Pearl’s iPad wine listing and menu
Digital intranet project
Duration 8 weeks from briefing
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As new technology shifts and shapes the way in which people interact with the world, tools, products and points of reference are being challenged, evolved and transformed.
On the eve of the launch of the Apple Ipad Pearl Restaurant approached the studio to explore and put their wine list on the iPad. A modest start up budget was worked out, as experience has proved that new technology projects can be redundant with a change of new technology.
Site maps, content guide, software choice, concept and design, digital development and testing was managed by the studio over a very busy six weeks. The menu utilises content management software, which all allows staff to edit and update with daily special and list changes at anytime. The software works exclusively from the restaurant’s server and is transmitted to several iPad via wireless. The new menu will be rolled out in the coming weeks.
As in the world of books this project brings with it the beginnings of a new direction for the menu format.
Thanks again to the Pearl team for your support.No comments
Often we are invited to respond to a problem with predetermined outcome; such as we need a brochure, or website. There are also occasions where we are encouraged to solve a problem by researching and developing possible outcomes, be it a website, an event or action, or a printed communication.
Australian Paper wanted a gift for their visitors, customers and partners and we thought is would be an idea to put aside the corporate gift brochures full of pens, mouse mats and stress balls and put people in contact with their product – paper. Developed in 2001, this paper kit with four page greeting cards and matching envelopes was wrapped in a paper carrier that protected the contents and invited, illustrated, instructed receivers to tool up and make and creating their own greeting card range.No comments
Read on, if you agree vote for our poster here, many thanks for your consideration and potential vote.
The Australian Poster Annual was a project dreamed up by our studio when we were working with the National Design Centre in Melbourne. The first annual was launched at the first Melbourne Design Festival in 2005 – the first theme was – In light of recent events. Our response can be seen here
It was always our intention that this action is designed to inspired people with the poster as a medium to powerfully communicate big ideas, as our fellow designers in Europe, Japan and the USA do so successfully.
Our response to this brief…
We were troubled by the latest Australia Poster Annual brief, the first paragraph in particular, as it seems to be again – too design sector focused – and not aligned with big picture issues such as:
It is no secret that we feel that designers moan about on about how clients should understand design more, etc. We, as a practice, strive to find the balance between making work that works for clients, along developing a product that excites, inspires audiences and looks good.
It is concerning that our industry feels the need to write such briefs, and we believe that to bring about a positive change might be found by taking a lead from fine artists, fashion designers, chefs, coffee, wine makers, writers and musicians – who create, lure, attract, clarify, excite and challenge people with the an exciting product. Allowing then, the key drivers such as business innovation, thought leadership and cultural change will make sense to people who use it.
This situation reminds one of that old adage – quality relationships come about from inspiring respect rather than commanding respect.
This year’s AGDA Poster Annual brief is as follows…
In 2010, during Icograda Design Week in Brisbane, we have the opportunity as an industry to break stereotypes and show the Australian public that we are creative communicators, design thinkers, and that we belong to a profession that is a positive contributor to the economy and a catalyst for social change.
Following the Design Week theme of Optimism, the 2010 AGDA Poster Annual asks you to challenge the notion that design is only about beautiful things and show that design has a greater value and it is in this value that design can effect real change.
To promote the role of graphic design as a key driver for business innovation, thought leadership and cultural change.
There are so many great and some very successful Australian designers focused upon, having a great product, client relationships and ongoing success. Is it any surprise that many of these studio’s didn’t enter a poster in this annual?
Your constructive comments; good or bad, are as always most welcome. Many thanks.No comments
In the coming months this website is undertaking significant change, which in effect reflects much of the changes required by this studio and practicing designers to define new meaning in the future.
One of our many activities has included bringing our design product to the public. Our activities started in 2004 when we dreamed up Australia’s first boot market for design – The Ready Made Market (which we named) with the National Design Centre, it was then renamed The Melbourne Design Market. We have taken this idea further by now taking our products to the internet, via global community shopping cart site for musicians, artists and fashions designers – bigcartell.com
Another initiative is to use existing internet media channels to communicate ongoing studio initiatives and activities. We have brought together existing channels such as Twitter, Linked In and a Facebook fan page. We will be using less of this website to document our daily chatter, and continue to create more resolved and lasting content from the findings and feedback uncovered in our work and day-to-day experiences.
All of the pages on this website are linked to FaceBook. If you like a post, hit the “FB like” button at the end of the post, which with then communicate your ideas and feedback back to FaceBook.
Why? Some open thoughts…
The concept of design is enjoying unprecedented community interest. Our televisions are spewing from its bowels entertainment that charges people to go forth and design. Across the world hundreds of design schools are being created which in turn are churning thousands of design students inspired by a wealth of design reference. There are also brigades of international design mentors, mainly from the UK and the US, who crisscross the world presenting their version of design at conferences, design love ins, or out performing each other on Ted TV. To top off design TV, the design student glut, design celebrity, there is also new inexpensive hardware and software technology, marking what was once impossible and specialised, quick to learn with infinite possibility. In 2010 everyone can be a designer, backed by the will and technology, a body work of inexpensive and convincing communication awaits.
The net result is that in twenty short years, the highly specialised profession of graphic communication and design seems to have lost it’s specialised quality. At the design sector’s extremes, there are a handful of established studios commanding respectful design fees and profits, and at the other, there thousands of creative service providers scrapping for awareness and client share. In market flooded with so many options, clients are also prepared to accept a lesser quality of work to cut costs, as long as it look good – even if the look compromises the brand’s value
Longevity and loyalty in design services are off the agenda, in a market flooded with choice because clients can :
– afford to jump from studio to studio without effecting the quality their marketing, in the short term
– the quality of the design work is high, the design fees are inconsistent,
– there are many new players in digital and media offering new and exotic products
– there are an abundance of studio’s willing to undercut each other and keen to work with jumpy clients
Designer seem to be in a strange uncertain place. In our supply and demand world a good carpenter, plumber and lawyer are rare and therefore enjoy enough demand for their work to create certainty. In comparison a good designer in market of many designers, finds they are competing aggressively to win a good reputation, yet even at this end, there is no guarantee of having enough certainty to sustain a stable career.
To change this situation designers need to reinvent themselves, to develop new qualities, skills and processes an define new roles, purpose and desire that a skilled computer operator, a design aware audience or client can not replicate. In a way, designers have to reconnect with the alchemy which makes creative thinkers unique, move beyond the “designer” cliche which seems to saturate mainstream past time and interest.
Maybe it is time to call on some age old adages – of finding a new balance, to be less of a conformist and more of a maverick, a wonderkind, or even find one’s zeitgeist.
What did George Bernard Shaw say again? “The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends upon the unreasonable man.”
If you have ideas or feedback, your comments are welcome here, on FaceBook, or on TwitterNo comments
At the centre of any brand campaign is a single graphic, type or symbolic mark that is the single identifier or sign off for the vast range of communication project.
All our brands start out as refined black and white expression which is a response to an idea, theme or vision. We spend countless hours ant f_cking our brand outcomes so they communicate and standout embroided, on sail clothe or as a digital animation.No comments