YCN: Fever-Tree - Final Bottles

YCN: Fever-Tree - Final Bottle Labels

YCN: Fever-Tree - Test Bottle Label

P&P Lesson 11 - Nick Deakin - Analogue Communique 2 (Research & Ideas)

Creating three-dimensional typography to communicate a message. We were asked to think about the meaning of our message and how that informs the content and structure of our creation. We  were expected to be creative with our approach to typography and lettering.

A 3D type installation can be much more eye-catching and emotive than digitally rendered type, and in turn can fire one’s imagination far more due to its form, structure, and tactility. This energy is a valuable tool in today’s culture. Due to the omnipresence of social media, we are privy to a constant and rapid stream of type, images, and video, as a result it takes something a little more interesting to be heard or seen amongst the fracas.

The output will be physical, and we will also be asked to record our build, and if necessary use the extra dimension of time to expand our solution with stop motion animation. We should document all stages of the design and build. We should be inventive and demonstrate our ingenuity in solving this design challenge. 

Lars Worm - Changes, 2009

I chose to look at this piece of work because its a little bit different to your normal nature-themed art. There is nothing clean and precise about this, it almost leaves the middle part of the word to your imagination. When you look really hard, you can see which parts of the branches he wants you to see but there are many other letters that can be seen.

David McLeod - Amfursands & Naturally, 2014/15

I found these two pieces of work quite amusing so was drawn to them. The first piece, 'Amfursands', got me thinking. Is it a physical item that has been photographed or was it created on a 3D making software like Cinema 4D? The second piece just made me laugh. It looks like it was an image of flowery grass that has been put into Photoshop and had the background removed to make the smiley face.

RocketScience Lab - Kyoorius Designyatra, 2013

I loved this piece by RocketScience Lab that I found on Behance.com. It reminded me of when I was a kid and used to play with all of my candles. I loved the way wax melts and all of the effects you can make with it. Wax drys fairly fast so you can build it up quite quickly to make something 3D.

I really like how they have layered up different coloured wax so when it melts, it's all multi-coloured.

I took all of these artists pieces and came up with my own range of ideas. Some are a little bit rubbish but they inspired me to do my better ideas.

After being inspired by the wax artwork, I decided to try it out myself. I taped a rainbow of crayons to a white board and attacked them with a hairdryer. I found that the hairdryer splatters the wax everywhere so I scrapped that idea and used fire! I bought a selection of lighters of all different sizes and used them to melt and mould the colours into each other.

YCN: Fever-Tree - World Malaria Day - Key Facts

YCN: Fever-Tree - Label Analysis

YCN: Chosen Brief - Fever-Tree

I have chosen the Fever Tree brief because I feel like it is the most interesting brief alongside the Ferdigoni brief. I like to put fact into infographic illustrations so this could be a really good opportunity.

I will look to inform people about Malaria, its causes and its effects, to raise awareness about the disease and how Fever Tree plan to help.

I want to create something unordinary, something people don't often see on labels for tonic. My first idea was to print the label I create on a transparent background, almost incorporating the drink in with the label, possibly using the bubbles with the label to create an effect.

I want to use very obvious and shocking statistics that not only connect with Malaria but have relevance to the person drinking the tonic water such as “In *chosen country*, you have an 87% chance of catching Malaria from the same amount of water that you are about to drink” - I want to connect with the audience but not to the extent that it puts them o buying the brand.

Then continue to tell the customer that if they purchase the bottle, the percentage donation will help 20 x the amount of water they are about to drink to become Malaria free in that country.

I want to place a QR barcode next to the retail barcode that customers can scan to get access to information about Malaria and how Fever-Tree is going to help.

RSA: RBS - Final App

RSA: RBS - App Creation

RSA: RBS - Research

I like this brief because I can completely relate to the budgeting challenge. Recently I had an idea that my bank account could contain mini accounts within my overall account.

I could distribute certain amounts of money between the mini accounts and name them each to where I want to spend my money then link the places I spend my money regularly.

For example, I would have an account for “Travelling”, “Nights

Out”, “Christmas”, “Rent”, etc... and then distribute my money according to what my budgets are. So, in my “Night Out” account, I want to be able to link my favourite clubs and assign a certain amount of money I can spend per 24 hours in each club, this means I could never over spend.

Similarly, I could have an account named “Rent” and put aside my

termly rent of £1,333 so I don't spend it on anything else.

This idea is obviously aimed at students but would actually be useful for all age groups.

Children: Saving for a toy.

Teens: Saving for travel, nights out, shopping and university.

Adults: Saving and budgeting for holidays, rent, Christmas, etc...

RSA: RBS - Mind Your Money Brief

Managing money well can be hard. It means making ends meet day-to- day, responding to financial shocks such as reduced income (losing your job) or an unexpected expense (car breaks down), and putting aside money for the future.

Financial capability is more than just knowledge of abstract concepts; it is putting that knowledge into practice to manage money well. There are political and economic factors that shape people’s financial capability, but this brief asks you to address the social-psychological aspects that make it challenging for people to manage their money well.

Research from behavioural science shows that some of our natural human characteristics undermine our ability to manage money well.

The Creative Challenge

This brief asks you to consider the ‘behavioural hurdles’ to financial capability and other psychological aspects that might be preventing people from managing their money well. You are asked to think of ways to make it easier or

more attractive to be financially capable beyond information campaigns. Who is your target audience and what might be standing in the way of their financial capability?

YSA: Fever-Tree - Charity Drinks Labels

YCN: Fever-Tree - Research

- Malaria Awareness: World Malaria Day - Use stats for each place affected

- Look at simple but informative labels
- Use maps on the places affected
- Inspired by countries affected
Clear label background
Outline of area affected
Statistic to one side

YCN: Fever-Tree Brief

In the 10 years since launch, Fever-Tree have pioneered a new premium mixer drink category both in the

UK and internationally by creating

a range of mixer drinks that are unrivalled in terms of quality and taste.

The idea for Fever-Tree came about after a gin & tonic tasting revealed that the majority of mixers, tonic specifically, contained artificial sweeteners and flavourings. The mixer category had long been dominated by giant brands more concerned with cutting costs than improving taste. The use of sickly sweeteners and artificial flavourings left a cloying aftertaste masking

the flavours of the spirits they were intended to be paired with.

And so in 2005, co-founders, Charles Rolls and Tim Warrillow, set out to create an all-natural tonic water and mixer range to pair with

the growing number of premium spirits on the market. From the

Congo to the Ivory Coast, they’ve travelled to the ends of the earth to source the highest quality ingredients from small specialist producers. All nine of our products are carefully crafted to enhance, rather than overpower, the world’s nest spirits. 

The Creative Challenge

Over the next 5 years, we are committed to raising money for our charity of choice, Malaria No More UK. One of the ways we

intend to do this is to launch a series of

limited edition 500ml bottle wraps each year, to coincide with World Malaria Day (25th April). The designs will be inspired by the countries affected by the disease and Fever-Tree will make a donation to MNMUK for each limited edition bottle sold.

YCN: Fedrigoni - PETER CALLESEN

Some of the paper works are coloured and framed. Others are larger installations such as one to one copies of stairs and ladders made out of thin white paper. These works derive from earlier pieces such as ‘Bridge’ and ‘Still Life’. They deal with dreams and the impossible. But the stairs and ladders represent a more fragile and almost sublime form. The trashy style in earlier works has developed into a more precise aesthetics. These works exist in the gap between the recognizable everyday object and the fragile and spherical condition and material in which they appear. The whiteness, the ideal pure copy of something real as well as the vertical direction coherent in most of my paper works, could also indicate the aspect of something platonic or religious. Another returning theme in my work is the reinterpretation of classical fairy tales associated with a more general interest

in memory in connection to childhood. This theme is also present in ‘Crossing’, ‘Castle’, and ‘Jukebox’ which are examples of playful performances that exist in the lost land of childhood - between dream and reality. It is in this meeting or confrontation of these two conditions, in a kind of utopian embodiment, that these works become alive, often in a tragicomic way.

A continual figure in my earlier performances and later drawings is ‘The Dying Swan’, who can be described as a hybrid between ‘The Ugly Duckling’ and

a human figure. ‘The Dying Swan’ reveals different layers of identity, and often he strives at being somebody or somewhere else or tries to achieve the impossible.

He is, however, always confronted with reality and failure. In his interaction and power play with the audience his physical presence often creates an intense and uncomfortable atmosphere. In the drawings ‘The Dying Swan’ creates his own universe, where he seems to be trapped in impossible situations and circles, dealing with death, rebirth, self- creation, and self-destruction.

YCN: Fedrigoni - BRIAN DETTMER

“In this work I begin with an existing book and seal its edges, creating an enclosed vessel full of unearthed potential. I cut into the surface of the book and dissect through it from the front. I work with knives, tweezers and surgical tools to carve one page at a time, exposing each layer while cutting around ideas and images of interest. Nothing inside the books is relocated or implanted, only removed. Images and ideas are revealed to expose alternate histories and memories. My work is a collaboration with the existing material and its past creators and the completed pieces expose new relationships of the book’s internal elements exactly where they have been since their original conception.”

The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book’s intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. This is the area I currently operate in. Through meticulous excavation or concise alteration I edit or dissect communicative objects or systems such as books, maps, tapes and other media. The medium’s role transforms. Its content is recontextualized and new meanings or interpretations emerge.

YCN: Fedrigoni - INGRID SILIAKUS

Paper Architecture is the art of creating an object out of a single piece of paper. Before the final design is finished, something like 20 to 30 (sometimes even more) prototypes are made by Ingrid. Drawing paper architecture designs to Ingrid is as building: First one layer, with a single shape, will be drawn and then layer after layer are added. This process continues till she is satisfied with the result. All separate prototypes are cut and folded, to be examined by her. To design a pattern from scratch, the artist needs the skills of an architect to create a two-dimensional design, which, with the patience and precision of a surgeon, becomes an ingenious three-dimensional wonder of paper. After the design stage, creating a paper architecture art work is done by a combination of detailed cutting and folding. The paperweight Ingrid uses for her creations varies from 160 to 300 gram.

Statement of the artist (for the Holland Paper Exhibition in 2006): ‘...Working with paper forces me to be humble, since this medium has a character of its own that asks for cooperation. It is a challenge to nd this cooperation with each separate paper brand I work with. Working with paper the way I do, namely by means of cutting and folding creating paper sculptures, asks of me to work with meditative precision. Paper architecture does not bare haste, it is its enemy; one moment of loss of concentration, can lead to failure of a piece...’ ‘...I experience an ultimate satisfaction at the critic moment when the paper, with a silenced sigh, surrenders and becomes a blade- sharp crease. The sound of the paper, which guides this surrendering, to me is incomparable...’

YCN: Fedrigoni - Research

- Creatively use paper to promote new retail space: The Imaginative Paper Shop

- Stop Frame animation
- “Clever and visual”
- Show lots of different ways of using paper
Origami
Paper plane messages
Paper-fall
Cut out layered paper to create depth 3D paper models
Cut out scenes
Paper weaving
Pin Prick Pointillism

YCN: Fedrigoni Brief

More and more of our clients request Fedrigoni papers to be sold in single sheets. The uses for these single sheets vary, but range from same day mock-ups for client briefs, small art projects, wedding stationary to student work.

The Fedrigoni warehouse located in Northampton serves the majority of

our customers but is not equipped to supply single sheets. So, it was decided that an established retail outlet would be best to handle this on our behalf.

The London Graphic Centre – A leading supplier of material to the art and design community is regarded as a major outlet of its kind, offering unparalleled choice from leading suppliers around the world.

It is the perfect place to offer single sheets of Fedrigoni paper and other paper products including artist pads, notebooks, diaries and stationary items.

We can’t wait to open in January 2016.

The Creative Challenge

Don’t just create a leaflet! Think about how you can use graphic design and paper to introduce customers to our new retail space.

Your campaign should do this in a clever and visual

way; it might include special prints, booklets, direct mailers or other elements that put paper to great use to engage with people. You are welcome to develop non-paper-based elements to support your central ideas; but we want paper to be at the heart of your thinking.

P&P Lesson 10 - Jay Payne - Cinema 4D as a Design Tool

In this lesson we were introduced to the idea of utilising contemporary 3D software for design purposes. The outcome from these workshops will be a series of design experiments using Cinema 4D.

In the lesson, we:

1. Set up Work Folders / Setup Illustrator

2. Create Artwork in Illustrator for use in C4D

3. Bring Artwork into C4D

4. Add Text, Colour & Light

5. Render Artwork

1. Create a project folder

Project Name

C4D (C4D, texture images)

Artwork (illustrator, photoshop,)

Output (Images, Movies)

2. Set up Illustrator

Open illustrator / open rulers

Move centre point to centre of artboard

Create logo artwork

Reduce artboard size to fit

Save file as (Logo.ai) - Illustrator 8

3. C4D - Project Template

Set format and Render Settings

Change dimensions to Millimetres - 297x420

Set rendering to Current Frame

4. C4D - Display Settings

Mode / View Settings / View - tick Action Safe & Tinted Border (95%)

5. C4D - Import Logo

File / Merge / Logo.ai file

Create an Extrude Nurbs object

Drag logo onto extrude nurbs

Adjust settings in extrude nurbs

6. C4D - Environ setup

Create a Background object

Create a Floor object

Create a Material and give it a name

Add this material to floor and background

Add a Compositing tag to floor

Tick comp background in this tag

7. C4D - Colour Logos

Create a material & Add to logo object

8. C4D - Add Typography

MoGraph / MoText object

Type in your text and align to middle

Adjust depth for thickness

9. Add a Camera

Frame your objects in the perspective viewport

Add a camera and turn it on

10. Add Lights

Add a light and place it just behind the camera at the same height. (Key)

Copy this light to the right of the camera and bring it down to half height

Add a yellow tinge to this light (Fill)

Create a new light and move it behind your objects. Add visibility (Rim)

11. Render Out

Check render settings

Save file to Output folder & Click render button