rocess BookP

Miranda Le eART 228 BSpr ing 2014

Visua l Ident i ty

P R O CES SB OO K

TABLE OF CONTENTS

2 Defining the Problem; Goals & Object ives

PROCESS WORK

3 Sketches

4 Mo odboard

5 Type Stud ies

6 Ear ly Vers ions

FINAL SOLUTION

7 Logo

8 Packaging

9 Pos ter

10 Shir t s

3

4

DEFINING ThE PROBLEM; GOALS & OBjECTIVES

GOALS & OBjECTIVESThe pr imary goal of thi s pro ject was to create a cohes ive and cons i s tent v i sua l ident i ty for the ar t i s t that evokes the sp ir i t of her mus ic and personali ty . Thi s in -cludes a lbum packaging (ou ter package, ly r ic bo ok inser t , and CD label ) , a pos ter des ign ( for use in promot ion of events li ke concer t s , and to adver t i se the a lbum) , and separate des igns for men ’ s and women ’ s shir t s .

ChALLENGESThe clien t had no co lla tera l or promot iona l mater ia l s to speak of , so branding and creat ing an ident i ty f rom scratch was a cha llenge . Wi th nothing to s tar t f rom, i t was a s t retch to narrow down the endless poss ibili t ies to one clear cho ice that fi t the image of the ar t i s t .

BACKGROUND INFORMATIONSarah Ti ffany ( lega l name Sarah DeMers ) i s an independent ar t i s t f rom Bradenton , a smalli sh town in the Tampa Bay area of Flor ida . The daughter of a mus ic d irector and gui tar i s t / songwr i ter , Sarah grew up s ing ing and per forming in scho ol and at church . She p lays both gui tar and p iano . her mus ic and s ty le can be descr ibed as persona l , v ibrant , hones t , resonant , me lod ic , s tory te lling , mellow, thought -provok-ing , s incere , and ballad like .

her li s tener aud ience cons i s t s of pr imar ily high scho ol and co llege-age females who li s ten to o ther acous t ic ar t i s t s ( such as Ed She eran , Nina Nesbi t t ) and regu-lar ly ke ep up wi th “cover” ar t i s t s on YouTube . A por t ion of her fan base i s a l so in teres ted in female pop ar t i s t s w i th psuedo-Chr i s t ian ro ots ( i . e . Bro oke Fraser , Francesca Bat t i s te lli , etc . ) .

As a mus ician , Sarah se eks to create beaut i ful mus ic that insp ires and te ll s a s tory . She asp ires to ga in a greater aud ience beyond that of her YouTube channe l , and hopes to someday re lease profess iona lly -produced a lbums and “make i t big . ”

5

PROCESS WORK — SKETChES

Cover Package Cons t ruc t ion

Pos ter Lyr ic Inser t Pages

6

PROCESS WORK — MOODBOARD

freshClean

Calmc r e at i v e

Soft waterco lor illu s t ra t ions and sp lashes lend themse lves to the ar t i s t ry and creat iv i ty of the mus ic wr i t ten and per formed by the clien t . B ird imagery and the a llus ions to fly ing that are laced throughout the pro ject hin t a t the a lbum’s theme and t i t le : Long ing . Co ol and br ight co lors ke ep the imagery f rom be ing to o somber or depress ing .

Most of the e lements included in the mo odboard d irect ly t rans la ted to fina l par t s of the pro ject . Waterco lor sp lashes and sp lo tches , co o l co lors ( li ke tea l , blue , aqua , tu rquo i se ) , bird imagery , and a waterco lor por t ra i t were a ll used in fina l pro ject p ieces . Only two of the typeface opt ions in the mo odboard were chosen for pr imary use in the pro ject .

7

PROCESS WORK — TYPE STUDIES

Sarah Tiffanyb l a n c h

sarah tiffanym e n s c h r e g u l a r

Sarah Tiffanym e n s c h b o l d i n l i n e

Sarah Tiffanyf e n w i c k o u t l i n e

SARAH TIFFANYi n t r o

Sarah Tiffanyq u i c k s a n d

Sarah Tiffanyn o v e n c e n t o s l a b w i d e

Sarah Tiffanys o f i a

q u m p e l l k a N o 1 2

b e l l o t aSarah Ti any

Sarah Tiffanyc a n t e r b o l d 3 d

SARAH TIFFANYf l a g s h i p s l a b b o l d

Sarah Tiffanys o u t h e r n a i r e

Sarah Tiffanym o n o m e n t

Sarah Tiffanyt e l e g r a f i c o

Sarah Tiffanym o h a v e s e m i b o l d

Sarah �ffanyl o b s t e r 1 . 4

Sarah Tiffanyp a c i f i c o

Sarah Tiffanyh o u s e g r i n d

Sarah Tiffanym a r k e t i n g s c r i p t

The clien t s ta ted in ini t ia l me et ings that her songwr i t ing was influenced by ar t i s t s f rom the 50s — 70s , so ear ly type s tud ies included a lo t of v in tage-ret ro insp ired typeface opt ions . Other opt ions were chosen based on s implici ty of lines and geo-metr ic s t ruc ture . A wide var iety of ser i f , sans ser i f , and scr ip t , as well as upper-case and mixed-case typefaces were chosen as opt ions for the type s tud ies .

Ear ly pos ter de-s igns d idn ’ t share a s t rong enough con-nect ion wi th the a lbum cover . Since the one of the goals of the pos ter was to promote the a lbum re lease , I decided to go wi th a more d irect t rans la t ion of the ly r ic bo ok cover to the pos ter format .

8

PROCESS WORK — EARLY VERSIONS

youtube.com/sarahtiffany325

presenting her new EP

Longing

While des ig ing cover opt ions , I quick ly determined that the v i sua l ident i ty should have a warmer fe e l than the s tark whi teness of waterco lor paper . The v i sua l im-agery of the bird fly ing toward whi te space had a more s igni ficant meaning than the t re e or the por t ra i t of the ar t i s t , and a l so fi t w i th the a lbum t i t le : Long ing . Thi s f ront cover opt ion la ter became the lyr ic inser t cover , and guided the images and symboli sm for the res t of the p ieces of the pro ject .

To o “g ir ly ” To o dark Wanted to include the ar t i s t ’ s name

To o dark

9

FINAL SOLUTION — LOGOSarah TiffanySarah Tiffany

Ear ly type s tud ies included a lo t of v in tage-ret ro insp ired typeface opt ions , bu t after consul t ing co lleagues and the clien t , I decided that i t would be bes t to go wi th a more modern , clean , and easy- to- read pseudo-scr ip t (Sofia ) . Thi s cho ice had an a ir of feminini ty that many of the ser i f and sans - ser i f opt ions lacked , and was much eas ier to read and recognize than some of the more e laborate scr ip t opt ions . I t a l so meshed very well w i th the clien t ’ s s imple , clean sound .

10

FINAL SOLUTION — PACKAGE

The fina l ou ter package so lu t ion was based on a reversa l of the co lors of the ini t ia l cover concept . The resul t was a more eye-catching , bo ld cover wi th br ight co lors and an even br ighter cen-t ra l image . The bird/ flight imagery takes center s tage on the cover .

A flock of birds a lludes to be long-ing and the idea of be ing a par t of a greater whole , and t re es/growth are a l so an impor tant para lle l to the a lbum theme and concept .

The or ig ina l bird cover concept was used as the fina l ly r ic bo ok cover . The ins ide pages were in termi t ten t ly sp lashed wi th waterco lor and images that re la te to the theme of the a lbum . The lighter co lors of the ly r ic bo ok (compared to the ex ter ior packaging ) fu r ther serve to lighten up the packag-ing as a whole , and ke ep i t f rom lo ok ing to o dark or heavy .

INSIDE SPREAD

FRONT BACK

LYR IC BOOK INSERT SPREADS

11

FINAL SOLUTION — POSTER

The pos ter was a larger t rans la t ion of the ly r ic inser t cover , w i thout the a lbum t i t le in the wings of the bird . The ar t i s t ’ s name was made much larger to create in teres t and emphas ize impor tance . The a lbum cover included in the lower left corner (a long wi th a link to the ar t i s t ’ s YouTube page) reminds the v iewers that the a lbum i s ava ilable for purchase , and to check out the res t of the ar t i s t ’ s songs and covers online .

12

FINAL SOLUTION — ShIRTS

The fina l vers ion of the women ’ s shir t des ign included a few of the cent ra l e lements f rom the a lbum cover and inser t—broad swaths of blue-gre en waterco lor , a flock of birds , and the ar t i s t ’ s name .

The fina l vers ion of the men ’ s shir t de i sgn featured a large vers ion of the bird and EP t i t le ( Long ing ) f rom the lyr ic bo ok cover . The co lors were darkened and s light ly desaturated to make the lo ok a li t t le more “masculine . ”