OUGD505 - Studio Brief 2 - Café Vélo Branding and Identity

As I wanted to follow the organic, hand made and independent feel that select coffee shops theme themselves around, I began working on logotype for the cafe. This would be hand-rendered calligraphy with a hand painted effect.

In respect to typeface choice to accompany the logotype I wanted a sans serif font which would work well in both uppercase and lowercase characters as well as have a full set of usable glyphs. I had a look through my collection and picked out Edmondsans, Raoul Transport Britannique and Mission Gothic.

These tailored the aesthetics I was looking for but to keep the branding contextually relevant, I chose Raoul Transport (the middle one) as it is based on british road-signs. This typeface will be used beside the logotype as well as way finding within the cafe some product sub headers when relevant.

The typeface used for body copy will be PT Mono, a monospace font which is often overlooked. This font has interesting features in the characters which reflect the cafe's style. I find monospace fonts very interesting at the moment as the width of each letter is identical, with the right spacing, this is a very legible font at small point sizes which will prove to be useful for use on business cards or copy in letters.

When deciding on colour, my preference was pushing on a dark red. This psychologically reflects strength, power, energy, determination and desire - all of which reflect upon cycling, a fixed theme throughout the establishment. This would work nicely with organic materials which the colour would be printed on as well as black & white for impact and legibility.

OUGD505 - Studio Brief 3 - A Safe Place

As the brief is a very short one I got going on it straight away to get it out the way so I could focus on my more important content filled briefs.

I watched the film to understand it as well as read up on it just in case it had any meanings that I didn't understand while watching it. Here are some promotional images used for the film too:

After watching it, I watched it again and wrote down times for important or visual scenes that would help in my ammunition for the poster.

I then went through them and screen shotted them.

With these images I mocked up a photoshop file to plan out my composition.

My next phase was to draw out the whole composition by hand so it had a less accurate but more detailed edge to it at the same time as allowing for amendments.

The drawing was then photographed and imported to illustrator where I began vectoring the line-work. This was the longest process of the project and taught me a lot of patience as well as some practical techniques which will help my future practice.

The colours I decided to go with were dark blue and orange on white, these colours were chosen because of their huge contrast (due to being complementary colours) which are balanced by the vast amount of white. This equates to a visually impacting poster with bright colours reflecting the time it was filmed.

I game the original film's font a go and it didn't work with the sharp graphics at all as it was rounded and very hippy. I chose Helvetica Bold to work coexistentially with the imagery.

My submission was then sent to alternative movie posters.

I wanted to screen print this poster at A2 scale. This would be big enough to make a large impact and I have also wanted to screen print such a large print for a while.

I separated the colours using the path divider and merge tools and then got the positives ready to be screen printed. Orange would go first on the press and then blue.