identity system manual
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c o ntents 02 Brief 03 Problem Statement 04 Semiotic Research 10 Mark Iterations 18 Black & White 19 Color 20 Slogan 21 Typography 22 Primary Colors 23 Secondary Colors 24 Proper Usage 26 Improper Usage 28 Application 36 Colophon
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brief design a brand identity for a personal hero.
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pro blem pro statement I consider Georgia O’Keeffe a personal hero because she is one of the first artists whose work inspired me to explore art. Her paintings that mostly consist of abstract depictions of flowers, skulls, and barren landscapes are very powerful that it pulls me into a new world. A trait that makes O’Keeffe a hero is how she persevered in creating her art. Today, she may be a famous American modernist painter, but in the past, her works were not always popular. She did not follow any particular existing art movement, which made her paintings stand out from the mainstream art of the 1940s-1960s. Despite having a hard time finding an audience who would purchase her paintings and having very limited money, O’Keeffe stayed true to her own style of art and kept working hard.
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semi o tic semio research Syntactic
Icon
Index
Symbol
Painter
An artist who paints pictures
Painting sceneries and flowers using a brush, oil and watercolor paints and a canvas
Paint brush
Artist
Arranging shapes and colors to create an artwork
Creator and designer. In this case primarily of paintings and drawings
Creator
Traveler
A person who goes from one place to another
Voyager, discoverer, sightseer, explorer
Journey
Female
A woman
Being female in the 20th century have cultural implications
Female symbol
Mobile Studio
Workplace that is in a car so she can travel while paint
Automobile, painting studio inside a Model A Ford
Car
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Syntactic
Icon
Index
Symbol
American
A citizen of the United States
Nationality, where she was born, grew up, passed away
American flag
Wife
A married woman
She was married to Alfred Stieglitz who cheated on her
Rings
Desert
A dry, barren area of land usually covered with sand
A desolate land, waterless, without plants expect for cacti
Cacti
Flowers
Seed-bearing plant, brightly colored with stem, petals, stamen and leaves
Blooming, vein textures in a close-up petal, beautiful vivid colors
Petals
Skull
Workplace that is in a car so she can travel while paint
Bones of an animal’s head like you would find lying in the desert
Horned animal skull
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Pragmatic
Icon
Index
Symbol
Painting
Used paint to create a picture
She painted images of flowers and landscapes mainly using oil paints
Paint
Exploring
Travelling through unfamiliar countries or areas, often to learn about them
Explored the lands of New Mexico in her work before settling there
New Mexico
Camping
Spending time outdoors and overnight, away from home, in a camp
She camped overnight in her mobile studio (Model A Ford)
Outdoors
Experimenting
A procedure undertaken to make a discovery
She made a great contribution to modern art as she experimented with abstraction
Abstract art
Composing
To create a work of art or to arrange parts in an artistic way
Designing and organizing components to create harmony
Harmony
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Pragmatic
Icon
Index
Symbol
Observing
To notice or perceive something, watching carefully
She observed nature (flowers and landscapes) as inspiration for her work
Landscape
Modelling
Working as a model for photographs
O’Keeffe used to model for her husband, Stieglitz, who was a photographer
Camera
Coloring
The process of applying colors
She uses colors that are commonly found in nature in her work
Greens, pinks, browns, blues
Expressing
To communicate or convey what one thinks or feels
Convey, demonstrate, illustrate, in this case through images
Illustrate
Travelling
She travelled domestically and internationally
As she travelled, she discovered new cultures and sceneries
Car, airplane
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Semantic
Icon
Index
Symbol
Creative
Having good imagination and original ideas
Imaginative, innovative, expressive, clever
Imaginative
Independent
Not depending on another authority, not easily influenced by others
She created a career for herself as a painter despite the gender roles that existed
Against gender roles
Courageous
She was fearless in expressing herself and experimenting with abstract art
Brave, fearless, adventurous, unafraid, ambitious, persisted
Ambitious
Modern
Her paintings depart from traditional art styles and values
Advanced, fresh, new ideas, progressive
Progressive
Inspiring
Having effect of inspiring someone
Her work inspired me to start painting
Encouraging
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Semantic
Icon
Index
Symbol
Skillful
The ability to do something well; expertise
She studied traditional painting techniques before shifting her style
Painting skills
Versatile
She is flexible in using different media and different natural subject matter in her paintings
Flexible, multiskilled, resourceful, adaptable
Resourceful
Enigmatic
Difficult to understand; some of her paintings have been interpreted in different ways
Some of her paintings have been interpreted in different ways by critic
Mysterious
Abstract
Referring to art that does not fully represent external reality
Conceptual work, moving away from past realism in art
Conceptual
Graceful
Showing grace and elegant in her appearance and paintings
Sophisticated, charming, elegant, cultured
Elegant
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mark iteratio iterati o ns Initial Sketches The mark started with a brainstorm of various designs based on the semiotic research.
horn from animal skull, branch, progressive
mobile studio, painterly, modern, abstract
nature, landscape, desert, southwest
graceful, feminine, sun in the desert
animal skull as subject matter, nature
graceful, feminine, desert landscapes
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animal skull, horn, modern, artistic
abstract, modern, artistic, skillful
abstract, modern, landscapes, desert
mobile studio, travelling, exploring
abstract, modern, artistic, enigmatic
female, graceful, inspiring, independent
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Selecting a Design From the numerous sketches for Georgia O’Keeffe’s mark. Four that received the most positive feedback is shown on the right. The first iteration was designed based on O’Keeffe’s use of flowers and skulls as subject matters in her paintings. Her name in this emblem is in a handwritten typeface to create a painterly impression that contrasts the other shapes. I did not move forward this iteration because there are too many components that do not scale well. Moreover, the typeface for O’Keeffe’s name does not look very authentic and would fit better if I used her actual signature. 12
The second iteration is a symbol that is also based on nature, specifically a close up of flower petals. This option is more abstract and simple compared to the first mark. The organic shapes of the petals break the rectangular frame that resembles a canvas, which gives an impression of creativity and inspiration. Though I received positive feedback for this iteraction, I did not move forward with it because it focused too much on her flower paintings. I wanted to create a mark that represents O’Keeffe beyond a particular body of work.
The third iteration is based on a similar idea as the symbol in the previous mark. In this case, I used the symbol as part of an emblem, placing it in a circular shape and adding O’Keeffe’s name. A lot of people enjoyed this mark, but they mentioned that it remind them of a logo for a coffee shop. Hence, I did not choose to move forward this mark because it seems to give a wrong impression of what the brand represents.
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The fourth iteration is a lettermark that was mainly inspired by the words “moden”, “desert” and “elegant”. This mark illustrates a desert landscape, which is a subject matter in O’Keeffe’s paintings as well as a scenery that she was accustomed to as she travelled and lived in New Mexico. The ear of the “g” is in a shape of a cactus, the link and loop resembles a winding desert road, and the “o” represents the sun. I decided to move forward with this iteration because it is best in communicating O’Keeffe’s identity.
Revising the Mark The marks on the right are variations I developed from the chosen logo in the previous page. I started with the variation above where I reconstructed the “g” in the lettermark because I wanted to create a monolinear and geometric mark that feels more modern. Hence, I took away the gradual contrast in stroke weight in the link and loop of the “g” and replaced it with a stadium shape. I also used a different typeface for O’Keeffe’s name that is more rounded to match the lettermark.
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In the second variation, I added some texture to the cactus by adding semiovals on the edges to further create an emphasis. However, the added details do not scale well and seem a little distracting. It also became unnecessary because the cactus shape is easily recognizable even without the thorns.
In the third variation, I changed the typeface for O’Keeffe’s name to a rounded lowercase font. This was done to match the lowercase “g” and “o” of the lettermark. I also matched the line weight of “o” to the “g” to mainted consistency. However, this caused the “o” to appear thicker because its counter space is smaller that the counter of the “g”.
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In the fourth variation, I decided to change the typeface again to match the double story “g”. I also refined the lettermark: I shifted the size of the “o”; thickened the cactus line to maintain the monolinear rendering; added subtle weight differences in the vertical and horizontal strokes; and improved the alignment of the components.
I decided to change the composition of the lettermark and the logo. The horizontal iteration scales better and allows left alignment of O’Keeffe’s name. This allows better tracking of the letters compared to when the name is justified. In the first iteration, I used the “g” on the lettermark to replace the original “g” of the typeface. I also bolded the letter “o” in the name. These decisions were made to create consistency and connection between the lettermark and the name logo. However, the bolded “o” creates unecessary distraction as it causes the viewers’ eyes to bounce back and forth between the three circles. The second iteration is the closest one to the final mark. I aligned O’Keeffe’s name so that there is more negative space surrounding it and returned the weight of the “o” to the original typeface so that the focal point lies on the lettermark.
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Color Palette Iterations Prior to changing the composition of the mark, there were two other initial color options before I decided on the final color palette. The first color palette are based on a complementary color scheme. The mix of blue and gray symbolizes confidence and the impression of tranquility that often takes place in O’Keeffe’s paintings. The twill color on the “o” adds an organic quality that alludes to the nature subject matter. The gray color of O’Keeffe’s name gives a sense of dignity and dedication. It is also a color associated with timelessness. However, this color scheme was not selected because using blue on the cactus figure does not seem logical. The blue also reminds people of water, which contrasts the desert concept of the lettermark. The second option uses analogous color that gives an overall sense of maturity and femininity. The mauve color symbolizes creativity, imagination and ambition. The pink adds a sense of elegance and gentleness while the taupe is associated with modesty and authenticity. However, this color scheme was not selected because it gives a floral impression and does not reference the desert. 17
black & white
Height: 3”
Height: 0.75” 18
color
Height: 3”
Height: 0.75” 19
slo sl o gan Slogan Iterations Painter of Desert Landscapes Capturing the Southwest Painting the Desert Artist Meets the Southwest Inspired by Nature Painting the Desert The brand’s slogan explains the mark and Georgia O’Keeffe’s identity as a painter. Application of Slogan The slogan can be applied with the mark or can be used on its own. It is rarely used with a stand-alone lettermark or logo.
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typo typ o graphy Kamerik 205 Regular 6 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz 0123456789!?#/&.,
Kamerik 205 is used for O’Keeffe’s name in the mark, the slogan and headlines. It is typically used in all lowercase letters but can also be used in regular case.
Archivo Narrow Regular ABCDEFGHIJKLMNOP QRSTUVWXYZ abcdefghijklmnopqrs tuvwxyz 0123456789!?#/&.,
Archivo regular is a font that is mainly used for body texts.
Archivo Narrow Bold ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789!?#/&.,
The bold version of the Archivo typeface can be used for subheadings or to emphasize certain aspects of a text.
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primary co c o l o rs Pale Pink Pale pink is one of the primary colors used in the mark, specifically for the letter “o”. This color is feminine, graceful and reflective of flowers. In other circumstances such as headlines and contact information, the “o” can also be set in pink, which adds a unique characteristic to the brand’s typography. hex: #daa6a3 cmyk: 13, 38, 28, 0 rgb: 218, 166, 163 pantone: 7606 C Cactus Green Green is used in the “g” of the mark, reflecting the color of cactus as well as growth and creativity. hex: #96ac83 cmyk: 44, 20, 57, 1 rgb: 150, 172, 131 pantone: 7494 C Deep Taupe Deep taupe is largely used for large amount of texts and body copy. hex: #877473 cmyk: 8, 24, 17, 50 rgb: 134, 116, 115 pantone: 409 C 22
seco sec o ndary c co o l o rs hex: #daa6a3 cmyk: 13, 38, 28, 0 rgb: 218, 166, 163 pantone: 7606 C tint: 60% hex: #96ac83 cmyk: 44, 20, 57, 1 rgb: 150, 172, 131 pantone: 7494 C tint: 40%
hex: #96ac83 cmyk: 44, 20, 57, 1 rgb: 150, 172, 131 pantone: 7494 C tint: 70% hex: #96ac83 cmyk: 44, 20, 57, 1 rgb: 150, 172, 131 pantone: 7494 C tint: 45%
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The secondary colors are tint versions of the primary colors. They are used less frequently and are typically present in patterns, illustrations and backgrounds.
pro pr o per usage
Lettermark & Logo, Black The black version of the mark should only be used in documents that are set in grayscale or black and white. It can also be used in lighter backgrounds.
Lettermark & Logo, Color The color version can be used in neutral and white backgrounds. 24
Lettermark & Logo, White The all-white version should be used in darker backgrounds.
Lettermark & Logo, Deep Taupe The taupe version can be used on lighter backgrounds where the colored version does not work.
Logo, Color Stand-alone logo usage is also allowed in black and white versions.
Lettermark, Color Stand-alone lettermark usage is also allowed in black and white versions.
x
x
x x
Clear Space To ensure legibility of the mark, always keep a minimum amount of clear space from any competing graphic elements as marked above.
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x
X is the height of the logo in the mark
impro impr o per usage There are a number of rules necessary to maintain legibility and integrity of the mark. Overall, the mark must no be compromised; it must not be distored, skewed, alternated or rotated. The clarity of the mark is also important, so be aware of other design elements surrounding the mark.
Do not change the color.
Do not add gradient of any kind to the logo, including drop shadows.
Do not use outline the mark.
Do not change the proportions or alignment for the elements.
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Do not place the mark on top of a busy background.
Do not change the typeface or recreate the mark in any manner.
Do not distort or stretch the mark.
Do not tilt or rotate the mark.
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applicatio applicati on
letterhead 8.5”x11”
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business card 2” x 3.5”
business envelope 4.25” x 9.25”
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mailing label 5” x 4”
notecard 7” x 3.5”
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pocket folder 9” x 12”
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sketchbook or journal 5” x 8.25”
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sunscreen 2” x 1” x 6.5”
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aluminum water bottle 3” x 8”
tote bag 14” x 14” cap 22.5”
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apron
slip-on shoes 35
c o l o ph pho on This project was designed as part of a branding and identity design course at University of Wisconsin– Madison. This course explored what branding is, how to develop a brand, how to apply the identity, and how to to create a brand style guide. Adobe Creative Cloud applications such as InDesign, Illustrator and Photoshop were used to complete the project. The design process involved researching, brainstorming, planning, creating, asking for feedback and continually revising.
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21120 US-84, Abiquiu New Mexico 87510, USA 608.946.1000 okeeffe@gmail.com georgiaokeeffe.com 38
