A monogram perhaps may best be described as a logo with attitude, a certain snob appeal. It’s more than just graphic shorthand for a brand name. In the fashion world, the right monogram says luxury, refinement, and discerning taste. Consumers like being associated with these qualities and usually don’t mind if the monogram is prominently visible on their shirt or purse for all to see. How many of these monograms can you name? Answers on the next page.
The Maribor Theatre Festival is the oldest and most prominent theatre festival in Slovenia. In recent years, it has evolved into an international event with symposia, and foreign guests, producers and performances. The festival has been the scene of exciting arguments, thought-provoking insights, unexpected reversals, and controversy. If the bold graphic identity designed by Nenad Cizl for the 48th Maribor Festival is any indication, attendees can anticipate works of equal originality and drama. Cizl explains that the visual theme for his art is intended “to address the attitude of Slovene politicians toward culture.”
Editor’s note: Packaging design presents its own unique set of challenges to graphic designers that differ from other kinds of print design. Here, we asked Brad Murdoch from Process, a premium packaging manufacturer based in Salt Lake City, to help us identify some common mistakes. Process handles custom packaging and fabrication through its network of overseas manufacturing facilities.
At first glance, the packaging for Coven, a new hand-crafted vodka made by Arbutus Distillery in Nanaimo on tiny Vancouver Island in Canada, looks deceptively traditional, fitting right in on retail shelves with the products of large spirit producers. But darkness changes everything.
Asked to develop a product name, brand personality and package design for Arbutus Distillery’s inaugural product, Nanaimo-based agency, Hired Guns Creative, sought to take consumers into the deeper realm of the spirit world. Hired Guns chose the name “Coven” for the Arbutus vodka brand, not only because it was a play on the idea of spirits, but because it suggested gatherings, mystery and a hint of sexual allure. From a design perspective, creative director Richard Hatter also found Coven “a very clean, balanced word that is easy to work with on a graphic level. And, of course, there are the other obvious criteria; it was easy to spell, say, pronounce, read from a distance, and it was available to trademark.”
To bring credibility to this new product in stores, Hired Guns used several traditional indicators of quality: hand-dipped wax, die-cut label, foil and embossing details, and lots of whitespace. What isn’t seen in daylight, however, is a gathering of witches and night creatures made visible through a glow-in-the-dark phosphorescent coating overprinted on the bottle. The text on the back label adds to the haunting impression: “Shrouded in the mist of the West Coast, a timeless rite enchants those who seek a greater spirit. Initiation requires strict dedication to the craft. There is power in numbers, so gather together because when the lights fade, the ritual begins. We’ve been waiting for you.” Drink up and be merry; the spirits are alive.
Designing a book cover is an exercise in balance. The image or graphic has to distill the story without giving away the plot. It has to create “shelf presence” to entice shoppers to pick up the book for a closer look. It has to avoid false advertising, but can’t be boring, even if the content is. It should give shoppers a sense of the genre – suspense, sci-fi, romance, self-help, current events – but imply that the author has a unique and fascinating take on the subject. While it is true that “You can’t judge a book by its cover,” it is also true that you can design a cover that makes shoppers want to buy the book. This video from Random House features interviews with book designers from its publishing groups (Random House, Knopf Doubleday and Crown) providing insights into the complex process of creating compelling, eye-catching and meaningful book cover jackets.
Designers are not just ordinary consumers in the battle against suffocating the planet with litter. They are the best prevention and the last defense. Aesthetic sensitivity, retail presence, brand positioning, ease-of-use, safety, etc. are critical considerations when designing, and much more fun than thinking about the packing materials used. As important as it is to recycle and minimize waste that goes to landfill, more pressing is what gets blown away as litter. Fast-food takeout boxes probably kill more creatures than the high-fat junk food they hold. Bad typography may be annoying to read, but you never hear about seagulls strangling on overextended serifs, nor about coral reefs stomped to death by insensitive use of graphic standards. There should be life after design. Design for the afterlife. Happy Earth Month.
A logo is widely considered the most important visual expression of retail brands, corporations and institutions. The symbol is a graphic “stand-in” for the entity, communicating its personality and values through a unique and memorable combination of colors, shapes and typography. The latest episode of PBS’s Off Book web series explores “The Art of Logo Design,” with designers Stephen Heller, Sagi Haviv of Chermayeff & Geismar, Kelli Anderson, and Gerard Huerta commenting on the role of logos today.
This animated video on climate change comes from the WWF Brazil. It’s part of a trilogy titled “Pense de Novo,” or “Think Again.” Without voiceover or text, the 30-second video shows how humans have managed to pollute the planet. As we commemorate Earth Day on Friday, it is something to think about…again.
For Art Center College of Design in Pasadena, the humble pencil holds special significance as an instrument of creativity. Traditionally, it has been the way that designers first give visual expression to raw ideas surfacing from their subconscious. The erasable-leaded pencil gives artists and inventors permission to test concepts, doodle and sketch without committing anything to the permanence of ink.
For decades, Art Center has used the pencil as a symbol for creativity and artistic endeavors. Each year it recognizes the outstanding achievement of alumni with Gold and Silver Pencil Awards. For its donor wall, it has made a display of oversized pencils etched with the names of donors to the College. This year when Art Center launched its fund-raising effort, it asked one of its most illustrious alumni, Michael Schwab (Advertising, class of 1975), to create a poster for the campaign. Although Schwab’s strong graphic illustrations have become the brand identity for countless companies and for the Golden Gate National Parks, he admits that being asked to create something for his alma mater was both a “proud moment…and daunting assignment.”