Visual Identity - Brief

Visual Identity

Briefing 30-11-2016
Final Crit 13-12-2016 
Unit Deadline 17-02-2017

To design an eye-catching visual identity for an existing small local business.

Requirements
An identity which can be applied to at least 5 relevant items which demonstrate the success of your solution(s).
Back up work in the form of research, multiple idea generation and development of your solution.

Context
A strong visual identity is the most important consideration of any organisation, in order to make their brand successful. This tells everyone who you are and what you do. The identity is an essential part of the brand and needs to be simple, memorable, distinct, relevant, engaging and interesting.

The Challenge
During this project, you will design a unique, eye-catching visual identity taking into account all relevant aspects such as signage, packaging, livery, stationery.
This project is designed to enable you to gain an understanding of what creating a visual identity for a brand involves and to recognise the importance of relevant ideas generation and research on a theme in order to come up with individual, eye-catching solutions.
You will be provided with the subject for your identity.

The Audience
The audience will be speci c to the subject matter.

Things to Consider
Visual Identity is the visible part of a brand. It may incorporate a logo, or it may use other devices to make it recognisable.
Successful brands do not start with a logo. They are about meaning which is shared, powerful and positive eg John Lewis: “never knowingly undersold”. Brands must be:
• Authentic (true to themselves) – they don’t lie
• Distinctive
• Compelling – facts are boring, stories are good
Research thoroughly your chosen subject. Ensure you understand the following:
• organisation background: history, origins
• market: what type of person is/could the organisation be aiming at
• brand bene ts: what does/will the brand give to the consumer • brand personality: characteristics of the brand

You may need to reinvent the brand and imagine it as a larger organisation. Analyse your chosen brand and show your ndings in your research. During the research stage it is helpful to nd or create a story for your brand, or to nd the USP (unique selling point).

Generate multiple creative ideas, which work across a wide range of applications and show an understanding of speci c requirements and restrictions relevant to the brand, when applying your identity.
Applications you may consider are main sign, web site home page, app design, menu, carrier bag, ticket, Tee shirt, vehicle livery, car sticker, business card, letterhead, signage. There may be others, which will be speci c to your subject.

Reference material
Wiedemann, J., (2009) Brand Identity Now! Taschen
Davis, M., (2009) The Fundamentals of Branding Ava Academia 
Wheeler, A., (2009) Designing Brand Identity John Wiley and Sons 
McAlhone, B., Stuart, D., A Smile in the Mind Phaidon 

NUA Norwegian Christmas Market - Finished Products

These are the final products I made to sell on the Christmas Market. I really enjoyed doing something different and getting back to doing craft work. Unfortunately the market wasn't as successful as everyone had hoped and only one of my cards sold. Hopefully next year there will be more interest and more people will know that market is open. 

D&AD Visit - History of D&AD

D&AD came you Norwich University of the Arts to hold talks for second and third years on graphic design. The talk for second years was held in the morning, they explained their history and how the award programme worked.

We heard how D&AD started in 1962 as a group of designers are artists who wanted praise the excellent within the creative fields. It is now one of the biggest art and design organisations in the world with 27 different categories and five different award pencil.

Yellow pencil - The award everyone is seeking and the first award D&AD held
Black pencil - Though who get Yellow pencils get can have the chance of getting a Black pencil. There is not certain number that have to be handed out, so if you get one your work is really special.
White pencil - Created for their 50th anniversary, it is there for amazing work created for non-profit.

D&AD as hold a New Blood awards programme for new talent entering the industries. This is primarily what they came to talk to us about. There is a two week boot camp of talks and live briefs to help people get into the industry. They also hold a New Blood Exhibition, which I attended last year where students get to show off their work to pencil employees and other creative people. There are also workshops and taster days held at this time.

Editorial Workshop

We had a workshop to introduce the Editorial brief where we worked in groups to draw quick sketches that represented the given themes. My group worked on the weather theme where we thought about map, weather scales and how the text could show the movement of the wind or rain. I also took a photo of another groups example of the circus theme where they thought about how objects balance and move around the arena.

The editorial needs to be creatively inspired by the subject matter in terms of format, grids, layout and typography. So if all the photos and images were taken away the subject matter would still be clear. 

Editorial - Brief

Norwich University of the Arts 
BA(hons) Graphic Design
Unit BA2a: Experimentation & Application

Editorial
Brieing 02-11-2016
Final Crit 29-11-2016 Unit Deadline 17-02-2017

Design pages for a publication, which are creatively inspired by the subject matter in terms of format, grids, layout and typography.

Requirements
You must include back up work in the form of research, multiple idea generation and development of your solution.
Your editorial must consist of
a cover and at least 2 double page spreads or 3 double page spreads

Context
This project will enable you to gain an understanding of working with grids and type layout and to organise information with logic, in order to create lively creative layouts, which still have strong ideas for its basis.
It’s important to note that most of the editorials you see around you have very standard/template grids, which mean that there is little to distinguish one from another and consequently they can be very uninviting to look at/read. This project is designed to focus your creativity on challenging this “norm”, in order to create eye-catching outcomes which are uniquely relevant to the subject matter.

The Challenge
You are asked to design an editorial,l based on given subject matter for which text will be supplied.
The project will begin with a workshop, which will help you explore the nature of “The Creative Grid”

The Audience
The audience will be speci c to the subject matter.

Things to Consider
The title of the article should give you your inspiration for your idea. This will be your theme.
You should approach this project either by considering one overall format/ idea for the whole publication.
Both your grid and type could be in uenced by the theme. A grid shouldn’t be restrictive, it should help you. Grids can in fact be inspired by your subject matter, as will be demonstrated through the workshop.
Imagery is only a secondary consideration for this project. You can use found imagery or take your own photos but must only use these elements to support your type/grid inspired idea. You could decide to use no imagery within your design with consideration of the idea of type as image
It’s important that you thoroughly consider hierarchies. This is the process by which you identify parts of your text which need to be given more or less importance e.g. headings and general text, quotes and captions.

Requirement
Your nal outcome could be made up into a dummy booklet, but this is not essential. It can be presented as professionally presented spreads, trimmed to size and at full scale.
Use the appropriate software for the job, in this case, InDesign. Illustrator and Photoshop are not appropriate for text and image layout. As a professional working within the industry, you will be expected to have an understanding of all software and to use appropriately depending on what you are designing.

Reference material
Online
http://www.thedrum.com/news/2012/11/01/changing-role-challenger- brand-innocent-brewdog-and-tyrrells https://contently.com/strategist/2014/12/05/how-airbnb-is-using-content- marketing-to-stay-on-top/ http://www.cmo.com/features/articles/2013/12/3/rise_of_the_challeng. html#gs.kjS_EcA
The Dieline www.thedieline.com/
Lovely Package http://lovelypackage.com/

Libary
Kirkpatrick, J., (2009) New Packaging Design, London, Laurence King Boylston, S., (2009) Designing Sustainable Packaging, London, Laurence King
Edwards, Klimchuk, Wallace, Werner, (2009) Really Good Packaging, Rockport
Olins, W., (2004) On Brand. London, Thames and Hudson Wiedemann, J., (2009) Brand Identity Now! Taschen
Davis, M., (2009) The Fundamentals of Branding, Ava Academia Wheeler, A., (2009) Designing Brand Identity John Wiley and Sons.