Graphic Design, B.Des 2015 National Institute of Design
Graduation Project by Ishita Jain Guided by Mr. Tarun Deep Girdher Sponsored by Green Goose Design, New Delhi
STATEMENT OF ORIGINALITY I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this diploma project. Moreover i also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this diploma project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This diploma project (or part of it) was not and will not be submitted as assessed work in any other academic course.
Student’s Name in full: Ishita Jain Signature: Date:
STATEMENT OF COPYRIGHT I hereby grant the National Institute Of Design the right to archive and to make available my diploma project/thesis/dissertation in whole or in part in the institute’s knowledge management centre in all forms of media, now or hereafter known, subject to the provisions of the copyright act. I have either used no substantial portions of copyright material in my document or i have obtained permission to use copyright material.
Student’s Name in full: Ishita Jain Signature: Date:
Written and designed by Ishita Jain, under the guidance of Mr. Tarun Deep Girdher Disclaimer: Due to printing inaccuracies colours may vary from original. email@example.com https://www.behance.net/ishitajain www.squooishy.blogspot.in www.the-drifting.tumblr.com
Ishita Jain • Graphic Design • B. Des. 2015 • NID
SYNOPSIS Based in New Delhi, Shuddha is a new venture which aims to encourage a wholesome and healthy living through their foods. Currently Shuddha is in the process of launching juices, nut milks and some smoothies. They hope to expand to a range of foods like butters, granola mixes, yogurts, salads, tonics and elixirs over time. My graduation project, sponsored by Green Goose Design involved developing the branding and package graphics for Shuddha products. The initial research and conceptualization was based on the principles of veganism and itâ€™s health benefits till the brief morphed into creating a very high-end lifestyle brand about a wholesome, healthy living. From the naming, to analyzing each millimeter of the logo to questioning the relevance of design to a business, this project explored different aspects of understanding and designing for brands. Mid way in the project, the brief and scope of work changed significantly which resulted in a lengthy back and forth dialogue between the studio, the clients and their consultants. My final outcome focused on creating a wholesome, positive visual identity which was contemporary, scalable and adaptable over a range of products and mediums. Intense visual exploration, skill building, story telling, looking for local context in design while questioning the role of design in a business and getting first hand experience of professional design practises shaped my graduation project experience. The entire journey made it clear to me that design is anything but a linear process. I realised the importance of understanding a client and learnt how to back my presentations and push for a direction with conviction. The skill and understanding gained has given me the confidence to take up branding projects in the future, though I know that I can only be happy when I am working with content that I can believe in.
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ACKNOWLEDGMENTS If only it was easy to express my gratitude to the universe for where I stand today in a page! I am so thankful to Mr. Sudeep Chaudhuri, my boss and mentor at Green Goose Design, for his constant patience, understanding and approachability. For every question that I had and for every doubt that I had, Sudeep was always there to talk things through. Sudeep and the team at The Communication Council and Green Goose Design; Mukund, Prateek, Sakshi, Jasvinder, Vinay, Bhagirath, Sunil ji, Shyam ji, Grace, Tanya, Shivangi, Aditi and Pallavi, you guys made me look forward to office everyday. My guide, Mr. Tarun Deep Girdher. My journey as a student of design has been marked by inspirational classes, a contagious enthusiasm for learning and doing and your all knowing smile. You have taught me to think about, to pay attention to, to care and to love every single dot I use. You have taught me that every single piece of paper, be it a birth certificate or a registration form can have meaning and values, and can be designed better. You inspire me to care, to commit and to be courageous. I am so thankful to every faculty member who inspired and taught me at NID. The first professor I ever interacted with during my interview was Mr. Immanuel Suresh. Amidst stories of entomologists and insects, I don’t know what you gauged but I am so happy to have started off college with your stories. My Foundation programme co-ordinators, Mr. Chakradhar Saswade, Ms. Swasti Singh Ghai and Mr. Immanuel Suresh for building the foundation that we stand on. Mr. Rajesh Thakare, Ms.Hridayshri Das and Mr. Kaushik Chakraborty who took my first Design Drawing course and taught me not to be afraid of a brand new sketchbook. The entire faculty of Graphic Design; Mr. Immanuel Suresh for his fascinating stories and quirks, Mr. Rupesh Vyas for being so open, understanding and approachable for every query and request we had,
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Mr. Tarun Deep Girdher for bringing out an intense child like excitement for all things hands-on, Mr. Anil Sinha for his discipline and for always taking out the time to share his experience and process and Dr. Tridha Gajjar for her constant support, practical advice and guidance. I grew up in a big fat joint family, with not one set of parents, but many, each with their own opinions, stories and interests. I am always showered with your unconditional love, advice and support. I am made of little bits of you all. Mom, Dad, Dadi and Soumya thank you for all the advice, care, cuddles, it’s-going-to-be-okays and for putting up with me in my grumpiest moods. For every life discussion, for every complaint and whine, for every moment I needed a hug and someone to blow off some steam with, I had my closest friends– Pallavi, Saanya and Anirudh.
Kratu and Kalp thanks for your happy presence and all the upward and downward smiles. Ann, for being the best roommate, soothing presence and constant presence all these years. Arjun, for all the patience, faith and for always looking out for me. Shambhavi, Sarabjeet, Kiran and Vishnu thank you for all the studio companionship and for all the laughs. A big thank you to all the staff members at NID, all the kaka’s, ben’s and bhai’s and their welcoming smiles, for keeping this ship running smoothly! Gratitude to the type designers of FF Scala Sans and Serif and Gotham–Mr. Martin Majoor and Mr. Tobias Frere-Jones respectively. This document is set in FF Scala and Gotham was used the typeface used for creating the Shuddha logo. Thank you!
A heartfelt thank you to every senior who took out time to share their stories and every junior who was excited enough to listen to mine. Every person at NID has so much to share and inspire, but our own batch mates are extra special. NID UG 2011, you all give me a warm fuzzy feeling in my heart. Pupul and Naomi, full circle roommates and fellow graphic designers, I have a special place in my heart for you both. I am so thankful for your honest time, opinions and inputs on all things personal and professional. Thanks for all the motivation! Stuthi and Noopur, my studio buddies and co-conspirators. You keep the graphic designer in me restless and alive. I hope the intense discussions, cathartic drawings, music inspirations and weekend projects continue. Noosheen and Geetika, there is no stress buster in the world better than watching you both in action. Saumya, you were my technical go-to person for all things devanagari. Thanks for the help and taking the panic attack calls! Pranay, thanks for all the calm and patience, and sorry for all the talkativeness at ungodly hours.
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DESIGN PROCESS NATIONAL INSTITUTE OF DESIGN
BRANDING IS BELONGING
A brief history of branding Brands and Us Reading into the brief Important questions What’s in a name? Competitors Sourcing containers
PUTTING PEN TO PAPER
Brainstorming Route 1: Raw Route 2: Ahimsa Route 3: A healthy lifestyle
TAKING IT FORWARD
Analyzing and refining options Refining Ahimsa Presentation Matters Route 1+3 Bilingual Logos Same concept, Different look New Ideas Round 1: Preparing the presentation
REVIEW AND REFINE More about Shuddha Client Feedback Guide Visit Round 2: Refining logo options Production Processes Client Feedback Round 3: Reworking the logo Making illustrative units Making colour palettes
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A new brief Round 4 Some questions Change in keywords & the design process Persona building Brand Families: Sakara Form and Function The Final Logo Stationery
IT’S FINALLY HAPPENING
A TALK WITH MYSELF
A revised brief Seeing it in action The labels The bottle
IF I COULD’VE, I WOULD’VE
Proposed visual language
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NATIONAL INSTITUTE OF DESIGN The National Institute of Design (NID), India is internationally acclaimed as one of the foremost multi-disciplinary institution of design education and research. It is an autonomous institution under the aegis of the ministry of Commerce and Industry, Government of India. NID has also been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act. The establishment of NID was a result of several forces, both global and local. The late 1950s saw a confluence of these forces, and this time would be a significant one for Indian culture and education. This was a time of reappraisal and reconstruction in a newly independent India. A young nation was confronted with the mammoth task of nation building, of balancing age old traditions with modern technology and ideas. Revolutionary experimentation in the arts, architecture and design were all taking place at the same time. There was a search for the Indian identity across all aspects of life. The mandate for NID is to offer world-class design education and to promote design awareness and application towards raising the quality of life by and through education to create design professionals of excellence to help meet India’s diverse design needs. Over a span of the last 50 years, the institution has made it a point to lay emphasis on learning and to pursue innovation led designs through the development of the mind and skills of designers. The institute facilitates students in getting involved with real life projects, which in turn adds value to the upcoming professionals giving them a taste of actual situations. NID has taken five decades of pioneering hard work by the academic community at the institute to develop a system of education which lays more emphasis on learning than on mere instruction.
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Growing at NID A line is a dot that went for a walk. June 2011, a dot started walking. On a cold, rainy January morning in New Delhi, I remember rubbing my hands furiously to warm myself up for the upcoming NID entrance examination. The paper went appallingly bad, yet somehow there I was in April lugging a giant portfolio and discussing insects and entomology with a strange, beaming man (Suresh, who else!). And so it all began. I came in with a few vague ideas..and I was only fairly certain of one thing, that the next few years would involve a lot of dirtying my hands..and that’s about it. In no way did I anticipate the information explosion, the work culture, the diversity and the spirit on campus to engulf me and become a part of me, as if it always was, so soon. I imagine NID as a little haven of free thought, acceptance, creation and endless pursuit of knowledge. The past four years here have been a wonderful starting point which have filled me with a sense of endless wonder, for which my thankfulness knows no bounds. As a young student, I feel extremely lucky to have had a chance to study here and learn so much just by virtue of being in the space, surrounded by the people who have made this place what it is. Collective unconscious, a term coined by psychologist Carl Jung, refers to structures of the unconscious mind which are shared among beings of the same species. According to him, each person not only has their own unique unconscious mind, but also shares some elements of unconsciousness with all other people. He called this shared unconscious- that part of the mind containing memories and impulses of which the individual is not aware, the collective unconscious. Jung suggested that there are archetypes (images and memories of important human experiences) that are passed down from generation to generation.
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I relate this a lot to the collective wealth of knowledge that we have open access to, simply by being a part of this institute. The knowledge and experience of hundreds of professors and students around us, the discussions over endless cups of chai, memories and thoughts preserved in painstakingly written papers, films, publications and docs.. they all give us a strong sense of community, belonging, togetherness and responsibilty that makes us Nidians.
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FIRST STEPS AT NID The first year of the Bachelors Programme at NID is the Foundation Programme, which is geared to assist in developing values, attitudes, sensorial skills and aesthetic sensitivity necessary for specialisation in design. It introduces students to the fundamentals of design and orients students to thinking of design as a creative problem solving process. It helps develop an evolved ‘design’ perception and attitude, understanding of multidisciplinary nature of design and relationship of design with environment, culture, human senses and emotions. The Foundation Programme includes courses such as Colour, Form, Geometry, Design Concepts and Concerns, Environmental Perception, and many more inputs including field trips. It helps enrich conceptual thinking, insight for design concerns; design processes and prepares one to start thinking about eventual solutions. It aspires to create an awareness of the changing environment by constantly relating the students’ learning to real life situations. It provides the necessary direction, stimuli, facilities and experience to foster creativity and thereby help each individual to discover their own identity and potential. The Foundation Programme is the basis on which the remaining design curriculum is built after which students join different disciplines based on their choice and aptitude.
GRAPHIC DESIGN Graphic design plays many roles, as an effective information-dispenser, communicator and persuader. Technology and mediums are rapidly changing the way the graphic designer works, but basic principles of good design hold strong. Besides aesthetic considerations, graphic design encompasses contemporary culture, media, research, analysis, and critical judgment. Development of conceptual thinking as well as traditional design skills are given equal emphasis during the course. Graphic design offers different areas of study as such typography, illustration, publication design, identity design, branding, and information design. Visual culture is a combination of innumerable messages and images, from past and present. The design of messages, in the form of text, image, and now moving images is the role of the graphic designer. www.nid.edu
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“Thinking is drawing in your head” – Alan Fletcher Foundation was a time when everything interested me. I wanted to glaze pots, I wanted to weave rugs, I wanted to make pictures move, I wanted to create books. Indecisive as I am, I have always thought in pictures and for once, my brain and heart worked in tandem and it was a very natural decision for me to choose graphic design. “What do you want to do in graphic design?” Tarun asked us this question on our first day as students of Graphic Design. “I don’t want to be just a graphic designer…” I remember Tarun laughing very hard. In retrospect, I guess I had this naive notion that a graphic designer works only at a surface level. They illustrate, they make books, they make websites, they make posters and I guess I thought it was all about making these cool ‘things’. But over the years, I realized that a graphic designer is not just a ‘graphic designer”. The graphic design programme gave us the chance and the courage to pick projects of our own choice, to think of what is needed, to understand content, create original content and then, to propose a graphic outcome. I realized that design in not just about creating something, but about understanding what, why, where, when and how we are creating something as a whole.
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A spread from my first semester documentation in graphic design.
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GRADUATION PROJECT The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID’s professional education programme final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design. However, this project must be done with academic rigor incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project. The graduation project should reflect the thought leadership manifested through creativity and innovation. The project should lead to new knowledge creation and should align with broader objectives of the institute. The graduation project reflects the student’s ability to: • Apply his or her learning to current practices in the process of creating new forms of products, processes, services, and systems. • Analyze and refine his or her ideas in an iterative manner on the basis of critique. • Evaluate or reflect upon the creative processes she or has followed. While the last point above represents a higher order of inquiry usually expected in research, its significance in design cannot be understated if the designer is also to be viewed as a ‘reflective practitioner’. The graduation project reflects the students’ competence to excel in their chosen profession. This project orients the students to the needs and demands of the industry; it also helps students to make an informed decision about which career path they would like to follow upon graduation.
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What was I looking for ? The final graduation project, formerly known as the the DIP project is a big part of our preparation to start work in ‘the real life’. After four sheltered years at NID, I was quite unsure of how prepared I was to start work as a professional in the industry. I had worked without the wrath of deadlines, at my own leisurely speed, my mistakes have been accepted and I have often worked at the mercy of my moods in my comfort zone. Never having interned at a design studio before, I was very sure of the fact that I needed to work with a team at a studio. I wanted to be surrounded by people I could learn from, work with deadlines, speed up my work, learn how to converse with clients, brush up my skills, precision and work in a well organized manner. One of the things I struggle with the most is decision making, and I was curious to see if the environment at a design studio would help me with making faster, yet well thought of decisions. Over the past four years, largely because of the way our courses have been structured at NID and partly because of my own preference for working hands-on, I was pretty sure that I wanted to work on a print based project and one thing that I had always, always looked forward to was the Branding module, which sadly never happened for our batch as the curriculum had been restructured. So I was quite keen to look for a branding project to work on for my final graduation project.
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SPONSOR: TCCGGD The Communication Council (TCC) is a brand communication consultancy that was incepted in 2001. Within the office, there are three departments; TCC which handles all the Public Relations, TMC; Tailor Made Content, which handles all social media strategy and GGD; Green Goose Design. Having all the three departments work together provides full coverage for any brand’s communication strategy. Green Goose Design is a multidisciplinary brand consultancy. The studio focuses on strategy as the foundation of all visual, concept and creative design solutions it undertakes for brands that compete in global and local contexts. The studio believes that design should be engaging and entertaining. Mr. Sudeep Chaudhuri, the creative director of GGD, an alumnus of NID mentored me for the duration of my project.
THE CLIENTS Bound by a common passion for health and fitness, Mr. Raghav Modi and Ms. Devika Maliah, co-founders of Shuddha, felt that there was a lack of genuinely fresh, healthy and nutritious food available in the Indian market. Both Raghav and Devika are disciplined fitness freaks and are very conscious of what they eat; both follow a meticulous gluten-free and sugar-free diet and they feel that it has changed their lives. After a visit to the US, our clients bought a small cold pressing juicer for their home and began experimenting with recipes. After some initial research, they realized that most juice companies were offering cold pressed fruit juices, which contain high amounts of sugar. They also found the hygiene standards to be less than satisfactory. All of this led to the inception of Shuddha.
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The Team at Green Goose Design. I learnt so much from each and every person on the team. Everyone was warm and approachable, and I felt at ease from my very first day. From teaching me how to use the pen tool properly to learning how to work with difficult clients, everyone at the studio was really patient and responsive. I was valued as a team member and my suggestions were taken seriously.
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GUIDE A guide is faculty member at NID. A student can look for a guide based on the expertise, or area of specialization of the faculty (largely determined through courses taught and research or practice pursued). The guide in conjunction with the student will work out a schedule for periodic reviews during the course of the project. For this project, I was guided by Mr. Tarun Deep Girdher, Senior Faculty, Graphic Design, NID & Head, Print Labs, NID. Currently, Tarun also heads NID’s Publication department. A large chunk of my memorable classes at NID were taught by Tarun. I discovered my love for print during the intense typography, illustration and print production courses taught by Tarun. It is often the anticipation of Tarun’s critical analysis that constantly drives me to push myself further. He always makes us think and question why we are doing what we do and for whom are we doing it. Talking to Tarun often confuses and inspires me, and leaves me with many new things to think about.
Photograph by Mani Maran, at the Print Labs, NID
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NOTE* Before we delve into the project, let me explain the way I work and how this document is structured. I cannot ideate till I put pencil to paper and just draw, or write or doodle. Most of my ideas begin in my sketchbook, which is why you will come across a lot of spreads from my sketchbook in this document. As a studio, the way we approached this project was by brainstorming together and then presenting a rough look and feel of all the identity options for the first presentation. Only once the clients narrowed down to a few options did I begin refining them. The project evolved and the brief changed over a period of time which led to a lot of back and forth. Hence, this document is not a linear one, I have stuck to the actual chronology of the events as they unfolded including my errors and mistakes. I have also included parallel notes about little tips that helped me work more efficiently, notes about things I should have done differently in retrospect. During the course of this project, I read some really good books and reading them often helped me voice my own reflections better, I have shared anecdotes and snippets from my book list as well..
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In hindsight, it really helped to have all my research, images, web links and references sorted, scanned and bookmarked in organized folders right from the very start. Maintaining a personal process blog was incredibly helpful in keeping track of the chronology of events and made work much simpler when I had to write and design this document. Command+S every half an hour. Name and highlight important files properly. Take back-ups regularly. Mark the date on all print outs you take. Scan your artwork the day you finish it. Make copies of all stages and iterations of your artwork rather than refining over and over one copy. Take progress screenshots. Bookmark everything project related you read. Try and write about the progress you made every week. Trust me, it really helps!
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branding is belonging
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Fundamentally, branding is a profound manifestation of the human condition. It is about belonging: belonging to a tribe, to a religion, to a family. Branding demonstrates that sense of belonging. –Wally Ollins
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BRANDING The term branding comes from the old Norse word ‘Brandr’ which means to burn. Cattle, slaves, timber and crockery were burnt or branded with the markings or symbols of the owner using a hot iron rod. The concept of branding was essentially to depict ownership, especially of valuable things. The end of the 19th Century saw a massive shift in attitudes to products and purchasing of things. This push was led by a collection of new technology and methods of communication such as the invention of mail order catalogues the advancement of railroads and the expansion of the postal service. The end of the Second World War saw a manufacturing boom as many factories which were set up in order to produce military equipment could now be used to make products. With the facility for mass production now in place coupled with access to markets years’ earlier production for brands could now reach and produce for almost anyone. In a few decades, with the increasing competition and globalisation brands needed a means to distinguish themselves. Earlier, success was easy if you could ensure that you were creating a quality product or service. As long as you offered a quality product and it was superior to your competitors, things were easy. The standardization of quality products forced companies to find new ways to distinguish themselves. This led to a burst of ‘branded’ products in market. The process involved in creating a unique name and image; a personality for a product in the consumers’ mind, through a representative visual identity, advertising campaigns and marketing strategy is branding. It aims to establish a significant and differentiated presence in the market that attracts and retains loyal customers. The outward expression of a brand – including its name, trademark, communications, and visual appearance – is brand identity. Because the identity is assembled by the brand owner, it reflects how the owner wants the consumer to perceive the brand – and by extension the branded company, organization, product or service. This is in contrast to the brand image, which is a customer’s mental picture of a brand. The brand owner will seek to bridge the gap between the brand image and the brand identity. Brand identity is fundamental to consumer recognition and symbolizes the brand’s differentiation from competitors.
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BRANDS AND US All of us identify with certain brands, even though we might not consciously realise it. Our daily rituals and habits are marked by certain brands that we endorse. I decided to observe some of the brands that I buy regularly and interact with on a regular basis. I realised that importance of the trust and the perceived values that we associate with certain brands that we become loyal to.
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I was reading Logo Design Love by David Airey when I came across this exercise to help us understand the significance of brands in our lives.
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READING INTO THE BRIEF
Questions came, but the answers had to wait as my clients were on a long break at the time that I joined the studio. So, this was pretty much all the information for the next month and a half. I started with writing down the words that sprung to my mind when I read the brief and then started reading more and more about these keywords.
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A growing number of health conscious individuals are adopting ‘veganism’, a term coined in the 1940s. Research has proven that adoption of a vegan diet, even partially, can have significant health benefits, lowered rates of obesity, reduced risk of type II diabetes, lower incidents of cardiovascular diseases and reduced chances of cancers (specially colon cancer). Vegan diets can reduce the risk of heart disease, and are regarded as appropriate for all stages of the life-cycle. Targeting fitness, health and wellness segments across ages, ‘Wisdom Foods’ (name to be decided) is going to launch a series of vegan products. They will start with 6 juices, 3 nut milks, 3 nut butters and 3 elixirs. While the product range will be beneficial to the general population, it would target the biggest ailments of the country, diabetes, hypertension and heart disease. Endorsed by a panel of nutritionists the product line will be locally sourced, seasonal and fresh. Raw, gluten free and dairy free, the products will be sugar free as well.
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VEGANISM Veganism is the practice of abstaining from the use of animal products, particularly in diet, as well as following an associated philosophy that rejects the commodity status of sentient animals. A follower of veganism is known as a vegan. Veganism is a way of living which seeks to exclude, as far as is possible and practicable, all forms of exploitation of, and cruelty to, animals for food, clothing or any other purpose. Evidence of people choosing to avoid animal products can be traced back over 2,000 years. As early as 500 BCE, Greek philosopher and mathematician Pythagoras promoted benevolence among all species and followed what could be described as a vegetarian diet. Around the same time, Siddhartha Gautama Buddha was discussing vegetarian diets with his followers.Followers of Jainism also firmly believed in the concept of ahimsa or non violence towards all living organism. They follow vegetarian or vegan diets. Fast forward to 1806 CE and the earliest concepts of veganism were starting to take shape with Dr William Lambe and Percy Bysshe Shelley amongst the first to publicly object to eggs and dairy on ethical grounds. In November 1944, Donald Watson, founder of the Vegan Society, England, called a meeting with five other non-dairy vegetarians to discuss non-dairy vegetarian diets and lifestyles. Though many held similar views at the time, these six pioneers were the first to actively found a new movement – despite opposition. The group felt a new word was required to describe them; something more concise than ‘non-dairy vegetarians’. Rejected words included ‘dairyban’, ‘vitan’, and ‘benevore’. They settled on ‘vegan’, containing the first three and last two letters of ‘vegetarian’.
Vegetarianism and Veganism Neither vegans nor vegetarians eat meat. However, while vegetarians tend to consume dairy products and eggs, a vegan avoids all animal products, including eggs and dairy, and often inedible animal-based products, such as leather, wool, and silk. Vegetarianism is usually a diet, while veganism is a lifestyle.
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Vegetarianism is a diet, Veganism is a lifestyle. Why vegan? What all do vegans eat, why do they opt for veganism, and what are the health benefits? For the animals: Preventing the exploitation of animals is not the only reason for becoming vegan, but for many it remains the key factor in their decision to go vegan and stay vegan. For the environment: One of the most effective things an individual can do to lower their carbon footprint is to avoid all animal products. For Health: Obesity: A vegan diet helps to combat obesity in all age groups. A comparative study done on various diet groups has proven that vegans have the lowest body mass index and are less prone to obesity when compared to meat eaters, fish eaters, and vegetarians. The reason behind this significantly lowered weight gain in vegans can be attributed to higher fiber and lower animal protein intake. Cardiovascular Health, Blood Cholesterol and Hypertension: Vegans have reasonably lower levels of blood pressure and LDL cholesterol, along with healthy levels of blood lipids and a good body mass index (BMI). All of these factors lead to significantly better cardiovascular health. Diabetes: A Vegan diet consists of plant-derived foods that are naturally high in complex carbohydrates and low in fats. These two factors reasonably contribute to controlling diabetes. Vegan diets are also beneficial in reducing the risk of cancer, rheumatoid arthritis, parkinsonâ€™s disease, bronchial asthma.
Image credits : Shutterstock
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SOME KEY TERMS Organic Food: Organic food is produced using environmentally and animal friendly farming methods.Organic farming in general features cultural, biological, and mechanical practices that foster cycling of resources, promote ecological balance, and conserve biodiversity. Synthetic pesticides and chemical fertilizers are not allowed, although certain organically approved pesticides may be used under limited conditions. In general, organic foods are also not processed using irradiation, industrial solvents, or synthetic food additives. Gluten Free: A gluten-free diet is a diet that excludes gluten, a protein composite found in wheat and related grains, including barley and rye. Gluten causes health problems in sufferers of celiac disease and some cases of wheat allergy. Raw: Raw foodism (or following a raw food diet) is the dietary practice of eating only uncooked and unprocessed foods. Local Produce: Local food refers to food produced near the consumer. The term local food system is used to describe a method of food production and distribution that is geographically localized, rather than national and/or international. Food is grown and harvested close to consumers’ homes, then distributed over much shorter distances than is common in the conventional global industrial food system. In general, local/regional food systems are associated with sustainable agriculture, while the global industrial food system is reliant upon industrial agriculture. However, being locally produced can’t be used as a reliable indicator of sustainability. Sustainability: Sustain can mean ‘maintain’, ‘support’, or ‘endure’. Sustainability could be defined as an ability or capacity of something to be maintained or to sustain itself. It is about consuming only what we need to live now, without jeopardizing the potential for people in the future to meet their needs.
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IMPORTANT QUESTIONS By now it was clear to me that building a brand is not just about making a logo. Branding is about building an experience that will stay in the minds of people. Branding is storytelling. And to build a good story, you have to get your facts right.
Knowing these basic facts also helps a lot in brainstorming , you never know which word or phrase will connect to other things you might have seen, heard or read. At this initial stage of
Before we moved on to the naming exercise, there were many things we needed to know to get a better understanding of what our clients wanted to project to the world. So, I prepared a list of questions for our clients. The aim is to collect stories, values and practices that are unique to the company and can help build a better brand.
ideation, gathering more information helps me make better connections, which in turn can make visualization very organic and exciting process.
1. What is your current location, what is the process for sourcing your ingredients? Do you grow your own ingredients or source them from somewhere (where)? Are they organically grown? Are they locally produced? 2. In brief, what is the process of production (from growth, farming to the final stage) for juices, elixirs and nut butters like? Is there any special equipment that you use? What are the flavours (and their ingredients) that you plan on launching for each category? 3. Who is your target audience and what do they care about? What is their understanding of vegan products and what do they expect from your products? 4. Who are your competitors and what challenges do you face from them? 5. What are your short term and long term marketing and promotional strategies? 6. What is your price range?
These questions were answered much later, just a few days before our first presentation, so we went ahead and explored a range of naming options, each with a varied tone of voice. Answers on Page 131.
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WHAT’S IN A NAME? Parallel to research, the studio had already made various naming options for the brand. As a warm up exercise, I also tried to come up with some naming options to add to the list I wrote down all possible words, feelings, objects i could associate with veganism. I was a little skeptical doing this so arbitrarily as I barely had any key information about the clients, their philosophy towards this brand or even their target audience. So the naming exercise was more of a word association and brainstorming exercise.
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Activist We activate health We activate wellness We activate beauty We activate wisdom
Imbibe Foods Imbibe wellness Imbibe health Imbibe taste Imbibe quality
Activate We help activate your health
High Health High quality High taste High energy High wellness
Jump Jumping with goodness Jumping with wellness Jumping with health. Shuddha /Shuddha Plus Purity personified Purity defined Pure foods Pure quality Pure taste Pure happiness Shoonya Zen foods that promote wellness Zen foods that bring health Zen foods that taste good Zen foods with zero additives Super Cells Super life Super choices Super energy Super 360°
Epitome The best of quality The best of wellness The best of taste The best of life Clean Clean food Clean living Clean energy Clean life Oas (dew) Concentrated purity Rainbow Tree The colours of health selected from the earth’s palette Wisdom Food Eat wise, live wise
Stride A step towards your wellbeing
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A VISIT TO THE SUPERMARKET Organic health foods are steadily showing up in the Indian market. Toget a glimpse of what was on the shelves, I made a visit to an upscale supermarket near my house. I found no explicitly vegan products, but a few organic cereals and juices, most of which were imported and cost much more than normal food products. Some organic cereal boxes cost between Rs.500-750 Alara, Bionia, Jordan’s, Soil Association all are UK based companies. Fabindia has a range of organic products which can be bought at their outlets.
Bright plant illustrations Photographic ingredients Balanced white space
Large type Photographic ingredients Brightly coloured background
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Photographic + illustrative Exercising figures
Shrink wrap Dull colours Crowded graphics
Natural, organic colours Simple patterns
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COMPETITORS When I searched about cold pressed juices specifically, I came across many other Indian brands and I saw that most of them are sold through e-commerce. As I looked through the jungle of these juice brands, very few brands stood out. Most of them were really similar; right from the visual language to the flavors to the price range. It was not that the design didn’t work, the heavy use of typography, minimal surface graphics and clear bottles are easy to scale and adapt across a range of variables. But there was hardly anything special which made a brand stand out. How, then does a brand differentiate itself? Stories, and context. To differentiate oneself, you have to bring in an element of connect, of cultural context and weave in a narrative. Here is a visual comparison some of the brands I saw.
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Raw typography Watercolour patches Distracting black background Crowded information
Wordmark Distinct labels
Wordmark Illustrated iconic elements Transparent background Clean and simple
Logo indicative of orange juice Typography reliant
Colourful logo, unresolved forms Transparent background Typography reliant
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Case study: ANTIDOTE One of the brands that effectively managed to make a mark with people and establish itself as a cool and quirky brand is Antidote. Right from the way they have named their juices to their surface graphics, everything is colourful, quirky and has a keepsake value. Antidote juice programs & liquid-until-dinner cleanses aim to detoxify & rejuvenate the body. They have five programs to nourish every need of the body. Drink your hunger! with SKINNY DOWN for weight loss Drink your detox! with EXHALE to cleanse & purify Drink your glow! with LIGHT UP for skin & hair Drink your might! with HORSEPOWER for protein & strength Drink your youth! with NINE LIVES for anti-ageing “The logo subtly incorporates a geometric drop with two leaves. This drop is taken forward on each label with added illustrations that carve out a distinct identity for each cleanse.”
Sans serif wordmark with a forced droplet in the counter of the ‘A’ .
Amber glass bottles to provide protection from sunlight.
Distinctive die cut labels, but they are a little untidy and have creases and folds due to the curved surface
Lively and fun colour palette Each cleanse is differentiated by beautiful bespoke illustrations. Minimal information. name, ingredients and storage information. No nutritional values or added factual data.
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After the initial launch, the illustrations have stopped appearing on their expanded range of juices.
Currently, they use smaller, 250 ml bottles without the illustrations. They use colour as a differentiator.
Sealing stickers are used to write the name of the milk. They have also launched a range of dairy free milks. All bottles are the same.
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Case study: RAW PRESSERY Bombay based Raw Pressery is currently the largest selling brand for cold pressed juices in India. Their no nonsense fitness oriented approach reflects consistently in all aspects of their communication from their logo to their social media campaigns.
Clean, strong and well proportioned letter forms create a simple but impactful logo. These lines are consistent design elements across all collaterals
Clean and simple typography
Sporty and crisp tone of voice
Clear bottles to show the juices’ natural colours
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Consistent visual language and informative content
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SOURCING CONTAINERS Our clients were initially quite keen on using glass bottles for their products and were planning on having a recycling scheme to collect used bottles for reuse. Customizing the bottles did not fit in the budget, so we went on a sourcing trip to Chandni Chowk in Old Delhi. After trudging through narrow lanes and vast crowds, we finally found one supplier’s factory. We saw a couple of existing samples that they had, got a general idea of costings and production units. Most of the 200-300 ml bottles were meant to be used with crown caps which was something that we were definitely trying to avoid (single use, non resealable, wasteful).Their glass quality did not seem to be great either and for making a new mould, they required a minimum order of 10,000 pieces. After that we went to Ajanta Packaging Company in Paharganj where we found some nice samples. They make bottles for some very big brands like Keventers, Dabur, Amul etc. They use USP type-3 glass which is the standard glass type used for food products. All their bottles are made with screw caps and the offer frosting and printing services as well. What makes glass a better alternative than plastic? It is re-usable, lesser energy is used in it’s production and it is made entirely from natural readily available materials as opposed to to plastic or metal bottles. The feel and the weight of a glass bottle is also entirely different from a plastic one, and I feel it gives a lot more credibiltiy to a premium health and lifestyle product. However, they are breakable, heavier, difficult to transport and more expensive than plastic.
HNG glass factory
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Bottle samples at HNG Glass factory
Bottle samples at other places.
Bottle prices for 200-250 ml bottles range from Rs 6-8 with metal screw caps ranging from less than a rupee to Rs.2.5 at Ajanta packaging.
Screen printing on glass
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putting pen to paper
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…it can be an old sign somewhere or the small details you see when you go to a new city, we all react emotionally to these things, in a way quite often unintended by the designer. I try to put these feelings in particular into my typeface
It’s quite hard to explain– feelings of nostalgia, ennui, some quite painful, some to do with a beauty that has been lost, but they are all because of the prominent and ephemeral nature of design. …This is the one where I hope to connect in a different less quantifiable, logical way.
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BRAINSTORMING Parallel research aside, I had started thinking of different concepts for the branding. The clients finally decided on the name ‘Shuddha’, a hindi word which means, ‘pure’. Veganism emphasizes on constant communication with the natural world. Taking inspiration from this thought, I started doodling some ideas. Shuddha aims to create health foods for a happier and healthier lifestyle. I toyed with the idea of a concept where we could draw and colour different ingredients and which organs they benefit through simple illustrations. Since all the juices, milks and other bi-products are made from raw, unprocessed ingredients, I thought one option could be to reflect that in the logo. Using very raw organic forms would go with the brief and would also differentiate them from their competitors. Everyone at the studio liked the idea of creating a bilingual logo, especially because the client chose the name ‘Shuddha’. Being an Indian brand, catering to a local audience, we thought that using devanagari would make sense. Shuddha means pure, so some of us started exploring that route. Jainism talks of the principle of Ahimsa or non violence and practicing Jains follow strict vegetarian diets. This sparked off some ideas as well. Like I mentioned before, all my ideas, the good, the bad, the random, the lame, the idiotic ...all started in my sketchbook. So this section will feature a lot of spreads from my sketchbook. At this early stage of brainstorming, my ideas were all over the place. I was thinking of sustainable design and how best we could incorporate sustainable practices in our design solutions. How could we limit the use of paper in the packaging, what kind of bottles could we use, could we use plant waste in the packaging, is it feasible to use eco friendly water based inks etc?
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ROUTE 1: RAW Shuddha means pure, so I wanted to explore forms in their purest, raw form. The fruits and vegetables in their products are also used raw. I wanted this to reflect in the brand language. I was visualizing very natural tactile forms, vegetable sections and earthy textures. The very fact that the clients had chosen the name Shuddha, and the fact they cater to a local audience made me want to emphasize the Hindi name visually. All of us at the studio were keen on having a bilingual option for the logo. I started exploring raw type options in both latin and devanagari scripts as well, though later I realized I should have probably tried to keep the forms similar in both the variants rather than working on them separately. I had not really given much thought to whether or not they would be bilingual word marks, or whether they would be separate directions altogether. I tried different types of inks and paints, brushes, leaves, different papers, to try and achieve the texture that I was looking for.
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Raw lettering: Latin For the latin lettering, I tried various forms and strokes. I wanted to avoid unnecessary flourishes and keep the forms very organic, raw and basic. At first it seemed simple enough, and I kept making variations hoping that suddenly I would strike the right combinations of form and space. But it was harder than I expected, putting an undefined adjective into a pleasing arrangement of form. I made several attempts; different brushes, different paints, different angles, but in retrospect, I could never really look past the texture and analyze the form. Nevertheless, I worked on several options, some of which I quickly live traced in Illustrator just to get a rough idea of how it might turn out.
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I approached the lettering exercise without any keywords or mood boards in mind. I worked intuitively, lettering being a comfort zone for me...but without an understanding of what exactly was needed, and this was where I went awry. I did not stop to think how the latin and devanagari options would work, would they be variants or different options. This led to a messy and unnecessary back and forth process of creating and refining logotypes that tried to complement each other.
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Raw lettering: Devanagari The devanagari lettering was a little tougher because I was not used to lettering in this script, but it was easier to achieve the desired texture because I had already figured out which tool and which ink worked best for the raw look I wanted.
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In retrospect, most of the work I did initially was not very concrete and quite indulgent, based on my sense of aesthetics. A lot of my decisions were arbitrary, but that was also because I hadn’t had the chance to interact with the clients and I was not designing with a target audience in mind. I cringe when I look back at the work I did initially, but it was also lucky in a way that I had the time to explore without any constraints. This gave me a wide enough base to work on later. Looking back at this work is also real actual proof, that yes, I did get better with time and effort. Also, aesthetics are subjective. Something I found appealing was no longer appealing 6 months later. I was so reluctant to put these explorations in my doc, but then one of my friends pointed out to me that this doc is meant for people to see and understand that the design process is not linear and that good solutions do not always happen in one shot. It takes repeated efforts to arrive at something good.
Trying various type options and placement options. It was all pretty arbitrary at this point, but I thought Gotham bold went well with the brush strokes. I placed the English type asymmetrically, along the curve of the ‘sh’.
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ROUTE 2: AHIMSA The next concept that I worked on was inspired by Jain philosophy of Ahimsa. Ahimsa is the philosophy of compassion and non violence and is a common belief of many religions. It stands for non violence, non-injury or absence of desire to harm any life forms, which is also the principle of veganism. The hand with a wheel on the palm symbolizes the Jain Vow of Ahimsa. The word in the middle is “ahimsa”. The wheel represents the dharmachakra which stands for the resolve to halt the cycle of reincarnation through relentless pursuit of truth and non-violence. I thought of using the possible ingredients of the products to construct the form of the hand. Initially I thought it looked too much like the Unilever identity and was reluctant to take it further, but Sudeep told me not to worry about it too much, and just because I was employing a similar technique did not mean that I was ‘copying’ another idea, and that if it works for our given brief, there is no reason to not explore this idea further. Working with hypothetical ingredients, I tried to simplify the forms further. I tried to avoid line drawings and worked with fills so that they could work on a smaller size as well.
A quick white paint and ink clean up of the logo. Since this presentation was just to pitch ideas, we did not spend time vectorising and cleaning up the individual forms.
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ROUTE 3: HEALTHY LIFESTYLE This direction toyed with the idea of emphasizing on the constant connect between man and nature. I thought of creating a scenario which puts emphasis on how important fresh foods are, as they give us energy and good energy from within. I started doodling along these lines and made some illustrations which I thought were reflective of this connection between man and nature. This route was more intuitive, where I was constantly thinking of the overall visual language but not particularly how the logo alone might look.
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A healthy lifestyle During my stay at home, I finally got a chance to recover from four years of mess food and irregular food timings. I used to fall sick very often and now that I was home, it was time for some major lifestyle changes. I became very conscious of what I was putting in my body and while it was hard, the benefits were worth it. I have always been a vegetarian, but even then it took time to regulate my habits, eating fresh food at regular times, cutting down sugar from my diet, increasing my vegetable and fruit intake, eating a light dinner, exercising every day. With every passing day, I started enjoying simple food. I felt fresher and lighter and my cravings went down. All of this made me realise how important it is to know and regulate the kind of food we eat. We don’t have much of an option while we are away from home but the food we eat directly affects our every day mood and productivity, and we are constantly connected to it.
One of the ideas I had was to use foods that look like certain body organs; for which they are also beneficial.
This started out as just an exploration, but Sudeep felt that it was nice and we could use this sketch itself, for now, as part of some of the collaterals.
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I made some quick single colour line drawings in a similar style which were easier to use across media. I should have made the same illustration rather than making a different one altogether. This led to a bit of confusion and a lot of inconsistency across the mocks later on.
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A quick live trace on Illustrator
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taking it forward
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ANALYZING AND REFINING OPTIONS After this initial round of visualizing my thoughts, I tried to analyze which ideas could be taken forward. I also felt a little nervous and worried about whether or not I would ever get to see my options taken forward because I was not the only one in the studio working on this project. As a studio, Green Goose Design worked on new project briefs together to come up with a wide range of preliminary options. I tried my best not to get influenced by everyone elseâ€™s ideas. I tried to be objective and narrowed down to two different routes which I could take forward. I felt that the Ahimsa option could be taken forward. The illustrative options that I had thought of seemed apt as a visual language, but not as a logo, So we decided to combine the raw lettering and the healthy lifestyle options together.
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REFINING AHIMSA Type and colour are both weak areas for me. I find it very hard to attribute meaning to my type and colour choices and often end up confused. I tried several geometric, widely spaced sans serifs to give a very clean feel. I thought Mrs. Eaves looked quite interesting as well, it completely changed the feel from a clean, healthy approach to a more spiritual and calm one, though it was not very legible at small sizes. Gotham worked well and the weight of letter forms seemed more balanced with the icons. Finally, I tried Neutraface bold. It is less wider than Gotham and has higher ascenders and seemed to work better. It also had a fresher feel to it.
A quick ink and white paint refining of the artwork. At this stage we just wanted to present possible routes to the client, so we did not spend too much time in vectorizing the forms
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Since the logo is inspired from the Jain philosophy of Ahimsa, Mrs. Eaves would have been an ideal choice to reflect a spiritual approach. But from my understanding of the brief, our clients wanted to come across more fresh and modern rather than spiritual. This is something that really perplexes me. Other than legibility, type choices seemed subjective or arbitrary. I could justify the use of Mrs. Eaves saying that it gives a calm, spiritual feel and contrasts the forms in the symbol. Alternatively I could say that it looks too formal and does not complement the forms. I could opt for Gotham rounded saying that it complements the round forms that I have used a lot. I could use Neutraface saying that it is the more legible, and is open and informal. In retrospect, I understand the importance of understanding the brief, the brand values and the users to decide the apt visual tone of voice for the brand.
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MRS EAVES is a transitional serif typeface designed by Zuzana Licko in 1996. It is licensed by Emigre, a type foundry run by Licko and husband Rudy VanderLans. With a low x-height, wide proportions and generous spacing, Mrs. Eaves is a very attractive, elegant and organic typeface.
NEUTRAFACE is a geometric sans-serif typeface designed by Christian Schwartz for House Industries, an American type foundry. It was influenced by architect Richard Neutra’s design principles and was developed with the assistance of Neutra’s son and former partner, Dion Neutra. It’s available in several variations, including a version with a lower x-height for setting text called Neutra Text. With long ascenders and descenders and low crossbars, Neutraface is a clean, yet quirky typeface.
GOTHAM is a family of widely used geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham has a relatively broad design with a reasonably high x-height and wide apertures. Gotham is clean and fresh but at the same time has an established air of authority.
SHUDDHA shuddha SHUDDHA shuddha
SHUDDHA shuddha The same word written in these three different typefaces emotes completely different qualities.
http://www.houseind.com/fonts/neutraface/neutrahistory http://www.emigre.com/EFfeature.php?di=109 http://www.typography.com/fonts/gotham/overview/
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As a quick colour exploration, I thought we could try using different colour palettes for different flavors and highlight the ingredients of a particular flavor using the darkest shades of the colour.
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Single colour explorations
C: 0 M: 80 Y: 95 K: 0
C: 72 M: 12 Y: 59 K: 50
C: 72 M: 12 Y: 59 K: 50
Single colour options; I wanted to work with earthy, organic and warm colours.
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We felt that the leaf at the thumb was attracting too much attention, so we rearranged the components a little bit.
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The final logo, with the logotype in Neutraface Bold.
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PRESENTATION MATTERS After this initial stage of conceptualization, we started preparing mock ups for the first round of presentation. To a layman, an idea is as good as you make it out to be. It’s a very natural human tendency to judge a book by it’s cover (and it’s not entirely wrong, as graphic designers we design those covers after-all!) Beautifully plated pieces of cake, with a smidgen of chocolate sauce and a sprinkling of cocoa. Intense contrasts, carefully controlled light, beautiful backgrounds for a fashion photo shoot. Stark walls, empty spaces, minimal frames, soft lights at the newest exhibition in town. Presentation matters. Clients are usually unable to visualize how a logo spreads across collaterals and might end up dismissing really good ideas. It’s up to us to convey to them how an identity can spread across different media. Bad mocks are perceived as bad identities, so it’s important to use them well.
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Making mock ups We used the bottles we sourced from Chandni Chowk to make more realistic mocks than the ones we were using. We did a mini photo shoot in the studio and then we cleaned up the photos on photo shop.
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Ahimsa mock ups
Initially, I was very keen on using brown card paper for the collaterals because I felt it went with the organic and natural approach. But then Sudeep insisted that using brown paper is a very typical and done thing and it isn’t necessarily sustainable. We also tried two different mocks and opted for the flat mocks.
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An example of how a typeface can change the entire feel of a product. Mrs.Eaves (top) gives a very elegant and holistic feel, where as Neutraface (bottom) creates a more youthful and fresher feel.
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Explorations for bottle tags
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ROUTE 1+3 After the initial round of intuitive exploration, It was quite clear that the third concept of a healthy language was not suitable as a logo. Other than the treatment, the Raw option as a stand alone was not working out either, so i decided to combine both these options. The illustrations were also quite raw and natural, so they worked well with the lettering. Initially, We decided to work on two separate options : English lettering+Illustration and, Hindi Lettering (Bilingual)+ Illustration We made a separate set of mocks for both.
English option : Raw lettering + single colour illustration
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Bilingual option : Raw Hindi lettering with English logotype + watercolour illustration
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Latin logo mocks
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Bilingual logo mocks
I wanted to use the same illustration in watercolour as well as a single colour line drawing, but due to lack of time we used the existing illustrations together as they were quite similar.
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BILINGUAL LOGOS When I came back to these explorations a few weeks later, they felt utterly random. Both the logotypes and the illustrations were quite similar and we had just made separate options on the basis of language. The original intention was to make a bilingual logo and at this point I found myself a little confused about what exactly a bilingual logo is and how it works. Did we even need a bilingual logo? Does it refer to two logotypes of the same word in different languages or does it mean that both the scripts appear together in one logo unit. And what about the usage? Do both the English and Hindi variations appear together on all collaterals? or only when the context demands it? if so then how does the public establish connect between the two variations, is the form and colour enough to suggest that?
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Devanagari logotype Latin logotype
Most government institutions have bilingual logos where the english and hindi appear together, and appear separately as well.
Multinational companies like Coca Cola often have multilingual versions to accompany the logo.
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COMBINING OPTIONS We felt that the previous two options were repetitive, so we decided to combine both the options and present them as bi-lingual variants. A latin variant of the devanagari logo could be used when required. This set of mocks is what we used in the final presentation for our clients.
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Again, we used the same illustrations together instead of repainting the exact same thing in water colour to save time.
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SAME CONCEPT, DIFFERENT LOOK
This was a really good exercise as it made me realize how weak my basic form was, my explorations were just looking appealing to me because of their texture.
As a studio, we were keen on pushing the combined direction of the raw lettering with the healthy lifestyle illustrations but I was apprehensive about the production aspect of using raw, brush forms, so Sudeep suggested that I clean up the brush lettered forms and make a clean, more refined version of the same concept of a healthy lifestyle and try to adapt the illustration to match it as well.
Latin type refinement
Initially, I tried to clean-up the texture by retracing the forms, but that wasn’t looking very organic.
It was much more precise and faster to try and resolve the form as much as possible on paper rather than trying to figure it out repeatedly on Illustrator.
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This was the first time I was vectorizing type, and it took a lot of time and practice to understand where anchor points should be placed and how they can be manipulated.
They looked quite appalling by the time I finished vectorizing them. They individual forms were really wonky and there were no characteristic features which were tying them together. I tried variations, but it was quite clear that they did not work, especially not with the devanagari counterpart. So, I cleaned up the devanagari wordmark first, and then keeping those forms in mind, I tried to re create a latin wordmark.
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Devanagri type refinement
It’s pretty evident that both the options do not complement each other. The devanagari one still had some sort of character, so keeping that as a base I reworked the latin type.
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Vectorization practice Parallel work I did in the studio to get comfortable with vectorizing complex curves. I would hand letter or construct the forms on paper and then used the pen tool and the smooth tool to go over the scans. Trying to keep the handles at right angles is supposedly the best way to get perfect curves. It took a lot of attempts to understand where the anchor points should be placed. I also tried fitting perfect circles in the forms and cutting off the arcs. Repeated practice and a combination of these tips helped me get better.
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Making complementary variants Thin and thick strokes, fluid swashes and smooth terminals are the characteristic features of the devangari wordmark which I tried to replicate in the latin variant. I used a brush pen to get the thin to thick stroke variation and then worked over the scans.
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I thought this version was much more soothing and worked better than the previous attempts. Despite being clean, the letter forms are still natural, organic and fresh. I was pleased with the latin wordmark and I was also more comfortable with vectorizing the type.
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Refining the illustration Simply vectorizing the earlier illustration did not do any good, so I decided to re-do it from scratch using a grid. This was an entirely new skill for me, and was quite time consuming. I did not find the process of vectorizing it too enjoyable and struggled with it. One of my colleagues, Bhagirath is quite good at this style of illustration and he helped me quite a bit, he taught me how to deconstruct all the shapes using circles and lines. He and Sudeep also suggested drawing all the elements separately, in a linear orientation and then placing them in the desired position. This helped a lot!
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The illustrations were composed to enclose the logos centrally.
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Some of the elements were rearranged to make a single unit which could be repeated as a pattern. It was at this point that I realised how much more scalable and adaptable this technique was as compared to the watercolour approach.
Colour explorations for the illustration.
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I was more keen on exploring single colours, mostly earthy greens. But majority of the team though we should opt for a multicolour pattern as it was more fun and appealing.
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Mock ups for the refined version
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A NEW PERSPECTIVE A few weeks into the job, I met the owner of TCC GGD, Mr. Arjun Sawhney, only now. As a business person, Arjun had some different perspectives in mind. He insisted on trying some of the ideas that he had in mind. He wanted us to think more deeply and have more fun with the brief. While initially, I was in complete disagreement with some of the things he had to say, the meeting gave me a push to think a little more. Arjun wanted us to try to think along the lines of building a character, a pandit, a sadhu or a guruji who could be used as a mascot to build a story to encourage people to use this ‘pure’ juice. While using the idea of a mascot was interesting, I was quite wary about using a sadhu/ pandit seeing as so many self proclaimed sadhus in our country go around scamming people. Next, he really wanted us to incorporate a swan in the logo. At first I was perplexed. A swan? Why? He asked us who we though will invest in buying such expensive juices?; People who are very conscious about their health i.e; people who are wise. Who is the goddess of wisdom? Saraswati Who is her mascot? A swan. Along with that he suggested using a tag line ‘ The wise pick the pure’ I found his story interesting, but still, using a swan for a vegan brand made no sense to me, and I don;t think people would have connected to it. What caught my interest was the usage of a tag line and how it could target the user’s psyche. I read a very interesting excerpt about the evolution of marketing in a book; THE BRAND GAP by Marty Neumeier. He says that selling has evolved from an emphasis to what a brand has,to what it does, to what you’ll feel and eventually, to who you are. Nike’s tag line, Just do it is an apt example of this. It is identifying with the buyer’s psyche and saying, it’s okay, just go for it.
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TAG LINES Some of the tag lines we came up with at the studio. The ones I liked, are highlighted. A concoction of the pure and natural Nourish your body, mind and soul Eat, Breathe, Live Pure A burst of nourishment. Nurture your being. Eat Well. Live Well. Feel Well. Refresh. Replenish. Rejuvenate. Helping you remain healthy and happy Nourishment from inside to outside Germination of your good health Pure foods, Pure health The wise pick the pure Live Healthy, Live Pure Pure nutrition
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NEW IDEAS With the deadline approaching fast, all of us in the studio were constantly working on this project. After having seen how arbitrary clients could be while working on other projects, I started worrying about my work not going into production. Most of the work we had done was on the basis of very little, unclarified information that we had and the clients could have gone with anything that appealed to them. I also felt stuck in my comfort zone with lettering and illustration, so I tried to think of a few more ideas which could work but I never got the time to execute them.
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Looking back, I quite like this concept, especially because I felt that I was finally able to break away from my comfort zone of free flowing illustrations and lettering.
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The brief given to us had great emphasis on the clinical notion of health, so I decided to go down a more scientific route for this option. Since the brand is vegan, I took inspiration from plant cells, which have a hexagonal structure. Taking colour and form inspiration from plant cells and leaves, I juxtaposed the leaf veins to look like an energetic human form inside a hexagonal structure. I felt that there was potential in this idea.
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Inside Out Sudeep suggested going back to my initial sketches for the healthy lifestyle route and trying to make a logo using the single human figure. So the concept was similar, if we put good, fresh food in our body, it will reflect in our mental and physical health. We will be healthy inside out. This exploration did not turn out very well and time was running out, so I did not take it any further.
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I did not spend enough time in correcting the form, as result it looked quite clunky. Time was running out, so I dropped this option.
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ROUND 1: Preparing the presentation
The time before the presentation was a really stressful one for me because I kept thinking about my academic project and I really wanted one of my concepts to get chosen. I guess this is why I got rather scatter brained towards the end and suddenly started working on new concepts because I felt the need to increase the quantity of work I was putting in. Obviously, this started affecting the quality and I realized that, so I focused on refining my initial concepts.
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This was my first ever client presentation and I was quite excited about it. I had prepared a list of keywords and a small write up about each of my concepts, but we followed an image only format, which was how presentations were done at GGD. Of course, I was not the only one working on this project, there were 3 other graphic designers working on it as well. Amongst us, we had some common concepts with different visual treatments, some of our own distinct concepts and some ideas from our head, Mr. Arjun.
By Sakshi Babbar
Variations of the Ahimsa concept by me and Sakshi.
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Variations of the healthy lifestyle concept by me
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Vertical bilingual logo by Bhagirath Vaghamshi
Purity; Logo by Bhagirath Vaghamshi
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Saraswati, Goddess of wisdom; Logo by Bhagirath Vaghamshi
Swan associated with Sarawati; Logo by Bhagirath Vaghamshi
The Shuddha Buddha; Logo by Jasvinder Singh The concepts suggested by Mr.Arjun Sawhney, Head of TCCGGD
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THE FINAL PRESENTATION
This was the first time that I sat for a client presentation and it felt surprisingly normal. I felt less nervous than I did before my juries and just as excited. Sudeep who took our clients through the presentation, and I got to add in additional supporting facts. It was interesting to see how Sudeep chose his words and the order of the options to try and pitch our preferred options to the clients. As a studio we preferred the healthy lifestyle route and the bilingual wordmark. Sudeep deliberately kept the simpler logos together in the beginning, making the sudden appearance of bright and colourful illustrations towards the end more exciting. The meeting started with the clients responding to all the questions we had asked them two months ago. The next chapter includes their answers, what we understood from them and how the brief we had set for ourselves evolved into something more concrete.
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review & refine
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To achieve an effective solution to his problem, the designer must necessarily go through some sort of mental process. Conscious or not, he analyzes, interprets, formulates. He is aware of the scientific and technological developments in his own and kindred fields. He improvises, invents, or discovers new techniques and combinations. He co-ordinates and integrates his material so that he may restate his problem in terms of ideas, signs, symbols, pictures. He unifies, simplifies and eliminates superfluities. He symbolizes– abstracts from his material by association and analogy. He intensifies and reinforces his symbol with appropriate accessories to achieve clarity and interest. He draws upon instinct and intuition. He considers the spectator, his feelings and predilections. –Paul Rand
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MORE ABOUT SHUDDHA Our clients finally got back to us with answers for the questionnaire (Pg. 33) we had prepared for them. 1. What is your current location, what is the process for sourcing your ingredients? Do you grow your own ingredients or source them from somewhere (where)? Are they organically grown and/ or locally produced?
milk, rice milk and soy milk are often fortified with various minerals and vitamins, all of these nutrients occur naturally in almond milk. Nut milks are also lower in calories than dairy. Most nut milks are a good source of the antioxidant vitamin E and are a much richer source of calcium than milk. Compared to soy and rice milk, nut milks have the highest concentrations of vitamins and minerals.
- We will be manufacturing our products from a commercial space in Chattarpur. - To begin with we will be manufacturing juices, nut milks, nut yogurts and nut butters. - We will be using local markets and farmers markets to source the produce. - We will try to keep the produce organic to the extent that we can but will not be certifying or marketing our products as organic. - The produce is going to be green, local, seasonal, fresh, natural and cold pressed. The idea behind keeping the products local and seasonal is twofold: 1. it is a way of ensuring that the ingredients are always fresh and easily available. 2. We are bearing in mind the philosophy that during each season the human body is better equipped to metabolise and absorb ingredients which are naturally available during that time of the year. For instance cucumber is available in the summer and it is better to be consumed in the summer rather than the winter. Similarly, we will focus on local ingredients. Kale is not native to India so we will instead be using other collard greens which contain similar nutritional values but is in season and local. The idea behind keeping it primarily green is that the juice is not simply a load of sugar as are most fruit based juices, instead it is nutrient rich with minimal amounts of natural sugar. With regards to the nut based products our raw materials will also be locally sourced. The reason we are sticking to the vegan philosophy is that Nut milks tend to be far more nutritious than dairy. While cowâ€™s
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2. In brief, what is the process of production (from growth, farming to the final stage) for juices, elixirs and nut butters like? Is there any special equipment that you use?
3. Who is your target audience and what do they care about? What is their understanding of vegan products and what do they expect from your products?
- In a nutshell, with regards to the juices, the process will involve cleaning and juicing, using cold pressed juicers. Cold pressing is a more effective way of preserving the nutrition in the juice. There’s juice, and then there’s cold-pressed juice. These juices contain more vitamins, minerals and enzymes than those made with a traditional centrifugal machine. Other styles of juicing, involving fruit and veg being sliced by spinning blades, can overheat and oxidize the juice, resulting in nutrient loss - and a less palatable end result. - With regards to the nut butters, milks and yogurts, the process is simple, clean the nuts and extract the milk from high quality nuts using a blender. Then we flavor them with various natural flavors and also keep plain nut milks. The same milk will be used to set the nut based yogurts. These yogurts will have a wide range of usages. For instance, almond milk yogurt can be used in kaddhi instead of regular dairy yogurt.
Our products are targeting anyone that is keen on health and wellness. Since our products will be highly nutritious our audience will include both men and women of all age groups other than nut milks’ products which will not be suitable for infants as well as people with nut allergies. Similarly with juices
What are the flavors (and their ingredients) that you plan on launching for each category? Juice 1- For immunity: Celery, Apple, Cucumber, Parsley, Turmeric, Amla Juice 2- For energy: Spinach, Cucumber, Ginger, Lemon, Celery Juice 3- For detox: Ginger, Beetroot, Carrot, Apple, Spinach Juice 4- For strength: Spirulina, Spinach, Apple, Pineapple, Cayenne, Coconut water Juice 5- For calm and relaxation: Cucumber, Spinach, Pineapple, Lime, Mint Juice 6- For weight loss: Spinach, Cucumber, Mint, Parsley, Cilantro and Collard greens Nut Milks Cashew milk - flavored with dates and sea salt Walnut milk - flavored with dates and sea salt Almond milk - flavored with dates and sea salt Yogurts and butters made from the nut milks.
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4. Who are your competitors and what challenges do you face from them? Our main competitors are Antidote, Just pressed and the Raw Pressery. Our main challenge is the number of new entrants in this space are increasing rapidly as health food products are fast becoming a trend in India. 5. What is your price range? We are still developing a detailed pricing strategy but for the time being to give you an idea, we are trying to price the juice at: Rs 175- Rs 200. In principle all our products will be sold under Rs. 300 Glass Bottle sizes for the juices will be - 250 ml Glass Jars for the nut butters will be - 100 ml Plastic Containers for the nut yogurts - 250 ml Glass bottles for the nut milks - 250 ml
vegan fresh local
Take- away We had been working more or less on assumptions for the first two months, we did not know whether they wanted to project themselves as a medicinal product or a trendy health foods brand or a spiritually inclined lifestyle brand, but after reading our clients’ responses to our questions, we had a clearer understanding of the brief. The focus wasn’t so much so on veganism as a moral or eating practice , but it was more about catering to a wholesome and healthy lifestyle. They wanted their products to be fresh, local, natural and healthy. Their products were targeted at a large audience; anyone who was concerned about their health . Most of our assumptions had been correct, but this gave us more clarity and we felt that the third direction; A healthy lifestyle, was the most appropriate direction to take forward.
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I could sense some discord amongst both the clients. One of them was envisioning Shuddha as more of a clean, medicinal, no-nonsense brand while the other was talking of a slightly more fun and trendy brand. I knew that this might create potential issues later on.
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Our clients were quite pleased with the range of options presented to them. They liked the Ahimsa logo I did, the vertical bilingual logo Bhagirath did and the concept behind the Shuddha Buddha. They especially liked the illustrations and were keen to explore those. Though they also wanted the identity to reflect that they are using leafy, green ingredient rather just projecting themselves as a fruit juice brand. They were also very keen about exploring more options with the vertical devanagari lettering as most of their surfaces; the bottles have a vertical orientation.
GUIDE VISIT When I met Tarun, I was full of doubts, I was very unsure about my colour and type decisions, I was trying really hard to break away from my comfort zone, but was unable to. I have a knack for illustration and hand lettering, but find it difficult to simplify and get down to a simple, clean symbolic form. 1. The first thing that Tarun asked me to work on was building personas. He asked me to talk to more people, their thoughts and perception about a healthy lifestyle. Building personas will give us a clearer insight about our consumer. Their lifestyles, the kind of products they consume, their perception of high end brands, the kind of graphics that they are used to and what they associate with a certain visual. A projected insight into the consumerâ€™s mind will help us build various personas. Once we have that study, it can help us guide our design decisions and help us crack why the consumers prefer Shuddha over other brands.
4. He asked me about the visual qualities that my wordmark should reflect and how purity, freshness and cleanliness can be reflected in it. Should I look at perfect proportions with a slight quirk, should my line quality match my illustration or create a contrast, how could I create a connect between the illustration and the word mark? He gave me a few Hindi typefaces to work with. It was quite a productive meeting, it helped me understand how to add more meaning to my work and how to establish a rationale behind every design decision that I make rather than simply how it looks.
2. Tarun also asked me to make several mood boards to give me different directions. What reflects purity, cleanliness, freshness. Other brands which endorse similar values. Visuals that evoke a calm and pleasant feeling. Studying other products that people consume (foods, cosmetics, things which directly affect our bodies) and understanding their visual language and colour palettes. 3. Tarun asked me to pay attention to the illustration and build a story around it rather than using arbitrary figures and randomly places fruits and vegetables. He asked me to pay attention to the postures of the human figures, looking at the 7 chakras in the body, yoga postures and other things associated with living a healthy lifestyle. He asked me to pay attention to the leaves in the illustration, exploring more forms rather than repeating the same leaf.
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ROUND 2: Refining logo options The next phase was one of intense type exploration and form refinement. I started experimenting with some typefaces that Tarun had suggested, I tried different joineries and variations in stacking with different pens, pencils, brushes and nibs. Once we selected the forms we liked, it was an intense process of scanning, tracing, retracing and vectorizing. This process made me comfortable with the nittygrities of form correction, which was something that I really enjoyed.
In Shuddha, the ‘da’ is half, denoted by a halant and the dha is a full character. Below is an incorrect spelling, as the ‘dha’ is half, and I did several explorations like this till one of my batch mates who was working on a devanagari typeface explained it. However, as a conjuct the ‘dha’ is halved and stacked below the the ‘d’ because as a form, it is not visually possible to half the ‘da’.
Explorations with digital typeface, Laila
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Working with calligraphic nibs.
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Calligraphy was quite confusing as the nib that I was using is meant for latin calligraphy and I kept getting muddled, and couldnâ€™t maintain the same thickness everywhere. I mixed and matched elements from different iterations and then retraced them to round them off. But the final option did not turn out well, somewhere in trying to soften the form, it became too wonky.
Trying a different construction. Base forms done with a paintbrush.
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The final variation progressed from an illustrator brush exploration.
Once I fixed on the construction, I started exploring the form. The illustrator brush gave me a rough idea of the look and feel, but it needed a lot of refining which I proceeded to do so with a brush pen, After which I refined the form with a white pen to get an even thickness and clean counters.
Refining and thickening the strokes
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I tried to follow the same style of lettering for the English version. I went with the fifth option though I wasn’t quite pleased with it, I felt that it looked a little forced and the placement wasn’t the best.
C: 54 M: 0 Y: 98 K: 0
The final logo in a fresh, green colour to emphasize their reason for using fresh, leafy and green ingredients.
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Refining the illustration Once the logo was resolved, I worked on improving the illustration. As per my guide’s suggestions, I studied some more leaves, especially the ones mentioned in the ingredients and made icons for those.
Next, I worked on the postures. I looked at yoga postures for health and wellness.
As I read about different asanas, I realized that most asanas have a wholesome purpose of overall balance, rather than solving one particular problem. I mostly looked for simple, standing asanas that would be easy to incorporate in the illustration. Image credits: http://www.wickedfitness.net/yoga-poses.php
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Natrajasna; for balance and immunity.
Shirshasna; for increased circulation and detoxification
Vrikshasna; for balance and strength.
Tadasana; for energy.
How I reached the final illustration: Starting with singular elements of the postures, leaves, fruits and seasonal elements, I tried various permutations and combinations till I reached a pleasing composition. We kept the illustration horizontally longer, keeping in mind that it would be wrapped around the bottles.
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Repeating the illustration to create a pattern.
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PRODUCTION PROCESSES At this point, we were considering the different ways in which we could print the graphics on the glass bottles. We were not involved in any structural packaging, but we had to figure out the package labeling for the products. The main purpose of packaging and labeling is physical protection of the product and information dissemination about the product. When dealing with food and beverage packaging, the surface of the container becomes the face of the brand to interact with and attract consumers. Parallel to design explorations, I started reading about the different production processes for printing on glass and plastic containers and also, methods for making the bottles tamper proof.
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Printing methods SCREEN PRINTING The first thing people notice about a screen printed bottle is the smooth and elegant paperless look. There’s no adhesive, no frayed paper edges, and no chance of ripping or scuffing. Applied Ceramic Labels (ACL) can actually be baked into the surface of the glass for a label as durable as the bottle itself. PAD PRINTING Pad printing (also called tampography) is a printing process that can transfer a 2-D image onto a 3-D object. This is accomplished using an indirect offset (gravure) printing process that involves an image being transferred from the cliché via a silicone pad onto a substrate. Pad printing is used for printing on otherwise difficult to print on products in many industries including medical, automotive, promotional, apparel, and electronic objects, as well as appliances, sports equipment and toys.
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SHRINK WRAP Shrink wrap, also shrink film, is a material made up of polymer plastic film. When heat is applied, it shrinks tightly over whatever it is covering. Shrink Sleeve is a type of labeling application in which labels are printed on film and then wrapped around, and shrunk tightly to conform to various shape and size containers. The “Sleeves”, or labels often span the containers full 360 degrees, from topto-bottom. This entire area provides an enormous canvas to display powerful point-of-sale graphics and content. Shrink sleeves are applied to virtually any shape or size container on PVC, PET, PETG, or OPS film. UV flexographic (8 and 10-colour), Rotogravure, and Digital are technologies that can be used to print shrink sleeves.
STICKERS Paper or plastic adhesive labels can be screen printed or printed digitally and be pasted onto the bottle. Paper labels should be avoided for refrigerated goods as they can get soggy and tear due to condensation.
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Tamper proofing methods SEALED CAPS These closures feature a tear away band that will literally “tear away” as the consumer loosens the cap. Once the band has been broken, it drops to the bottom of the neck area, making it obvious to the consumer that the package has been previously opened. DECORATIVE STICKERS Decorative tamper evident labels have been gaining popularity recently with a wide range of industries, as they seek tamper evident options with existing packaging components, while enhancing their shelf appeal. These labels are often printed on paper stock or tamper evident stock, with decorative colours and designs that complement the package on the shelf. Given the characteristics of paper stock labels, the labels will break easily when the closure is removed, thus achieving it’s tamper evident purpose. INDUCTION SEALING Induction sealing, otherwise known as cap sealing, is a non-contact method of heating an inner seal to hermetically seal the top of plastic and glass containers. This sealing process takes place after the container has been filled and capped. The closure is supplied to the bottler with an aluminum foil layer liner already inserted. Although there are various liners to choose from, a typical induction liner is multi-layered. The top layer is a paper pulp that is generally spot-glued to the cap. The next layer is wax that is used to bond a layer of aluminum foil to the pulp. The bottom layer is a polymer film laminated to the foil. HEAT SHRINK BANDS Commonly made with PVC plastic materials, heat shrink bands contract as they come in contact with heat (often a heat gun) and bind the closure and container together externally. The consumer would need to break the shrink band in order to remove the cap, and since it does not come in contact with the product inside, it is a popular option for many dry and liquid products in stock packaging that do not have the tamper evident bead.
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After the second presentation, Our clients were not very convinced. They felt that the identity had too much of a conventional organic, natural and local vibe like Fabindia or Khadigram products. They had envisioned their brand to be much more high-end and premium and that was a higher priority than reflecting their natural and green qualities. They wanted a more contemporary approach and were reconsidering the idea of using Hindi. They were still not quite clear about how they want to market themselves, if they see themselves as a medicinal product or a trendy health product. Both the partners had a different idea of the brand amongst themselves. They also pointed out that the fruits were standing out too much in the illustration and asked us to use vegetables only and maybe just a few fruits because they are not making fruit based juices.
We had been using really traditional glass rounded bottles which added to the overtly organic feel of the brand. The combination of the excessive use of green, filling the space with the pattern and standard bottles gave the overall feel of it being a little too conventional. I realized it’s important to focus on each and every element of the presentation. I spent too much time on the logo and the illustration and hardly spent anytime on colour and on executing my mocks, which brought down the perceived quality of the entire language. I still felt really confused about choosing one main colour, and couldn’t decide of what basis does one pick the primary colour for the brand. Green was a very obvious choice and I wasn’t sure on what basis to go past that. Looking at other high end food brands and personal use products, I also realized that the visual language that I chose was quite cluttered and did not have enough breathing space to make an impact. I also considered the possibility of using special effects.
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VISUAL TRANSLATION OF THE KEYWORDS After the presentation Sudeep and I discussed why what we had done did not work and we decided to : 1. Make individual illustrated units around each of the human figures so that it gives us greater flexibility to use them across different mediums rather than using the pattern everywhere. 2. Work on monolinear geometric forms for the logo 3. Reconsider colour choices and use brighter colours rather than getting stuck on green.
They felt that their visual identity was looking too conventional, natural and Indian and they wanted to avoid it. They were reconsidering the idea of using Hindi for their logo. I thought differently. The very fact that they chose the name Shuddha, and they are an Indian brand catering to a local audience was a good reason to experiment with the devanagari script. I thought it would add relevance and context to who they are, where they come from and for whom do they make their products. They were primarily wary of Hindi being associated with very homely, day to day brands and Hindi not being ‘cool’ or edgy enough for a high-end brand. I decided to take inspiration from the devanagari script and deconstruct it with a very modern, geometric and minimal visual style.
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ROUND 3: Reworking the logo
I tried various variations with sketch pens, round nibs and the pen tool. It was quite interesting to see how the placement of a single dot could guide your eye differently. It was interesting to see how changing the position of a dot by a few pixels could make a drastic change. It took quite a lot of tries to resolve the form.
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Type explorations for the English type. I instinctively felt that Gotham would work well in terms of the visual weight and proportions of the letter forms and it did. I altered Gotham Rounded and broke it down in lines and dots so that it matched the visual treatment of the devanagari logo.
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The final form. The counters for all the letters were replaced by a dot.
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Making illustrative units Instead of using large cluttered blocks of illustrations, we decided to make separate units for each of the postures. I looked at yoga postures for overall health and fitness and narrowed down to some postures on the basis of the following keywords mentioned for the juices : immunity, energy, detoxification, strength, calm and relaxation and weight loss.
Virabhadrasana, a stress reliever, for calm and relaxation
Bhujangasana; for better digestion and weight loss
Natrajasna; for balance and immunity
Shirshasna; for increased circulation and detoxification
Vrikshasna; for balance and strength.
Tadasana; for energy.
It took quite a while to get evenly composed units with balanced curves and fillers. I spent some time initially trying to make them directly on Illustrator, but it was just a waste of time for me. Once I started exploring on paper, it happened much faster and then I traced over it in Illustrator.
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The illustrated units, with leaves, flowers, fruits and vegetables as fillers. They look intricate but are easily adaptable as and when the product range expands. They are easily scalable across paper collaterals and can also be used to build wire grills in retail outlets or promotional products.
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Making colour palettes Colour was something that I had been struggling with since the beginning of this project. For the longest time, I was stuck with the notion of using greens as my primary colours because the juices were mostly leafy and green juices. This was a very conventional approach and ended up making the identity look really dull, much like many other natural brands in the market. I tried making some colour palettes using the tentative ingredients for the juices.
These colours felt too jarring, so I tried softening them down a bit by reducing the saturation, but still trying to maintain the freshness.. These colours felt too jarring, so I tried softening them down a bit by reducing the saturation, but still trying to maintain the freshness.
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Colour therapy I still had no clarity or good concept behind choosing different colours for different poses, so I started reading about colour and wellness and colour therapy. I figured that blues might be appropriate for weight loss, as blue rarely occurs naturally in food and is often used in plating/ as an additive in colour therapy to make food look unappetizing so that people eat lesser. Blues/ turquoise promote resilience and healing, and so I thought they would be apt for immunity. Similarly, I chose red for vitality / energy, lavender for calm and relaxation, a yellow-orange for strength and green for detoxification. I simply took these words (immunity, energy, detoxification etc) as a starting point to build a reasoning for my colour choices, they are not intended to be used just for these categories but can be used across collaterals as and when required.
I picked some colours after reading about colour therapy and explored different levels of saturation and accent colours. Now, i felt that the theory was falling into place but I could not relate the colours to food as such, they seemed to lack that warmth, so I intuitively tweaked the values a little till I had a fresh,bright and appealing palette.
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C: 66 M: 57 Y: 0 K: 0
C: 22 M: 72 Y: 0 K: 0
C: 2 M: 72 Y: 60 K: 0
C: 65 M: 0 Y: 35 K: 0
C: 0 M: 43 Y: 92 K: 0
C: 67 M: 0 Y: 76 K: 0
I decided to pick the teal as the primary colour as it has a combination of blue and green and it goes very well with the overall idea of health and wellness.
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We used edgier looking bottles to make sure we stayed away from a traditional feel. We presented two options, opaque labels and clear labels/ direct pad printing on the bottles. We used a gold finish to add to the high end look .
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We put the tag line in a free flowing hand lettered style to create some contrast in the flow of information.
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Visiting cards and tags.
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Carrier bag options
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On one hand we have those who believe that graphic design is a problem solving business tool and designers should suppress their desire for personal expression to ensure maximising effectiveness of the content… …while on the other hand we have those believe that although graphic design undoubtedly has a problem solving function, it also has a cultural and aesthetic effectiveness, and it is enhanced, not diminished by personal expression. –Adrian Shaughnessy
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A NEW BRIEF With a well thought of colour palette and a logo, that in my opinion fit really well with the brand positioning and the target audience, I was quite confident about the next presentation. But of course, nothing ever goes to plan. As we said hello to our clients and sat down to present, they had some major news for us. Our clients had hired business consultants to help them with setting up Shuddha and together they had changed their entire business plan. They still wanted to promote a healthy lifestyle, but they no longer wanted to limit themselves to juices, milks and butters. They wanted to create a full meal plan for their consumers. Instead of providing a few products to their consumers they wanted to give the consumer a way; a lifestyle to consume an entire range of products, which they would provide.
A new range of products They wanted to create salad driven weekly menu of 5 meals per day; light, fresh, healthy and green breakfast, lunch and dinner along with a small snack and juice. They had decided to go to a third party for the manufacturing and logistics of the meals. They basically wanted to get rid of planning and tension that goes behind deciding what to cook everyday and trying to ensure that it is healthy and nutritious. The scope of work expanded manifold; we would have to look at the packaging of all the meals now. Our brand language had to be vastly adaptable over a big range of products now. Glass was not an option anymore, they were looking at disposable containers and plastic bottles for the juices.
A new target audience They wanted to target 30-50 year old, upper middle class/ upper class busy professionals. They had a very high pricing range in mind; about Rs 1500-2000 per day for a 5 day week, for three light meals and two snacks for one person, which translates into at least Rs.10,000 per week for just one person’s meal. Their
target audience became quite streamlined now, though they had not thought it through. We did some quick interviews with a range of people within office and got varied responses* (this prompted me to read a lot more about persona studies and work on my persona studies). We recommended them to conduct a focus group survey and do some trial runs to see what the response is. In light of the new direction their brand was taking, they even felt that ‘Shuddha’ might not be an appropriate any more. The basic keywords had changed. They were no longing planning to stay vegan or local.
Healthy, lifestyle, nutrition, high end, contemporary, fresh, leafy, natural were some of the keywords.
This new business plan gave me a much clearer understanding of their intended brand outlook. Earlier, their target audience was quite generic, but with these new tentative figures in mind, it was much easier to understand the consumers and it made it easier to position the brand.
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FEEDBACK After the big news, we went ahead and showed the presentation we had prepared anyway because we felt that even though the scope of work had changed quite drastically, the core values that we had incorporated in our latest solution; promoting a healthy lifestyle with a very contemporary look and feel; were still valid. Our clients were very pleased with the direction we presented. They felt that it sat very well with their vision of the brand. Because the identity was so minimal, abstract and looked modern, they decided to stick with the current name; Shuddha. However, They came back a week later and said that the feedback they got from people was that the logo was too complicated, but everyone loved the illustrations. They wanted to go back to ‘hand’ approach, which had got a really positive response from the people they shared it with but we advised them not to since they had mentioned that they might expand to non vegetarian items in their items in the future and the hand was based on the principle of non violence, Ahimsa. Eventually, we ended up with an option that I am not at all pleased with. De motivation, a few days to execute what our clients wanted and their indecisiveness were my sad excuses for producing bad, illogical work. I simply paired the illustrations with an English wordmark. I did what the clients asked me to do, something that made no sense at all, and it really made me sad. Our clients were also not particularly excited about this but they wanted to wrap the identity as soon as possible. They really liked the proposed solution but were really affected by what their friends’ opinions and thought that people won’t be able to understand the thought behind it. The project deadline for the remaining collaterals was extended by 6 months.
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SOME QUESTIONS This meeting made me question a lot of things. How can we determine what will work and what won’t? As a designer, I try to do my research properly, I see what all is out there in the market, I try to analyze the target audience, see their preferences and try to imagine how they would react to different brands. I find myself questioning the process that goes behind designing a visual identity when people tend to pick and choose whatever appeals to their aesthetic sensibilities. And i guess, as part of the process, we are also asking the wrong questions. I don’t think it makes sense to ask people which option they prefer based on a hypothetical product which is not even in the market. Visual identity is a part of branding, it is the face of a company and it conveys the values and abilities of it’s product or a service, so then it does not make sense to judge an identity without interacting with the product or the service for which it is designed. So how important is a designer’s job when it comes to branding and how effective is design to a brand in monetary terms? We share our work space with a PR agency and a social media company who build strategies to market brands and in that scenario it seems like a good marketing strategy plays a major role in selling a brand. Even a brand with a ‘bad logo’ can do well if it has a good marketing strategy, but ultimately it all comes down to how good the product or service it provides is. Nike would never be successful if it’s products were not up to the mark. They have a strong, adaptable, vibrant and powerful design language, beautifully designed products, constant and energetic campaigns but it would all be pointless, deceptive even, if it’s products did not match the expectations evoked by their branding strategy.
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FINDING THE ANSWERS After the fourth presentation, the clients decided to go with the illustrated units and use the neutral balance posture as their main logo. We really tried to make our clients understand why it wasn’t a good option but they were really convinced that the other option was too ‘creative’ for people to comprehend even though they really liked it. I was really demotivated about my project and lost focus for a bit. I was really looking forward to learning about the technicalities of production and that was not going to be happening anytime soon. So, I spoke to my guide and asked for his advice. Tarun explained to me that our clients do not understand design the way we do, so it’s our job to present accordingly. He explained that our presentations were simply a series of images, and each consequent presentation was disconnected from the previous ones. He pointed out that once the clients go home and re look at the presentations, it is very likely that they will forget about the thought behind each concept and all that remains is the visuals. This made a lot of sense and after this feedback, we tried to incorporate a concept note and keywords in all of our consequent client presentations. He asked me to take a couple of days off and do a recap, sit with all my old explorations, rejected ideas, read all my notes, do some mind mapping, see how the keywords in the briefs have changed and how that has been reflected in the visuals. He said that somewhere it seemed that initial vision of both the client, and the visual identity had been lost. He asked me to go back to my user studies and analyze the visual qualities of brands my target audience could be interacting with. He also said that if the clients have chosen an option to go with, then I need to work on my intended solution for my initial academic brief as well.
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RECAP: Changing keywords & the design process
The evolving keywords, the evolving logo options and the iterative design process.
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PERSONA BUILDING I was determined to make our clients understand why using the illustration as the logo was not ideal technically or conceptually. So, I went back to Tarun’s advice and re-looked at my persona studies a little differently. I tried to see what are the other kinds of brand that this target audience interacts with. I was hoping that a visual analysis of these might help me in convincing them something clean and minimal would work better as a logo.
I found it very hard to understand how and why persona studies are done, so I started reading a little more about the role of personas in Interaction design and how they can be useful for design. I referred to About Face- The essentials of interaction design by Alan Cooper, Robert Reimann and David Cronin.
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How do you use your research data to come up with a design that will result in a successful product? You have note s full of conversations and observations, and it is likely that each person you spoke to was slightly different from the others. It is difficult to imagine digging through hundreds of pages of notes every time you have to make a design decision, and even if you had the time to do this, it isn’t entirely obvious how these notes should inform your thinking. Personas provide us with a precise way of thinking and communicating about how users behave, how they think, what they wish to accomplish, and why. Personas are not real people, but they are based on the behaviors and motivations of real people we have observed and represent them throughout the design process. Users have three types of goals; Experience goals, which are related to visceral processing: how a user wants to feel. End goals, which are related to behavior: what a user wants to do. Life goals, which are related to reflection: who a user wants to be.
Kavita Singh 27 yrs She works in an event management company. Lives alone in New Delhi. Her interests include reading, traveling and going out with friends. She has long work hours and is very particular about her diet. She has a big healthy breakfast, a protein heavy lunch and a very light dinner. When she has to order in food she prefers to order salads, soups or food from Subway. She has a very high liquid intake and she does aerobics 5 days a week and goes running on weekends. She is happy with her professional life. She wants to get married soon. She is currently focusing on her health and fitness and wants to lose some weight. She is not particularly brand conscious, she does some of her shopping in local flea markets and some in shops like Forever 21 and Vero Moda and uses brands like Garnier and Maybelline for personal grooming.
Palak Sood 23 yrs Studied at Modern School, Barakhamba in New Delhi and then did her graduation in Journalism from London. Lives in South Delhi with her family. She is currently interning at Vogue and hopes to join as a junior editor soon. Her interests include fashion, shopping, reading and food. Like a lot of youngsters, while she loves eating out, she tries to watch what she eats and trains with a professional trainer 4 times a week. She does not like to go on long, restrictive diets but cleanses regularly, especially after the festive season. She carries home cooked meals to office everyday. She loves trying out young and cool brands in fashion, her favorite ones are Alexander Wang, Bottega and Rag & Bone. Her favorite cosmetics brand is Bobbi Brown.
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Nikhil Sharma 30 yrs Graphic designer from Bangalore living in New Delhi. Graduated from Srishti School of Art, Design and Technology. He is very passionate about music, art and fitness. He is very disciplined in his approach to his work and health. Music, fitness and art interest him. He leads a very healthy lifestyle and has very disciplined eating habits. He wakes up early and works out for an hour,goes to office and works till evening and then spends the rest of his evening reading or making music. Some days, he goes to the gym in the evening and some days he has music classes. On the weekends he likes to go out clubbing with his friends, though he does not drink alcohol. He carries home cooked food to office everyday, even when he goes out he only eats sugar and oil free food. He also uses a lot of protein and vitamin supplements. He is particular about the brands he uses for personal grooming. He uses brands like Gillette, Nike and Zara.
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Sudhir Batra 49 yrs Entrepreneur from New Delhi. He is the founder of EatZone, an open public platform which enables people to interact about food trends in India. He is divorced and lives alone. He is very active in social circles and has a very erratic lifestyle. He smokes and drinks excessively and does not exercise. He is very used to a luxurious lifestyle and has several helpers to take care of his chores. As part of his work, he is always traveling and trying and endorsing different brands. He is constantly trying new restaurants and clothing brands, but he is very brand conscious about things he uses regularly. He prefers to fly by Emirates and he usually stays at Le Meridien hotels.
After the interviews with people for building the personas, We also asked them about Shuddhaâ€™s new business plan. Some people found it too expensive and many were quite interested in it. As working individuals, they all had very little time to plan and cook healthy meals for themselves and they were keen to try it out, but they also mentioned that it would definitely not be practical as a weekly or monthly plan because most people have a cook or a helper who comes to make food for the entire household and a weekly plan would leave the help with nothing to do for a week. We suggested a focus group study to our clients before they finalized their brief. Meanwhile, a visual analysis of the brands that came up in our persona studies reinforced our belief that a clean and minimal logo would be much more scalable and adaptable for brand that has a very vast range of diverse products. It would also be easier to use it over a range of marketing/ advertising campaigns. Backed by this mood board of logos, I felt more confident about getting the message across.
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BRAND FAMILIES Case Study: SAKARA Meanwhile, our clients told us about an American company, Sakara which followed the same business model. I decided to study it to understand how the visual language is extended over a range of products. “We believe that what you put into your body forms the building blocks for the rest of your life and affects your relationships, career, happiness, and ability to create. We believe in simplicity in all areas of life, especially in food. Fresh, natural, local meals, prepared with loving hands using the healthiest, most hydrating and nourishing ingredients possible. The Sakara Life centers on the idea of making the right choices for your body because you want to, not because you have to. Sakara is not just about eating clean - it’s about living clean. Welcome to the Sakara Life. Welcome home.” Sakara does a range of very high end meal plans with daily to weekly to monthly meal plans. They also sell individual products like salad dressings, special waters, exotic ingredients and beauty products. They have their own magazine and merchandise.
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The language extension is fairly simple. The logo and numbering system has been used to label the product. The shape of the container and the natural colour of the products are indicative enough as product differentiators.
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A LITTLE HELP FROM MY FRIENDS Our clients were concerned with the readability of the logo, so I gave one last try for the form correction. Everyone at the studio already knew what I was working on, so they had already seen the letter forms and associated the word Shuddha with them. So, I sent screen-shots of the logo without the English type below to a lot of my friends; graphic designer, non designers, people whose mother tongue wasn’t Hindi to see what they associated the forms with. Some people confused the ‘Sh’ with ‘R’, some people read it as Shuddha and some people just saw an arrangement of shapes which looked cool. But the moment people saw the logo along with the English text, they were able to understand the meaning behind the forms immediately. One of my batch mates, Saumya Kishore was designing a devanagari typeface for her final project. I got some technical feedback from her. She suggested ways in which I could make the ‘Sh’ look more like a ‘Sh’ and not like a ‘R’. Again, she pointed out the spelling error; the ‘dha’ should be stacked below the ‘da’ for it to be correct. I had tried some variations earlier, but it just wasn’t sitting right visually. My guide, Tarun also retraced the entire form for me with some suggestions to keep the letters as close to the original forms. I tried several variations keeping everyone’s feedback in mind.
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Tarun’s suggestion for keeping the form as close to the original letter forms in this particular visual style.
The counter for the ‘Sh’ started looking like a mistake at small sizes
The ‘dha’ started resembling an inverted 3.
Even though Tarun’s suggestion was technically correct, I tweaked it a little so that it looked more balanced.
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FORM & FUNCTION I was quite confused about which option to pick. I had one option, which according to me is the ideal look and feel; it is minimal, cool and edgy, which I think goes well with the brand positioning and the target audience. It is hard to read, but that is not the primary intention, I just wanted to indicate that it is rooted as an Indian brand, so I took my base as devanagari and abstracted it to minimal forms. Plus, it is always accompanied with the English type underneath. The second option is much easier to read, but it lacks the character the first one has. So, in this scenario, what would be a better choice, to go with the overall feel or to choose the more readable option? Intuitively, I felt that the first option was the one. I feel the that the form is quirky and edgy and while it may not be the functional, textbook legible option that I was initially going for, but more like an image. I think it is different and with the right marketing, it will stand out from other brands. The target audience is an elite, upper middle class audience, socialites, people in the fashion industry, and juices are currently a trend, doing a cleanse is considered to be the ‘in’ thing. For such a media oriented audience, the look and feel of a brand of utmost important in the initial phase of launching a brand. Consequently, it has to be seen with the ‘right’ people endorsing it. To convince myself I started looking for other logos where the letter forms are highly stylized.
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Bulgari is an Italian jewelery and luxury goods brand that produces and markets several product lines including jewelery, watches, fragrances, accessories, and hotels. The trademark is usually written BVLGARI in the classical Latin alphabet, which does not have the letter ‘U’ and is derived from the surname of the company’s Greek founder, Sotirios Bulgaris. People often mispronounce the name as Bvlgari, but that does not affect the brand. Over time, people have gotten used to this logo, and even if they don’t know the reason behind it, they know what Bulgari stands for, a very high fashion brand. This is a logo for the MIT Press. The logo was designed by the first art director of the Press, Muriel Cooper, in the early 1960s. The logo is based on the lower-case letters “mitp,” hence the tall “t” at the fifth stripe and the drop “p” at the sixth-and-seventh stripe. An alumnus of the class of 1973 writes, “Created by Muriel Cooper, Design Director of the MIT Press, this elegant logo graces the spines of many publications distributed throughout the world. Many readers instinctively recognize this symbol, without realizing that it represents an abstraction of 4 lower-case letters. The MIT Media Lab’s first identity was designed by Jacqui Casey, a malleable motif of coloured bars inspired by an installation that artist Kenneth Noland had created for the original Media Lab building by I. M. Pei. For the Lab’s 25th anniversary, and to mark its expansion into a new building by Fumihiko Maki, designer Richard The collaborated with Roon Kang to create an acclaimed system capable of algorithmically generating over 40,000 permutations. Both systems were models of dynamic identity, systems that were capable of continuous change. Could a new MIT Media Lab identity combine the two traditions of timelessness and flexibility? The answer proposed by Michael Bierut and Aron Fay started with Richard The’s anniversary logo, which was based on a seven-by-seven grid. Using that same grid, the Pentagram team generated a simple ML monogram to serve as the logo for the Media Lab.
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Then Bierut and Fay, using the same underlying grid, extended that identity to each of the 23 research groups that lie at the heart of the Lab’s activity. The result is an interrelated system of glyphs that at once establishes a fixed identity for the Media Lab, but celebrates the diversity of activity that makes the Lab great. My concern here is that both Bulgari and MIT have a very concrete story and clear reasoning behind the stylization of their logos. Shuddha is still building it’s brand story, so they are still figuring out who they are and what really sets them apart from the others. I haven’t been able to find a unique story about the brand and my reason for the logo is mostly based on the idea of using simple, pure forms which go along with the style of the illustrations.
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SUCCESS! When we presented to our clients, they were more than convinced. They said that they too, were not as excited about the illustrated option but felt that it was a safer choice. By this time they had also realized that they were taking too much on their plate and were probably getting over ambitious with their business plan. They decided that they would start of with just juices and milks and would probably expand to other products later once they got started.
I was really glad that I did not get disheartened and did not stop pushing for a different direction when the brief changed. I realized how important what my guide had said was; that clients donâ€™t understand design
Architect and Designer, Misha Black notes what happens when the relationship between the designer and the client becomes skewed: In the second class design office where expediency controls honesty, the influence of the client is decisive. No more time is spent on the job than the minimum necessary to satisfy that client, and if the client is incapable of judging between a solution that is properly and one that is only partially resolved, then it is the latter that he receives. This is the path to mediocrity, to the rapid deterioration of standards, and for the designer, and insistent sense of dissatisfaction not compensated by the increasing bank balance that often results from a willingness to produce shoddy work.
the way we do and it is our job to understand them first, and then communicate to them in that particular context.
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Dimensions for the logo and size variations.
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THE FINAL LOGO
The ‘U’ matra was curved a little more inward
All straight lines were inclined at a standard 45°
The counter was reduced and the stem of the ‘da’ was added The space between ‘dha’ and ‘da’ was reduced
This broken type did not work at small size and was changed to a crisp Gotham Bold.
A comparison of the old logo (on gateway paper) and the new modified logo.
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THE FINAL ILLUSTRATIONS
I cleaned up the individual elements in the illustrations and reduced the level of detail so that there isn’t any trouble in scaling them down.
The final units, at the smallest size they can scale down to; 3cm diameter.
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STATIONERY Our clients wanted a simple set of collaterals for their stationery, which was mainly for legal purposes. They need a letterhead, an envelope, an e-mailer and a visiting card.
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Final visiting card
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Indicative mark to fold the letterhead into three equal sections
Registered address and legal information
Final letterhead with continuing page in A4 size.
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When folded along the indicative marks, the top fold will always show a fixed header with the logo and address. The facing page shows the letterhead in actual size.
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Explorations for the inside of the envelope, finally we chose to keep it blank inside. The facing page features the front of the envelope in actual size.
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220 mm 110mm
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The current e-mailer that they are using. Once their website and social media links are active, they will use the option below.
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it’s finally happening!
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SHUDDHA: A REVISED BRIEF Based in New Delhi, Shuddha is a new venture which aims to encourage a wholesome and healthy living through their foods. Currently Shuddha is in the process of launching 6 juices, 3 nut milks and some smoothies. They hope to expand to a range of foods like butters, granola mixes, yogurts, salads, tonics and elixirs over time. Rather than promoting a fad or a trend, they want to educate their consumers about the importance of a healthy and nutritious diet and how it is essential to a balanced lifestyle. They want their consumers to understand that the reason why their juices are mostly green, leafy and vegetable based is because fruits have high amounts of natural sugar. Their nut milks and milk products are dairy free and more nutritious than animal milk. Their products are fresh, natural, preservative free and do not contain any added sugar. Cold pressing their juices and nuts helps in retaining vital nutrients, which are otherwise lost. Using the finest, freshest ingredients and the best equipment, they want to create high end, fresh and sophisticated products targeted at urban, upper middle class- upper class individuals who care about their health and want to stay fit. Their products are not a replacement for main meals, but rather are a quick source of compact nutrition. Shuddha products are a source of pure energy, immunity and strength. They aid detoxification and help you stay in shape. Their product will be sold on an e-commerce model and will start with taking orders and making door-todoor deliveries in Delhi-NCR through their website. As they expand they hope to have presence in retail outlets at certain supermarkets/ stores, restaurants and gyms across major Indian cities. Future Plans: They are also working towards building an effective social media strategy across various platforms like Facebook, Instagram and twitter. They are identifying a list of influencers; celebrities who want to be seen consuming their products for publicity.
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SEEING IT IN ACTION After a few weeks our clients started testing recipes at the production facility where they would be eventually making all their products; Aten Foods, located in Greater Noida. I accompanied them and the entire process on a small scale. All the ingredients and measuring scales were already in place and our clients had bought their own juicer (Kuving’s) and their personal blender (Vitamix). For the sampling they were planning to use these, while the industrial scale versions of the machines were currently being shipped to Delhi from th U.S. I saw how cold pressing was done; fresh fruits and vegetables were cut in large chunks put into the juicer, which has no metal blades, but has a mechanism to squeeze the food and separate the pulp from the waste, which come out from different outlets. The traditional juicing method employs centrifugal machines which heat the product so it is easy to juice, but in so doing, destroys most of the minerals and vitamins from the extract. Cold pressed processes, on the other hand, “press” so the maximum amount of nectar can be extracted from the pulp and fiber of the fruit and vegetable, leaving a raw and fresh juice. Ultimately, it means more of the minerals and vitamins are retained rather than being lost to the process.
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Samples from the first day of testing. The natural colours of the juices were very fresh, bright and appealing.
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Getting the almonds ready and checking the measurements to prepare the almond milk.
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The soaked almonds are blended in the Vitamix and then sieved finely to obtain the almond milk.
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THE LABELS By the time our clients forwarded us the information that was to go up on the labels, my internship had already ended. While I did not make the final labels, I had done some research and explorations of my own for the labels. I went through the FSSAI (Food Safety and Standards Authority of India) rules and regulations document to see what is the mandatory information that must go on all beverages. The document is extremely detailed and can be found at the link mentioned below. Mandatory information : 1. Best before date 2. Date of manufacture 3.. Batch number 4. Green/ brown dot. 5. The Name of Food 6. The ingredients 7. Nutritional information 8. Size of the logo; minimum 3mm width 9. Food additives, colours or flavors. 10. Net quantity 11. Country of origin for imported food 12. Instructions for use 13. Name & Address of kitchen location. 14. FSSAI logo and license numver.
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Information Architecture Our clients had given us a sample of one of the competitor’s bottles to see how the information had been organised on them. After studying the bottles, I re-organised the information and made some label explorations.
About the juice and it’s benefits
Ingredients About cold pressing
Contact details Chemical free Manufacturing date and cost indicator FSSAI logo, recycle, do not litter icons
Best before Instructions for use
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The text and images appear too bold in black ink on paper, but I had to account for the fact that the content would be in white ink on a dark plastic background. These explorations were done to organise the information properly.
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THE BOTTLE Our clients had gotten in touch with some bottle manufacturers and were fixed on the fact that they wanted plastic bottles. They felt that glass bottles were too expensive and too difficult to transport and they were adamant about their decision. I felt that glass bottles would have been a good investment, since Shuddha is about purity, and a wholesome, healthy lifestyle. Using glass not only re-instates the chemical free qualities, but it also looks more apt for a high-end product. The bottle dimensions had not been finalized while I was in still in office, so my label sizes were based on existing bottles that I had seen. The bottle below is probably the option they are going ahead with.
All dimensions in mm.
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if i could’ve i would’ve
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IF I COULD’VE, I WOULD’VE So the project did not pan out the way it was intended to. I was supposed to have worked on the visual identity and it’s extension across a range of products. I left the office at the stage where the content for the recipes, the bottle dimensions and the overall content was still not confirmed by our clients. Due to multiple changes in the brief and several back and forth rounds I never got a chance to extend the visual language over a range of products. I felt that the final logo, illustrations and stationery that were chosen by the client were appropriate for the brand and I was quite pleased with them. This section covers what would I have done eventually; the labels, extension across space, social media posts and other collaterals, had the project progressed ideally. All the images are simulations using mock ups that I have sourced from the Internet.
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The bottle and labels As far as the direction of the visual identity process went, I was satisfied with the work that I was doing. I was was really glad about the fact that I had been able to break out of my typical style. I personally felt that out clients had approached us at a very nascent time. They had not made crucial decisions about their brand, their values and even their products, which is why the project got really extended. Keeping in mind the original brief, I tried to visualise the extension of the brand language. Their earlier decision to use glass bottles, resonated much better with a high end and ‘pure’ brand. There are 6 juices; Pure Energy, Pure Immunity, Pure Calm, Pure Fitness, Pure Detox and Pure Strength, Each juice has a main ingredient which is highlighted and the attributes of strength, energy, relaxation etc are signified by the yoga illustrations on the back. The juices have vibrant colours, which in themselves are clear product differentiators.
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Backs of the bottles
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The milk bottles; all the text and graphics are in the primary brand colour so that they show against the white.
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Smaller bottles for the concentrated tonics
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The range of products
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Extension across collaterals
Re-usable cloth bags
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T-shirts as promotional materials, and for employees
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Extension across space
Ideas for wall graphics and wrought iron grills for use in retail spaces
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Social media posts: Facebook & Instagram
Itâ€™s raining health!
#livehealthy #livepure #livefit #shuddha
#livefit #yoga #shuddha
#nodairy #nogluten #shuddha #purealmond
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A TALK WITH MYSELF Reflections on practice The graduation project was certainly and very evidently, a not so smooth journey with many detours along the way. It made it crystal clear that design is never a linear process. When I started this project, I wanted some very clear results at the end of it: I wanted to understand form better, I wanted to break away from my comfort zone, I wanted to get faster and I wanted to become a better decision maker. With a tinge of pride I can say that I did become better at the first three, the fourth, I am not so sure. I went back and forth multiple times, sometimes unnecessarily so. I still have the constant need for validation from a senior authority figure before I can move ahead. Also, the nature of my project was sort of similar to a classroom project, everything was floating in the air. I went back and forth, and kept experimenting purely skill wise most of the time because the brief kept changing. In an ideal situation, they should have approached a design studio only after they had made crucial business decisions. I also wanted to know what it is like to work in branding agency and whether or not that is something that interests me in the future. While I thoroughly enjoyed the process and woke up looking forward to office everyday, I enjoyed it knowing that it was only for 6 months. There were many times when I felt a little soulless. Working in a business and revenue oriented world was different. Outside the environment of a design college where our world revolves around design and not being updated with latest development in Google’s new identity is a blunder, the world really did not seem to revolve around design. Our studio dealt with a lot of high end and fancy brands and often we had clients making absurd demands, some of which we had to bow down to simply because of the clients’ name and influence. Often we ended up doing shoddy work which we ourselves couldn’t bear to look at. This made me really sad. I started feeling that design played a really small role in terms of business and revenue to such brands. It simply felt like a very elitist job, which only the rich and famous had money for, because frankly, even a product with a badly designed identity can do brilliantly and earn well if their product is genuinely good and they have a sound marketing strategy. Maybe I wasn’t working in the right place, maybe I didn’t understand the role design could have played but I know that 246 Ishita Jain • Graphic Design • B. Des. 2015 • NID
I will not go to sleep happy if I were to work on projects that I did not believe in. I firmly believe that design has a cultural role to play which can, and should be emphasised at every available opportunity. It could create awareness about your context, it could be something to identify to, it could be a purely functional aid; design can and should add value and emotion to peopleâ€™s lives. But this was just one project, a start, with new learnings and new insights. Of course there were highs and lows, new ways of working, new people, new questions and despite everything, I genuinely had a good experience. I loved working with a team, I throughly enjoyed the design process and I had some more clarity on the kind of projects that I would like to work on. I am excited about what lies ahead, I still want to explore more branding projects, I am itching to understand more about production processes, I want to illustrate, to write and to know more about the wonders of the world that awaits. I want to add and meaning and value to every project I get work on and I want to do good.
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REFERENCES A list of books, documents, articles and websites I referred to, during the course of this project. BRANDING Ollins, Wally. Wally Ollins: The Brand Handbook. Thames & Hudson Lt. June 2, 2008. Shaughnessy, Adrian. How to be a graphic designer without losing your soul by Adrian Shaughnessy. Laurence King Publishing Ltd. 2008. Airey, David. Logo Design Love: A Guide to Creating Iconic Brand Identities (Voices That Matter). New Riders Press. December 20, 2009. Neumeier, Marty. The Brand Gap. New Riders Press. January 1, 2003. Cooper, Alan. About Face : The essentials of Interaction Design by Alan Cooper, Robert Reimann and David Cronin. Wiley Publishing, Inc. 2007 http://www.wolffolins.com/work/33/unilever http://www.underconsideration.com/ http://justcreative.com/2009/03/04/designism-design-consumerism/ http://www.theatlantic.com/business/archive/2011/10/how-brands-were-born-a-brief-history-of-modern-marketing/246012/ https://www.brainpickings.org/2014/08/19/paul-rand-thoughts-on-design/ https://www.brainpickings.org/2013/05/01/brand-thinking-debbie-millman/ https://www.brainpickings.org/index.php/2013/01/10/massimo-vignelli-debbie-millman/ http://motivatedmastery.com/understanding-how-brands-affect-who-we-are-who-we-aspire-to-become/ http://branding.sva.edu/what-is-branding http://www.aef.com/pdf/landa_history_rev2.pdf http://www.nextbigwhat.com/trademark-registration-in-india-the-entrepreneurs-guide-297/ http://new.pentagram.com/2014/10/new-work-mit-media-lab/ https://en.wikipedia.org/wiki/Bulgari
TYPOGRAPHY http://www.nepalifonts.blogspot.in/ http://www.idc.iitb.ac.in/resources/dt-jan-2009/Anatomy%20of%20Devanagari.pdf http://www.emigre.com/EFfeature.php?di=109 http://www.houseind.com/fonts/neutraface/neutrahistory Lupton, Ellen, Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. Princeton Architectural Press, September 2, 2004
PACKAGING http://www.npr.org/sections/thesalt/2015/02/09/384951360/if-apple-made-imilk-and-nike-sold-fruit-designer-groceries-as-art http://www.smallquantityshrinksleeves.com/ http://www.thedieline.com/ http://www.thedieline.com/blog/2014/11/4/thejuicebubble http://sleeveseal.com/ http://www.dupont.co.in/products-and-services/fabrics-fibers-nonwovens/protective-fabrics/brands/tyvek.html http://www.creativebloq.com/branding/do-these-10-big-brands-look-better-stripped-back-91413039 https://pomeroyequipment.com/blog/juice-label-design-requirements/ http://www.fssai.gov.in/Portals/0/Pdf/Food%20Safety%20and%20standards%20(Packaging%20and%20Labelling)%20regulation,%202011.pdf
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http://www.cropjuicesrq.com/glass-vs-plastic.html http://www.theguardian.com/sustainable-business/sustainable-packaging-no-such-thing-as-waste http://www.printwand.com/blog/screen-printing-vs-pad-printing-whats-the-difference
MOCK UPS www.graphicburger.com www.pixeden.com
HEALTH AND FITNESS http://health.mithilaconnect.com/fitness/32-5-simple-yoga-poses-for-good-health https://www.goodnature.com/pressing http://www.indianvegan.com/vegan_products.php http://www.outlookbusiness.com/enterprise/emerging-business/whats-hot-about-cold-pressed-juices-1747 http://www.vegan-nutritionista.com/list-of-fruits-and-vegetables.html http://www.mnn.com/food/healthy-eating/stories/vegan-grocery-list-top-50-staples-for-a-meat-free-diet http://www.fao.org/docrep/005/y2515e/y2515e09.htm https://lbb.in/delhi/i-say-organic/ http://www.nakedjuice.com/ http://www.vegansociety.com/ http://www.wholefoodsmarket.com/ https://www.rawpressery.com/ https://www.antidote.co.in/ http://vegankit.com/eat https://www.justpressed.in/
DIPLOMA DOCUMENTS ‘Packaging Pik Studios’ by Shivani Singh, guided by Tridha Gajjar (2014) ‘Royal Enfield Packaging- Communication Design Approach’ by Pragun Agarwal, guided by Tarun Deep Girdher (2014) ‘Visual Identity for The Trees’ by Raghuvir Khare, guided by Tarun Deep Girdher (2014) ‘Branding A Brand Agency’ by Anya Rangaswami, guided by Rupesh Vyas (2011)
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COLOPHON This document has been set in FF Scala and Scala Sans by Martin Majoor. This document was printed at Chhaap Digital Print Studio, Ahmedabad using a Recho Pro C7110 printer, on 130 gsm matt paper on 19.10.2015 It is bound using wiro-binding. It weighs 1.2 Kgs approximately. All artwork and written content is originally created by the author, unless specified otherwise.
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A documentation of my graduation project, which was to create the visual identity for an upcoming health foods brand, Shuddha.
Published on Dec 14, 2015
A documentation of my graduation project, which was to create the visual identity for an upcoming health foods brand, Shuddha.