Highway (Design Principles)
Exploring the role of pattern in branding and how this can be applied to collateral through the branding of two snowboard ranges, one that I have created and one that is in existence already. These will include a product range as well as retail collateral.
Pattern sticks in the mind over conventional branding and resonates with consumers. It is a foundational component of a brand as well as a transferable aspect. Snowboard aesthetics push the boundaries allowing for innovative branding techniques.
Motor Car (Design Artefact)
I will create two versatile patterns for two separate snowboard ranges, one existing brand and one original created by myself. I will then apply these to snowboards, tags, advertisements and packaging and display these in the grad show.
Hans Hulbosch states that ‘in this day and age with the speed of new technology we are constantly bombarded with visual images and only design that really connects will make it into people’s consciousness’ (2010, p 35). I am exploring the notion that pattern creates a connection between audience and brand as well as separate brand components.
Patterns create an experience and ambience for a brand, they allow for a myriad of signifiers to be portrayed within the one visual cue. ‘Rich in codes and signifiers, pattern-making is the language with which people articulate meaning in order to explore and interrogate their relationships with each other, their surroundings and their spirituality’ (Newall & Unwin, 2011, p 256). Innovative branding can make use of patterns as a multinational platform for universal recognition while creating an aesthetically pleasing visual element.
‘A brand pattern creates more value than repetition. It provides coherence among disparate mediums and continued relevance that can adapt and respond to its audience. A brand pattern connects a product to an experience and an audience, allowing the brand to continually grow’ (Co. Design, 2013) .
Brand patterns are flexible and can be transferred across brand collateral without repetition while creating a coherent link between products and packaging.
The following are visual representations of the application of pattern in branding;
‘Nirvana New India’, Messy Design
The overview for this project states that ‘Nirvana is a new concept in Indian take-away, combining authentic flavours with a contemporary twist.’ (messy Design, 2013). The pattern created for ‘Nirvana New India’ encapsulates the restaurants description in graphic form by combining signifiers such as the lotus flower and Hindu Festival Colours in a contemporary fashion. It is the foundation for the branding and is transferable in its application.
‘Hot Bread Kitchen’, Pentagram
Pentagram’s branding of the ‘Hot Bread Kitchen’ demonstrates how a pattern can hold together a brand through variations in packaging. Each product’s packaging is unique yet coherent as a whole through the application of pattern as a branding technique. Singular components of a pattern can be translated through out branding meaning that a pattern can be both the foundation of a brand as well as a transferable component.
DESIGN MEDIUM JUSTIFICATION
Snowboards as a design medium allow for a lot of play and innovation providing a great springboard for exploring how pattern can make an impact as a branding technique. The retail collateral that is generated with a snowboarding brand demonstrates how a pattern can be translated across different forms while holding the visual identity of the brand together.
People who are interested in snowboarding and can afford to buy a board.
The age bracket could be 14-35 years old, so the branding would need to appeal to a wide audience. Snowboarding is not a gender specific activity so therefore would include both males and females in the target audience.
PROPOSED FINAL PROJECT OUTCOMES
Snowboards, tags, advertising and packaging demonstrating application of a brand pattern across all forms and its relevance as a design strategy
Selection of existing company to apply exploration of pattern in branding to, creation of identity for original company, more research into pattern as a branding technique
Design roughs of patterns, further refinement of identity
Refinement of patterns, prototyping of application to collateral, prepare for interim presentation
Interim Presentation, project should be completed to the SELECT phase of the Ambrose & Harris 7-Phase Design Process (2010, pp 12-29)
Application of feedback, further refinement of patterns/identity
Prototype collateral application of pattern
Finalise collateral pieces, prepare for final presentation
Refinement of work, printing necessary pieces in preparation for final submission
Old snowboards/mock up snowboards, vinyl stickers, printed objects (i.e. tags, advertisements, packaging etc.)
Ambrose & Harris, 2010, Design Thinking, AVA Publishing, London, United Kingdom, pp 12-29
Campbell-Dollaghan, 2013, ‘Pentagram’s Pattern-Happy Branding for a Slow-Food Success Story’, Co. Design, accessed on 27/8/13 http://www.fastcodesign.com/1671365/pentagram-s-pattern-happy-branding-for-a-slow-food-success-story#4
Co. Design, 2013, ‘Create A Pattern When Branding’, Behind the Hustle.com, accessed on 27/8/13 http://behindthehustle.com/2012/01/create-a-pattern-when-branding/
Hulsbosch, 2010, ‘Chapter 2: Hans Hulsbosh Brand Designer’, Top Designers’ Secrets Revealed, Freedom Press, Nerang, Queensland Australia pp 22-46
Messy Design, 2013, Nirvana New Indian, accessed on 2
7/8/13 http://www.messy.com.au/index.php/projects/nirvana-new-indian
Newall & Unwin, 2011, The Chronology of Pattern, Ivy Press, East Sussex, United Kingdom, p 256
origamiaround
germansingergirl
gummygunk
andulkaphoto
izzy806
