PROCESS MANUAL
C ONT E NT S
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4 Introduction 4 Creative Brief 8 Biomimicry Case Studies 10 Turtle Shells 10 Succulents 11 Lotus Leaves 12 Logo Design 14 15 16 17 18 19 20
Initial Sketches Digital Iterations Explorations Further Development Final Logo Design Logo Specifications Logo Variations
22 Graphic Standard 24 28 32 35 38
Inspirations Our Logo Our Colors and Type Our Business System Marketing Applications
42 Packaging 44 45 46 48 49
Initial Sketches Paper Mockup Final Dielines Construction Final Package
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I N T RO DUC TI O N
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Sunshine Sushi combines quality food, thoughtful graphic design, and innovative packaging to create a whole new way to eat sushi. Gone are the difficult-to-open clamshell tops and the wasteful plastic packets of soy sauce, wasabi, and pickled ginger. And the delectable product is only matched in excellence by its colorful, friendly graphic design.
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C RE ATI VE BR I E F
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NEED S
ST RAT EGY
Currently, to-go sushi packaging comes in a box-like container with a separate lid. My sushi packaging will have a more organic feel with rounded edges, and will be easier to hold while eating for on-the-go usage. This will fill a need and stand out among other brands.
This product will have both a print and digital presence in advertising. In print, ads will appear in grocery store coupon books/flyers, and also in high-class magazines as one-page ads that are clean, colorful, and modern. Digitally, an app would display the different types of sushi offered by my brand. A digital “sushi passport” will allow the user to check off different combinations and types of sushi they have tried.
BAC KG R O U N D The to-go sushi market consists of sushi makers that prepare sushi in-store and sell in-store, partnered with the host grocery store. The sushi is in a cold case and is made to be consumed on that day. The audience for this product is usually teens or adults who do not mind paying a bit more to have a sushi meal without going to a restaurant.
AUDI ENC E Teenages will be enticed by Sunshine Sushi’s easy to-go lunch. Working adults will enjoy restaurant quality sushi available any time.
OB J ECTIVE
M ESSAGE
Sunshine Sushi represents a whole new system for packaging and selling to-go sushi. The sushi will be made fresh, in-store, but will be marketed as a sushi product that can be enjoyed at home or on the go. It will come in an organic, easy-to-hold shape that will allow for the sushi to be enjoyed while being held in hand (does not need to rest on a table).
Sunshine Sushi is making a better sushi experience.
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B I OMI MI CRY C A S E STUD I E S
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Research began with case studies revolving around biomimicry. By looking at natural phenomenon, designers can find simple solutions to complex problems solved by nature itself. In my research, I decided to focus on the adaptive physical characteristics of turtle shells, succulents, and lotus leaves.
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T U RT L E SHE LLS
SUCC ULENT S
Some inspiring forms of the turtle shell are the oval shape of the shell, and the fusion of the modified scale pieces that fit together perfectly in geometric yet rounded shapes.
Succulents are plants characterized by large, fleshy leaves and stems that hold moisture. Succulents have adapted to arid climates.
The turtle shell form inspired my design of two roundedcorner boxes in which one fits partially within the other. Like the turtle shell, the two semi-geometric shapes fit together to create visual unity.
The geometries of the leaf formations are inspirational in their layered formations and rounded clusters. Also, the defense mechanisms that succulents use to keep water in can be further examined for the purpose of keeping sauce or another liquid in packaging.
LOT U S LE AV E S The surface architecture of lotus leaves creates a hydrophobic environment: the leaves repel water. This surface allows for self cleaning. Water droplets pick up dirt, and then roll off the leaves. This adaptation protects the plant leaves from pathogen growth and impeded photosynthesis. The double-layered leaf top includes the epidermis, and waxes which cause the superhydrophobicity. This roughened surface interacts with the polar water molecules. The addition of a compostable material with the surface structure similar to that of the lotus leaf would be extremely beneficial for packaging a liquid or semi-liquid product. Coating or lining the inside of the package with a superhydrophobic material, especially lining seams or edges, would probably reduce leakage and allow for a more water-tight packagining design.
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L OG O D E SI GN
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A great brand needs a great logo. I started my process with a list of six words to focus my work: clear, bright, friendly, colorful, accessible, enticing. Before calling the product Sunshine Sushi, I began with hand-drawn sketches, digitally drawn and re-drawn until the final logo materialized.
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I N I T I A L SKE TCHE S I began my sketches with the idea for a sushi company. I explored different names of the company, and different imagery. Through sketch explorations, I decided against a typography-only logo.
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D I GI TA L ITE R ATIO N S Inspired by my sunshine sketches, I created a series of sun icons, which I then paired with minimally-detailed sushi icons. Then I added details to the inside of the sushi icons.
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EXP LO R ATIO N S After my initial designs, I decided to go in a different direction, featuring a minimalistic sun with a variety of gradients. In this stage, explored different typefaces for my company name, as well as different scale ratios between the “sun� icon and the typography.
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FU RT HE R DE VE LO PME N T After further considerations, I decided to revisit my initial logo idea, focusing on the detailed sushi icons. I made some stylistic changes and explored typography choices until I refined the idea to the final logo design.
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FI N A L LO GO DE SIGN My final logo features three refined sushi icons that have been “tilted� slightly to give a dynamic sense of depth. The brand name, Sunshine Sushi, stands in all caps as the foundation of oflogo; the basis for the company grounded in the beautiful brightness of sunshine. The font is Futura Std with a tracking of 100.
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LO GO SPE CIFICATIO N S CO LO R S
P R O P O RT IO NS Nori
1.3x
3.2x
#000 C: 0 M: 0 Y: 0 K: 100
Salmon
#F36C40 C: 0 M: 72 Y: 81 K: 0
3.3x 5.4x
x
Avocado
#8FC749 C: 49 M: 0 Y: 93 K: 0
Avocado Accent
12.1x
#D0E17C C: 21 M: 0 Y: 66 K: 0
Yellowtail
#FAA41A C: 0 M: 41 Y: 99 K: 0
Yellowtail Accent
#FCE0B5 C: 1 M: 12 Y: 31 K: 0
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LO GO VA R IATIO N S
Negative logo in black.
Colorized negative logo, with colored icons corresponding to the original colors of the fillings. In this case, the name is not necessary.
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Negative logo in white. If possible, use the white negative on colors in the branding system.
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G R AP H I C S TAND AR D
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The graphic standard creates a set of rules that ensure the logo’s integrity in design and usage. The graphic standard, written from the viewpoint of a designer within the company, gives firm and direct guidelines on all aspects of the logo and brand identity, from the colors used, to the proportions of the logo, to marketing and web applications.
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I N S P I RATIO N S Before I even began sketching, I explored examples of real-world graphic standards. I was especially inspired by the friendly tone and the minimal style of the Skype graphic standard. From there, I listed some general ideas to start my creative flow.
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T I T L E PAGE After some hand-drawn sketches, I began to organize the information for my graphic standard in a clean, cohesive way. Like the brand itself, I wanted the graphic standard to be simple, enticing, and easy to navigate. I strayed from large blocks of color and went for a restrained approach. The graphic standard includes: a title page a table of contents the logo in normal and negative forms the logo in a minimal/iconographic form logo proportions acceptable variations/usages unacceptable variations/usages colors used within the logo and brand business system letterhead, envelopes, business cards marketing applications web applications
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D ECO R ATIV E PAGE S: PAGES 2 & 3
These decorative pages add color and interest to the beginning of the graphic standard, which draws the viewer in. It also displays one of the logo variations, which adds more visual interest.
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TAB L E O F CO N TE N TS: PAGES 4 & 5
The table of contents not only introduces the graphic standard, but also gives information about page numbers. The circle motif behind the sushi photograph will be subtly repeated throughout the graphic standard.
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OU R LO GO : PAGE S 6 & 7
Each section of the graphic standard has a spread that displays the title and also uses the icons of the logo as an illustration. The green color is one of the colors within the branding system. The font used for “OUR LOGO� is Futura Std, which is the font used in the logo itself.
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LO GO I N CO LO R A N D N E G AT I VE: PAGES 8 & 9
This is one of the most important spreads in the graphic standard, because it clearly and proudly displays the logo and simple variations. Keeping text on the left and imagery on the right makes the information easy to consume.
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LO GO P R O PO RTIO N S: PAGES 10 & 11
Instead of labeling this page “PROPORTIONS,” it is labelled as “Consistency matters.” This short phrase adds importance to the use of proportions to keep the integrity of the logo, which has been careful crafted in every way.
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U S ES AN D MISU SE S: PAG ES 12 & 13
Similar to the other pages of the graphic standard, I kept these pages mostly black, except for the most pertinent information. The variations on the right are large enough to understand, but small enough that they can comfortably fit on the page without crowding.
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OU R CO LO R S A N D TY PE : PAGES 14 & 15
This is another title page. Simple, colorful, and legible. I grouped colors and type because they are both variables with very specific, easy-to-distinguish parameters.
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CO LOR S: PAGE S 16 & 17
The color page features bordered circles that represent abstract sushi icons themselves. The colors are also titled with interesting names like Salmon, Avocado, and Nori, which add a personality to the graphic standard.
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TYP E: PAGE S 18 & 19
To display three entire alphabets in a clean and legible way, I put each alphabet in a text box and justified the box, to get three rectagles of text that look ordered against three angular clusters of “Aa.”
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OU R B U SIN E SS SY STE M: PAGES 20 & 21
The business system consists of a unique envelope, letterhead, and business cards. The business system uses green as the main spot color against crisp white.
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EN V ELO PE S: PAGE S 22 & 23
The business system is colorful and friendly, but also professional. All fonts, colors, and instances of the logo are approved and follow the guidelines previously stated.
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BU S I N E SS CA R D A N D LE TT ERHEAD: PAGES 24 & 25
To make the cards unique, I simply rounded one of the corners as an homage to the packaging. The letterhead keeps the simplicity of the rest of the graphic standard.
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M AR K E TIN G A PPLICATIO NS: PAGES 26 & 27
After class critique, I added another section within Marketing Applications to include media presence. But even in this day and age, physical products and advertisements are important.
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P R OD U CTS A N D A DV E RTI SI NG: PAGES 28 & 29
The brand identity is kept consistent in advertising and romotional products. I created each of these applications in Photoshop, and placed them in a roomy layout with plenty of white space inbetween the photographs.
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M ED I A PR E SE N CE : PAGE S 30 & 31
My new media presence page brings Sunshine Sushi into the 21st century. The website and moble site use Futura Std and enticing sushi pictures to draw in consumers.
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C R ED I TS A N D B ACK PAGE: PAGES 32, 33, 34
The graphic standard ends with the design credit. The back page continues the half circle that carries to the front page, creating a compositional connection.
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PAC K AGI NG
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The product packaging aims to entice the consumer with a new way to eat pre-packaged sushi. Gone are the flimsy clamshell tops, ripped-up stickers, and tiny packets of soy sauce. This new packaging design brings together a colorful branding system with a new, innovative solution.
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I N I T I A L SKE TCHE S My sketches started as general ideas to help solve the problems of current sushi packaging: the annoying clamshell top, tiny soy sauce packets, and a tray that is difficult to hold. My ideas began to take shape in the form of a rounded box within a box look (bottom right sketch).
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PAP ER MO CKU P Once the rounded-corner package was decided upon, I created a dieline mockup and printed and assembled this mockup.
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FI N A L DIE LIN E S The final dielines are shown below, in 1:1 scale.
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FI N A L DIE LIN E S The final dielines are shown below, in 1:1 scale.
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CO N STR U CTIO N The final dielines were printed on thick matte paper, then cut and assembled by hand. The large lid is 4”x4”, the small lid 2”x2”. Assembly included hand cutting the bottom, sides, and lid of the package, then carefully glue the pieces together with hot glue. The lid also has a clear panel, made from a sheet of acrylic.
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FI N A L PACKAGE The final package design brings together biomimicry, colorful graphics, and an innovative design. Every part of the package has been designed with reason. The dual-section design provides a larger space for the sushi rolls, and a smaller section for soy sauce. The rolls can easily be dipped into the smaller cube. No soy sauce packets needed. The larger section is 4” by 4,” which can comfortably be held in hand. This makes the package easy to use when standing and eating, or when sitting at a place that does not have a table. The orange lid states the type of roll inside, which will change based on the sushi made. This package says “Dragon Roll.” The white lid has a clear, see-through panel that will be professionally manufactured out of a clear, food-safe plastic. Small colored tabs on both lids make the package easy to open. Both sections of the package will be professionally manufactured out of food safe biodegradable material that is water-tight. The package, excluding the white lid, will be compostable.
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FI N A L PACKAGE
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FI N A L PACKAGE
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Designed by HANNAH KIRSCH SPRING 2016 DES 116
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