I thought it would be wise to see how Banksy has currently branded himself before. The only branding element on this website currently is the elephant and rocket stencil. He has been known to use the other two as ‘tags’ underneath his work. I could incorporate some of these elements in my design work, however I am going to come away from the classic spray paint effect and make Banksy look more sophisticated with elements of who he is and what he does inside my work.
The top logo and the elephant can both be used as a stencil which relates to his process. I would like to experiment with keeping my branding of the artist also usable as a stencil. I have an idea of a ‘die cut’ business card usable as a stencil that could be used for him to mark his work, as well as contact information on the back.
‘Banksy, as ever, was not on hand to discuss his creation, but it is understood that the elephant, blending into the background, is meant to represent the big issues in life, such as poverty, that some people choose to ignore’ (http://news.bbc.co.uk/1/hi/entertainment/5344676.stm)
On entering, visitors were presented with a flyer reading: ‘There’s an elephant in the room. There’s a problem we never talk about. The fact is that life isn’t getting any fairer. 1.7 billion people have no access to clean drinking water. 20 billion people live below the poverty line. Every day hundreds of people are made to physically be sick by morons at art shows telling them how bad the world is but never actually doing something about it. Anybody want a free glass of wine?’
I don’t particularly agree with what Banksy has done to create this artwork, and many people who have seen this ‘art’ have had similar disagreements, especially with the extinction of elephants ever-growing.
‘Animal welfare officials have tried to close down an exhibition featuring an elephant painted to look like wallpaper.
British artist Banksy ‘abused’ the animal by spray-painting it for a show protesting at world poverty, officials in Los Angeles said.
The elephant, named Tai, was given a floral, nontoxic paint job for the ‘Barely Legal’ which ran from Thursday until yesterday at a warehouse in the city.
“I think it sends a very wrong message that abusing animals is not only OK, it’s an art form,” said Ed Boks, head of the city’s Animal Services Department.’
Before my meeting for the charity branding project I have quickly researched existing branding for nurseries and preschools. There is a mixture of local nurseries and some across the country to give me a broad range of what is currently out there. There are a few reoccurring themes that I have discovered.
From my mood board of branding here is a colour pallet capture from some of the logos above. The main overall feel is bright, mostly natural light colours.
Trees are a big illustrative part in a lot of nursery branding and here is why:
the definition of nursery is:
Brand – Identity – Logo
A logo is an instantly recognisable symbol that represents your company’s values and personality.
Identity – a combination of all the visual elements that represent your company.
Starting my Pure Rally spread followed the same steps from the Rome Exploration, creating shapes for photos and text to give me a quick idea of layouts. Using cmd + d on a selected shape allowed me to place in an scale imagery to desired size.
Something I see in a lot of automotive magazines is small captions in the corner of a photo, usually with a humours quote or some cases repeated important information. I wanted to experiment with this as my inspiration has come from magazines such as Top Gear and Evo, both which include light hearted jokes and phrases inside their articles.
I decided on this spread to have a sub heading above the article which in a sentence gives a quick overview of the whole article before the reader begins. In a real published magazine this can be the most important piece which decides if the reader wants to continue reading the rest of the article. This needs to be interesting to engage with the reader, so I added honour to mine:
‘The journey of three lads who underestimated a 1700 mile round rally, the price of tolls, how fast an S5 burns through petrol and the price of a pint in Monaco.
(And how vital sleep really is…)’
I also discovered in my own experience when something is left unanswered in a subheading it makes you want to continue reading to find out.
This spread is nearly complete however something feels empty at the bottom right. I feel I could illustrate some icons or infographic to go in the empty space of the photo. I will now start to design some options to go inside this.
As I had in mind to create a travel inspired spread for Rome I wanted to make it look like a guide and something that readers can learn something from. I included a post-it-note style sticker on top of a picture with some light hearted ‘top tips’. Travel magazines are never extremely serious so I wanted to make mine as engaging and fun/entertaining as possible.
This takes aways from any strict formality and makes it feel like a travelling plan (as often post-it-notes are used before travelling to keep track of information) and I feel it works well with the rest of the spread and breaks up a full body of text.
In my ‘Pure Rally’ spread I discussed how I thought there was empty space inside a photograph that crossed across my spread. I had the idea of an infographic however I then had the idea of creating a map with a route the rally went on; with each destination labelled on.
Using https://www.plotaroute.com/routeplanner allowed me to mark each destination on the map and showed me my complete route from London to Monaco, with each stop on the way.
I then got map references online to create a quick vector of the the UK and France as they are the only pieces of the map that were needed. Inside illustrator I made a vector trace from the map, overlaid the route that I created and used the pen tool to replicate the route with a small stroke.
The outcome works really well at fits perfectly in the empty space. It also shows the scale and journey we undertook to reach our destination. I like the design of this which works with the rest of the page layout and design.
We had two hours to come up with a logo idea for ‘Design Volunteers’. Firstly I wanted to create some sketches for the logo before going onto the computer, this was really helpful to do as it let me quickly explore all the ideas I had roughly without spending too much time on them and not worrying about accuracy like I would have on the computer.
Keeping the idea of design and volunteer I thought of all the imagery that surrounds them:
Design: pens, pencils, computers, adobe applications, pen tool ect.
Volunteer: hand raised, hands together, hearts, check box,
So I decided to combine the two together. I wanted to create a raised hand holding a pen/pencil to show the aspect of volunteering and also offering design work.
I decided to use my own reference imagery and take photos of my own hand using holding a pencil. Not only did it give me control of how I wanted it to look but also avoid using online reference imagery.
Arabic typefaces is something I want to research as the brief asks to look at non-latin letterforms. This lettering is very ‘alien’ looking to me as I have no sense at all what they could possibly be saying. Basing my lettering on some of the techniques used in this lettering, such as the dots above and below letters, the straight lines and sharp curves and looking at the joining of characters.
The brief states for 5 characters to be design, however this could also be a phrase if I decide thats how its translates as Chinese letterforms often represent a whole word.
TC Zapf Dingbats is one of the more common dingbat typefaces. It was designed by the typographer Hermann Zapf in 1978
This is an interested typeface to look into for the Alien type brief as it is a typeface that isn’t legible to the reader however each symbol does have a corresponding letters, something that I could design myself in a similar fashion.
‘David Carson, radical editor of experimental music magazine Ray Gun, lent the font a degree of notoriety in 1994 when he printed an interview with Bryan Ferry in the magazine entirely in the symbols-only font – the double-page spread was of course, quite illegible and would have to be interpreted like a cryptogram for those unfamiliar with the font. He said he did it because the interview was “incredibly boring” and that upon searching his typeface collection for a suitable font and ending at Zapf Dingbats, decided to use it with hopes of making the article interesting again.’