The event imagery

Signing (temporary) – 1st attempt

Signing (temporary) - 2nd version

Pop up entry

WIndow display

Internal space

Black and white poster (1 of 12 outcomes)

The tee

Internal neon

A5 brochure/postcard

Brochure / event invite cover image

Jardan Furniture has commissioned the studio to develop a concept and image for the 2010 Saturday in Design (SiD) event in Melbourne, held this weekend. The SiD is a two day programme and to get more value for the spend time, energy and resources Jardan sort out a pop up solution that is open for several months rather than two days.

The Richmond pop up will be the back drop of a new range of furniture allowing the Jardan sales team and potential client view pieces in a convenient location.

Like many of the solutions we develop for clients, the forms and fixtures has a light touch, allowing the work to have the greatest impact whilst being reusable, recyclable and engaging.

The building is facing demolition in a few months and we initially developing a temporary signing scheme that was to be directly painted on the building. The painter was five letter forms into a fifteen letter form piece, until a local sticky beak called the landlord – exclaiming that “young people are painting on the building”. Richmond has a rich history of graffiti dating back to the 1970s (with some excellent samples of trade union based pieces, now sadly painted over) and many locals are suspicious of paint based works. We were then limited to produce real estate agent style hoarding panels, which we had made of ply and vinyl lettering and to paint the entry doors pink to identify the site.

Three Deep Design often accuses us of using too much pink. To those boys out there in big bad design ubërland we say – boo, hoo, hoo – it is a happy, cheerful colour and perfect for a world looking for glimmers of such things. If their Mums had a pink kitchen, like Andrew’s Mum did, then maybe they would be strangely driven to splash around a little pink too.

Thanks to the crew at Jardan for all your collaborative spirit.

In the world of paperless office printed items like the fax header, letterhead and follower are near redundant, while items like business cards, envelopes, document covers and folders, delivery collateral and corporate postcards are consistent, or on the rise.

We love making great stationery suites to work across printed and digital media, be it a new brand, an ongoing brand, or a brand that needs a new lease on life through it application.

Stationery in the digital realm is exploding with outcomes and expressions. Customised letterheads, communication templates, presentation documents, data-base driven forms and collateral and word processing documents are hot property. We can generate basic stationery templates in house, or can work with specialist software developers to ensure that the day-to-day aspect of communications are robust and reflect the brand and its communication parameters.

Nothing beats the smile, breaks the ice, or invites a flurry of positive comments better than a tasty business card, engaging postcard, or hot looking folder. We have developed stationery outcome for companies big and small, let us put our passion for making great stationery in place for you and your organisation.

Australian Greeting Charity Cards / January 2009 / Brand, stationery, website

Pulse – Health and Rehabilitation / January 2009 / Brand, stationery, website, signing

Gunn & Taylor Printers / January 2008 / Brand refresh, stationery, website, the lot!

Karl Photographer / January 2001 / Brand refresh, stationery, website
*** Silver AWARD winner, 2002 AGDA Distinction Winner

Karl Photographer / January 2009 / Brand refresh, stationery, website

The Project Agency / Events and public relations / January 2009 / Brand, stationery, website

Carousel Café / January 2009 / Brand refresh, menu stationery

APLAY / Play equipment manufacturer / January 2009 / Brand refresh, stationery, website, signing

Amesque / Business consultant /August 2008 / Brand, stationery

Words by Brita Frost / January 2009 / Brand, stationery

Chamber Music Australia / January 2006 / Brand, stationery, signing, website

In the last ten years we have seen the rapid growth of clients making, developing and realising their communications. Countless brands, stationery, brochures, signing and websites have witnessed many Australian clients ‘having a go’. Their drivers range from saving money, project streamlining, to bringing out a creative side. Regardless of the motives we are compelled to work with this trend, rather than hope that this idea goes away. We feel that the role of the designer has entered a new era and we want to play a part in this definition – by understanding the drivers and defining a space for our practice and services within this environment.

As the technology creates greater opportunity for people to interact with the communication process, there seems to be an opportunity for brands and brand outcomes to come to life. The ongoing exploration of interactive brands is one of the many development projects we pursue.

The interactive brands we have created follow these criteria:

Interactive brand outcome 01. – changing elements

Brands where the graphic and type parameters are formally defined and then applied to a range of changing type and graphic elements – allowing a distinctive and unique brand outcome to evolve.

Parlour Hairdressers / May 2008 / Brand, stationery, contact website

We used a range of fonts to reflect the infinite variety of looks that can be generated with hair styling.

Martel Upholstery / December 2008 / Brand, stationery, signing website

We developed this custom font for Martel based upon the act of marking a type form with a sewing machine. We then applied to this mark potential stitching styles used in upholstery.

See also – Paper Round, Chamber Music Australia, Saxton Paper, Australian Institute for Teaching and School Leadership, Karl Photographer v 01, extra/ordinary 2010 AIA National Architecture Conference

Interactive brand outcome 02. – set elements varying application

The second kind of interactive brand we make involves creating the basic elements – the type, the graphic and materials, we then apply a level of instruction. The client can combine these elements – the type mark, the brand graphic and suite of papers, cards and envelopes – enabling the client to create and realise the brand, and its application.

Batch Espresso / February 2009 / Brand, stationery, signing

For Batch Espresso we work out the elements, discussed the making of the branded work and then let the team do the rest.

The Mighty Wonton / Web developer / August 2010 / Brand and stationery

For web developer and designer The Mighty Wonton we again worked out the brand and the elements, the rest is left in their capable hands. The look is raw and loose which appeals to having something active as compared to their actual work – which lives digitally.

See also – Writing by Brita Frost, Studio Pip and Co. South Yarra Sellout, ZAP Productions, Coffee Supreme, Planet Cup

Interactive brand outcome 03.– instruction based

The third outcome is make a brand that is defined around a set of instructions or process. It is this action which is as much part of the brand as is the physical outcomes. These brands come with a set of instructions and guidelines, allowing the client to modify the mark to suit their project, or reflect their service. The brand is capable of consistent form yet have many looks and is way of making a personal mark which then communicates a broader concept.

National Design Centre / Industry organisation / January 2005 / Brand, stationery, website, signing

A design centre needs to reflect all manner of styles, people and process. For the Nation Design Centre their logo was a grid that has a set of instructions – this any mark making implement join ten points, make sure all four outer sides of the grid are touched – there is your symbol, with thousands of possible outcomes.

THIS IS NOT A DESIGN MARKET /Design event / August 2009 / Brand, stationery, signing, street posters and website

In the spirit of Ellen Lupton and her book D.I.Y – Design It Yourself, the studio has developed a D.I.Y. identity for the THIS IS NOT A DESIGN MARKET project in Melbourne. Crossing through the – Design Market playfully references what the names suggests. The brand also comes with a set of instructions and guidelines, allowing designers working on the project to modify the mark to suit their project. The brand is capable of consistent form yet have many looks.

In almost all instances the studio can’t help producing solutions for the design sector that are neutral, complimentary, has that something that can’t be described and a twist.

Andrew Pegler Media / January 2009 / Brand, stationery, website

The personal computer has transformed every user into a writer, graphic designer, photo retoucher… In recent times the overall standard of writing has improved. However, the craft of writing suffers, as many writers are unfamiliar with basic writing principles (like this website, which is full of writing and editing errors). Melbourne based copywriter, Andrew Pegler, changed address and needed a simple business card that demonstrates, preferably by personal means, the difference that quality writing services can bring to any communication.

After exploring the modern writing process, we developed a card that allowed Pegler to demonstrate the writing and editing in action. A versatile and process driven identity was devised by building into the card design a writing mistake, which required Pegler to arm himself with a “trusty red pen“, and manually edit each card — changing a noun into a proper noun (a proper noun is a noun that is the name of a specific individual, place, or object, i.e Earl Carter, or Eureka Tower, or English).

This is an ongoing studio project that we evolving for large to small organisations – for details about this process, other working outcomes and the potential of developing outcomes for your organisation contact Andrew at the studio.

Images courtesy of ICOGRADA Brisbane Design Week and Seesaw Photography.

The last forty-eight went off with it’s normal hitches and triumphs – speakers dropping in and out, rapid email blasts, technical dramas on the night and nerves. In all everything went to plan, our audience left with a smile; all of our speakers did their bit; some were chased off, while others came in on time.

In the last five years with have presented over fifty designers with their brief story to tell. The main purpose of the event was celebrate creativity for its diversity, differences and curious passions of creative people. Shifting the focus from a creative style, a studio, or an individual that happens to be in fashion, or on trend. The project was borne in Melbourne in 2006 and concluded at the ICOGRADA Brisbane Design Week, October 2010.

Our warm thanks goes out to our speakers :

2006 – David Band, Mahon & Band; Steven Cornwell, Cornwell; Adam Gardiner, Qube Konstrukt; Stuart Geddes, Is Not Magazine/Monument Magazine; Ryan Guppy, 21–19; Dominic Hofstede, Hofstede Design; David Lancashire, David Lancashire Design, Amanda Roach, Amanda Roach Design; Tin and Ed, and Dianna Wells, Dianna Wells Design.
2007 – Wendy Ellerton, Hofstede; Kate Hannaford, Moth Design; Shara Henderson;, Soren Luckins from Büro North; Alex Tyers.
2008 – Hired Gun Design, The Surgery, Tank, The Narrows, Is Not Magazine, 21—19, Ziegler Design, Studio Pip and Co. Design by Pidgeon, Studio Round and Paperpoint.
2009 – CO-OP, Alter, ERD, 3 Deep Design, Blenheim Design Partners, Foundry Typography, Design & Visual Dialogue, Langdon Lorriane, South South West, Hi God People, and Oslo Davis
2010 – Laura Cornhill, Studio Binocular; Di Elderton, Argonaut studio; Dominic Forde, Famous Visual Services; Raafat Ishak; Darren Henderson, dirtygood; Aaron Moodie – The People collective; Pete Salmon, Salmon Design; Tim Kentley, XYZ Studios
2010 – Dan Pike, The Letter D; Jason Grant, Inkahoots; Hannah Cutts, Cutts Creative; Gary Wilson, Paperpoint; Simon Mundy, PeptoLab; Dom Bartolo, 21-90; Mimmo Cozzolino and Kevin Finn, Open Manifesto

Thanks to the AGDA council and support team, namely Jen, Brita, Tanja and the volunteers

A big double thanks to the sponsors – Gunn & Taylor, Digital House, RA Printing, Spicers Paperpoint and RMIT University

Like any good idea, after five years and six great events, it seemed timely to move it on, before the idea became tired. We’ll leave forty-eight with this thought – every designer / creative is different – and that is an exciting proposition – thanks for participating in this idea.

See you all at the next manifestation.

Graphic custom lettering

Ripper! – Pip and Co’s Australia made brand

Optix adapted brand with graphic interuption and new tag line

Hand collating

Custom envelope

Covers

Spread detail

First spreads

Second spreads

Optix paper is one of several key products manufactured by Australian Paper and distributed by paper merchants Spicers Paper and CPI Paper. Optix has over 30 different colours (a spectrum of colour) across a range of weights. It has been some time since the paper has been any significant promotion. The client wanted to the studio to put in place an outcome that in effect relaunches the range.

In December 2009 we were charged to research, rethink and proposition Optix paper. The main theme we established is that – Optix of all the papers in the market place, is by its very nature a vibrant, exciting and visible stock, and it is these qualities we seek to celebrate.

The project saw the development of several technical printed, marketing and communication outcomes. The initial response was to identify printing techniques which performs well on the stock — strong line graphic and text. To enhance the effect of printing special and process colours on the paper it self. The quality of visibility was an idea that we presented across the whole promotion – in a new brand mark, a brand tag line, the printed pieces and to the ideas expressed in the pieces – A guide to the modern extrovert.

The Optix brand has a new proposition that invites designers to create communications that – stand out and be seen. The piece invites viewer to use colour to impress, have communications noticed and move away from boring white paper and have some fun!

It is a practical working print sample which explores ideas of how people stand and be seen in the community. The piece is printed and finished in four colour process, and in special colours on Optix 110gsm and 200gsm.

All components have been designed and manufactured in Australia, supported by the Australian Made logo which is available to go on any Optix printed piece your designers, printers or end users produce.

The printed piece is made up of five mini booklets that guide you on being an extrovert and propositions you on how you can stand out. Bound by an Optix ribbon, it is designed to inspire and showcase that printing on colour can add impact and the wow factor to end printed materials.

The entire suit of images and writing has been researched and developed by the Studio. Each piece irreverently explores, contrasts and re-purposes contemporary methods that exist in culture where people have stood out. These writings have been reworked and put into an Optix context, these include:
– Commercial product review or guide
– A journey in stardom
– A body of work or the development of a movement
– The How to get rich scenario
– Developing a manifesto, action, collective or association

To compliment the campaign the studio have developed a new website that explores colour, which also has information about Optix, along with a gallery documenting projects around the programme.

The project was printed by Gunn & Taylor, please visit this post to see the project coming off the press. The studio to save money is hand collating, fixing the Optix ribbon and stuffing in the custom made envelope.

Visit the Colour Collective here

Cruden Farm is one of Australia’s great private gardens and home of Dame Elisabeth Murdoch of eighty years. The garden has a world renowned reputation for it’s vision, beauty and design. In recent times the garden enjoys over 30,000 visitors a year. After countless requests from guests for a take home guide, Dame Elisabeth commissioned Andrew to develop a modest concise booklet to retail at the garden for under AU$10.

The last guide was produced in 2001, and since this last production writer Anne Latreille (who authored and production managed the first guide), has written a comprehensive pictorial book of the garden ‘Cruden Farm – Garden of a life time’. The 190 page publication required a comprehensive photographic survey of the garden from a selection of garden photographers Chris Bell, Ben Wrigley and Jerry Harpur.

Armed with new selections of professional images, stocks of the 2001 booklet running low and Dame Elisabeth’s birthday approaching, a second edition booklet was commissioned. The chance to revisit the same project after eight years is a great opportunity for a designer to action the benefit of hindsight and experience.

The second round allow us to refine the story telling, many aspects of the design were assessed and enhanced. Like the first publication we explored the garden through the history then seasons. The booklet was then split into two sections the text story on uncoated paper section and image story of on the glossy paper section. The publication was wrapped in a dust jack that also serves as a fold out poster.

The second edition in comparison to the first has a bookish appearance, the layouts are refined, confident and uncomplicated. The other standout difference is the improvement in reproduction technology. Hi resolution digital cameras and the latest in print presses make for a production where the detail is fine and the film grain all but gone.

Thanks again to Dame Elisabeth, Anne Latreille and Penny for your guidance and to Gunn & Taylor for another round of fine printing.

Many happy returns Dame Elisabeth.

Read about Dame Elisabeth’s extraordinary life here

All of our work starts with a plan of sorts. This loose plan was developed on the cover of the property’s glossy book. The cluster of notes hanging out of the top of the book depicts possible image choices.

Jardan’s 2008 catalog

Jardan, the Melbourne based furniture manufacturer required a piece that shows their products using a media that makes a splash with low environmental impact. The 36pp news print piece, along with a refreshed catalogue was launched at Saturday in Design held in Melbourne in early August.

We mapped the content, worked out the format, layout and even shot the factory images.

Visit Jardan here

Jardan’s 2008 catalog

Jardan, the Melbourne based furniture manufacturer required a piece that shows their products using a media that makes a splash with low environmental impact. The 36pp news print piece, along with a refreshed catalogue was launched at Saturday in Design held in Melbourne in early August.

We mapped the content, worked out the format, layout and even shot the factory images.

Visit Jardan here

APLAY’s 2009 catalog

The Jardan and APLAY catalogs are multipage documents which employ news printing technology. The reproduction and finish is typical of news print – course screens, varying colour, and sometimes crude finishing, yet at least half the price of typical offset print, news print is perfect for communications for text based and content graphic in nature, that require a fast turn around

One lift out poster, a pull out programme, 25 portraits, over 100 images extracted from the internet, 40 pages, three typefaces, sketch spaces pulls together an event curated by conference creative director Mel Dodd. We wanted a work that summed up a three day programme in an exciting, sustainable and useful form. The piece was pull together with a month of research and collation coupled with a week of intensive of imagemaking, typographic and publication design.

Thanks again to Mel, the Australian Institute of Architecture and Newsprinters for making this process special.

Customised html
Concept, design and creative direction / execution 30 weeks
Budget $25k +

Jardan Australia engaged the studio to develop its website. The brief was bring a fast and user friendly furniture experience to specifiers. A comprehensive online catalog was developed allowing visitors to quickly browse products and ranges, download spec sheets or use the composer.

Visit Jardan here