OUGD603: Module Evaluation

The Extended practice module is my biggest achievement within an academic context. The process of developing a sophisticated body of work greatly simulates a processional practice working to develop a range of practical responses at any give time, working with clients, collaboratively, and developing self directed study. This culminates in a broad and diverse portfolio that stands me in good stead for leaving college, knowing I can develop industry standard resolutions. The independent nature of the module has allowed a proposal for self-direct study, this ensures the module has been thoroughly engaging throughout, being able to tailor briefs to my professional practice. This ensures a strict understanding of time management to ensure the briefs are achieved within their prescribed time-scales and stands me in good stead for further study, having already engaged with a professional working practice.

The diversity within my range of briefs that is comprised within the extended practice module demonstrates my versatility as a designer. Working on a range of live briefs instigates a profound sense of professionalism within my practice to ensure the briefs are produced to a commercial standard and establish these are resolved within the clients prescribed time frames. Engaging with the creative networks campaign develops a contextual understanding of working with a client, developing an open dialogue to ensure the resolution is as successful as possible to both the client and the target audience. Competition briefs such as my resolution for YCN and the Random House design award articulates an engagement with the industry and provides opportunity for great exposure as a graduating designer. The sophisticated resolution for the Greenall’s Gin brief is creative within its response and demonstrates my critical ability to alter the brief in order to better engage the target audience, this is developed with creative considerations for the clients established tone of voice and creative direction to develop a successful and appropriate submission.

Working collaboratively within the module on a number of projects including Creative Networks and Record Store Day, highlights my ability to work successfully as part of a design team. This presented opportunity to develop time management and communication skills to ensure the design direction is appropriate and relevant to the whole creative teams input. Demonstrating my sophisticated ability to work commercially, within the module I also initiated a range of self-initiated briefs to ensure a diversity within my graduate portfolio to articulate my breadth as a designer. Furthermore, this provides a more personal insight to myself and my personal design inspirations. Developing a practical research brief within contemporary ceramic forms provided opportunity to explore a completely new creative practice that established a new skillset and interest within in practice-led research.

Reflecting on the extended practice module, I have been able to develop key specialisms within my practice including identity and campaign design, this is specifically focused to the area foe the industry I aim to work within commercially. The module highlights my critical ability to develop a range of appropriate design based solutions that explores a range of practical and theoretical contexts.

Brief 9: Ceramic Branding - Evaluation

The response to the brief exceeds it's initial expectations to create a contextually resolved design strategy that appropriately engages its target audience, defines a clear and successful aesthetic direction / tone of voice, and is commercially apt to its target retail environment. The identity succeeds in creating a dynamic brand that references an variety of inspiration, appropriately named MARMOR connotes a tastefully scandi influence that allows the product to sit appropriately within its established marketplace. The development of a holistic design treatment highlights the products USP to position it innovative to its target audience. 

The products branding succeeds in developing a contemporary identity that is reflective of the brands tone of voice, which is inspired by a minimal scandi design proces. The type is stacked to split the syllables making it more approachable for an english speaking target audience, which successfully reinforces the brands continental tone of voice.  Developing an appropriate packaging strategy for the brand is successful in reinforcing the brands Scandinavian inspired tone of voice through an appropriately engaged modular aesthetic. This utilises the width of the label effectively to implement a range of content while not overcomplicating the overall aesthetic direction. The use of abstract pattern is developed to articulate how each product is unique which is reflected within the ripples, furthermore this is akin to the swirls running through the pots exterior achieved through the marbled finish of the pigmenting process. Developed over a series of 3 colour ways  demonstrates the concepts versitiily and succeeds in creating unified design aesthetic that translates seamlessly across a series, retaining a sense of simplicity within the brands creative direction. Finally extended collateral ensures the brief is contextually aware of its target audience providing digital engagement and understanding its retail environment, creating a small range of promotional materials that will aid the brand in standing out in store. Further contextualising the proposal I self directed a photoshoot at Mauds House which demonstrates the proposals success in developing a design led strategy that fits into this target retail environment. 

Engaging with a range of external feedback from experts within the field, highlights an extremely positive reaction to the resolution. This feedback includes praise from Maud’s House, Colours May Vary, and The Foundation Coffee House whose praise speaks volumes to the success of the project demonstrating its commercial ability within a real world environment.  This reflects how the direction successfully engages the target audience, furthermore, having received several offers to stock the product demonstrates the success of the branding strategy in appealing to its target retail environment. 

Brief 9: Ceramic Branding - Contextualisation: Business Plan

Having had a number of offers to stock the Jesmonite Succulent pots, I considered the ability to continue this project beyond university and extend this commercially. I established this would be feasible due to the set up costs of the moulds already endured the only other start up costs are purchasing materials which can be easily supplied. I plan to discuss this proposal further with the Student support team after hand in to establish if they can put me on the right track for some business mentoring to establishing the feasibility of this proposal. 

Brief 9: Ceramic Branding - Contextualisation: External Feedback

Engaging with external feedback provides a contextual reflection of the identity and establishes whether it succeeds commercially. Receiving feedback from Colours May Vary (Leeds) they loved the physical forms and has a gap in there shop admitting they had been looking to sell succulent pots for a while however didn't want mass produces items from China, They praised the initiative of creating my own bespoke form and developing it into a fully functioning brand and felt their customers would respond positively and would stock the product if I decided to develop this beyond university. within e-mail correspondence they said "do keep us up-to-speed with your jesmonite planters - they have real promise."

I received positive feedback from Hattie at Maud's House (Skipton) who said "you've done a really good job on the packaging and identity, it looks great" 

Finally when attending my MA interview in manchester I took a pot with me to show at my interview, afterwards I took it to Foundation Coffee house (Manchester) and asked to take some pictures for further contextualisation, one of the workers said they loved the form and gave me a business card for the owner and told me to e-mail her because she would love them and would defiantly consider stocking them.

This feedback speaks volumes to th success of the project demonstrating its commercial ability. This reflects on how the direction engages the appropriate target audience having several offers to stock the products and demonstrates how it succeeds in fitting into to its target retail environment. 

Brief 9: Ceramic Branding - Contextualisation: Maud's House Shoot

With a strong identity developed I took the innitive to shoot the delberiavle within a retail environment, this aids the contextualisation of the resutolion demonstrating its ability to holistically fit within its primary retail environment.  I identified Maud's House in skip ton as an appropriate set to stage the shoot as its white walled space and exposed wooden frames articulates a contemporary design setting that will accentuate the quality of the brand. Hattie was more than accommodating letting me shoot throughout the whole store, I was really impressed with the images after post production and highlights the attention to detail and visual quality within the final resolutions. 

Hattie gave me some great feedback on the project stating 'the branding and packaging is done really nicely, you should be proud' we got talking and she has worked in a number of Graphic Design Studios as an account manager including Thompson Brand Parters and Analogue, inadvertently creating a valuable connection as we have since connected on Linked In increasing my creative network. 

Brief 9: Ceramic Branding - Extended Collateral: Web Platforms

Extending the brand into digital platforms is essential in engaging the target audience, Although the business plan is developed to produce limited runs of the product to be sold directly within store, a brand website is created as a means of communicating with the target audience which informs them of the story behind the brand, informs them of local stockist’s and provides an extensive online gallery. Furthermore site also acts as an appropriate medium to engage with potential clients and stockists. 

Brief 9: Ceramic Branding - Extended Collateral: Retail Environments

Acknowledging the products primary retail environment established it is appropriate to create a range of in store promotion to establish the brands within store, creating business cards to direct customers to digital platforms and A5 point of say display posters to easily identify the brand. The use of the abstract pattern is translated from the packaging and is developed to articulate bespoke nature of the product which is connoted within patterns ripples. Furthermore this is akin to the swirls running through the pots exterior achieved through the marbled finish of the pigmenting process, and works appropriately to highlight the products USP through a design led strategy. 

Brief 9: Ceramic Branding - Packaging: Final Design

The final packaging design is successful in communicating the brands Scandinavian inspired tone of voice through an appropriately engaged modular aesthetic. This appropriately utilises the width of the label effectively to implement a range of content while not overcomplicating the overall aesthetic direction. The use of abstract pattern is developed to articulate how each product is unique which is reflected within the ripples, furthermore this is akin to the swirls running through the pots exterior achieved through the marbled finish of the pigmenting process. 

Experimenting with a range of colour options established a white background with an accented colour of the modular grid to identify the  colour of the product is most effective in creating a unified design aesthetic that will translate seamlessly across a series retaining a sense of simplicity within the brands creative direction. Laser cutting the logo into the top of packaging is specifically appropriate for retail environments where the product may be placed on low shelving, to ensure the brand is easily identifiable to the consumer. This is aesthetically relevant to the brands commitment to quality, choosing to  physically engrave into the packaging as opposed to covering this with a sticker. 

Brief 9: Ceramic Branding - Packaging: Development

Developing the aesthetic of the label I creates an abstract pattern to add a sense of texture within the limited edition box. This is further developed to hand number the edition of the run making the experience more personal to the consumer. The pattern works well to articulate how each product is unique creating an individual pattern which is reflected within the ripples, furthermore this is akin to the swirls running through the pots exterior achieved through the marbled finish of the pigmenting process. 

I trailed a range of colour options however established the white background with accented colour of the modular grid developed within the colour of the product is most effective in creating a unified design aesthetic that will translate appropriately across the series and ensure the scandi aesthetic is identifiable within the packaging tone of voice. The logo is placed off centre so not not overpower the product with the brand, this is used to focus more holistically on the product and follows a trend of 'de-branding' 

Developing names for each colour product, I initially trailed the names of scandinavian rivers to keep to an authentically natural brand personality however this was difficult to understand and overcomplicated the context of the brands ethos. Developing this further informed by peer feedback established names inspired by the outdoors which appropriately fits the packaging aesthetic. It was suggested the modular aesthetic looked like a map grid accentuated by the abstract pattern which resembles geographical gradients. The names developed include 'Pink Mist' 'Grey slate' and 'Pebble Blue' which further extends the connotations of nature within the brand philosophy and will appeal to the target audience. 

Finally I chose to laser cut the logo into the lid of the packaging tube, This felt appropriate to reinforce the brand from an arial shot, specifically appropriate for retail environments where the product may be placed on low shelving. The outcome of this is tactile and engaging that enhances the properties of the material creating an engaging initial point of contact for the consumer. reinforcing the brands ethos of quality and attention to detail choosing to physically engrave into the packaging as opposed to just placing another sicker on it. 

Brief 9: Ceramic Branding - Packaging: Label Content

Developing differing design strategies for the labels provides opportunity to explore more than one aesthetic style which can then be evaluated to established the most successful design strategy. Route 1 utilises a photographic style a single image is placed full bleed anchored by the branding to create a bold aesthetic statement. This works aesthetically however contextually would be difficult to implement further information into the label due to the minimal nature of the design, which could quickly become overcomplicated with type. 

Route 2 explores a dramatically different aesthetic direction, the use of a modular style grid separates the information into specific categories that appropriately utilises the width of the label effectively. The product colour / item description / social links take fill 3/4 of the design which is complimented by the more spacious use of logo and 1/1 which articulates each item is custom made. 

Engaging with student feedback quickly established route 2 was the most approbate design directionand should be developed further. Students liked how much information was implemented within the label yet due to its modular composition felt balanced with quirky elements such as the 1/1 that reinforces the brands tone of voice successfully. 

Brief 9: Ceramic Branding - Packaging: Label Testing

Having received a shipment of tubes meant I could physically experiment with different label options to ascertain which size / composition would work most appropriately with the physical form of the packaging tubes. Route 1 is developed with a logo thin portrait label the aim of this is to be able to see the full label on the shelf at a glance, this will also stick over the create helping to join the two halves of the tube together, however this cold appear messy when ripped open. 

Route 2 is developed as a landscape label which fills the front of the tube, this will work appropriately to articulate the important information and gives appropriate space to implement the identity within the packaging concept. The next stage within this development is to create a range of into aesthetic samples and identify the most successful label to develop. 

Brief 9: Ceramic Branding - Packaging: Purchasing

Looking to use this style of tube within my packaging concept I searched for a range of online retailers however incurred significant problems in finding a retailing the produced samples/ready made tubes in my required dimensions. Eventually I found a retailer who produced craft paper tubes in the approbate dimensions however these had to be imported from america which incurred a high shipping and handling cost. 

When the tubes arrived I was really happy with the quality and overall aesthetic. The textured cardboard ads a 'raw' quality to the tubes which is appropriate to the brands rustically Scandinavian aesthetic as this trend utilises a range of honest and raw materials within its design strategy. wanting to keep the packaging concept relatively minimal to complement the form of the product and identity I established a single sticker would be most effective to present the appropriate information. 

Brief 9: Ceramic Branding - Packaging: Inspiration

Exploring the context of packaging the product I sought inspiration from luxury candle packaging, These cylindrical tubes accentuate the form of the product more appropriately than a square box would achieve, and is more environmentally friendly due to its space saving qualities. The style of packaging is typically identified within the luruxy market therefore will engage the target audience through the attention to detail within design and material choices to elevate their whole brand experience. 

I was particularly inspired by the &other Stores candle packing as this reflects a similar minimal aesthetic as to the brand creative direction. The strong use of type and minimal colour palette accentuated a sense of quality within design and is aesthetically attractive to the brands target audience. 

Brief 9: Ceramic Branding - Identity: Final identity

The final identity proposal for the brand succeeds in developing a contemporary identity that is reflective of the brands tone of voice, which is inspired by a minimal scandi design proces. The type is stacked to split the syllables making it more approachable for a  english speaking target audience, which successfully reinforcing the brands appropriately continental tone of voice.  The use of type is exceedingly successful utilising the contemporary sans-serif to connote the innovation within the material choices. This is juxtaposed with a body copy of Karla whose geometric skeleton complements this display type appropriately. 

Developing the identity into a practical form, I took opportunity to sand blast the logo into the bottom of the physical product, this worked better than expected allowing a reinforced brand identity within the physical product. If produced commercially this would be applied using a caste metal stamp however due to the materials and processes available to me within the university this sand blasted aesthetic simulates an industry practice and effectively implements the branded strategy within the physical product. 

Brief 9: Ceramic Branding - Identity: Development

Developing the initial direction into a sophisticated identity proposal established a range further development. Initially exploring the physical form of the logo I experimented with stacking the logo, this effectively splits the word phonetically into its two syllables making it easier for a british audience to engage with and developed the logotype into a unique composition that will come iconic of the brand. 

Experimenting with merging the stacked letterforms into one another proved unsuccessful, further development explored an outlines logo form to reflect each design is bespoke and can be personalised. 

Seeking tutor feedback identified a range of further development, It was suggested the capital M appeared separate and should be consistent with the lowercase 'm'. Developing a tag line for the brand was initially difficult was it required a succinct overview of the brand in a couple of words. Developing this over a few days to ensure an successful statement identified 'bespoke succulent vessels' this is appropriate as it suggests each product is hand made and is different from one another, informs the user of the products purpose, and inspires point of difference within the forms material choice. I chose vessels as opposed to 'pots' to highlight the innovative use of material that feels technically advanced through its polished exterior. 

Brief 9: Ceramic Branding - Identity: Initial Ideas

Developing a range of initial ideas for the identity of the brand, I established this should feel clean and minimalist to complement the form of the physical product, which evaluated a typographic identity would be most appropriate as logo marks and icons can often appear cluttered / excessive. 

Exploring two distinct routes within my idea generation process the first explores the use of type within the branding, route one experiments with a range of typefaces and custom kerning to create a minimal identity thats attention to detail within the typographic forms that is akin to the aesthetic of the product. This initial type investigation explores a range of aesthetic styles from bold sans serif fonts such as DRUK and circular to contemporary serifs  including GT Sectra & Harriet Text that contextualise the connotations tradition yet engage the contemporary target audience. 

Route 2 Experiments with type as image to create a typographic mark, Research into potters marks inspired this minimal direction to develop which aims to abbreviate the brand into a stamp like form that can become instantly identifiable of the product. 

Engaging with peer feedback established route one was the most successful and should be developed further as feedback suggested the brand name should avoid being shortened / altered to ensure maximum consumer engagement. Identifying route 1 peer feedback further established GT Sectra (the top) typeface is the most appropriately engaging to be developed. It's unique serifs create a point of different within the instrustry which complements the products innovative use of materials, This provides an almost sculptured aesthetic that can be developed into an engaging identity. 

Brief 9: Ceramic Branding - Concept

Exploring the market place through considered contextual and practical research strategies it is identified that a Scandinavian route is distinctly appropriate to the context of my product. Its minimalist form is inspired by a sandi style that is commonplace amongst the contemporary ceramic marketplace. Following this aesthetic direction allows the product to position itself attractively to the target audience and succeed within its primary environment, both commercially and domestically. 

With an established creative direction identified, the next stage within this context process is identifying a name for the brand. As the brief is self direction, I fill the role of the client, this requires me to establish the products, name, tone of voice, brand personality and creative direction. 

Alec suggested the best way to name a brand is to pick something that most simply embodies the products ethos. He simply suggested translating the work into swedish plays to this direction and assigns a sense of integrity within the connotations of the brand. Exploring words that feel representative of the product, I wanted a name that takes from scandi influences however is not so foreign it confuses the British target audience of the brand. Furthermore, I didn't want this to reflect an Ikea style of design as this is not the aesthetic I am hoping to achieve. 

Exploring naming concepts further I identified 'Marmor' as the swedish word for marble, this appropriately fits the products USP of a pigmented marbled finish running through the pots. Furthermore this feels like a neologism and will become uniquely associated to the brand. Marble has connotations of quality, expense, and luxury which aids the ethos of the brand appropriately. Taking inspiration from primary research it is identified natural elements are often implemented into similar brands marketing strategies therefore marmor is further appropriated through its natural elements, this should be further developed with the brand. 

Brief 9: Ceramic Branding - Practical Research

Exploring a vast range of practical research, it is important to explore beyond typical branding forms to holistically inspire a range of broad and diverse brand strategies. This research heavily links to the contextual research which identifies a range of brands that sit within the same market place and retailers whose environments the product / brands needs to sit appropriately within. 

Creating a brand from scratch requires an contextual understanding of the market to establish brand values, creative directions, and a sense of personality. Within this practical research I have analysed a range of lifestyle content including interior design from Freunde von Freunden and startup companies such as Prick London. Amongst this is appropriated identity research which analyses a range of branding for retailers and market leading studios in order to establish the style of design that most appropriately engages the target audience. 

Freunde von Freunden is a international collective of designers that come from a diverse range of creative and cultural backgrounds. Within their vast portfolio they have curated a Berlin Apartment as an event space. This speaks to the taste of the target audience and inspires a contextual understanding of their lifestyle. Within the aesthetic there is alot of foliage, quality materials, exposed work such as pine and bespoke fittings. This attention to detail is evident within the quality of apartment and can be used as inspiration for set design/ creative directions to fully engage the audience. 

http://www.freundevonfreunden.com/apartment/

London Start up PRICK, is London’s first cacti and succulent shop, the in store aesthetic is a contemporary white-walled sanctuary that houses a vast range of succulents and cacti, this is the optimal environment for the product and exists to engage the target audience. Inspiration can be taken from the branding and comically engaging tone of voice to appropriately engage a target consumer to identify with the brand. 

Branding for maids house utilises a humanist sand serif typeface with rounded corners to make the identity feel softer and more engaging, developed into a abbreviated logomark that incorporates time icons adds a sense of playfulness to the identity and reinforces the creative ethos of the store.The identity works appropriately to engage the target audience and can inspire a range of initial ideas regarding the identity for my own brand. 

Exploring further identity research relating to brands that occupy a similar target audience. The weekend club logo feels youthful and energetic, this contrasts the typical connotations of ceramics removing traditional iconography in place for a sophisticated and contemporary logomark to appropriately reflect the brand and its personality filled products. 

Another Ceramic based brand 'Wingnut and Co' similarly utilises a humanist sans serif typeface that appropriately reflects the hand made nature of its products, their icon is successful in creating an abbreviated brand form, I am unsure about its legibility in isolation, however will work successful as a stamp within their ceramic forms to brand these appropriately.