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S U B L I M I N A L

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Pg 42 - 49

Pg 50 - 53

Pg 54 - 55

Logo Typologies

Intro

Symbol Systems

The Noun Project

VOX Classification

Technical Exercises

Pg 56 - 59

Summaries

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semiotics & form && form & semiotics form & semiotics miotics & form & form & semiotics& form & semioticsrm & semiotics &tics & form & semi& form & semioti

T h i s b o o k y i e l d s a c o l l e c t i o n o f w o r k s s p a n n i n g a s e m e s t e r t h a t f o c u s e s p r i m a r i l y o n

s e m i o t i c s a n d f o r m .

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V A N S R E B R A N D

L O G O

W H A T A R E T H O S E ?

L O G O

LOGOS CAN BE DIFFERENTIATED BY FIVE UNIQUE DESIGN CATEGORIES. THESE ARE BASED OFF A FEW SIMPLE CHARACTERISTICS. THIS PROJECT IS FOCUSED ON REBRANDING A WELL ESTABLISHED COMPANY BY CREATING NEW LOGO DESIGNS IN EACH TYPE CATEGORY OR TYPOLOGY.

VANS IS A WELL KNOWN AMERICAN BASED COMPANY THAT MANUFACTURES AND MARKETS SKATEBOARD SHOES AS WELL AS RELATED STREET APPAREL. THE COMPANY HAS MAINTAINED A SIGNIFICANT SUPPORTIVE POSITION IN ALTERNATIVE URBAN AND PUNK ARTISTIC CULTURE SINCE ITS FOUNDING IN THE 1960S BY THE VAN DOREN BROTHERS. I WANTED TO CREATE DESIGNS THAT REFLECT THE HOME GROWN, URBAN NATURE OF VANS’ ROOTS BY HAND DRAWING LOGOS THAT APPEAR MODERN AND ORGANIC BUT STILL PLAYFUL AND UNIQUE.

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A wordmark displays the full name of the company and little else. This design was the jumping off point for the collection – The hand-lettered type depicts the urban/artistic aesthetic desired and forms shapes

that influenced the other logotypes.

W O R D M A R K

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P I C T O R I A L

The pictorial logotype, unlike the wordmark, uses no type. This design directly calls back to the wordmark by using the same shape, color, and orientation to imply unification while fittingly symbolizing a long-board.

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The emblem may use any combination of imagery or type, however, the design must be contained in a single shape. In this instance, the van is the enclosed shape, housing the same type from the previous wordmark and toting the same bright red. This design breaks away in form, abandoning the long-board theme but continues to call to the skate / surf ethos of Vans with a retro take.

E M B L E M

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Very similar to the wordmark, the lettermark is all type but consists of only one letterform. The hand lettered footprint of the wordmark is so unique that it translates seamlessly into a single letter form.

L E T T E R M A R K

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Abstract is just as it sounds - an abstract interpretation of the brand’s identity. This design emerged from the strength of the wordmark and letterform designs and a desire to keep the skateboard theme in the forefront. The down stroke of the ‘A’ became the deck of the board with its wheels floating to the right, creating the most unique footprint of all the designs.

A B S T R A C T

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O V E R V I E W

O V E R V I E W

SYMBOL SYSTEMS

– A collection of icons that include only images and mostly comprise of line work that is consistent

and unifies the collection. Symbols should effectively represent an object, relationship or idea.

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CYGNUS

Name meaning, “the Swan”, Cygnus is representative of the Greek myth of Zeus and Leda. It is a prominent constellation in the Northern Hemisphere. Cygnus’ brightest star is named Deneb.

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CANIS MAJOR

Canis Major is the larger of the two dogs that accompany Orion on his hunt. Described as “the dog with the blazing face”, Canis Major

includes the brightest star in the sky - Sirius. Canis Major was formerly known as Laelaps,

the fasted dog in the world, before he was turned to stone and placed in the sky.

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Hercules is the fifth largest constellation in the sky. He is depicted standing victoriously atop the head of neighboring constellation, Draco.

HERCULES

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PERSEUS

Perseus ia another Greek hero and his constellation contains a famous variable star named Algol, Beta Persei. There are

five other formations that help tell the story of Persius. In this one, the variable star

represents Mvvedusa’s head.

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AQUILA

Aquilla translates to “the Eagle” in Latin. It is the resting place of two famous star, Altair and Tarazed and depicts the eagle belonging to the Roman god Jupiter.

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ORION

One of the most well known constellations, Orion, can be depicted in several ways. Whether he is facing Taurus, or chasing

Laepis with the Canis formations, it’s always with the Alpha and Beta Orionus, two of the

brightest stars in the sky.

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PEGASUS

Widely known as the winged horse of Zeus, Pegasus is the seventh largest constellation in the sky and is part of the Perseus family. Pegasus is also home to many major stars including the three bright stars of The Great Square of Pegasus.

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URSA MAJOR

The Great Bear is one of the most recognizable constellations in the Northern Hemisphere as it contains the Little Dipper,

the easiest way to find Polaris, better known as The North Star.

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DRACO

Draco or, ‘The Dragon’, is the eighth largest constellation in the sky and contains famous formations like The Cat’s Eye Nebula. Draco’s brightest star is named Gamma Draconis, After being defeated by Hercules, Draco was placed beside him in the sky eternally.

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Th e N o u n P r o j e c t T h e N o u n P r o j e c t I s a w e b s i t e w h e r e c r e a t o r s m a y d e s i g n a n d u p l o a d i c o n o g r a p h y o f a n y s o r t t o t h e

m a r k e t p l a c e f o r C r e a t i v e C o m m o n s o r P u b l i c u s e .

_ _

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VOX

Bask erv ille

Fenice

FilosofiaFruitigerFuturaGeorgia

Gillsans

GaramondGlyphaGotham

Helvetica

Hoefler TextInterstateJensonLetter GothicMatrix

Bem bo

Avante Garde

Akzi denz-Grotesk

Benguiat

BodoniAdo beCaslonCentaur

DidotEuro stileFed ra Sans

CenturyExpanded

ATyple - Classification ( c. 1967 )Was first established by Maximillien Vox in 1954. This system made it possible for designers to categorize type faces by classification and was officially adopted as a British standard in 1962 by The Association of Typeographique Internationale.

Neo-Grotesque Hermann Berthold | 1896

GeometricHerb Lubalin, Tom Carnase | 1970 - 77

TransitionalJohn Baskerville | 1757

GaraldeFransesco Griffo | 1495

Graphic (Art Nouveau) Ed Benguiat | 1977

DidoneGiambattista Bodoni | 1798

DidoneFirmin Didot | 1784 - 1811

GeometricAldo Novarese | 1962

Neo-GrotesquePeter Bil;ak| 2001

GaraldeCarol Twombly | 1990

HumanistBruce Rogers | 1914

HumanistRobert Slimbach | 1996

Neo-Grotesque Roger Roberson | 1956-62

TransitionalMorris Benton | 1900

Didone (modern)Aldo Novarese | 1980

DidoneZuzana Licko | 1996

GraphicZuzana Licko | 1986

Humanist SansAdrian Fruigiter | 1975

GeometricPaul Renner | 1927

TransitionalMatthew Carter | 1993

Humanist SansEric Gill | 1928

GeraldeJohnathan Hoefler | 1991

GeraldeClaude Garamond | 1540s

MechanisticAdrian Fruigiter | 1977

MechanisticAdrian Fruigiter | 1977

GeometricTobias Frere-Jones | 2000

Neo - GrotesqueMax Merdinger | 1957

Neo - GrotesqueTobias Frere-

Jones | 1993 - 99

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Meta

Minion

MrsEavesNeutrafaceNobel

NewsGothicOCR

OfficinaOptima

Quadraat

PalatinoRockwellSabonScalaStencile

StoneSerif

ThesisSerif

TrajanVerdana

Univers

Walbaum

TimesNewRoman

Neo-Grotesque Erik Spiekermann |

1981 - 95

GaraldeRobert Slimbach | 1990

TransitionalZuzana Licko | 1996

Geometric Christian Schwartz | 2002

Geometric Sjoerd Henrik deRoos | 1929

GrotesqueMorris Fuller Benton | 1908

Slab Serif (Monospace)American Type

Founders | 1968

Slab SerifErik Spiekermann | 1990

Slab Serif Frank Hinman Pierpont | 1934

Humanist Sans Hermann Zapf | 1958

TransitionalFred Smeijers | 1992

GaraldeHermann Zapf | 1948

TransitionalSummer Stone | 1984

Transitional Stanley Morison |

Victor Lardent | 1932

GlyphicCarol Twombly | 1989

Neo-Grotesque Matthew Carter | 1996

Neo-GrotesqueAdrian Frutiger | 1957

Didone Justus Erich

Walbaum | 1804 Humanist

Lucas de Groot | 1994

GaraldeJan Tschichold | 1964

Mechanistic Michael Majoor | 1990

GraphicR Hunter Middleton

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SS_TechnicalExercises_class3

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TRADEWELL

ORIGINAL

Actually, not at all! In order to create good design, we must first understand good design – While copying and claiming someone’s work as your own would be considered plagiarism in a professional setting, perfectly replicating a good design in a personal, educational setting can be an excellent practice for understanding

technical and compositional technique.

**Right Side = OriginalLeft Side = Duplicate

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Y O U M E A N C O P Y I N G ?

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T E C H N I C A L

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In this week’s class, which happened to be our first class of the semester, we did some housekeeping like reviewing the syllabus which included the class schedule. We discussed and viewed some examples of class projects that we will be creating throughout the semester and I believe we spoke briefly on the suggested text. We took a look at the Technical Exercises assignment and reviewed how to do them. We also took time to review student submissions for the Genre looks. I did submit mine before class, however the formatting was off so it was not reviewed in class. We then viewed examples of logo typologies which I had previously not known about and received our assignment for next week which is the first iteration of our own logo typology designs based on an established brand logo.

In class this week we spent most of the time reviewing student submissions of the Logo Typologies look #1. Pieces that were memorable to me were, the outdoors brand (specifically the lung emblem), Calvin Klein (the type stood out and was refined), and Ebay (the shield concept could use some work but was unique and thoughtful). We also spent some time reflecting on the local fashion exhibit honoring the work of Mary Quant. We also watched a blurb on Paul Rand and his relationship with Steve Jobs; that was interesting. Class was nearly dismissed an hour early, however we stayed behind for another half hour or so to give our respectful attention to a student who needed to resubmit her presentation before departing.

Class 3 fell on the 23rd of September this week. It was a laid back class, we mostly spent time reviewing student work on the logo typologies. I enjoyed seeing my classmate’s improvements, I think it’s valuable to be able to share our process with each other rather than giving attention only to the final product - though teachers always preach that the means are just as important as the end, I feel that many don’t make time to focus on the developmental, trial / error stages. It’s easy to feel like you have to come up with something amazing right off the bat but that is not the case; some designs that were so - so last week looked great this week like Ebay, Ulta, and Dropbox to name a few. I must admit that with the stale attitude from my peers it can feel uninviting to speak up during critique - not to mention my early afternoon class is solely 3 + hours of analytical review of both peer and professional work. This week I felt a bit more enticed to give some advice. I didn’t receive many notes on my own work but I didn’t mind because I already had plans and luckily was able to finish them early this week.

Class 4, which was on September 30th, started with a couple tips and tricks which seems to be the ritual now. One was a trick about text rules in InDesign, while the other was a general tip about making good gradients by choosing colors of the same tonal value. We then promptly moved into peer review for our final Logo Typologies. I was particularly impressed with ACG’s revised lettermark and thought it stood out among the class. I felt that UPS was the most cohesive and needed only the slightest revision but was well on the right track. I felt similarly about the first Starbucks presentation - I especially liked the wordmark, I think it has a strong, memorable appearance and I think the crown redesign looks great on the emblem. With a little bit of spacing adjustment it will be perfect. I think that Dropbox has a lot of potential if they work off of their lettermark (or was it the abstract - whichever was the ‘D’ form with the hanging box) from week two, though I also agree that the little box in the third iteration of it has potential. I think they could run with that diamond and > shape in their other forms for a more modern appearance. Ulta’s presentation was inspiring and I enjoyed viewing her creative process throughout the past three weeks though I felt that the greatest leap was in the work of Ebay. It still has some work to do but I feel it has grown exponentially over the three week span and consistently has improved.Critiques took up the majority of class. Afterwards we all shared our chosen symbol systems for note and then went on to review the mod grid until adjournment.

Unfortunately during the week of class 5, I didn’t attend my evening classes as I was plagued by whatever illness struck campus with the cold front (pun intended). I did, however, be sure to keep up with my classwork as I finished the rest of my symbol system and I also submitted packaging examples for Art Deco. I enjoyed browsing packaging, I don’t gravitate towards it myself - there’s something both intimidating and frustrating to me about working with dye lines - not so much the design part but the hands on part. Which is interesting because I really love origami. I digress. A lot of the designs I viewed seemed to be heavily “Great Gatsby” inspired so I tried to choose examples that broke away from that trope and utilized more colors than just metallics and black or navy. I especially liked the floral design out of my two examples, the colors could be more vibrant but I felt it was a refreshing take on the genre and focused on elements that aren’t as popular in modern design (not to say I’m not a total sucker for geometry - because I very much am) For my symbols, I took the time to address the color issue I was having. I felt satisfied that they were finally displaying how I had intended them to in the first place but after some thought, I may go further and make them vibrant rather than subtle - more fun to look at.. There will be more small adjustments to be made over the weekend but as I took my time in the initial stages, I’m relieved to feel more than less satisfied with the appearance of them over all.

Cla

ss Su

mm

aries W

eeks 1 - 5

60 61

In this week’s class, which happened to be our first class of the semester, we did some housekeeping like reviewing the syllabus which included the class schedule. We discussed and viewed some examples of class projects that we will be creating throughout the semester and I believe we spoke briefly on the suggested text. We took a look at the Technical Exercises assignment and reviewed how to do them. We also took time to review student submissions for the Genre looks. I did submit mine before class, however the formatting was off so it was not reviewed in class.

In class this week we spent most of the time reviewing student submissions of the Logo Typologies look #1. Pieces that were memorable to me were, the outdoors brand (specifically the lung emblem), Calvin Klein (the type stood out and was refined), and Ebay (the shield concept could use some work but was unique and thoughtful). We also spent some time reflecting on the local fashion exhibit honoring the work of Mary Quant. We also watched a blurb on Paul Rand and his relationship with Steve Jobs; that was interesting. Class was nearly dismissed an hour early, however we

Class 3 fell on the 23rd of September this week. It was a laid back class, we mostly spent time reviewing student work on the logo typologies. I enjoyed seeing my classmate’s improvements, I think it’s valuable to be able to share our process with each other rather than giving attention only to the final product - though teachers always preach that the means are just as important as the end, I feel that many don’t make time to focus on the developmental, trial / error stages. It’s easy to feel like you have to come up with something amazing right off the bat but that is not the case; some designs

Class 4, which was on September 30th, started with a couple tips and tricks which seems to be the ritual now. One was a trick about text rules in InDesign, while the other was a general tip about making good gradients by choosing colors of the same tonal value.We then promptly moved into peer review for our final Logo Typologies. I was particularly impressed with ACG’s revised lettermark and thought it stood out among the class. I felt that UPS was the most cohesive and needed only the slightest revision but was well on the right track. I felt similarly

Cla

ss Su

mm

aries W

eeks 1 - 8

We then viewed examples of logo typologies which I had previously not known about and received our assignment for next week which is the first iteration of our own logo typology designs based on an established brand logo.

stayed behind for another half hour or so to give our respectful attention to a student who needed to resubmit her presentation before departing.

that were so - so last week looked great this week like Ebay, Ulta, and Dropbox to name a few.I must admit that with the stale attitude from my peers it can feel uninviting to speak up during critique - not to mention my early afternoon class is solely 3 + hours of analytical review of both peer and professional work. This week I felt a bit more enticed to give some advice. I didn’t receive many notes on my own work but I didn’t mind because I already had plans and luckily was able to finish them early this week.

about the first Starbucks presentation - I especially liked the wordmark, I think it has a strong, memorable appearance and I think the crown redesign looks great on the emblem. With a little bit of spacing adjustment it will be perfect. I think that Dropbox has a lot of potential if they work off of their lettermark (or was it the abstract - whichever was the ‘D’ form with the hanging box) from week two, though I also agree that the little box in the third iteration of it has potential. I think they could run with that diamond and > shape in their other forms for a more modern appearance. Ulta’s presentation was

inspiring and I enjoyed viewing her creative process throughout the past three weeks though I felt that the greatest leap was in the work of Ebay. It still has some work to do but I feel it has grown exponentially over the three week span and consistently has improved.Critiques took up the majority of class. Afterwards we all shared our chosen symbol systems for note and then went on to review the mod grid until adjournment.

62 63

Unfortunately during the week of class 5, I didn’t attend my evening classes as I was plagued by whatever illness struck campus with the cold front (pun intended). I did, however, be sure to keep up with my classwork as I finished the rest of my symbol system and I also submitted packaging examples for Art Deco. I enjoyed browsing packaging, I don’t gravitate towards it myself - there’s something both intimidating and frustrating to me about working with dye lines - not so much the design part but the hands on part. Which is interesting because I really

This week’s class was our second review of student symbol systems. I didn’t get any constructive advice from my peers aside from the pointing out of one missing element (which was helpful but not constructive) so I will be sure to keep in mind your tips about the black background. Otherwise will take the silence as a compliment and continue on the same path. The submission that stood out to me the most was the sushi collection. Other than the color discrepancy that was mentioned by Alex, I felt that the collection was cohesive and professional in appearance. It is also in

We started class by looking at three print examples, I enjoyed the aesthetic of the coffee table book but Paul Rand’s book children’s was even more fascinating to see. We looked at a few tips and tricks, one was on clipping masks, another on the pen tool and the last one was very helpful for me and it was on editing page numbers in inDesign. We We then worked on our print samples which was the first round for me but the second for everyone else. I took the quiz as a makeup and we reviewed my title page for the typologies. We decided that I would reduce the size

This week we started off by looking at some print examples. We spent time observing the bleeds and overall composition. We then had tip and trick presentations. I presented this week and offered a tip I learned about turning strokes into objects in illustrator. We also got a useful trick about how to add multiple strokes to one object - I didn’t know you could do that. We did our usual critique, this time having a look at the first round of nouns. Although at this point in the semester work begins getting thick, I felt like everyone’s nouns looked really good. I particularly liked the fruit,

love origami. I digress. A lot of the designs I viewed seemed to be heavily “Great Gatsby” inspired so I tried to choose examples that broke away from that trope and utilized more colors than just metallics and black or navy. I especially liked the floral design out of my two examples, the colors could be more vibrant but I felt it was a refreshing take on the genre and focused on elements that aren’t as popular in modern design (not to say I’m not a total sucker for geometry - because I very much am) For my symbols, I took the time to address the color issue I was having. I felt satisfied that they were

finally displaying how I had intended them to in the first place but after some thought, I may go further and make them vibrant rather than subtle - more fun to look at.. There will be more small adjustments to be made over the weekend but as I took my time in the initial stages, I’m relieved to feel more than less satisfied with the appearance of them over all.

a style that I admire and would like to get better at myself. It’s always nice to be inspired by my classmates. The tip and trick that was shown at the beginning of class about the color gradients was very interesting and something I didn’t know about so I will be looking up about that later.

of my text but otherwise the design seemed fine.

the microphones and the drinks. The rest of class was spent working on our books and reviewing print samples with a short break on the Vox examples.

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Colophon

FontsRaleway

InstructorRon Kovach

( Ronkovach.com )

Sourcesconstellation-guide.com

vans.com/history.html

SoftwareAdobe IllustratorAdobe InDesign

Procreate

ProducedDecember 2019

by Samantha Sawyer ( Sami June )

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T H A N K Y O U

| sub - l im - i - nal | adject ive

(of a st imulus or mental process) below the threshold of sensat ion

or consciousness; perceived by or affect invg someone’s mind without

their being aware of i t