Showing posts with label Design Context. Show all posts
Showing posts with label Design Context. Show all posts

Monday, 16 May 2011

Titles for the Range



I have been thinking about which other Gabriel Garcia Marquez books to design for and include in the box set.
After a bit of research I have decided on two others. 'In Evil Hour' this story also includes a couple of the characters who re appear again in one hundred years of solitude. For the second I have decided to include 'Love in the time of Cholera' because this deals with similar drama and relationships as in 100 years of solitude. .

In Evil Hour

In Evil Hour (La mala hora) is a novel by Colombian writer Gabriel García Márquez, first published (in an edition disowned by the author [1]) in 1962.

Written while García Márquez lived in Paris, the story was originally entitled Este pueblo de mierda (This Town of Shit or This Shitty Town). Rewritten, it won a literary prize in Colombia.

Some of the same characters and situations found in La mala hora later re-appear in Cien años de soledad.

Plot

In Evil Hour takes place in a nameless Colombian village. Someone has been placing satirical pasquinades about the town, outlining the locals' shameful secrets. Some dismiss these as common gossip. However, when a man kills his wife's supposed lover after reading of her infidelity, the mayor decides that action is called for. He declares martial law and sends soldiers (really just armed thugs) to patrol the streets. He also uses the 'state of unrest' as an excuse to crack down on his political enemies.

Love in the Time of Cholera

Plot summary

The main female character in the novel, Fermina Daza, is the strong axis around which the story revolves. Fermina easily rejects Florentino Ariza in their youth when she realizes the naïveté of their first romance, and she weds Juvenal Urbino at the age of 21, the "deadline" she had set for herself, ultimately because he seemed to be able to offer security and love to her. Urbino is a medical doctor devoted to science, modernity, and "order and progress." He is committed to the eradication of cholera and to the promotion of public works. He is a rational man whose life is organized precisely and who values his importance and reputation in society to the utmost. He is a herald of progress and modernization.[1]

Urbino's function in the novel is to provide the counterpoint to Florentino Ariza’s archaic, boldly romantic love. Urbino proves in the end not to have been an entirely faithful husband, confessing one affair to Fermina some years into their marriage. Though the novel seems to suggest that Urbino's love for Fermina was never as spiritually chaste as Florentino Ariza's was, it also complicates Florentino's devotion by cataloging his many trysts and apparently a few, possibly genuine, loves. By the end of the book, Fermina comes to recognize a wisdom and maturity in Ariza and their love is allowed to blossom in their old age. For most of their adult lives, however, their communication is limited to occasional public niceties.

Setting

The story takes place in an unnamed port city somewhere in the Caribbean, near the Magdalena River. While the city remains unnamed throughout the novel, descriptions of it lead one to the conclusion that it must be Cartagena, in Bolívar, Colombia, where García Márquez spent his early years. The city is divided into such sections as "The District of the Viceroys" and "The Arcade of the Scribes." The novel encompasses the half century roughly between 1880 and 1930.[2] The city’s "steamy and sleepy streets, rat-infested sewers, old slave quarter, decaying colonial architecture, and multifarious inhabitants" dot the text and mingle amid the lives of the characters.[3] Locations within the story include:

  • The house Fermina shares with her husband, Dr. Juvenal Urbino
  • The "transient hotel" where Florentino Ariza stays for a short time
  • Ariza’s office at the river company
  • The Arcade of the Scribes
  • The Magdalena River

Friday, 13 May 2011

Wine design




«Colier» is limited collection of sparkling wine: 23 bottles of luxury sets (bottle + presentation box) and 5 premium (handmade bottle + cocoon container). The target audience was business women and we all know that champagne is female drink. After brainstorming we choose collar as name, because it describes the idea of collection very good and also can be played in designs. For Brut we used classic square box form and for Vintage Brut we created the cocoon. All the weight of cocoon is focused in his bottom part that's why it don't turn upside down and it also keeps cold inside before opening.



Mayrah Wine, Taltarni Vineyards

The wine is from Australia, and Mayrah means Spring in aboriginal language. The animals are jumping up because they are so happy that spring has finally come.

Adobe Design Achievement Awards, Finalist. 2008
Graphis New Talent Annual, Gold Winner. 2008
How International Design Awards, Merit Award. 2008


These are gorgeous designs, the colours are grate and I think reflect the climate of Australia. This also demonstrates how the design style has been applied to a wider range of packaging and stationary. This is something I am defiantly considering for expanding the ISTD brief.



Logan Wines Signature Range
Each label featured an illustration depicting the different tasting notes of a varietal, the various flavours and after tastes. This was brought to life using dimensional embroidery, an incredibly time consuming yet beautiful type of embroidery. A fitting metaphor for the care and attention to detail Logan bautifully crafts into their make.



"Graphic designer Jordan Jelev of Factor R Studio, known as ‘The Labelmaker’, has redesigned the label for Bulgarian wine +359. The range, by Villa Lyubimets winery, is named after the country’s international phone code and the font is based on the one used by Bulgarian Post in the 1960s, giving the wine strong national appeal.

‘I wanted everyone not only to see this label as an image, but to feel it and sense it with their fingers " that’s why I used puff-up transparent varnish to make the biggest possible relief structure on the logo,’ Jelev said.

A selective transparent UV matt varnish is applied on the pattern of circles around the logo against glossy background and a transparent puff-up varnish on the +359 logo to create the appearance of wave lines. The label is bordered with a glossy hot foil stamp, and there are some tiny hot foil dots around the logo as well.

The label was screen-printed by Rotoprint in Bulgaria on Fasson MC Plus."



I haven't found a description for the below product. However I have included it on my blog because I think it is a fun way of using the paper format and rotating binding technique.












The packaging of this wine looks very natural I like the rustic, vintage appearance as well. This would probably appeal well to the target audience to because most wine drinkers think wine tastes better with age.

Tuesday, 10 May 2011

Another interpritation of the brief

Wow I had to put this cover idea on my blog. It is clear the designer has read and clearly understood the key element of this novel and has come up with this intriguing design and use of code that only becomes clear once the reader has read the book.
Very nice concept!

The story follows the rise and fall of a Latin American family that parallels the continent’s recent history. Garcia Marquez’ writing style alienates as much as it drags you in. I struggled with the book, hating and loving it at the same time but incapable of letting go.

I wanted to reflect that in the design. Icy colours and clinical type at first sight with mirror and circular elements (key to the story) eventually revealing a play with the main narrative: codes. People speaking in codes, codes that reveal themselves, premonitions and manuscripts that seem impossible to decipher. The front cover gives (hopefully obvious) hints to decipher the message at the back that encapsulates the whole 580 pages without giving anything away as you only fully understand what it means on the very last page. Can you crack the code?

Monday, 9 May 2011

Wine bottle branding

I think a wine bottle design might provide a good context for me to apply the typeface to. Wine can be a very popular product and people who drink it can be very interested and selective with which wine they purchase. Wines vary in flavor based on the type of grape, country they are grow in, year, alcoholic strength...etc Also they can be dry, sweet, fruity and blended with other natural ingredients and plants. It is these aspects that people take into account when choosing a wine.
Here are some examples of wine bottle design projects that I think are successful and communicate a scene of flavor the wine might have.

This is a luxury porcelain wine bottle and wooden gift box, a product of lavish and extravagance through various materials and processes. Illustrative typography is carried throughout the product, with an accompanying leaflet for wine collectors. This could be a nice way of applying my typeface to a range. A bottle design, packaging and leaflet explaining the typeface and type of wine it is.

This is a nice design for a wine bottle and packaging. It is interesting that the designer has twisted the shape of the reed to form the silhouette of a woman s face. Also, they have photographed the product with the shadow of a tree branch in the background, this provides a soft association to nature and perhaps the ingredients of the wine. Judging on the look of the packaging I would guess the wine would be a strong red with a soft floral taste/aroma.

After completing my bottle and packaging design it might be nice to experiment with shadows as well, when I come to photograph and documenting it.

Below are some more examples of modern wine bottle design and branding.






Thursday, 31 March 2011

http://www.typographicposters.com/#

This is a realistic way of manipulating plant forms to create letters. However I think it appears to manipulated and unnatural. Interesting idea though.





This is a nice idea, to cut the letters out of the leaf. I thought it might look more natural if the letters are cut with small holes and a jagged edge as though they had been eaten away by an insect perhaps.