earthy tones with a bright pop teal colour. We also used Kraft paper in a lot of our materials. We chose this palette to support the core values of the market; we wanted it to feel home-grown, organic and fresh but we brought in the pop of teal to show the juxtaposition of returning to older methods of buying foods but appealing to today’s generation and desire for fresh food where the process of buying food is a delightful experience and not a chore. It was important for us to know the Grove’s application. Knowing that we wanted a publication, yet needed signage to attract attention in some areas more than others, we needed a softer colour, like the chocolate brown, to be a bit warmer than just set ting our entire pu blication in black, while the teal warmed eas ily on the Kraft paper, yet stood out on signage.


O r g a n i c I S M

A designer should take into account the story of the brand they are telling. What are the contexts? How will people interact with the brand? What is the mission? And then how can colour palettes help tell this story. It is always valuable to perform case studies. This project was designed and researched specifically for downtown Raleigh, North Carolina, which informed many of our decisions in the system design of our branding as well as the physical product.


Any palette will bring implications and undertones to the people who interact with the brand. The way that a colour palette is applied will determine how someone is influenced by the palette and if it aligns with the rest of the brand. When done right, it should reinforce the core values of a brand. -140-


PHILIPPE GUIGNARD Designed by Emilie Mattille, >moser

Philippe Guignard is a creative and enthusiastic Master pastry cook, a model of the highest demands in the perpetual quest for perfection. He is noble-hearted, an authentic lover of flavours and local produce, he defends high human values and has accumulated an exceptional body of experience.

O r g a n i c I S M

Having opened his first bakery-confectionery shop in 1989 at the age of 26, he today heads a vast company and holds the fate of several hotels and res taurants in his hands. After having selected >moser to create an identity for his new fast-food outlet in Lausanne, Philippe Guignard finally completely revamped his branding system and the overall image.

-142-

-143-


PHILIPPE GUIGNARD Designed by Emilie Mattille, >moser

Philippe Guignard is a creative and enthusiastic Master pastry cook, a model of the highest demands in the perpetual quest for perfection. He is noble-hearted, an authentic lover of flavours and local produce, he defends high human values and has accumulated an exceptional body of experience.

O r g a n i c I S M

Having opened his first bakery-confectionery shop in 1989 at the age of 26, he today heads a vast company and holds the fate of several hotels and res taurants in his hands. After having selected >moser to create an identity for his new fast-food outlet in Lausanne, Philippe Guignard finally completely revamped his branding system and the overall image.

-143-

-142-


NATURAL SKIN

Materials directly from nature without over treatment, though rough, give a feeling of simplicity and sincerity and what’s more, give the consumer emotion experiences. We have a close relationship with our mother nature who provides what we rely on to live since the very moment we came to the world. Nature is a great source of fun, especially to kids. Many of you must have played with sand when you were in your childhood. A shovel in hand, a few hours, one afternoon, or even the whole day, that is a great experience. We might say that the “sand” is a code, which could evoke our memory of nature. Organic material in some sense works just like the “sand”, which can touch the consumer’s heart by calling back the past memory. It is probable that there is no gap between the nature and us, or we have established a deep attachment with the nature.

Apart from the emotion experience, some other advantages of organic materials can also account for the popularity of organic packaging: Eco-friendly:

Organic materials come from nature, unprocessed and untreated; therefore, they are degradable and renewable, which are environment-friendly. Organic aesthetic:

Organic materials are natural, simple, original and unique that are pretty different from plastic packages with pompous appearance that can be copied. They cater to people’s visual desire and sought to be one of the standard of aesthetic in packaging. Low cost:

Compared with other materials like plastics, organic materials, in most of the times, can lower the budget in a lot of ways.

With the rapid development of packaging technology, the number and the style of commodity package are increasing day by day. In recent years, however, modern package brings forth different kinds of safety issues while we are immersed in tons of fancy packages. Designers in the graphic design world begin to ponder for a solution, and the solution is packaging with organic materials. What is organic material? Accroding to Sai Uennatornwaranggoon, organic material is “retrieved from a natural source with the capability to compost”. There are various kinds of materials that could be used in package design, such as bamboo, textiles, wood, unbleached paper, stone, coconut shell, drie d gourds, luffa and grasses. -144-

Organic materials are commonly seen in some industries like foods, fashion and cosmetics. Even though there is no boundary for organic material utilization and all the organic materials, the same, give us feelings of nature, safety, healthy or the like, some brands show preference to a certain material. Take the example of “Mediterra”, a homemade brand, sackcloth bags, cardboard and brown newsprint paper are used to emphasize its local origin and high quality; while “Maori Exotic Deli” takes Maori bamboo-woven container as its package, with which these two packaging are endowed with their regional cultures. Utilizing organic materials for package not only meets the requirements of consumers’ pursuit of green and organic life, but also helps the brand promote its image and brand values, increasing brand’s market share and winning more customers and benefits. -145-

O r g a n i c I S M


NATURAL SKIN

Materials directly from nature without over treatment, though rough, give a feeling of simplicity and sincerity and what’s more, give the consumer emotion experiences. We have a close relationship with our mother nature who provides what we rely on to live since the very moment we came to the world. Nature is a great source of fun, especially to kids. Many of you must have played with sand when you were in your childhood. A shovel in hand, a few hours, one afternoon, or even the whole day, that is a great experience. We might say that the “sand” is a code, which could evoke our memory of nature. Organic material in some sense works just like the “sand”, which can touch the consumer’s heart by calling back the past memory. It is probable that there is no gap between the nature and us, or we have established a deep attachment with the nature.

Apart from the emotion experience, some other advantages of organic materials can also account for the popularity of organic packaging: Eco-friendly:

Organic materials come from nature, unprocessed and untreated; therefore, they are degradable and renewable, which are environment-friendly. Organic aesthetic:

Organic materials are natural, simple, original and unique that are pretty different from plastic packages with pompous appearance that can be copied. They cater to people’s visual desire and sought to be one of the standard of aesthetic in packaging. Low cost:

Compared with other materials like plastics, organic materials, in most of the times, can lower the budget in a lot of ways.

With the rapid development of packaging technology, the number and the style of commodity package are increasing day by day. In recent years, however, modern package brings forth different kinds of safety issues while we are immersed in tons of fancy packages. Designers in the graphic design world begin to ponder for a solution, and the solution is packaging with organic materials. What is organic material? Accroding to Sai Uennatornwaranggoon, organic material is “retrieved from a natural source with the capability to compost”. There are various kinds of materials that could be used in package design, such as bamboo, textiles, wood, unbleached paper, stone, coconut shell, drie d gourds, luffa and grasses. -144-

Organic materials are commonly seen in some industries like foods, fashion and cosmetics. Even though there is no boundary for organic material utilization and all the organic materials, the same, give us feelings of nature, safety, healthy or the like, some brands show preference to a certain material. Take the example of “Mediterra”, a homemade brand, sackcloth bags, cardboard and brown newsprint paper are used to emphasize its local origin and high quality; while “Maori Exotic Deli” takes Maori bamboo-woven container as its package, with which these two packaging are endowed with their regional cultures. Utilizing organic materials for package not only meets the requirements of consumers’ pursuit of green and organic life, but also helps the brand promote its image and brand values, increasing brand’s market share and winning more customers and benefits. -145-

Cipmann was asked to create the visual identity and packaging for the homemade honey and honey-based products that would emphasize their local origin and high quality. The designers came up with the brand name, Mediterra (“med” is Croatian word for honey, and “terra” is Latin for land, earth) and the identity that evokes natural balance and puts the bee in the primary focus. The package design is inspired by traditional jars of homemade food which were extremely simple and had just a name sticker on them. The label on the jar is as simple as it can get. If we were to remove just one more element, it wouldn’t function any more. The colour of the honey is actually the primary differentiator between the products, as it was in the old days. The designers think that the unobtrusive label lets the rich colour of the honey speak for itself. And it speaks volumes. The jar also contains a coaster doubling as a business card, situated under the jar’s “cap”, so the jar doesn’t stick to the surface.

MEDITERRA

O r g a n i c I S M

Cipmann was asked to create the visual identity and packaging for the homemade honey and honey-based products that would emphasize their local origin and high quality. The designers came up with the brand name, Mediterra (“med” is Croatian word for honey, and “terra” is Latin for land, earth) and the identity that evokes natural balance and puts the bee in the primary focus. The package design is inspired by traditional jars of homemade food which were extremely simple and had just a name sticker on them. The label on the jar is as simple as it can get. If we were to remove just one more element, it wouldn’t function any more. The colour of the honey is actually the primary differentiator between the products, as it was in the old days. The designers think that the unobtrusive label lets the rich colour of the honey speak for itself. And it speaks volumes. The jar also contains a coaster doubling as a business card, situated under the jar’s “cap”, so the jar doesn’t stick to the surface.

MEDITERRA


INTERVIEW WITH CIPMANN Design studio of “Mediterra”

––– Is the package locally resourced? Where is its origin? –––

Yes, the packaging for Mediterra honey products is in its majority locally resourced. The glass jars and bottles have been acquired at the local shop, as well as the sackcloth, the cardboard coaster and brown newsprint from the local print shop. When we say local, we mean Rijeka, Croatia. The only thing ordered from abroad is the green labels (Fasson Pastel Offset Green).

––– “Terra”is Latin for land, earth. How did

––– What’s organic material? What organic

––– Some said packaging should go organic

you convey “terra” through the material? –––

materials did you use in the packaging? How

in shape and form, and more importantly, in

do they help to present an organic look? –––

concept. How do you achieve that in terms of

The spirit of “terra” is conveyed through the colour of the label and the tactile sensation of sackcloth, newsprint and cardboard, as well as their colour. However, the main role in the packaging is played by the honey itself. Since the design of the packaging is extremely unobtrusive, it puts the organic honey in the primary focus, as one of nature’s most valued nectars. The full name, Mediterra, also refers to the origin of the product, Mediterranean, and the word “med” stands for honey in Croatian.

material? –––

The way we see it, organic materials are manufactured from natural elements in the way that has least harm to the environment, or are recycled. The organic materials we used in this packaging are sackcloth bags, cardboard and brown newsprint paper. They add to the organic look with their colour, texture and origin. But, as we have already mentioned, the most organic material of this packaging is the honey itself.

In Cipmann, we believe that concept for the design should be based on the product/service that needs to be communicated and presented in its true light. In this case, we had a homemade and home-grown product and made it in a way dictated the materials that were used for its packaging. We were also inspired by the old ways of food storage which were practically clear jars and a sticker with a handwritten name on it.

O r g a n i c I S M

-149-


INTERVIEW WITH CIPMANN Design studio of “Mediterra”

––– Is the package locally resourced? Where is its origin? –––

Yes, the packaging for Mediterra honey products is in its majority locally resourced. The glass jars and bottles have been acquired at the local shop, as well as the sackcloth, the cardboard coaster and brown newsprint from the local print shop. When we say local, we mean Rijeka, Croatia. The only thing ordered from abroad is the green labels (Fasson Pastel Offset Green).

––– “Terra”is Latin for land, earth. How did

––– What’s organic material? What organic

––– Some said packaging should go organic

you convey “terra” through the material? –––

materials did you use in the packaging? How

in shape and form, and more importantly, in

do they help to present an organic look? –––

concept. How do you achieve that in terms of

The spirit of “terra” is conveyed through the colour of the label and the tactile sensation of sackcloth, newsprint and cardboard, as well as their colour. However, the main role in the packaging is played by the honey itself. Since the design of the packaging is extremely unobtrusive, it puts the organic honey in the primary focus, as one of nature’s most valued nectars. The full name, Mediterra, also refers to the origin of the product, Mediterranean, and the word “med” stands for honey in Croatian.

material? –––

The way we see it, organic materials are manufactured from natural elements in the way that has least harm to the environment, or are recycled. The organic materials we used in this packaging are sackcloth bags, cardboard and brown newsprint paper. They add to the organic look with their colour, texture and origin. But, as we have already mentioned, the most organic material of this packaging is the honey itself.

In Cipmann, we believe that concept for the design should be based on the product/service that needs to be communicated and presented in its true light. In this case, we had a homemade and home-grown product and made it in a way dictated the materials that were used for its packaging. We were also inspired by the old ways of food storage which were practically clear jars and a sticker with a handwritten name on it.

O r g a n i c I S M

-149-


MAORI EXOTIC DELI Designed by CEDRIK FERRER

Based on the native culture of the Maori people from New Zealand, this exotic deli is owned by a modern Maori family who imports local delicacies globally, where the profit helps preserve the marine environment in New Zealand. As part of their life and values, the preservation of the environment is very significant to the Maori culture. This deli not only offers a variety of products produced naturally and earth-friendly, but also uses packaging and branding materials that pertain to their values and standards.

ORGANIC MUSHROOM Designed by Ruby Lim O r g a n i c I S M

The design objective is to create a new brand identity and packaging design that communicates a unique story, character and inspiration from the Maori culture, and to successfully incorporate a modern and good design with the tribe concept and natural materials. The designer wanted to go into a different direction from the tribal tattoo and face sculpture design solutions. So, inspiration was taken mainly from the very own design techniques of patterns, handicraft materials, organic texture, and the colours of the Maori sculptures.

The “Organic Mushroom” is uniquely designed with the type of material used. Bringing the vision of organically born, it is suitable for the eco-friendly environment with some usage from the packaging itself. The concept is to bring the essence of nature. Ruby Lim came out with three shapes of packaging, which also differentiate three types of mushrooms. It is all finely hand-made packaging using a material called “luffa”, tied with raffia strings while using recycled wood box as its display box. Besides, to suit up it’s wholly organic born mushroom, the packaging itself is reusable as a bath or kitchen sponge. Moreover, Ruby Lim has also created a fabric tag to support the organic foods while keeping the environmental friendly awareness.

-151-


MAORI EXOTIC DELI Designed by CEDRIK FERRER

Based on the native culture of the Maori people from New Zealand, this exotic deli is owned by a modern Maori family who imports local delicacies globally, where the profit helps preserve the marine environment in New Zealand. As part of their life and values, the preservation of the environment is very significant to the Maori culture. This deli not only offers a variety of products produced naturally and earth-friendly, but also uses packaging and branding materials that pertain to their values and standards.

ORGANIC MUSHROOM Designed by Ruby Lim O r g a n i c I S M

The design objective is to create a new brand identity and packaging design that communicates a unique story, character and inspiration from the Maori culture, and to successfully incorporate a modern and good design with the tribe concept and natural materials. The designer wanted to go into a different direction from the tribal tattoo and face sculpture design solutions. So, inspiration was taken mainly from the very own design techniques of patterns, handicraft materials, organic texture, and the colours of the Maori sculptures.

The “Organic Mushroom” is uniquely designed with the type of material used. Bringing the vision of organically born, it is suitable for the eco-friendly environment with some usage from the packaging itself. The concept is to bring the essence of nature. Ruby Lim came out with three shapes of packaging, which also differentiate three types of mushrooms. It is all finely hand-made packaging using a material called “luffa”, tied with raffia strings while using recycled wood box as its display box. Besides, to suit up it’s wholly organic born mushroom, the packaging itself is reusable as a bath or kitchen sponge. Moreover, Ruby Lim has also created a fabric tag to support the organic foods while keeping the environmental friendly awareness.

-151-

LOKAL LoKal contacted Camilo Rojas to create their brand identity and collateral material for their first restaurant. LOKAL (n.) is a German word for meeting place, restaurant, and public house. Located in bohemian Coconut Grove, LoKal Burgers and Beers redefine the neighbourhood burger joint. Utilizing only the freshest of local ingredients and employing purveyors of humanly raised and natural meats, LoKal Burger and Beer Bar wants people to think about their food. The corporate identity was created to mirror their green, fresh, conscious and sustainable philosophy with a strong typographic logo and symbol, using few print colours and recycled paper stock. Their simple website is easy to navigate, with bold tittles, subtle textures, moody warm tones that create atmosphere, vibrant oranges, and earthy colours communicating a relaxed, friendly attitude.

-153-

O r g a n i c I S M

LOKAL

O r g a n i c I S M

LoKal contacted Camilo Rojas to create their brand identity and collateral material for their first restaurant. LOKAL (n.) is a German word for meeting place, restaurant, and public house. Located in bohemian Coconut Grove, LoKal Burgers and Beers redefine the neighbourhood burger joint. Utilizing only the freshest of local ingredients and employing purveyors of humanly raised and natural meats, LoKal Burger and Beer Bar wants people to think about their food. The corporate identity was created to mirror their green, fresh, conscious and sustainable philosophy with a strong typographic logo and symbol, using few print colours and recycled paper stock. Their simple website is easy to navigate, with bold tittles, subtle textures, moody warm tones that create atmosphere, vibrant oranges, and earthy colours communicating a relaxed, friendly attitude.

-153-

In addition, a photo installation was created and installed in the LoKal’s bathrooms walls. The selected photos are part of the series “The street of Life”, which were created to put a smile on our faces with a daily dose of positivity and reality. They are meant to inspire, motivate, and question our internal concepts by handwriting sentiments and thoughts in found pieces of wood and carton. These photos are currently installed in the bathroom; the typographic message is written backwards on the piece of board, so people would be surprised when they look in the mirror and decipher the message.

––– Which kind of brand tends to take an organic look? –––

Basically, any small or large brand wants to rethink and meet the demands of the modern savvy consumers who are looking for a cleaner, greener alternative to conventional products. The world has changed, all consumers are much more aware of what goes on behind the scenes of a brand.

Finally, the love for words, texture and branding led Camilo Rojas to explore a creation of a branding-typographic installation. Recycled wine corks were chosen to accentuate the importance of recycling, being able to blend branding and sustainability through art. The piece was created by collecting, selecting, separating and putting together approximately 6,950 recycled wine corks by colour and tone.

––– What’s your consideration upon the materials in organic branding/packaging? –––

Lately, I’ve seen bold and stylish branding/packaging made out of organic materials that have really caught my eye. I believe the usage of recycling in graphic design makes the product stand out from the rest of conventional and traditional creations, generates consciousness of the need to experiment, analyze and most importantly, really makes you want to purchase the product.

––– What’s your purpose of engraving the name of the restaurant INTERVIEW WITH CAMILO ROJAS

on the wood? Was it any concern of the material? –––

Designer of “LoKal”

Instead of using the hot-iron brand as a form of identification for cattle, I decided to use this technique on wood and burgers buns. The result, burned wood stained texture, catches your eye immediately. The typographic logo and symbol was created basically inspired on the iconic recycled logo; however, I gave it a twist and created my own interpretation mirroring the Lokal’ s characteristics: green, fresh, local, simple, conscious, sustainable and gave back to the community philosophy.

––– What’s organic material? What are the materials that are suitable for organic branding/packaging? –––

Any material that make a positive environmental impact and unnecessary harm. Raw materials that lack toxic chemicals, use all-natural ingredients, and need less energy usage.

––– What are the messages that organic materials convey? Why did you choose recycled wine corks for the branding? How does it correspondent with the brand values? –––

Organic materials are used to convey a positive message to community because it allows them think outside the box by seeing recycling as a new way to create and support the environment. At LoKal, they are continually “rethinking” the food and branding to lessen impacts on our community and our environment. Supporting this idea, I created the brand identity with a natural colour scheme that evoked organic, sustainability. As an example, the stationery and other paper assortments were made from recycled paper, domestically produced and printed with soy-based inks, as well as the selection of recycled wine corks. -154-

-155-

O r g a n i c I S M

In addition, a photo installation was created and installed in the LoKal’s bathrooms walls. The selected photos are part of the series “The street of Life”, which were created to put a smile on our faces with a daily dose of positivity and reality. They are meant to inspire, motivate, and question our internal concepts by handwriting sentiments and thoughts in found pieces of wood and carton. These photos are currently installed in the bathroom; the typographic message is written backwards on the piece of board, so people would be surprised when they look in the mirror and decipher the message.

––– Which kind of brand tends to take an organic look? –––

Basically, any small or large brand wants to rethink and meet the demands of the modern savvy consumers who are looking for a cleaner, greener alternative to conventional products. The world has changed, all consumers are much more aware of what goes on behind the scenes of a brand.

Finally, the love for words, texture and branding led Camilo Rojas to explore a creation of a branding-typographic installation. Recycled wine corks were chosen to accentuate the importance of recycling, being able to blend branding and sustainability through art. The piece was created by collecting, selecting, separating and putting together approximately 6,950 recycled wine corks by colour and tone.

––– What’s your consideration upon the materials in organic branding/packaging? –––

Lately, I’ve seen bold and stylish branding/packaging made out of organic materials that have really caught my eye. I believe the usage of recycling in graphic design makes the product stand out from the rest of conventional and traditional creations, generates consciousness of the need to experiment, analyze and most importantly, really makes you want to purchase the product.

O r g a n i c I S M

––– What’s your purpose of engraving the name of the restaurant INTERVIEW WITH CAMILO ROJAS

on the wood? Was it any concern of the material? –––

Designer of “LoKal”

Instead of using the hot-iron brand as a form of identification for cattle, I decided to use this technique on wood and burgers buns. The result, burned wood stained texture, catches your eye immediately. The typographic logo and symbol was created basically inspired on the iconic recycled logo; however, I gave it a twist and created my own interpretation mirroring the Lokal’ s characteristics: green, fresh, local, simple, conscious, sustainable and gave back to the community philosophy.

––– What’s organic material? What are the materials that are suitable for organic branding/packaging? –––

Any material that make a positive environmental impact and unnecessary harm. Raw materials that lack toxic chemicals, use all-natural ingredients, and need less energy usage.

––– What are the messages that organic materials convey? Why did you choose recycled wine corks for the branding? How does it correspondent with the brand values? –––

Organic materials are used to convey a positive message to community because it allows them think outside the box by seeing recycling as a new way to create and support the environment. At LoKal, they are continually “rethinking” the food and branding to lessen impacts on our community and our environment. Supporting this idea, I created the brand identity with a natural colour scheme that evoked organic, sustainability. As an example, the stationery and other paper assortments were made from recycled paper, domestically produced and printed with soy-based inks, as well as the selection of recycled wine corks. -155-

-154-


quality in modern commercial society. Furthermore, in recent years, people begin to realize that imperfection is part of human being, part of nature. The flaw or imperfection of craftsmanship now is, in some sense, a unique beauty, which reflects the nature of human being. Therefore, people’s preference of aesthetic in design changes, from “perfection” to “imperfection”. Moreover, craftsmanship takes the spirit and aesthetics of being simple, plain and pure, differentiating itself from industrial production, with which people can buy the same products with the same pragmatic functions and appearance. Products created by craftsmanship are different from one another, tailored to the modern aspiration towards novelty and individuality. Compared with mechanical products, which are regarded cold, without human emotion or feelings, handcrafted subjects with the quality of pure, fresh, original, peaceful and local are what people really need and like. The change of preference from the machine-made to handmade has an effect on the graphic design industry. After decades of creative processing with computer and other machines, there are designers exploring new ways to visually communicate creative ideas simply with hands, like our ancestors. Handcrafted elements associate much more with the nature and raw materials, uniting functionality with form at the same time. Therefore, the design solution becomes more direct and visual. Graphic designers go back to the basic and traditional craftsmanship, using a pen or pencil, knife, paints, glue, scissors and etc. in the design process, with handcrafted handled method like handmade typography, illustration, printing, collage and binding, and combing with natural materials to communicate the spirit of hand-craftsmanship.

More and more brands become aware of the advantages of craftsmanship in expressing their brand values and brand identity. New handcrafted brand designs arouse the feelings of homemade, warmth, exquisiteness and nostalgia among potential consumers through distinctive visual identity. In a highly commercialized society, handcrafted brands pay attention to customers’ real needs, emphasizing peopleoriented value and individuality, making people realize the true self to accept the imperfection of self.

Nowadays, as the concept of Organic prevails, which puts an emphasis on the original state of natural objects, craftsmanship becomes increasingly popular around the world. It has been a long history since people take advantage of craftsmanship to fulfil different needs. Handcrafted items preserve the originality of raw materials without excessive human processing, which is in consonance with the Organic concept of returning to one’s original nature. Craftsmanship is not only a traditional skill, but also an artistic expression method. People explore the function of natural resources based on the physical and basic functionality of materials and/or the aesthetic effect created or extracted by designers.

d o o r P a h s a S y b n o i t a r t s u l l I

After long-time fascination with pure computer and new technology, brand designers are looking for new approaches for good design. Integrating the advanced function of high technology with distinctive handcrafted elements is a great way to break out the limitation of design.

Craftsmanship meets our new aesthetic: perfect imperfection. The industrial production mode caters to the requirements of mass consumption. Large scales of products which are perfectly standardized with the same size, form, etc., are manufactured and launched on the market. Advanced technique is regarded as the representation of perfection, which is pursued by all human beings for a very long time. However, to maximize profit, mass-produced products become vulgar and of poor

-156-

-157-

O r g a n i c I S M


quality in modern commercial society. Furthermore, in recent years, people begin to realize that imperfection is part of human being, part of nature. The flaw or imperfection of craftsmanship now is, in some sense, a unique beauty, which reflects the nature of human being. Therefore, people’s preference of aesthetic in design changes, from “perfection” to “imperfection”. Moreover, craftsmanship takes the spirit and aesthetics of being simple, plain and pure, differentiating itself from industrial production, with which people can buy the same products with the same pragmatic functions and appearance. Products created by craftsmanship are different from one another, tailored to the modern aspiration towards novelty and individuality. Compared with mechanical products, which are regarded cold, without human emotion or feelings, handcrafted subjects with the quality of pure, fresh, original, peaceful and local are what people really need and like. The change of preference from the machine-made to handmade has an effect on the graphic design industry. After decades of creative processing with computer and other machines, there are designers exploring new ways to visually communicate creative ideas simply with hands, like our ancestors. Handcrafted elements associate much more with the nature and raw materials, uniting functionality with form at the same time. Therefore, the design solution becomes more direct and visual. Graphic designers go back to the basic and traditional craftsmanship, using a pen or pencil, knife, paints, glue, scissors and etc. in the design process, with handcrafted handled method like handmade typography, illustration, printing, collage and binding, and combing with natural materials to communicate the spirit of hand-craftsmanship.

More and more brands become aware of the advantages of craftsmanship in expressing their brand values and brand identity. New handcrafted brand designs arouse the feelings of homemade, warmth, exquisiteness and nostalgia among potential consumers through distinctive visual identity. In a highly commercialized society, handcrafted brands pay attention to customers’ real needs, emphasizing peopleoriented value and individuality, making people realize the true self to accept the imperfection of self.

Nowadays, as the concept of Organic prevails, which puts an emphasis on the original state of natural objects, craftsmanship becomes increasingly popular around the world. It has been a long history since people take advantage of craftsmanship to fulfil different needs. Handcrafted items preserve the originality of raw materials without excessive human processing, which is in consonance with the Organic concept of returning to one’s original nature. Craftsmanship is not only a traditional skill, but also an artistic expression method. People explore the function of natural resources based on the physical and basic functionality of materials and/or the aesthetic effect created or extracted by designers.

After long-time fascination with pure computer and new technology, brand designers are looking for new approaches for good design. Integrating the advanced function of high technology with distinctive handcrafted elements is a great way to break out the limitation of design.

Craftsmanship meets our new aesthetic: perfect imperfection. The industrial production mode caters to the requirements of mass consumption. Large scales of products which are perfectly standardized with the same size, form, etc., are manufactured and launched on the market. Advanced technique is regarded as the representation of perfection, which is pursued by all human beings for a very long time. However, to maximize profit, mass-produced products become vulgar and of poor

d o o r P a h s a S y b n o i t a r t s u l l I

-156-


BIRDS OBSESSED

These illustrations were created in 2010 at the request of Migrate Magazine as a contribution to their 12th issue, themed “Obsess”. This magazine is published annually in conjunction with South Africa’s design awards, the Loerie Awards. The first illustration shows two birds building nests. The “normal” bird has completed its typical twig nest and is looking up in surprise at a bird obsessed with building the largest and most extravagant nest it can, using flowers. The second illustration shows two birds collecting worms. The “normal” bird has created a small and somewhat messy pile of wiggling worms. This bird is looking in awe at the obsessed bird that has organized its large collection of worms into rows.

About the designer

Sasha Prood is a freelance designer, illustrator and artist from USA. She creates hand lettering, illustrations, patterns and graphics using pencil, pen and water colour with the computer. Thematically, her works lean toward the organic, natural and scientific with vintage, utilitarian and childhood influences. Animals, vegetables and minerals of all kinds are commonly found in her illustrations.

-157-

O r g a n i c I S M


BIRDS OBSESSED

These illustrations were created in 2010 at the request of Migrate Magazine as a contribution to their 12th issue, themed “Obsess”. This magazine is published annually in conjunction with South Africa’s design awards, the Loerie Awards. The first illustration shows two birds building nests. The “normal” bird has completed its typical twig nest and is looking up in surprise at a bird obsessed with building the largest and most extravagant nest it can, using flowers. The second illustration shows two birds collecting worms. The “normal” bird has created a small and somewhat messy pile of wiggling worms. This bird is looking in awe at the obsessed bird that has organized its large collection of worms into rows.

About the designer

Sasha Prood is a freelance designer, illustrator and artist from USA. She creates hand lettering, illustrations, patterns and graphics using pencil, pen and water colour with the computer. Thematically, her works lean toward the organic, natural and scientific with vintage, utilitarian and childhood influences. Animals, vegetables and minerals of all kinds are commonly found in her illustrations.


––– What’s the inspiration of your hand painting projects? What visual elements do you usually apply in the projects? –––

INTERVIEW WITH SASHA PROOD Illustrator of “Birds Obsessed”

––– In your opinion, how does craftsmanship correlate with the concept of Organic? –––

The sources of my inspirations vary greatly. I love the organization and sense of simplicity found in geometry. I find science to be inspirational, particularly biology, cells, molecules, etc. I have included animals, vegetables and minerals, anything natural and organic into much of my work. Items from childhood are also inspirational to me, particularly those with a sense of play and humour. I’m attracted to vintage items, especially ones that are typographic in nature. I’m inspired by everyday “mundane” things that are basic and utilitarian as well as anything that is hand-made. This includes cultural items such as textiles, ceramics and basket weaving. I’m also interested in aspects of black magic and ritual. And on and on!

Handmade items often feel organic because they have that “perfectly imperfect” quality; each one is unique, just like in nature.

––– Craftsmanship is quite popular nowadays. People prefer handmade things to mechanical products. What result in the aesthetic change of people’s preference in design? –––

Hand-making has been around since the beginning of man. It has been popular far longer than digital design. I don’t consider hand-making a trend, but instead something more along the lines of a design staple. To me, digital design’s popularity over handmade design felt like a trend due to its newness. Now that digital designs’ novelty has faded, people are going back to handmaking. For me, the most exiting are the current discoveries of artists mixing handmade items and computer technology.

––– How do your projects assist communicating the concept of Organic? –––

Some of my projects are more obviously inspired by the concept of Organic because they use natural imagery such as animals, vegetables and minerals. Other projects are more subtly inspired by the organic concept because they allow the medium to flow naturally. An example of this is my watercolour paintings, which play with flowing colours and textures.

-160-


––– What’s the inspiration of your hand painting projects? What visual elements do you usually apply in the projects? –––

INTERVIEW WITH SASHA PROOD Illustrator of “Birds Obsessed”

––– In your opinion, how does craftsmanship correlate with the concept of Organic? –––

The sources of my inspirations vary greatly. I love the organization and sense of simplicity found in geometry. I find science to be inspirational, particularly biology, cells, molecules, etc. I have included animals, vegetables and minerals, anything natural and organic into much of my work. Items from childhood are also inspirational to me, particularly those with a sense of play and humour. I’m attracted to vintage items, especially ones that are typographic in nature. I’m inspired by everyday “mundane” things that are basic and utilitarian as well as anything that is hand-made. This includes cultural items such as textiles, ceramics and basket weaving. I’m also interested in aspects of black magic and ritual. And on and on!

Handmade items often feel organic because they have that “perfectly imperfect” quality; each one is unique, just like in nature.

––– Craftsmanship is quite popular nowadays. People prefer handmade things to mechanical products. What result in the aesthetic change of people’s preference in design? –––

Hand-making has been around since the beginning of man. It has been popular far longer than digital design. I don’t consider hand-making a trend, but instead something more along the lines of a design staple. To me, digital design’s popularity over handmade design felt like a trend due to its newness. Now that digital designs’ novelty has faded, people are going back to handmaking. For me, the most exiting are the current discoveries of artists mixing handmade items and computer technology.

––– How do your projects assist communicating the concept of Organic? –––

Some of my projects are more obviously inspired by the concept of Organic because they use natural imagery such as animals, vegetables and minerals. Other projects are more subtly inspired by the organic concept because they allow the medium to flow naturally. An example of this is my watercolour paintings, which play with flowing colours and textures.

-160-

The first three products are: Wool felt vases: where the seed (provided in the package)

is planted and the plant grows. When the roots of the plant start penetrating the sides of the vase, it’s time to replant it, in a garden or in a bigger vase, with the wool vase still attached, since it’s biodegradable and releases nitrogen and amino acids that feed the plant while it grows.

Wool felt trivets: that explore the fact that wool is flame-

retardant and isolates heat, that come in two shapes: circles that take up less space in the user’s cabinet or “pizza slice” shaped trivets that allow the user to display them on the table as needed.

Wool Picnic blanket: that is water proof, so you can put it

over wet grass; and it is made from “Cobertor de Papa”, a traditional Portuguese blanket that is unique in the world.

DE LÃ By Daniela Cruz, Filipa Alves, Maria Mota, Sara Melo, Raphaella Rocha & Tânia Arêde

The designers found that there was not enough investment in Portuguese wool and that most of small farmers would actually throw it in the trash because selling i t would not even cover the costs of shearing the sheep. So, why bother? With that in mind, the design team created the brand “DE LÃ” that is applied to a series of products which explore the wool properties.

All of these products are made from 100% Portuguese wool which is bought from local farmers that would otherwise dispose of it. The production method is manual, everything from the shearing, to the making of the felt and the final product, therefore using the skills of Portuguese artisans that have worked with wool in their entire lives and whose jobs are at risk since working wool manually is a dying art.

-162-

-163-

The first three products are: Wool felt vases: where the seed (provided in the package)

is planted and the plant grows. When the roots of the plant start penetrating the sides of the vase, it’s time to replant it, in a garden or in a bigger vase, with the wool vase still attached, since it’s biodegradable and releases nitrogen and amino acids that feed the plant while it grows.

Wool felt trivets: that explore the fact that wool is flame-

retardant and isolates heat, that come in two shapes: circles that take up less space in the user’s cabinet or “pizza slice” shaped trivets that allow the user to display them on the table as needed.

Wool Picnic blanket: that is water proof, so you can put it

over wet grass; and it is made from “Cobertor de Papa”, a traditional Portuguese blanket that is unique in the world.

DE LÃ By Daniela Cruz, Filipa Alves, Maria Mota, Sara Melo, Raphaella Rocha & Tânia Arêde

The designers found that there was not enough investment in Portuguese wool and that most of small farmers would actually throw it in the trash because selling i t would not even cover the costs of shearing the sheep. So, why bother? With that in mind, the design team created the brand “DE LÃ” that is applied to a series of products which explore the wool properties.

All of these products are made from 100% Portuguese wool which is bought from local farmers that would otherwise dispose of it. The production method is manual, everything from the shearing, to the making of the felt and the final product, therefore using the skills of Portuguese artisans that have worked with wool in their entire lives and whose jobs are at risk since working wool manually is a dying art.

-163-

-162-


The logo was designed without a grid, so it could be unique and at the same time organic, showing the Liana natural tress and the handmade spirit. That’s the same reason of why the logo is not printed in the envelope, but embossed. It can be more natural and clean than printing in ordinary ways, and also increases the interaction between the user and the paper, only provided by using a seal.

ESTÚDIO CIPÓ Estúdio Cipó is a studio based in São Paulo. The strong Brazilian culture and the appreciation about the country’s mix of native and immigrant populations, makes Estúdio Cipó increase the relationship among Design, Arts and Crafts, which makes it search for the perfect union of those contemporary productions. As Estúdio Cipó aims the Brazilian essence in all of its products, projects and jobs, the best way to represent this concept was keeping the handmade identity. To design the Estúdio Cipó logo, 4 characteristics were considered: Brazilian Essence, Minimal, Pattern (Handmade) and Playfulness.

INTERVIEW WITH LUCAS BLAT Designer and co-founder of “Estúdio Cipó”

O r g a n i c I S M

––– What do you want to express by applying handmade spirit in project “Estúdio Cipó”? –––

This project was designed for Estúdio Cipó, a Brazilian design studio focused on the Brazilian handmade spirit. Since the studio keeps the Brazilian and natural essence on its creations (furniture and graphic projects), the handmade spirit applied on its identity would be very important. Using a seal, I could mechanically emboss the paper, avoiding the common ways of printing.

––– How did you find your passion in handmade skills? –––

Designing in Estúdio Cipó, I learned to appreciate what’s simpler in the Brazilian art. As the studio focuses on this natural essence, we always try to avoid the industrial, but using the handmade way of work. I think that currently, the industrial products can be seen anywhere, which makes the handmade get unusual, and that’s what made me fall in love with this way of designing. The Brazilian culture proposes something very different, precisely the difference I really appreciate.

-164-

-165-


The logo was designed without a grid, so it could be unique and at the same time organic, showing the Liana natural tress and the handmade spirit. That’s the same reason of why the logo is not printed in the envelope, but embossed. It can be more natural and clean than printing in ordinary ways, and also increases the interaction between the user and the paper, only provided by using a seal.

ESTÚDIO CIPÓ Estúdio Cipó is a studio based in São Paulo. The strong Brazilian culture and the appreciation about the country’s mix of native and immigrant populations, makes Estúdio Cipó increase the relationship among Design, Arts and Crafts, which makes it search for the perfect union of those contemporary productions. As Estúdio Cipó aims the Brazilian essence in all of its products, projects and jobs, the best way to represent this concept was keeping the handmade identity. To design the Estúdio Cipó logo, 4 characteristics were considered: Brazilian Essence, Minimal, Pattern (Handmade) and Playfulness.

INTERVIEW WITH LUCAS BLAT Designer and co-founder of “Estúdio Cipó”

O r g a n i c I S M

––– What do you want to express by applying handmade spirit in project “Estúdio Cipó”? –––

This project was designed for Estúdio Cipó, a Brazilian design studio focused on the Brazilian handmade spirit. Since the studio keeps the Brazilian and natural essence on its creations (furniture and graphic projects), the handmade spirit applied on its identity would be very important. Using a seal, I could mechanically emboss the paper, avoiding the common ways of printing.

––– How did you find your passion in handmade skills? –––

Designing in Estúdio Cipó, I learned to appreciate what’s simpler in the Brazilian art. As the studio focuses on this natural essence, we always try to avoid the industrial, but using the handmade way of work. I think that currently, the industrial products can be seen anywhere, which makes the handmade get unusual, and that’s what made me fall in love with this way of designing. The Brazilian culture proposes something very different, precisely the difference I really appreciate.

-165-

-164-

BranD+ / BranD / 2012E

––– How did craftsmanship in your p roject assist the realization of the brand values? –––

We, in Estúdio Cipó, design and craft our own products and creations. By designing this brand, the craftsmanship was very important, so I could represent exactly our way of working.

––– In your opinion, how does craftsmanship correlates with the concept of Organic? –––

As the handmade is the opposite of the digital production, it becomes something more tactile, differently of everything that was designed in the

BranD+ / BranD / 2012E

––– How did craftsmanship in your p roject assist the realization of the brand values? –––

We, in Estúdio Cipó, design and craft our own products and creations. By designing this brand, the craftsmanship was very important, so I could represent exactly our way of working.

––– In your opinion, how does craftsmanship correlates with the concept of Organic? –––

As the handmade is the opposite of the digital production, it becomes something more tactile, differently of everything that was designed in the computer. When the user realizes that the project was made by someone’s hand or in a mechanical way (such as a seal), the relation with the paper becomes different. The texture of the paper can be valued, and that’s when the identity’s organicity can be realized, becoming something more than a simple name or logo, which refers to the nature.

––– How is the concept of craftsmanship illustrated by people in d esign? (like the selection of materials, shapes and textures etc.) –––

I believe that the best way of representing the craftsmanship in the design is thinking about the most remarkable detail in the handmade product: the imperfection. While designing organic forms, ignoring the straight lines and any grid, it is possible to represent the handmade value. Also, choosing a traditional printing method is very important, for example, xylography. In this old method, the interaction between the designer and the material is much bigger, giving more expression to the result. After all, the craftsmanship is different than sending a file to the print shop and wait for the result at home. What I really appreciate is that the result, of what was handmade, can represent the brand in a stronger and more original way.

-166-

( Spotlight )

(SPOTLIGHT) / BranD / 2012E

D E S I G N ELEMENTS + CREATIVE IDEAS + M O D E R A T E RESOURCES ? _____ DESIGN

ORGANIC DESIGNOLOGY

It is a usual way to dissect the design into pieces through our own processes and approaches formed after a few years of practice, ho wever, resulting in clunkiness of the design. Let’s assume that design consists of three pieces: design elements, creative ideas and moderate resources.

O r g a n i c I S M

Can we fill “=” in the blank to show the relationship between the two parts? Certainl y not. Design is far more than merely the combination of design elements, creative ideas and moderate resources. Rather than the amount of design elements, creative ideas or moderate resources employed in a design, organic design lies in its rhythm, balance and flow .

-168-

-169-


Together with some friends, s pending one afternoon in an art gallery or turning on the computer, having some music, you are in the nature. When you put aside the work at hand and relax yourself in the nature, you will

Make it

surprisingly find that inspiration comes to you, naturally.

Rhythmic

Let your pen dance rhythmically on the paper. With the highly development and evolution of graphic design application now, many designers, instead of starting with a pen, rush to the computer and take designs piece by piece. Those designers know deeply sketch’s advantage in allowing an overview to see the design wholly however; not many of them seek its help to keep the flow in the works. Let your ideas flow freely between your pen and paper. The significance of sketch is not to do some job related to the project, but rather to blow up a brainstorm and find a way to zero in.

The sun rises; the sun sets; all the existence in nature is in rhythm. In some way, we can say organic design is a design with rhythm. For the purpose of rhythm in the design process, we need to make a well-scheduled plan. With no plan, we might get out of the track, far away from the rhythm.

Make it

Balanced Balance is the rule from nature. Everything in the universe is in a state of balance, including human beings. Only those objects in the state of balance exist in the universe. Therefore, balance is the focus of organic design.

Feel it with your mind and you may find that, in fact, the plan is rhythmic itself. Your plan is in order; those orders are the rhythm. To keep your inspiration flow in design is not that simple. Designer get stuck from time to time. If that happens, you can go to the nature where you can extend your vision. Like what Robert Bowen(Co-founder and imaginative co-contributor of the creative design and blogging duo at the Arbenting and Dead Wings Designs) said, “Unplugging from these routines and venturing off-topic might be the best way to allow our minds to organically find their way to the design we were looking for in the first place”.

We should keep ourselves in balance. Every year, thousands of designers come into the graphic design area, but the threshold is never low as we have seen superficially. In the heat wave of commercial design, graphic designers have taken a stride in creative skills. But, design is

But, I don’t mean that only the wilderness is the nature. It is rhythm that means to us. Nature is everywhere. -170-

-171-

O r g a n i c I S M


Together with some friends, s pending one afternoon in an art gallery or turning on the computer, having some music, you are in the nature. When you put aside the work at hand and relax yourself in the nature, you will

Make it

surprisingly find that inspiration comes to you, naturally.

Rhythmic

Let your pen dance rhythmically on the paper. With the highly development and evolution of graphic design application now, many designers, instead of starting with a pen, rush to the computer and take designs piece by piece. Those designers know deeply sketch’s advantage in allowing an overview to see the design wholly however; not many of them seek its help to keep the flow in the works. Let your ideas flow freely between your pen and paper. The significance of sketch is not to do some job related to the project, but rather to blow up a brainstorm and find a way to zero in.

The sun rises; the sun sets; all the existence in nature is in rhythm. In some way, we can say organic design is a design with rhythm. For the purpose of rhythm in the design process, we need to make a well-scheduled plan. With no plan, we might get out of the track, far away from the rhythm.

Make it

Balanced Balance is the rule from nature. Everything in the universe is in a state of balance, including human beings. Only those objects in the state of balance exist in the universe. Therefore, balance is the focus of organic design.

Feel it with your mind and you may find that, in fact, the plan is rhythmic itself. Your plan is in order; those orders are the rhythm. To keep your inspiration flow in design is not that simple. Designer get stuck from time to time. If that happens, you can go to the nature where you can extend your vision. Like what Robert Bowen(Co-founder and imaginative co-contributor of the creative design and blogging duo at the Arbenting and Dead Wings Designs) said, “Unplugging from these routines and venturing off-topic might be the best way to allow our minds to organically find their way to the design we were looking for in the first place”.

We should keep ourselves in balance. Every year, thousands of designers come into the graphic design area, but the threshold is never low as we have seen superficially. In the heat wave of commercial design, graphic designers have taken a stride in creative skills. But, design is

But, I don’t mean that only the wilderness is the nature. It is rhythm that means to us. Nature is everywhere.

-170-

O r g a n i c I S M

-171-


not merely a mechanical activity; it involves our body as well as our soul. From those designers who take a position in the field, they have a common characteristic that they all pay attention to self-culture and accomplishment in art, philosophy, literature, etc, which, are the nutrition of our soul and help make our body and soul well-balanced. The biggest challenge that a designer faces while they are achieving organic designs is the time piece. The t ime piece, if not well-balanced, adds a large amount of stress and it is the enemy of organic design in that under that stress, we might force our design to a rush end. The time piece is just like a tumour in our soul and right there to invade. The solution to the problem is easy: to make the deadline the clients give you balanced with that you take for organic design.

Make it

Flow

Being the time lord or the slave of time, it is up to you. Who would like to be a slave any way? We all want an enjoyment from our work. Then, why not squeeze more time from your client. In fact, clients allow longer a timetable for a project, but sometimes, they might give shorter time. Though we can’t set the deadline as we like, we can make it longer most of the time. Just tell your feelings if the deadline is too constrictive and, most of the times, you can extend the deadline as long as you can to design organically.

Unity is the feeling of harmony between all parts of the artwork creating a sense of completeness. No matter how, we should unite all design elements together to make it a coherent complete design. But sometimes the elements are merely fixed together, not united. Unity is not just putting the elements together, but also making them flow together.

Francis Bacon, the famous essayist, said in “Of Studies” that “to spend too much time in studies is sloth”. It is true in organic design as well. If we use too much time on each design process, it is a real waste. Take the process of grabbing an inspiration as an example, we should balance the time used on this process. If we spend more than we should, we might smother ourselves in a swim pool of inspirations and just let the time slip through our fingers for no good.

“Less is more”

After a few years of practice, every designer forms his design methodology. Though it is crucial for most of us to hold a position in the creative area and helps us cover all of our bases, in some way, the design methodology is more of a routine, which confines our creation and brings a negative impact on the works we done. The

Make the design simple. Clean, simple design is better for the flow of communication. Design is not to show our talent, but to deliver your information to the audience. Nothing in the universe i s over-decorated, except that falls into the hands of human. Leave all the unnecessary elements, making it balanced and proportionate between different elements.

-172-

-173-

O r g a n i c I S M


not merely a mechanical activity; it involves our body as well as our soul. From those designers who take a position in the field, they have a common characteristic that they all pay attention to self-culture and accomplishment in art, philosophy, literature, etc, which, are the nutrition of our soul and help make our body and soul well-balanced. The biggest challenge that a designer faces while they are achieving organic designs is the time piece. The t ime piece, if not well-balanced, adds a large amount of stress and it is the enemy of organic design in that under that stress, we might force our design to a rush end. The time piece is just like a tumour in our soul and right there to invade. The solution to the problem is easy: to make the deadline the clients give you balanced with that you take for organic design.

Make it

Flow

Being the time lord or the slave of time, it is up to you. Who would like to be a slave any way? We all want an enjoyment from our work. Then, why not squeeze more time from your client. In fact, clients allow longer a timetable for a project, but sometimes, they might give shorter time. Though we can’t set the deadline as we like, we can make it longer most of the time. Just tell your feelings if the deadline is too constrictive and, most of the times, you can extend the deadline as long as you can to design organically.

Unity is the feeling of harmony between all parts of the artwork creating a sense of completeness. No matter how, we should unite all design elements together to make it a coherent complete design. But sometimes the elements are merely fixed together, not united. Unity is not just putting the elements together, but also making them flow together.

Francis Bacon, the famous essayist, said in “Of Studies” that “to spend too much time in studies is sloth”. It is true in organic design as well. If we use too much time on each design process, it is a real waste. Take the process of grabbing an inspiration as an example, we should balance the time used on this process. If we spend more than we should, we might smother ourselves in a swim pool of inspirations and just let the time slip through our fingers for no good.

“Less is more”

After a few years of practice, every designer forms his design methodology. Though it is crucial for most of us to hold a position in the creative area and helps us cover all of our bases, in some way, the design methodology is more of a routine, which confines our creation and brings a negative impact on the works we done. The

Make the design simple. Clean, simple design is better for the flow of communication. Design is not to show our talent, but to deliver your information to the audience. Nothing in the universe i s over-decorated, except that falls into the hands of human. Leave all the unnecessary elements, making it balanced and proportionate between different elements.

-172-

O r g a n i c I S M

-173-


dissection into pieces made by the routines, though not makes the designs lack of unity, it just fixes the pieces together, rather than ma ke them flow together harmoniously.

work that can be done first and most importantly, to give the client some signs of progress. Design is an activity involving not just the designers, but also the clients. It is very important to establish a pleasant cooperation with the clients. Moreover, the small solution sometimes will give you a great help that big ger solutions would begin to blossom. While you were doing the small things, you might luckily find the flow you need and rush to the end.

How to connect the design elements together naturally and make it flow like the running water? “Ideally, our work should maintain a constant flow of communication and interaction with the users much like the uninterrupted movement of a stream always rushing towards its goal,” according to Robert Bowen.

Not to deny yourself easily. The biggest harm to the flow is self-denial during the design process. It is not the t ime to deny it unt il you have finished it. Just believe your initial feelings or ideas and make them real. To keep the original information and feeling, that is organic design. As is known to all, the design process is long and harsh. It is the most ideal for a raindrop to fall into a sea. A competent designer never stirs up any billows in the design process. Return back. Evolution rather than revolution. Though revolution sometimes changes the world to the better, in most of the times, it is better to work based on an existing design, which might save us a lot of time. You might surprisingly find that your work evolves as time goes and there is no consistency among the dissected elements. Fix your eyes onto your work. Time is the enemy of organic design that it often distracts us from the work, effectively psyching us out, especially when we got no inspiration to keep the design flow. In order to create more organic of a design, t he best way is to keep our eyes off the clock, not until to the step where we get crazy and go punch

Without we human beings, nothing is aesthetic. That is not arrogance or species discrimination. It is just because of that “aesthetic” is our creation. From that, we could recognize the importance of the subject of aesthetic, our audience. There is one difference between art and design; art is a one-side information transmission, while design is bi-side, which defines its significance. Respecting our audience, caring more about their feelings and involving them into mutual communication, that’s what design’s nature is and what it does. Only if our audience get the point, can we grab their attention a nd make the design flow of communication.

a clock. Sometimes, particularly when we are nervous, it is true that we might not focus on the task. Just make full use of your phone. Having made your schedule, it might as well set an alarm: one or two days before each of your design process. In that way, you do not have to worry if the time goes quicker than you expected and constantly cast your eyes on the evil hands of your clock. What’s more, it still can give you a few days for your final work for a process. With the help of the alarm, you don’t have to keep one eye on the clock; that is unacceptable to

If the inspiration doesn’t find you after some time, you’ll have to get your work flow. Who never got stuck? But, that doesn’t mean we can force it, which is the least we can do in organic design. What you can do is to do the -174-

organic design.

-175-

O r g a n i c I S M


dissection into pieces made by the routines, though not makes the designs lack of unity, it just fixes the pieces together, rather than ma ke them flow together harmoniously.

work that can be done first and most importantly, to give the client some signs of progress. Design is an activity involving not just the designers, but also the clients. It is very important to establish a pleasant cooperation with the clients. Moreover, the small solution sometimes will give you a great help that big ger solutions would begin to blossom. While you were doing the small things, you might luckily find the flow you need and rush to the end.

How to connect the design elements together naturally and make it flow like the running water? “Ideally, our work should maintain a constant flow of communication and interaction with the users much like the uninterrupted movement of a stream always rushing towards its goal,” according to Robert Bowen.

Not to deny yourself easily. The biggest harm to the flow is self-denial during the design process. It is not the t ime to deny it unt il you have finished it. Just believe your initial feelings or ideas and make them real. To keep the original information and feeling, that is organic design. As is known to all, the design process is long and harsh. It is the most ideal for a raindrop to fall into a sea. A competent designer never stirs up any billows in the design process. Return back. Evolution rather than revolution. Though revolution sometimes changes the world to the better, in most of the times, it is better to work based on an existing design, which might save us a lot of time. You might surprisingly find that your work evolves as time goes and there is no consistency among the dissected elements.

O r g a n i c I S M

Fix your eyes onto your work. Time is the enemy of organic design that it often distracts us from the work, effectively psyching us out, especially when we got no inspiration to keep the design flow. In order to create more organic of a design, t he best way is to keep our eyes off the clock, not until to the step where we get crazy and go punch

Without we human beings, nothing is aesthetic. That is not arrogance or species discrimination. It is just because of that “aesthetic” is our creation. From that, we could recognize the importance of the subject of aesthetic, our audience. There is one difference between art and design; art is a one-side information transmission, while design is bi-side, which defines its significance. Respecting our audience, caring more about their feelings and involving them into mutual communication, that’s what design’s nature is and what it does. Only if our audience get the point, can we grab their attention a nd make the design flow of communication.

a clock. Sometimes, particularly when we are nervous, it is true that we might not focus on the task. Just make full use of your phone. Having made your schedule, it might as well set an alarm: one or two days before each of your design process. In that way, you do not have to worry if the time goes quicker than you expected and constantly cast your eyes on the evil hands of your clock. What’s more, it still can give you a few days for your final work for a process. With the help of the alarm, you don’t have to keep one eye on the clock; that is unacceptable to

If the inspiration doesn’t find you after some time, you’ll have to get your work flow. Who never got stuck? But, that doesn’t mean we can force it, which is the least we can do in organic design. What you can do is to do the

organic design.

-174-

-175-


intents and purposes, mission statements, etc..., most of the ‘heavy lifting’ is carried by the logo. A single graphic intended to carry and communicate so much. This is why I

According to Robert Bowen:

think it is often seen as being less than organic, or having any kind of flow. Because it is such a limited amount of flow, but it is still there. That’s what we need to focus on. While we may only have three elements (graphics, text, colours) to bring together for the

“I wouldn’t say branding is necessarily less

logo, we can still ensure that they maintain an organic feel by following those principles and ideas. In fact, one can argue it is even more important to choose those three

organic than other design areas, it just often has

elements with greater care.”

less working within it to communicate all that it has to tell. While with a website you can have so many different elements and areas all united

Therefore, organic design is like the rhythm of poems, the balance of the universe and the flow of water. It is easy to make your design organic, while it is also very difficult to realize it. It is just a matter of time. Organic designology is everywhere in the nature waiting to be discovered; be in it, touch it, more importantly, feel it, sense it and define it for yourself.

to communicate the product or service behind them. When you are working on branding, you tend to start very specifically, with the logo. So you begin trying to find ways to say everything that this company stands for with a single graphic. And while we have a near endles s combination of graphic elements, fonts, and colours that we can use to tell this ‘story’, but we tend to still be very limited in what we can use. So branding, while it does spread through every facet of the companies designed interfaces, and in turn can be combined with vast amounts of text explanations of -176-

-177-

O r g a n i c I S M


intents and purposes, mission statements, etc..., most of the ‘heavy lifting’ is carried by the logo. A single graphic intended to carry and communicate so much. This is why I

According to Robert Bowen:

think it is often seen as being less than organic, or having any kind of flow. Because it is such a limited amount of flow, but it is still there. That’s what we need to focus on. While we may only have three elements (graphics, text, colours) to bring together for the

“I wouldn’t say branding is necessarily less

logo, we can still ensure that they maintain an organic feel by following those principles and ideas. In fact, one can argue it is even more important to choose those three

organic than other design areas, it just often has

elements with greater care.”

less working within it to communicate all that it has to tell. While with a website you can have so many different elements and areas all united

Therefore, organic design is like the rhythm of poems, the balance of the universe and the flow of water. It is easy to make your design organic, while it is also very difficult to realize it. It is just a matter of time. Organic designology is everywhere in the nature waiting to be discovered; be in it, touch it, more importantly, feel it, sense it and define it for yourself.

to communicate the product or service behind them. When you are working on branding, you

O r g a n i c I S M

tend to start very specifically, with the logo. So you begin trying to find ways to say everything that this company stands for with a single graphic. And while we have a near endles s combination of graphic elements, fonts, and colours that we can use to tell this ‘story’, but we tend to still be very limited in what we can use. So branding, while it does spread through every facet of the companies designed interfaces, and in turn can be combined with vast amounts of text explanations of

-176-

-177-

Nature is the most talented designer in the game who is too busy and unavailable for hire. Fortunately, we can all learn something from her design style, the Organic Design. Something about the natural and easily flowing visuals resonates subconsciously with audiences. “Organic” is an intuitively perceived style, as readily identifiable to us as a full bloomed flower. In terms of holism, it comes the closest, yet the seemingly simple aesthetic can often be difficult to achieve. That the style is elusive to some designers raises a question: how best can we achieve an organic aesthetic? The solution to that problem can be found in the fundamentals. Organic design as a discipline first came to being when Frank Lloyd Wright coined the term during the early 20th century, and famously called it the “the modern ideal”. Unfortunately, many contend that he had a handle on it himself as much of his work was abstracted, and forced. “Organic” has an inherently simple aesthetic often created by using perfect natural shapes. Not unlike the ones we see in nature, squares, circles, rectangles, spheres and the rest are effectively utilized and blended to form an organically streamlined whole. In design culture, fundamental shapes can subconsciously penetrate the viewers by transmitting an easily identifiable and digested visual. A notable example of this can be seen in viral sensation, Genis Carreras’ Philographics series. He cleverly utilized basic shapes to express very complex philosophical concepts, and the results are organically and simplistically brilliant. The online popularity of the series, a personal project, is a refreshing reminder for brand designers, that natural shapes are a great way to communicate complicated messages which audiences seem to love. The so-called basic shapes are so versatile; some designers have even built homes from them. Literally. Designer and inventor Buckminster Fuller utilized natural shapes to form his most famous work, the Geodesic Dome. Compromised entirely from triangulated circles or smartly arranged triangles, the ingenious design of these 20th century marvels allows for equal dispersion of weight throughout the structure. At first glance, it’s easy to dismiss a giant, cybernetic and metal dome as the evil lair of a James Bond villain rather than an example of organic design. But, techie does not necessarily mean inorganic. That is a misconception. Although it looks like something out of a James Bond film, Fuller’s dome design is as organic as any forest. The process by which the end product is produced, the working concept or perhaps even the function of a design can be organic, even if the finished product does not necessarily scream nature. By using a cleverly intuitive alignment of natural shapes, and a naturally simplistic concept, Fuller has demonstrated the visual appeal and high By Samo Ayoub, CEO of Cultivate ad agency and Co-Founder of Zenarchy Studios

-178-

functionality of organic aesthetics.

O r g a n i c I S M

Nature is the most talented designer in the game who is too busy and unavailable for hire. Fortunately, we can all learn something from her design style, the Organic Design. Something about the natural and easily flowing visuals resonates subconsciously with audiences. “Organic” is an intuitively perceived style, as readily identifiable to us as a full bloomed flower. In terms of holism, it comes the closest, yet the seemingly simple aesthetic can often be difficult to achieve. That the style is elusive to some designers raises a question: how best can we achieve an organic aesthetic? The solution to that problem can be found in the fundamentals. Organic design as a discipline first came to being when Frank Lloyd Wright coined the term during the early 20th century, and famously called it the “the modern ideal”. Unfortunately, many contend that he had a handle on it himself as much of his work was abstracted, and forced. “Organic” has an inherently simple aesthetic often created by using perfect natural shapes. Not unlike the ones we see in nature, squares, circles, rectangles, spheres and the rest are effectively utilized and blended to form an organically streamlined whole. In design culture, fundamental shapes can subconsciously penetrate the viewers by transmitting an easily identifiable and digested visual. A notable example of this can be seen in viral sensation, Genis Carreras’ Philographics series. He cleverly utilized basic shapes to express very complex philosophical concepts, and the results are organically and simplistically brilliant. The online popularity of the series, a personal project, is a refreshing reminder for brand designers, that

O r g a n i c I S M

natural shapes are a great way to communicate complicated messages which audiences seem to love. The so-called basic shapes are so versatile; some designers have even built homes from them. Literally. Designer and inventor Buckminster Fuller utilized natural shapes to form his most famous work, the Geodesic Dome. Compromised entirely from triangulated circles or smartly arranged triangles, the ingenious design of these 20th century marvels allows for equal dispersion of weight throughout the structure. At first glance, it’s easy to dismiss a giant, cybernetic and metal dome as the evil lair of a James Bond villain rather than an example of organic design. But, techie does not necessarily mean inorganic. That is a misconception. Although it looks like something out of a James Bond film, Fuller’s dome design is as organic as any forest. The process by which the end product is produced, the working concept or perhaps even the function of a design can be organic, even if the finished product does not necessarily scream nature. By using a cleverly intuitive alignment of natural shapes, and a naturally simplistic concept, Fuller has demonstrated the visual appeal and high functionality of organic aesthetics.

By Samo Ayoub, CEO of Cultivate ad agency and Co-Founder of Zenarchy Studios

-178-


or incorporates the product onto the label, such as one might see in egg packaging, or snack type products. This usually helps the product stand out on a crowded shelf, and increases the chances a consumer will pick it up. You’re more likely to find the moulded packaging phenomenon on products that sit in big box retailers or any store shelf where competition is stiffest. Food products are especially prevalent, but there are a host of examples across almost every product sector from stationary to lawn care. By acknowledging the need for a product package and building a solution moulded to its contours or otherwise incorporating it onto the container, a designer is effectively entering into an organic design process, a solution that unfolds naturally from within, just like the seed for a plant. This is a fundamental aspect of “Organic”, and an effective way to increase product exposure. Despite the seemingly simple concept of Organic Design, an aesthetic with natural flow and harmony between subject and concept can be a challenge. Creatively yet functionally arranging perfect natural shapes into effective design solutions is easier said. So is utilizing complex mathematical equations such as the golden ratio to develop communications or products. Here are some key components for the daring designer to keep in mind when stepping onto Organic shape designs.

Natural shapes also form an important part of the Golden Ratio, an important if not peripheral element of organic design. The mathematical equation has forced academics to study its aesthetically effective and proportionate qualities for over millennia. It can be found in nature in the arrangements of branches in certain

Inspiration:

plants, vein lines on leaves, animal skeletons, nerve structures, not to mention the chemical compounds of crystals. As for design, it can be seen in everyday

Use nature as a foundation for your designs. Think self-sustainable, vibrant, diverse yet conservational. Like nature itself.

products such as posters, postcards, flat-screen TVs, photos, even playing cards. Many of the great works of art have used the visually pleasing proportions both for the painting and the size of the canvas it rests on. DaVinci’s Flower of Life utilizes the Golden Ratio and is a perfect example of Organic Design. Not just

Seeds:

because of the proportions. The 500 year-old sketch starts with a single idea, and unfolds from within like the seed of a plant. This process is rather... well organic, and is another fundamental of the aesthetic.

Let the design unfold from inside out. A concept or idea should be unpacked or otherwise

When starting out on a project, sometimes there is nothing worse than a blank

unfurled into an ac tionable end product or

page. One effective strategy for combating beginner’s blues is to build a template

design.

using one of a number of golden ratio sub-forms, like the golden spiral or

Be Like Water:

rectangle. Designers, branders and advertisers in general have secretly used these concepts for decades. The advantages are of course obvious, you can guarantee some modicum of aesthetic balance without having to reinvent the wheel. Just

Organic designs should always have an

simply fill in the gaps. Try to find an outline of a golden rectangle and apply it to

inherent flexibility. Both the conception

a design-centric or populist website and you might be surprised what you find.

phase and the development process should be

And this isn’t only restricted to the web. Magazine ads, book covers, product packaging, video game start menus, TV commercial money shots (industry

adaptable and dynamic in order to maintain a

term for the branded final shot in an ad). If an audience or potential consumer is

harmonious flow.

staring at it, there’s a large chance the ratio was factored into its design on some

Snowflake:

level. They don’t call it golden for nothing.

Like the proverbial snowflake, organic designs

“Organic” isn’t limited to geometric ratios and shapes. As mentioned earlier,

should always retain a level of originality.

organic design unfolds from a basic element or idea. In branding, product packaging occasionally takes this to new extremes. Market-savvy designers will mould a package to fit the product it contains, or create packaging that resembles

All things in nature are unique unto themselves, and no design can be labelled organic without expressing an inherent singularity. By creating original designs, your work will really come to l ife. When used in the brand market, “Organic” is a powerful and moving aesthetic. Utilizing perfect natural shapes and its principles does more than building effective brands. Developing effective communications tools in advertising, viral campaigns, product packaging or any branded interaction is a stone’s throw away. A perfectly rounded stone like the dynamic blue planet we call the Nature.

-180-

-181-

O r g a n i c I S M


or incorporates the product onto the label, such as one might see in egg packaging, or snack type products. This usually helps the product stand out on a crowded shelf, and increases the chances a consumer will pick it up. You’re more likely to find the moulded packaging phenomenon on products that sit in big box retailers or any store shelf where competition is stiffest. Food products are especially prevalent, but there are a host of examples across almost every product sector from stationary to lawn care. By acknowledging the need for a product package and building a solution moulded to its contours or otherwise incorporating it onto the container, a designer is effectively entering into an organic design process, a solution that unfolds naturally from within, just like the seed for a plant. This is a fundamental aspect of “Organic”, and an effective way to increase product exposure. Despite the seemingly simple concept of Organic Design, an aesthetic with natural flow and harmony between subject and concept can be a challenge. Creatively yet functionally arranging perfect natural shapes into effective design solutions is easier said. So is utilizing complex mathematical equations such as the golden ratio to develop communications or products. Here are some key components for the daring designer to keep in mind when stepping onto Organic shape designs.

Natural shapes also form an important part of the Golden Ratio, an important if not peripheral element of organic design. The mathematical equation has forced academics to study its aesthetically effective and proportionate qualities for over millennia. It can be found in nature in the arrangements of branches in certain

Inspiration:

plants, vein lines on leaves, animal skeletons, nerve structures, not to mention the chemical compounds of crystals. As for design, it can be seen in everyday

Use nature as a foundation for your designs. Think self-sustainable, vibrant, diverse yet conservational. Like nature itself.

products such as posters, postcards, flat-screen TVs, photos, even playing cards. Many of the great works of art have used the visually pleasing proportions both for the painting and the size of the canvas it rests on. DaVinci’s Flower of Life utilizes the Golden Ratio and is a perfect example of Organic Design. Not just

Seeds:

because of the proportions. The 500 year-old sketch starts with a single idea, and unfolds from within like the seed of a plant. This process is rather... well organic, and is another fundamental of the aesthetic.

Let the design unfold from inside out. A concept

O r g a n i c I S M

or idea should be unpacked or otherwise

When starting out on a project, sometimes there is nothing worse than a blank

unfurled into an ac tionable end product or

page. One effective strategy for combating beginner’s blues is to build a template

design.

using one of a number of golden ratio sub-forms, like the golden spiral or

Be Like Water:

rectangle. Designers, branders and advertisers in general have secretly used these concepts for decades. The advantages are of course obvious, you can guarantee some modicum of aesthetic balance without having to reinvent the wheel. Just

Organic designs should always have an

simply fill in the gaps. Try to find an outline of a golden rectangle and apply it to

inherent flexibility. Both the conception

a design-centric or populist website and you might be surprised what you find.

phase and the development process should be

And this isn’t only restricted to the web. Magazine ads, book covers, product packaging, video game start menus, TV commercial money shots (industry

adaptable and dynamic in order to maintain a

term for the branded final shot in an ad). If an audience or potential consumer is

harmonious flow.

staring at it, there’s a large chance the ratio was factored into its design on some

Snowflake:

level. They don’t call it golden for nothing.

Like the proverbial snowflake, organic designs

“Organic” isn’t limited to geometric ratios and shapes. As mentioned earlier,

should always retain a level of originality.

organic design unfolds from a basic element or idea. In branding, product packaging occasionally takes this to new extremes. Market-savvy designers will mould a package to fit the product it contains, or create packaging that resembles

All things in nature are unique unto themselves, and no design can be labelled organic without expressing an inherent singularity. By creating original designs, your work will really come to l ife. When used in the brand market, “Organic” is a powerful and moving aesthetic. Utilizing perfect natural shapes and its principles does more than building effective brands. Developing effective communications tools in advertising, viral campaigns, product packaging or any branded interaction is a stone’s throw away. A perfectly rounded stone like the dynamic blue planet we call the Nature.

-180-

-181-

––– How does the use of natural shapes or structures relate to the brand value of the brand? ––– Not every good brand must be built from the perfect forms. I think the feeling of the designer is more important in building brands than the “mathematical” features from which it was built. That exact spacing, or that perfect curve, not always fits the way in which we are working. It is necessary to let the good sense to speak louder. But I think brands built on perfect shapes reveal a more accurate refinement. It becomes evident that there is a thorough job spent here, and demonstrates a greater degree of professionalism. This ends up with producing a final set of graphics of the greatest value and consequently the brand can be positioned at a different level.

KENNZUR URBAN SPA The Kennzur is an urban spa in São Paulo, Brazil. It is a place for people to relax, an oasis in the metropolis. This project aims to bring one into contact with this place of well-being and quality of life capable, and to communicate with every customer like an encapsulated time by the spirit of living well.

––– Please give us some other examples of the use of perfect natural shapes or structures in brand design? ––– I am a great admirer of Alexandre Wollner’s work, which is one of the leading names in the formation of modern design in Brazil. Wollner has an extremely rational work and is a master in the use of geometry in brand design. He built great brands throughout his career.

O r g a n i c I S M

––– How did you employ the natural shapes or structures in the branding? ––– ––– Where did your inspiration of the logo shape for project “Kennzur Urban Spa” come from? –––

The word “Kennzur” has no concrete meaning. It is an expression that refers to a kind of mantra, a state of mind. It would be very risky for the brand to be based on one figurative element. I did not

When the project came to Commgroup, it was pretty clear that the

want a symbol representing only this or that.

Kennzur Urban Spa would be more than one place to offer massages and

INTERVIEW WITH VINICIUS COSTA, COMMGROUP Design Sutdio of “Kennzur Urban Spa”

treatments. Every little detail of its structure was being thought to be

I wanted to create a form that is fluid, open… without beginning, without end, in a way that effectively

part of a large green refuge in the middle of the metropolis (São Paulo).

integrates the essence of Kennzur and its proposal. So I did an exercise in creating backwards. In this

The Kennzur offers a completely opposite to the reality of the city. It’s

case, I thought that using the perfect forms would help me, because I wanted something abstract, but it

an immersion in feelings and positive experiences in direct contact with

would need an efficient and true justification of its relationship with nature.

nature. I started drawing elements from the golden geometry and intersect them and repeat until I start

––– What is your opinion on the perfect shapes or structures from nature? ––– There was a clear idea of putting natural elements and mild forms of the

to see sketches of pleasant shapes that brought me those characteristics of fluidity and continuity

This is fascinating. The relations of proportion and how these forms are

brand, so that the essence of Kennzur can be strengthened through the

that I wanted. From there, it was a work of refinement and adaptation of the symbol with the set of

manifested in virtually everything, happens in a logical and even poetic

design of its brand.

typography.

way. It’s like if we were able to visually decode all things through perfect forms. And then we found structural relationships in virtually everything,

From there, we surround ourselves with hundreds of images of all kinds:

which is a paradox, because everything is so different in nature, but at the

flowers, plants, seedlings, soil, water, wood and stones. Each of these

same time, it carries the same essence and is composed by the same shapes

elements has aesthetic features incredible in detail and we realized that

somehow.

they offer a good basis in ways that could work.

-182-

––– How do you think the use of natural shapes or structures help express the concept of Organic? ––– Everything that is alive or relates to what is alive, intrinsically carries these forms in their composition. Perhaps the more pure and consistent way to express the concept of Organic is from natural shapes.

-183-

––– How does the use of natural shapes or structures relate to the brand value of the brand? ––– Not every good brand must be built from the perfect forms. I think the feeling of the designer is more important in building brands than the “mathematical” features from which it was built. That exact spacing, or that perfect curve, not always fits the way in which we are working. It is necessary to let the good sense to speak louder. But I think brands built on perfect shapes reveal a more accurate refinement. It becomes evident that there is a thorough job spent here, and demonstrates a greater degree of professionalism. This ends up with producing a final set of graphics of the greatest value and consequently the brand can be positioned at a different level.

––– Please give us some other examples of the use of perfect natural shapes or structures in brand

KENNZUR URBAN SPA

design? –––

The Kennzur is an urban spa in São Paulo, Brazil. It is a place for people to relax, an oasis in the metropolis. This project aims to bring one into contact with this place of well-being and quality of life capable, and to communicate with every customer like an encapsulated time by the spirit of living well.

I am a great admirer of Alexandre Wollner’s work, which is one of the leading names in the formation of modern design in Brazil. Wollner has an extremely rational work and is a master in the use of geometry in brand design. He built great brands throughout his career.

O r g a n i c I S M

––– How did you employ the natural shapes or structures in the branding? ––– ––– Where did your inspiration of the logo shape for project “Kennzur The word “Kennzur” has no concrete meaning. It is an expression that refers to a kind of mantra, a

Urban Spa” come from? –––

state of mind. It would be very risky for the brand to be based on one figurative element. I did not want a symbol representing only this or that.

When the project came to Commgroup, it was pretty clear that the Kennzur Urban Spa would be more than one place to offer massages and

INTERVIEW WITH VINICIUS COSTA, COMMGROUP Design Sutdio of “Kennzur Urban Spa”

treatments. Every little detail of its structure was being thought to be

I wanted to create a form that is fluid, open… without beginning, without end, in a way that effectively

part of a large green refuge in the middle of the metropolis (São Paulo).

integrates the essence of Kennzur and its proposal. So I did an exercise in creating backwards. In this

The Kennzur offers a completely opposite to the reality of the city. It’s

case, I thought that using the perfect forms would help me, because I wanted something abstract, but it

an immersion in feelings and positive experiences in direct contact with

would need an efficient and true justification of its relationship with nature.

nature. I started drawing elements from the golden geometry and intersect them and repeat until I start

––– What is your opinion on the perfect shapes or structures from nature? ––– There was a clear idea of putting natural elements and mild forms of the

to see sketches of pleasant shapes that brought me those characteristics of fluidity and continuity

This is fascinating. The relations of proportion and how these forms are

brand, so that the essence of Kennzur can be strengthened through the

that I wanted. From there, it was a work of refinement and adaptation of the symbol with the set of

manifested in virtually everything, happens in a logical and even poetic

design of its brand.

typography.

way. It’s like if we were able to visually decode all things through perfect forms. And then we found structural relationships in virtually everything,

From there, we surround ourselves with hundreds of images of all kinds:

which is a paradox, because everything is so different in nature, but at the

flowers, plants, seedlings, soil, water, wood and stones. Each of these

same time, it carries the same essence and is composed by the same shapes

elements has aesthetic features incredible in detail and we realized that

somehow.

they offer a good basis in ways that could work.

––– How do you think the use of natural shapes or structures help express the concept of Organic? ––– Everything that is alive or relates to what is alive, intrinsically carries these forms in their composition. Perhaps the more pure and consistent way to express the concept of Organic is from natural shapes.

-183-

-182-


––– Please give us some other examples of the use of perfect natural shapes or structures in brand design? ––– Apple computer is a good example. The natural

INTERVIEW WITH SCANDINAVIAN DESIGNLAB

shape of the apple is strong, iconic and universal,

Design agency of “M-IDEA FOREVER”

understood by the whole world.

––– What’s your opinion on the perfect shapes or structures from nature? –––

O r g a n i c I S M

There are so many shapes and structures in nature that can be perfect, such as the Carbon molecular structure. When using natural shapes as part of an identity, it is important that they are fed through a strong concept, which expresses the DNA of the brand, like the Hexagon in the

M-IDEA FOREVER

––– Why did you use Carbon molecular

Carbon Concept.

structure as the identity symbol concept in branding “M-IDEA FOREVER” project? How

M-IDEA FOREVER is a new Chinese high-end men’s fashion brand. The brand identity is based on Carbon Concept. The brand identity symbol is inspired by Carbon’s molecular structure, which is shaped as a hexagon. Through different combinations of the hexagon structure, Carbon can take various physical forms, which represents the characteristics (Avant Garde and Technology) and diversity of the brand.

did you use the element of Carbon molecular structure in the whole design? ––– Carbon as an abstraction of the brand M-IDEA FOREVER expresses the two different characteristics Avant Garde/Graphite and Technology/Diamond. What unites them is the hexagon, the molecular structure of Carbon. ––– What’s your inspiration of applying the

The Hexagon is a very strong graphic and clear

Carbon Concept to this fashion brand? –––

symbol; therefore, it works in many contexts when working with the identit y from the graphic to being able to incorporate it into variousproducts.

The brand characteristics for the fashion brand, M-IDEA FOREVER, are Avant Garde and

-184-

Technology and these characteristics contain the

The molecular structure expressed through the

same diversity as Carbon. Carbon can change

Hexagon symbol has been integrated in all parts

character from graphite to diamond; and these

of the design; as the shape of a neck-label or VIP

two opposites contain values that in many ways

card, embossed in buttons, as belt buckle, folded

express the contrast and characteristics of the

in hang-tags, as background in photos, sewn

M-IDEA FOREVER brand.

into clothing design, etc.

-185-


––– Please give us some other examples of the use of perfect natural shapes or structures in brand design? ––– Apple computer is a good example. The natural

INTERVIEW WITH SCANDINAVIAN DESIGNLAB

shape of the apple is strong, iconic and universal,

Design agency of “M-IDEA FOREVER”

understood by the whole world.

––– What’s your opinion on the perfect shapes or structures from nature? –––

O r g a n i c I S M

There are so many shapes and structures in nature that can be perfect, such as the Carbon molecular structure. When using natural shapes as part of an identity, it is important that they are fed through a strong concept, which expresses the DNA of the brand, like the Hexagon in the

M-IDEA FOREVER

––– Why did you use Carbon molecular

Carbon Concept.

structure as the identity symbol concept in branding “M-IDEA FOREVER” project? How

M-IDEA FOREVER is a new Chinese high-end men’s fashion brand. The brand identity is based on Carbon Concept. The brand identity symbol is inspired by Carbon’s molecular structure, which is shaped as a hexagon. Through different combinations of the hexagon structure, Carbon can take various physical forms, which represents the characteristics (Avant Garde and Technology) and diversity of the brand.

did you use the element of Carbon molecular structure in the whole design? ––– Carbon as an abstraction of the brand M-IDEA FOREVER expresses the two different characteristics Avant Garde/Graphite and Technology/Diamond. What unites them is the hexagon, the molecular structure of Carbon. ––– What’s your inspiration of applying the

The Hexagon is a very strong graphic and clear

Carbon Concept to this fashion brand? –––

symbol; therefore, it works in many contexts when working with the identit y from the graphic to being able to incorporate it into variousproducts.

The brand characteristics for the fashion brand, M-IDEA FOREVER, are Avant Garde and Technology and these characteristics contain the

The molecular structure expressed through the

same diversity as Carbon. Carbon can change

Hexagon symbol has been integrated in all parts

character from graphite to diamond; and these

of the design; as the shape of a neck-label or VIP

two opposites contain values that in many ways

card, embossed in buttons, as belt buckle, folded

express the contrast and characteristics of the

in hang-tags, as background in photos, sewn

M-IDEA FOREVER brand.

into clothing design, etc.

-184-

-185-


AKI NAGAO

Aki Nagao is a French restaurant in Sapporo Japan. Mr, Nagao is the head chef and owner of this restaurant. COMMUNE designed its brand identity. The concept of the design is “Every day’s French”, communicating that the restaurant offers very high quality French dishes not like a prestigious restaurant, but in a casual There were three important points when producing the design. style and easy-to-come-in way.

– –– What’s your inspiration of applying the DNA structure in project “French Restaurant Aki Nagao”? What draws your preference on this DNA structure? ––– The French restaurant Aki Nagao, just like its name suggesting, has the DNA of the chef Aki Nagao himself pulsing through the restaurant. The question is how to express this DNA. When I had the idea of overlapping the italics of the initials, A and N, to form a striped helix, I thought then that this was it.

1. Head Chef M r. Nagao’s DNA.

––– How did you employ the DNA structure in this branding? –––

How he cooks now is from all his background, the designers express it as his DNA.

From putting the upper case of the letters A and N side by the side, I could see the common

What kind of experience he has, where he comes from, what kind of

form present. Working from there, a stripe was formed and then it progressed to a double

ingredients he chooses.

helix of a DNA strand after putting them over each other. Taking the slanted rod shape

The design team wanted to impress customers by VI, including the naming,

from the shop’s card and bending the logo, it became a piece of the helix formation. It then

shop logo using DNA motif and his sign logo type.

developed to piece all these together to form a helix.

O r g a n i c I S M

––– How does the use of the DNA structure relate to the brand value of the brand? –––

2. Correlation and fusion of new and old thing. Restaurant itself is brand new and mainly using white colour, but the design team uses antique objects and old woods as key in t he restaurant.

The important thing to a design is its simplicity. The simplicity of the idea and having a core concept gives the work its quality. This quality may then translate into the quality of the

3. Everyday’s French cuisine

brand. Having come up with the concept of the DNA and being able to design it simply adds

Be relax to come to the restaurant, put catch phrase in the graphic tool which makes

to the value of our brand.

closer between customers and staff. Moreover, from the website customer can see message from the staff and the concept of the restaurant.

––– Please give us some other examples of the use of perfect natural shapes or structures in brand design? ––– INTERVIEW WITH YUJI TERADA, COMMUNE Recently I took on a project designing the package for Japanese tea. I found inspiration from

Design agency of “Aki Nagao”

considering each individual drop of tea that is extracted from the tea leaves and each drop of ink in a work of Japanese calligraphy, and I employed a design using dots. The collection

––– What is your opinion on the perfect shapes or structures from nature? –––

of dots forms a pattern with each dot drawn by hand and therefore each one being different. This is a different concept from that of Aki Nagao. Rather than just a simplistic pattern of

When we take a natural object and examine it up close, from that simple object we see that is made up

dots, I drew each dot differently by hand resulting in a design with a strong organic quality

of many complex and coordinated fractals and from there, a visual with an abundance of information

and imbued with a large quantity of information, which I believe brings alive the beauty of

can be created. This is aesthetically intriguing to humans. -186-

nature.

-187-


AKI NAGAO

Aki Nagao is a French restaurant in Sapporo Japan. Mr, Nagao is the head chef and owner of this restaurant. COMMUNE designed its brand identity. The concept of the design is “Every day’s French”, communicating that the restaurant offers very high quality French dishes not like a prestigious restaurant, but in a casual There were three important points when producing the design. style and easy-to-come-in way.

– –– What’s your inspiration of applying the DNA structure in project “French Restaurant Aki Nagao”? What draws your preference on this DNA structure? ––– The French restaurant Aki Nagao, just like its name suggesting, has the DNA of the chef Aki Nagao himself pulsing through the restaurant. The question is how to express this DNA. When I had the idea of overlapping the italics of the initials, A and N, to form a striped helix, I thought then that this was it.

1. Head Chef M r. Nagao’s DNA.

––– How did you employ the DNA structure in this branding? –––

How he cooks now is from all his background, the designers express it as his DNA.

From putting the upper case of the letters A and N side by the side, I could see the common

What kind of experience he has, where he comes from, what kind of

form present. Working from there, a stripe was formed and then it progressed to a double

ingredients he chooses.

helix of a DNA strand after putting them over each other. Taking the slanted rod shape

The design team wanted to impress customers by VI, including the naming,

from the shop’s card and bending the logo, it became a piece of the helix formation. It then

shop logo using DNA motif and his sign logo type.

developed to piece all these together to form a helix.

O r g a n i c I S M

––– How does the use of the DNA structure relate to the brand value of the brand? –––

2. Correlation and fusion of new and old thing. Restaurant itself is brand new and mainly using white colour, but the design team uses antique objects and old woods as key in t he restaurant.

The important thing to a design is its simplicity. The simplicity of the idea and having a core concept gives the work its quality. This quality may then translate into the quality of the

3. Everyday’s French cuisine

brand. Having come up with the concept of the DNA and being able to design it simply adds

Be relax to come to the restaurant, put catch phrase in the graphic tool which makes

to the value of our brand.

closer between customers and staff. Moreover, from the website customer can see message from the staff and the concept of the restaurant.

––– Please give us some other examples of the use of perfect natural shapes or structures in brand design? ––– INTERVIEW WITH YUJI TERADA, COMMUNE Recently I took on a project designing the package for Japanese tea. I found inspiration from

Design agency of “Aki Nagao”

considering each individual drop of tea that is extracted from the tea leaves and each drop of ink in a work of Japanese calligraphy, and I employed a design using dots. The collection

––– What is your opinion on the perfect shapes or structures from nature? –––

of dots forms a pattern with each dot drawn by hand and therefore each one being different. This is a different concept from that of Aki Nagao. Rather than just a simplistic pattern of

When we take a natural object and examine it up close, from that simple object we see that is made up

dots, I drew each dot differently by hand resulting in a design with a strong organic quality

of many complex and coordinated fractals and from there, a visual with an abundance of information

and imbued with a large quantity of information, which I believe brings alive the beauty of

can be created. This is aesthetically intriguing to humans.

nature.

-186-

-187-


Branding is communicating, so it’s more logical to do that according to the market you want to be in. If you want to reach your target audience according to their culture, it’s clear that you have to speak the same language, both verbally and visually. Brands are communicating with us in a lot of ways, through different media, whether we are aware of it or not. Open your fridge and imagine that you have to take the orange juice carton next to the milk one, without having any label, visual reference or language on it you can read; the consumer should be able to read and understand the message you want to tell him. But, reaching your target audience on a global scale is not as easy as that. A brand exists in people’s hearts and minds. A consumer needs to have a consistent brand experience all the time. Drinking a Coca Cola in America should trigger the same feeling as drinking one in China. So limiting your


marketing strategy to your own culture is not ideal if you want to be recognized internationally with the same brand image. Although we all are living in a different culture, consumers need to identify your brand in the same way, wherever they go. This is why brand management is so difficult. How far do you want to go, to change and adapt your brand positioning to the local culture without losing your identity and credibility? When globalizing, the image of the brand and the way the consumer perceives it should stay the same. Some visual elements and language can be adapted to the market however, as long as you remain true to the look and feel, convey the same messages and, more importantly, evoke emotional reactions. So the overall identity should not change towards the consumer, but the way you position yourself or communicate needs to be tailored to the market. We all feel the world is getting smaller and smaller everyday through new media,

The influence of different local cultures, religions, environment and geography to brand design

new travel experiences, social networks… but there is no doubt that different cultures have different needs and perceptions. When we focus on brand design itself, your brand can be influenced on different levels. We need to take into account a lot of factors when adapting the visual language to the foreign market. First of all, geography is a very crucial factor, because wherever you are on the globe, we all live in a different culture, and have

By Davy Dooms, Head of Design, Saatchi & Saatchi Brussels

different habits and perceptions. For instance, the way you sell Vodka in Nordic countries will be different to the stories you tell about your brand in Asian markets. Absolut Vodka is well known for their special bottle design and trendy communication, often related to social problems or celebrities while also really focusing on local culture. In the USA, Marilyn Monroe would be used in selling the bottle, while in China, different Chinese legends are usually illustrated on the bottle. In this way, you will

Act local to become global

make your brand relevant locally and still maintain the trendy brand image.

A lot has been said and written about the globalization of international brands these days. Do brands have to act and appear differently to fit the local

Another important and very sensitive factor we may not

tastes of a new market? It’s not a question of globalizing or localizing; actually, we have to localize to be seen as a global brand.

exclude is religion. This is probably one of the most crucial ones when communicating message, given that your target

We all live in the same world and we are actually all the same. But, not exactly. We all grew up in different environments, living in different countries

audience may easily get insulted and your brand may become

and continents belonging to a different culture and we have our own religions and beliefs. So, Europeans, for instance, of course, have different

very controversial. For instance, the Red Cross is known

mindsets from those of Asians or Americans. Brands have to be aware of the fact that there is no “one size fits all” theory, especially when they want

worldwide as a movement of 97 million volunteers, which was

to globalize themselves and enter new exotic markets and cultures.

-188-

-189-

O r g a n i c I S M


Branding is communicating, so it’s more logical to do that according to the market you want to be in. If you want to reach your target audience according to their culture, it’s clear that you have to speak the same language, both verbally and visually. Brands are communicating with us in a lot of ways, through different media, whether we are aware of it or not. Open your fridge and imagine that you have to take the orange juice carton next to the milk one, without having any label, visual reference or language on it you can read; the consumer should be able to read and understand the message you want to tell him. But, reaching your target audience on a global scale is not as easy as that. A brand exists in people’s hearts and minds. A consumer needs to have a consistent brand experience all the time. Drinking a Coca Cola in America should trigger the same feeling as drinking one in China. So limiting your


marketing strategy to your own culture is not ideal if you want to be recognized internationally with the same brand image. Although we all are living in a different culture, consumers need to identify your brand in the same way, wherever they go. This is why brand management is so difficult. How far do you want to go, to change and adapt your brand positioning to the local culture without losing your identity and credibility? When globalizing, the image of the brand and the way the consumer perceives it should stay the same. Some visual elements and language can be adapted to the market however, as long as you remain true to the look and feel, convey the same messages and, more importantly, evoke emotional reactions. So the overall identity should not change towards the consumer, but the way you position yourself or communicate needs to be tailored to the market. We all feel the world is getting smaller and smaller everyday through new media,

The influence of different local cultures, religions, environment and geography to brand design

new travel experiences, social networks… but there is no doubt that different cultures have different needs and perceptions. When we focus on brand design itself, your brand can be influenced on different levels. We need to take into account a lot of factors when adapting the visual language to the foreign market. First of all, geography is a very crucial factor, because wherever you are on the globe, we all live in a different culture, and have

By Davy Dooms, Head of Design, Saatchi & Saatchi Brussels

different habits and perceptions. For instance, the way you sell Vodka in Nordic countries will be different to the stories you tell about your brand in Asian markets. Absolut Vodka is well known for their special bottle design and trendy communication, often related to social problems or celebrities while also really focusing on local culture. In the USA, Marilyn Monroe would be used in selling the bottle, while in China, different Chinese legends are usually illustrated on the bottle. In this way, you will

Act local to become global

make your brand relevant locally and still maintain the trendy brand image.

A lot has been said and written about the globalization of international brands these days. Do brands have to act and appear differently to fit the local

Another important and very sensitive factor we may not

tastes of a new market? It’s not a question of globalizing or localizing; actually, we have to localize to be seen as a global brand.

exclude is religion. This is probably one of the most crucial ones when communicating message, given that your target

We all live in the same world and we are actually all the same. But, not exactly. We all grew up in different environments, living in different countries

audience may easily get insulted and your brand may become

and continents belonging to a different culture and we have our own religions and beliefs. So, Europeans, for instance, of course, have different

very controversial. For instance, the Red Cross is known

mindsets from those of Asians or Americans. Brands have to be aware of the fact that there is no “one size fits all” theory, especially when they want

worldwide as a movement of 97 million volunteers, which was

to globalize themselves and enter new exotic markets and cultures.

-189-

-188-


founded to protect human life and health. But symbolized by, as the name suggests, a cross, it is probably one of the most religious signs in the world. How will the Islamic countries react on an organization that has no discrimination based on race, nationality and religious beliefs? Indeed, an adapted logo was mandatory in this case. The Red Crescent was born. The colour scheme of red and white was kept the same, but the emblem changed. However, by keeping the same proportions between colour and emblem, the visual style of the brand did not change. Although a lot has been said about “don’t change your logo

Open Happiness

when you want to globalize”, in some cases there is just no way around it. A third factor we need to be aware of is the different languages

Coca-Cola is probably one of the most recognized brands worldwide. Their mission is to refresh the

we speak. As a brand, if you stick to communicate, for example,

world, bring happiness, creativity and optimism to people. All of this is in one bottle. An American

with just English, you may run the risk of not being understood

icon spreads the American pop culture. Only limiting their marketing on American culture was not

by your potential audience. Translating is not that easy. Take

a good option if they want to be seen and recognized in the multicultural world. It was a way of

the Arabic script for example, it is not only just a different type,

adapting western cultures to the eastern market which was not easy and took some time.

but also written from right to left. Is the message going to be translated literally, conceptually or phonetically and does it work

When Coca-Cola first entered the Chinese market, shopkeepers translated their store signage to

for different dialects For this complex task, it’s very important

the equivalent that sounded the same as Coca-Cola in Chinese characters. Without thinking of

to work with native speaking translators who know the target

the meaning of those characters, Coca-Cola was translated as “Bite the wax tadpole”. It was clear

market and will get your brand message across the globe with the

that Coca-Cola needed to come up with another brand name for the Chinese market. After a lot of

same meaning.

research, they found the closest alternative. K’o K’ou K’o Lê was the new Chinese brand name and

The last visual element that can be misunderstood through

joy you have when drinking a Coke.

actually fitted perfectly with their strategy: “To permit mouth to be able to rejoice”, which means the different cultures is colour. We either know it, or just don’t care about it, but the colour can put you in a certain mood, or has a

Now this is the moment the job of the designer comes in, making it look like the traditional way of

meaning you never thought of be fore. I’m not saying you have to

branding Coca-Cola. The first thing that needs to be adapted is the core item regarding branding,

change the colour of your logo for each continent, but be aware

which is the logo. Coca-Cola is worldly known as a typographic logotype, using red and white colour

of the fact that some colour combinations may cause political or

scheme and a very recognizable typeface. This unique typeface applies, as we all know, a curly script

cultural issues that you could have avoided from the beginning.

font using wavy ribbons and it has become one of the most recognized graphical languages. Writing a text in that font would remind you immediately of Coca-Cola. This shows the power of graphic design.

Keeping all these things in mind you will build a strong connection with your local consumers and they will understand

When adapting the American logo into the Chinese version, the main visual identity system was kept

the brand message.

the same. They created a new version of the logo that is communicating the same values of the brand in the same look, feel and colour scheme. This time, they called it Chinese red, which also symbolizes prosperity and luck. Having the branding and visual identity of the brand defined, there are more factors that must be adapted to the new market and are very important on a strategic level. Advertising is a medium that communicates and gets your message to your audience immediately. During Christmas in America, Coca-Cola advertises their well-known character “Santa Claus”. For the Chinese market, they change it into characters with visual elements referring to Chinese New Year, bringing joy to the people there.

The application of local visual elements

With those examples, the brand shows their understanding toward their audience, and that different religions can change their imagery while maintaining the same brand values.

The person who can make brands fit in the new market visually is the designer. Designers are responsible for reinforcing the impact of those elements and, together with localization experts in branding your brand will be understood worldwide. The following design cases will illustrate this for both Chinese and European markets.

-190-

-191-

O r g a n i c I S M


founded to protect human life and health. But symbolized by, as the name suggests, a cross, it is probably one of the most religious signs in the world. How will the Islamic countries react on an organization that has no discrimination based on race, nationality and religious beliefs? Indeed, an adapted logo was mandatory in this case. The Red Crescent was born. The colour scheme of red and white was kept the same, but the emblem changed. However, by keeping the same proportions between colour and emblem, the visual style of the brand did not change. Although a lot has been said about “don’t change your logo

Open Happiness

when you want to globalize”, in some cases there is just no way around it. A third factor we need to be aware of is the different languages

Coca-Cola is probably one of the most recognized brands worldwide. Their mission is to refresh the

we speak. As a brand, if you stick to communicate, for example,

world, bring happiness, creativity and optimism to people. All of this is in one bottle. An American

with just English, you may run the risk of not being understood

icon spreads the American pop culture. Only limiting their marketing on American culture was not

by your potential audience. Translating is not that easy. Take

a good option if they want to be seen and recognized in the multicultural world. It was a way of

the Arabic script for example, it is not only just a different type,

adapting western cultures to the eastern market which was not easy and took some time.

but also written from right to left. Is the message going to be translated literally, conceptually or phonetically and does it work

When Coca-Cola first entered the Chinese market, shopkeepers translated their store signage to

for different dialects For this complex task, it’s very important

the equivalent that sounded the same as Coca-Cola in Chinese characters. Without thinking of

to work with native speaking translators who know the target

the meaning of those characters, Coca-Cola was translated as “Bite the wax tadpole”. It was clear

market and will get your brand message across the globe with the

that Coca-Cola needed to come up with another brand name for the Chinese market. After a lot of

same meaning.

research, they found the closest alternative. K’o K’ou K’o Lê was the new Chinese brand name and

The last visual element that can be misunderstood through

joy you have when drinking a Coke.

actually fitted perfectly with their strategy: “To permit mouth to be able to rejoice”, which means the different cultures is colour. We either know it, or just don’t care about it, but the colour can put you in a certain mood, or has a

Now this is the moment the job of the designer comes in, making it look like the traditional way of

meaning you never thought of be fore. I’m not saying you have to

branding Coca-Cola. The first thing that needs to be adapted is the core item regarding branding,

change the colour of your logo for each continent, but be aware

which is the logo. Coca-Cola is worldly known as a typographic logotype, using red and white colour

of the fact that some colour combinations may cause political or

scheme and a very recognizable typeface. This unique typeface applies, as we all know, a curly script

cultural issues that you could have avoided from the beginning.

font using wavy ribbons and it has become one of the most recognized graphical languages. Writing a text in that font would remind you immediately of Coca-Cola. This shows the power of graphic design.

Keeping all these things in mind you will build a strong connection with your local consumers and they will understand

When adapting the American logo into the Chinese version, the main visual identity system was kept

the brand message.

the same. They created a new version of the logo that is communicating the same values of the brand in the same look, feel and colour scheme. This time, they called it Chinese red, which also symbolizes prosperity and luck. Having the branding and visual identity of the brand defined, there are more factors that must be adapted to the new market and are very important on a strategic level. Advertising is a medium that communicates and gets your message to your audience immediately. During Christmas in America, Coca-Cola advertises their well-known character “Santa Claus”. For the Chinese market, they change it into characters with visual elements referring to Chinese New Year, bringing joy to the people there.

The application of local visual elements

With those examples, the brand shows their understanding toward their audience, and that different religions can change their imagery while maintaining the same brand values.

The person who can make brands fit in the new market visually is the designer. Designers are responsible for reinforcing the impact of those elements and, together with localization experts in branding your brand will be understood worldwide. The following design cases will illustrate this for both Chinese and European markets.

-191-

-190-


Ex-Smokers Are Unstoppable This next campaign I designed at Saatchi & Saatchi, is a 360° European Anti-tobacco campaign. Unlike other “anti-campaigns” that focus on the dangers of smoking, this campaign highlights the positive sides of becoming an ex-smoker. Quitting smoking is one of the hardest battles to fight, but there are those who succeed finding a renewed energy in life. They feel better, look better and have more money. In short: ex-smokers are unstoppable. Keeping this strategy in mind, I was told to create a campaign logo and complete visual identity that should become iconic

The directions to make a foreign brand localize

and very recognizable throughout the whole of Europe in 23 languages.

Before adapting and customizing your brand, it’s necessary to do your research and explore the new market. Through demographics and other statistics, you can gain a lot of relevant

I chose to design a typographic logo that could

information for your brand and it will give you a clear view on how the market reacts on different

work in all the different languages and that

levels. Lifestyle and media trends can provide you with new methods on how people are behaving

contained one visual element which can be

these days. Who are your competitors, how are they communicating and what can you make to

remembered by everyone, the cigarette. While

stand out? By doing surveys, you will see, for instance, if it’s necessary to translate your logo, etc.

playing around with some type, I found out

In a word, get informed before you start.

that the message could be visually translated in the logo itself. Using the X of Ex-smokers,

Once you made the decision to go on, it’s time to define your strategy, media choice and how you

referring to the well-known prohibited signs

will fill this in on a creative level. To keep the tone of your brand coherent, it’s advisable to have

and designing this together with the cigarette,

brand managers for your different markets. In that way, people will perceive you as one global

the visual element was born, symbolizing

brand, let alone you are in eastern or western market. And last but not least, get results on how

the end of an old era and the beginning of a

your campaign is doing and optimize your strategy where nec essary.

new one. The logo emphasizes a strong and determined commitment to quit smoking. Exsmokers can use it as a statement; it helps them

Local success globally

turn the page on their smoking period. The cigarette is literally stubbed out. Using a blackyellow-white colour scheme made it even more

People are attracted to international brands. Why? Because these brands can help meet their high

recognizable, without favouring one nation over

expectations on the product or service. That is why brands want to be identified as global brands,

another.

to give the consumer a consistent brand experience worldwide and build high brand equity. But a brand needs to know that the needs of their target audience and people from different regions

Working at a network agency like Saatchi &

have different preferences and backgrounds. True global brands develop global icons and imagery,

Saatchi made it possible to work together

but are prepared to adapt the usage of these icons, colours and visual elements to the market they

with native speaking experts to spread the

find themselves in.

same message across all of Europe. I briefed the copywriters to translate “Ex-Smokers are

Nowadays spreading your message is going more and more digital. We all show what we like and

Unstoppable” in a consistent way, and stay

who we like online. Brands are now doing the same; they get their own personalized brand pages

true to the core idea. The “X” and the cigarette

on social network sites and are even able to have different pages per country. The way to get

needed to be recognizable in every translation

messages to their consumers is changing from one-way communication to an instant dialogue on

and keeping the amount of characters as

local and international levels. Everybody is able to communicate back to a brand, and therefore,

compact as possible. And they did a wonderful

building a good relationship with your local consumers is more than important these days.

job. They even specifi ed the meanin g of the different words, so I knew which characters I

The whole Ex-Smokers campaign was rolled out exactly like what we presented

had to put in yellow and white. The big task I

it during the pitch phase. Given that as we all know, designers don’t want to make

then had was to implement all the translations

compromises. We are getting amazing results regarding effectiveness, where design

in different logo versions keeping the same

also plays a very important role.

graphical approach and identity. I transposed this positive message into a straight-forward

Your task, as a designer, is to always stay true to your initial idea and fight for

visual style. It empowers inspiration and

it. Never be happy with the first design, there is a difference between good and

supports all Europeans over 27 countries.

excellent and it shows. Creativity contains 20% idea and 80% of sweat. -192-

People are powerful, because they can make or break your brand. What the future will bring, whether it’s getting even more digital or not, I can’t tell. But, what I’m sure is that good and clever branding will always find its way to the consumer and will go hand in hand with the latest trends. As a base that grounds everything, design is where it all starts, so it better be good.

-193-

O r g a n i c I S M


Ex-Smokers Are Unstoppable This next campaign I designed at Saatchi & Saatchi, is a 360° European Anti-tobacco campaign. Unlike other “anti-campaigns” that focus on the dangers of smoking, this campaign highlights the positive sides of becoming an ex-smoker. Quitting smoking is one of the hardest battles to fight, but there are those who succeed finding a renewed energy in life. They feel better, look better and have more money. In short: ex-smokers are unstoppable. Keeping this strategy in mind, I was told to create a campaign logo and complete visual identity that should become iconic

The directions to make a foreign brand localize

and very recognizable throughout the whole of Europe in 23 languages.

Before adapting and customizing your brand, it’s necessary to do your research and explore the new market. Through demographics and other statistics, you can gain a lot of relevant

I chose to design a typographic logo that could

information for your brand and it will give you a clear view on how the market reacts on different

work in all the different languages and that

levels. Lifestyle and media trends can provide you with new methods on how people are behaving

contained one visual element which can be

these days. Who are your competitors, how are they communicating and what can you make to

remembered by everyone, the cigarette. While

stand out? By doing surveys, you will see, for instance, if it’s necessary to translate your logo, etc.

playing around with some type, I found out

In a word, get informed before you start.

that the message could be visually translated in the logo itself. Using the X of Ex-smokers,

Once you made the decision to go on, it’s time to define your strategy, media choice and how you

referring to the well-known prohibited signs

will fill this in on a creative level. To keep the tone of your brand coherent, it’s advisable to have

and designing this together with the cigarette,

brand managers for your different markets. In that way, people will perceive you as one global

the visual element was born, symbolizing

brand, let alone you are in eastern or western market. And last but not least, get results on how

the end of an old era and the beginning of a

your campaign is doing and optimize your strategy where nec essary.

new one. The logo emphasizes a strong and

O r g a n i c I S M

determined commitment to quit smoking. Exsmokers can use it as a statement; it helps them

Local success globally

turn the page on their smoking period. The cigarette is literally stubbed out. Using a blackyellow-white colour scheme made it even more

People are attracted to international brands. Why? Because these brands can help meet their high

recognizable, without favouring one nation over

expectations on the product or service. That is why brands want to be identified as global brands,

another.

to give the consumer a consistent brand experience worldwide and build high brand equity. But a brand needs to know that the needs of their target audience and people from different regions

Working at a network agency like Saatchi &

have different preferences and backgrounds. True global brands develop global icons and imagery,

Saatchi made it possible to work together

but are prepared to adapt the usage of these icons, colours and visual elements to the market they

with native speaking experts to spread the

find themselves in.

same message across all of Europe. I briefed the copywriters to translate “Ex-Smokers are

Nowadays spreading your message is going more and more digital. We all show what we like and

Unstoppable” in a consistent way, and stay

who we like online. Brands are now doing the same; they get their own personalized brand pages

true to the core idea. The “X” and the cigarette

on social network sites and are even able to have different pages per country. The way to get

needed to be recognizable in every translation

messages to their consumers is changing from one-way communication to an instant dialogue on

and keeping the amount of characters as

local and international levels. Everybody is able to communicate back to a brand, and therefore,

compact as possible. And they did a wonderful

building a good relationship with your local consumers is more than important these days.

job. They even specifi ed the meanin g of the different words, so I knew which characters I

The whole Ex-Smokers campaign was rolled out exactly like what we presented

had to put in yellow and white. The big task I

it during the pitch phase. Given that as we all know, designers don’t want to make

then had was to implement all the translations

compromises. We are getting amazing results regarding effectiveness, where design

in different logo versions keeping the same

also plays a very important role.

People are powerful, because they can make or break your brand. What the future will bring, whether it’s getting even more digital or not, I can’t tell. But, what I’m sure is that good and clever branding will always find its way to the consumer and will go hand in

graphical approach and identity. I transposed this positive message into a straight-forward

Your task, as a designer, is to always stay true to your initial idea and fight for

visual style. It empowers inspiration and

it. Never be happy with the first design, there is a difference between good and

supports all Europeans over 27 countries.

excellent and it shows. Creativity contains 20% idea and 80% of sweat.

hand with the latest trends. As a base that grounds everything, design is where it all starts, so it better be good.

-193-

-192-

INTERVIEW WITH LUIS OTHÓN Designer of “Adela”

––– What visual elements can reflect the influence from diverse customs and cultures? ––– México is very rich in visual language and symbolic representations. We tried to translate each culture and tradition we were inspired by and expressed them through keen iconic groups of elements, such as the icon system and brand details applied into the product line.

ADELA The intention of this design was to create a Mexican furniture brand starting from the branding process, followed by the

––– What do you think of the influence from local visual elements, like

business plan, development, product design, etc.

totem, symbol, script, etc. on brand design? ––– The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related to them. A symbol system, logo, and colour palette, along with its stationary and other selected items

They are great influences. We got a load of references such as these and

was developed, and at the end of the brand dev elopment, a simple item collection that involved a table, lamp and a floor cushion was designed.

––– How do you make your brand merge with local culture? –––

we tried to approach them from a more contemporary point of view, because at the end, the products are contemporary.

The brand is merged by nature. All those symbols and imagery are very natural for locals in México. Although northern México has grown as

––– What other local materials can be used to reflect the style of organic

an industrial and more globalized market, there are people always being

design, except wood, stone, leaf, grass, etc.? –––

interested in our roots and indigenous cultures. What’s also interesting for us is how this brand will merge with other cultures, like North

Anything you can use again, or transform into something else: leather,

American, European and Asian. We’re hoping to create very harmonic

textiles, etc. I won’t worry about processed materials such as metal if its

contrasts through them.

form comes after its function.

––– Do you think organic design will be a mainstream style? Why? ––– I’m not sure. Organic design has been there for a long time and I think that being outside the mainstream has helped it grow in a good way. Not being in the mainstream helps avoiding becoming a trend, which will only generate interest for a short period of time. We are not worried about our brand being in the mainstream, as long as we do things true and our brand and products share a specific interest with its user.

––– What is the essence of local culture that attracts brand designers to localise their designs? ––– I guess it is a local pride. If you have a very rich culture why not being proud of it and showing it everywhere. And also, trying to maintain tradition alive and constantly evolving. That’s what makes cultures interesting; they’re all so different.

-195-

O r g a n i c I S M

INTERVIEW WITH LUIS OTHÓN Designer of “Adela”

––– What visual elements can reflect the influence from diverse customs and cultures? ––– México is very rich in visual language and symbolic representations. We tried to translate each culture and tradition we were inspired by and expressed them through keen iconic groups of elements, such as the icon system and brand details applied into the product line.

ADELA The intention of this design was to create a Mexican furniture brand starting from the branding process, followed by the

––– What do you think of the influence from local visual elements, like

business plan, development, product design, etc.

totem, symbol, script, etc. on brand design? ––– The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related to them. A symbol system, logo, and colour palette, along with its stationary and other selected items

They are great influences. We got a load of references such as these and

was developed, and at the end of the brand dev elopment, a simple item collection that involved a table, lamp and a floor

––– How do you make your brand merge with local culture? –––

cushion was designed.

we tried to approach them from a more contemporary point of view, because at the end, the products are contemporary.

The brand is merged by nature. All those symbols and imagery are very natural for locals in México. Although northern México has grown as

––– What other local materials can be used to reflect the style of organic

an industrial and more globalized market, there are people always being

design, except wood, stone, leaf, grass, etc.? –––

O r g a n i c I S M

interested in our roots and indigenous cultures. What’s also interesting for us is how this brand will merge with other cultures, like North

Anything you can use again, or transform into something else: leather,

American, European and Asian. We’re hoping to create very harmonic

textiles, etc. I won’t worry about processed materials such as metal if its

contrasts through them.

form comes after its function.

––– Do you think organic design will be a mainstream style? Why? ––– I’m not sure. Organic design has been there for a long time and I think that being outside the mainstream has helped it grow in a good way. Not being in the mainstream helps avoiding becoming a trend, which will only generate interest for a short period of time. We are not worried about our brand being in the mainstream, as long as we do things true and our brand and products share a specific interest with its user.

––– What is the essence of local culture that attracts brand designers to localise their designs? ––– I guess it is a local pride. If you have a very rich culture why not being proud of it and showing it everywhere. And also, trying to maintain tradition alive and constantly evolving. That’s what makes cultures interesting; they’re all so different.

-195-


Dasti as a concept is an ethnic stationery store that presents quality stationery products which are crafted using traditional techniques, skills and hand-based processes. This brand would reflect India’s true culture, origin, morals and practices that have sustained with the people for over 100s of years, something that the people all associate with. With the store specializing in traditional stationery articles, the brand logo has been made meticulously to reflect its true essence. The logo is a combination of slender curves and clean solid lines inspired from Devnagri script which is the basis of writing their national language Hindi, something that will never look out of place even as time goes by. The construction of the logo also establishes ethnic, fun and vibrant vibe. The letter “I” in the word “Dasti” has been stylized in such a way that it looks like Goddess Durga so that consumer immediately associates with the traditionalism and ethnicity of the brand.

DASTI

This brand would truly be recognition of

Designed by Ananya Aiyyer

in current times of industrialization.

O r g a n i c I S M

India’s heritage which has taken a back seat

“DASTI” as a word means outdated hand manuals, books or note-books of very few pages, something that is either sold or given so that it can be reused, a common Indian practice that led to ideation of the entire project. The vision of the brand is to showcase the skills of thousands of talented craftsmen in this country in an organic way as possible.

-196-

-197-


Dasti as a concept is an ethnic stationery store that presents quality stationery products which are crafted using traditional techniques, skills and hand-based processes. This brand would reflect India’s true culture, origin, morals and practices that have sustained with the people for over 100s of years, something that the people all associate with. With the store specializing in traditional stationery articles, the brand logo has been made meticulously to reflect its true essence. The logo is a combination of slender curves and clean solid lines inspired from Devnagri script which is the basis of writing their national language Hindi, something that will never look out of place even as time goes by. The construction of the logo also establishes ethnic, fun and vibrant vibe. The letter “I” in the word “Dasti” has been stylized in such a way that it looks like Goddess Durga so that consumer immediately associates with the traditionalism and ethnicity of the brand.

DASTI

This brand would truly be recognition of

Designed by Ananya Aiyyer

in current times of industrialization.

O r g a n i c I S M

India’s heritage which has taken a back seat

“DASTI” as a word means outdated hand manuals, books or note-books of very few pages, something that is either sold or given so that it can be reused, a common Indian practice that led to ideation of the entire project. The vision of the brand is to showcase the skills of thousands of talented craftsmen in this country in an organic way as possible.

-196-

-197-

BranD

BULLETIN

VISCOM-SIGN ESPANA

DESIGNTIDE IN TOKYO

October 17th – 19th

October 31st -November 4th

Pavalion, IFEMA, Madrid, Spain

Tokyo Midtown Hall, Tokyo, Japan

www.viscomspain.com

designtide.jp

Viscom Sign is a great annual event of visual

DESIGNTIDE TOKYO is a field to trade design,

communication in the Iberian Peninsula, and the

and to trade ideas. Everything in our everyday life

image that has been developed for its 2012 edition

PAP-FOR RUSSIA

seeks to convey various concepts. The slogan chosen

October 30th –November 2nd

designers’ aims are focused on our society, “design”

for this year, “Access the unique world of visual

International Exhibition centre Lenexpo, Saint

cannot be converged into a simple format. By

communication”, marks the beginning of a new era,

Petersburg,Russia

presenting the ideas that generate designs, the show

in which there is a possibility of personalizing all

www.papfor.com

presents a stream of new thoughts and forms.

is something that has been designed. As long as the

imaginable media. PAP-FOR Russia is the largest pulp and paper event in Eastern Europe that represents all cutting edge products, innovative ideas and ultramodern industry

MASALA CHAI Designed by Asha Mody

PACK EXPO INTERNATIONAL

Masala Chai is a traditional tea lounge that serves a variety of authentic Chai beverages. This popular drink hails from the Indian

October 28th - 31st

subcontinent and is made by brewing tea with a mixture of aromatic spices and herbs. The relaxed cool setting is ideal for middle-

McCormick Place, Chicago, Illinois USA

income tea drinkers and students from 20 to 35 looking for positive energy and a place to study. Using a collection of kitsch imagery

www.packexpo.com

technologies on one site. It is an ideal B2B event for

IENA

establishing new partnerships and developing one’s

November 1st - 4th

business. During four days exhibition, PAP-FOR gives

Exhibition Centre Nuremberg Hall 12, Germany

the full market overview and gathers all industry

www.iena.de

professionals in one meeting place. . iENA distinguishes and holds one’s ground with

from India, the designer branded the lounge using images of peaceful Indian goddesses. The vintage shape crest of an Indian

innovative problem solutions and new products from

teakettle was offset with a layer of grungy raw texture. Indian traditional Pop art was combined with the serif font Rockwell to

PACK EXPO International 2012 is the one and only

enhance the vintage feel. Earthy organic colours including brown yellow, green and peach differentiate flavours and unify the brand.

event with the most innovative technologies and

The tea is packaged in a reusable aluminium canister and natural jute bags are used to preserve t he spices and tea.

solutions that drive your business. The largest, most

TOKYO DESIGNERS WEEK

comprehensive processing and packaging event in

October 30th – November 5th

opportunities for inventors and representatives of

the world delivers solutions from more than 1,800

Meiji-Jingu Gaien(Central Venue) and metropolitan

trade and industry.

suppliers, industry leaders with the latest education

SHOPs (other locations)

to stay up-to-date in trends and for professional

www.tdwa.com

the other market players. The iENA Nuremberg is a professional marketplace for ideas and inventions and the leading trade fair of contacts and excellent

development. Tokyo Designers Week 2012 is held for 10 days

LABELEXPO INDIA October 29th –November 1st Pragati Maidan Exhibition Centre, New Delhi, India www.labelexpo-india.com

based on Creativity & Technology, offering a place

100% DESIGN SHANGHAI

to showcase artists’ sensibility. This year’s themes

November 8th – 10th

are “HOUSE” and “PLAY”. Companies, designers,

Shanghai Exhibition Center, Shanghai, China

students, and organizations exhibit works using

www.100percentdesign.com.cn

creativity and technology according to the themes. In addition, the contents are expanded to include Professional Exhibition by industry leading artists of each discipline.

Labelexpo India is the largest event for the label,

atmosphere for the proliferation of innovative and

product decoration, web printing and converting

trendsetting ideas. 100% Design Shanghai is the

industry in South Asia. With more products, more

premiere venue for exhibitors to interact and meet

launches and more live demonstrations than any

the buying needs of key specifiers and buyers.

no better place to see the latest technology in action.

of furniture, lighting, bathroom/kitchen and floor/ wall cover ings and it s eeks to creat e a dynam ic

other industry event in the region this year, there is

-198-

100% Design Shanghai showcases original designs

-199-

BranD

BULLETIN

VISCOM-SIGN ESPANA

DESIGNTIDE IN TOKYO

October 17th – 19th

October 31st -November 4th

Pavalion, IFEMA, Madrid, Spain

Tokyo Midtown Hall, Tokyo, Japan

www.viscomspain.com

designtide.jp

Viscom Sign is a great annual event of visual

DESIGNTIDE TOKYO is a field to trade design,

communication in the Iberian Peninsula, and the

and to trade ideas. Everything in our everyday life

image that has been developed for its 2012 edition

PAP-FOR RUSSIA

seeks to convey various concepts. The slogan chosen

October 30th –November 2nd

designers’ aims are focused on our society, “design”

for this year, “Access the unique world of visual

International Exhibition centre Lenexpo, Saint

cannot be converged into a simple format. By

communication”, marks the beginning of a new era,

Petersburg,Russia

presenting the ideas that generate designs, the show

in which there is a possibility of personalizing all

www.papfor.com

presents a stream of new thoughts and forms.

is something that has been designed. As long as the

imaginable media. PAP-FOR Russia is the largest pulp and paper event in Eastern Europe that represents all cutting edge products, innovative ideas and ultramodern industry

MASALA CHAI Designed by Asha Mody

PACK EXPO INTERNATIONAL

Masala Chai is a traditional tea lounge that serves a variety of authentic Chai beverages. This popular drink hails from the Indian

October 28th - 31st

subcontinent and is made by brewing tea with a mixture of aromatic spices and herbs. The relaxed cool setting is ideal for middle-

McCormick Place, Chicago, Illinois USA

income tea drinkers and students from 20 to 35 looking for positive energy and a place to study. Using a collection of kitsch imagery

www.packexpo.com

technologies on one site. It is an ideal B2B event for

IENA

establishing new partnerships and developing one’s

November 1st - 4th

business. During four days exhibition, PAP-FOR gives

Exhibition Centre Nuremberg Hall 12, Germany

the full market overview and gathers all industry

www.iena.de

professionals in one meeting place. . iENA distinguishes and holds one’s ground with

from India, the designer branded the lounge using images of peaceful Indian goddesses. The vintage shape crest of an Indian

innovative problem solutions and new products from

teakettle was offset with a layer of grungy raw texture. Indian traditional Pop art was combined with the serif font Rockwell to

PACK EXPO International 2012 is the one and only

enhance the vintage feel. Earthy organic colours including brown yellow, green and peach differentiate flavours and unify the brand.

event with the most innovative technologies and

The tea is packaged in a reusable aluminium canister and natural jute bags are used to preserve t he spices and tea.

solutions that drive your business. The largest, most

TOKYO DESIGNERS WEEK

comprehensive processing and packaging event in

October 30th – November 5th

opportunities for inventors and representatives of

the world delivers solutions from more than 1,800

Meiji-Jingu Gaien(Central Venue) and metropolitan

trade and industry.

suppliers, industry leaders with the latest education

SHOPs (other locations)

to stay up-to-date in trends and for professional

www.tdwa.com

the other market players. The iENA Nuremberg is a professional marketplace for ideas and inventions and the leading trade fair of contacts and excellent

development. Tokyo Designers Week 2012 is held for 10 days

LABELEXPO INDIA

based on Creativity & Technology, offering a place

100% DESIGN SHANGHAI

to showcase artists’ sensibility. This year’s themes

November 8th – 10th

are “HOUSE” and “PLAY”. Companies, designers,

Shanghai Exhibition Center, Shanghai, China

students, and organizations exhibit works using

www.100percentdesign.com.cn

creativity and technology according to the themes.

October 29th –November 1st Pragati Maidan Exhibition Centre, New Delhi, India www.labelexpo-india.com

In addition, the contents are expanded to include Professional Exhibition by industry leading artists of each discipline.

100% Design Shanghai showcases original designs of furniture, lighting, bathroom/kitchen and floor/ wall cover ings and it s eeks to creat e a dynam ic

Labelexpo India is the largest event for the label,

atmosphere for the proliferation of innovative and

product decoration, web printing and converting

trendsetting ideas. 100% Design Shanghai is the

industry in South Asia. With more products, more

premiere venue for exhibitors to interact and meet

launches and more live demonstrations than any

the buying needs of key specifiers and buyers.

other industry event in the region this year, there is no better place to see the latest technology in action.

-198-

-199-

BranD

BULLETIN

BRUSSELS INNOVA

ART|BASEL MIAMI BEACH

November 15th - 17th

December 6th -9th

Brussels Exhibition Centre, Brussels, Belgium

Miami Beach, Florida, USA

www.brussels-innova.com

miamibeach.artbasel.com

Brussels Innova boasts 4,000 m² of exhibition space,

Art Basel Miami Beach is the most known art show

with 20 countrie s represente d, 4,000 professi onal

in the Americas. More than 260 leading galleries

visitors, 500 innovations entering the fray and

from North America, Europe, Latin America, Asia

press coverage. Brussels Innova accommodates

PRINT WORLD

all potential regional contacts in terms of: venture

November 17th -19th

than 2,000 artists of the 20th and 21st centuries.

capital & business angels, technological partnership,

Direct Energy Centre, Toronto, Canada

The exhibiting galleries are among the world’s most

access to subsidies and other public aid, legal aid

www.printworldshow.com

respected art dealers, offering exceptional pieces by

and protection for intellectual property, coaching, distribution, sub-contractor production.

and Africa will take part, showcasing works by more

both renowned artists and cutting-edge newcomers. The World of Shorter-Run Printing, dedicated to shorter-run and small-format printers, is the largest trade show and conference in North America. Thousands of qualified buyers of shorter-

WASHINGTON CRAF T SHOW November 16th - 18th Walter E. Washington Convention Centre, USA www.craftsamericashows.com

run printing equipment come to Print World to comparison shop, network, take home new ideas and product literature, attend seminars and live demonstrations, and make crucial investment decisions.

SIGN ISTANBUL December 6th - 9th Tüyap Fair and Congress Center, Istanbul, Turkey www.signistanbul.com

BranD

BULLETIN

BRUSSELS INNOVA

ART|BASEL MIAMI BEACH

November 15th - 17th

December 6th -9th

Brussels Exhibition Centre, Brussels, Belgium

Miami Beach, Florida, USA

www.brussels-innova.com

miamibeach.artbasel.com

Brussels Innova boasts 4,000 m² of exhibition space,

Art Basel Miami Beach is the most known art show

with 20 countrie s represente d, 4,000 professi onal

in the Americas. More than 260 leading galleries

visitors, 500 innovations entering the fray and

from North America, Europe, Latin America, Asia

press coverage. Brussels Innova accommodates

PRINT WORLD

all potential regional contacts in terms of: venture

November 17th -19th

than 2,000 artists of the 20th and 21st centuries.

capital & business angels, technological partnership,

Direct Energy Centre, Toronto, Canada

The exhibiting galleries are among the world’s most

access to subsidies and other public aid, legal aid

www.printworldshow.com

respected art dealers, offering exceptional pieces by

and protection for intellectual property, coaching, distribution, sub-contractor production.

and Africa will take part, showcasing works by more

both renowned artists and cutting-edge newcomers. The World of Shorter-Run Printing, dedicated to shorter-run and small-format printers, is the largest trade show and conference in North America. Thousands of qualified buyers of shorter-

WASHINGTON CRAF T SHOW November 16th - 18th Walter E. Washington Convention Centre, USA www.craftsamericashows.com

run printing equipment come to Print World to comparison shop, network, take home new ideas and product literature, attend seminars and live demonstrations, and make crucial investment

SIGN ISTANBUL December 6th - 9th Tüyap Fair and Congress Center, Istanbul, Turkey www.signistanbul.com

decisions. Sign Istanbul offers you the chance to showcase

Washington Craft Show, nationally recognized for

your technology and products in large scale

presenting masterful work, designed and made

from digital printing machinery to routers, from

in artists’ studios across America, is the premier

advertising equipments to pants, from textile and

is a good chance for those who come to view

HKTDC INNO DESIGN TECH EXPO

and purchase the latest works by nearly 200 of

December 6th –8th

This international Show makes exhibitors have new

the nation’s top contemporary craft artists or for

Hong Kong Convention and Exhibition Centre

cooperation and sign new partnerships with the

inspiration communicating with the artist.

innodesigntechexpo.hktdc.com

each year increasing number of visitors.

showcase of contemporary craft in America. It

screen printing to LED technologies, from visual communication products to promotional materials.

The HKTDC Inno Design Tech Expo (IDT Expo), located in international business hub and gateway

DESIGN CITY November 17th -19th Direct Energy Centre, Toronto, Canada www.designcityshow.com

for global enterprises to tap the Asian markets and the Chinese mainland, is a unique one-stop platform for creative and technology professionals to meet with enterprises looking to enhance their

PACKPLUS December 7th – 10th India Expo Centre Greater Noida, New Delhi (NCR), India www.packplus.in

competitiveness and find business partners for the Design City, a “show within a show”, will bring

new opportunities emerging in Asia.

The show aims to bring together the worldwide

together graphic designers with vendors who sell

manufacturers and providers of machinery,

to the graphic design market. It connects buyers

materials and services for food, pharma and

with sel lers in a modern, interactive, results-driven

packaging industry from India and neighbouring

environment. Design City aims to further strengthen

countries. India Expo Centre & Mart, covering an

the graphic design community and bring together

area of 58 acres of land, has a unique combination

buyers and sellers in the industry as one of the first

of exhibition & convention facilities, lawn, business

trade shows of its kind in Canada. Design City 2012,

centre, restaurants, transportation facilities and

in its seventh year, continues to be supported by

sufficient parking area.

the success and experience of proven exhibition producers.

-200-

Brand+Magazine.pdf

Recommend Documents