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LUKE ARMITAGE


INTRODUCTION In first grade, if my socks didn’t fit just right, I would be really bummed out. Branding is the same way—when the elements of a brand fit just right, they align into the perfect story. Good brands tell their story in an authentic way. At 19, I entered the world of modeling and was exposed to design by working with distinguished photographers and art directors. I traveled to places like New York and Italy for shoots. Surrounded by style, I immersed myself in history, culture and the spirit of the people I met along the way. It was then that I learned how aesthetics could be woven into a story. I observed that there is elegance in solving things simply—good design could stand the test of time. Through my journey, I’ve gained a passion for stories and style. I’m compelled to use design to help solve problems and make things fit. I just need to make sure my socks fit, first.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Surveyor + Sweet Sans


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PROJECT: Atherstone

P A G E : 03

AT H E R S T O N E This public house, located in England, took inspiration from the local culture and architecture of London during the early 1900’s. The brand is heavily inspired by the show Peaky Blinders whose lead character, Thomas Shelby, prefers his staple herringbone tweed to pinstripes. The pub targets middle income men, aged 21–35, who simply want to go out, have a drink and experience the company of friends in a humble community environment. To differentiate this establishment, the look and feel had to be gritty and not pull any punches. Other competing pubs like The Harp, Mayflower and Grenadier simply don’t embrace the dark, dingy, authenticly modest spirit of Atherstone. To evoke this time period, the imagery was inspired by the rough environment of the industrial revolution. London, famous for its gloom and overcast skies, was mirrored in the color palette that included concrete, brick, black and white and hints of red. The type family Surveyor injected a tradition of copperplate engraving and cartography into the rustic brand. Its compact proportions, delicate serifs, and sinewy italic invited a character of endless variation on branded materials. This was mixed with Sweet Sans, a sans serif that is strikingly similar to drafting alphabets of the early 1900s with its open, simple forms and legibility at small sizes.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Surveyor + Sweet Sans


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PROJECT: Atherstone

P A G E : 05

Design Thinking

THE BI G I DE A In the mind of consumers, you get to be just one thing. Positioning is the art of editing out the things you could be, to discover the one thing you should be. A brand’s big idea has to be authentic, simple and relevant to its customers. Atherstone’s big idea needed to define the core values of the pub so that its strategy of actions and communications could align with its brand promise.

UNDERSTANDING I started by analyzing the local Greenwich competition: Cutty Sark, Hare and Billet and Sun in the Sands. I conducted research into trends, strengths, weaknesses and opportunities. These insights helped define the core of the distinctive culture and energy I hoped to create around the Atherstone brand.

SIMPLICITY & FOCUS I examined the core values and brand attributes and decided to focus on the elements of 1920’s London streets during the Industrial Revolution—humble, rustic and gritty with working class pride. The goal was to develop a competitive advantage around this brand strategy.

POSITIONING To differentiate Atherstone and grow a loyal customer base, I needed to talk to potential pub-goers about the unique qualities of this public house. I positioned it as a bar that embodied the culture and period of the early 1900’s and the rough feel of the Industrial Revolution—an environment where honest and hardworking people could go to catch up with friends and belong to community that had character and depth. The goal would be to attract people who aren’t trying to be someone they aren’t. Everyone in the bar respects each other and remains true to who they are. This positioning drove the brand essence and story.

THE BIG IDEA Heritage of Humble Ale.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Surveyor + Sweet Sans


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PROJECT: Atherstone

P A G E : 07


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Surveyor + Sweet Sans


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PROJECT: Atherstone

P A G E : 09


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Metre Sans + Din


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PROJECT: Knox Hotel

P A G E : 11

KNOX HOTEL Knox Hotel is a unique boutique property located on the boardwalk in Venice Beach, California. The hotel takes a soulful, fresh, human approach to hospitality. A quirky gem with down-to-earth service, oversized rooms and a great sense of design, the Knox Hotel targets stylish, upper-middle class guests, aged 25–40, with a taste for experiences that are out of the ordinary. To communicate the energetic, fresh spirit of the brand, I crafted a custom typeface, Metre Sans, based on typography found on the cover of a vintage Dadaist zine from 1924. The typeface, used in the logo and through the brand, gives the hotel a bold voice, but with a functional, utilitarian aspect. The Knox Hotel brand is driven by vintage-inspired beach imagery and bold typography, layered with youthful shades of blue and red. The website interface is straightforward and user friendly, showcasing the newer, cleaner side of Venice Beach. The bold graphics add great visual impact without getting in the way of a logical and humanistic user experience. The brand voice is edgy and spontaneous— poking fun at traditional hotel experiences.


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Metre Sans + Din


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PROJECT: Knox Hotel

P A G E : 13

Design Thinking

CRE ATI V E BRI E F POSITIONING The target market for the hotel is upper-middle class guests, aged 25-40. Closest competitors include the Inn at Venice Beach, Hotel Erwin and Custom Hotel. To differentiate itself, Knox taps directly into the Venice beach culture with its rebellious, fun, expressive spirit using local photography and storytelling throughout the property. A Southern California beach attitude is evident in the laid back style of Knox—the ideal setting to relax, have fun, be with friends or just be yourself. Special attention is focused on customer retention through personal service and an informal, authentic experience.

CONSUMER ATTITUDES Venice was once an upscale resort town, but crashed, giving rise to a different approach. An influx of young creatives has generated demand for unique, independent establishments with residents and business owners who want to maintain an identity separate from Santa Monica and other higherend ares. Although the perils of gentrification threaten the culture of individuality, there is a strong movement to preserve the spirit of the region with local shops and boutique hotels.

DESIGN IMPLICATIONS The Knox Hotel identity must have a fresh sense of vitality to communicate the youthful, adventurous spirit of Venice Beach. The identity must convey feelings of vibrancy, culture and soul. Typography: A custom typeface is needed to channel the expressive personality and unique nature of the hotel. Color: Vibrant vintage tones, used with sophistication. Website: Clean, straight-forward and user friendly with special attention paid to mobile breakpoints. Décor: Unique and artistic with a blend of vintage and new. Quirky touches to inject a rebellious spirit. Service: Personal and informal—in line with the relaxed culture of Venice Beach.


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Metre Sans + Din


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PROJECT: Knox Hotel

P A G E : 15


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Metre Sans + Din


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PROJECT: Knox Hotel

P A G E : 17


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Metre Sans + Din


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PROJECT: Knox Hotel

P A G E : 19


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Karbon


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PROJECT: Setria

P A G E : 21

SETRIA Setria is the fastest growing renewable energy company in North America. The company needed a new, modern identity that conveyed their progressive values and reflected the growth of the brand. To convey the dynamic and growth-oriented mission and culture of Setria, a multi-colored logo was created—the result of layering fresh tones of blue, green, and yellow. The planes of color are drawn into 3D perspective, giving the logo a sense of depth and structure. The logo concept was expanded into a design motif, used on vehicles and other applications. The Karbon typeface family, a geometric letter with humanistic features, was ideal to represent the brand’s intentions and spirit. The typeface is used exclusively throughout the marketing materials, giving the brand a unified aesthetic voice. To present the economic, environmental and social impacts of the company, a sustainability report was created to showcase the organization’s values and governance model. The report needed to be modern and dynamic with the ability to convey lots of dense and crucial information in a way that was easy to understand. The report targets potential investors and current shareholders, a wealthy and highly educated audience, aged 35–50.


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Karbon


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PROJECT: Setria

P A G E : 23


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Karbon


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PROJECT: Setria

P A G E : 25


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Karbon


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PROJECT: Setria

P A G E : 27


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Apricot + Clarendon


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PROJECT: Baby Lamb

P A G E : 29

BABY LAMB Baby Lamb creates fun, unique clothing that celebrates the magic years when newborns transform into toddlers. Targeting upper-middle income parents, the company delivers its product with ample imagination and storytelling. Using soft fabrics like cotton, terrycloth and velour, the company keeps babies safe, comfortable and snuggled so they can play, sleep and thrive. The brand’s imaginative patterns and characters allow parents and kids to connect with one another while reading stories, napping and playing. The clothing is accompanied by an illustrated children’s book available in both print and electronic forms. Baby Lamb’s identity uses Apricot, a handdrawn script that is fun and gentle. The brand uses Clarendon as a secondary typeface, whose ball-terminals and chunky strokes add much character. Playful hues of warm yellow and sky blue are used on clothing and branded items, including functional baby bibs, onesies, pacifiers, baby bottles and cozy socks. Lively polka-dot patterns and lamb characters are applied to clothing to push the spirit of fun and excitement.


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Apricot + Clarendon


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PROJECT: Baby Lamb

P A G E : 31


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Apricot + Clarendon


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PROJECT: Baby Lamb

P A G E : 33


C AT E G O RY : E d i t o r i a l

ART DIRECTOR: Sean Bacon

TYPEFACES: Bangla + Caslon


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PROJECT: Inscriptus

P A G E : 35

INSCRIPTUS Inscriptus is an upscale, tattoo lifestyle magazine targeting fashion conscious men aged 20–35. The publication archives recent trends in style, travel and culture, blending a showcase of art with a spirit of independence. Addressing a specialized market, it is able to couple intelligent, insider content with an edgy flair. Feature articles include stories on iconic personalities who innovate and fuel creative thinking and progressive attitudes. Photography, editorials and artful pictorial essays intrigue and inspire, showcasing confident renaissance men and cutting edge style. To outdistance the competition, Inscriptus takes readers to fascinating locations, unearthing hidden stories about tattoo artistry with fresh perspective. Each issue focuses on a unique culture, art form or location to create a collectible series. Inscriptus’ covers use distinctive black and white photography of men with a special attention to composition, detail, lighting and perspective. The masthead is modified from Bangla, a sophisticated, urban font with roots in classic Roman monuments. Interior spreads use Caslon, a typeface that resembles handwriting with a pen. Pull quotes use the Austin typeface family originally designed for a British style magazine Harper’s & Queen. Stories utilize a strict 18 x 20 grid and ample white space to improve legibility and create a sophisticated tone.


C AT E G O RY : E d i t o r i a l

ART DIRECTOR: Sean Bacon

TYPEFACES: Bangla + Caslon


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PROJECT: Inscriptus

P A G E : 37

Design Thinking

DI F F E RE NTI ATI ON Tattoos used to be the mark of rebels and people living on the outskirts of society. Today, they are more mainstream— the level of skill and the art trends associated with the work have changed perceptions. Inscriptus differentiates itself from competitors by positioning itself upscale. It specifically targets fashion conscious, freethinking men, aged 20–35, by covering trends in style, travel and culture, blended with a lifestyle of independent spirit.

INKED MAGAZINE Inked magazine focuses on tattoos and tattoo artists. The target audience for this magazine is aged 16–25; younger and down-market from Inscriptus.

TATTOO MAGAZINE Tattoo Magazine celebrates the age-old art form of tattooing. It displays the diversity of skin art from innovative tattooers to discriminating collectors. Inscriptus expands on this content by featuring and exposing the culture and lifestyle around the art form.

SKIN DEEP MAGAZINE Skin Deep is the UK’s best selling tattoo magazine. Each issue contains profiles, interviews and features with the leading tattoo artists in the industry. Inscriptus differentiates itself by positioning for a higher-end market through curation of photography and refined type setting.


C AT E G O RY : E d i t o r i a l

ART DIRECTOR: Sean Bacon

TYPEFACES: Bangla + Caslon


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PROJECT: Inscriptus

P A G E : 39


C AT E G O RY : E d i t o r i a l

ART DIRECTOR: Sean Bacon

TYPEFACES: Bangla + Caslon


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PROJECT: Inscriptus

P A G E : 41


C AT E G O RY : E d i t o r i a l

ART DIRECTOR: Sean Bacon

TYPEFACES: Bangla + Caslon


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PROJECT: Inscriptus

P A G E : 43


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Univers


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PROJECT: Salty Pillars

P A G E : 45

SALTY PILLARS Salty Pillars Brewing Company is a coastal inspired brewery located in downtown San Diego. The target market includes residents and visitors of San Diego, ages 21–35, with a passion for good craft beer and rich beach culture. Salty Pillars takes influence from the unique subcultures, food and style of the beach towns scattered up and down the shoreline. The brand’s various brews are named in honor the the historic piers located in the breach towns. Salty Pillars differentiates itself from other local breweries by focusing on the regional beach cultures of the city. Each brew is crafted to capture the unique vibrancy of a particular beach town. For instance, the grungy, rebellious spirit of O.B. is captured through the complex chocolate and smoke flavors of a porter, obtained through a pale malt base and a long maturation process. The brand also pays homage to the vintage surf culture of the ‘60s, with movies like The Endless Summer and Big Wednesday playing a role in the art direction. Bold condensed sans serifs and colorful beach illustrations are used to help convey this message.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Univers


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PROJECT: Salty Pillars

P A G E : 47


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Candice L贸pez

TYPEFACES: Lemon Sans + Freight


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PROJECT: Alianza

P A G E : 49

ALIANZA This international, nonprofit humanitarian organization provides practical and moral support to women survivors of violence in Latin America. The group offers social and economic empowerment, providing resources to get these women back on their feet. Working to increase awareness of the impact of war, gangs, and other forms of violence, Alianza needed an identity and website that would encourage individual and corporate donors to get involved and make a difference. The Alianza logo is authentically feminine, but conveys a sense of the organization’s important mission to supporters and beneficiaries. The hand symbolizes both empowerment and humanity, with the flower symbolizing a sense of hope and peace. A warm color palette of orange and lavendar was inspired by Latino artwork. The curvy Lemon Sans typeface family gives the brand a clear and bold voice, but with a caring, feminine side. The brand also uses the Freight typeface family for its amble humanistic features and its comprehensive range of weights and styles. The website engages visitors by putting imagery of Latino women at the forefront and encourages donations through its simple and easy to follow format.


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Candice L贸pez

TYPEFACES: Lemon Sans + Freight


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PROJECT: Alianza

P A G E : 51


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Candice L贸pez

TYPEFACES: Lemon Sans + Freight


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PROJECT: Alianza

P A G E : 53


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Solido + Proxima Nova


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P R O J E C T : Te p l o

P A G E : 55

TEPLO Teplo is an innovative surfing company that specializes in making wetsuits and various accessories. Teplo targets fashionable male surfers, aged 20–35, who are inspired by the history and culture of surfing. Teplo uses a direct-toconsumer model that allows the company to provide a premium quality product at an affordable price. Optimized around the needs of the user, the website clearly communicates with easy to read and digestible information. Infographics detail the differences between product lines and allow consumers to plug in measurements and place custom orders. The product lines are named after famous surf spots from around the world and are marked by their latitude and longitude coordinates. The black and white color palette is accented by a bright yellow-orange gradient. The logo was modified from Solido Condensed, chosen for its clean, bold, and balanced look. Supporting website copy and branded items use Proxima Nova, a hybrid typeface that combines modern proportions with a geometric appearance. Teplo also teams up with existing accessory brands to offer branded fins, leashes, sunscreen and surf wax.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Solido + Proxima Nova


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P R O J E C T : Te p l o

P A G E : 57

Design Thinking

POS I TI ONI NG The most effective brands are built on an excellent understanding of the market—the competition, the customers and the trends. Teplo, a new surf wetsuit brand, needs to be carefully positioned to differentiate itself from over a dozen other choices.

TARGET MARKET Most wetsuit companies sell their suits to surf shop retailers who mark them up by over 20%. Teplo differentiates itself by providing a high quality, direct to consumer product. This model is more appealing to the target audience of males, aged 20-35, who prefer online shopping and appreciate the more competitive price point.

QUALITY PRODUCT Teplo’s ability to control costs allows the company to focus on perfecting its offerings. Teplo invests a larger percentage of its revenue on product research compared to the competition. Traditional wetsuit brands must hand over the shopping experience to a third party whose priorities and values may not align with theirs. Teplo’s direct-to-consumer model allows the brand to take control of the sales process with a compelling, personalized experience that is powerful enough to lure customers from traditional retailers. The company also harnesses consumer data and new technology to optimize the experience on a continuing basis.

FIT AND STYLE Teplo provides customers with a system of wetsuit style charts and online fitting functionality that allows consumers to plug in their height, weight and other measurements to ensure a perfect fit. Customers also have the option of customizing the products, for unique fit or look.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Solido + Proxima Nova


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P R O J E C T : Te p l o

P A G E : 59


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Bradford Prairie

TYPEFACES: Solido + Proxima Nova


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P R O J E C T : Te p l o

P A G E : 61


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Maximilian + Baskerville


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PROJECT: Escorpión

P A G E : 63

ESCORPIÓN Mezcal’s global rise to popularity demonstrates that bartenders and consumers are more enthusiastic about Mexico’s smoky personality than ever before. This distilled alcoholic beverage, is made from the maguey plant, a form of agave native to Mexico. Escorpión mezcal targets independent thinking, socially conscious upper middle to affluent men and women, ages 40-55, willing to explore new flavors and cultures. Many of today’s American mezcal brand owners and importers have never even met the mezcaleros who produce their spirits. Escorpión believes that Mexico’s countless generations of mezcal makers and their diverse culture are to be valued. They differ from the competition by emphasizing fair trade practices and working to grow awareness about the cultural aspects and sustainability of mezcal. Often much higher in proof than everyday tequila, mezcal appeals to those curious to taste Mexico’s older and more traditional agave spirit. A pairing of Maximilian, a blackletter, and the sharp, tapered serifs of Baskerville, give the label edge, but with a sense of history. The scorpion, highly respected as a protector against evil and bad luck by native Huichol groups, is drawn in a rustic style with abundant texture. The stylish matte black bottle is wrapped in pink Mexican newsprint with a hemp twine.


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Maximilian + Baskerville


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PROJECT: Escorpi贸n

P A G E : 65


C AT E G O RY : B r a n d i n g + P a c k a g i n g

ART DIRECTOR: Sean Bacon

TYPEFACES: Maximilian + Baskerville


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PROJECT: Escorpi贸n

P A G E : 67


C AT E G O RY : B r a n d i n g

ART DIRECTOR: Various Professors

TYPEFACES: Various

Artisan Mezcal

Architecture Firm

Microchip Technology Group

Public Charter School

Children’s Book Publisher

Latina Women’s Non-profit

Surf Report App

Moroccan Tea & Spices

Renewable Energy Company


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PROJECT: Logo Designs

Performing Arts Center

Historic British PubÂ

Coming of Age Drama

Hip-Hop Musical

Boutique Jeweler

Premium Wetsuit Brand

Colorado Mountain Retreat

Australian Beachwear

Russian Cigars

P A G E : 69


THANK YOU This book is dedicated to my parents. Thank you so much for all your love, support and encouragement. Special thanks to Sean, Candice, Bradford, all my friends and family, teachers, classmates and City College alumni for all their help.

This book was printed by Diego & Son Printing, Inc. Text was set in Trade Gothic and Baskerville. Photography by Bradford Prairie, Luke Armitage, Getty Images, Shutterstock, and Flickr. All images taken from the internet are for inspiration only. No portion of this book may be used or reproduced without written permission from the author. For more information contact luke.j.armitage@gmail.com. Copyright 2016, Luke Armitage. All rights reserved.


Luke Armitage  

Graphic Design Portfolio 2016

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