SHOWCASE
OBSERVATION
ORGANIC PALETTE
NATURAL SKIN
HANDY NATURE
ORGANIC DESIGNOLOGY
PERFECT NATURAL SHAPES
THE INDIGENOUS BRANDING
OrganicISM
05
9 772226 654008
ISSN 2226-6542
05
NO 05
OrganicISM
TREND-LEADING
Inaugurating the future narrative of brand values !
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2012 / Oct. ( ISSUE 05 )
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Editorial
T he compelling visual elements and rules from the nature have taught
us not only the way we understand the nature, but also the way we
shape the human outputs. T he products we make, the machinery we
produce, the way we interact, the way we consume and even the way
we work creatively are inevitably connected with the organicity of
our being in relation with the nature. T he universe evolves around a
chaotic yet organic rule.
As designers, we make things real; we make rules in the way people
interact with visuals or other media. T herefore, we need to
understand the way “natural” is interpreted in Design, creative
methodology, art direction and even marketing. Notwithstanding
that the brand designers are limited to a couple of media, brand
designer are enabled of the chance to have the most direct
interaction with the client and the consumer, as the key to bridge
the organicity of brand values to the other end.
Ryan K. L. Jiang
Executive Editor-in-chief
Committee
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Oriental Motifs in Modern Design presents the motifs
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unique meaning and origin as well as a great
potential to be applied in modern design. The book
introduces 27 traditional motifs divided into three
categories, and modern design works inspired by
oriental motifs. DVD-ROM that contains all the vector
graphics introduced in this book is attached.
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CONTENTS
BRAND +
LIGHTBOX
SYMBOLISM
12
OXYGEN IN THE PARK
16
FORMOSA ECOLOGY TEA GIFT SET
18
MOOMAH
74
COCONUT
75
FOUNDING FARMERS: TRUE FOOD & DRINKS
76
STOLL&STOLL - ALIMENTOS PREPARADOS
78
ROOTS – PLANT YOUR OWN
22
VERDARIUM
24
RICE GARDEN
TEXTURE
26
SOUNDWICH
82
FAT COW
28
THE MANCHESTER FOREST
84
RRRIOT SHOP
30
ROOTS SOAP CO.
88
FARMEX
32
M-IDEA FOREVER
90
KAI DASE VIOLINS
36
ALBERI MONUMENTALI – MONUMENTAL TREES
92
DÁVID PETRÓ
38
BREITENTHALER
94
LA CANYA
40
THE SUSSEX PRODUCE COMPANY
98
SELF PROMOTION
44
SAVON SU MIDI
102
WORM UND PARTNER
104
LA CABANE D’HENRI
COLOUR
48
ABOVE & BELOW
50
ADELA
52
LES STORE
54
PLANTED PLANT
56
HEIM
60
CATALAN WINES
64
SEMOLINA ORGANIC PASTA
66
EKSTRÖMS WILDBERRY SOUPS
68
WALNUT CREEK RANCH
70
JÓ ERIKA
72
KENNZUR URBAN SPA
108
NATURAL TEA
110
HERBARIUM. NATURAL FABRICS WEAR SHOP.
114
ALTUNA VIAJES
116
DELICATE MATERIAL
120
AMIO
122
JACU COFFEE ROASTERY
126
ODIN GROOMING ESSENTIAL KIT
130
ORGANIC PALETTE
144
NATURAL SKIN
156
HANDY NATURE
( SPOTLIGHT )
168
ORGANIC DESIGNOLOGY
178
PERFECT NATURAL SHAPES
188
THE INDIGENOUS BRANDING
26
LIGHTBOX
28
24
INDEX
32
30
38
36
40
SYMBOLISM
18
76
54
12
44
16
72
70
22
52
66
50
COLOUR
64
75
48
T EXTURE
78
126
98
94
88
56
60
102
82
74
110
90
84
92
122
120
104
68
108
116
114
SYMBOLISM
OrganicISM
OXYGEN IN THE PARK
Federica Marziale
Federica Marziale Studio
2012
During the first days of sunshine in Milan, walking
with David Beltran, the Art Director of Oxygen, a
Communication Agency based in Milan, the designer
and David made an inspection of one of the most
beautiful park in Milan: Sempione Park. A walk, a warm
sun and some flowers ready to bloom... this was the
moment when the idea of “Oxygen in the park” was born.
The project’s primary aim is “back to the nature”. “Oxygen
in the park” wants to attract people every Sunday in
the park and wants to invite them to live in contact with
nature by healthy activities: yoga, good music, picnic,
sport and food. A hippy idea hides behind this concept:
an idea of freedom in the respect of the nature. In a
poetical vision: the idea of picking mushrooms in the
woods, of eating flowers and of making love with nature.
The design of “Oxygen in the park” identity wants to
be a simple communication, warm and natural with
contemporary-vintage savour. It’s a little message,
an invitation to let oneself go and a suggestion to live
healthy. The identity has involved the design of: image,
logo, visit cards, opening invitation, free cards, tickets
and clothes for picnic.
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FORMOSA ECOLOGY TEA GIFT SET
Xinyu Zhang
Victor Branding Design Corp.
2012
The tea leaves are selected in a series of
high-quality tea garden in Taiwan, which are
fully grown and harvested, using the unique
technology of professional tea baking
masters; the taste is wonderful. On each of
the tea packaging, there is an illustration of
one endangered animal. During tasting the
tea, people can recognize these beautiful
animals. Many unique species disappeared
because of human beings’ seizing their
living space, because of the selfishness of
them. When the silent voice roared, human
beings should be humble to learn how to
coexist with the ecological environment, so
that each life could live peacefully in their
space.
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MOOMAH
Apartment One
The design team first looked to identify the
essence of Moomah and simplified it into four
core values: connect, create, discover, and
2010
nourish. They then developed a robust visual
brand language that would convey those ideals,
When the design team first met with founder Tracey Stewart, she
designing variations of the logo with everyday
expressed a desire for Moomah to be a space that would encourage
objects that represented each value.
creativity and connection between parents, children, and friends,
a place where imagination and wonder would feign. They sought
They pushed the boundaries of traditional
to develop an organic and dynamic brand language to translate
identity development by extending the brand’s
Tracey’s vision for a multigenerational collaborative space into a
identity beyond the logo and name and
memorable brand.
creating an ownable graphic vernacular that
encapsulated the whimsy, wonder and heart of
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the brand.
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OrganicISM
An Austrian environmental planning
office fulfilled its dream by opening “the
Verdarium“ in a little town near Vienna. The
green oasis (3000 square meters) is an
experimental garden and a place where
completely weather-resistant furniture is
VERDARIUM
Anouk Rehorek
moodley brand identity
sold. With a very subtle, atmospheric and,
most importantly, individual design, the
special character of the Verdarium has been
captured and a logo which lives up to the
2009
expectations of the special place has been
created. Clients are able to experience
the atmosphere, materials and spacial
reference for themselves. This experimental
component was conveyed by creating
a playful logo, the digitalisation of the
customer’s handwriting.
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RICE GARDEN
Guiping Xu
Victor Branding Design Corp.
2012
This project is inspired by a Taiwanese saying:
dish cannot be good without a better bowl of rice.
It not only reflects the eating state of the local
people, but also expresses the native Taiwanese
spirits. The design concept is simple and clear,
to connect local food culture with seasonal
vegetables.
The intimate relationship between rice and dish is united by depicting different seasonal vegetables in different months
collaged with the image of rice in the calendar. This concept reminds people of the original food culture in Taiwan, the
excellent taste of rice with dish.
present local Taiwanese family food specialties. The beautiful colours, wonderful smell and excellent taste of the rice with
dish are all reflected in the images, which makes them irresistible for people.
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As for the visual images, the design team selects one seasonal vegetable each month, using family food idea, to fully
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SOUNDWICH
Atelier Nunes e Pã
2012
“Soundwich”is a concept that
mixes music and food, in the
form of a sandwich created
by seven renowned chefs
from Porto. It is also a space
where it can be experienced,
The sonority of the logo was achieved so that it resembles a vinyl record, and the entire graphic
a kind of escape from
image was created and developed to translate and enhance this concept. It evokes the feeling
everyday life, to be enjoyed
of chic, cool, nature, vintage and has a strong identification with the city where it’s in.
with cool music in the middle
of the city park.
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THE MANCHESTER FOREST
Teresa Sweeney
2012
A competition brief was given to Teresa Sweeney through her university
to create, name and design branding for a museum of trees. She chose
to bring the excitement of the countryside to the lives of busy city
dwellers with “The Manchester Forest”, a place where families would
be able to discover all of nature’s possibilities in the urban environment.
She has created various promotional materials including business cards
and poster designs, making the most of the beautiful organic patterns
and textures typical of the subject. She has used delicate lines of detail
to create a strong brand identity that would be suitable for a family
audience and would be easily transferrable over a whole range of brand
material.
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ROOTS SOAP CO.
Darren Cools
Darren Cools Design
2011
Anna is a second generation soap maker, and
she makes many different kinds of soaps as
well as herbal salves and all natural laundry
soap. Darren Cools, her husband helped
design the soap branding.
When setting out to brand Roots Soap
Co, they wanted the packaging to reflect
simplicity, tactility and natural values. They
chose to print mostly on chipboard for its
rough, textured look and feel, and it has the
added benefit of repurposing a normally
discarded product. The vision behind the
design is rooted in the earth and nature,
and takes its cue from a time when most
OrganicISM
products were handmade and hand packaged, just like
their soap. It was important to let the soap itself be the
most striking thing in the presentation. Brown paper,
simple, classic fonts and minimal embellishments help
emphasize the natural beauty and quality of the product.
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THE SOLUTION
The Carbon Concept contains and supports the brand values and can, on several different levels of abstraction, be used as the DNA and
source of inspiration for the creation and evolution of the whole identity.
Under different influences from its surroundings, Carbon can take various physical forms, each of which possesses completely unique
and diverse properties, although they are identical in their chemical composition. Looking at the raw graphite and polished diamond, it is
fascinating to imagine that they are both composed of the element Carbon.
Just like Carbon, the brand, M-IDEA FOREVER brand is characterised by its diversity. The new brand is based on a unique style
composition, which mixes poetic Avant-Garde and functional Technology. Although it is very different, and sometimes even opposite, the
two elements of M-IDEA FOREVER are tied.
The black and soft Avant-Garde is expressed through the raw graphite. The bright and hard technology grows out of the polished diamond.
The Carbon Concept unites them.
M-IDEA FOREVER
Per Madsen, Line Arlander & Christian Steen Jørgensen
Scandinavian DesignLab
2011
THE TASK
To create a visual identity for the new Chinese high-end men’s fashion brand, “M-IDEA
FOREVER”, based on a strong concept, which expresses the brand’s two fundamental
characteristics; Avant Garde and Technology.
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Apart from the fact that the element Carbon forms the basis of all known life on Earth, it is exceptionally because of its diversity.
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Anche loro hanno un’identità
www.alberimonumentali.it
ALBERI MONUMENTALI –
MONUMENTAL TREES
Paz Gutierrez & Giorgio Favotto
2012
Alberi Monumenatli – Monumental Trees is a project that creates the brand identity for the
oldest trees found in the Italian territory. With the existence of numerous and unofficial sites,
the purpose was to gather all this existing information about these trees and put it all into one
project, one that establishes the identity of these extraordinary trees.
The term “monumental” is used to describe a tree that is remarkably old, large in size or just
simply very beautiful. The concept of the logo was inspired by the tree-rings, which help to
determine the age of the tree. Along with the visual identity, an advertisement campaign was
created, as well as the signage system. The signage system was one of the key elements of the
project; the information panels for each individual tree provided all the relative information, such
as the history and stats. The goal was not just to create a corporate identity, but the attempt to
distinguish and “unearth” these remarkable creatures.
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BREITENTHALER
Anouk Rehorek
moodley brand identity
2011
The Austrian company “Möbelbau Breitenthaler” stands for creative
design combined with craftsmanship, for extreme aesthetic appeal
and a true passion for materials, forms and colours. The result is
timeless, beautiful furniture whose focus is always on the material:
wood. With the renewed branding, moodley brand identity has set
up a monument to this timeless material. It equally unifies all values
described above what the company stands for.
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COMPANY
Megan Young
2012
For her final project at University, Megan Young decided
to combine her experience in branding with her interest
in sustainable living and design practices. “The Sussex
Produce Company” identity design project is based on a
small restaurant and shop in Steyning, West Sussex. The
produce in store and the menu operate on a seasonal
basis; therefore, the packaging must be easily changed.
Her branding uses paper bags, food wrap papers, stickers,
tie-on labels and clip on signage so that everything is easy
and cheap to change. The emphasis of the branding is
to promote organic, locally grown and produced foods,
seasonal eating which is sustainable, and to minimise
packaging and cost.
A selection of simple sticker labels means that a wide range
of reused or recycled containers can be used, helping the
shop to be more eco friendly. The flexibility of the packaging
and labelling, and ability to easily amend the labels lowers
the costs spent on printing and design, leaving the most
money possible to be spent on the quality food products in
store.
Megan Young likes to work with handmade process, and
combined mono-printing, screen printing and letterpress
to create the aesthetic for this project. She feels that this
hands-on less refined approach is very well suited to the
aesthetic of the store and to their intentions.
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THE SUSSEX PRODUCE
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SAVON SU MIDI
Carla Cascales Alimbau
CCA Studio
2012
This is a packaging, illustration and brand design for Savon du Midi.
The packaging is made of recycled and recyclable natural products like
craft paper for the box and printed with ecological ink, using only black
colour. Each variety of soap has a different handmade illustration related
with the natural ingredients of the soap.
Savon du Midi is made of shea butter and certified organic vegetable
oils. The fine blending of these oils creates its unique quality. None of
them contain animal fat. The soap is manufactured in small factories with
the knowledge handed down from generation to generation in Provence
(France).
The brand has the intention to transmit the simplicity of an organic
product in order to highlight the natural qualities of the soap.
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COLOUR
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ABOVE & BELOW
Joshua Middleditch
2012
Above & Below, a museum of trees, focus on engaging people mainly
Museo Sans is the brand typeface. It has a contemporary feel but also
aged between 16 to 25. The visual language applied is cotemporary but
possesses a natural, organic form to the letterforms.
accessible throughout the brand. The museum itself would be within a
natural outdoor environment with one main building consisting of a shop,
All printed campaign material would be reproduced on recycled stock
cafe and information centre.
and substrates. Drafting paper and thick greyboard has been used to
represent the contrast between the strong structure of the trees and the
Trees have a distinct anatomy that exists above and below the ground;
fragility of their leaves.
the logotype has been crafted to convey this structure. The logo’s graphic
emblem is constructed from the cross section of a tree. This gives the type
The website reflects the Above & Below concept by enabling each section
grounding and provides a visual link between the two. A graphic pattern
to move into the window using up and down navigation.
has also been designed to take the above & below concept further by
visually representing the anatomical similarity of tree roots and branches.
As part of the first campaign, posters would be wrapped around trees in
This pattern also helps to create an atmosphere of being surrounded by all
towns and cities; they would invite you to “Be a Tree Hugger” and also to
things tree-like.
download an app. This would extend the integrated campaign by enabling
the use of phone cameras to take pictures of individual trees. This could
The brand itself has a unique colour palette that changes with the
then provide information such as what type of tree it is.
seasons, reflecting the colours of tree foliage. Campaign material would
therefore change every three months; this would keep the brand fresh and
seasonal.
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ADELA
Luis Othón, Uri Wapinski, Rosario Meraz, Jose Angel Pérez & Alejandra Kawas
Adela
2012
The intention was to create a Mexican furniture brand starting from the branding process, followed by the business plan, development, product
design, etc. If it is started with the development of a business from its image instead of first designing the product, a different approach could have
been accomplished. In that way, the products could adapt to the brand’s visual language and maintain an interesting relationship between the
products and the graphic design that surround them.
The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related
to them. A symbol system, logo, and colour palette, along with its stationary and other selected items was developed, and at the end of the brand
development, a simple item collection that involved a table, lamp and a floor cushion was designed.
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LES STORE
Balykin Pavel
Playoff communication agency
2011
Les Store is a network of brick and mortar store handbags,
accessories and leather goods and furs.
The project is to develop a corporate identity including the
modernization of the logo, design elements and systems stile modular
solutions for interior and shops outlets.
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PLANTED PLANT
Michal Doktorchik
2012
This is a “branding a festival” project that Michal Doktorchik did in a branding course at “Minshar
-A fabric bag that can be functional for many
for art” college. She came up with the idea of a “planting trees festival” in order to help and
uses. The bag is patterned with trees that can
recover the “Carmel” forest that damaged seriously in the Conflagration of 2010. His idea was
be found in the LOGO as well.
to raise the awareness of our beautiful nature by bringing a big amount of people to plant trees.
-A small shovel.
He gave the festival a name in Hebrew -“shtol shatil” which means “plant a plant”. It has a
-A pack of seeds. On the package you can find
catchy sound and meaning. As part of the branding, he designed a kit that was given to each
the name of the plant with a little illustration.
participant in the festival:
- A bulb of a plant wrapped with a green thin
recycled paper. For each of the bulbs you can
find a little label with the required information
and the name of the plant in three languages:
Latin, Arabic and Hebrew.
For the lunch break each of the participants
gets:
- Set of environmental paper plates.
- Cutlery that is wrapped by recycled paper.
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OrganicISM
The brand is inspired from the mighty Alps
through forms, colours, photo style and names.
The language used is Norwegian Nynorsk,
HEIM
Robert Austnes
which makes a difference compared to other
brands in the same category. Every piece of
the brand is numbered, and makes each piece
a limited edition; the photos as well. Every tag
2011
is a part of a big picture from each area around
Sunnmørsalpane.
Heim is an urban clothing brand based on the Alps of Sunnmøre
Heim means home in Norwegian Nynorsk. With
(Sunnmørsalpane) and the colours and nature around it. From the
Heim, the design gives you a little bit of the
grey and white summits through the green forest, it stretches itself all
designer’s home, the beautiful Sunnmøre.
the way down to the blue fjords along the west coast of Norway.
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CATALAN WINES
Gerard Marín & Iris Tarraga
toormix
2012
The branding, graphic and communication
code are for a catalan wines promotion
project for the domestic and international
audience. The project was aimed to improve
the consumption and the presence of the local
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wines at catalan cellars and restaurants. The
brand with 12 different variations (as many as
wine designations of origin in Catalonia) and
the synthetic graphic combined land, terroir
and climate of the different D.O. through a
graphical code different from that of the typical
wine. Within the project, toormix worked on the
brand extension for communication to the point
of sale (restaurants and wineries), ads with
opinion leaders quotes about catalan wines
and the different support and merchandising
materials.
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Doron Baduach
2011
The project consisted of a series of packages for a made-up pasta
company called Semolina Organic Pasta. Semolina is the coarse,
purified wheat middling of durum wheat used in making pasta. The
graphic concept was to use as little tools as possible to create a lot of
interest. Tried to use the pattern amongst other elements, all the prints
were made using only one colour, along with the positive negative
effect, to create a varied feel. As for the material, wise, recycled
cardboard was used which is strong enough to contain the pasta; it
has the textural organic character that I was looking for.
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SEMOLINA ORGANIC PASTA
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EKSTRÖMS WILDBERRY SOUPS
Krister Lima
2012
This was a student project. Ekströms Wildberry
The shape of the package was also an important
Soups, whose current design was outdated
aspect for the final design. Again Krister wanted to give
and needed a new and fresh approach. The
the impression of homemade and organic. The shape
series contains of three different flavors:
he came up with was practical considering shipping
blueberry, raspberry and blackberry.
and displaying in the store shelves. It also gave the
impression of the paper bags that mothers used to
From the start, he wanted a homemade and
pack her child’s lunch before he or she went off to
handmade feeling to the design. He wanted
school in the old days.
the new package to be more organic and down
to earth, giving the package a more believable
The typography is also a key part of the main
and personal look. This was achieved by the
design. He wanted a font that gave the impression of
right use of paper, typography and shapes.
handmade and fun. The font he chose was fun and
had beautiful curves to illustrate the movement for the
He wanted to clearly define and show the
hand.
difference between the different flavours that
offered by showing a big picture in front of
Since a big part of the concept for the package was
the package. The water drop underneath the
organic thinking, he thought carefully on how he could
berries shows that by blending the powder with
make it more environmentally friendly. Compared to the
water, we get the final product, and in the end,
old packaging it uses, 33% less paper on the outside,
the water falls into the glass, ready to drink.
and the paper bags inside that contains the powder
uses 50% less paper. This again helps the package to
look and feel more organic and handmade.
The feedback was very pleasant; people loved the
overall look of the project.
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Caitlin Workman, Maggie Hirschi & Katie Mehan
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WALNUT CREEK RANCH
2010
This is a collaborative project resulting in an identity system
and collateral work designed around a locally owned and
operated ranch in Lawrence, Kansas, USA. Brand attributes
include emphasis on authenticity and trustworthiness
of natural foods. Their products include grass-fed beef,
natural honey, and free-range chicken eggs with hopes of
expanding to natural scrub and bath soaps.
Operator, Tim Hamil, noted that their differentiation as
a company included history of the property and ranch
owners. He emphasized that the family history played a
major role in his brand recognition because this created
a relatable story to his customers. The ranch came to life
through humorous imagery and playful copy to create an
approachable and friendly brand.
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JÓ ERIKA
Peter Muller
2012
The designer got the assignment from Erika Jo.
Her identity is for handmade products. She
loves nature and flowers, so she chose the tulip
symbol.
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Vinicius Costa
COMMGROUP BRANDING
2012
The Kennzur, an urban spa in São Paulo
city, Brazil, is recognized as an oasis in the
metropolis. The project design and brand
identity were created with the thought of a
strong element that could communicate with
the luxury market in an efficient and aesthetic
way. All items of ID, signature elements,
environmental and other materials such as
gift card, were designed to bring one into
contact with this brand identity, to a place of
well-being and quality of life capable, and
to communicate with every customer like an
encapsulated time by this spirit of living well.
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KENNZUR URBAN SPA
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COCONUT
Nguyen Tra
2012
White and dark brown was used to symbolize the coconut powder
company in Vietnam.
The main concept of this branding is to make people to recognize
coconut easily. In the logo, circles with different weight lines were
combined to create a coconut image.
Senior Account
FOUNDING FARMERS: TRUE FOOD & DRINKS
Peter Verastegui Guasace
2012
Since September 2008, the award-winning Founding farmers has
began with a long process of brainstorming. Starting with the logo to the
been one of the country’s leading restaurants to offer farm-inspired
stationary, these had to suggest quality, especially the logo, because this
American true food and drinks in a modern, casual and eco-friendly
image was to reflect the company’s idea and vision of themselves which
setting. From their modern farmhouse, breakfast, lunch, dinner and
are independent of time, therefore not based on fashion or trends of the
brunch menus includes homemade and “scratch-made” traditional
moment. It should be memorable, simple and coherent. Peter approached
American classics inspired by the heartland & the American families.
it in a different manner. He was not supposed to have a preconceive
notion of what the end result would look, instead the research that came
At the Corcoran College of Art & Design, the Identity project was a
with the design process would determine the end results, and indeed the
big project of the semester; the companies each student got were
final product came after many sketches and a long mood board.
already established but without a well resolved identity or brand.
This project made emphasis in the design process from start to
finish. Focusing in process made the students find that ideas that
contained a visual statement were the most successful; the project
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STOLL&STOLL - ALIMENTOS PREPARADOS
Caico de Paula, Cristian Zampieri & Caius Marcellus
095design
2010
“Simple” was the word that drove the
concept ideas for this job. The whole project
was based and developed on simple font
In 2009, Brazilian brothers Thiago and Leandro
families, geometrical forms and illustrations
Stoll decided to set up Stoll&Stoll, a frozen food
OrganicISM
to keep it easy to understand on a visual
boutique brand with a simple purpose: tasty
perspective. This “simple” concept provided
meals for those too busy to cook. From Brazilian
a happy and friendly way of communication
favourites, such as Feijoada and Meatloaf, to the
with customers, making use of clear and
world’s icon lasagne, ten dishes are now being
colourful icons to represent each principal
offered. All of them made with fresh ingredients,
ingredient from each dish. This also creates
some of which grew in the factory’s own garden,
a nice atmosphere when having a rich
re-enforcing the healthy and tasty philosophy.
flavoured, healthy and easy-to-cook meal.
Customers can buy these meals on their own store
at the factory or at most Brazilian southern estates
supermarkets.
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ROOTS – PLANT YOUR OWN
Jodie Smith
2011
Roots is a “pack” for recent allotment members. It comes with a helpful booklet and bits and
bobs. One of the main aspects is making it a family occasion; therefore, there is a kid’s pack
Inside each seed packet is a helpful note card
that explains which months are best to sow and
inside too.
harvest depending on the seeds inside. It also
One of the main design features is how most of the elements are screen-printed. The box, bag,
Inside the kids packet is a tick list for children to
provides a helpful tip at the bottom.
seed packets and pegs have all been screen-printed onto the elements.
get involved with the planting and tick of all the
seeds they have planted, some fun fact cards,
stickers, poster and seeds.
Two of the other items in the package are a
calendar that can help the customer keep
track of when they have planted the seeds
and when to sow, harvest etc. and a tote bag.
The customer can use it to carry home all the
vegetables they have grown.
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The package aims to get families excited about
growing their own.
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TEX TURE
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FAT COW
Gwen Chan & Bryan Lim
Foreign Policy Design Group
2012
Fat Cow is a beef restaurant employing the Japanese way of picking,
cooking and serving beef. Drawing inspiration largely from the
Japanese aesthetic, Wabi Sabi, with traits that include simplicity,
economy, austerity, modesty and the appreciation of the ingenuous
integrity of natural objects and processes, wood is used primarily as
the platform of this brand communication. The non-uniformity and
texture suggest the Wabi Sabi beauty of imperfection. The mark and
the searing on the wood are also reminiscence of the branding of
cattle.
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RRRIOT SHOP
Stefania Capellupo
2011
This project includes logo and stationery design for the shop Rrriot,
located in Torino, Italy. Rrriot is a clothing shop, and an independent label.
The owner Yoanna is a fashion designer. She designs and produces her
fashion collection and she’s also constantly looking for unusual brand that
sells in her shop. The logo represents a pair of scissors, related to the
production of tailored clothes and wants to convey a retro but at the same
time strong atmosphere, revolutionary as the name of the shop suggests.
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FARMEX
PIOTR PODGORSKI
CREATIVE MASHUP
2011
current company status. Design for the project was inspired by mountains
and experience. Their main products are graves, interior elements
and raw nature of the stone. Various colours of the stone were transferred
and commercial construction stone parts. They operate in local and
into brand new colour scheme, based on shades of white, gray and pale
international markets, providing high quality services and products to
blue. New logo, website and stationery were in scope of the project.
differential customers. Reaching the point where FARMEX established
The concept included elegant, simple style and clear communication of
solid market position, they have requested to adjust their brand to
company values as tradition, precision and quality.
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FARMEX is a family stonemason company with over 25 years of history
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KAI DASE VIOLINS
Matthew Melling
2012
Kai Dase Violins & The Strad Lounge is a small business in Nottingham, England. Kai
handcrafts violins in his workshop upstairs whilst The Strad Lounge downstairs is used
as a showroom for his completed instruments as well as a space for performing and
learning, whether it be music, dance or art. It has even been used as a recording studio.
The challenge here was to condense all this information into one identifiable mark,
which successfully represents every aspect of the business. To do this, the designer
used curly brackets, known in music as a brace. The brace signifies 2 or more parts
of music to be played at once. He took this and created a container to fit the company
name.
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DÁVID PETRÓ
Boglárka Nádi
2011
The identity is for Dávid Petró, a book and paper restorer in
Sopron, Hungary. The goal of the project was to couple the
friendly atmosphere of the small manufacture stylishly with
classic and cleared shapes, in order to satisfy a wide range of
audience, by taking into account the tight budget of the client.
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In the case of the business cards, they ended up printing one side of
them and stamping the other one by hand. It allowed a smaller type size
for the contact details (more legible too) and it was so much easier to
have the cards cut by someone else.
The same philosophy applies to almost everything. They did the lamps
with wood from fruit boxes and wood leftovers from the walls. They also
got the neighbourhood involved since the opening and asked them to
bring old books with them.
LA CANYA
Sergio Mendoza
Sergio Mendoza Studio
2012
The design team did all the woodwork and kept it simple and friendly. The
same idea was applied to the branding and all that is printed. They designed
a system and a “set of tools” to use, so everything is actually co-produced
by the staff.
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SELF PROMOTION
Ida Louise Andersen
2012
In this self promotion project in college, Ida started with thinking of
how she wanted to present herself, what she stands for and who she
is as a designer. She wanted every little detail to be representative
of who she is. She wanted to do something different and interesting,
so she decided not only design her business cards, but also the A2
portfolio for her project, A3 suitcase for her sketchbooks and a net for
packaging dummies.
Ida appreciates good handcraft. This is something that seems to
easily be forgotten in the digital world that we now live in. She wanted
to use the old techniques in combination with a modern and playful
Why the unicorn
expression that shows her personality in the best way. She therefore
Ida has been told that her work capacity is like a farm horse. As she sees the farm horse dark brown
chose the Universal font which is a tall san serif font in contrast with
or black, it stamps in the mud and does the same thing every day. The unicorn on the other hand has
ITC Cheltham which is very nice and soft serif font. She used wood,
the power of the horse. The mane and the tale have shapes like flames to empower it even more. The
matt uncoated yellowish paper, leather and steel as materials. She
unicorn is unique and strong and represents something magical. Ida wants people to wonder why she
applied bold colour to give it a playful feel and the steel to make it
chose the unicorn, and through that, to add some mystery and humour to her choice.
more rustic.
Why the symbols
Ida has used 4 symbols throughout her profile. They stand good where the unicorn is not used and
they build good patterns. They also make it easier to remember the qualities and values she stands for.
The star stands for quality; smiley stands for humour, lightning stands for will power and hart stands for
passion for the work.
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WORM UND PARTNER
Raffael Stüken
Büro für Grafik Design
2010
The expertise of insurance brokers
“Maklersozietät Worm und Partner” focuses
on providing personal insurances. In order
to gain a more concise public presence, a
new corporate design was created, which
is based on a flexible word mark and an
emotionally appealing world of imagery.
Tree barks serve as a metaphor for the
difficult terrain of the world of insurances.
Connecting lines visualizes the brokers’
daily work: the professional comparison of
complex insurance-products.
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LA CABANE D’HENRI
Marie-Laurence Carrière
2012
La Cabane d’Henri is a Bed & Breakfast, located next to the Bic National Park, Quebec. It has a
very unique cachet with beautiful rough woodwork. When the designer first started working on
this project, it was essential to create a brand that would express the Inn’s hearty side. When he
was looking for some typography and materials, he needed to find something that represented
the structure and identity of the hotel. The idea of using wood became an important part of
his work, so he used this material for the identity cards, menus, keys and coasters. When it
was time to create a publicity campaign, he had the idea of using pictures of different famous
personalities named Henri on the posters and postal cards. He liked the idea of mixing photos
and paintings from different times. It was really important to create a brand with a multi platform
consistency.
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NATURAL TEA
Riska Tiofani
RiskaTiofani Design
2010
This Natural Tea Packaging Project is
actually one of Riska Tiofani’s compulsory
school projects. Basically, the project
was about creating an eco-friendly and
sustainable packaging that was made to
support our global warming prevention
issue that happened recently. That’s why in
this project, Riska decided to use natural
materials in each of layer of the packaging.
OrganicISM
In this project, she came out with a tea
packaging set which consists of 3 different
sizes tea boxes. Two of them were designed
for loose leaves tea and another one was
designed for potbags tea. All the materials
that she used were 99% environmentalfriendly, started from the primary packaging
to the secondary packaging. The primary
packaging were made from organic gunny
that would keep the loose leaves tea dry,
while the secondary packaging were made
from recycled board and paper which
was very sustainable and environmental
friendly too. The boxes were designed to be
user-friendly as well. It’s easy to open and
reusable.
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HERBARIUM.
NATURAL FABRICS WEAR SHOP.
Artem Maslov
2012
Herbarium is a natural fabric women’s clothing
shop. Those fabrics are mainly made from linen,
cotton, wool clothes (and leather too). There are
young unknown designer’s works in it. You can
see herbarium-dresses on the walls, which is
the conception idea for this shop. All purchases
here are packed with special textured craft
paper or put in craft pocket.
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Firm style constants: self made font
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ALTUNA VIAJES
Ezequiel Norry & Juan Pablo Bustos Peralta
ESTUDIO TRICOTA
2012
This Identity trademark design was created for a tourism agency from
Nogoyá, Entre Ríos, Argentina. The client’s instructions were to achieve an
aesthetic identity which looked classic and formal.
The first stage of the process was the “naming” phase, in which, conjointly
with the client, the designers chose to associate his surname to the concept
of reliability. At the same time, they developed a solid concept on which
they could base the design, since this allows for a more fluent relationship
between the design and what it communicates.
Considering these premises, they aimed at economizing resources and
maximizing their utility.
After a process of experimentation and concept development, the designers
believe that the typographic type choice for the make was sensible and
accurate. After that, they wanted to play with the contrast between a rustic
material as support and a copper-coloured ink as the principal tint in the
palette. This combination results in a sober and elegant piece of design.
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DELICATE MATERIAL
Oleg Babich
Babich Design and Branding
2011
Delicate Material is a handmade soap produced
in a private workshop and distributed all over the
world. Natural ingredients and handwork, everything
in harmony, Delicate Material is nature itself.
Therefore, the primary metaphor of the brand is the
elements of nature: air, water, earth and fire. The
elements communicate with us through invisible,
ephemeral channels, our sensations. What is a
world of sensations? Ether, a delicate material fills
the world.
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AMIO
Praefa Uennatornwaranggoon
Sai Uennatornwaranggoon
2012
The brief was to create a complete brand identity from a logo to brand
publications. AMIO is a Maori word meaning to travel and to roam
around which was inspired by Hannah’s travels. The concept is to
create a simple identity which reflects on the brand and the clothing
itself. Sustainability is also another major factor included while the
line was designed. The brand’s target audience is people who enjoy
the outdoors and backpacking. The identity was inspired by patterns
often seen used by the Maori tribes of New Zealand and also the fact
that a lot of Hannah’s garments are multi-functional.
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JACU COFFEE ROASTERY
Tom Emil Olsen
Havnevik Advertising Agency
2012
The Jacu bird lives in South America and is
known for something quite extraordinary. It
flies from one coffee plantation to another and
picks and eats the tastiest coffee cherries. The
fruit makes its way through the bird’s digestive
system, and the seeds of the fruit, coffee beans,
come out perfectly processed. These coffee
beans are among the most exclusive in the world.
This story has inspired the deisgners, and the
bird has lent its name to the new micro-roastery
in Ålesund, Norway.
Jacu Coffee Roastery was established in 2011.
Like the Jacu bird, they pick and roast only the
best beans. They look for great plantations,
optimal processing and the roasting profiles
which will make the most out of each bean.
They work with passion, patience, and without
compromise.
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ODIN GROOMING ESSENTIAL KIT
Giang Nguyen
2012
This is a student project to create an identity & packaging design for
ODIN, a company producing and retailing men’s grooming supplies
& skincare. The brand targets contemporary, young and dandy
gentlemen. ODIN promotes the qualities: gentlemanly, wise and poetic.
It is classic but not ritual, old-school but not hipster-like, fashionable
but not fancy, refined but not luxurious.
The design solution has the look and feel of old apothecary sold
by sailors at the port in the old world. The packaging design aims
to promote that ODIN’s products are naturally made, hand-made
and finely-crafted, limited & made to order rather than commodities
industrially mass-produced.
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G
R
O
N
A
I C
Organic style is a nod to the stability of nature. It is an appreciation for the calm persistent attitude
of nature, one that is comfortable with itself, with its ease of steady growth and of the balance of
rebirth and death. Organic style is a reflection of our attraction to not only the stability of nature, but
its ability to carry forward no matter what the weather brings. It is also a sign of our current distain for
excess. We don’t need flash right now, nor can we afford it. We seek comfort in what we have, that it may
carry us to the next stepping-stone, wherever it may be. We frown upon excess as it signifies greed, creates
jealousy and portrays injustice. Excess is the imbalance of capital in a time when people crave harmony.
In nature, we find that no one tree is greedier for sunlight than another, but natural organisms create symbiotic
relationships with one another so that they all may thrive. Particularly in our capitalistic economy, a dog-eatdog society where individualism reigns, we are seeing a desire for community, to triumph as a whole, and we can
perceive this attitude in the clothing we buy, labels on the beer we drink, and paint on the cars we drive.
E
answer. There is no specific property that renders an individual colour
as organic. On the other hand, we might deem every colour to be
organic, as each is our perception of a wavelength of light born in the
natural, physical world. Reception of light through the eyes, and its
translation by our brain to what we describe as colour is an organic
process. How, then, can we proclaim one colour to be more organic
than another? Perhaps it lies in the process of colour-making, in the
origins of colours. We are more likely to find an organic palette in
colours that are made from organic materials, such as purple which
comes from the mucus secreted by a Mediterranean snail, or the blue
dye that is produced from the leaves of the woad plant.
Whether a colour originates from an organic process or not, its organic nature ultimately resides in our
perception and association with it. A shade of green may make one person recall their experiences as a boy at
By Jordan Shevell, American Graphic Designer
summer camp in the middle of wilderness. It may be the shade of pine trees, and the perception of that colour
brings fourth memories of moose, canoe trips and campfires. Add browns to the palette and his memory
may be enhanced to recall the dirt that got under his fingernails while pitching his tent, or the kindling he
collected to build a fire.
We are in a time of recession, an era of uncertainty toward our future. We seek out comforts that remind
us that everything is ok, even if it isn’t. Our attitude and desire for comfort is reflected in the colours
we surround ourselves with, the colours we make, and the colours we buy. Colour is one of the many
tools we use to understand the natural world around us. It is a tool that gives brands an opportunity
to communicate a message about themselves to their consumers based on the experiences people share
with colour. We can see distinct colour trends in fashion, art and brand design; we can even witness these
colours in the new drinks that Starbucks puts out. We are in the midst of an organic style both in colour
and lifestyle.
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That same shade of green might mean something different all together for someone else. Perhaps it is the
colour of a car that broke down in the middle of a family road trip, thus becoming a colour of distrust
and unreliability for the driver who had to wait hours without air conditioning for AAA to arrive.
For someone else that very same green might conjure the smell of crayon wax along with memories of
colouring in the lines of her Disney colouring book. Though the sense of smell is much more visceral
in that it can transport you to a different time and place, we create association with colour in much the
same way. Colour therefore holds its meaning in subjective experience and its meaning varies and is
created by the individual.
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P A L
T
T
E
What is organic palette? It is not a question with a black-and-white
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I’d like to take this moment to discuss the difference between the current trend of organic style and
Can we then define a palette of colour as being organic,
“going green”. Organic colours have been trending increasingly since the early 2000’s, contrasted
even though the nature of its meaning lies so much
by the vibrating pastels, acids and neon colour palettes of the 80’s and 90’s. The green movement is
in the eye of the beholder? As human beings we share
another term for environmentalism, a movement rooted in American transcendental philosophy that
many commonalities in our experiences. We share the
dates to the 1840’s. Hippies and Richard Nixon’s administration largely popularized it in the 1970’s
same sky over our heads, rejoice in the warmth of fire, and
and 80’s, and the ideology continues to integrate itself in current business practices. The movement
walk on the same earth. Though we experience our world
has since evolved from uniquely the conservation of nature, to prompting individuals and corporations
as individuals, many of its characteristics hold meaning that
alike to make eco-friendly decisions about their practices, such as recycling, keeping toxins and chemical
has ancestral roots. Sky blue gives us a sense of tranquillity;
enhancements out of our food and water, and keeping hazardous waste out of landfills and oceans.
imagine a time when pillaging, war, hunger and disease were
more abundant than iPhones, and making it through to the next
Organic style and environmentalism are separate topics, but they do influence one another. We have been
day was not as certain as the rising sun. Seeing the blue sky of a
challenged by many catastrophic events since 2000, such as 9/11, major natural disasters, climate change,
new day would have been relieving, even rewarding.
global warming, and war. More and more people are concerning themselves with living more efficiently:
Whether our psychological responses to colour have been carried
on through our biological makeup or traditions in design is
almost irrelevant. It boils down to a question of the chicken and
the egg, of nature versus nurture. What matters is that we do have
driving hybrid cars, growing gardens, recycling and compost, engaging in more eco-friendly behaviour. In a
consumer-driven economy where the consumers are going green, the sellers must follow suit if they intend on
staying in business. It makes sense to use colours that reflect and communicate messages that speak the visual
language of our time.
specific associations with colour that evolve with our experiences
and impact our lives on a daily basis. Think of yellow signs on the
road that warn us of possible dangers, or the poster red that has us
salivating for fast-food. Perhaps our association between red and
food stems from medieval pleasures of roasting a pig over the red
ambers of a fire, or comes more simply from the individual experience
of a good burger at McDonalds.
from communal to national, all the way to associations we share as members of the
human race. Red is a colour that adds humanity to a palette because we all share the same
colour of blood, yet its combination with white and blue becomes distinctly American.
Despite these many differences in colour association across people and cultures, the palette
of colours we find in nature has many similarities that we can relate to as creatures of the
Like all languages, colour has different meanings across cultures. Colour combinations and their
associations are strongly tied to local traditions and ideologies. Where black and red can have
passionate, sexual, even ominous connotations in North America, it stands for happiness in China,
making it a popular palette for their wedding invitations. Brands and designers must be attentive to
the impact of colours and their meaning across cultures, as people will respond differently to colour
choices made for logos, product design, packaging and advertising.
Earth. We find grass and leave greens in vegetation, blues and blue-greens in the sky, rivers
and oceans, yellow in the light of the sun and its violet complement in the night sky. We find
neutral reds, oranges and yellows in the browns of soil, wood and the comfort of shelter. Bright
colours may warn us of a venomous creature, a poisonous plant, but they also help a cardinal
stand-out against the foliage to attract his mate, and a bee to find its nectar (which in return
We have explored the similarities and differences in the relationships we have with colour, the evolution
of colour over time and culture, and have looked at possible origins of colour meaning. Understanding
how to manipulate and implement colour to convey a specific or branded message takes a lifetime of
practice, study and responsibility. It is important to speak truthfully through the voice of colour, the same
way we must communicate advertising messages. Consumers may not analyze the reasons behind the use
allows the flower to pollinate).
of a certain palette in design, but they can tell the difference when a brand’s promise cannot follow through.
Colour is a powerful tool that can make or break a brand, so know your market, do your research, and
choose your colours wisely.
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The scope of colour association lies on a continuum from the individual to familial;
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INTERVIEW WITH YURKO GUTSULYAK
Designer of “Design shop oooo.com.ua”
––– What is organic palette in your opinion? Where is it from? –––
DESIGN SHOP
O O O O . C O M . U A
When we speak about organic palette, one should not imply the colour scheme only, but also a set of the
materials and visual images. This is everything related to the pure innocent nature and individual products
of civilization that have natural origin and are visually perceived as natural. Today the organic trend has got
clearly shaped and quite well-known all over the world (in the countries with absolutely different level of
economic advancement) and is easily read and understood by a wide circle of consumers.
The organic palette is defined by the following components:
1. Colours.
All the shades of green and brown, as well as white colour. The colour scheme can also be supplemented by
oooo.com.ua is launched to make things for private
connoisseurs of design highlights, for home use,
something that you could get for yourself or as a gift,
in a word, for people.
other colours that are present in the traditional European nature (not the tropical one), for instance, sky blue,
At the beginning, it was essential to c reate a
graphically simple name that is easy to read (first of
all, visually) and quick to remember. It is all about the
way a certain name looks, not the way it sounds. The
name itself defines the project’s Internet address which
should be conveyed to the target audience as simply as
possible. It should be also equally perceived in Roman
and Cyrillic fonts as well as graphic language.
wood, hemp twine and ceramics. Sometimes other materials can be used, such as leather, glass, stone, etc.
cherry colour, black, sunglow yellow etc.
2. Materials.
Craft paper, recycled paper, brown cardboard, corrugated fibreboard, cotton fabric, linen fabric, sacking,
Grass, tree, green leaf; a landscape with a lawn, pond, river, forest or mountains; clear blue sky, white clouds;
birds, animals and insects (non-exotic) in their traditional environment; images that represent handicraft;
various products made of mentioned materials. The whole variety of the natural textures can also be applied.
Organic palette is closely related to the ecological palette and craft palette. Very often they can be so similar
that one can easily take one for another. All of them have a similar origin and similar or identical attributes.
So, the design team came up with oooo.com.ua name,
where “O” is an object, a fascination and a display of
emotion, and finally it’s a round or a circle which is
one of the simplest basic figures. It is a constant basis
for an infinite number of developments in absolutely
all spheres of design.
One of the main components of the oooo.com.ua
identification appears to be an original decorative
font designed specifically for this project. They called
it Gerdan as each letter looks like small beads that
decorate, and even emphasize a connection between
contemporary design and traditional Ukrainian arts
and crafts.
Gerdan is a beaded necklace in a form of a narrow
strip made of coloured beads that are strung on a
beading thread or hair base. They create colourful
geometrical ornaments.
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3. Visual images.
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––– What should a designer take into account when he/she applies organic
palette in his/her design? –––
First of all, a designer must realize the task that is in front of him and
answer the following questions:
-How unique and individual, or typical and mainstream the design project
should be?
-How important the organic trend is for the target audience of the project?
using organic palette in brand design? –––
-Is the brand for which the design is created really aimed at conveying the
idea of Organicity and organic values?
The major advantage is that the organic trend
-What physical products the design will be applied to and what are the
is well-known and positively perceived by the
technological possibilities to manufacture these products?
consumer. Besides, there are a lot of people and
organizations that are ready to suppor t and
promote this trend. This is one of the no-lose
––– What kind of implication can organic palette bring? Is there any help
strategies in the brand design. The disadvantage is
with the realization of brand values? –––
that the organic palette is quite limited and all the
possible attribute combinations are used up. As a
Organic palette is used too frequently. Sometimes it is a success,
result, most of the design projects in the organic
sometimes not. The consumer very categorically interprets organic palette
trend resemble each other very much, and the brand
and it contains a set of clear promises. Therefore, organic brand obtains
individuality is lost.
absolutely specific values that must be proved by it in the future. But very
often it becomes a profiteering tool and designers and producers abuse the
consumer’s trust. That’s why the organic palette could be both helpful and
––– How can organic palette impact on consumers
harmful for the brand.
psychologically? –––
––– What are the industries that you think are suitable for organic-
Organic palette has a great influence on the modern
palette branding? –––
consumer. People have got tired and disappointed
––– What colours do your use in your project “Design shop oooo.com.ua”
and any reasons for those preferences? –––
with low-quality artificial products that are all
As a creative person, I can imagine organic palette to be applied
around them and being stubbornly imposed by the
As I’ve already mentioned, organic palette is tightly related with the craft
in all areas without exception, even in the space weapons industry
corporations. People are in need of a psychological
and ecological palettes and all of them have the same or similar attributes.
or in a gay club. But the vast majority of people are not ready for
rest from the fake plastic environment pressure,
When making the identity of the Design Store oooo.com.ua, we rather
such radical rethinking of the world. Traditionally, the organic
as well as a return of their belief in the real price
used craft palette. I had the aim of creating a light, clear, commercial style
palette is applied in the production of food, household items,
and value of the things they are consuming and in
that would be reasonably trendy. I used the white and brown colours from
baby products, cosmetics, clothes, footwear and accessories.
themselves. People seek for values rethinking and
the organic palette as well as craft paper, recycled paper and corrugated
The organic palette is less frequently used in customer service
the new direction for development. And this is what
fibreboard. Orange and blue colours are also specific to the organic
industry.
the organic culture industry promises.
palette; however, they are not the determinant ones.
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––– What are the advantage and disadvantage of
BranD+ / BranD / 2012E
GROVE MARKET
INTERVIEW WITH HEIDI ADAMS
Designer of “Grove Market”
––– What is organic palette in your opinion? Where is it
from? –––
An organic palette derives its colours from nature. Nature
offers a plethora of colour variations that could be
perceived as organic, but it’s the most common colours in
nature that we typically think of as organic are browns,
neutrals, greens and earthy tones.
––– What are the advantage and disadvantage
with rural farmers and merchants to facilitate
when using organic palette in brand design? –––
cultural exchange, resulting in a strong community
If what you are branding has a strong tie to nature, then
that is more aware of Raleigh’s agricultural past
an organic palette becomes both fitting and inviting. It
and urban future. The packaging of this market
connects your product or service to your reputation. On a
was a reflection of the market’s values, as well as
more general scale, organic palettes tend to take on a more
timeless feel because nature has been and will continue to
its modular structure and logo. In order to address
be a source of inspiration for designers. A disadvantage
the identity of the market, as well as the identities
would be that due to the palette, there is a fear of colours
of merchants, a system of tags and stickers was
and type blending together and losing the “eye-catching”
developed to be applicable to a range of products
quality often utilized to market a product, which is why in
from gift items to lunch carry-outs. The stickers
our design we developed strong, specific guidelines to our
brand to reinforce elements not getting lost or blending in.
and tags were dominated by taglines of the market
based upon the word “at”, such as “Bustlin AT the
––– What are the industries that you think are
crack of dawn”. The “at” emphasis distinguishes
suitable for organic-palette branding? –––
the market as a destination, while the variety of
taglines portray the personality of the market,
The obvious are food related markets such as restaurants.
helping Raleigh citizens to understand the concept
Depending on what is (being) branded and its context,
an organic palette could be the right pick for a variety of
of a public indoor market. The brown paper and
brands. It is more important to consider the history and
primary brown ink used reflect the food’s origins,
relevance of each brand on a case by case basis: Does an
bringing a raw, unprocessed feel to the market,
organic palette help tell this brands story?
supporting an understanding and appreciation of
locally grown food.
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Grove strives to bring together urban consumers
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––– How can organic palette impact on consumers
psychologically? –––
I think there is a part of each of us that resonates
with nature and it’s that common inspiration that
warms (“warms us to an organic palette...” or “draws
––– What colours did your use in your project “Grove Market Identity” and any reasons for those
us to an organic palette…”) to an organic palette.
preferences? –––
It seems honest and natural, beautiful without
flaunting. Our goal in branding with organic
For the Grove Market, we combined prominent use of a dark chocolate brown with supporting
palettes, and taking advantage of what it lends
earthy tones with a bright pop teal colour. We also used Kraft paper in a lot of our materials. We
chose this palette to support the core values of the market; we wanted it to feel home-grown, organic
were assured of a quality product via a personal
and fresh but we brought in the pop of teal to show the juxtaposition of returning to older methods
interaction. The emotional connection we sought to
of buying foods but appealing to today’s generation and desire for fresh food where the process of
establish was inviting and personal.
buying food is a delightful experience and not a chore. It was important for us to know the Grove’s
application. Knowing that we wanted a publication, yet needed signage to attract attention in some
areas more than others, we needed a softer colour, like the chocolate brown, to be a bit warmer than
––– What should a designer take into account when
just setting our entire publication in black, while the teal warmed easily on the Kraft paper, yet
he/she applies organic palette in his/her design? –––
stood out on signage.
A designer should take into account the story of
the brand they are telling. What are the contexts?
How will people interact with the brand? What is
the mission? And then how can colour palettes help
tell this story. It is always valuable to perform case
studies. This project was designed and researched
specifically for downtown Raleigh, North Carolina,
which informed many of our decisions in the
system design of our branding as well as the
physical product.
––– What kind of implication can organic palette
bring? Is there any help with the realization of
brand values? –––
Any palette will bring implications and undertones
to the people who interact with the brand. The way
that a colour palette is applied will determine how
someone is influenced by the palette and if it aligns
with the rest of the brand. When done right, it
should reinforce the core values of a brand.
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OrganicISM
itself to, was to resonate with our patrons that they
BranD+ / BranD / 2012E
PHILIPPE
GUIGNARD
Designed by Emilie Mattille, >moser
Philippe Guignard is a creative and enthusiastic Master pastry cook, a model of the highest
demands in the perpetual quest for perfection. He is noble-hearted, an authentic lover of
OrganicISM
flavours and local produce, he defends high human values and has accumulated an exceptional
body of experience.
Having opened his first bakery-confectionery shop in 1989 at the age of 26, he today heads a vast
company and holds the fate of several hotels and restaurants in his hands.
After having selected >moser to create an identity for his new fast-food outlet in Lausanne,
Philippe Guignard finally completely revamped his branding system and the overall image.
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Materials directly from nature without over treatment, though rough, give a
feeling of simplicity and sincerity and what’s more, give the consumer emotion
experiences. We have a close relationship with our mother nature who provides
what we rely on to live since the very moment we came to the world. Nature is a
great source of fun, especially to kids. Many of you must have played with sand
when you were in your childhood. A shovel in hand, a few hours, one afternoon,
or even the whole day, that is a great experience. We might say that the “sand” is
a code, which could evoke our memory of nature. Organic material in some sense
works just like the “sand”, which can touch the consumer’s heart by calling back
we have established a deep attachment with the nature.
Apart from the emotion experience, some other advantages of organic
materials can also account for the popularity of organic packaging:
Eco-friendly:
Organic materials come from nature, unprocessed and untreated; therefore, they
are degradable and renewable, which are environment-friendly.
Organic aesthetic:
Organic materials are natural, simple, original and unique that are pretty different
from plastic packages with pompous appearance that can be copied. They cater
to people’s visual desire and sought to be one of the standard of aesthetic in
packaging.
Low cost:
Compared with other materials like plastics, organic materials, in most of the
times, can lower the budget in a lot of ways.
Organic materials are commonly seen in some industries like foods, fashion and
cosmetics. Even though there is no boundary for organic material utilization and
all the organic materials, the same, give us feelings of nature, safety, healthy or
the like, some brands show preference to a certain material. Take the example of
“Mediterra”, a homemade brand, sackcloth bags, cardboard and brown newsprint
With the rapid development of packaging technology, the number and the style of commodity package are increasing
paper are used to emphasize its local origin and high quality; while “Maori Exotic
day by day. In recent years, however, modern package brings forth different kinds of safety issues while we are immersed
Deli” takes Maori bamboo-woven container as its package, with which these two
in tons of fancy packages. Designers in the graphic design world begin to ponder for a solution, and the solution is
packaging are endowed with their regional cultures.
packaging with organic materials.
Utilizing organic materials for package not only meets the requirements of
What is organic material? Accroding to Sai Uennatornwaranggoon, organic material is “retrieved from a natural source
consumers’ pursuit of green and organic life, but also helps the brand promote
with the capability to compost”. There are various kinds of materials that could be used in package design, such as
its image and brand values, increasing brand’s market share and winning more
bamboo, textiles, wood, unbleached paper, stone, coconut shell, dried gourds, luffa and grasses.
customers and benefits.
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OrganicISM
NATURAL
SKIN
the past memory. It is probable that there is no gap between the nature and us, or
Cipmann was asked to create the visual identity and packaging
for the homemade honey and honey-based products that would
emphasize their local origin and high quality. The designers
came up with the brand name, Mediterra (“med” is Croatian
word for honey, and “terra” is Latin for land, earth) and the
identity that evokes natural balance and puts the bee in the
primary focus.
The package design is inspired by traditional jars of homemade
food which were extremely simple and had just a name sticker
on them. The label on the jar is as simple as it can get. If we
were to remove just one more element, it wouldn’t function
any more. The colour of the honey is actually the primary
differentiator between the products, as it was in the old days.
The designers think that the unobtrusive label lets the rich
colour of the honey speak for itself. And it speaks volumes.
The jar also contains a coaster doubling as a business card,
situated under the jar’s “cap”, so the jar doesn’t stick to the
surface.
MEDITERRA
BranD+ / BranD / 2012E
INTERVIEW WITH CIPMANN
Design studio of “Mediterra”
––– Is the package locally resourced? Where is
its origin? –––
Ye s, the packaging for Me diterra honey
products is in its majority locally resourced.
The glass jars and bottles have been acquired
at the local shop, as well as the sackcloth, the
cardboard coaster and brown newsprint from
the local print shop. When we say local, we
mean Rijeka, Croatia. The only thing ordered
from abroad is the green labels (Fasson Pastel
Offset Green).
––– “Terra”is Latin for land, earth. How did
––– What’s organic material? What organic
––– Some said packaging should go organic
you convey “terra” through the material? –––
materials did you use in the packaging? How
in shape and form, and more importantly, in
do they help to present an organic look? –––
concept. How do you achieve that in terms of
The spirit of “terra” is conveyed through the
material? –––
colour of the label and the tactile sensation
of sackcloth, newsprint and cardboard, as
well as their colour. However, the main role
in the packaging is played by the honey itself.
unobtrusive, it puts the organic honey in the
primary focus, as one of nature’s most valued
nectars. The full name, Mediterra, also refers to
the origin of the product, Mediterranean, and
the word “med” stands for honey in Croatian.
In Cipmann, we believe that concept for the
manufactured from natural elements in the way
design should be based on the product/service
that has least harm to the environment, or are
that needs to be communicated and presented
recycled. The organic materials we used in this
in its true light. In this case, we had a homemade
packaging are sackcloth bags, cardboard and
and home-grown product and made it in a way
brown newsprint paper. They add to the organic
dictated the materials that were used for its
look with their colour, texture and origin. But,
packaging. We were also inspired by the old ways
as we have already mentioned, the most organic
of food storage which were practically clear jars
material of this packaging is the honey itself.
and a sticker with a handwritten name on it.
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Since the design of the packaging is extremely
The way we see it, organic mater ials are
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MAORI EXOTIC DELI
Designed by CEDRIK FERRER
Based on the native culture of the Maori
people from New Zealand, this exotic deli is
owned by a modern Maori family who imports
local delicacies globally, where the profit
helps preserve the marine environment in
New Zealand. As part of their life and values,
the preservation of the environment is very
ORGANIC
significant to the Maori culture. This deli not
only offers a variety of products produced
MUSHROOM
naturally and earth-friendly, but also uses
packaging and branding materials that pertain
Designed by Ruby Lim
OrganicISM
to their values and standards.
The de sign object ive is to create a new
brand identity and packaging design that
communicates a unique story, character and
inspiration from the Maori culture, and to
The “Organic Mushroom” is uniquely designed
successfully incorporate a modern and good
with the type of material used. Bringing the
design with the tribe concept and natural
vision of organically born, it is suitable for the
materials. The designer wanted to go into a
eco-friendly environment with some usage
different direction from the tribal tattoo and
from the packaging itself. The concept is to
face sculpture design solutions. So, inspiration
bring the essence of nature. Ruby Lim came
was taken mainly from the very own design
out with three shapes of packaging, which also
techniques of patterns, handicraft materials,
differentiate three types of mushrooms. It is all
organic texture, and the colours of the Maori
finely hand-made packaging using a material
sculptures.
called “luffa”, tied with raffia strings while using
recycled wood box as its display box. Besides, to
suit up it’s wholly organic born mushroom, the
packaging itself is reusable as a bath or kitchen
sponge. Moreover, Ruby Lim has also created
a fabric tag to support the organic foods while
keeping the environmental friendly awareness.
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LoKal contacted Camilo Rojas to create their brand identity and
collateral material for their first restaurant. LOKAL (n.) is a German
word for meeting place, restaurant, and public house. Located in
bohemian Coconut Grove, LoKal Burgers and Beers redefine the
neighbourhood burger joint. Utilizing only the freshest of local
ingredients and employing purveyors of humanly raised and natural
meats, LoKal Burger and Beer Bar wants people to think about their
food.
The corporate identity was created to mirror their green, fresh, conscious
and sustainable philosophy with a strong typographic logo and symbol,
using few print colours and recycled paper stock. Their simple website is
easy to navigate, with bold tittles, subtle textures, moody warm tones that
create atmosphere, vibrant oranges, and earthy colours communicating a
relaxed, friendly attitude.
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OrganicISM
LOKAL
In addition, a photo installation was created
and installed in the LoKal’s bathrooms walls.
The selected photos are part of the series
“The street of Life”, which were created to
put a smile on our faces with a daily dose
of positivity and reality. They are meant to
inspire, motivate, and question our internal
––– Which kind of brand tends to take an organic look? –––
concepts by handwriting sentiments and
thoughts in found pieces of wood and carton.
Basically, any small or large brand wants to rethink and meet the
These photos are currently installed in the
demands of the modern savvy consumers who are looking for a
bathroom; the typographic message is written
cleaner, greener alternative to conventional products. The world
backwards on the piece of board, so people
has changed, all consumers are much more aware of what goes on
would be surprised when they look in the
behind the scenes of a brand.
mirror and decipher the message.
Finally, the love for words, texture and
branding led Camilo Rojas to explore a
––– What’s your consideration upon the materials in organic
creation of a branding-typographic installation.
branding/packaging? –––
Recycled wine corks were chosen to accentuate
Lately, I’ve seen bold and stylish branding/packaging made out
blend branding and sustainability through art.
of organic materials that have really caught my eye. I believe the
The piece was created by collecting, selecting,
usage of recycling in graphic design makes the product stand out
separating and putting together approximately
from the rest of conventional and traditional creations, generates
6,950 recycled wine corks by colour and tone.
consciousness of the need to experiment, analyze and most
importantly, really makes you want to purchase the product.
––– What’s your purpose of engraving the name of the restaurant
on the wood? Was it any concern of the material? –––
INTERVIEW WITH CAMILO ROJAS
Designer of “LoKal”
Instead of using the hot-iron brand as a form of identification
––– What’s organic material? What are the materials that are suitable for
for cattle, I decided to use this technique on wood and burgers
organic branding/packaging? –––
buns. The result, burned wood stained texture, catches your
eye immediately. The typographic logo and symbol was created
Any material that make a positive environmental impact and unnecessary
basically inspired on the iconic recycled logo; however, I gave it a
harm. Raw materials that lack toxic chemicals, use all-natural ingredients,
twist and created my own interpretation mirroring the Lokal’ s
and need less energy usage.
characteristics: green, fresh, local, simple, conscious, sustainable
and gave back to the community philosophy.
––– What are the messages that organic materials convey? Why did you
choose recycled wine corks for the branding? How does it correspondent
with the brand values? –––
Organic materials are used to convey a positive message to community
because it allows them think outside the box by seeing recycling as a
new way to create and support the environment. At LoKal, they are
continually “rethinking” the food and branding to lessen impacts on
our community and our environment. Supporting this idea, I created
the brand identity with a natural colour scheme that evoked organic,
sustainability. As an example, the stationery and other paper assortments
were made from recycled paper, domestically produced and printed with
soy-based inks, as well as the selection of recycled wine corks.
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OrganicISM
the importance of recycling, being able to
BranD+ / BranD / 2012E
quality in modern commercial society. Furthermore, in recent years, people begin to realize that
imperfection is part of human being, part of nature. The flaw or imperfection of craftsmanship
now is, in some sense, a unique beauty, which reflects the nature of human being. Therefore,
people’s preference of aesthetic in design changes, from “perfection” to “imperfection”.
Moreover, craftsmanship takes the spirit and aesthetics of being simple, plain and pure,
differentiating itself from industrial production, with which people can buy the same products
with the same pragmatic functions and appearance. Products created by craftsmanship are
different from one another, tailored to the modern aspiration towards novelty and individuality.
Compared with mechanical products, which are regarded cold, without human emotion or
feelings, handcrafted subjects with the quality of pure, fresh, original, peaceful and local are
what people really need and like.
The change of preference from the machine-made to handmade has an effect on the graphic
design industry. After decades of creative processing with computer and other machines, there
are designers exploring new ways to visually communicate creative ideas simply with hands, like
our ancestors. Handcrafted elements associate much more with the nature and raw materials,
uniting functionality with form at the same time. Therefore, the design solution becomes more
direct and visual. Graphic designers go back to the basic and traditional craftsmanship, using
a pen or pencil, knife, paints, glue, scissors and etc. in the design process, with handcrafted
handled method like handmade typography, illustration, printing, collage and binding, and
OrganicISM
combing with natural materials to communicate the spirit of hand-craftsmanship.
More and more brands become aware of the
advantages of craftsmanship in expressing
their brand values and brand identity. New
handcrafted brand designs arouse the feelings of
homemade, warmth, exquisiteness and nostalgia
among potential consumers through distinctive
visual identity. In a highly commercialized
Nowadays, as the concept of Organic prevails, which puts an emphasis on the original state of
society, handcrafted brands pay attention to
natural objects, craftsmanship becomes increasingly popular around the world. It has been a
customers’ real needs, emphasizing people-
long history since people take advantage of craftsmanship to fulfil different needs. Handcrafted
oriented value and individuality, making people
items preserve the originality of raw materials without excessive human processing, which is in
realize the true self to accept the imperfection
consonance with the Organic concept of returning to one’s original nature. Craftsmanship is not
of self.
only a traditional skill, but also an artistic expression method. People explore the function of natural
resources based on the physical and basic functionality of materials and/or the aesthetic effect
A f t e r l on g - t i me fa s c i n a t ion w i t h p u re
created or extracted by designers.
computer and new technology, brand designers
are looking for new approaches for good
Illustration by Sasha Prood
Craftsmanship meets our new aesthetic: perfect imperfection. The industrial production mode caters
design. Integrating the advanced function of
to the requirements of mass consumption. Large scales of products which are perfectly standardized
high technology with distinctive handcrafted
with the same size, form, etc., are manufactured and launched on the market. Advanced technique
elements is a great way to break out the
is regarded as the representation of perfection, which is pursued by all human beings for a very
limitation of design.
long time. However, to maximize profit, mass-produced products become vulgar and of poor
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BIRDS OBSESSED
These illustrations were created in 2010
at the request of Migrate Magazine
as a contribution to their 12th issue,
themed “Obsess”. This magazine is
published annually in conjunction
with South Africa’s design awards, the
Loerie Awards. The first illustration
shows two birds building nests. The
“normal” bird has completed its typical
twig nest and is looking up in surprise
at a bird obsessed with building the
largest and most extravagant nest
it can, using f lowers. The second
illustration shows two birds collecting
worms. The “normal” bird has created
a small and somewhat messy pile of
About the designer
wiggling worms. This bird is looking
Sasha Prood is a freelance designer, illustrator
in awe at the obsessed bird that has
and artist from USA. She creates hand lettering,
organized its large collection of worms
illustrations, patterns and graphics using pencil,
into rows.
pen and water colour with the computer.
Thematically, her works lean toward the organic,
natural and scientific with vintage, utilitarian and
childhood influences. Animals, vegetables and
minerals of all kinds are commonly found in her
illustrations.
BranD+ / BranD / 2012E
––– What’s the inspiration of your hand painting projects? What visual
elements do you usually apply in the projects? –––
The sources of my inspirations vary greatly. I love the organization and sense
of simplicity found in geometry. I find science to be inspirational, particularly
INTERVIEW WITH SASHA PROOD
Illustrator of “Birds Obsessed”
biology, cells, molecules, etc. I have included animals, vegetables and minerals,
anything natural and organic into much of my work. Items from childhood
are also inspirational to me, particularly those with a sense of play and
humour. I’m attracted to vintage items, especially ones that are typographic
––– In your opinion, how does craftsmanship
correlate with the concept of Organic? –––
in nature. I’m inspired by everyday “mundane” things that are basic and
utilitarian as well as anything that is hand-made. This includes cultural items
such as textiles, ceramics and basket weaving. I’m also interested in aspects of
black magic and ritual. And on and on!
––– Craftsmanship is quite popular nowadays. People prefer handmade
Handmade items often feel organic because they
things to mechanical products. What result in the aesthetic change of people’s
have that “perfectly imperfect” quality; each one
preference in design? –––
is unique, just like in nature.
Hand-making has been around since the beginning of man. It has been
popular far longer than digital design. I don’t consider hand-making a trend,
but instead something more along the lines of a design staple. To me, digital
design’s popularity over handmade design felt like a trend due to its newness.
Now that digital designs’ novelty has faded, people are going back to handmaking. For me, the most exiting are the current discoveries of artists mixing
handmade items and computer technology.
––– How do your projects assist communicating the concept of Organic?
–––
Some of my projects are more obviously inspired by the concept of
Organic because they use natural imagery such as animals, vegetables and
minerals. Other projects are more subtly inspired by the organic concept
because they allow the medium to flow naturally. An example of this is my
watercolour paintings, which play with flowing colours and textures.
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The first three products are:
Wool felt vases: where the seed (provided in the package)
is planted and the plant grows. When the roots of the plant
start penetrating the sides of the vase, it’s time to replant
it, in a garden or in a bigger vase, with the wool vase still
attached, since it’s biodegradable and releases nitrogen and
amino acids that feed the plant while it grows.
Wool felt trivets: that explore the fact that wool is flameretardant and isolates heat, that come in two shapes: circles
that take up less space in the user’s cabinet or “pizza slice”
shaped trivets that allow the user to display them on the
table as needed.
Wool Picnic blanket: that is water proof, so you can put it
over wet grass; and it is made from “Cobertor de Papa”, a
DE LÃ
traditional Portuguese blanket that is unique in the world.
By Daniela Cruz, Filipa Alves, Maria Mota,
Sara Melo, Raphaella Rocha & Tânia Arêde
The designers found that there was not enough investment in Portuguese wool and that
most of small farmers would actually throw it in the trash because selling it would not even
cover the costs of shearing the sheep. So, why bother?
With that in mind, the design team created the brand “DE LÔ that is applied to a series
of products which explore the wool properties.
All of these products are made from 100% Portuguese wool
which is bought from local farmers that would otherwise
dispose of it. The production method is manual, everything
from the shearing, to the making of the felt and the final
product, therefore using the skills of Portuguese artisans
that have worked with wool in their entire lives and whose
jobs are at risk since working wool manually is a dying art.
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BranD+ / BranD / 2012E
The logo was designed without a grid, so it could be unique and at the same time organic, showing
the Liana natural tress and the handmade spirit.
That’s the same reason of why the logo is not printed in the envelope, but embossed. It can be more
natural and clean than printing in ordinary ways, and also increases the interaction between the user
and the paper, only provided by using a seal.
ESTÚDIO CIPÓ
Estúdio Cipó is a studio based in São Paulo. The strong Brazilian culture and the appreciation about
the country’s mix of native and immigrant populations, makes Estúdio Cipó increase the relationship
among Design, Arts and Crafts, which makes it search for the perfect union of those contemporary
productions. As Estúdio Cipó aims the Brazilian essence in all of its products, projects and jobs,
the best way to represent this concept was keeping the handmade identity. To design the Estúdio
Cipó logo, 4 characteristics were considered: Brazilian Essence, Minimal, Pattern (Handmade) and
INTERVIEW WITH LUCAS BLAT
Playfulness.
Designer and co-founder of “Estúdio Cipó”
OrganicISM
––– What do you want to express by applying
handmade spirit in project “Estúdio Cipó”? –––
This project was designed for Estúdio Cipó, a
Brazilian design studio focused on the Brazilian
handmade spirit. Since the studio keeps the
Brazilian and natural essence on its creations
(furniture and graphic projects), the handmade
spirit applied on its identity would be very
important. Using a seal, I could mechanically
emboss the paper, avoiding the common ways of
printing.
––– How did you find your passion in handmade
skills? –––
De signing in Estúdio Cipó, I lear ne d to
appreciate what’s simpler in the Brazilian art. As
the studio focuses on this natural essence, we
always try to avoid the industrial, but using the
handmade way of work.
I think that currently, the industrial products can
be seen anywhere, which makes the handmade
get unusual, and that’s what made me fall in love
with this way of designing. The Brazilian culture
proposes something very different, precisely the
difference I really appreciate.
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BranD+ / BranD / 2012E
––– How did craftsmanship in your project assist the realization of the
brand values? –––
We, in Estúdio Cipó, design and craft our own products and creations. By
designing this brand, the craftsmanship was very important, so I could
represent exactly our way of working.
––– In your opinion, how does craftsmanship correlates with the concept
of Organic? –––
As the handmade is the opposite of the digital production, it becomes
something more tactile, differently of everything that was designed in the
computer.
When the user realizes that the project was made by someone’s hand or
in a mechanical way (such as a seal), the relation with the paper becomes
different. The texture of the paper can be valued, and that’s when the
identity’s organicity can be realized, becoming something more than a
simple name or logo, which refers to the nature.
––– How is the concept of craftsmanship illustrated by people in design?
(like the selection of materials, shapes and textures etc.) –––
I believe that the best way of representing the craftsmanship in the design
is thinking about the most remarkable detail in the handmade product: the
imperfection. While designing organic forms, ignoring the straight lines
and any grid, it is possible to represent the handmade value.
Also, choosing a traditional printing method is very important, for
example, xylography. In this old method, the interaction between the
designer and the material is much bigger, giving more expression to the
result. After all, the craftsmanship is different than sending a file to the
print shop and wait for the result at home.
What I really appreciate is that the result, of what was handmade, can
represent the brand in a stronger and more original way.
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( Spotlight )
(SPOTLIGHT) / BranD / 2012E
DESIGNOLOGY
It is a usual way to dissect the design into pieces
through our own processes and approaches
formed after a few years of practice, however,
resulting in clunkiness of the design. Let’s
assume that design consists of three pieces:
design elements, creative ideas and moderate
resources.
Can we fill “=” in the blank to show the relationship between
the two parts? Certainly not. Design is far more than merely
the combination of design elements, creative ideas and moderate
resources. Rather than the amount of design elements, creative
ideas or moderate resources employed in a design, organic design
lies in its rhythm, balance and flow.
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OrganicISM
ORGANIC
D E S I G N
ELEMENTS
+
CREATIVE IDEAS
+
M O D E R A T E
RESOURCES
? DESIGN
_____
(SPOTLIGHT) / BranD / 2012E
Together with some friends, spending one afternoon in an art gallery or turning on the computer, having some
Make it
music, you are in the nature. When you put aside the work at hand and relax yourself in the nature, you will
Rhythmic
Feel it with your mind and you may find that, in fact, the plan is
rhythmic itself. Your plan is in order; those orders are the rhythm.
To keep your inspiration flow in design is not that simple. Designer get
stuck from time to time. If that happens, you can go to the nature where
you can extend your vision. Like what Robert Bowen(Co-founder and
imaginative co-contributor of the creative design and blogging duo at
the Arbenting and Dead Wings Designs) said, “Unplugging from these
routines and venturing off-topic might be the best way to allow our
minds to organically find their way to the design we were looking for in
the first place”.
But, I don’t mean that only the wilderness is the nature. It is rhythm that means to us. Nature is everywhere.
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Let your pen dance rhythmically on the paper. With the highly development
and evolution of graphic design application now, many designers, instead
of starting with a pen, rush to the computer and take designs piece by
piece. Those designers know deeply sketch’s advantage in allowing an
overview to see the design wholly however; not many of them seek
its help to keep the flow in the works. Let your ideas flow freely
between your pen and paper. The significance of sketch is
not to do some job related to the project, but rather to
blow up a brainstorm and find a way to zero in.
Make it
Balanced
Balance is the rule from nature.
Everything in the universe is in a state of
balance, including human beings. Only
those objects in the state of balance exist
in the universe. Therefore, balance is the
focus of organic design.
We should keep ourselves in balance. Every year, thousands of designers
come into the graphic design area, but the threshold is never low as
we have seen superficially. In the heat wave of commercial design,
graphic designers have taken a stride in creative skills. But, design is
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OrganicISM
The sun rises; the sun sets; all the
existence in nature is in rhythm. In
some way, we can say organic design is a
design with rhythm. For the purpose of
rhythm in the design process, we need
to make a well-scheduled plan. With no
plan, we might get out of the track, far
away from the rhythm.
surprisingly find that inspiration comes to you, naturally.
(SPOTLIGHT) / BranD / 2012E
not merely a mechanical activity; it involves our body as well as our
soul. From those designers who take a position in the field, they have
a common characteristic that they all pay attention to self-culture
and accomplishment in art, philosophy, literature, etc, which, are the
nutrition of our soul and help make our body and soul well-balanced.
The biggest challenge that a designer faces while they are achieving organic designs
is the time piece. The time piece, if not well-balanced, adds a large amount of stress
and it is the enemy of organic design in that under that stress, we might force our
design to a rush end. The time piece is just like a tumour in our soul and right there
to invade. The solution to the problem is easy: to make the deadline the clients give
you balanced with that you take for organic design.
Being the time lord or the slave of time, it is up to you. Who would like to be a slave
any way? We all want an enjoyment from our work. Then, why not squeeze more
time from your client. In fact, clients allow longer a timetable for a project, but
like, we can make it longer most of the time. Just tell your feelings if the deadline is
too constrictive and, most of the times, you can extend the deadline as long as you
can to design organically.
Francis Bacon, the famous essayist, said in “Of Studies” that “to spend too
much time in studies is sloth”. It is true in organic design as well. If
we use too much time on each design process, it is a real waste.
Take the process of grabbing an inspiration as an example,
we should balance the time used on this process. If we
spend more than we should, we might smother
ourselves in a swim pool of inspirations
and just let the time slip through
our fingers for no good.
“Less is more”
Make the design simple. Clean, simple design is better for the flow of communication. Design is not to show our
talent, but to deliver your information to the audience. Nothing in the universe is over-decorated, except that
falls into the hands of human. Leave all the unnecessary elements, making it balanced and proportionate between
different elements.
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Flow
Unity is the feeling of harmony between
all parts of the artwork creating a sense
of completeness. No matter how, we
should unite all design elements together
to make it a coherent complete design.
But sometimes the elements are merely
fixed together, not united. Unity is not
just putting the elements together, but
also making them flow together.
After a few years of practice, every designer forms his design methodology. Though
it is crucial for most of us to hold a position in the creative area and helps us cover
all of our bases, in some way, the design methodology is more of a routine, which
confines our creation and brings a negative impact on the works we done. The
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OrganicISM
sometimes, they might give shorter time. Though we can’t set the deadline as we
Make it
(SPOTLIGHT) / BranD / 2012E
dissection into pieces made by the routines, though not makes the designs lack
of unity, it just fixes the pieces together, rather than make them flow together
harmoniously.
Without we human beings, nothing is aesthetic. That is not arrogance or
species discrimination. It is just because of that “aesthetic” is our creation.
From that, we could recognize the importance of the subject of aesthetic,
our audience. There is one difference between art and design; art is a one-side
information transmission, while design is bi-side, which defines its significance.
Respecting our audience, caring more about their feelings and involving them
into mutual communication, that’s what design’s nature is and what it does.
Only if our audience get the point, can we grab their attention and make the
design flow of communication.
If the inspiration doesn’t find you after some time, you’ll have to get your
work flow. Who never got stuck? But, that doesn’t mean we can force it,
which is the least we can do in organic design. What you can do is to do the
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Not to deny yourself easily. The biggest harm to the flow is self-denial during the
design process. It is not the time to deny it until you have finished it. Just believe
your initial feelings or ideas and make them real. To keep the original information
and feeling, that is organic design. As is known to all, the design process is long and
harsh. It is the most ideal for a raindrop to fall into a sea. A competent designer
never stirs up any billows in the design process.
Return back. Evolution rather than revolution. Though revolution sometimes
changes the world to the better, in most of the times, it is better to work based
on an existing design, which might save us a lot of time. You might surprisingly
find that your work evolves as time goes and there is no consistency among the
dissected elements.
Fix your eyes onto your work. Time is the enemy of organic design that it often distracts us
from the work, effectively psyching us out, especially when we got no inspiration to keep
the design flow. In order to create more organic of a design, the best way is to keep
our eyes off the clock, not until to the step where we get crazy and go punch
a clock. Sometimes, particularly when we are nervous, it is true that we
might not focus on the task. Just make full use of your phone. Having
made your schedule, it might as well set an alarm: one or two days
before each of your design process. In that way, you do not
have to worry if the time goes quicker than you expected
and constantly cast your eyes on the evil hands of
your clock. What’s more, it still can give you a
few days for your final work for a process.
With the help of the alarm, you don’t
have to keep one eye on the clock;
that is unacceptable to
organic design.
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OrganicISM
How to connect the design elements
together naturally and make it flow
like the running water? “Ideally, our
work should maintain a constant flow
of communication and interaction
with the users much like the
uninterrupted movement of a stream
always rushing towards its goal,”
according to Robert Bowen.
work that can be done first and most importantly, to give the client some signs of
progress. Design is an activity involving not just the designers, but also the clients.
It is very important to establish a pleasant cooperation with the clients. Moreover,
the small solution sometimes will give you a great help that bigger solutions would
begin to blossom. While you were doing the small things, you might luckily find
the flow you need and rush to the end.
(SPOTLIGHT) / BranD / 2012E
intents and purposes, mission statements, etc..., most of the ‘heavy lifting’ is carried by
the logo. A single graphic intended to carry and communicate so much. This is why I
think it is often seen as being less than organic, or having any kind of flow. Because it is
such a limited amount of flow, but it is still there. That’s what we need to focus on.
According to Robert Bowen:
“I wouldn’t say branding is necessarily less
organic than other design areas, it just often has
While we may only have three elements (graphics, text, colours) to bring together for the
logo, we can still ensure that they maintain an organic feel by following those principles
and ideas. In fact, one can argue it is even more important to choose those three
elements with greater care.”
less working within it to communicate all that
it has to tell. While with a website you can have
so many different elements and areas all united
them. When you are working on branding, you
tend to start very specifically, with the logo. So
you begin trying to find ways to say everything
that this company stands for with a single
graphic. And while we have a near endless
combination of graphic elements, fonts, and
colours that we can use to tell this ‘story’, but we
tend to still be very limited in what we can use.
So branding, while it does spread through every facet of the companies designed
interfaces, and in turn can be combined with vast amounts of text explanations of
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OrganicISM
to communicate the product or service behind
Therefore, organic design is like the rhythm of poems, the
balance of the universe and the flow of water. It is easy to
make your design organic, while it is also very difficult to
realize it. It is just a matter of time. Organic designology is
everywhere in the nature waiting to be discovered; be in it,
touch it, more importantly, feel it, sense it and define it for
yourself.
Nature is the most talented designer in the
game who is too busy and unavailable for hire. Fortunately, we can
all learn something from her design style, the Organic Design. Something
about the natural and easily flowing visuals resonates subconsciously
with audiences. “Organic” is an intuitively perceived style, as readily
identifiable to us as a full bloomed flower. In terms of holism, it comes
the closest, yet the seemingly simple aesthetic can often be difficult
to achieve. That the style is elusive to some designers raises a
question: how best can we achieve an organic aesthetic? The
solution to that problem can be found in the fundamentals.
Organic design as a discipline first came to being when
Frank Lloyd Wright coined the term during the early 20th
century, and famously called it the “the modern ideal”.
Unfortunately, many contend that he had a handle on it
himself as much of his work was abstracted, and forced.
“Organic” has an inherently simple aesthetic often
created by using perfect natural shapes. Not unlike the
ones we see in nature, squares, circles, rectangles, spheres
and the rest are effectively utilized and blended to form an
organically streamlined whole. In design culture, fundamental shapes
can subconsciously penetrate the viewers by transmitting an easily identifiable
and digested visual. A notable example of this can be seen in viral sensation, Genis
popularity of the series, a personal project, is a refreshing reminder for brand designers, that
natural shapes are a great way to communicate complicated messages which audiences seem
to love.
The so-called basic shapes are so versatile; some designers have even built homes from
them. Literally. Designer and inventor Buckminster Fuller utilized natural shapes
to form his most famous work, the Geodesic Dome. Compromised entirely from
triangulated circles or smartly arranged triangles, the ingenious design of these
20th century marvels allows for equal dispersion of weight throughout the
structure. At first glance, it’s easy to dismiss a giant, cybernetic and metal
dome as the evil lair of a James Bond villain rather than an example
of organic design. But, techie does not necessarily mean inorganic.
That is a misconception. Although it looks like something out of a
James Bond film, Fuller’s dome design is as organic as any forest.
The process by which the end product is produced, the working
concept or perhaps even the function of a design can be organic,
even if the finished product does not necessarily scream
nature. By using a cleverly intuitive alignment of natural
shapes, and a naturally simplistic concept, Fuller
has demonstrated the visual appeal and high
By Samo Ayoub, CEO of Cultivate ad agency
and Co-Founder of Zenarchy Studios
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functionality of organic aesthetics.
OrganicISM
Carreras’ Philographics series. He cleverly utilized basic shapes to express very complex
philosophical concepts, and the results are organically and simplistically brilliant. The online
(SPOTLIGHT) / BranD / 2012E
or incorporates the product onto the label, such as one might see in egg packaging, or snack type products. This usually
helps the product stand out on a crowded shelf, and increases the chances a consumer will pick it up. You’re more likely to
find the moulded packaging phenomenon on products that sit in big box retailers or any store shelf where competition is stiffest.
Food products are especially prevalent, but there are a host of examples across almost every product sector from stationary to lawn care.
By acknowledging the need for a product package and building a solution moulded to its contours or otherwise incorporating it onto the
container, a designer is effectively entering into an organic design process, a solution that unfolds naturally from within, just like the seed for
a plant. This is a fundamental aspect of “Organic”, and an effective way to increase product exposure.
Despite the seemingly simple concept of Organic Design, an aesthetic with natural flow and harmony between subject and concept can be a
challenge. Creatively yet functionally arranging perfect natural shapes into effective design solutions is easier said. So is utilizing complex
mathematical equations such as the golden ratio to develop communications or products. Here are some key components for the daring
designer to keep in mind when stepping onto Organic shape designs.
Natural shapes also form an important part of the Golden Ratio, an important if
not peripheral element of organic design. The mathematical equation has forced
academics to study its aesthetically effective and proportionate qualities for over
millennia. It can be found in nature in the arrangements of branches in certain
plants, vein lines on leaves, animal skeletons, nerve structures, not to mention
Inspiration:
the chemical compounds of crystals. As for design, it can be seen in everyday
products such as posters, postcards, flat-screen TVs, photos, even playing cards.
Many of the great works of art have used the visually pleasing proportions both
for the painting and the size of the canvas it rests on. DaVinci’s Flower of Life
utilizes the Golden Ratio and is a perfect example of Organic Design. Not just
Use nature as a foundation for your designs.
Think self-sustainable, vibrant, diverse yet
conservational. Like nature itself.
Seeds:
unfolds from within like the seed of a plant. This process is rather... well organic,
and is another fundamental of the aesthetic.
Let the design unfold from inside out. A concept
or idea should be unpacked or otherwise
When starting out on a project, sometimes there is nothing worse than a blank
unfurled into an actionable end product or
page. One effective strategy for combating beginner’s blues is to build a template
design.
using one of a number of golden ratio sub-forms, like the golden spiral or
rectangle. Designers, branders and advertisers in general have secretly used these
Be Like Water:
concepts for decades. The advantages are of course obvious, you can guarantee
some modicum of aesthetic balance without having to reinvent the wheel. Just
Organic designs should always have an
simply fill in the gaps. Try to find an outline of a golden rectangle and apply it to
inherent flexibility. Both the conception
a design-centric or populist website and you might be surprised what you find.
And this isn’t only restricted to the web. Magazine ads, book covers, product
phase and the development process should be
packaging, video game start menus, TV commercial money shots (industry
adaptable and dynamic in order to maintain a
term for the branded final shot in an ad). If an audience or potential consumer is
harmonious flow.
staring at it, there’s a large chance the ratio was factored into its design on some
Snowflake:
level. They don’t call it golden for nothing.
Like the proverbial snowflake, organic designs
“Organic” isn’t limited to geometric ratios and shapes. As mentioned earlier,
should always retain a level of originality.
organic design unfolds from a basic element or idea. In branding, product
packaging occasionally takes this to new extremes. Market-savvy designers will
mould a package to fit the product it contains, or create packaging that resembles
All things in nature are unique unto themselves, and no design can be labelled organic without expressing an inherent singularity. By creating
original designs, your work will really come to life.
When used in the brand market, “Organic” is a powerful and moving aesthetic. Utilizing perfect natural shapes and its principles does more
than building effective brands. Developing effective communications tools in advertising, viral campaigns, product packaging or any branded
interaction is a stone’s throw away. A perfectly rounded stone like the dynamic blue planet we call the Nature.
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OrganicISM
because of the proportions. The 500 year-old sketch starts with a single idea, and
––– How does the use of natural shapes or structures relate to the brand value of the brand? –––
Not every good brand must be built from the perfect forms. I think the feeling of the designer is more
important in building brands than the “mathematical” features from which it was built.
That exact spacing, or that perfect curve, not always fits the way in which we are working. It is necessary
to let the good sense to speak louder.
But I think brands built on perfect shapes reveal a more accurate refinement. It becomes evident that
there is a thorough job spent here, and demonstrates a greater degree of professionalism. This ends up
with producing a final set of graphics of the greatest value and consequently the brand can be positioned
at a different level.
KENNZUR URBAN SPA
design? –––
I am a great admirer of Alexandre Wollner’s work, which is one of the leading names in the formation
of modern design in Brazil. Wollner has an extremely rational work and is a master in the use of
geometry in brand design. He built great brands throughout his career.
OrganicISM
The Kennzur is an urban spa in São
Paulo, Brazil. It is a place for people
to relax, an oasis in the metropolis.
This project aims to bring one into
contact with this place of well-being
and quality of life capable, and to
communicate with every customer like
an encapsulated time by the spirit of
living well.
––– Please give us some other examples of the use of perfect natural shapes or structures in brand
––– How did you employ the natural shapes or structures in the branding? –––
––– Where did your inspiration of the logo shape for project “Kennzur
Urban Spa” come from? –––
The word “Kennzur” has no concrete meaning. It is an expression that refers to a kind of mantra, a
When the project came to Commgroup, it was pretty clear that the
want a symbol representing only this or that.
Kennzur Urban Spa would be more than one place to offer massages and
treatments. Every little detail of its structure was being thought to be
part of a large green refuge in the middle of the metropolis (São Paulo).
INTERVIEW WITH VINICIUS COSTA, COMMGROUP
The Kennzur offers a completely opposite to the reality of the city. It’s
Design Sutdio of “Kennzur Urban Spa”
an immersion in feelings and positive experiences in direct contact with
nature.
––– What is your opinion on the perfect shapes or structures from nature? –––
There was a clear idea of putting natural elements and mild forms of the
This is fascinating. The relations of proportion and how these forms are
brand, so that the essence of Kennzur can be strengthened through the
manifested in virtually everything, happens in a logical and even poetic
design of its brand.
state of mind. It would be very risky for the brand to be based on one figurative element. I did not
I wanted to create a form that is fluid, open… without beginning, without end, in a way that effectively
integrates the essence of Kennzur and its proposal. So I did an exercise in creating backwards. In this
case, I thought that using the perfect forms would help me, because I wanted something abstract, but it
would need an efficient and true justification of its relationship with nature.
I started drawing elements from the golden geometry and intersect them and repeat until I start
to see sketches of pleasant shapes that brought me those characteristics of fluidity and continuity
that I wanted. From there, it was a work of refinement and adaptation of the symbol with the set of
typography.
way. It’s like if we were able to visually decode all things through perfect
forms. And then we found structural relationships in virtually everything,
From there, we surround ourselves with hundreds of images of all kinds:
which is a paradox, because everything is so different in nature, but at the
flowers, plants, seedlings, soil, water, wood and stones. Each of these
same time, it carries the same essence and is composed by the same shapes
elements has aesthetic features incredible in detail and we realized that
somehow.
they offer a good basis in ways that could work.
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––– How do you think the use of natural shapes or structures help express the concept of Organic? –––
Everything that is alive or relates to what is alive, intrinsically carries these forms in their composition.
Perhaps the more pure and consistent way to express the concept of Organic is from natural shapes.
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(SPOTLIGHT) / BranD / 2012E
––– Please give us some other examples of the
use of perfect natural shapes or structures in
brand design? –––
Apple computer is a good example. The natural
INTERVIEW WITH SCANDINAVIAN DESIGNLAB
shape of the apple is strong, iconic and universal,
Design agency of “M-IDEA FOREVER”
understood by the whole world.
––– What’s your opinion on the perfect shapes or
structures from nature? –––
OrganicISM
There are so many shapes and structures in
nature that can be perfect, such as the Carbon
molecular structure. When using natural shapes
as part of an identity, it is important that they are
fed through a strong concept, which expresses
the DNA of the brand, like the Hexagon in the
M-IDEA FOREVER
––– Why did you use Carbon molecular
Carbon Concept.
structure as the identity symbol concept in
branding “M-IDEA FOREVER” project? How
M-IDEA FOREVER is
a new Chinese high-end
men’s fashion brand. The
brand identity is based
on Carbon Concept. The
brand identity symbol
is inspired by Carbon’s
molecular structure, which
is shaped as a hexagon.
Through different
combinations of the
hexagon structure, Carbon
can take various physical
forms, which represents
the characteristics (Avant
Garde and Technology) and
diversity of the brand.
did you use the element of Carbon molecular
structure in the whole design? –––
Carbon as an abstraction of the brand M-IDEA
F OR E V E R e x pre s s e s t h e t wo d i f fe re n t
characteristics Avant Garde/Graphite and
Technology/Diamond. What unites them is the
hexagon, the molecular structure of Carbon.
––– What’s your inspiration of applying the
The Hexagon is a very strong graphic and clear
Carbon Concept to this fashion brand? –––
symbol; therefore, it works in many contexts
when working with the identity from the
graphic to being able to incorporate it into
various products.
The brand characteristics for the fashion brand,
M-IDEA FOREVER, are Avant Garde and
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Technology and these characteristics contain the
The molecular structure expressed through the
same diversity as Carbon. Carbon can change
Hexagon symbol has been integrated in all parts
character from graphite to diamond; and these
of the design; as the shape of a neck-label or VIP
two opposites contain values that in many ways
card, embossed in buttons, as belt buckle, folded
express the contrast and characteristics of the
in hang-tags, as background in photos, sewn
M-IDEA FOREVER brand.
into clothing design, etc.
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(SPOTLIGHT) / BranD / 2012E
AKI NAGAO
Aki Nagao is a French restaurant in
Sapporo Japan. Mr, Nagao is the head
chef and owner of this restaurant.
COMMUNE designed its brand
identity. The concept of the design is
“Every day’s French”, communicating
that the restaurant offers very high
quality French dishes not like a
prestigious restaurant, but in a casual
There were three important points when producing the design.
style and easy-to-come-in way.
––– What’s your inspiration of applying the DNA structure in project “French Restaurant
Aki Nagao”? What draws your preference on this DNA structure? –––
The French restaurant Aki Nagao, just like its name suggesting, has the DNA of the chef
Aki Nagao himself pulsing through the restaurant. The question is how to express this DNA.
When I had the idea of overlapping the italics of the initials, A and N, to form a striped helix,
I thought then that this was it.
1. Head Chef Mr. Nagao’s DNA.
––– How did you employ the DNA structure in this branding? –––
How he cooks now is from all his background, the designers express it as his
DNA.
From putting the upper case of the letters A and N side by the side, I could see the common
What kind of experience he has, where he comes from, what kind of
form present. Working from there, a stripe was formed and then it progressed to a double
ingredients he chooses.
helix of a DNA strand after putting them over each other. Taking the slanted rod shape
The design team wanted to impress customers by VI, including the naming,
from the shop’s card and bending the logo, it became a piece of the helix formation. It then
shop logo using DNA motif and his sign logo type.
developed to piece all these together to form a helix.
OrganicISM
––– How does the use of the DNA structure relate to the brand value of the brand? –––
2. Correlation and fusion of new and old thing.
Restaurant itself is brand new and mainly using white colour, but the design team uses
antique objects and old woods as key in the restaurant.
The important thing to a design is its simplicity. The simplicity of the idea and having a core
concept gives the work its quality. This quality may then translate into the quality of the
3. Everyday’s French cuisine
brand. Having come up with the concept of the DNA and being able to design it simply adds
Be relax to come to the restaurant, put catch phrase in the graphic tool which makes
to the value of our brand.
closer between customers and staff.
Moreover, from the website customer can see message from the staff and the concept of
the restaurant.
––– Please give us some other examples of the use of perfect natural shapes or structures in
brand design? –––
INTERVIEW WITH YUJI TERADA, COMMUNE
Recently I took on a project designing the package for Japanese tea. I found inspiration from
Design agency of “Aki Nagao”
––– What is your opinion on the perfect shapes or structures from nature? –––
When we take a natural object and examine it up close, from that simple object we see that is made up
of many complex and coordinated fractals and from there, a visual with an abundance of information
can be created. This is aesthetically intriguing to humans.
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considering each individual drop of tea that is extracted from the tea leaves and each drop
of ink in a work of Japanese calligraphy, and I employed a design using dots. The collection
of dots forms a pattern with each dot drawn by hand and therefore each one being different.
This is a different concept from that of Aki Nagao. Rather than just a simplistic pattern of
dots, I drew each dot differently by hand resulting in a design with a strong organic quality
and imbued with a large quantity of information, which I believe brings alive the beauty of
nature.
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(SPOTLIGHT) / BranD / 2012E
Branding is communicating, so it’s more logical to do that according to the
market you want to be in. If you want to reach your target audience according
to their culture, it’s clear that you have to speak the same language, both
verbally and visually. Brands are communicating with us in a lot of ways,
through different media, whether we are aware of it or not. Open your fridge
and imagine that you have to take the orange juice carton next to the milk
one, without having any label, visual reference or language on it you can read;
the consumer should be able to read and understand the message you want to
tell him.
But, reaching your target audience on a global scale is not as easy as that.
A brand exists in people’s hearts and minds. A consumer needs to have a
should trigger the same feeling as drinking one in China. So limiting your
marketing strategy to your own culture is not ideal if you want to be
recognized internationally with the same brand image. Although we all are
living in a different culture, consumers need to identify your brand in the
same way, wherever they go. This is why brand management is so difficult.
How far do you want to go, to change and adapt your brand positioning to
the local culture without losing your identity and credibility?
When globalizing, the image of the brand and the way the consumer perceives
it should stay the same. Some visual elements and language can be adapted to
the market however, as long as you remain true to the look and feel, convey
the same messages and, more importantly, evoke emotional reactions. So the
overall identity should not change towards the consumer, but the way you
position yourself or communicate needs to be tailored to the market. We all
feel the world is getting smaller and smaller everyday through new media,
The influence of different local
cultures, religions, environment and
geography to brand design
new travel experiences, social networks… but there is no doubt that different
cultures have different needs and perceptions.
When we focus on brand design itself, your brand can be
influenced on different levels. We need to take into account a
lot of factors when adapting the visual language to the foreign
market.
First of all, geography is a very crucial factor, because wherever
you are on the globe, we all live in a different culture, and have
By Davy Dooms, Head of Design,
Saatchi & Saatchi Brussels
different habits and perceptions. For instance, the way you sell
Vodka in Nordic countries will be different to the stories you
tell about your brand in Asian markets. Absolut Vodka is well
known for their special bottle design and trendy communication,
often related to social problems or celebrities while also really
focusing on local culture. In the USA, Marilyn Monroe would
be used in selling the bottle, while in China, different Chinese
legends are usually illustrated on the bottle. In this way, you will
Act local to become global
make your brand relevant locally and still maintain the trendy
A lot has been said and written about the globalization of international brands these days. Do brands have to act and appear differently to fit the local
Another important and very sensitive factor we may not
tastes of a new market? It’s not a question of globalizing or localizing; actually, we have to localize to be seen as a global brand.
exclude is religion. This is probably one of the most crucial
brand image.
ones when communicating message, given that your target
We all live in the same world and we are actually all the same. But, not exactly. We all grew up in different environments, living in different countries
audience may easily get insulted and your brand may become
and continents belonging to a different culture and we have our own religions and beliefs. So, Europeans, for instance, of course, have different
very controversial. For instance, the Red Cross is known
mindsets from those of Asians or Americans. Brands have to be aware of the fact that there is no “one size fits all” theory, especially when they want
worldwide as a movement of 97 million volunteers, which was
to globalize themselves and enter new exotic markets and cultures.
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OrganicISM
THE
INDIGENOUS
BRANDING
consistent brand experience all the time. Drinking a Coca Cola in America
(SPOTLIGHT) / BranD / 2012E
founded to protect human life and health. But symbolized by,
as the name suggests, a cross, it is probably one of the most
religious signs in the world. How will the Islamic countries react
on an organization that has no discrimination based on race,
nationality and religious beliefs? Indeed, an adapted logo was
mandatory in this case. The Red Crescent was born. The colour
scheme of red and white was kept the same, but the emblem
changed. However, by keeping the same proportions between
colour and emblem, the visual style of the brand did not change.
Although a lot has been said about “don’t change your logo
Open Happiness
when you want to globalize”, in some cases there is just no way
around it.
A third factor we need to be aware of is the different languages
Coca-Cola is probably one of the most recognized brands worldwide. Their mission is to refresh the
we speak. As a brand, if you stick to communicate, for example,
world, bring happiness, creativity and optimism to people. All of this is in one bottle. An American
with just English, you may run the risk of not being understood
icon spreads the American pop culture. Only limiting their marketing on American culture was not
by your potential audience. Translating is not that easy. Take
a good option if they want to be seen and recognized in the multicultural world. It was a way of
the Arabic script for example, it is not only just a different type,
adapting western cultures to the eastern market which was not easy and took some time.
but also written from right to left. Is the message going to be
translated literally, conceptually or phonetically and does it work
When Coca-Cola first entered the Chinese market, shopkeepers translated their store signage to
for different dialects？ For this complex task, it’s very important
the equivalent that sounded the same as Coca-Cola in Chinese characters. Without thinking of
to work with native speaking translators who know the target
the meaning of those characters, Coca-Cola was translated as “Bite the wax tadpole”. It was clear
market and will get your brand message across the globe with the
that Coca-Cola needed to come up with another brand name for the Chinese market. After a lot of
same meaning.
research, they found the closest alternative. K’o K’ou K’o Lê was the new Chinese brand name and
actually fitted perfectly with their strategy: “To permit mouth to be able to rejoice”, which means the
joy you have when drinking a Coke.
The last visual element that can be misunderstood through
different cultures is colour. We either know it, or just don’t care
about it, but the colour can put you in a certain mood, or has a
Now this is the moment the job of the designer comes in, making it look like the traditional way of
meaning you never thought of before. I’m not saying you have to
branding Coca-Cola. The first thing that needs to be adapted is the core item regarding branding,
change the colour of your logo for each continent, but be aware
which is the logo. Coca-Cola is worldly known as a typographic logotype, using red and white colour
of the fact that some colour combinations may cause political or
scheme and a very recognizable typeface. This unique typeface applies, as we all know, a curly script
cultural issues that you could have avoided from the beginning.
font using wavy ribbons and it has become one of the most recognized graphical languages. Writing
a text in that font would remind you immediately of Coca-Cola. This shows the power of graphic
design.
Keeping all these things in mind you will build a strong
connection with your local consumers and they will understand
When adapting the American logo into the Chinese version, the main visual identity system was kept
the brand message.
the same. They created a new version of the logo that is communicating the same values of the brand
in the same look, feel and colour scheme. This time, they called it Chinese red, which also symbolizes
prosperity and luck.
Having the branding and visual identity of the brand defined, there are more factors that must be
adapted to the new market and are very important on a strategic level. Advertising is a medium that
communicates and gets your message to your audience immediately. During Christmas in America,
Coca-Cola advertises their well-known character “Santa Claus”. For the Chinese market, they change
it into characters with visual elements referring to Chinese New Year, bringing joy to the people there.
The application of local visual elements
With those examples, the brand shows their understanding toward their audience, and that different
religions can change their imagery while maintaining the same brand values.
The person who can make brands fit in the new market visually is the designer.
Designers are responsible for reinforcing the impact of those elements and,
together with localization experts in branding your brand will be understood
worldwide. The following design cases will illustrate this for both Chinese and
European markets.
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(SPOTLIGHT) / BranD / 2012E
Ex-Smokers Are Unstoppable
This next campaign I designed at Saatchi & Saatchi, is a 360° European Anti-tobacco campaign. Unlike other “anti-campaigns”
that focus on the dangers of smoking, this campaign highlights the positive sides of becoming an ex-smoker. Quitting
smoking is one of the hardest battles to fight, but there are those who succeed finding a renewed energy in life. They feel
better, look better and have more money. In short: ex-smokers are unstoppable.
Keeping this strategy in mind, I was told to create a campaign logo and complete visual identity that should become iconic
The directions to make a foreign brand localize
and very recognizable throughout the whole of Europe in 23 languages.
Before adapting and customizing your brand, it’s necessary to do your research and explore
the new market. Through demographics and other statistics, you can gain a lot of relevant
I chose to design a typographic logo that could
information for your brand and it will give you a clear view on how the market reacts on different
work in all the different languages and that
levels. Lifestyle and media trends can provide you with new methods on how people are behaving
contained one visual element which can be
these days. Who are your competitors, how are they communicating and what can you make to
remembered by everyone, the cigarette. While
stand out? By doing surveys, you will see, for instance, if it’s necessary to translate your logo, etc.
playing around with some type, I found out
In a word, get informed before you start.
that the message could be visually translated
in the logo itself. Using the X of Ex-smokers,
Once you made the decision to go on, it’s time to define your strategy, media choice and how you
referring to the well-known prohibited signs
will fill this in on a creative level. To keep the tone of your brand coherent, it’s advisable to have
brand managers for your different markets. In that way, people will perceive you as one global
the visual element was born, symbolizing
brand, let alone you are in eastern or western market. And last but not least, get results on how
the end of an old era and the beginning of a
your campaign is doing and optimize your strategy where necessary.
new one. The logo emphasizes a strong and
determined commitment to quit smoking. Exsmokers can use it as a statement; it helps them
Local success globally
turn the page on their smoking period. The
cigarette is literally stubbed out. Using a blackyellow-white colour scheme made it even more
People are attracted to international brands. Why? Because these brands can help meet their high
recognizable, without favouring one nation over
expectations on the product or service. That is why brands want to be identified as global brands,
another.
to give the consumer a consistent brand experience worldwide and build high brand equity. But
a brand needs to know that the needs of their target audience and people from different regions
Working at a network agency like Saatchi &
have different preferences and backgrounds. True global brands develop global icons and imagery,
Saatchi made it possible to work together
but are prepared to adapt the usage of these icons, colours and visual elements to the market they
with native speaking experts to spread the
find themselves in.
same message across all of Europe. I briefed
the copywriters to translate “Ex-Smokers are
Nowadays spreading your message is going more and more digital. We all show what we like and
Unstoppable” in a consistent way, and stay
who we like online. Brands are now doing the same; they get their own personalized brand pages
true to the core idea. The “X” and the cigarette
on social network sites and are even able to have different pages per country. The way to get
needed to be recognizable in every translation
messages to their consumers is changing from one-way communication to an instant dialogue on
and keeping the amount of characters as
local and international levels. Everybody is able to communicate back to a brand, and therefore,
compact as possible. And they did a wonderful
building a good relationship with your local consumers is more than important these days.
job. They even specified the meaning of the
different words, so I knew which characters I
The whole Ex-Smokers campaign was rolled out exactly like what we presented
had to put in yellow and white. The big task I
it during the pitch phase. Given that as we all know, designers don’t want to make
then had was to implement all the translations
compromises. We are getting amazing results regarding effectiveness, where design
in different logo versions keeping the same
also plays a very important role.
graphical approach and identity. I transposed
this positive message into a straight-forward
Your task, as a designer, is to always stay true to your initial idea and fight for
visual style. It empowers inspiration and
it. Never be happy with the first design, there is a difference between good and
supports all Europeans over 27 countries.
excellent and it shows. Creativity contains 20% idea and 80% of sweat.
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People are powerful, because they can make or break your brand.
What the future will bring, whether it’s getting even more digital or not, I can’t tell. But, what I’m
sure is that good and clever branding will always find its way to the consumer and will go hand in
hand with the latest trends. As a base that grounds everything, design is where it all starts, so it
better be good.
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OrganicISM
and designing this together with the cigarette,
INTERVIEW WITH LUIS OTHÓN
Designer of “Adela”
––– What visual elements can reflect the influence from diverse customs
and cultures? –––
México is very rich in visual language and symbolic representations.
We tried to translate each culture and tradition we were inspired by and
expressed them through keen iconic groups of elements, such as the icon
system and brand details applied into the product line.
ADELA
The intention of this design was to create a Mexican furniture brand starting from the branding process, followed by the
––– What do you think of the influence from local visual elements, like
business plan, development, product design, etc.
totem, symbol, script, etc. on brand design? –––
The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery
used is directly related to them. A symbol system, logo, and colour palette, along with its stationary and other selected items
was developed, and at the end of the brand development, a simple item collection that involved a table, lamp and a floor
––– How do you make your brand merge with local culture? –––
we tried to approach them from a more contemporary point of view,
because at the end, the products are contemporary.
The brand is merged by nature. All those symbols and imagery are very
natural for locals in México. Although northern México has grown as
––– What other local materials can be used to reflect the style of organic
an industrial and more globalized market, there are people always being
design, except wood, stone, leaf, grass, etc.? –––
interested in our roots and indigenous cultures. What’s also interesting
for us is how this brand will merge with other cultures, like North
American, European and Asian. We’re hoping to create very harmonic
contrasts through them.
Anything you can use again, or transform into something else: leather,
textiles, etc. I won’t worry about processed materials such as metal if its
form comes after its function.
––– Do you think organic design will be a mainstream style? Why?
–––
I’m not sure. Organic design has been there for a long time and I think
that being outside the mainstream has helped it grow in a good way. Not
being in the mainstream helps avoiding becoming a trend, which will only
generate interest for a short period of time. We are not worried about
our brand being in the mainstream, as long as we do things true and our
brand and products share a specific interest with its user.
––– What is the essence of local culture that attracts brand designers to
localise their designs? –––
I guess it is a local pride. If you have a very rich culture why not being
proud of it and showing it everywhere. And also, trying to maintain
tradition alive and constantly evolving. That’s what makes cultures
interesting; they’re all so different.
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OrganicISM
cushion was designed.
They are great influences. We got a load of references such as these and
(SPOTLIGHT) / BranD / 2012E
Dasti as a concept is an ethnic stationery
store that presents quality stationery
products which are crafted using traditional
techniques, skills and hand-based processes.
This brand would reflect India’s true culture,
origin, morals and practices that have
sustained with the people for over 100s of
years, something that the people all associate
with.
With the store specializing in traditional
stationery articles, the brand logo has been
made meticulously to reflect its true essence.
The logo is a combination of slender curves
and clean solid lines inspired from Devnagri
script which is the basis of writing their
national language Hindi, something that will
never look out of place even as time goes by.
The construction of the logo also establishes
ethnic, fun and vibrant vibe. The letter “I”
in the word “Dasti” has been stylized in such
a way that it looks like Goddess Durga so
that consumer immediately associates with
the traditionalism and ethnicity of the brand.
OrganicISM
This brand would truly be recognition of
DASTI
India’s heritage which has taken a back seat
in current times of industrialization.
Designed by Ananya Aiyyer
“DASTI” as a word means outdated hand manuals, books or note-books of very few pages, something that is either sold or given
so that it can be reused, a common Indian practice that led to ideation of the entire project. The vision of the brand is to showcase
the skills of thousands of talented craftsmen in this country in an organic way as possible.
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BranD
BULLETIN
VISCOM-SIGN ESPANA
DESIGNTIDE IN TOK YO
October 17th – 19th
October 31st -November 4th
Pavalion, IFEMA, Madrid, Spain
Tokyo Midtown Hall, Tokyo, Japan
www.viscomspain.com
designtide.jp
Viscom Sign is a great annual event of visual
DESIGNTIDE TOKYO is a field to trade design,
communication in the Iberian Peninsula, and the
and to trade ideas. Everything in our everyday life
image that has been developed for its 2012 edition
PAP-FOR RUSSIA
seeks to convey various concepts. The slogan chosen
October 30th –November 2nd
designers’ aims are focused on our society, “design”
for this year, “Access the unique world of visual
International Exhibition centre Lenexpo, Saint
cannot be converged into a simple format. By
communication”, marks the beginning of a new era,
Petersburg, Russia
presenting the ideas that generate designs, the show
in which there is a possibility of personalizing all
www.papfor.com
presents a stream of new thoughts and forms.
is something that has been designed. As long as the
imaginable media.
PAP-FOR Russia is the largest pulp and paper event
in Eastern Europe that represents all cutting edge
products, innovative ideas and ultramodern industry
MASALA CHAI
PACK EXPO
INTERNATIONAL
Designed by Asha Mody
Masala Chai is a traditional tea lounge that serves a variety of authentic Chai beverages. This popular drink hails from the Indian
October 28th - 31st
subcontinent and is made by brewing tea with a mixture of aromatic spices and herbs. The relaxed cool setting is ideal for middle-
McCormick Place, Chicago, Illinois USA
income tea drinkers and students from 20 to 35 looking for positive energy and a place to study. Using a collection of kitsch imagery
www.packexpo.com
technologies on one site. It is an ideal B2B event for
IENA
establishing new partnerships and developing one’s
November 1st - 4th
business. During four days exhibition, PAP-FOR gives
Exhibition Centre Nuremberg Hall 12, Germany
the full market overview and gathers all industry
www.iena.de
professionals in one meeting place. .
iENA distinguishes and holds one’s ground with
from India, the designer branded the lounge using images of peaceful Indian goddesses. The vintage shape crest of an Indian
teakettle was offset with a layer of grungy raw texture. Indian traditional Pop art was combined with the serif font Rockwell to
enhance the vintage feel. Earthy organic colours including brown yellow, green and peach differentiate flavours and unify the brand.
The tea is packaged in a reusable aluminium canister and natural jute bags are used to preserve the spices and tea.
innovative problem solutions and new products from
the other market players. The iENA Nuremberg is
PACK EXPO International 2012 is the one and only
event with the most innovative technologies and
a professional marketplace for ideas and inventions
solutions that drive your business. The largest, most
TOK YO DESIGNERS WEEK
comprehensive processing and packaging event in
October 30th – November 5th
opportunities for inventors and representatives of
the world delivers solutions from more than 1,800
Meiji-Jingu Gaien(Central Venue) and metropolitan
trade and industry.
suppliers, industry leaders with the latest education
SHOPs (other locations)
to stay up-to-date in trends and for professional
www.tdwa.com
and the leading trade fair of contacts and excellent
development.
Tokyo Designers Week 2012 is held for 10 days
L ABELEXPO INDIA
October 29th –November 1st
Pragati Maidan Exhibition Centre, New Delhi, India
www.labelexpo-india.com
based on Creativity & Technology, offering a place
100% DESIGN SHANGHAI
to showcase artists’ sensibility. This year’s themes
November 8th – 10th
are “HOUSE” and “PLAY”. Companies, designers,
Shanghai Exhibition Center, Shanghai, China
students, and organizations exhibit works using
www.100percentdesign.com.cn
creativity and technology according to the themes.
In addition, the contents are expanded to include
Professional Exhibition by industry leading artists of
each discipline.
of furniture, lighting, bathroom/kitchen and floor/
wall coverings and it seeks to create a dynamic
Labelexpo India is the largest event for the label,
atmosphere for the proliferation of innovative and
product decoration, web printing and converting
trendsetting ideas. 100% Design Shanghai is the
industry in South Asia. With more products, more
premiere venue for exhibitors to interact and meet
launches and more live demonstrations than any
the buying needs of key specifiers and buyers.
other industry event in the region this year, there is
no better place to see the latest technology in action.
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100% Design Shanghai showcases original designs
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BranD
BULLETIN
BRUSSELS INNOVA
ART|BASEL MIAMI BEACH
November 15th - 17th
December 6th -9th
Brussels Exhibition Centre, Brussels, Belgium
Miami Beach, Florida, USA
www.brussels-innova.com
miamibeach.artbasel.com
Brussels Innova boasts 4,000 m² of exhibition space,
Art Basel Miami Beach is the most known art show
with 20 countries represented, 4,000 professional
in the Americas. More than 260 leading galleries
visitors, 500 innovations entering the fray and
from North America, Europe, Latin America, Asia
press coverage. Brussels Innova accommodates
PRINT WORLD
all potential regional contacts in terms of: venture
November 17th -19th
than 2,000 artists of the 20th and 21st centuries.
capital & business angels, technological partnership,
Direct Energy Centre, Toronto, Canada
The exhibiting galleries are among the world’s most
access to subsidies and other public aid, legal aid
www.printworldshow.com
respected art dealers, offering exceptional pieces by
and protection for intellectual property, coaching,
distribution, sub-contractor production.
and Africa will take part, showcasing works by more
both renowned artists and cutting-edge newcomers.
The World of Shorter-Run Printing, dedicated
to shorter-run and small-format printers, is the
largest trade show and conference in North
America. Thousands of qualified buyers of shorter-
WASHINGTON CRAFT SHOW
November 16th - 18th
Walter E. Washington Convention Centre, USA
www.craftsamericashows.com
run printing equipment come to Print World to
comparison shop, network, take home new ideas
and product literature, attend seminars and live
demonstrations, and make crucial investment
SIGN ISTANBUL
December 6th - 9th
Tüyap Fair and Congress Center, Istanbul, Turkey
www.signistanbul.com
decisions.
Sign Istanbul offers you the chance to showcase
Washington Craft Show, nationally recognized for
your technology and products in large scale
presenting masterful work, designed and made
from digital printing machinery to routers, from
in artists’ studios across America, is the premier
advertising equipments to pants, from textile and
is a good chance for those who come to view
HK TDC INNO DESIGN
TECH EXPO
and purchase the latest works by nearly 200 of
December 6th –8th
This international Show makes exhibitors have new
the nation’s top contemporary craft artists or for
Hong Kong Convention and Exhibition Centre
cooperation and sign new partnerships with the
inspiration communicating with the artist.
innodesigntechexpo.hktdc.com
each year increasing number of visitors.
showcase of contemporary craft in America. It
screen printing to LED technologies, from visual
communication products to promotional materials.
The HKTDC Inno Design Tech Expo (IDT Expo),
located in international business hub and gateway
DESIGN CIT Y
November 17th -19th
Direct Energy Centre, Toronto, Canada
www.designcityshow.com
Design City, a “show within a show”, will bring
for global enterprises to tap the Asian markets
and the Chinese mainland, is a unique one-stop
platform for creative and technology professionals
to meet with enterprises looking to enhance their
competitiveness and find business partners for the
new opportunities emerging in Asia.
PACKPLUS
December 7th – 10th
India Expo Centre Greater Noida, New Delhi (NCR), India
www.packplus.in
The show aims to bring together the worldwide
together graphic designers with vendors who sell
manufacturers and providers of machinery,
to the graphic design market. It connects buyers
materials and services for food, pharma and
with sellers in a modern, interactive, results-driven
packaging industry from India and neighbouring
environment. Design City aims to further strengthen
countries. India Expo Centre & Mart, covering an
the graphic design community and bring together
area of 58 acres of land, has a unique combination
buyers and sellers in the industry as one of the first
of exhibition & convention facilities, lawn, business
trade shows of its kind in Canada. Design City 2012,
centre, restaurants, transportation facilities and
in its seventh year, continues to be supported by
sufficient parking area.
the success and experience of proven exhibition
producers.
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