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popmachine the work of manuel valencia May 20, 2013 9:48 PM

popmachine The work of manuel valencia restrepo — showcase portfolio —


The work compiled in ‘PopMachine’: The Work of Manuel Valencia Restrepo belongs to the products of the academic process developed between the years 2010-2013 in Jorge Tadeo Lozano University. Therefore, I guarantee my authorship for each of the pieces included on it. This compilation is strictly a documental/academic report of the developing process of each of the projects herein presented. The graphic and conceptual documentation; as the final results obtained by the author(s) of the projects, are protected under current Colombian copyright and intellectual property laws. Use, reproduction, copy or exhibition of this material is forbidden without explicit and written permission of the author. Projects which share authorship and moral rights with another authors are specified at the closing page of each project. ©2013 — Manuel Valencia Restrepo, PopMachine Co. ©2013 — Copy Edition, Ricardo Rodríguez Quintero.


popmachine the work of manuel valencia

WHAT DOES POPMACHINE MEAN? GRAPHIC CONCEPT

POPMACHINE* — in the obvious sense — is a compound word of pop and machine, but which of the many meanings do I refer to? The answer is: To most of them.

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Pop as a noun is a contraction of popular. A reference to massive production and also to popularity and recognition among the people. As a verb pop is “to appear explosively”, appeals to visibility, appearance and shock value. On the other hand, machine refers to productivity, to the technical method that avoids errors because of correct procedures. Machine appeals to invisible and transparent functionality. PopMachine, is the device that produces for the people. Popmachine is the method to get things popped, known. visible and memorable. It is function with shock value. Wood is artisanal but it’s also industrial. PopMachine is thinking the casing to show and building the core to work, and that is what design is for me. *I owe the exact term ‘Pop Machine’ to Marco Ospina Ruiz, who featured it in a section similar to the one you can find four pages ahead. To him I am absolutely thankful because of his contributions to the person I am now.


popmachine the work of manuel valencia

WHO IS MANUEL VALENCIA RESTREPO? When I was a child I liked to find out how things worked. Now I like to find out how to make things work. That's why I'm a designer: to make things work.

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Whether graphic or not, I like to solve problems using deduction and analytical methods. Since long time ago I'm devoted to productivity. I'm also analytic about what makes people’s minds click, because of this I've created content that has gone viral several times. I like to understand, therefore learn. Highly self-thaught, I have approached deeply — not yet professionally — to different areas such as: voice over, animation, videography, DIY crafts, and even beatbox from the premise why can’t I? My awareness of inner details of different crafts makes me judicious. Besides learning, I also like teaching, which allows knowledge flow when engaged in teamwork. I've got a high frustration threshold — Things should be done just as imagined — It's about not feeling limited by the tool to achieve the precise results you were looking for.

Manuel Valencia Restrepo manu@popmachine.co popmachine.co

ACADEMIC • Graphic design | 2013 Jorge Tadeo Lozano University (BOG, CO) OTHER FORMATION • Food Photografy Micro-workshop 2012 | Andrés Gómez @ LaBloom • Voice Acting & Dubbing Workshop 2011 | Humberto Vélez @ Colombia Hollywood 2011 AWARDS • XIV Concurso de Composición Ciudad de Bogotá L.Neuman - CottonCandy HIPHOP ARRANGEMENT | First Place

• Ani.Ta 2013 (Animation Showroom) Live Ball (Moonlight Studios) 3D SHORT | Winner Project


“rENAISSANCE MAN” — Alejandro Marín | Content Director | La x 103.9fm

" Curiosity made him to find out his best talent: passion!" — Sebastián Molina AKA Zehtyan | hip hop artist

" sober, accurate AND inspiring" — @MeroSabor | Twitter personality

"his creativity, passion and talent at what he does, cannot compare to anything i've seen yet, not even at the bottom of the sea." — Sofía Gómez Uribe | Deep Diver | national record holder

"Only few of us have the sensitivity to get close enough to a song in order to teach it how to be loved" — Alejandro Velásquez | Songwriter | Toxemia / Tequila surprise

"What happens when talent and discipline meet and inhabit the same being" — Miguel Hernández | Award-Winning Writer | National SHORT STORY WRITING CONTEST, el tiempo

"Just like a waffle: Sweet and Square*" — Natalia Mejía | Veterinary Physician | CES

"(...) And absolutely fulfills its function" — Laura Uribe Valencia (*in addition to Natalia's comment) | craft artist


popmachine the work of manuel valencia

“POP MACHINE” — Marco A. Ospina | MATHEMATICIAN

“His WORK has DEFINITELY A LEGIBLE AND SENSItive IMPACT That allows to NAVIGATE everyday life” — Boris Greiff | Graphic Orientation Mentor | JTLU, Ficciorama Fanzine

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"inteligently bold"

— Magdalena Monsalve, Digital Illustrator & Professor | JTLU

"he gets along with persistence AND please in his job, with initiative and wit to overcome the odds he FINDS" — Marcela Cadena | Artist, Architect & Professor | JTLU, UAEM

“Valencia’s discipline and love for his work, redefine the expresion ‘new talent’. I’m sure that he will contribute a lot to contemporary colombian graphic enviroment” — Nestor A. Patiño Forero | Digital Illustrator & Professor | JTLU

“Manuel’s is the most imaginative AND contentful mind i’VE ever met” — Gina Morón | Marketing Professional | fedegan

“creative, perfectionist and convincingly versatile man with awesome results” — Laura Mendoza | Voice Over & Radio Producer | Radio Tiempo Cali, O.R.O


Thanks To Liliana Restrepo Arenas for making my academic process possible and providing the wisest pieces of advice. To Carlos Arturo Valencia for introducing me to curiosity and show me graphic design as a career in my early ages. To Fabiola Restrepo Arenas for letting me discover the world my own way, the unconditional support and never even suggesting me to follow a career that I didn't love. To Juan Sebastian Rubiano for growing besides me in the drawing, illustration and graphic design crafts. Great professional. Great friend as well. To Leonardo Rios Gómez, for sharing me the next-step's challenges before they came. To Marco Antonio Ospina and Alejandro Velásquez for enriching my whole vision of the world, and broadening my horizons. To the professors Marcela Cadena, Margarita Monzalve, Rosario Gutierrez, Boris Greiff, Johnny Rodriguez, Daniel Plata, Neftali Vanegas, Diego Bravo, Carlos Pérez, Carlos Germán Van-Der-Linde, Jose Alejandro Riaño and Arnold Hernandez for the discussion spaces that encouraged the grouth of my design criteria and enriched my knowledge. RESPECT. To Diego Restrepo quededo, for squeezing my capabilities with academic cruelty. No pain, no gain. To Ricardo Rodríguez Quintero for improving my English and teaching me a lot of things. To Santiago Restrepo López for helping me to become a decent web developer with all my limitations. Thanks for being always ready to help. To Carolina Tamayo lópez for the emotional support and smiles. To La Pandilla for becoming my awesome workgroup and design process council: Daniel Lara (for always being there), Viviana Archila, Tarek Salom (always showing the other side of the coin), Juan Osses, Camilo Niño, Nayelli Jaraba (for always cheering me up in the hardest moments), Marcela Franco (one of the best talk partners ever) and Angie Moreno.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

Muestra de PORTAFOLIOS & Reels Event Branding - Papercraft


CAPTIVATE ALONE, LET SHINE AMONG. DESIGN PROBLEm

‘Muestra de Portafolios y reels’ (Portfolios & Reels Showroom) is an academic event hosted and promoted by the Jorge Tadeo Lozano, University (JTLU). This event requires the developement of a promotional system.

© Laura J. Ardila

Promotional systems are prone to pass unnoticed between the target market, not because of lack of impact but due to lack of psychological involvement with the viewer. A small table is assigned in the showroom to each exhibiting student, there they are meant to display their portfolios. A portfolio book — usually massive — and a mobile device such as a laptop or a tablet for featuring web and interactive works. The space left is meant for business cards, souvenirs and a papercraft print that identifies each student as part of the exhibition. That last piece is the focus of this development.


WON’T BUSINESS CARDS IDENTIFY ENOUGH? CHOSEN APPROACH

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The purpose of the student identification piece tends to be limited to feature the identity of the event and redundantly identify the portfolio as part of the exhibition. We found possible to blend the purposes of business cards and the identification piece togheter not in a single piece but a convergence of both. The plausible solution should behave well among graphically-heterogeneous portfolios without stealing too much attention from them and must be an integral part of a psychologically involving/alluring/engaging system. Challenging.


UNNOTICED BUT INVOLVING?! B/W BAROQUE

GRAPHIC LANGUAGE

A black and white scheme ensures chromatic concordance and subtle interference with each one portfolio. The mosaic-style illustration, involves such a varienty of elements that is rather perceived as a texture than a composition.

When the viewer decides to pay attention it breaks the frontier and it turns into a find-Waldo-like piece: a game. When the viewer gets involved and entertained trying to find new elements or re-find previously seen ones, he becomes psychologically involved with the piece.


ILLUSTRATION

popmachine the work of manuel valencia

A BUNCH OF HOURS OF FINELINER

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Traditional handmade ink illustration drawn with Artline® and Edding® pens of 5 different thicknesses ranging from 0.05 and 0.8. It features more than 100 elements related with the JTLU, the programs of Graphic Design and Audiovisual and Multimedia Production. Not exactly Waldo, but if you want to play here is your to-do list:

30’s cartoon, compact printer, Vespa, vintage girl, Transmilenio bus, Bézier curves, Dr. Martens boot, animation table, Moleskine, energy-saving light bulb, magazine, Nokia 1100, airbrush, calaca shlongboard, gummy bears, easel, cigarette, PSD file, closed book, halftone pattern, Munny, sticker, dual display, thumb drive, Renaissance references, unfolded box, postage stamp, typography weights, color system references, sleepy student, autodesk sketchbook reference, film countdown, film strips, Monserrate, Converse All Stars, pizza, ring bound book, keyboard & mouse, student chair, film projector, liquid watercolor and eyedropper, scissors, sharpener, caution sign, copy machine, compass, rabbit, TV, pigeon, hollywood sign, star of the walk of fame, boom mic, crayon, Lumiére brothers reference, sandwich, trepanned paranoid guy, radio mic, on-air sign, laptop, Greek amphora, Pear laptop, human eye diagram, tattoo machine, old-school script Lorem Ipsum ribbon, pantone guide, Egyptian body, headphone head, Helvetica “a”, tablet, Cabo (university’s iconic dog), the arcs (JTLU’s main entrance), JTLU badge, dolphin (marine biology is a famous career of JTLU), Jansport backpack, Nike boots, Red-Bull can, Magritte reference, Gratín with drink (iconic food near JTLU), first semester punk guy, juggler, Duchamp’s fountain, Warhol’s Campbell’s can, capital M, Blackberry Curve, cinema camera, comic strip, jack plug and cable, waveform, speaker icon, mustachioed hipster, tungsten light bulb, DSLR, newspaper, JTLU’s ID, fountain pen, calligraphic ornament, bathroom signs, human figure riding a pencil, smiley and a lot of textures and other elements.


‘Donde la ciencia y el arte se encuentran’ (Where science and art meet) is JTLU’s motto. I decided to take advantage of that.

ART & SCIENCE? CARTOON SLAB & TECHNICAL LETTERING

Direct references

rafted ... but c

d by han


popmachine the work of manuel valencia

Circles and squares* are the classical resource used to convey dualty just in the way that art and science historically (supposedly) oppose. *In this case rectangles.

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DUALITY AS MAIN CONCEPT

IDENTITY

DO BLACK AND WHITE RING THE BELL?

THE CARTOON SLAB

THE “TECHNICAL”

Curvey. Is based, not-cloned, from slab-serif romans like Clarendon or Popular. Is an aproximation to a formal-playful duality.

Squarey. Is based on technical hand-drawn and template-based drawn lettering from architecture before CAD. It is an approximation to technical-manual duality.


ITS MAJESTY, THE CARD COUCH

STUDENT ID - PAPERCRAFT SOLUTION

• Upper side holders to exhibit • Upper middle tab allows square, rounded and vertical cards • Angle forces cards to remain in the couch. • Front tab prevents cards from sliding to the front of the block. • Rear legs allow to take one card without experiencing looseness.


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IT DISPLAYS, IT HOLDS, IT DELIVERS FUNCTIONAL FEATURES

Identification is no longer the one and only function of this piece. Being the only in-context piece of the system the texture is dimmed to 20% to reduce even more the attention taken from the portfolio. Maule cardboard, die-cut, one piece, no glue needed. One ink, easy print. Holds up to 100 cards at once Supports standard, vertical, square, round and odd shaped cards besides postcards.


BUT NOT EVERYTHING IS BLACK AND WHITE...

The card couch is not just cardboard furniture for standard cards. It also holds alternative ones and postcards displaying both sides.

FIVE OR SIX SHADES OF GREY RESULTS

The Card Couch is not alone, it belongs to a system with other traditional promotional print pieces such as poster, postcard, hand program and group identificator thought to be printed in just one ink.


WHOLE SYSTEM, JUST ONE INK popmachine the work of manuel valencia

May 20, 2013 9:48 PM


MUESTRA DE PORTAFOLIOS & REELS CLIENT Universidad Jorge Tadeo Lozano WORKGROUP Claudia Mejía — Applications developement SEP | 2013


popmachine the work of manuel valencia

tip #1

May 20, 2013 9:48 PM

neatly executed Mediocre ideas often work better than excellent ideas poorly executed — Design as interface Often designers say ‘the concept is the important part’ but no one falls in love with personality at first sight and is not a matter of importance. The pretty face and the neat function allow the second stage: get the concept.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

IGOR MOLAROV & THE CRYSTAL MATRYOSHKA Branding - promotional system


WHAT DOES THIS NAME MAKE YOU THINk OF? DESIGN PROBLEm

IGOR MOLAROV & THE CRYSTAL MATRYOSHKA Usually, the naming problems are from the idea to the name. ‘Igor Molarov & la Matryoshka de Cristal’ (Igor Molarov & the Crystal Matryoshka) is a reverse-naming exercise where the name is not a solution but the problem. The name was given and was meant to be transformed. First into a Hollywood movie concept, then into a promotional system that solved all the communication challenges implied by that concept.


popmachine the work of manuel valencia

STEREOTYPES ARE NOT THAT BAD

aPPROACH

May 20, 2013 9:48 PM

‘Igor Molarov’ and matryoshka sound naturally Russian and being ‘Russian’ is not allways being actually Russian but Russianlike. Not all the strongly geographic-based discourses are meant to be authentic. In commercial film productions the choices of a context respond to an aesthetic need rather than producing a historically or sociologically accurate portrait. Being coherent with that purpose, stereotypes are not only not-bad but pretty useful to communicate specific ideas that people already associate with the country/culture.

SOMETIMES APPEALING TO LIKENESS COMMUNICATES BETTER THAN AUTHENTICITY


HOW THE HELL IS A CYRILLIC ROMAN? © Alexander Rodchenko

typography

Here is where Russian-like is more usefull for the process than Russian and the Constructivist posters lead us to find the answer we look for.

They write in Cyrillic but it generated an association. The blocky stylization is — for us — as Russian as the Cyrillic alphabet, but everybody can read squary roman.

Russia drew the world’s attention in aesthetic terms with Constructivism in the century 20th with a particular intervention to the Cyrillic typography: each caracter stylized as a squary block.

The roman types that look ‘Russian’ actually look squary, thus Constructivist. Like this is how a squary roman turned out to be the choice to mean “Russia”. In this case ‘Agit Prop’.

Agit Prop is a display typeface, so it does not behave properly in every hierarchy. Bank Gothic is a lot more neutral but it is also squary and not so distant in terms of context. It works well for captions.

Agit Prop The ‘constructivist’

Bank Gothic The ‘squary’


graphic elements

popmachine the work of manuel valencia

WHO IS IGOR MOLAROV? As a hunter Igor is hard and tough. Rock-solid, but as an elite soldier who wants to take revenge from the army that took away his badges he is heroic and proud. Golden.

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Toughness, blocks and solidity are related with the imaginary of abandoned buildings in Soviet Russia. The reason of the faceted rock texture present in the main title. The military merits, the honor and the heroism, lead to a shiny golden finish present in Igor’s badge and in other deatils in the pieces. There are also elements of voluntary abuse of the imaginary in order to reinforce the Russianness of the idea. Like the sickle of the badge and the color of the jacket.

It wouldn’t have been good to totally avoid cyrillic alphabet. Игорь in the badge is Igor in cyrillic.


FIRE/SNOW? NAPALM WARFARE IN SYBERIA! Fire and snow as opposites. Legitimacy vs Mob Igor vs Victor Fury vs Cold-blood Like in a nationalist speech metaphor (Constructivism again?) fire melts snow an there’s the spirit of victorious heroism intended for Igor.

variations


LET IGOR HIT THE FAN promotional STRATEGY

popmachine the work of manuel valencia

Most of the times they say to you ‘don’t do what everyone else does’ but if it works for everybody, why not?

May 20, 2013 9:48 PM

Some markets and industries have being evolving through the ages sometimes showing you you must always make things different. Others show stable strategies that work every time, as succesful formulas. Not cliché but playing safe. It’s not fortuitous that almost all movies have exactly the same promotional package: • • • •

Standee (my favorite, on the right) Posters Food Containers. Collectibles (this is optional)

This system has all the options.


MOVIE POSTERS LOOK LIKE MOVIE POSTERS

COMPOSITION

popmachine the work of manuel valencia

As all of we know, movie posters have developed a paradigmatic composition: with a main title in the bottom over a billing block. Sometimes it features a caption in the top.

Some few movies break this formula to look different, maybe sui generis, but as a typical action flick those kind of ‘tricks’ would not be relevant but rather effort-consuming in this case.

It’s not like saying that layout exploration is useless, but established layouts are like fast food in terms of communication: ready to consume. The viewer knows what to go for.

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TIME TO EAT! FOOD CONTAINERs

A full combo packaging system that includes a soda paper cup, a popcorn bucket and a gift box. All in one-piece die-cuts, keeping glue levels at minimum (just one zone in the bucket) being eco-friendly and low cost. The system inherits the angular faceted shapes of the Constructivist look but since holding a square-profiled paper cup is not comfortable at all, it’s a better idea to go with the traditional round paper cup.


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EXPLODED VIEW

popmachine the work of manuel valencia

3-Layer assembly fits with no glue.


Handle holes below the tray. Tabs prevent discomfort that could be caused by sharp edges and enhance grip. Design bonus let’s include a fancy golden border detail to the handle.

USABILITY, FUNCTION & Capabilities

MADE TO WORK LIKE A CHARM gravity-zero proof™ Rock-solid. The structure doesn’t depend on glue to hold itself together. Stability depends on folding cardboard architecture. Tailored for theater common use. It [prevents drops with the side-height of the dish], allows one-hand handling and the tabs produce enough friction to hold the empty containers upside down. It can’t hurt to discourage trying to turn it upside down with filled containers.

*Not tested yet. Only try with empty containers


THE CHERRY ON TOP collectible KIT PACKAGING

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The combo comes with a collectible kit of a miniature figure and a booster of 3 cards contained in a see-through box with two levels of storage.

AND WHERE IS CRYSTAL MATRYOSHKA?

If you are expecting to see a crystal matryoshka, sad news: it is the name of the mission so it doesn’t have any graphical representation.


IGOR MOLAROV & THE CRYSTAL MATRYOSHKA Concept SEP | 2012 This is an academic non-commercial non-profit project. The photographic material used in this project doesn’t belong to me and was used only with academic purposes. I don’t claim ownership over any of this material. This artworks were not sold, this is not a commercial work. All photos with unespecified author were found uncredited and don’t belong to me either. Portraits of ‘Igor’ face used through the whole system shared by DeviantArt user ChamberStock under the name of Darrick. Jacket photos belong to Warner Bros Pictures. Masked soldiers picture used in ‘Poster B’ belong to Ubisoft Shanghai. Romanian soldier portrait in ‘Poster B’ originally uploaded to Wikimedia.org by user Koalorka under the name ‘Romanian AKM Soldier’. Battle tank image used in ‘Poster B’ by SSGT Rodney K. Prouty and originally uploaded to Wikimedia.org by user Harald Hansen under the name ‘2 norwegian Leopard tanks in the snow’. Sunset landscape used in ‘Poster B’ belongs to DeviantArt user Seselgis under the name of Winter Pines. Logos of Coca Cola Company, International Paper, Warner Bros Pictures, Oni Press, Legendary Pictures, Imax 3D, Orville Redenbacher’s and Cine Colombia belong to their respective owners and are used only with simulation purposes. These companies were not related with this project.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

tip #2 style before skill is vice — Don’t let your style kill your exploration Claiming your limitations as style is lazy and gives you fake confidence. Even if your style is socially accepted and acclaimed, staying in the comfort zone inhibits your growth as a professional/artist. Don’t let your style to be just an accident of your development. Explore and decide your style afterwards.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

KCARD WALLET KEYHOLDERS branding - PRODUCT DEVELOPEMENT - pACKAGING DESIGN


BULK IN THE POCKET DESIGN PROBLEm

Why does a person that carries only one or two keys has no more option than a keyring? There's almost no option. Most of them, end up with a keyholder even bigger than the key itself in their pockets and it's not always comfortable. Seriously, is that the best solution? IMHO, I don't think so. I took it personal so I decided to solve it to myself and the world.


THE ALWAYS-CARRIED

WALLET! aPPROACH

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Keychains and wallets have a lot in common, you take them with you most of the time and it is very probable that they already share the same pocket. Wallets are a lot more comfortable than keyrings and other key holders but if your wallet doesn’t have a pocket with a zipper, it is pretty probable that they fall out constantly and you end up losing your keys


UNIVERSAL COLOR FOR ACCESS COLOR

The functional solution is the most important aspect in this project. Dark grey for the packaging, suits the sober and the bare of keeping it directly functional. On the other hand, if there is a conventional color for access it would be surely green. Lime green for contrast and accent. This duo is particularly prone to facilitate color hierarchy and drive the atention to selected elements of the composition.


TINY INFOGRAPHICS explanation tools

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Without further explanation, the product looks like an odd-shaped thick card, and since it is a new kind of product that the people are not likely to know it is necessary to give consumers a way to approach to the function of the product. Information design is known for showing the hidden. Halfway from a diagram to a pictogram, the graphic helps to show what the product is intended for.


SYMBOL & IDENTITY

OMG! THE GREEN THINGie IS A KEY

As already stated, the product could look — to unwary eyes — like a thick oddshaped card but odd is not necessarily bad. Odd is also unique. We took advantage of that and put it in the symbol. The best of all is the product shape matches with the K of the name and also with the triangle that resembles the direction of the key and also is green, the color of access. It is instructive, iconic and fits altogether.

PRODUCT BASED BRANDING type


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Focused in physical features, it's a functional product and an elegant solution to the problem, so we chose to stick to these aspect instead of searching for deep meanings. That's why the figurative symbol, but it’s also the reason for the typography. The product has rounded edges to privilege function. We wanted the typography to have rounded edges to privilege the product.

Ubuntu Titling has the technical structure of the DIN but it's also rounded. Almost like tailored.

Wallet keyholders DIN (Mittelschrift) itself works neatly with short and very small texts. We were short of packaging space and we wouldn't write a book.


THE PRODUCT ITSELF

THE HOLDER • Durable yet eco-friendly Laser-cut sandwich of industrial cardboard and Poly-Cover. • Standard size Being credit-card-based ensures fit in almost any regular wallet. • No ornaments Inconspicuous, black and matte to avoid fashion objections.

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• Functional Shape Rounded edges to ease wallet gliding.


ONE FOR EACH NEED PRODUCT LINE & MODELS

popmachine the work of manuel valencia

Most of the people carries and uses 2 keys in a daily basis but we are aware that not everybody has the same needs. In order to fill the market gap perfectly there are 8 different models which can hold from 1 up to 3 keys for different wallet sizes. Any model fits in any regular sized wallet, though.

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IF KEY ISN'T KAY WHY K?

naming

Well sound is not the only aspect, K is still the initial of key, K? Wait! it's also the abbreviation of OK. As we see. But it is not the only reason to stick to that. Besides it matches perfectly with it's KCARDshaped container a K card is also the King in playing cards.


popmachine the work of manuel valencia

ROUNDED SHAPE EASY GLIDE-OUT — use considerations —

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Sharp edges are not wallet-friendly. That's why credit cards and ID's have rounded corners always. The habitat of KCard™ is the wallet so it couldn't be the exception. In addition it has rounded shape in the models that allow it, that acts as a pivot center that helps to easily get the key once the device is in the wallet. Even for someone who already stored keys in the wallet using KCard™ is a wise choice.

IT ACTUALLY FITS! BIGGEST MODEL VS. STANDARD WALLET


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

KCARD YOUR KEYS IN YOUR WALLET


KCARD (wallet keyholders) concept product THANKS LDP Publicidad — Laser Cut Camilo Niño — Betatesting APR | 2013


popmachine the work of manuel valencia

tip #3

May 20, 2013 9:48 PM

in the mind as in buildings you have to demolish to expand — Doubt is the foundation to new knowledge Don’t believe blindly in what your teachers say if you don’t fully understand or see why they say it. If you think you already know everything you had to know about something, you’re probably missing important new data that could enrich you. Keep yourself open to learn and don’t be afraid of breaking your notions.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

DO emprendimiento cultural branding system


design problem

Foundations are bureaucratic, square & boring AT LEAST, THAT'S WHAT PEOPLE THINK

As boring as a block of paper in a stuffy office. Even the sole word foundation is charged in people’s minds — including mine — as a boring concept. Is perceived as uncool organizations to young people that they wouldn't want to be related with. Colombian foundations are mostly oriented to help the sick and the poor to overcome their odds. But there are other organizations focused in cultural and artistic aspects that young people actually might want to be related with. Art, dance and other disciplines are culture, and promotion of culture is also foundations’ job — not only health or education. How can you show to youngsters and adults, to artists and enterprises, a foundation oriented to do cool? And not barely doing cool, doing cool in a sustainable and responsible way, fitting the tax interests of enterprises and offering dignifying jobs to artists in a country where making art for a living is way too difficult.


popmachine the work of manuel valencia

not necessarily approach

Not plain and dull ; dynamic and cheerful. Variable textures could help.

May 20, 2013 9:48 PM

Not squary or office-friendly, Curve and Dynamic; curve interventions to format could work well. Not stereotypical, nor navy-blue, or maroon. Carnival colors in multiple shades. No formal language, inviting to action.


INFINITE POSIBILITIES Do速 works connecting cultural actors with enterprises. As a combinatory foundation, the possibilities are infinite. The connection between the two characters of the name is in charge of that reference.


popmachine the work of manuel valencia

Do速 They do

Symbol & id

May 20, 2013 9:48 PM

Do速 Foundation for Cultural Entrepreneurship is a bridge, a connection between enterprises and cultural actors in order to make art a sustainable business and encourage cultural promotion from the industry.

We wanted to make it visible and that's why there is a bond, a bridge between the two letters of the logotype. The dynamic aspect is portrayed by the variable color and texture.


as colorful as culture is

COLOR SCHEMES graphic elements

The versatility of the Foundation its opposite to the plainness or conventional 'seriousness' of regular foundations. They work with multiple arts and disciplines and it is represented by a non-static treatment of color and plains in composition without quitting looking professional and serious. Action lines are represented by a respective color: • • • • •

YELLOW/ORANGE for institutional RED for ¡Degusta! (Taste!) PURPLE/BLUE for ¡Mira! (Look!) TURQUOISE for ¡Oye! (Hear!) GREEN for ¡Haz! (Do!)

The textures are switched completely randomly. Reinforcing the dynamic character of Do® and picked from a wide gallery of patterns including motives from simple geometric to completely Colombian ones based on Carnival of Barranquilla’s motives and cañaflecha textiles.

POSSIBLE TEXTURES


COLOR CHANGES ACCORDING TO BUSSINESS LINE TEXTURE CHANGES TO AVOID REPETITION popmachine the work of manuel valencia

call to action

Brand voice

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ยกhaz! ยกmira! ยกdegusta! ยกoye! institucional Do is also the name of C, the musical note but they didn't want to get stuck in music. In Spanish, 'do' doesn't mean to do but we like to play with both meanings. The four action lines have imperative names related to the senses (Do, Look, Taste, Hear) closing with an exclamation mark, inviting people to experience. and act.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

waves, they expand

Diecuts & brand value

Do® is anything but squary so we didn’t like the idea of leaving the formats that way. Waves are anything but squary too. The wave is compatible with the symbol besides a representation of expansion. A value Do® wants because of its social impact.


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popmachine the work of manuel valencia

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for cultural entrepreneurship

do foundation


Do FOUNDATION FOR CULTURAL ENTREPENEURSHIP CLIENT Fundación DO WORKGROUP Tarek Salom Camilo Niño Juan Osses THANKS Oscar Aquite — Creative Director April | 2013


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tip #4

May 20, 2013 9:48 PM

talent may give goodwill but public relationships will pay your bills — Break your bubble and always look for meeting new people Whether you are a genius or an average joe, the more people you know, the more good accounts you will get. Keep yourself close to and treasure potential employers.Business are often assigned to ‘the best they found’ but in most of the cases they dont try that hard.


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mรกstil Van home brewery branding - naming - packaging - labeling


TRADITIONAL, NOT YET OLD Design problem Mástil Van is a homebrewing company founded by a young brewer, who is particularly passionate about tasting beer and producing it with that consciousness. Mástil Van goes to the roots. To the traditional European recipes giving them its personal touch, the young vision. Its different beers have a mission: to bring the beer tasting culture to a younger audience in a market dominated by refreshing-oriented beers. It’s traditional European-like beer, for young people.


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THE VINTAGE YOUNG Approach

In the running 2010s we are in a hype of the vintage. Teens and young adults are adopting outdated tendencies and bringing them back and making them trendy again. Current graphic zeitgeist is invaded by 'hipster' stylism and vintage elements that are prone to obsolete and old in the middle term. We needed something traditional yet young, and that 'hipster' look fitted very well in the brief so we took the most timeless elements into our system.


a Sunset ship ID & symbol

Mรกstil means mast. Masts are nautical elements and we were looking for the European and traditional. We decided to approach to the nautical European aspect in XV and XVI centuries to find it. Homebrewing appeals to the artisan. Woodcut style adds craftwork to the overall look and reinforces the traditional and old-fashioned methods opposed to the industrial and impersonal aspect of massproduced beers. This ship has a variable sunset behind that changes color according to its context. It takes the color of each beer in labels and the institutional in stationery and general branding pieces.

The crafty aspect is also included in the typographic election. Origami Std is a choppy roman that features rough finishes appealing to hand work. Est. 2013 sets a timeline milestone, an important concept when thinking of tradition. 2013 can not sound too traditional right now but it eventually will.


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Tradition & Legacy This beer is partially European. The recipes are Latin American fresh yet respectful adaptations of brewing recipes of European tradition. The names are indirect references to European words related with the ingredients or color of each beer. The twist is all the names are also surnames, appealing again to tradition and generational legacy.


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FRAGA

THE FRUITY one

FRAGA came from fragaria, the latin and scientific name of strawberry. This one is blue because this is the less-serious of the triad. Is a strawberry* ale. *beer and wine are products that undergo similar processes applied to cereal and fruit respectively. Fruity beers are in-between of both.

rua

THE red one

RUA comes from the irish word used for the coppery color of ginger hair. Both beer and hair are referred as red without having a totally red color. The recipe of this one is Irish. It is an Ale beer meant to be consumed as a companion of food or to be drunk alone for tasting its rich flavor.

gelzen the blond one

GELZEN is a reference to words in different European languages to refer gold/golden. A traditional Weizen. Also known as 'WeiĂ&#x;bier' or just WeiĂ&#x;e because of its clarity. is A clear wheat-based beer. It's a heavy beer with a lot of body. Special for lovers of this kind of beer.


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brewed FOR COLLECTORS SIXPACK AND COLLECTIBLE CARD

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Mรกstil Van's target are young adults who like or would like to experiencie beer as a tasting rather than regular drinking habit. People who know about beer and/or is also passionate about tasting beer often collects bottles, coasters or any other promotional elements they could find showy Bottles are bulky and massive. A collector might need a lot of space to store bottles. This souvenir card could become an attractive element to the collector consumer to buy the six-pack instead of just a single beer.


going for it. PROMOTIONAL STRATEGY Mastil Van's target population frequents pubs. The brand needed presence in those places. The 'lamp poster' is a usual promotional in pubs. It is even an important part of the interior design and one of the elements that gives the pub, it's pub ambience. Large black areas with golden props are placed in the poster in order to make the product fancier. Luxury is important but also is prudence. This is a taste-oriented beer, it is directed to cultured people, that tend to belong to higher social classes where uncontrolled luxury is considered bad taste.

the 'wheats' COMPLEMENTARY GRAPHICS One could be tempted to include woodcut illustration like the symbol for the whole system, but as that language of the system is related with the traditional aspect, we wanted to approach to younger looks using subtler elements in the promotional pieces. We added interpretative options to the ornaments, and if you look for it you can see the same element being: cereal references, ocean waves, nautical rope. If you try hard enough you could even find mermaid tails.


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THE BREWER FIGURE CHARACTERIZATION It's not a secret that the creators are an important part of the alcoholic drinks imaginarium. Thar's why brands like Jack Daniel's & Jim Beam hold the name of their respective creators. For us, the creator character is important to Mástil Van. If we enrich the concept of recipe, the recipe is reliable upon its creator: the brewer. We added the signature of the brewer to make the consumer have something to do with the creator. A virtual engagement. And — let us not lie — everything looks official with a signature.


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Mástil Van FRAGA, RUA & GELZEN CLIENT Cervecería Mástil Van WORKGROUP Tarek Salom Camilo Niño Juan Osses Viviana Archila G. THANKS Simón Villada Londoño — Owner Nayelli Jaraba Negrete — Label Brainstorming Plotter Art — Laser Cut April | 2013 The script signature used in this project actually belongs to Matthew Dunlap and is only used here with previsualization purposes. This individual is not related in any way with this project.


popmachine the work of manuel valencia

tip #5

May 20, 2013 9:48 PM

if you aren’t ready to fall, maybe you aren’t ready to fly either — Play risky once in a while if you always go safe you’ll never do anything impressive or outstanding. Some briefs require safe solutions, but usually safe solutions lack of impact and innovation. Make the people talk about your work and your client when pertinent.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

souper takeaway soup naming - Branding - packaging


Soup is not cool?

DESIGN PROBLEM

Along with broccoli, soup is maybe the most common food to be portrayed in cartoons as being unpleasant. We grow up with the notion that soup is not a cool thing. Too adult, too serious. Nothing to do with the universally liked fast food. What if somebody wants to give soup a twist and make it closer to fast food. SOUPER™ is that: Takeaway soup with fast food franchise format. Oriented to young people, college students and those who want a fast lunch far from the usual pizza, burger or sandwich.

IF SOUP IS NOT 'HOT' ENOUGH YOU HAVE TO MAKE IT SOUPER


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BUT COULD BE

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MAYBE SOUP COULD NOT BE COOL BUT CERTAINLY IT COULD BE HOT What if we talk to the inner child that rejects the soup as the 'bad guy' among food? Graphic and language content have souperpowers to make it work.


souper: Soup in a cup kind of bussiness

SOUPER速 takes the business format from LEVES: An establishment seen in Budapest, Hungary which sells takeaway soup in paper cups. Each day they have a random selection of three different soups. One chicken based, one spicy and one vegetarian option to which you can add one or several toppings.


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inside the cup edge SYMBOL & ID As you can see, the symbol makes a direct reference to the brand cup, the identity element that is more in contact with the costumers and the differential factor of the brand. The typographic election and the oval container also make reference to comic superheroes. Their logos often include rounded containers and their fonts are mostly bold and strong.


CRIMSON RED IS THE SOUPERHEROEST COLOR A SOUP CAN HAVE, ISN'T IT? Red cups with white edges are also similar to solo-cups™ popular among the young.


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PUN INTENDED copywriting approach & naming

This soup is not the soup you knew. It's souper!

• Kids and teens use the word 'super' a lot. The word SOUPER® connects inmediately with informal chat sneaking into people conversations. If the placement is good, people eventually will start to make jokes with the name.

Taking advantage of linguistic tweaks you could get interesting copywriting.

• SOUPER™ as a comparative. 'This is soup vs. this is souper' gives a glimpse of superiority.

• Changing the O and U for OU like in the name of the brand could change the sound of the word but if you are prudent enough it could be a funny way to relate it to the brand itself.

• CONTENT COULD BE SOUPER™ HOT. Turns a legal warning into a comic resort via copywriting.

If the name is a pun itself why not add the same ambience to the whole system?

ont: dary f . Secon y SudTipos b Romy


The fork could be either inside or outside.


take it away

packaging.

Is not takeaway soup until you take it away.

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This packaging system consists in simple and eco-friendly cardboard sheet that bends on itself becoming a holder with tabs that hold the spoon and the napkin. all you have to do is open it and consume it or close it and carry it to its destination.

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It is well known — and unavoidable — that people litter and this kind of holders, not being dirty, tend to stay in some spaces longer than the use of the product until they are trashed. To take advantage of this unfortunate fact, the contact information is inside the holder, allowing spreading via word-ofmouth .


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Pic t An ogra m oth er s, so ref ere mewa nce y to relate com t ic. o dra w

ing

.


come and get your souperPOWERS™


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souper Concept branding WORKGROUP Viviana Archila THANKS LEVES (Budapest, Hungary) — Bussiness format May | 2013


popmachine the work of manuel valencia

tip #6

May 20, 2013 9:48 PM

Superb to sell you humble to build you — Do not expose your own mistakes Be confident even if you don’t think your work is perfect. Absolute perfection is not possible, but you certainly could make you look flawless. Don’t excuse yourself prematurely but always be open when somebody talks about your work. — Understanding is the ultimate tool. You can’t correct your mistakes if you are not able to see them so try to see your work with others’ eyes. Even if they aren’t trained they can see things you can’t.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

notmeanttobelong card set

™

PRODUCT DEVELOPEMENT - pACKAGING DESIGN


meaningful milestones

Design Problem

A lot of crucial events remain secret or hidden because of what expressing them implies. Sometimes it is cheesy, sometimes it is rude and people sometimes don’t want to be additionally rude or cheesy, they just want to communicate the bare message. So, Could we materialize the emotionally meaningful message without implying previous cultural values?

Create a new practice Design Problem

Additional connotations, are usually the result of cultural repetition of social interaction patterns so trying to purge values off to express plain messages is not viable. The same way that culture found natural expression uses for modern media, one could suggest new media expression interfaces that allow the casting of new uses and meanings.


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Create new media printed interfaces to social expression


the deck

product itself

When you get the product you get a deck of 20 cards (55x90mm), a gift wrapper and a label to reseal it if it is the case. Most of them are NotMeatToBelong™: the owner (in this case you) is just temporary until he/she finds the next rightful owner of each card.


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if they are notmeanttobelong™ to me,

May 20, 2013 9:48 PM

WHAT’s there TO DO WITH THE CARDS? product itself

Once you open the deck, the first card you will find is the one called the instructions Just as each of the other cards, its name is descriptive and has textual orientation behind.


beyond the paper

ritual aspect

If you pay attention to the name of each card, you will find them similar to tarot card names. This aspect is meant to emphasize the ritual aspect of the cards and to keep it simple. RITUAL ASPECT Cards are pieces of paper, cardboard or any synthetic material but in this case are materializations of meaningful emotional milestones. Are a temporary certificate that you are responsible for something that the other person experienced. KEEP IT SIMPLE As a completely new social practice proposal, it is good to make sure that the idea of each card is as clear and easy to understand as possible to avoid people feeling confused about what to do with it.


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what has plaid to do with emotion? color & textures

When you want to evoke emotions using graphic resources, color could be one of the most important elements you can take advantage of. Using illustration for the cards could charge each of them as a design piece more than a social excuse for expression, but using plain colors could be too impersonal and emotional issues require a warmer treatment. We chose plaid because besides allowing almost any color scheme, they are the cross of threads in different directions, just as emotional milestones are the cross of people’s lives. Each card has a pattern and a color scheme individually tailored for it. Using a familiar pattern allows the color to be strong enough to evoke what the card caption suggests. Avoiding illustrative content makes it open to interpretation.

THE COLOR OF EACH CARD IS ABSTRACTLY/CONVENTIONALLY RELATED WITH ITS MEANING


When you want to evocate emotions using graphic resources, color is one of the most important elements to take care of. Using illustration for the cards could charge each of them as a design piece more than a social excuse to expression but using plain color could be too impersonal and emotional issues require a warmer treatment.

popmachine the work of manuel valencia

We chose plaid because besides it allows almost any color scheme, they are the cross of threads in diffeerent directions, just as emotional milestone events are the cross of people lives. To use patterns allow the color to have strenght enough to evocate and not being figurative is open to interpretation.

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we are so used to plaid it let the SCHEMES color evocate almost PATTERNS AND COLOR TAILORED FOR alone EACH CARD.


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THE PRODUCT AS A GIFT

DERIVATED PRACTICES

We insist in creating interfaces so the last card you see in the deck is not actually a card. The last element is a gift wrap cut to the exact shape required to wrap the whole deck or cards but it could work with even just a few. Its function is to ritualize the event of a contingent giveaway as a gift separated of the meaning of individual cards in the same way the other cards ritualize actual emotional life events.

The wrap doesn't come alone, it comes with an adhesive label to re-seal the package to give it away.


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ll we s y r ok ve ion y lo s t l rk nc al wo s fu actu d i . hi it a Pl th t se rap i w cau ift w be e g lik

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NOTMEANTTOBELONG速


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SOCIAL GIVEAWAY CARDS


NotMeantToBelong™ concept product THANKS Ricardo Rodríguez Quintero — Copywriting adviser APR | 2013


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tip #7 Build guild, not rivals — Way better half a huge pie, than a tiny one all yours A lot of doers have deprived the world the opportunity to know their awesome ideas because of their selfish obsession of doing everything by themselves. If you think your great idea could be performed by a skilled colleague, work as a team. Sure you’ll have half of the money, but results will be better and that will generate recognition and fame for both.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

frankards "greeting" cards Branding - print design


obey and be nice design problem We are socially used to cheating because we always have to keep it "nice". If we think about it, we will find there are lots of dates and protocolary events in everyday life to greet people, most of the times, even if we don't even like them. Greeting cards is the generic term whether they greet or not. Even if the content is not even kind — which is this case — they are "greeting" cards. We lack of excuses for discord and even trying hard you won't find an event tailored to let your steam off and damn your not-so-loved one.


make up a damn day! approach

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Special dates are always conventions and traders have invented a lot of them to encourage commerce, if they may make "special dates" up for their convenience. Why not to create one that people already want and need?

Every now and then everybody wants to be crude and honest about negative feelings, but they lack of the conventional permission to do it without the fear of social repression. Let's make up a day and promote it with greeting cards.

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April the third

official fuck/you day social interaction

Here it is. The ceremonious 'Official Fuck/you Day'. A day to curse, damn and let yourself be honest with the conventional permission of an official and international day*. Fuck you is the chosen name, because it is the standard insult that suits almost all the situations from mild disturb to strong fury. It suits humorous uses with your close friends and it suits the visceral hate you might feel to your boss. Use the F word to celebrate you can express yourself.


HINT: WHY THE DATE? FUCK/YOU>1234/123>4/3>APRIL THE 3RD

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— * who made it official? — does Anybody care?


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now you need products! material solution & Promotional system

I'm not sure if the cards are the promotional system for the day or if the day is made up to sell the cards. What I'm sure about is the suggestion of brand new social dynamics around being frank and uncomfortably honest, opposed to actual social practices that encourage holding back the negative feelings. That is where the name of the project comes from: Frankcards, cards to be frank.

it’s not just about selling, it’s about generating new social dynamics


perfect come-back when they ask for "something" popmachine the work of manuel valencia

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F***K, the convention brand ID & copywriting

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Frankcards is a portmanteau of frank and cards but why the asterisks? Asterisks are often used to censor objectionable words or sentences and they have become typical enough to portray the objectionable without being objectionable itself. So if you write f**k, everybody will know you are referring to the F word. We liked to play with that in our favor. F***K, the logotype of frank cards has not 2 but 3 asterisks because it spells ‘frank’ but people may still read fuck instead of frank because it has become that conventional. The same pun is intended in the slogan ‘Because Frankards you, that’s why’. It’s easy to notice that FK stands for Frankards but we get a possible second meaning by leaving it open to the viewer to make sense out of it. Anyway, —’because Frankards you, that’s why’ — doesn’t even make sense.


POP-UPS & PAPER APPLICATIONS INCREASE IMPACT

TEXTURES AND PATTERNS SET THE CATEGORY’S STANDARD & MAKE LESS OBVIOUS THE PLOT TWIST OF INNER COPYWRITING

HAND ILLUSTRATIONS MAKE BODY GESTURES AVAILABLE IN GRAPHIC REPRESENTATION.


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hard feelings strong language

typography

Even if the system is clearly heterogeneous in typographic terms they are some guidelines in the choice. The chosen typefaces are sans serif and slab serif, preferably, not mandatory, in bold weights because if hard and strong were typographic weights, they surely wouldn’t take the ‘light’ side. Some elections are merely stylistic to match the category.


frankards because fk you, that's why


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Frankards concept product THANKS Ricardo Rodríguez Quintero — Copywriting and Grammar Tarek Salom Rubio — Copywriting and Grammar Santiago Restrepo Lopez — Brainstorming Valeria Cardona Marín — Brainstorming April | 2013


popmachine the work of manuel valencia

tip #8

May 20, 2013 9:48 PM

Don’t stop trying until you get it — Don’t excuse your lack of passion in another’s ‘talent’ If you want to be good at something, don’t expect it to happen easy and fast. A lot of people you think are innate talented are really people that devoted great part of their time to their areas of expertise. ‘Sooner or later, discipline will beat intelligence’ says a japanese proverb. It’s not about the circumstances, it’s about how do you deal with them. If you are a person with limited opportunities, make sure you take advantage of them 100%.


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K.O'S BREAKFAST CEREAL Packaging - Illustration Food Photography Character Design


Let's get Cereo's design problem

Breakfast cereal oriented to kids and teens is a segment dominated by a few brands you can count with the fingers of one hand. Other brands often fail in the process and do not achieve enough recognition for placement. That is in part because the big consumer goods brands have enormous budgets destinated to advertising. But that's half the truth the other part is the graphic quality and most of the time the looks, boxes and mascots of small brands lack of the quality — in terms of character creation and look — that the big ones have because of their work with major advertising/design agencies. Now we start from a version of the traditional Quaker's Honey Graham Oh's but this time, focused on kids and preteens.


LET THE CHILDREN COME TO it Approach

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The cereal pieces are O's and we can make use of this in the naming process but that's the first port of call. Let's try to do better than just putting "-o's" in the name. The look of the box is the most important. It must look like a top-brand new cereal. Children often like things that are like the things they already like. We need to avoid looking like a cheap competitor so we need to take the layout and some elements from the standard guidelines that the same big brands have set. The creation of a strong character is maybe the most important aspect.

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MEET COACH KAY Character design

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Kids don't really care about which brand is or what components their cereal has, moms do, but most of them end up giving in to their child's whims. Children care a lot about the character and flavor, but being flavors a matter way far from graphic design let's stay in the area of character developing.

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We looked for animals that weren't used in any famous cereal and could be easily associated with a personality and here is what we got. He is Coach Kay, a box-trainer kangaroo that gives the cereal its name. He helps active kids and preteens to unleash all their energy being healthy and sporty. Kangaroos themselves are attractive animals to the intended target and making one of them a boxer makes it even cooler. It surely needs a delicate treatment in terms of advertising to prevent dramatic mothers to say the cereal is encouraging their kids to kick (or in this case, punch) other kids’ butts. Changing the job would destroy the naming system and take away power from the character. ID of Coach Key is based in famous boxing equipment and clothing brands' logos.


K.Os The os of Kay Naming

Starting from the -o's, we didn't stick to an obvious answer like graham-o's or honey-o's. Names work better if they are short and there was a way to articulate the o's with a boxing kangaroo. We got the O's and in boxing, a knockout is also called a K.O. We could stop here, is mildly clever but if you name the Kangaroo as Kay, K.O's became also the O's of Kay. In other words: The cereal of the kangaroo. An association that would be convenient. Simple and neat. Triple pun.


Dusty's速 name was chosen because it sounds like somebodies nickname

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Dusty's lettering

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Somebody has to do it manufacturer brand & lettering

Specially in international markets, the consumer uses to buy imported products because of their apparent status and quality, even without having seen any advertisement of it. Being convincing becomes an important aspect of a piece of packaging. Part of making a convincing cereal box or any food packaging, is the producer wordmark placed with the same hierarchy that brands such as Kellogs速 or General Mills速 use for their brands.

Script lettering appeals to another-time's companies that became timeless due to tradition

Full wordmark of Dusty Ribs Co.


THE CHERRIES ARE TINY GLOVES food Photography Once the character is ready the photography could be plotted. Kangaroos and honey graham o's are vaguely the same color so it is a good idea to refer to Kay's colors with the photography. The kangaroo color is present but the gloves? In order to achieve that harmony we looked for a shiny red fruit that went nice with cereal: Maraschino cherries.


powerBURST

BE MOMAWARE

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Color Scheme

Nutritional Infromation

Boxing traditional colors are black, blue and red. let's analyze every option for the background of the box:

Sure, kids chose their cereal, but their mom is the one who decides in the end which one she’s gonna pay for.

BLACK Cereals use to have vibrant colors in their boxes to attract children sight, so black is not an option for the box. It could work in terms of contrast but it won't work well among other cereal's boxes.

Moms are pretty obsessive with all this vitamin thing, so that information has to be visible. Not that it is a problem, since it helps to give the box the overall 'major cereal' look.

BLUE contrasts very well with orange and could be vibrant. However 'frosted flakes' already took that color and it has an orange mascot too. To look like the category works well, but getting too close to a specific reference could be confusing and counterproductive.

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RED if contrast is not the solution, harmony could do, then. Already having red in cherries and gloves, and orange in the kang and the cereal we could stick to a warm scheme... and sure it works! Red is vibrant and flashy. Red is our best option so it is a good idea to stick to a warm scheme.


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ko's breakfast cereal The o's of coach kay


KO's Breakfast Cereal concept THANKS Juan Sebastián Rubiano — Ilustration Corrections April | 2013


popmachine the work of manuel valencia

tip #9

May 20, 2013 9:48 PM

there’s no point in going out of convention without a good reason, but there’s no point to stay there with one either — Be pertinent even if it’s not as cool as you want. Don’t play risky if you’re not going for good bounty. Being excentric with your work just because, shifts from clever to nonsense. On the other hand, don’t waste the chance to be bold.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

bogotĂĄ bonebreakers roller derby league + DinastĂ­a Quad bx3 legacy team sport branding


League, Team or School?

design problem

BogotĂĄ BoneBreakers, also shortened as BĂ—3 is a pioneer Flat Track Roller Derby (FTRD) team, arguably the first in Colombia. Its growth went out of control and the members of the whole 'BoneBreakers' thing outnumbered the actual team. They started to train new girls called 'Fresh Meat' and therefore, there are radical differences between members of the team in terms of age, track record, skills and commitment. They were not totally satisfied about their current graphic solutions, but those are well recognized among people because of the team's placement as pioneer. They are also looking for recognition of FTRD as a sport.


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all of them but let's get clear approach

Let's call the things by their own name. Bogotรก BoneBreakers will be the name of the league that trains the fresh meat of 'Bogotรก BoneBreakers School' until they can belong to 'Bogotรก Bone Breakers Team'. Placement points as a bad idea to try changing widely recognized elements: the name or the colors. Better to change only what is bad. Let's keep green black and white and the name but let's take the same elements and make them look like a an international team. Competitive not only in the flat track but graphically.


let's make it look sporty

ID, Symbol & MONOGRAM

Bogotá BoneBreakers formerly had a single ID (visible in previous page) conformed by the acronym B×3 where the × is represented by the crossbones of a 'Jolly Roger' scheme except because the silhouetted skull has a Jammer helmet. All of this over a text that spells ‘BoneBreakers’. A lot of elements, isn't it? We decided to split it up into a system of several IDs with different uses. • MONOGRAM • SKULL-HELMET • WORDMARK


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SIMBOL & VARIATIONS • B×3 MONOGRAM With the B×3 and the cross we decided to design a monogram. This monogram is assigned to the BoneBreakers League because is the most institutional piece of identity.

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B & 3 has bony edges added both for symmetry and coherence with the crossbones of the X. • JAMMER HELMET-SKULL We turned the former silhouette into a character, a sport mascot, with illustrative treatment. We figured that helmets and skulls — for obvious reasons — have a lot in common so we blended them together into a skull-helmet.

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The shady and rounded chin behind the helmet suggests there is a woman wearing it. It portrays the strong femininity, one of the main values of the team. • BONEBREAKERS WORDMARK The grunge aspect is important to BoneBreakers, but grunge can totally ruin legibility and impact. We decided to do a subtle yet significative grunge intervention to the wordmark in order to not leave this aspect behind. Everybody refers to the team as BoneBreakers so, although 'Bogotá' makes part or the B×3 acronym and being Bogotan is important to the team, we decided not to include it in the main wordmark because it is understood more as a origin denomination than as an integral part of the team’s name.

— full symbol —

— full WORDMARK —


shouting & growling. promotional system Everything in the system must be harsh and grungy to be complete. Then, the posters are designed around informal idioms they use or could use (screaming) during a derby jam that refer to brand values like: • Ability to produce pain • Struggle • Strenght Merchandising is usually bought by people close to the team encouraged more by the desire to support the team rather than a consumist impulse or whim. T-Shirts and stickers are designed following promotional standards to be familiar to the merchandising consumer and perfectly usable. Things that a nonrelated stranger could buy because they are cool. A t-shirt you can use to go to the supermarket.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


THE OTHER TEAM secondary branding

Dinastía Quad (Quad Dynasty) is the second team of BoneBreakers League but the admission process of this one is quite different. Memberships in BoneBreakers team are earned with sport endurance & skills. Memberships in Dinastía Quad are earned with track record, dedication, sacrifice and time. It could be said that 'Dinastía Quad' is B×3 legacy. The veterans of the league. Any girl of Dinastía Quad probably belongs as well to BoneBreakers but that doesn't happen the other way around. It requires a lot of effort and struggle during a long period of time to become part of Dinastía Quad.

They already had a graphic exploration in purple and 'BoneBreakers Green' around a wheel of quad skate (a type of skates used in roller derby) and preColumbian art. Colors must remain unchanged because of client request.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


Leave a mark make a path Dinastía Quad's Identity

popmachine the work of manuel valencia May 20, 2013 9:48 PM BX3 LEGACY

Dinastía Quad is a particular team. Its members are not chosen by selection or skills. They are chosen by commitment and track record. They are chosen because they grew up with the team. We kept the purple and the green but we changed the specific values of the colors because the former pair was not as harmonic as we wanted. THE WHEEL is a reference to the element quad in the name. A quad wheel represents advancing, going forward; reinforced by the triangle that is also directional, but it is also a monster truck wheel representing strength and power. A wheel with a pattern that could leave a unique trail. THE SPILL is a reference to green blood. The sense of belonging to B×3 league. THE MONOGRAM is half D half Q. The bevel is a reference to traditional metalwork lettering appealing to the tradition that dinastía intends in the name.


DINASTĂ?A QUAD BX3 LEGACY

popmachine the work of manuel valencia

May 20, 2013 9:48 PM


Bogotá Bone Breakers dinastía quad CLIENT BX3 Roller Derby League WORKGROUP Tarek Salom Camilo Niño Juan Osses THANKS Nathalia Toro — Team Captain Laura Sinisterra — Initial Contact Angélica Padilla — Outfit Modelling April | 2013


popmachine the work of manuel valencia

tip #10

May 20, 2013 9:48 PM

The right tip can unleash a hidden talent — Surround yourself with experts Pay attention to what they say and do and always share your own tips with your colleagues. They’ll be more willing to share theirs with you. One half of being an expert is the judgment criteria, the other half is a huge amount of gathered previous knowledge: tips. That’s the main reason why ‘the pupil beats his master’. Pupils have access to the tips without the need of going through trial and error: they save time cutting straight to the chase.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

big pig management agency Branding -


holy cows of showbiz design problem At least in Colombia, artist management and professions as A&R are markets dominated by the so-called 'Holy Cows', traditional figures with influential friends that have always been there and have no much more value than that. Show business in Colombia is not really an integral industry. It is corrupt and you have to pay to nonprofesional for objectionable work that not always gives the results the client expects.

BigPig Management has a different notion of what show business should be. A professional formula that exists, and actually works, in the rest of the world. Particularly USA. How to treat it graphically?

t rac at t i n g o t r rit e rde yw h d. in o h cop ith t e d n n ose t w i e s t w t n in s ch h fi tch . Pu r wa it ma r whic D o O l o o ng RI PE red c Maki y hum . k The ntion chee age. e att duces langu pro nding bra


we got the big pig approach & id

popmachine the work of manuel valencia

The name 'BigPig' is a parody to that holy cows. BigPig is a'BigPig' rethoricischaracter a parodywho to that certainly of holyis not The name the most cows. BigPig pleasant is a rhetoric (pigs are character not the which animals with the best reputation) certainly is not the most but is pleasant big, contundent (pigs are & not easythe not to best ignore. reputed animals) but is big, blunt and not easy to ignore.

May 20, 2013 9:48 PM

Wee took advantage of the likeliness of the G We tookit advantage to turn into a pig head of the inlikeliness the wordmark of with a subtle the G to intervention, be turned into ThisaGpig becomes head inthe thesecondary symbol. wordmark with a subtle intervention. This G becomes the secondary symbol. BigPig Management acronym is also BPM that appealsManagement BigPig directly to music. acronym is also BPM which appeals directly to music.


the best of all motherf**kers brand voice If we are talking about a dysfunctional industry as show business in Colombia you have to push a little if you want your things well done and on time. Maybe even raise your voice. That's why we've chosen not-so-kind copywriting. This slap-on-the-wrist has the purpose of imposing certain authority. Certainly a crimson red envelope that tells 'if not urgent, important' seems like something you have to deliver first. The idea as a management agency with this language is not mistreating anyone. Is applying pressure in order to get diamond-like results.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


popmachine the work of manuel valencia May 20, 2013 9:48 PM

competing on the desk

color & print design

The natural habitat of printed documents is to be among other printed documents, oftentimes lots of them all white. A sea of documents where a single one could easily pass unnoticed. The back side of the documents and the border in press releases is printed in vibrant red to make them more visible among other documents. Photographic material is B&W to avoid constant red to match lousily with colorful photography beside it keeps it serious, formal and classic. Centered and big signature reinforces the conceptual character of the 'BigPig' making it look like an authority and somebody important even if it's not always the same person.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


foolproof & clear

technical rider

In addition to having a totally neglected design, technical aspects are often confusing and unclear to those who read it whether they are audio savvy or not. The challenge with this one was not only doing it visually friendly but also clear and readable to anyone fairly familiar with live audio gear and plots. If the people you will work with can't be as competent as you need, you have no more option than being crystal clear and your content, fool-proof.


popmachine the work of manuel valencia May 20, 2013 9:48 PM

PICTOGRAMS AND TABLES PICTOGRAMS, TABLES & CONVENTIONS. VERY USEFUL TO UNTANGLE CONFUSE INFORMATION


bigpig managment

DIAMOND-LIKE RESULTS REQUIRE PRESSURE.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


Big Pig Management CLIENT Big Pig Management THANKS Juan Pablo Mosquera Guerrero — Manager April | 2013 The script signature used in this project actually belongs to Peter Erskine and is only used here with previsualization purposes. This individual is not related in any kind with this project.


popmachine the work of manuel valencia

tip #11

May 20, 2013 9:48 PM

Know your deadlines but take your time. — Tomorrow becomes tomorrow’s tomorrow, tonight gives you a goal Set your goals wisely, learn to enjoy your work in order to avoid wasting time and don’t work in a hurry because quality is nonnegotiable.


popmachine the work of manuel valencia

artist photography - cd artwork May 20, 2013 9:48 PM

bianco band


pop bands' classic problem design problem Musicians are often stubborn and they like to stick to their roots. These ones are rock-influenced musicians that like and do pop with a rock ensemble. They have wanted to stick to that, but it has not been successful enough. Maybe pop works different. All pop bands are new until people know them. the tradition and legacy is irrelevant for the potential fan so the promotion must act according to that rather than satisfying the musician whims.


they're 3 & electronic approach & treatments

popmachine the work of manuel valencia

They have been using a warm, organic and woody image that was maybe too warm. As time passes the band has become less traditional, leaving the warm to assume the fresh of electronic and less-acoustic sounds. Going from being familiar to be cool, the image should reflect those changes.

May 20, 2013 9:48 PM

Establish an scheme, character roles, and even layout the relative positions of each of the members of the band could make the 'brand' stronger and solid. Their label was pop-rock before. Now they want to be mainstream pop and they should look like that.


UNTIL 'TU DISFRAZ' SINGLE THEY WERE 5 IN THE BAND. a band's next step demands a brand new graphic approach.

© Victor Araújo


fresher look, fresher sound popmachine the work of manuel valencia

rework, ID & color schemes

They were five, now they are just three. Not just because of internal reasons, but also because of image and management reasons, it's easier to sell fewer role characters.

May 20, 2013 9:48 PM

The warm sunset light becomes the high key, the warm and woody colors become a bluish scheme, the fan-artist distance becomes a little further to enhance the potential stardom look of the

members. The characterization gets stronger, each member of the band gets a specific role and, with exception of the lead singer, a prop to be identified with. The wordmark of the band gets simpler and the intervention in the B, appeals to a 3. The three members of Bianco.

DANIEL The natural

JUANFE The shy one

EDDIE The lead singer


CD SLEEVE (FRONT COVER) + CD LABEL + POSTER

MADE FOR the fan

Building a fanbase is utterly important for the social impact of this kind of bands and keeping it satisfied and growing via social networks are matters of similar importance. Having this in mind we added a lyric poster with contact information to the single pack.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM


single on, sing along fan loyalty strategy

popmachine the work of manuel valencia

In order to place the single in the potential fanbase minds a printed piece was born: A fidelization lyric poster. The single poster included in the pack is double-sided. In one side there is a triptych of the band's members, and in the other are the lyrics of the song.

May 20, 2013 9:48 PM

Lacking of a CD booklet — because there is just one track in the single — the poster is oriented to make the listeners learn the lyrics of that single track and sing along. If there is potential of obsession in hype fans it's wise to take advantage of the chance, using the triggers available.


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

TĂš&YO&YA(2013)


Bianco CLIENT Big Pig Management THANKS Juan Pablo Mosquera Guerrero — Manager Victor Araújo — 'Tu Disfraz' Photography April | 2013


popmachine the work of manuel valencia

May 20, 2013 9:48 PM

the end hire me.


tech specs FORMAT 170×250mm + 40mm internal margin BINDING 3-point japanese stab-stitch with black ribbon1 COVER Bookbinding paper + foil hot stamping (black over black) FLYLEAVES Kartta Skin Paper (Orange | 280g) CONTENT CordenonS Plike paper (White | two-faced | 140g)

tYPOGRAPHY MAIN HEADINGS DIN 1451 Std • Engschrift | Linotype TITLES DIN Condensed | Paratype BODY Gotham, Gotham XNarrow | Hoefler & Frere-Jones

services & Venues

I h umb ly reco mm end

DIGITAL OFFSET PRINT Zárate Publicidad | Carrera 28 No. 9-42 | 742 2792 1BINDING Cuarentaydos Líneas | Calle 20 No. 4-40 | 243 6301 OUTFIT PRINT T-Shirt Lab | C.C. SantaFé L.3-110 | 605 8331 LASERCUT LDP Publicidad / Súper Avisos | Calle 10 No. 27-39 L.124 | 742 2792 SPECIAL PAPERS Gendicol | Carrera 19 No. 29-53 | 288 5768 ©2013 PopMachine Co. Manuel Valencia Restrepo | PopMachine.co | BOG, CO


POPMACHINE The Work of Manuel Valencia Restrepo