words are loaded pistols

This is a Jean-Paul Sartre themed design blog. All quotes, unless otherwise cited, should be attributed to his brutal genious.

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Burberry "With Love"

Burberry is an English clothing, accessory, cosmetic, and scent brand that began in 1856.  Their lineup for holiday 2013 is nothing less than one might expect from such a prestigious brand.  As an admitted fan of the Burberry scent line, I am drawn time and again back to hats and scarves I can scarcely afford.  

While many brands choose to ring in the holiday shopping season with entirely too much glitter, Burberry's approach is golden, yet tasteful.  One of the iconic things about the luxury brand is that Burberry seems to know when they've hit the point of just enough.

Their "With Love" Christmas campaign brings back the reason for the season, and while gifts are always given, giving tasteful gifts is always advisable.  Their Festive Beauty campaign brings the consumer's attention to their perfume and cosmetics line.  Burberry Bespoke is the advertising approach for their iconic trench coats and scarves, bringing an item that could easily be outdated into the fore, with new styles and colors previewed on the runway.

Even their website incorporates interactive menus that are understated rather than loud or aggressive.  It creates a tasteful environment through which the customer can explore this season's offerings.  Even if Burberry is a bit too luxury for most, their brand rekindles the feeling of a classic Christmas, of a holiday spent in genteel taste where simplicity and functionality are the order of the day.  As I am sure shines through, I am a Burberry girl from start to finish and frankly, I have never been happier to have them as my brand of choice.

Images Courtesy of: us.burberry.com

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“I'd rather take coffee than compliments just now.” Alcott

Penguin Books is a printing company that specialized in making classic literature accessible and affordable.  Their covers have changed over time, but they have always featured that meek little semi-aquatic bird.  Recently, Penguin has released charming new additions aimed at younger and potentially female audiences.  These are the Penguin Thread Series and the covers were created by Jillian Tamaki and Rachell Sumpter.  The covers of these novels are nothing short of absolutely charming.  In a world in which minimalism is a key marketing strategy, these covers made of cloth and full of whimsey provide an interesting contrast.

 The titles are small in number, but this only increases the intrinsic value of each edition.  priced out at sixteen dollars a book, they are more expensive than Penguin's typical fair but are worth every penny.  When giving the gift of reading, it's vital to appeal to the reader.  Books that offer a sense of fun and adventure, along with an interesting texture/tactile quality are ready made to inspire interest for not only the reader but those who would give them in the first place.

Creating a line of collector's edition books at a humble price point was a wise move on Penguin's part, especially in an age of digital editions and tablet applications.  These books feel charming to the touch and will set upon any shelf nicely, creating the groundwork for a personal library.  Parents and attentive adults are easily invested in the idea of creating a legacy of education and literacy amongst the children in their lives.  These editions, so charmingly put together, are a good investment.

Images Courtesy of: .us.penguingroup.com/static/pages/classics/penguinthreads.html

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"Something that everybody wants to have read and nobody wants to read."

Barnes and Nobles have released their own branded classic works.  These are books, considered wide and large, to be a part of the Western Cannon of Literature or, well, just very popular.  The list of titles is incredibly long, and is available upon their website so it will not be repeated here.  However, what will be discussed is the fact that they are far more hit than miss.

The covers have a classic storybook appeal.  B&N is appealing to a tradition of hardback books, ones that were only affordable by the very affluent (once upon a time...).  The pages are gilded, in some cases, and the covers ornate.  The spines are glued, however, not sewn and perhaps that helps to create and maintain the fairly low price point (around twenty dollars).  They have a significant heft which works both for them and of course, against them.

Insofar as their failings, the print is often problematic.  Certainly, they are appealing to look at but they are hard to carry and transporting them is a headache.  The gold fades and is subject to wearing away.  The translations chosen are done so for cost's sake as they are rarely quality.  The print itself, is often small and difficult to read creating a less readable situation.  The Shakespeare work, specifically, is hardly faithful to the folios and is done in a Great Books of the Western World dual column set up that makes the text seem more daunting than it need be.  It would appear that these particular editions were meant to fulfill Mark Twain's definition of a classic, rather than a living, breathing, work of literature.  For a business that survives on the back of the written (and yes, now spoken word) it seems ridiculous to create such an inaccessible format.  

Images Courtesy of: barnesandnoble.com

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Whedon Knows How to Direct a Play

The much beloved, "Much Ado About Nothing," by William Shakespeare is of course, a pun on "Much Ado About Noting," as note taking, spying, eavesdropping, and misinformation are all elements that make up the main plot as well as the subplots of the play.  The particular movie version of the play was directed by Joss Whedon and shot in his private residence by cinematographer, Jay Hunter, who's photography would summarily compose the ad campaign for the film.

The film was entirely shot in black and white, the original Elizabethan/Jacobean language of the script retained, but the setting is entirely modern.  Given the number of Shakespearian works to fill updated screens, this is hardly an original concept.  Baz Luhrmann, Josie Rourke, and Julie Taymore have all delivered contemporary settings for Shakespeare's plays but as any fan of the bard knows, it is all in the interpretation of the material.

Whedon (and the play's advertising) have chosen to focus on the party aspect of Much Ado About Nothing.  The tagline invented for this particular movie, "Shakespeare Knew How To Throw A Party" as paired with black and white imagery paired with specific color highlights reinforces the jovial atmosphere.  What Whedon abandons, or leaves for the audience to discover, is exactly what weight the darker, deeper elements of the play.  The plot of the black prince, the shaming of Hero, the frustrated marriage all take back stage to not only the party, but also the turbulent romance of Beatrice and Bennedict.  None of the movie posters show the couple of Claudio and Hero.  Instead, they exclusively depict the contention between Beatrice and Benedict, Claudio with a martini in the water coupled with a snorkel  or the over all party atmosphere shot.   Even the frivolous Santa Monica, California setting, leaves the image of a party that never quite, ever ends.

Images courtesy of:  muchadomovie.com

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Arrogant Bastards

Stone Brewing Company, located in Escondito, California, offers a variety of beers and ales for consumption.  They also have two restaurant locations and offer a catering service. While their product, without a doubt is top notch, as much effort must have gone into creating their marketing approach.  Branding such awesome beer could not have been an easy task and yet, Stone Brewing Company Managed.

Stone Brewery's mascot is Stone, the Gargoyle and he made his first appearance on their label for Arrogant Bastard Ale.  He's been imagined and re-imagined many times over the years, cast in a rock wall, printed on sweatshirts, and even as a statue in their original brewery.  Stone is about as metal an icon as one can imagine, harkening the Middle Ages and Gothic Architecture - along with being a cliche symbol used by every single heavy metal band out there.

Stone Brewery's gargoyle has every right to his Arrogance (if not his Bastardness) for being on the label of one of the best, heaviest Ales out there.  Along with Arrogant Bastard Ale, Stone Brewing Company also offers a Ruination IPA, A Levitation Ale, Sublimely Self-Righteous Ale,  Vertical Epic Ale, and Old Guardian Barley Wine.  Their naming system, meant to impress (and succeeds) maintains the heavy metal/gothic imagery, further reinforced by the fonts and etched bottles.  One would expect that this is a beverage not for the faint of heart, and likely to kick one in the balls while they are down.  

All Images Courtesy of: www.stonebrew.com

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You know my methods, Watson.

Danny Yount designed the title work for the Sherlock Holmes movie, "A Game of Shadows," directed by Guy Richie.  His particular take upon the literary antihero is one that meshes past as present in sketches that could have appeared anywhere from a paper of the time in which the books and movies are set but with a distinctly modern flare.

The aged parchment background, shown to be damaged/cracked and the font made to look as if the words were written by dip pen add to the atmosphere of the movie.  The pictures appear to be sketches and everything has the feel of a work-in-progress.  Even the Warner Brother's logo is given a weatherbeaten treatment and it appears to be embossed upon the cover of some much-abused tome  The illegible script-mark notations create the feel that Holmes himself may have made the very notes the audience is seeing.  In many cases these notes are printed, others are done in a similar script as the title.  Even the photographic stills take of the actors in the movie, reflect not only Richie's style of cinematography but also that of antiquity.  Perhaps this is best, given what the movie has in store.  

The intended effect appears to be one that should take the viewer back in time, transporting them from modern day into the victorian society in which our detective and doctor sidekick operate.  Though these effects could not have been created without modern technology, that fact takes second stage as the movie-watching environment is constructed.  Yount's work definitely adds to the overall feel of the movie and helps in constructing the environment through which he narrative unfolds.   

Images Courtesy of: www.dannyyount.com

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Bony Fingers, Ivory Keys...

David Mack is the writer and artist for the comic book series, Kabuki.  He is the soul driver and creative power behind the marketing for his own brand of visual and literary art.  His style is a mixed-medium watercolor experiment with heavy Japanese influence.  He created the first volume of Kabuki while still an undergraduate.

There are typically, at minimum, two type faces/fonts to be seen on the cover of each graphic novel.  The of the series,  "Kabuki" often appears in a faded, unevenly spaced, type-writer font with a mixed set of lower and upper case letters.  The title of the particular volume often appears in a sophisticated script featuring a shadow effect, as seen in the first example.  A watercolor depiction of the Noh agents, typically Kabuki herself, will provide the backdrop for the cover.  There is also a layering effect created within the art to invoke a sense of depth, as if the work were not dimensional.

  The overarching story of Kabuki is a dynamic one and covers many overarching motifs such as questions of identity, consciousness, personal history, and  art.  Mack uses a mixed-media approach in his art, creating a pastiche effect that carries over into his storytelling.  Insofar as influences go, he borrows heavily from Japanese, Western, and Native American artistic traditions in order to deliver his message.  Unlike some graphic novels and comics, the cover art does not deviate sharply from the art used on the interior with text to deliver the story.  Instead, one is a direct reflection of the other.  

His art appears on all of the merchandise regarding the Kabuki marketing.  This extends into the t-shirts, prints, and three dimensional statues that are available.

All art courtesy of David Mack: www.facebook.com/pages/David-Mack/21231086294

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Don't Be Alarmed

David Manteau provided the art and art direction for the album Nola by the band Down.  Their debut album, named after the moniker for the city of New Orleans, sets a mood that is indicative of Down's southern-metal sound.

The faded name of the band, in its pseudo gothic script creates the brand that is representative of the band.  It is featured on almost all their albums, singles, and merchandise.  

Once again, this album represents the southern gothic metal tradition to which Down belongs.  Here their logo is burnt onto distressed wood, along with the title of the album.  Their numeric naming system has yet to be interrupted by any of their releases, at least thus far.  The title "A Bustle in Your Hedgerow" is a nod to Led Zeppelin, the phrase stolen from a line in their song, "Stairway to Heaven."

The third album cover would not feature the numerals III but as the title is often listed, it appears as "Down III, Over the Under." Here is more art than the previous two releases, though it still has a distressed woodcut appearance.  The title text, as a shift, reflects the type used in the title of the band, which is a shift from the previous album covers.  This was likely largely a choice made because of the wolf eating the sun on the cover of the album, along with the circular impressions, makes the matchup of font work well.

All in all, the art on the cover of Down's albums (at least thus far) has represented their music.  Since the band draws heavily from southern gothic metal roots, and hails New Orleans as its base, the art does a good job of reflecting the overall feel of their music.  

All art courtesy of: www.metal-archives.com

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I Can See No Reason for It to Fail

Portishead’s branding is a good reflection of their style of music.  As one of the most underrated bands of the 199o’s, their following is small and largely made up of those who stumbled upon the band by word-of-mouth.  Beth Gibbon’s anachronistic approach to vocals over irreverent trip-hop beats makes their sound unique.  There is no mistaking a Portishead track for anything other than what it is.  The distinct sound of the band, with its retro flair, is represented well by their album art. 

The debut album cover art as produced by Marc Bessant, cues the potential listener that this is no ordinary band.  Marc Bessant is entirely responsible for the branding of Portishead, and his work illustrates his appreciation for the band's music and their singular art.  There is no stock used and the proportions/ratios present in the cover art highly reflect the distorted music ready to great the listener's ears.  The black and white style, along with the retro dress of the figure in the far back right, is a cue to the nature of the vocals.

In this example, a black and white photograph used along with a minimalistic font presentation, represents the distorted nature of the album, itself.  The music on Dummy is far from a smooth ride but is one that rather musically expands and contracts upon themes that could never be considered basic.  The blurry photograph and distorted imagery brings home one of the motifs of the album, itself.  

The  use of a "P" overlaying the number "Three" provides a symbolic representation of the title of Portishead's third album, "The Third."  Once again, we see what could be a boring, thick, Portishead "P" but with the overlay of a faded 3, the album cover, with its murky green gives off the subtle cool tones of the music within.  

The art of Portishead, their branding, their image in Marc Bessant's clever hands, has always served as a well employed tool to advertise for the band.  Fans of the band immediately recognize his signature work, and singular style, in a way that has made their image just as unmistakeable as their sound.

All art by Marc Bessant:  www.marcbessant.com

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As a wine enthusiast and aspiring c onnoisseur     (as well as literary-type) I am hopelessly susceptible to fantastic marketing and am eager to try anything new.  I was browsing the racks of my local grocery in San Diego when I discovered packaging I could not deny.  As a sucker for anything fairytale themed, I decided to see if their “Big Bad Red” lived up to the deep dark design as well as the fairytale itself.  I was not disappointed in that or the wordplay between “vine” and “wine” though it begs the audience to fill in “time” despite what the label explicitly says.

  Once Upon A Vine is a Californian Winery that produces “Charming Pinot,” “Lost Slipper Sauvignon Blanc,” “The Big Bad Red,” and “The Fairest Chardonnay.”  The packaging on these bottles is amazing.  I love the logo design on the bottles.  “Once Upon A Vine,” with the placement and use of delicate scrollwork font immediately contextualizes the Grimms reference.  Automatically, one anticipates that each wine will have a story to tell.  The background colors used on the labels indicates if it is a white or red, and the art that depicts a minimalist presentation of the fairytale the title is referencing. 

  If anything could stand to be altered is the forest theme that appears on each bottle.  Granted, the perspective shifts given the size of each label as it varies, but over all, while it makes the bottles easy to identify at a distance, it also makes them seem a bit too similar if they are grouped together.  Overall, I would have to say that the branding used by Once Upon a Vine is very effective and yes, I have consumed them all while reading a bit of Datlow and Windling.  

*Photographic Credit to: 

DIAGEO CHATEAU & ESTATE WINES COMPANY

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