First off, excuse the horrific attempt at a pun with this post’s title, it was just something that jumped to mind and I couldn’t shake it! Anyway, as I now come towards the end of my second semester of third year and the business end of my degree at Falmouth, I’m beginning to spend more and more time looking at the work of design agencies, to help identify ones that I might want to send my portfolio to in the hopes of getting a placement.
On a recent browse of work, one of the pieces that immediately jumped out at me was The Allotment‘s redesign of the Adoption Scheme for The Donkey Sanctuary. Taking what was a simple piece of editorial design and turning it into something much more emotive and considered, the scheme was given a core concept that clearly set it apart from other competitor products. The big idea was ‘A Lifetime of Memories’, making the donkeys the hero of the product and bringing them into the heart of your family.
Each donkey was professionally photographed, with the adoption pack designed to look like a picture frame in which all the supporting material sat. This allowed it to be its own point of sale pack, immediately intriguing and enticing viewers. Other elements of the redesigned scheme, such as the supporting material and an app which allows you to add donkeys to your own photos were all equally beautifully crafted, but for me it is the frame pack that is the star of the show.
Not only is it really well crafted with great attention to detail, but it is just so unique in its design and the idea behind it. The use of the picture frame really emphasises the ‘part of the family’ concept, putting it a million miles away from the generic design of the sanctuary’s previous adoption pack. Its difference grabs your attention instantly and holds it throughout all aspects of the scheme and pack. It also allows it to sit rather nicely amongst your family photos!
In my opinion it really is a fantastic piece of design and this thought is obviously shared by others as it recently won best product launch at the Marketing Design Awards. For more information on the adoption pack, visit The Allotment’s website here, or watch the below video.
For a studio that have only been around for four years, The Allotment have really become a force in the design world, placing 9th in Design Week’s Creative Survey in 2012, above huge agencies like Pentagram and Johnson Banks. They have become one of my favourite design studios whose work and process really inspires me in my own. When I come to applying for placements in a few weeks time, I’ll definitely be sending The Allotment a copy of my portfolio. Here’s hoping I get a positive response.
A couple of weeks ago, almost a year since I worked on designing it, Benzanoe Issue 65 was finally published. It’s been refined a bit since I last showed it to you and overall I’m really pleased with it and excited to finally have my own copy.
Apologies for the poor quality image, once I have completed the redesign of my website I’ll hopefully put some better shots of the magazine up on it.
Via Dion Star
There is a lot of things you can do with bubble wrap; protect presents, packing things, or you can just have fun popping it. But I don’t suppose you’d ever thought of creating typography with it had you? Lo Siento have though, as they’ve done just that, creating bubble wrap typography for the cover of Japanese magazine +81.
I Love Dust created the branding for Portsmouth art house cinema ‘No. 6 Cinema’ a few years ago now, however it’s something that I’ve always liked and recently rediscovered whilst looking at their website.
This awesome series of programmes that they produced as part of the brand redesign are perfectly simple. Using stills from famous movies and applying a half-tone effect to create a minimal style that isn’t overcomplicated by multiple colours. The image is also made the focus of the cover which promotes the programmes context.
Minimal typography, with only the logo, cinema name and issue number used continues this minimal style.
Overall, the branding and programmes have been produced in a style which I think perfectly relates to the art house style of the cinema itself.
My final major project on my Art Foundation course shared similarities with the Baseline Magazine project I looked at in the last post. I went into the project wanting to create a book as it was something I hadn’t done before and so came up with a brief to explore and question the use of typography through the use of books.
I produced three books as my final piece which were exhibited below three pieces of text as seen below. Each book contained a collection of screen-printed quotes and definitions which described what had been done to each book and were obscured or altered in some way.
To start this week of posts I’m going to talk about one of my favourite projects that I did during Art Foundation last year. For it I produced two fictional designs for the front cover of a possible future issue of Baseline Magazine.
We were tasked with creating a theme for the issue before designing the cover so I chose to look into typography and question why it should be produced in conventional ways.
So I gave you all a taster of my work on Issue 65 of Benzanoe Magazine in Sundays post, but now that I have pictures of the completed initial mockup I thought I’d show you them. As you may notice there have been a few changes since that post, with my ‘Define’ section being inverted to white on black and the ‘Design’ section being renamed to ‘Develop’. The layout of ‘Define’ has also been altered to increase the idea of clarity within it.
To recap, myself and nine of my peers formed the design team for this issue, which was headed by one of our course tutors who runs the magazine. Based on the theme of ‘The Future Is Only Present Hope’ we chose to split the magazine into four sections, with the fourth the actual magazine and the initial three chronicling the production and design of it.