Wednesday, November 28, 2012

Package Final: IBC Rootbeer










For the IBC root-beer package re-design I wanted to shift the appeal from an emotional to an ethical one (ethos) by making statements about the heritage of the brand, asserting it's continued presence in the market by announcing i's 100th year in business. I think that my use of image and color was well conceived due to the face that the black and gold mix to create root-beer, along with having the added connotation of wealth (relating to age and also success,) while my imagery reinforced the age by pulling from period specific imagery to "sell" the original brew feel.

Cohesion was my main focus when creating the system, since this was going to be a one year run at max the new IBC would have to be recognizable from any of the designs, not just one bottle. I think that the dimensions of the bottle created a very nice way for me to organize information of the growler, playing off of it's length. The hard breaks in the four pack also made for easy dramatic shifts of composition and color to occur, making the design more interesting per each side.

Hierarchically I wanted the IBC logo to be dominate whenever the product was picked up, then the imagery afterwards.
I think this point of entry is essential to the system of the product and also provides a clean entry point for the whole system.

I wish the craft of my physical objects was a tad bit better, if I had reconstructed the four pack the labels might have seemed more affixed but other then this I think that it went well. One of my considerations for the labels was to coat the sides in black pen to ensure that even if the affixative came off the bottles would still look perfectly on.

The photography seemed to come out alright for me, I think that the context shot of the growler might need to be in a fridge somewhere but, the racks that are available didn't fit the bottle. Perhaps I'll use the single bottle or four pack next time.

Overall, I think the design system I created was successful in capturing the essence of IBC's 100th year.


Tuesday, November 27, 2012

Typeface Final: Access


With Access I wanted to create a typeface that was reminiscent of early computer technology, something that reflected back on the origins of communication through electronic medium. From this idea I began to devise a way to interpret the history of electro-commuication through few images. A few key points came into focus: The idea of communication in the medium, the creation of circuits, and the evolution of the field. 

My imagery addresses this "shrinking game" that is involved with the technology my directly connecting events to the advancement (see the photo of Bill Gates sprawled on his desk revealing Windows 1.01.) While I utilized the constraint both in the type and also the framing elements of constricted grids—such as the ones that circuits are built on.


Saturday, November 17, 2012

Typeface Specimen Book Iteration 01


Access is a typeface based on the reverence and nostalgia around the creation of technology and the pursuit of accuracy and perfections through machine made objects.

Iteration 01 of specimen book.

Wednesday, November 14, 2012

IBC Packaging 98% Checkpoint







For next critique I'm planning on trying to add more of a convincing texture/ trying to letterpress the logo.

Monday, November 12, 2012

IBC packaging Digital Round 3

Digital Flats

Label Front


4-Pack Sides








ICB packaging Digital round 2

Some research that I did in conjunction with furthering my design: Tuscan Woodtype Collection of Roy Rob Kelly



Additional Sketches (elaborating on last critique 11/07)






Digital Flats

Bottle Label


 4-Pack Sides








Sunday, November 11, 2012

Typeface Process





Iterate, iterate, iterate. This has been a fun process, moving from my original inspiration and allowing for the typeface to occupy new spaces has been an exciting experience. From Iteration 1-3 I've made a lowercase and numerals set, increased the cap height, and made many other refinements along the way.

I've been designing this typeface by looking back at other periods of work that have characteristics that my words exhibit, picking out the characteristics from those faces and bringing them back into my letterforms. For instance, I found the some of the precision in the consistency of the counters of Onyx or, the throw-back nature of letterforms found in more Art Deco esque x-heights such as in Avenida while combining the functionality of a traditional san serif that could also stand on it's own (like Univers condensed.)

Words, words, words: Retro-futurism, Precision, Functional

More to come.

Sunday, November 4, 2012

Typeface inspiration

Words:

Retro-futurism
Modular
Archaic
Precision
Functional

When I thought of a typeface I'd like to design I immediately pulled from my interest of outdated design that still held it's functionality. With the constant revisitation of forms in Industrial Design and new applications of technology I thought that the revisitation of old forms would provide inspiration for a typeface that made room for the future in application of things produced by designers in the future with technologies such as rapid prototyping and also CNC routing. Even in these archaic forms I still see the level of precision and high craft desired by the designers/engineers/makers. In short, I would like to design a typeface that honors the past while thinking of the future in the field of design/industrial design.







Friday, November 2, 2012

Narrative Project 4: Timeline Singles frames and more References

MTV:








HCD Packaging Sketches 110112

With this round of sketches my class is supposed to be closing into the final design, I think that I've had a pretty strong idea since the beginning of the project so I continued my system of approach to an additional item–a coaster. 
I really want to attempt to laser etch the glass for my commemorative cup that I'm making. I think that using the color of the actual beverage speaks more volumes about it logically/ethically than having another color pasted on top of the glass.



Additional Compositional Studies