What's St. Patrick's Day Without Beer?

I’m not agreeing or disagreeing, except to say that it doesn’t have to be green to qualify. (in fact, yea … it’s better if it’s not.)

And so, to honor the day, the Irish, those who want to be Irish, and all who enjoy a good guzzling of design, I’ve pulled together some cool beer bottles to show. Labels are a great canvas for design creativity, and all of these fit the bill.

Feast your eyes on these ~ and have a safe and Happy St. Patrick’s Day!

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Evolution of a Book Cover

It starts with a story. An idea, words on a page.

The words unfold, revealing characters, settings, moods. And then, a bit like being put to music, the words get put to pictures. Different styles are explored, and certain elements are established that will express the essence of an entire book. A few renditions later, author and artist in sync, a cover is made.

This is Sam Moffie’s fifth novel; publish date forthcoming. Book cover designs @Patricia Saxton.

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In Praise of Black and White: Part II

Ansel Adams / Aspens / Northern New Mexico 1958

I wrote this post a year ago. The text (with some edits) remains meaningful to me, but the images are new. (If you want to skip to the pictures, the short version is that I love black and white art and feel it’s under-appreciated…!)

Each year, a new Ansel Adams wall calendar hangs on the door leading to my studio. His superbly articulated, stunning black and white photography reminds me daily of my love for the natural world and the innumerable shades, shapes, shadows and tones that create, change, and emerge from, our world.

Yet the classic beauty and the powerful visual possibilities of black and white are often neglected. Straight black and white design is often passed by in favor of any use of color. As if black and white implied something dull or less important.

But when used well, black and white is intensely dramatic, vigorous, elegant and rich. It can get a powerful point across without the distraction of colors. It can be bright or moody, edgy or slick in ways that color cannot. It can sparkle with cleanliness. Black and white carries undisguised strength, character and integrity … when used well.

Of course, not all photographers have the eye nor skill of an Ansel Adams. Not all designers *see* in black and white. Clients rarely consider it. But it would be nice to see a greater appreciation of the noble duo of black and white.

When people want straight talk, when they want the truth, they’ll say “tell me in black and white”. But people often speak in shades of gray, or dress their language in garish colors for dramatic effect. And so it can be with design – a multitude of colors becomes too competitive, potentially drowning in an undifferentiated sea of tones or gussied up so much the point is lost for the color, like shouting for attention in a crowd.

Color, in and of itself, is naturally beautiful. Bold, rich fusions of color. Subtle, earthy color. Pale, cool, warm or dense. It’s vibrant and alive and emotional. But color alone will not make a bad design good. And it’s not so much that color is overrated, but that black and white is underrated. You don’t see it a lot, which is too bad, because the effects of black and white can be pretty spectacular.

Stripped of color, a million shades become a lansdcape of lights and darks that blend and weave and bounce against one another to create a very rich whole. A striking black and white image often touches us unexpectedly …  refreshing, engaging, and wonderfully inspiring. It’s raw and fundamental – and like a good story, it’s satisfying. Like a good story, it allows your mind to add its own color by filling in the parts left unsaid.

Enough said. Enjoy.

Ansel Adams / Tetons Snake River

 

“In Praise of Black & White: Part 1” images can be seen here.

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A Plethora of P's / #5: "Piquant"

Zest. Spice. Spirit. …Flavorful … Piquant.

Pepper your day with positivity. Sprinkle pleasing, pungent, uplifting thoughts of promise  ~  give your dreams a kick!

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When It's Wrong to Redesign a Brand

Much time, and probably a lot more money, was spent making recent logo changes on some big company re-branding efforts.

EXHIBIT A:  Tetley Tea.  Tom’s of Maine.  The GAP. (old on left, new on right)

The question I ask: “Why”? Have sales been down? Was company morale low? Were they experiencing a scandalous attack? Were decision-making-someones simply bored?

Now, don’t get me wrong ~ I’m all about  presentation and the power of “look and feel”, and if any one of these companies had asked me to give them a redesign, I would have gladly obliged. But – not to sound immodest, as I believe most designers given the opportunity would say the same thing– I would have handled it quite differently, and I’d like to think, more effectively.

One lesson I would apply: “if it ain’t broke, don’t fix it”. This is the part of “Branding 101” known as consumer recognition.

Brand Connections …

Big Brands elicit a kind of personal connection – for better or worse, we make mental, even emotional, associations with how they look. And that association comes from recognition, which stems from the basic concept of consistency.

For high-profile brands, the success derived from established logo/packaging recognition can seriously outweigh whether or not a look is amazing.

As shown in “Exhibit A”, Tetley’s old package was far from hip or upscale ~ but, as a tea drinker who personally loves the smooth, full-bodied flavor of Tetley’s British Blend, I can vouch that the old package says “rich flavor” much more than the new package, which (I truly hate to say) looks more like packaging for a feminine product.

Tom’s, another brand I enjoy, previously used friendly, round shaped bottles and a graphic treatment that worked well with its natural product, whereas the new look reminds me of a bad Web 2.0 design in an oddly shaped container.

As for GAP, the logo may not have been exciting, but it was solid with really nothing wrong.

Doing it right….

For companies/products with already high recognition, rather than reinvent the wheel, redesigns would best be served by tweaking and updating.

EXHIBIT B:  Morton Salt.  Ronzoni.

Morton and Ronzoni made changes with the times, without shocking overhauls. They’ve retained their original intent and managed to successfully alter their look by doing it gradually, with key elements maintained and integrity in tact.

The message being, don’t send your customers on a wild goose chase trying to find your *new and improved* packaging, OR throw them into a tizzy because their familiar, trusted product got a makeover and a new doo, like a friend who’s trying to be, or is turning into, someone else.

Beyond the fact that many people don’t like change, there’s something to be said for the comfort of familiarity in a world that moves too fast and holds many a slick deal.

On the other hand, improvements can be refreshing. Kind of like when you’re loathe to part with an old, favorite shetland sweater ~ but that nice new cashmere in a similar style and color might be hard to resist.

Refreshing is good. But different and unfamiliar is not a smart promotional move. Why discombobulate, and possibly alienate, your audience? For what purpose?

To redesign or not to redesign?

Okay, so maybe the Tetley, Tom’s and GAP folks had good reason for the change. Let’s go ahead and assume the most practical reason: lagging sales or market competition.

But let’s also put it out there that the cause of lagging sales or struggle with market competition just might have more to do with things much less glamorous than a logo or fancy packaging ~ things like business plans and marketing structure, advertising strategies or customer awareness issues.

So that usually, and particularly in the case of well-known companies/products, changing the logo is not the remedy.

(Worth noting at this point … if you’re a start-up company, or your business has been around but floundering in a sea of mediocrity, by all means, run to a great designer. Boosting the look of your branding may be just what’s needed to boost momentum and shift the energy.)

Well, what’s done is done (except in the case of the GAP, who apparently quickly reverted to their original logo after public outcry! ) … but the questions remain:

1. Is it worth the shake-up to completely re-brand a good thing? (I think not.)

2. Will re-branding a good thing turn the consumer away? (Again, I think not… although you may whine, as I have. But if you love Tetley tea, you won’t stop buying it because you don’t like the new package.)

3. In the end, was it worth the time and money to do all that dramatic re-doing?  (Right … I think not.)

4. Could that time and money have been more wisely used? (Most definitely, yes.)

Conclusion: Sometimes it’s wrong to redeisgn a brand. I rest my case.

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What I Do When Not Painting The Sky, Swimming With Mermaids, Spotting Fairies and Dragons, Making Peace Signs or Devouring Hot Fudge Sundaes

In other words, how I keep food on the table and a roof overhead.

You can always see a full portfolio at saxtonstudio.com, but thought I’d share a sampling of some recent design projects. They range from branding & identity to powerpoint presentations, graphic murals to event themes, book covers to websites.



Got a project that needs to shine? Visit saxtonstudio.com and call us or send an email!
All art copyright © Saxton Studio and client trademarked.
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"Where Is My Vote?" ~ A Powerful Design Exhibit at New York's School of Visual Arts

Inspired by an email from an Iranian photographer reaching out for worldwide artistic support to raise awareness for Iran’s Green Movement following the 2009 Iranian elections, the School of Visual Arts has put together an incredible collection of posters, designed by some of the greatest names in graphic design, including R. O. Blechman, Cathie Bleck, Seymour Chwast, Ivan Chermayeff, Milton Glaser, Robert Grossman, Anita Kunz, Yossi Lemel, Jennifer Morla, István Orosz, Woody Pirtle, Andrea Rauch, Ralph Steadman, Gary Taxali, James Victore and Massimo Vignelli, among others.

This display is “design as a social tool” on a grand scale and at its most impressive.

Below are just a few of the 150 potent pieces. You can see them all Social Designzine,  as well as watch the video below of author, design historian and SVA MFA Design Dept. Co-Chair Steven Heller discussing an interesting, in-depth look at the show’s meaning.

Copyright, Cathie Bleck

Copyright, James Victore

Copyright, Massimo Vignelli

Copyright, Milton Glaser

Copyright, Yossi Lemel

The exhibition runs through September 25 at The School of Visual Arts, Visual Arts Gallery, 601 West 26th Street, 15th Floor, New York, NY.  For more information, call 212-592-2145 or visit SVA’s exhibit  site.

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Do Typefaces Really Matter? (silly question…)

Typefaces

Here’s a confession: I belong to a Facebook group called “Correct Spelling, Punctuation and Apostrophe Use.”  It pleases my inner nerd. Yes, indeed it does. Plus, when you grow up with a literary parent, the whole kit and caboodle of spelling and grammar becomes second nature … so if it’s used wrong, it produces a screeching nails-on-chalkboard feeling. A travesty. A stain.

But I digress.

So … I happened to make a brief detour over to Facebook to check on something or other, and there, to my delight, was a pretty cool article about the impact of typefaces posted by the “Correct Spelling, Punctuation and Apostrophe Use” folks. It’s actually a BBC News Magazine article, and I don’t think it’s okay for me to re-post it, so I’m just going to give you the link. This is only for those of you interested in type and fonts… otherwise you may not care, and can just admire the pretty picture above.

(I sure hope I didn’t make any grammatical errors in this post!)

Do Typefaces Really Matter?

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