Street Feast Collaboration: Visual Research

In order to gain some visual inspiration I've looked at promotional fly posters for different events/venues such as Printworks London (see figure 1). The common theme amongst promotional posters is the use of bold type in order to catch the attention of members of the public. Personally I feel the most successful ones are those where type is the main focus  (see figures 1-3) with the rest of the poster being very simplistic as the simple aspects of the design stand out against the bright and busy gig and club posters often featured alongside. Furthermore this simplistic style allows the relevant information to be communicated to the busy public clearly and concisely at a glance, which is something both Lizzie and I have discusses when brainstorming initial ideas. Furthermore the strong use of colour within some posters acts as a initial point of attraction as the public are more likely to notice bright colours at a first glance rather than text. Over crowded fly posters fail to communicate the necessary information despite demanding attention as they cannot be read easily on the move which is necessary for many fly posters as they tend to target commuters who travel around the city. These areas are all aspects I plan to look at throughout the design process.

Figure 1

Figure 2

Figure 3

Street Feast Collaboration: Initial Ideas

Based on our initial ideas, discussed together Lizzie and I decided to work on designs and then show each other to see what aspects we can develop further. Therefore based on the idea to include illustrations I started by looking at recognisable aspects/stalls within the markets as many of the markets are tucked away so a front illustration of the building wouldn't have been possible (see figures 1-5). I chose to work with the illustration seen in figures 4-5 as I felt this was the most recognisable image for people when entering the venue. However I felt the illustrations where too simple on there own (see figure 5-6), deciding to incorporate them into the idea to create a game within the campaign through the use of a key word or phrase. In order to develop key phrases as discussed when generating ideas, I looked into the different features and stalls within each area, focusing on Hawkers House for the initial experiments. This lead to the idea to relate the phrase to a specific stall creating a riddle which visiters would have to solve in order to gain a prize such as free meal or drink. We both felt this idea was strong as it aimed to increase footfall by providing a reason for people to visit the venues, which is one of Street Feast main objectives. Based on these decisions I decided to reduce the size of the illustration (see figure 7) to create a repeat pattern similar to those found of parchment paper served with food. The main problem when experimenting with this was creating a way in which the type wouldn't be overpowered by the multiple illustrations within the background. Furthermore I decided to experiment with breaking the grid with the type so viewers would have to find the message themselves in a similar way to needing to solve the riddle to gain the prize. However I felt these experiments where too difficult to read meaning if people where to glance at the posters they wouldn't understand. Furthermore the inclusion of the #Whatami? provided (see figure 8-9) enough explanation for people to begin to solve the riddle with more information about the campaign being provided if they where to type in the hashtag into Twitter or Instagram. Throughout these experiments I've looked at using different bright colours as the campaign will be set in summer with some difficulty identifying colours which work well together with the design composition i've been working with (see figure 8)

Due to the difficulty reading the experiments using the illustrations, I decided to remove them and experiment with solely typographic responses by repeating the hashtag in the background and placing the riddle on top (see figure 10-11). During these experiments it was also hard to distinguish the text leading to the incorporation of a block of colour to remove the background from the area around the text. This implementation was successful as it create a more eye-catching design as the block of colour attracts peoples attention whilst allowing them to read the riddle (see figure 11). Based on the successful use of colour within these designs I decided to implement it into earlier designs using the illustrations and found it worked successfully within this context too. However was more successful when placed below the illustrations rather than on top as seen in other experiments as the white space between the illustrations is less overpowering than the stream of text in other experiments (see figure 11).

Throughout these experiments I struggled with finding a typeface that would create an impact and attract attention as although Circular Std and GT Walsheim Pro (used in initial experiments, see figures 7-9) are both bold, powerful typeface I thought they failed to make an impact when place alongside the illustrations. This lead to the use of Poppins Bold (see figures 10-11) as the short x-height and structured terminals allow the typeface to create an impact and not be overpowered by both type and illustrations as seen in figure 11.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

figure 10

Figure 11

Street Feast Collaboration: Brief/Brainstorm

Brief:

Come up with a campaign to launch the 2018 summer season for our street food markets. Our four sites are spread across the capital and all have their own personalities and audiences – the big challenge is to launch a campaign that promotes all markets, while ensuring people know that they are all operated by the Street Feast brand.

About Us:

Since launching in 2012, Street Feast has transformed derelict and disused spaces into unique eating and drinking environments, all bringing great street food, brilliant booze and vibes to people around London. From car parks to old markets and rooftops to office blocks, Street Feast has taken over locations across the capital including Dalston, Lewisham, Canada Water, Battersea and Bermondsey, with loads more exciting plans for 2018. We currently operate four markets. Dinerama is a former bullion truck depot turned street food arena – with two levels, ten traders and eight great bars in the heart of Shoreditch. Hawker House is our Canada Water warehouse – a 3,000 capacity mega- market with 12 street food traders, hidden bars and balconies, pool tables, basketball nets and loads more. Model Market – our summer-only site – is a transformed 1950’s Lewisham market with 10 micro-diners, a gin salon, tequila treehouse, wine and vinyl bar and more. Giant Robot is our newest site – an eating and drinking rooftopia in Canary Wharf – with four brilliant traders, a 50-tap beer bar, an Island Bar for killer cocktails and wines, plus a huge wrap around terrace with awesome views of the docks. As a brand, we want to be opinion-leaders within the world of food and drink. Our markets bring a new night out to Londoners and tourists – you can eat the world under one roof, try brilliant new drinks, play games, listen to music and feast from day ‘til dark. We want to put ourselves on the map as a must-visit place in London.

The Creative Challenge:

How can we launch a summer campaign for our street food markets – making it clear that we have four individual sites that all operate under the Street Feast brand?

Our markets undergo a summer makeover at the end of April/ beginning of May. We move outside for the warmer months, strip back the roofs, transform the winter-themed bars into tropical tiki watering holes and bring in new street food traders. How do we best convey all our great new offerings to an audience in London, the UK and beyond?

We want to let the guests that visit us during the winter season know that our markets are completely different in the summer – some of them have been open for a few years now and we want to communicate that we’ve got great new stuff to keep coming back for. The real challenge is tying all markets within one brand – although they all have recognisable Street Feast traits, they all have individual names and identities. How do we make it commonly known that Street Feast is linked to these four markets?

This is a very broad campaign that has the potential to launch within any kind of format: animation, illustration, video, press, social media, a big stunt – the list goes on. Remember that our main objective is footfall: in all of our communications, the ultimate aim is to fill the markets every weekend with thousands of people looking for food, drinks and vibes.

Brainstorm:

After reviewing the brief Lizzie and I discussed some initial ideas based on what the brief was asking for and the time constraint of 2 weeks that we set ourselves as we thought this brief could be completed quite quickly. We found the multiple sites interesting as we thought we could address each one individually within a campaign. The focus on the street food culture/ environment lead to the idea to create a fly poster campaign as we felt this medium was appropriate as it would allow lots of people to be informed fairly easily, providing the opportunity to increase footfall easily. 

Initial Ideas:

• poster for each venue, placed next to each other in lines 
• take inspiration from street food wrappers, serving paper
• Illustration of each venue
• interactive aspect, see poster get a free drink
• solve the riddle, win a prize 
• say phrase on poster, win a prize 
• themed posters, food prize, drink prize, game/activity prize 
• find the phrase or piece of poster within venue  
• simple abstract illustrations 

Luxury Coffee Branding: Design Developments

Equation:

Based on my physical experiments I've refine the label design further based on issues identified, as there was too big of a gap between the equation and the information on one side meaning they overlapped on the other when wrapped around the tube. Consequently leading to some alterations with the placement of text within the label. In relation to how the set of 'test tubes' would work within a product range as they would act as samples within a gift set so people got try each coffee before buying a full sized product. This lead to the need to develop packaging for the full sized box's and re-fill packs so the full sized boxes could be reused. However this process was quite simple due to the strong visuals created through the use of the equation which could be easily implemented across packaging (see figure1-3).

Figure 1

Figure 2

Figure 3

As both designs (topography lines and the equation) are visually strong I've experimented with combining them (see figures 4-6) to see if they would work well together so the topography lines would act as a pattern to support the equation. This combination of designs allows the strong concept of the equation to be used with the visually effective nature of the topography lines, as the topography lines would support the equation across different forms of packaging such as the gift box and re-fill packages (see figure 5-6). Personally I think combining the ideas works well as the visuals compliment each other allowing the most successful aspects of each design to be used, creating a visual engaging and connect driven design. 

Figure 4

Figure 5

Figure 6

Product Range Distribution: Pin Up Crits SB2

In order to further refine my ideas for this brief I’ve gained feedback based on the initial foil experiments (see figure 1) to see if this material is appropriate when trying to add value to physical objects through production methods. Within this form of crit, feedback was given in the form of discussion with some written feedback via post-it notes allowing feedback to be expanded on so I could understand each point as I often find written feedback hard to understand as people can find it hard to word things correctly. Consequently leading to good feedback being given, as fellow students and tutors liked the patchy/glitchy nature of the experiments as it relates to the topic of fake news as it looks fake almost as if someones tried to make a fake seal and its failed. Furthermore it was suggested that I could experiment with using lots of production methods at once to create an over the top representation as this would speak to the ridiculous nature of fake news. In addition it was also suggested that I could hide the production methods somehow in a similar way to those featured on important documents such as passports, birth certificate etc. I also wanted suggestions on what material to make when branding the ‘fake news awards’ with some students suggesting guests, name cards, awards and invites. I also wanted to gain feedback on the colours of foil used as I was unsure which worked the best. Many thought the platinum and silver created the most official aesthetic, with other liking the holographic foil due to it link to passports. However this use of holographic foil could be slightly overpower at large sizes so it was suggested I try the holographic foil at smaller sizes or on smaller aspects of the designs. Furthermore visual inspiration was also provided by a student who suggested looking at the design of phasing emails as they are usually design with the intention of making you believe there real. 

Written Suggestions:

• Secret or fake location
• invites warn down the way quality of news has been 
• gold and silver foil looks more official 
• try laminate 
• wax seal
• have invites look professional but overall branding tacky 
• glitchy aesthetic interesting, reminds of Anonymous
• try photocopying, morphing 
• counterfeit in subtle way, made in china?
• look at post truth 
• trophy could be melted or broken 

Figure 1

Luxury Coffee Branding: Design Refinements

Topography:

To further refine these designs and make them viable for print, I've expanded the design so the label would work across a square box. This involved splitting sections of the designs into squares to help visualise the front, back and sides on the box. Resulting in the need for a blank block of colour between the front design and the back (see figures 1-4) as in previous designs they where next to each other meaning the information would appear on the side rather than the back (see figure 1). Furthermore I've experimented with adding the lines featured on the front of the label to the block of colour featured on the side of the packaging (see figures 5-7) to see if this would create a more intersting design/packaging. Upon comparison I feel figures 2-4 are more successful due to its simplicity as the extra line create a busy and unrefined design. However I will print/experiment with both too see how they work as physical objects as it can be difficult to determine when viewing flat-lays/nets. Furthermore throughout this refinement I have further experimented with colour altering the colour slightly throughout to fine the balance between simple muted tones and a bright eye-catching design (see figure 8). 

Based on the initial design of the box I started to design the re-fill packaging which could be purchased so the box could be reused multiple times. This was quite a simple process due to the strong identity created through the use of the topography lines, which can be implemented across the packaging. The lines would act as a pattern design across the whole foil lined bag (see figure 8) so customers could easily identify the roast by matching the lines, as the closer they are the more intense the liens. Furthermore the label design featured on the box could be easily placed onto the bags (see figure 9) or a simpler version solely featuring the word-mark logo and roast could be used (see figure 10). 

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10 

Product Range Distribution: Foil Experiments

In order to further test the concept of adding value to design through production methods I've further experimented with foiling as my initial experiments didn't work very well due to the printer used. Consequently I went to James in digital print who printed the black images correctly which allowed the foil to adhere to the toner more effectively, however there where a few patches which is to be expected when using this method (see figures 1-3). Throughout these experiments a number of different foils where used, gold, platinum, silver and holographic. The main reason for experimenting with more foils than before was to see if the use of holographic foil gave a more official aesthetic to the presidential seal (see figures 4-6). Interestingly I personally found the experiments using the platinum and gold foil the most effective as they seem to stick to the toner more effectively (see figures 7-12). Furthermore they also create a more professional and official finish compared to that of the silver or holographic foil. Personally I felt the holographic foil cheapened the look of the invites as although the idea to create a 'holographic seal' similar to those seen on money and passports was interesting I feel the foil used didn't effectively achieve this outcome.

In relation to the patches and finish achieved within these experiments, I spoke to Susie one of the print room technicians about the best way to achieve a even finish. She suggested either using a textile screen and screen-printing texi-flox which the foil would then stick too more easily when placed in the heat press, however an issue with this method was that I might have difficulty when exposing my screen due to the fine lines within the presidential seal. Another method she suggested would be to screen print using a paper screen using metallic binder, created by adding metallic powder to regular binder. The only issue with this method was the inability to achieve a holographic effect as they only have powder in gold, silver, copper and some pearl colours. Therefor I plan to gain feedback on the experimentations below to see if people think the holographic foil is effective, as if not I could use metallic binder to achieve a higher quality finish compared to other methods available.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7 

Figure 8

Figure 9

Figure 10

Figure 11

Figure 12

Product Range Distribution: Writing a Brief

Brief Title:

Faking the Fake News Awards 

Brief:

Explore the topic of fake news by highlighting the fact that it’s becoming more and more difficult to distinguish what is real and what is fake. Due to the breadth of information and wide spread nature on fake news its too difficult to produce a series of outcomes looking at fake news as a whole. Consequently a series of outcomes will be produced to showcase the humility of fake news by branding the Fake News Awards, creating physical material for an event that didn’t take place in the physical world. Different production methods will be used in order to explore the added value that can be achieved through the use of different materials which appear to make physical objects more official and realistic. 

Background Considerations:

• Look at existing aesthetics to see how they can be swapped altering their contexts.
• Production Materials:
• Gold Foil 
• Holographic Foil 
• Wax Seal 

Deliverables:

• Brand identity and support material for the Fake News Awards
• E.G:
• invite 
• award 
• promotional material 
• attendies 

Mandatory Requirements: 

• Communicate the humility of fake news 
• Highlight the prevalence of fake news in todays society showing people how hard it is to distinguish between what is real and what is fake.
• How production methods can add value to a physical artefact 

Research/ References:

Titcomb, J. and Carson, J. (2018). Fake news: What exactly is it – and how can you spot it?. [online] The Telegraph. Available at: http://www.telegraph.co.uk/technology/0/fake-news-exactly-has-really-had-influence/ [Accessed 20 Feb. 2018].

PolitiFact. (2018). PolitiFact's 2016 Lie of the Year: Fake news. [online] Available at: http://www.politifact.com/truth-o-meter/article/2016/dec/13/2016-lie-year-fake-news/ [Accessed 20 Feb. 2018].

Coll, S. (2018). Donald Trump’s “Fake News” Tactics. The New Yorker. [online] Available at: https://www.newyorker.com/magazine/2017/12/11/donald-trumps-fake-news-tactics [Accessed 20 Feb. 2018].

Product Range Distribution: Foiling Experiments

In order to further the idea generation process I've experiments with making my initial design (see figure 1) to see if making a physical item would make the information more believable. As the event featured, the Fake News Awards, never took place in the physical sense as it was based on Twitter I thought it would be interesting to create a physical article to see if this highlighted the ridiculous nature of the Fake News Awards. Furthermore this experimentation speaks to my research on hyper-reality as I've created a realistic artefact thats actually fake but looks realistic. In order to make the physical invite I've experimented with foiling the information, however my initial experiment didn't work as the foil failed to stick to the toner. This is largely due to the black within the design not being solid black meaning the foil had nothing to stick to when placed in the heat press (see figures 2-4). Consequently in order to see if this experiment will be successful I plan to get the designs seen in figures 5-6) digitally printed so the black will be solid meaning the foil should stick when printed. Furthermore a concern when doing the initial experiments was the potential issues of foiling the presidential seal due to the small lines which may be too thin for the foil to stick too, resulting in two different seals being used in further experiments to see which prints more successfully. However if this method doesn't work I may have to screen print the designs with specific toner so the foil will stick and a smooth finish will be achieved.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6