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.1 comment
The 2010 National Architecture Conference held in Sydney is Australia’s most anticipated forum exploring architecture. The speaker and event programme is put together by a guest creative director who sets the tone of the event. The communication outcomes we have developed have come about in collaboration with this year’s director Melanie Dodd.
The thematic for the conference theme that Ms Dodd put together is as follows:
extra/ordinary will dwell on the culture of the extraordinarily ordinary. As an antidote to the incessant abstractions of globalization, we will be gathering together those who have an enthusiasm for engaging with the contingency of the everyday: inventing new ways of operating; embracing collaborative approaches and initiating direct action on the ground. Producing outcomes that are innovative and utilitarian, provocative and pragmatic. Resolving ordinary problems in extraordinary ways.
Lateral approaches, rather than a perpetuation of the status quo, characterise these overlaps and collaborations in practice. Improvisation is a critical component and contingency rules. Out of the morass of limited budget and intractable problems lies the seed of innovation. Rather than being the product of hopeless compromise, constraint provokes profound transformations at the limits of practice.
In the briefing process we reviewed graphic programmes from past conferences and benchmarked our approach to the communication with an outcome developed in with creative director Timothy Hill and design by Fabio Ongarato Design themed – departure lounge. The colour, playful nature of the graphic along the iconic appeal of Departure Lounge were qualities we felt helped shift perceptions and create a productive mood with architects attending the conference.
The global financial crisis foreshadowed this event. It was anticipated that attendances could be down based upon the recent economic downturn. We were briefed to come up with a programme that was highly visible, cost effective to produce and have a light touch in terms of its sustainablity. The event had close 1000 delegates attending the three days, the break even delegate number was meet one month conference, leaving several weeks for last minute registrations.
In terms of the work, all the outcomes we have developed communicate the idea of extra/ordinary. As a process we presented ordinary and available objects in extraordinary yet simple combinations. Our intention is to create contrast, variation and inventiveness in brands, paper stocks, type choices, images and layout so that every experience is varied yet linked.
The programme of works for the event was carried out over six months. Starting with a multi-faceted brand and image treatment, the project was the applied to a print ad campaign, website, promotional posters, invitations, programme, conference gifts and apparel, signing, av stills and motion graphics – over fifty outcomes some with multiple variations.
The success of any conference is about the mood one sets with the delegates. Architecture is often depicted in an austere, controlled and modern context. Even though many architecture brands share these qualities we felt that these qualities where not appropriate for creating a positive, lively and open mood fit for an intensive three day forum of sharing ideas, views and knowledge.
The final outcomes to be produced for the event included, the banner system, programme and conference AV still and motion graphics which introduced sessions, sponsors and speakers. We chose to use news printing for the programme as it meant we could provide work that could accommodate last minute changes and be printed and delivered in less than three days.
On Wednesday night (14 April), seven days before the conference, we uploaded the 40 page programme artwork. On Thursday morning we woke to the news of the Iceland volcano, that put airways in northern Europe in grid lock and subsequently knocked out half of the international speakers (who ended up telecasting live via satellite).
The motion graphics were being finalised on the weekend in between (17and 18 April), we re briefed digital designer Scott Richie of pixelshifter to start the intro graphic to include a volcano sequence. Mel Dodd the conference director, in passing mentioned that her opening speech would reference the volcano and we felt that it seemed appropriate to reference the volcano as a new graphic element.
Andrew attended the conference in Sydney and oversaw the bump in and bump out of the RMIT foyer actions, documented the conference and attended many of the sessions. The conference concluded last Saturday night (24 April).
The studio has developed many event based programmes and this project is to date the most productive, successful and exciting as body of communication work. An amazing collaboration had taken place, and the studio is indebted to the suppliers, the creative director Mel Dodd, and the team at the Institute – Paddy and Shahana, for putting in place a remarkable, intelligent and productive way of working.3 comments
1/ Edit you future – invites the viewer to piece together their version of future and by default create new hybrids, new ideas. The future seems to have so many to-be-determined factors we felt that what may result, interms of ways of living and outcomes, may be notions that challenge and seem potentially alien.
2/ Now is tomorrow. People have a habit of putting themselves in the middle of every situation, and one wonders with the gloomy mood of the community whether the fundamentals of life will change.
3/ Visions of a new future. As the climate and world changes it requires people and communities to embrace the present and see the potential in current circumstances.
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Poster exhibition submissions
Australian Graphic Design Association
2009 Australian Poster Annual
The poster annual invited designers to respond to:
Sampling The Future – Society is in a continual state of flux. We are now dominated by five major global conditions:
* Climate change
* Diminishing fossil fuels
* Globalised economic crisis
* Generational change, and
* New technologies
In response we felt that one could get caught in the negatives of what the future holds, so we were driven to present a positive perspective of the poster annual’s theme. In challenging times we wanted to make visual messages and impressions that empowered the viewer with possibilities rather than hopelessness.
As a first for AGDA all entries are being published online, along withe the judges‘ choices, allowing you to be the judge, assemble your favourites and voteNo comments
The Melbourne Fringe is one Australia’s most vibrant festival fostering emerging cultural talent. After the campaign the studio produced in 2007, the studio was invited back again in 2008 to participate in the communications programme executed in print, digital, advertising to apparel outcomes.
Design for events require flexible solutions that can be tailored for a range of shapes and sizes. We endeavoured to build into our outcomes a suite of flexible visual assets that allows the design to make the best of every application.
We believe that colour is one of the key elements employed in a campaign and after campaigns using of red, green, yellow, pink, blue it seemed orange was next. Orange and black are great colour combination to work with, however the shift in the orange‘s chroma, or brightness varies greatly from spot colour printing and 4 colour process printing – it is a colour that needs close attention.
The campaign in 2008 was developed around the idea of it being a project, or an event in its own right and we have extensively collaborated with Fringe. It is not your typical designer and client relationship — rather than setting briefs and doing work on computers, it is working out the opportunities and executing how to exploit them. A very nice way to do work.
In the wake of the campaign the studio developed in 2007, we set out to devise an image that contrasts, rather than compliments. 2007’s iconic graphic was superceded by a photographic/illustration. A linking factor is the two colour palette. Many of the print outcomes are executed with two colour printing.
The concept in 2008 explored the idea of alter ego. We explored the methods and means that people use to achieve their alter ego. We sort out the simplist of methods of acting out alter ego, something everybody could do – putting hands, or something as simple as a blank piece of card in front of one’s face, creates an interruption where a new form is allowed to take place. We projected onto the masks a set playful images of representing visual, physical, sound, written digital forms. The text boxes reference the technology tools that many of us use to shape the contemporary world. An image with an image inside another image is often a typical and complex mode that people use to interact with the world around them.No comments
In January 2008 Spicers Paper commissioned the studio to continue the Saxton paper conversation with fine paper specifiers. A comprehensive campaign has been put together speaking of Saxton‘s exclusive distribution through Spicers Paper, the addition of several new paper weights, and FSC endorsement ( an internationally recognised green accreditation).
To avoid developing a typical environmental campaign we develop a concept around the notion of — the community rediscovering and getting back to the good life. The good life can be many things. It can be about — thinking in broader terms of the consequences of ones actions; the making of quality ideas; and developing durable choices over disposable choices.
This notion invites many interpretations and in the spirit of the abundance of outcomes of people and communities getting back to the good life, we invited a range Brooklyn based illustrator Edwina White, designers Tin & Ed, photographer Earl Carter and London based photographer Shara Henderson to develop their idea of what the good life might be.
The studio mapped out a communication programme which resulted in several items being realised across twelve months including… Saxton note books with poster wraps (4 kinds), a range of postcards (6 kinds) and print advertising, a new four colour guide, type guide and a stationery guide for small to medium printers.
We have documented the note book range will used stocks, mono and full colour printing and a range a finishes.No comments