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Beere et ArteClient: CharityMessage: Appreciate CultureTarget Audience: 30 - 50year old Working Class Men

Graphic Design Fundamentals PROJECtDEVELOPMENT WORKBOOK

MAx WILSON

MAX WILSON ∙ DEVELOPMENT WORKBOOK

Page �Graphic Design Fundamentals Project

Having settled on a brief, (Client: Charity, Message: Appreciate Culture, Audience: 30-50 y/o Working Class Men) my first steps were to explore the ways in which working class men are communicated to in the media. I examined copies of The Sun, The Mirror and The Star and was struck by the blunt, almost aggressive impetus behind much of the information. The headlines are short, punchy and often utilise puns or wordplay. I created a collage of some typical sensationalist headlines I came across in order to begin thinking about how to communicate with my target audience.

As well giving an insight into the mode of communication it also clarified in my mind the sorts of topics working class ‘blokes’ are engaged with and interested in, namely, sport, women and war.

I also considered where working class men and culture currently coincide, and so gathered examples of publicity for West End shows which are intended, at least in part, to draw the attention of my target audience. The publicity showed a similar focus on short, sharp sensationalist statements and a solid, heavy typographic style.

On the back of this research I started to formulate some initial ideas for my brief/outcome, that is, a series of posters which juxtaposed text or image from ‘high culture’ with text or image from ‘low culture. For example it could take the form of an image of a character from a Shakespeare play, juxtaposed with a vernacular, working class slogan or a famous quotation from ‘high culture’, such as a Shakespeare play, alongside an image of a pop cultural icon, such as David Beckham. Perhaps this would be a way of engaging the working class men on their own terms...?

Initial Research & Ideas


Graphic Design Fundamentals Project

After the first session with Darren I realised I was struggling a little at getting to grips with the charity aspect of my brief, and how to reconcile ‘charity’ and ‘appreciate culture’. I did some research into charities, the part they play in ‘culture’ and vice versa.

Key ideas that came out of this research that helped me move forward include:

The core characteristic of charities is public benefit.

Charities that engage with culture might include the promotion of various forms of art, the preservation of traditions, or the appreciation of local or national history.

Using some of these ideas as I launchpad I visited the St Brides Printing Library to explore the ways in which I might be able to incorporate it as my client. I spoke with the Head Librarian at St Brides and unfortunately concluded that there would be little there to attract working class men and engage them as the library’s activities are now largely academic in outlook.

I performed some further research into charities that promote culture and narrowed down my possible client to either the Arts Council England or the Working Class Movement Library.

After carrying out a concept challenge which mainly focused on the dominant ideas around ‘blokes’ and culture, I came up with the idea of taking art & culture out of the elitist institutions and performance spaces they are perceived to be and into the pubs as a kind of beer festival/pub crawl for culture. This formed the basis for my final brief...

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Research into Charities and Culture



Because of the way the idea for the culture festival evolved, the Arts Council emerged as the obvious choice for my client. The Arts Council receives a considerable amount of funding for the promotion the Arts in England, and as ‘public benefit’ is at the centre of any charity’s aims, it seemed logical and plausible that the Arts Council would organise an arts festival such as this to promote culture to an under-engaged demographic.

I also continued to question what I wanted to get out of the project and realised that part of the reason I want to study is to push me out of my comfort zone and design in new ways, with new software and in different media. As such I decided to avoid designing a set of posters using Photoshop, which I am relatively comfortable with, and instead considered designing the identity for the festival, using Illustrator, which I am less comfortable with.

These ideas eventually formalised into the final brief.

FINAL BRIEF

“Arts Council England are organising a beer & CULTURE festival aimed at 30-50 year old working class men.

They need an identity which not only engages this target audience and communicates with them on their own terms, but which also captures this sense of ‘culture’ which lies at core of the festival.”

Finalising & FORMALISING THE Brief



To gain a greater insight into my target audience I sat in a greasy spoon for an hour and a half early in the morning and observed the ways in which working class men interact and communicate and what they discuss. This generated a number of interesting observations/ideas, including:

There are very clear groups and types of men that eat in greasy spoons, such as site workers, who are invariably wearing hi-vis jackets/vests; electricians/plumbers, etc, who work indoors and generally wear polo shirts with an embroidered logo; and painters & decorators who are distinguishable by their paint-spattered, dusty clothes. Nearly all the men wore work boots. This generated some beginnings of ideas in terms of possible backgrounds for the logo, eg, a hi-vis fluorescent yellow, a paint-spattered brown, a black bootprint, etc.

General distrust of theory/academia over experience and practicality.

Newspapers like The Sun tend to be used as conversation starters, hence the loud, simple headlines.

I started to generate some initial ideas as to how the logo might be used and where it might appear, eg, beer mats, mugs, posters, etc. I decided I needed a logo that would be clear and effective on both large and small scales...

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OBSERVING BLOKES: Initial RESEARCH & Ideas



I performed some initial research into the logos for arts and culture festivals but quickly realised these were largely irrelevant as such festivals were almost never aimed at 30-50year old working class men. I decided instead to look at the sorts of logos my target audience come into contact with on a daily basis, choosing to focus on football badges and beer logos. I organised the logos into some basic groups and explored the similarities and between them.

I discovered that there are actually a lot of similarities between football badges and beer logos, namely:

A sense of heritage and tradition:

- Use of heraldry and heraldic emblems

- Year of establishment often prominent

Most common colours in football logos are blue, red, yellow, black and white.

Beer logos use similar colours, although green and gold are also popular

Working class roots lie at the heart of many of the designs.

I also looked over a few logos for beer festivals which were all characterised by a similar sense of tradition and heritage.

I performed further examination of the designs for Carling, the most popular working class beer, considering how and why the beer was recently rebranded. I became aware how central the emblem of the lion is to working class culture - not only is it featured on the Carling can, it also appears in numerous football badges, not least in the form of the England Team’s ‘3 Lions’. This led onto research into how the lion traditionally appears in heraldry, eg, the Lion Rampant.

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WORKING CLASs LOGOS: Beer, Football & Heraldry



After examining comparing, contrasting and grouping the various types of logos and colours used in design for beer and football, I made a few rough sketches exploring how these elements might be brought together whilst also introducing the cultural aspect.

In order to investigate further how these elements might interact I traced the various constituent parts of the logos, ie, the different shields, scrolls, roundels and emblems so I could easily further compare, contrast and group them.

In doing so I became aware of the more popular emblems used in the logos, for example, crowns, castles, birds, trees and of course, lions.

DISSECTING THE ANATOMY OF HERALDRY



In order to experiment with these elements further I photocopied the tracings of the heraldic emblems and shapes and combined these with letraset and images cut from newspapers to form a series of collages which bought together the sense of heritage & tradition with the arts & culture.

These gave me a clear idea of how the forms and shapes could interact with each other so I set about digitising some of these elements.

My first steps in digitising the concepts were to create vectors of some of the components such as the roundel and shield and to start experimenting with how different typefaces might work within these forms.

In the main, I experimented with three types of typeface:

Blackletter style typefaces such as Old English which were very effective at capturing the sense of history and heritage but generally a little too ornate and fussy.

Simpler, cleaner fonts such as Maiandra which were more evocative of the typefaces used on the beer and football logos, but were perhaps a little dull.

Solid heavy typefaces reminiscent of tabloid headlines

Although I initially experimented with type inside the shield, I decided to develop the idea of placing the type inside the roundel as this yielded greater potential for experimenting with the form of the logo.

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concept development & DIGITALISING

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CONCEPT DEVELOPMENT: THE ROUGH WITH THE SMOOTH

I realised relatively early on that in vectorising all of the elements, the logo had lost some of the roughness and handmade quality that I think needed to be at the heart of the identity for the festival - anything too glossy and refined would not engage the target audience.

As such I began experimenting with vectorising some of the tracings I had made. This produced a really effective handmade feel to the design and so I introduced more handmade elements, for example the crown emblem, scrolls, etc.

However, as more and more hand-drawn parts were introduced, it became evident the design would need to be a balance between hand-drawn roughness, and clean lines and shapes. For example, as the roundel was the base on which many of the other elements were anchored, making it rough and irregular was a step too far, and, combined with all the other hand-drawn elements created a very unfinished impression. So, I reintroduced the regular concentric roundel almost as a washing line that all the other rough and raw elements could hang off.

As the form of the logo became more concrete I continued experimenting with type, again looking for a combination of typefaces which would capture the imagination of my target audience, as well as complimenting the emerging composition of the design.

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I then set about trying to capture the anarchic energy at play in the collages. I collected a variety of digital images, including guitars, microphones, etc, vectorised them and experimented with their placement and effect on the overall design. I was struggling to make the collage work and so went back to my original hard-copy collages and realised the digital version needed to be more symmetrical; I altered the angle of the microphone hand and added in a mirrored version of the scrolled film reel to bring the whole collage design together.

As the design evolved, I wanted to reference football more obviously at first glance, so added stripes to the central shield as I felt they instantly signify ‘football’ and therefore would be more likely to engage a working class man on first contact. In order to retain the lion’s readability I used a quadrant layout on the shield, placing the ‘emblems’ of the lion and the pint glass in corresponding diagonal quadrants.

In terms of type, I settled on Rosewood (FILL) for the main title typeface as it had a rougher, letterpress quality which echoed and enhanced the hand-made aspects of the design and helped create an overall impression of heritage and tradition. In addition, as quite a heavy typeface it is consistent with the loud, solid tabloid headlines.

For the ‘mottos’ I opted for Little Caesar as, again, it has a rough, slightly unfinished feel to it and so compliments Rosewood, but is lighter than Rosewood and so does not compete for attention.

Lithos Pro was ultimately the typeface I chose for the ‘inscriptions’ around the side of the logo as it has clean, classic look which emulates the typefaces used in the football and beer logos.

Concept Development: THE ANARCHY OF COLLAGE

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THE BIGBRITISHBEER AND

CULTUREFESTIVAL



In order to explore how the logo might interact with various colours, I decided to look into the colours and patterns of football shirts. I discovered that in the main, the shirts use a similar palette to the football badges, that is, black, blue, red, yellow and white and lie somewhere on a spectrum between one single colour and two colour striped shirts. I decided to use these colours as the starting point for experimenting with how colour might be applied to the logo...

COLOUR: The Palette of Football


Page 1�Graphic Design Fundamentals Project

COLOUR: EXPERIMENTATION

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Following on from the colour analysis of the football shirts I experimented using red, blue and yellow as a background for the logo, and also with adding various amounts of white to the image.

I also tried to anticipate fhe associations certain colour combinations would create within the minds of my target audience.

Ultimately I decided to utilise a black and yellow colour scheme, as not only does the yellow provide a stiking visual contrast to the black logo, but it also draws on the yellow of the hi-vis jackets that are ubiquitous among working class men. Furthemore, this colour scheme also draws on the black and yellow of safety/hazzard notices on building sites/in factories, as well as as referencing the colour of the alcohol at the heart of the beer festival...



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Subsequent to the formative assessment, I wanted to develop the logo design so that it referenced and engaged with a working class audience more explicitly. To get inside the mind of my target audience I watched the film Brassed Off about the dying tradition of the colliery miners’ band. It struck me that this film expressed the sense of working class tradition and pride that I wanted to capture and so I decided to ammend the design to include a euphonium.

I also experimented a little with the lion emblem, and tried a different version with the lion playing the euphonium, however this made the overall design too fussy and made the festival too much about music, rather than culture as a whole...

In terms of the typographic aspects of the identity, in order to create a cohesive look, I realised the typefaces needed to reflect the type used in the main design. As such, I continued the use of Rosewood (FILL) for main titles, but decided to use the relatively clean typeface Gill Sans MT (Regular) for the body text for its legibility and simplicity.

I also experimented with the amount of detail I could lose for a simplified version of the logo, and decided that the roundel and shield on their own were not enough to capture the feel of the festival, and so decided to simply omit the ‘culture’ collage above the logo for the simplified design...

FINAL DEVELOPMENT

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THE BIGBRITISHBEER AND

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FINAL FESTIVAL IDENTITY

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Basic Typographic Elements

hEADER Rosewood (Fill), Character style - Underline: Weight 1pt, Offset 2pt, C0 M0 Y100 K0

Body Text Gill Sans MT (Regular)

Highlights/Subheader Gill Sans MT (Regular): Character style - Underline: Weight 11pt, Offset -2pt, C0 M0 Y100 K0

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