Documente Academic
Documente Profesional
Documente Cultură
OBSERVATION
ORGANIC PALETTE
NATURAL SKIN
HANDY NATURE
ORGANIC DESIGNOLOGY
PERFECT NATURAL SHAPES
THE INDIGENOUS BRANDING
OrganicISM
05
9 772226 654008
ISSN 2226-6542
05
NO 05
OrganicISM
TREND-LEADING
PUBLISHED BY
Sendpoints Publishing Co., Ltd.
PUBLISHER
Lin Gengli
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Nicole Lu
EDITED BY
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Ryan K.L. Jiang
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EDITORS
Mandy Gong
Ian Hanson
Qianqian Lee
ISSN
2226-6542
DESIGNERS
Liu Minting
Huang Xiaoqiong
Wang Xue
EDITORIAL DESK
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Editorial
T he compelling visual elements and rules from the nature have taught
us not only the way we understand the nature, but also the way we
shape the human outputs. T he products we make, the machinery we
produce, the way we interact, the way we consume and even the way
we work creatively are inevitably connected with the organicity of
our being in relation with the nature. T he universe evolves around a
chaotic yet organic rule.
As designers, we make things real; we make rules in the way people
interact with visuals or other media. T herefore, we need to
understand the way natural is interpreted in Design, creative
methodology, art direction and even marketing. Notwithstanding
that the brand designers are limited to a couple of media, brand
designer are enabled of the chance to have the most direct
interaction with the client and the consumer, as the key to bridge
the organicity of brand values to the other end.
Ryan K. L. Jiang
Executive Editor-in-chief
Committee
Stiftung | Foundation
Messeturm, Friedrich-Ebert-Anlage 49
www.pantone.com.hk
www.german-design-council.de
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CONTENTS
BRAND +
LIGHTBOX
SYMBOLISM
12
16
18
MOOMAH
74
COCONUT
75
76
78
22
VERDARIUM
24
RICE GARDEN
TEXTURE
26
SOUNDWICH
82
FAT COW
28
84
RRRIOT SHOP
30
88
FARMEX
32
M-IDEA FOREVER
90
36
92
DVID PETR
38
BREITENTHALER
94
LA CANYA
40
98
SELF PROMOTION
44
SAVON SU MIDI
102
104
LA CABANE DHENRI
COLOUR
48
50
ADELA
52
LES STORE
54
PLANTED PLANT
56
HEIM
60
CATALAN WINES
64
66
68
70
J ERIKA
72
108
NATURAL TEA
110
114
ALTUNA VIAJES
116
DELICATE MATERIAL
120
AMIO
122
126
130
ORGANIC PALETTE
144
NATURAL SKIN
156
HANDY NATURE
( SPOTLIGHT )
168
ORGANIC DESIGNOLOGY
178
188
26
LIGHTBOX
28
24
INDEX
32
30
38
36
40
SYMBOLISM
18
76
54
12
44
16
72
70
22
52
66
50
COLOUR
64
75
48
T EXTURE
78
126
98
94
88
56
60
102
82
74
110
90
84
92
122
120
104
68
108
116
114
SYMBOLISM
OrganicISM
2012
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OrganicISM
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LIGHTBOX
/ BranD / 2012E
2012
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LIGHTBOX
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MOOMAH
Apartment One
2010
When the design team first met with founder Tracey Stewart, she
memorable brand.
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OrganicISM
the brand.
LIGHTBOX
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OrganicISM
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OrganicISM
VERDARIUM
Anouk Rehorek
2009
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RICE GARDEN
Guiping Xu
2012
The intimate relationship between rice and dish is united by depicting different seasonal vegetables in different months
collaged with the image of rice in the calendar. This concept reminds people of the original food culture in Taiwan, the
excellent taste of rice with dish.
present local Taiwanese family food specialties. The beautiful colours, wonderful smell and excellent taste of the rice with
dish are all reflected in the images, which makes them irresistible for people.
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OrganicISM
As for the visual images, the design team selects one seasonal vegetable each month, using family food idea, to fully
LIGHTBOX
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SOUNDWICH
Atelier Nunes e P
2012
The sonority of the logo was achieved so that it resembles a vinyl record, and the entire graphic
image was created and developed to translate and enhance this concept. It evokes the feeling
of chic, cool, nature, vintage and has a strong identification with the city where its in.
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OrganicISM
2012
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LIGHTBOX
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2011
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THE SOLUTION
The Carbon Concept contains and supports the brand values and can, on several different levels of abstraction, be used as the DNA and
source of inspiration for the creation and evolution of the whole identity.
Under different influences from its surroundings, Carbon can take various physical forms, each of which possesses completely unique
and diverse properties, although they are identical in their chemical composition. Looking at the raw graphite and polished diamond, it is
fascinating to imagine that they are both composed of the element Carbon.
Just like Carbon, the brand, M-IDEA FOREVER brand is characterised by its diversity. The new brand is based on a unique style
composition, which mixes poetic Avant-Garde and functional Technology. Although it is very different, and sometimes even opposite, the
two elements of M-IDEA FOREVER are tied.
The black and soft Avant-Garde is expressed through the raw graphite. The bright and hard technology grows out of the polished diamond.
The Carbon Concept unites them.
M-IDEA FOREVER
Per Madsen, Line Arlander & Christian Steen Jrgensen
Scandinavian DesignLab
2011
THE TASK
To create a visual identity for the new Chinese high-end mens fashion brand, M-IDEA
FOREVER, based on a strong concept, which expresses the brands two fundamental
characteristics; Avant Garde and Technology.
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OrganicISM
Apart from the fact that the element Carbon forms the basis of all known life on Earth, it is exceptionally because of its diversity.
LIGHTBOX
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LIGHTBOX
www.alberimonumentali.it
ALBERI MONUMENTALI
MONUMENTAL TREES
Paz Gutierrez & Giorgio Favotto
2012
Alberi Monumenatli Monumental Trees is a project that creates the brand identity for the
oldest trees found in the Italian territory. With the existence of numerous and unofficial sites,
the purpose was to gather all this existing information about these trees and put it all into one
project, one that establishes the identity of these extraordinary trees.
The term monumental is used to describe a tree that is remarkably old, large in size or just
simply very beautiful. The concept of the logo was inspired by the tree-rings, which help to
determine the age of the tree. Along with the visual identity, an advertisement campaign was
created, as well as the signage system. The signage system was one of the key elements of the
project; the information panels for each individual tree provided all the relative information, such
as the history and stats. The goal was not just to create a corporate identity, but the attempt to
distinguish and unearth these remarkable creatures.
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BREITENTHALER
Anouk Rehorek
2011
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COMPANY
Megan Young
2012
OrganicISM
LIGHTBOX
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OrganicISM
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SAVON SU MIDI
Carla Cascales Alimbau
CCA Studio
2012
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COLOUR
LIGHTBOX
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2012
Museo Sans is the brand typeface. It has a contemporary feel but also
and substrates. Drafting paper and thick greyboard has been used to
represent the contrast between the strong structure of the trees and the
Trees have a distinct anatomy that exists above and below the ground;
the logotype has been crafted to convey this structure. The logos graphic
emblem is constructed from the cross section of a tree. This gives the type
The website reflects the Above & Below concept by enabling each section
grounding and provides a visual link between the two. A graphic pattern
has also been designed to take the above & below concept further by
visually representing the anatomical similarity of tree roots and branches.
towns and cities; they would invite you to Be a Tree Hugger and also to
things tree-like.
The brand itself has a unique colour palette that changes with the
OrganicISM
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ADELA
Luis Othn, Uri Wapinski, Rosario Meraz, Jose Angel Prez & Alejandra Kawas
Adela
2012
The intention was to create a Mexican furniture brand starting from the branding process, followed by the business plan, development, product
design, etc. If it is started with the development of a business from its image instead of first designing the product, a different approach could have
been accomplished. In that way, the products could adapt to the brands visual language and maintain an interesting relationship between the
products and the graphic design that surround them.
The brand is inspired by some of the Mexican indigenous communities from the north of the country. Most of the imagery used is directly related
to them. A symbol system, logo, and colour palette, along with its stationary and other selected items was developed, and at the end of the brand
development, a simple item collection that involved a table, lamp and a floor cushion was designed.
OrganicISM
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LES STORE
Balykin Pavel
2011
OrganicISM
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PLANTED PLANT
Michal Doktorchik
2012
This is a branding a festival project that Michal Doktorchik did in a branding course at Minshar
for art college. She came up with the idea of a planting trees festival in order to help and
recover the Carmel forest that damaged seriously in the Conflagration of 2010. His idea was
to raise the awareness of our beautiful nature by bringing a big amount of people to plant trees.
-A small shovel.
He gave the festival a name in Hebrew -shtol shatil which means plant a plant. It has a
catchy sound and meaning. As part of the branding, he designed a kit that was given to each
OrganicISM
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OrganicISM
HEIM
Robert Austnes
2011
(Sunnmrsalpane) and the colours and nature around it. From the
grey and white summits through the green forest, it stretches itself all
the way down to the blue fjords along the west coast of Norway.
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CATALAN WINES
Gerard Marn & Iris Tarraga
toormix
2012
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Doron Baduach
2011
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OrganicISM
LIGHTBOX
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2012
hand.
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J ERIKA
Peter Muller
2012
OrganicISM
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Vinicius Costa
COMMGROUP BRANDING
2012
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COCONUT
Nguyen Tra
2012
White and dark brown was used to symbolize the coconut powder
company in Vietnam.
The main concept of this branding is to make people to recognize
coconut easily. In the logo, circles with different weight lines were
combined to create a coconut image.
Senior Account
2012
began with a long process of brainstorming. Starting with the logo to the
stationary, these had to suggest quality, especially the logo, because this
image was to reflect the companys idea and vision of themselves which
At the Corcoran College of Art & Design, the Identity project was a
with the design process would determine the end results, and indeed the
big project of the semester; the companies each student got were
final product came after many sketches and a long mood board.
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095design
2010
OrganicISM
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2011
Roots is a pack for recent allotment members. It comes with a helpful booklet and bits and
bobs. One of the main aspects is making it a family occasion; therefore, there is a kids pack
inside too.
One of the main design features is how most of the elements are screen-printed. The box, bag,
seed packets and pegs have all been screen-printed onto the elements.
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TEX TURE
LIGHTBOX
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FAT COW
Gwen Chan & Bryan Lim
2012
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RRRIOT SHOP
Stefania Capellupo
2011
This project includes logo and stationery design for the shop Rrriot,
located in Torino, Italy. Rrriot is a clothing shop, and an independent label.
The owner Yoanna is a fashion designer. She designs and produces her
fashion collection and shes also constantly looking for unusual brand that
sells in her shop. The logo represents a pair of scissors, related to the
production of tailored clothes and wants to convey a retro but at the same
time strong atmosphere, revolutionary as the name of the shop suggests.
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FARMEX
PIOTR PODGORSKI
CREATIVE MASHUP
2011
current company status. Design for the project was inspired by mountains
and raw nature of the stone. Various colours of the stone were transferred
into brand new colour scheme, based on shades of white, gray and pale
blue. New logo, website and stationery were in scope of the project.
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2012
Kai Dase Violins & The Strad Lounge is a small business in Nottingham, England. Kai
handcrafts violins in his workshop upstairs whilst The Strad Lounge downstairs is used
as a showroom for his completed instruments as well as a space for performing and
learning, whether it be music, dance or art. It has even been used as a recording studio.
The challenge here was to condense all this information into one identifiable mark,
which successfully represents every aspect of the business. To do this, the designer
used curly brackets, known in music as a brace. The brace signifies 2 or more parts
of music to be played at once. He took this and created a container to fit the company
name.
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LIGHTBOX
DVID PETR
Boglrka Ndi
2011
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OrganicISM
In the case of the business cards, they ended up printing one side of
them and stamping the other one by hand. It allowed a smaller type size
for the contact details (more legible too) and it was so much easier to
have the cards cut by someone else.
The same philosophy applies to almost everything. They did the lamps
with wood from fruit boxes and wood leftovers from the walls. They also
got the neighbourhood involved since the opening and asked them to
bring old books with them.
LA CANYA
Sergio Mendoza
2012
The design team did all the woodwork and kept it simple and friendly. The
same idea was applied to the branding and all that is printed. They designed
a system and a set of tools to use, so everything is actually co-produced
by the staff.
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SELF PROMOTION
Ida Louise Andersen
2012
expression that shows her personality in the best way. She therefore
Ida has been told that her work capacity is like a farm horse. As she sees the farm horse dark brown
chose the Universal font which is a tall san serif font in contrast with
or black, it stamps in the mud and does the same thing every day. The unicorn on the other hand has
ITC Cheltham which is very nice and soft serif font. She used wood,
the power of the horse. The mane and the tale have shapes like flames to empower it even more. The
unicorn is unique and strong and represents something magical. Ida wants people to wonder why she
applied bold colour to give it a playful feel and the steel to make it
chose the unicorn, and through that, to add some mystery and humour to her choice.
more rustic.
Ida has used 4 symbols throughout her profile. They stand good where the unicorn is not used and
they build good patterns. They also make it easier to remember the qualities and values she stands for.
The star stands for quality; smiley stands for humour, lightning stands for will power and hart stands for
passion for the work.
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2010
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OrganicISM
LA CABANE DHENRI
Marie-Laurence Carrire
2012
La Cabane dHenri is a Bed & Breakfast, located next to the Bic National Park, Quebec. It has a
very unique cachet with beautiful rough woodwork. When the designer first started working on
this project, it was essential to create a brand that would express the Inns hearty side. When he
was looking for some typography and materials, he needed to find something that represented
the structure and identity of the hotel. The idea of using wood became an important part of
his work, so he used this material for the identity cards, menus, keys and coasters. When it
was time to create a publicity campaign, he had the idea of using pictures of different famous
personalities named Henri on the posters and postal cards. He liked the idea of mixing photos
and paintings from different times. It was really important to create a brand with a multi platform
consistency.
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NATURAL TEA
Riska Tiofani
RiskaTiofani Design
2010
OrganicISM
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HERBARIUM.
NATURAL FABRICS WEAR SHOP.
Artem Maslov
2012
Herbarium is a natural fabric womens clothing
shop. Those fabrics are mainly made from linen,
cotton, wool clothes (and leather too). There are
young unknown designers works in it. You can
see herbarium-dresses on the walls, which is
the conception idea for this shop. All purchases
here are packed with special textured craft
paper or put in craft pocket.
OrganicISM
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ALTUNA VIAJES
Ezequiel Norry & Juan Pablo Bustos Peralta
ESTUDIO TRICOTA
2012
This Identity trademark design was created for a tourism agency from
Nogoy, Entre Ros, Argentina. The clients instructions were to achieve an
aesthetic identity which looked classic and formal.
The first stage of the process was the naming phase, in which, conjointly
with the client, the designers chose to associate his surname to the concept
of reliability. At the same time, they developed a solid concept on which
they could base the design, since this allows for a more fluent relationship
between the design and what it communicates.
Considering these premises, they aimed at economizing resources and
maximizing their utility.
After a process of experimentation and concept development, the designers
believe that the typographic type choice for the make was sensible and
accurate. After that, they wanted to play with the contrast between a rustic
material as support and a copper-coloured ink as the principal tint in the
palette. This combination results in a sober and elegant piece of design.
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DELICATE MATERIAL
Oleg Babich
2011
OrganicISM
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AMIO
Praefa Uennatornwaranggoon
Sai Uennatornwaranggoon
2012
The brief was to create a complete brand identity from a logo to brand
publications. AMIO is a Maori word meaning to travel and to roam
around which was inspired by Hannahs travels. The concept is to
create a simple identity which reflects on the brand and the clothing
itself. Sustainability is also another major factor included while the
line was designed. The brands target audience is people who enjoy
the outdoors and backpacking. The identity was inspired by patterns
often seen used by the Maori tribes of New Zealand and also the fact
that a lot of Hannahs garments are multi-functional.
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Brand
G
R
O
N
I
C
A
Organic style is a nod to the stability of nature. It is an appreciation for the calm persistent attitude
of nature, one that is comfortable with itself, with its ease of steady growth and of the balance of
rebirth and death. Organic style is a reflection of our attraction to not only the stability of nature, but
its ability to carry forward no matter what the weather brings. It is also a sign of our current distain for
excess. We dont need flash right now, nor can we afford it. We seek comfort in what we have, that it may
carry us to the next stepping-stone, wherever it may be. We frown upon excess as it signifies greed, creates
jealousy and portrays injustice. Excess is the imbalance of capital in a time when people crave harmony.
In nature, we find that no one tree is greedier for sunlight than another, but natural organisms create symbiotic
relationships with one another so that they all may thrive. Particularly in our capitalistic economy, a dog-eatdog society where individualism reigns, we are seeing a desire for community, to triumph as a whole, and we can
perceive this attitude in the clothing we buy, labels on the beer we drink, and paint on the cars we drive.
Whether a colour originates from an organic process or not, its organic nature ultimately resides in our
perception and association with it. A shade of green may make one person recall their experiences as a boy at
By Jordan Shevell, American Graphic Designer
summer camp in the middle of wilderness. It may be the shade of pine trees, and the perception of that colour
brings fourth memories of moose, canoe trips and campfires. Add browns to the palette and his memory
may be enhanced to recall the dirt that got under his fingernails while pitching his tent, or the kindling he
collected to build a fire.
We are in a time of recession, an era of uncertainty toward our future. We seek out comforts that remind
us that everything is ok, even if it isnt. Our attitude and desire for comfort is reflected in the colours
we surround ourselves with, the colours we make, and the colours we buy. Colour is one of the many
tools we use to understand the natural world around us. It is a tool that gives brands an opportunity
to communicate a message about themselves to their consumers based on the experiences people share
with colour. We can see distinct colour trends in fashion, art and brand design; we can even witness these
colours in the new drinks that Starbucks puts out. We are in the midst of an organic style both in colour
and lifestyle.
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That same shade of green might mean something different all together for someone else. Perhaps it is the
colour of a car that broke down in the middle of a family road trip, thus becoming a colour of distrust
and unreliability for the driver who had to wait hours without air conditioning for AAA to arrive.
For someone else that very same green might conjure the smell of crayon wax along with memories of
colouring in the lines of her Disney colouring book. Though the sense of smell is much more visceral
in that it can transport you to a different time and place, we create association with colour in much the
same way. Colour therefore holds its meaning in subjective experience and its meaning varies and is
created by the individual.
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OrganicISM
P A L
T
T
Id like to take this moment to discuss the difference between the current trend of organic style and
going green. Organic colours have been trending increasingly since the early 2000s, contrasted
by the vibrating pastels, acids and neon colour palettes of the 80s and 90s. The green movement is
another term for environmentalism, a movement rooted in American transcendental philosophy that
dates to the 1840s. Hippies and Richard Nixons administration largely popularized it in the 1970s
same sky over our heads, rejoice in the warmth of fire, and
and 80s, and the ideology continues to integrate itself in current business practices. The movement
has since evolved from uniquely the conservation of nature, to prompting individuals and corporations
alike to make eco-friendly decisions about their practices, such as recycling, keeping toxins and chemical
enhancements out of our food and water, and keeping hazardous waste out of landfills and oceans.
Organic style and environmentalism are separate topics, but they do influence one another. We have been
day was not as certain as the rising sun. Seeing the blue sky of a
challenged by many catastrophic events since 2000, such as 9/11, major natural disasters, climate change,
global warming, and war. More and more people are concerning themselves with living more efficiently:
Whether our psychological responses to colour have been carried
on through our biological makeup or traditions in design is
almost irrelevant. It boils down to a question of the chicken and
the egg, of nature versus nurture. What matters is that we do have
driving hybrid cars, growing gardens, recycling and compost, engaging in more eco-friendly behaviour. In a
consumer-driven economy where the consumers are going green, the sellers must follow suit if they intend on
staying in business. It makes sense to use colours that reflect and communicate messages that speak the visual
language of our time.
from communal to national, all the way to associations we share as members of the
human race. Red is a colour that adds humanity to a palette because we all share the same
colour of blood, yet its combination with white and blue becomes distinctly American.
Despite these many differences in colour association across people and cultures, the palette
of colours we find in nature has many similarities that we can relate to as creatures of the
Like all languages, colour has different meanings across cultures. Colour combinations and their
associations are strongly tied to local traditions and ideologies. Where black and red can have
passionate, sexual, even ominous connotations in North America, it stands for happiness in China,
making it a popular palette for their wedding invitations. Brands and designers must be attentive to
the impact of colours and their meaning across cultures, as people will respond differently to colour
choices made for logos, product design, packaging and advertising.
Earth. We find grass and leave greens in vegetation, blues and blue-greens in the sky, rivers
and oceans, yellow in the light of the sun and its violet complement in the night sky. We find
neutral reds, oranges and yellows in the browns of soil, wood and the comfort of shelter. Bright
colours may warn us of a venomous creature, a poisonous plant, but they also help a cardinal
stand-out against the foliage to attract his mate, and a bee to find its nectar (which in return
We have explored the similarities and differences in the relationships we have with colour, the evolution
of colour over time and culture, and have looked at possible origins of colour meaning. Understanding
how to manipulate and implement colour to convey a specific or branded message takes a lifetime of
practice, study and responsibility. It is important to speak truthfully through the voice of colour, the same
way we must communicate advertising messages. Consumers may not analyze the reasons behind the use
of a certain palette in design, but they can tell the difference when a brands promise cannot follow through.
Colour is a powerful tool that can make or break a brand, so know your market, do your research, and
choose your colours wisely.
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OrganicISM
The scope of colour association lies on a continuum from the individual to familial;
DESIGN SHOP
O O O O . C O M . U A
When we speak about organic palette, one should not imply the colour scheme only, but also a set of the
materials and visual images. This is everything related to the pure innocent nature and individual products
of civilization that have natural origin and are visually perceived as natural. Today the organic trend has got
clearly shaped and quite well-known all over the world (in the countries with absolutely different level of
economic advancement) and is easily read and understood by a wide circle of consumers.
The organic palette is defined by the following components:
1. Colours.
All the shades of green and brown, as well as white colour. The colour scheme can also be supplemented by
other colours that are present in the traditional European nature (not the tropical one), for instance, sky blue,
wood, hemp twine and ceramics. Sometimes other materials can be used, such as leather, glass, stone, etc.
Grass, tree, green leaf; a landscape with a lawn, pond, river, forest or mountains; clear blue sky, white clouds;
birds, animals and insects (non-exotic) in their traditional environment; images that represent handicraft;
various products made of mentioned materials. The whole variety of the natural textures can also be applied.
Organic palette is closely related to the ecological palette and craft palette. Very often they can be so similar
that one can easily take one for another. All of them have a similar origin and similar or identical attributes.
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3. Visual images.
What should a designer take into account when he/she applies organic
palette in his/her design?
First of all, a designer must realize the task that is in front of him and
answer the following questions:
-How unique and individual, or typical and mainstream the design project
should be?
-How important the organic trend is for the target audience of the project?
-Is the brand for which the design is created really aimed at conveying the
idea of Organicity and organic values?
-What physical products the design will be applied to and what are the
What kind of implication can organic palette bring? Is there any help
individuality is lost.
absolutely specific values that must be proved by it in the future. But very
often it becomes a profiteering tool and designers and producers abuse the
consumers trust. Thats why the organic palette could be both helpful and
psychologically?
What are the industries that you think are suitable for organic-
palette branding?
As Ive already mentioned, organic palette is tightly related with the craft
and ecological palettes and all of them have the same or similar attributes.
or in a gay club. But the vast majority of people are not ready for
used craft palette. I had the aim of creating a light, clear, commercial style
that would be reasonably trendy. I used the white and brown colours from
the organic palette as well as craft paper, recycled paper and corrugated
fibreboard. Orange and blue colours are also specific to the organic
industry.
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GROVE MARKET
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What colours did your use in your project Grove Market Identity and any reasons for those
preferences?
For the Grove Market, we combined prominent use of a dark chocolate brown with supporting
earthy tones with a bright pop teal colour. We also used Kraft paper in a lot of our materials. We
chose this palette to support the core values of the market; we wanted it to feel home-grown, organic
and fresh but we brought in the pop of teal to show the juxtaposition of returning to older methods
of buying foods but appealing to todays generation and desire for fresh food where the process of
buying food is a delightful experience and not a chore. It was important for us to know the Groves
application. Knowing that we wanted a publication, yet needed signage to attract attention in some
areas more than others, we needed a softer colour, like the chocolate brown, to be a bit warmer than
just setting our entire publication in black, while the teal warmed easily on the Kraft paper, yet
OrganicISM
PHILIPPE
GUIGNARD
Designed by Emilie Mattille, >moser
Philippe Guignard is a creative and enthusiastic Master pastry cook, a model of the highest
demands in the perpetual quest for perfection. He is noble-hearted, an authentic lover of
OrganicISM
flavours and local produce, he defends high human values and has accumulated an exceptional
body of experience.
Having opened his first bakery-confectionery shop in 1989 at the age of 26, he today heads a vast
company and holds the fate of several hotels and restaurants in his hands.
After having selected >moser to create an identity for his new fast-food outlet in Lausanne,
Philippe Guignard finally completely revamped his branding system and the overall image.
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Materials directly from nature without over treatment, though rough, give a
feeling of simplicity and sincerity and whats more, give the consumer emotion
experiences. We have a close relationship with our mother nature who provides
what we rely on to live since the very moment we came to the world. Nature is a
great source of fun, especially to kids. Many of you must have played with sand
when you were in your childhood. A shovel in hand, a few hours, one afternoon,
or even the whole day, that is a great experience. We might say that the sand is
a code, which could evoke our memory of nature. Organic material in some sense
works just like the sand, which can touch the consumers heart by calling back
we have established a deep attachment with the nature.
Organic materials are commonly seen in some industries like foods, fashion and
cosmetics. Even though there is no boundary for organic material utilization and
all the organic materials, the same, give us feelings of nature, safety, healthy or
the like, some brands show preference to a certain material. Take the example of
Mediterra, a homemade brand, sackcloth bags, cardboard and brown newsprint
With the rapid development of packaging technology, the number and the style of commodity package are increasing
paper are used to emphasize its local origin and high quality; while Maori Exotic
day by day. In recent years, however, modern package brings forth different kinds of safety issues while we are immersed
Deli takes Maori bamboo-woven container as its package, with which these two
in tons of fancy packages. Designers in the graphic design world begin to ponder for a solution, and the solution is
consumers pursuit of green and organic life, but also helps the brand promote
with the capability to compost. There are various kinds of materials that could be used in package design, such as
its image and brand values, increasing brands market share and winning more
bamboo, textiles, wood, unbleached paper, stone, coconut shell, dried gourds, luffa and grasses.
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NATURAL
SKIN
the past memory. It is probable that there is no gap between the nature and us, or
MEDITERRA
material?
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ORGANIC
MUSHROOM
sculptures.
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LOKAL
Basically, any small or large brand wants to rethink and meet the
has changed, all consumers are much more aware of what goes on
branding/packaging?
Whats organic material? What are the materials that are suitable for
organic branding/packaging?
harm. Raw materials that lack toxic chemicals, use all-natural ingredients,
What are the messages that organic materials convey? Why did you
choose recycled wine corks for the branding? How does it correspondent
with the brand values?
Organic materials are used to convey a positive message to community
because it allows them think outside the box by seeing recycling as a
new way to create and support the environment. At LoKal, they are
continually rethinking the food and branding to lessen impacts on
our community and our environment. Supporting this idea, I created
the brand identity with a natural colour scheme that evoked organic,
sustainability. As an example, the stationery and other paper assortments
were made from recycled paper, domestically produced and printed with
soy-based inks, as well as the selection of recycled wine corks.
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quality in modern commercial society. Furthermore, in recent years, people begin to realize that
imperfection is part of human being, part of nature. The flaw or imperfection of craftsmanship
now is, in some sense, a unique beauty, which reflects the nature of human being. Therefore,
peoples preference of aesthetic in design changes, from perfection to imperfection.
Moreover, craftsmanship takes the spirit and aesthetics of being simple, plain and pure,
differentiating itself from industrial production, with which people can buy the same products
with the same pragmatic functions and appearance. Products created by craftsmanship are
different from one another, tailored to the modern aspiration towards novelty and individuality.
Compared with mechanical products, which are regarded cold, without human emotion or
feelings, handcrafted subjects with the quality of pure, fresh, original, peaceful and local are
what people really need and like.
The change of preference from the machine-made to handmade has an effect on the graphic
design industry. After decades of creative processing with computer and other machines, there
are designers exploring new ways to visually communicate creative ideas simply with hands, like
our ancestors. Handcrafted elements associate much more with the nature and raw materials,
uniting functionality with form at the same time. Therefore, the design solution becomes more
direct and visual. Graphic designers go back to the basic and traditional craftsmanship, using
a pen or pencil, knife, paints, glue, scissors and etc. in the design process, with handcrafted
handled method like handmade typography, illustration, printing, collage and binding, and
OrganicISM
Nowadays, as the concept of Organic prevails, which puts an emphasis on the original state of
natural objects, craftsmanship becomes increasingly popular around the world. It has been a
long history since people take advantage of craftsmanship to fulfil different needs. Handcrafted
items preserve the originality of raw materials without excessive human processing, which is in
consonance with the Organic concept of returning to ones original nature. Craftsmanship is not
of self.
only a traditional skill, but also an artistic expression method. People explore the function of natural
resources based on the physical and basic functionality of materials and/or the aesthetic effect
A f t e r l on g - t i me fa s c i n a t ion w i t h p u re
Craftsmanship meets our new aesthetic: perfect imperfection. The industrial production mode caters
to the requirements of mass consumption. Large scales of products which are perfectly standardized
with the same size, form, etc., are manufactured and launched on the market. Advanced technique
is regarded as the representation of perfection, which is pursued by all human beings for a very
limitation of design.
long time. However, to maximize profit, mass-produced products become vulgar and of poor
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BIRDS OBSESSED
into rows.
biology, cells, molecules, etc. I have included animals, vegetables and minerals,
anything natural and organic into much of my work. Items from childhood
are also inspirational to me, particularly those with a sense of play and
humour. Im attracted to vintage items, especially ones that are typographic
preference in design?
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Wool felt trivets: that explore the fact that wool is flameretardant and isolates heat, that come in two shapes: circles
that take up less space in the users cabinet or pizza slice
shaped trivets that allow the user to display them on the
table as needed.
DE L
The designers found that there was not enough investment in Portuguese wool and that
most of small farmers would actually throw it in the trash because selling it would not even
cover the costs of shearing the sheep. So, why bother?
With that in mind, the design team created the brand DE L that is applied to a series
of products which explore the wool properties.
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The logo was designed without a grid, so it could be unique and at the same time organic, showing
the Liana natural tress and the handmade spirit.
Thats the same reason of why the logo is not printed in the envelope, but embossed. It can be more
natural and clean than printing in ordinary ways, and also increases the interaction between the user
and the paper, only provided by using a seal.
ESTDIO CIP
Estdio Cip is a studio based in So Paulo. The strong Brazilian culture and the appreciation about
the countrys mix of native and immigrant populations, makes Estdio Cip increase the relationship
among Design, Arts and Crafts, which makes it search for the perfect union of those contemporary
productions. As Estdio Cip aims the Brazilian essence in all of its products, projects and jobs,
the best way to represent this concept was keeping the handmade identity. To design the Estdio
Cip logo, 4 characteristics were considered: Brazilian Essence, Minimal, Pattern (Handmade) and
INTERVIEW WITH LUCAS BLAT
Playfulness.
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( Spotlight )
DESIGNOLOGY
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ORGANIC
D E S I G N
ELEMENTS
+
CREATIVE IDEAS
+
M O D E R A T E
RESOURCES
? DESIGN
_____
Together with some friends, spending one afternoon in an art gallery or turning on the computer, having some
Make it
music, you are in the nature. When you put aside the work at hand and relax yourself in the nature, you will
Rhythmic
Feel it with your mind and you may find that, in fact, the plan is
rhythmic itself. Your plan is in order; those orders are the rhythm.
To keep your inspiration flow in design is not that simple. Designer get
stuck from time to time. If that happens, you can go to the nature where
you can extend your vision. Like what Robert Bowen(Co-founder and
imaginative co-contributor of the creative design and blogging duo at
the Arbenting and Dead Wings Designs) said, Unplugging from these
routines and venturing off-topic might be the best way to allow our
minds to organically find their way to the design we were looking for in
the first place.
But, I dont mean that only the wilderness is the nature. It is rhythm that means to us. Nature is everywhere.
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Let your pen dance rhythmically on the paper. With the highly development
and evolution of graphic design application now, many designers, instead
of starting with a pen, rush to the computer and take designs piece by
piece. Those designers know deeply sketchs advantage in allowing an
overview to see the design wholly however; not many of them seek
its help to keep the flow in the works. Let your ideas flow freely
between your pen and paper. The significance of sketch is
not to do some job related to the project, but rather to
blow up a brainstorm and find a way to zero in.
Make it
Balanced
Balance is the rule from nature.
Everything in the universe is in a state of
balance, including human beings. Only
those objects in the state of balance exist
in the universe. Therefore, balance is the
focus of organic design.
We should keep ourselves in balance. Every year, thousands of designers
come into the graphic design area, but the threshold is never low as
we have seen superficially. In the heat wave of commercial design,
graphic designers have taken a stride in creative skills. But, design is
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Less is more
Make the design simple. Clean, simple design is better for the flow of communication. Design is not to show our
talent, but to deliver your information to the audience. Nothing in the universe is over-decorated, except that
falls into the hands of human. Leave all the unnecessary elements, making it balanced and proportionate between
different elements.
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Flow
Unity is the feeling of harmony between
all parts of the artwork creating a sense
of completeness. No matter how, we
should unite all design elements together
to make it a coherent complete design.
But sometimes the elements are merely
fixed together, not united. Unity is not
just putting the elements together, but
also making them flow together.
After a few years of practice, every designer forms his design methodology. Though
it is crucial for most of us to hold a position in the creative area and helps us cover
all of our bases, in some way, the design methodology is more of a routine, which
confines our creation and brings a negative impact on the works we done. The
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sometimes, they might give shorter time. Though we cant set the deadline as we
Make it
dissection into pieces made by the routines, though not makes the designs lack
of unity, it just fixes the pieces together, rather than make them flow together
harmoniously.
Not to deny yourself easily. The biggest harm to the flow is self-denial during the
design process. It is not the time to deny it until you have finished it. Just believe
your initial feelings or ideas and make them real. To keep the original information
and feeling, that is organic design. As is known to all, the design process is long and
harsh. It is the most ideal for a raindrop to fall into a sea. A competent designer
never stirs up any billows in the design process.
Return back. Evolution rather than revolution. Though revolution sometimes
changes the world to the better, in most of the times, it is better to work based
on an existing design, which might save us a lot of time. You might surprisingly
find that your work evolves as time goes and there is no consistency among the
dissected elements.
Fix your eyes onto your work. Time is the enemy of organic design that it often distracts us
from the work, effectively psyching us out, especially when we got no inspiration to keep
the design flow. In order to create more organic of a design, the best way is to keep
our eyes off the clock, not until to the step where we get crazy and go punch
a clock. Sometimes, particularly when we are nervous, it is true that we
might not focus on the task. Just make full use of your phone. Having
made your schedule, it might as well set an alarm: one or two days
before each of your design process. In that way, you do not
have to worry if the time goes quicker than you expected
and constantly cast your eyes on the evil hands of
your clock. Whats more, it still can give you a
few days for your final work for a process.
With the help of the alarm, you dont
have to keep one eye on the clock;
that is unacceptable to
organic design.
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work that can be done first and most importantly, to give the client some signs of
progress. Design is an activity involving not just the designers, but also the clients.
It is very important to establish a pleasant cooperation with the clients. Moreover,
the small solution sometimes will give you a great help that bigger solutions would
begin to blossom. While you were doing the small things, you might luckily find
the flow you need and rush to the end.
intents and purposes, mission statements, etc..., most of the heavy lifting is carried by
the logo. A single graphic intended to carry and communicate so much. This is why I
think it is often seen as being less than organic, or having any kind of flow. Because it is
such a limited amount of flow, but it is still there. Thats what we need to focus on.
While we may only have three elements (graphics, text, colours) to bring together for the
logo, we can still ensure that they maintain an organic feel by following those principles
and ideas. In fact, one can argue it is even more important to choose those three
elements with greater care.
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popularity of the series, a personal project, is a refreshing reminder for brand designers, that
natural shapes are a great way to communicate complicated messages which audiences seem
to love.
The so-called basic shapes are so versatile; some designers have even built homes from
them. Literally. Designer and inventor Buckminster Fuller utilized natural shapes
to form his most famous work, the Geodesic Dome. Compromised entirely from
triangulated circles or smartly arranged triangles, the ingenious design of these
20th century marvels allows for equal dispersion of weight throughout the
structure. At first glance, its easy to dismiss a giant, cybernetic and metal
dome as the evil lair of a James Bond villain rather than an example
of organic design. But, techie does not necessarily mean inorganic.
That is a misconception. Although it looks like something out of a
James Bond film, Fullers dome design is as organic as any forest.
The process by which the end product is produced, the working
concept or perhaps even the function of a design can be organic,
even if the finished product does not necessarily scream
nature. By using a cleverly intuitive alignment of natural
shapes, and a naturally simplistic concept, Fuller
has demonstrated the visual appeal and high
By Samo Ayoub, CEO of Cultivate ad agency
and Co-Founder of Zenarchy Studios
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Carreras Philographics series. He cleverly utilized basic shapes to express very complex
philosophical concepts, and the results are organically and simplistically brilliant. The online
or incorporates the product onto the label, such as one might see in egg packaging, or snack type products. This usually
helps the product stand out on a crowded shelf, and increases the chances a consumer will pick it up. Youre more likely to
find the moulded packaging phenomenon on products that sit in big box retailers or any store shelf where competition is stiffest.
Food products are especially prevalent, but there are a host of examples across almost every product sector from stationary to lawn care.
By acknowledging the need for a product package and building a solution moulded to its contours or otherwise incorporating it onto the
container, a designer is effectively entering into an organic design process, a solution that unfolds naturally from within, just like the seed for
a plant. This is a fundamental aspect of Organic, and an effective way to increase product exposure.
Despite the seemingly simple concept of Organic Design, an aesthetic with natural flow and harmony between subject and concept can be a
challenge. Creatively yet functionally arranging perfect natural shapes into effective design solutions is easier said. So is utilizing complex
mathematical equations such as the golden ratio to develop communications or products. Here are some key components for the daring
designer to keep in mind when stepping onto Organic shape designs.
Natural shapes also form an important part of the Golden Ratio, an important if
not peripheral element of organic design. The mathematical equation has forced
academics to study its aesthetically effective and proportionate qualities for over
millennia. It can be found in nature in the arrangements of branches in certain
plants, vein lines on leaves, animal skeletons, nerve structures, not to mention
Inspiration:
unfolds from within like the seed of a plant. This process is rather... well organic,
and is another fundamental of the aesthetic.
When starting out on a project, sometimes there is nothing worse than a blank
page. One effective strategy for combating beginners blues is to build a template
design.
using one of a number of golden ratio sub-forms, like the golden spiral or
rectangle. Designers, branders and advertisers in general have secretly used these
Be Like Water:
concepts for decades. The advantages are of course obvious, you can guarantee
some modicum of aesthetic balance without having to reinvent the wheel. Just
simply fill in the gaps. Try to find an outline of a golden rectangle and apply it to
a design-centric or populist website and you might be surprised what you find.
And this isnt only restricted to the web. Magazine ads, book covers, product
term for the branded final shot in an ad). If an audience or potential consumer is
harmonious flow.
staring at it, theres a large chance the ratio was factored into its design on some
Snowflake:
All things in nature are unique unto themselves, and no design can be labelled organic without expressing an inherent singularity. By creating
original designs, your work will really come to life.
When used in the brand market, Organic is a powerful and moving aesthetic. Utilizing perfect natural shapes and its principles does more
than building effective brands. Developing effective communications tools in advertising, viral campaigns, product packaging or any branded
interaction is a stones throw away. A perfectly rounded stone like the dynamic blue planet we call the Nature.
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because of the proportions. The 500 year-old sketch starts with a single idea, and
How does the use of natural shapes or structures relate to the brand value of the brand?
Not every good brand must be built from the perfect forms. I think the feeling of the designer is more
important in building brands than the mathematical features from which it was built.
That exact spacing, or that perfect curve, not always fits the way in which we are working. It is necessary
to let the good sense to speak louder.
But I think brands built on perfect shapes reveal a more accurate refinement. It becomes evident that
there is a thorough job spent here, and demonstrates a greater degree of professionalism. This ends up
with producing a final set of graphics of the greatest value and consequently the brand can be positioned
at a different level.
design?
I am a great admirer of Alexandre Wollners work, which is one of the leading names in the formation
of modern design in Brazil. Wollner has an extremely rational work and is a master in the use of
geometry in brand design. He built great brands throughout his career.
OrganicISM
Please give us some other examples of the use of perfect natural shapes or structures in brand
How did you employ the natural shapes or structures in the branding?
Where did your inspiration of the logo shape for project Kennzur
Urban Spa come from?
The word Kennzur has no concrete meaning. It is an expression that refers to a kind of mantra, a
When the project came to Commgroup, it was pretty clear that the
Kennzur Urban Spa would be more than one place to offer massages and
treatments. Every little detail of its structure was being thought to be
part of a large green refuge in the middle of the metropolis (So Paulo).
INTERVIEW WITH VINICIUS COSTA, COMMGROUP
The Kennzur offers a completely opposite to the reality of the city. Its
state of mind. It would be very risky for the brand to be based on one figurative element. I did not
I wanted to create a form that is fluid, open without beginning, without end, in a way that effectively
integrates the essence of Kennzur and its proposal. So I did an exercise in creating backwards. In this
case, I thought that using the perfect forms would help me, because I wanted something abstract, but it
would need an efficient and true justification of its relationship with nature.
I started drawing elements from the golden geometry and intersect them and repeat until I start
to see sketches of pleasant shapes that brought me those characteristics of fluidity and continuity
that I wanted. From there, it was a work of refinement and adaptation of the symbol with the set of
typography.
way. Its like if we were able to visually decode all things through perfect
forms. And then we found structural relationships in virtually everything,
flowers, plants, seedlings, soil, water, wood and stones. Each of these
same time, it carries the same essence and is composed by the same shapes
somehow.
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How do you think the use of natural shapes or structures help express the concept of Organic?
Everything that is alive or relates to what is alive, intrinsically carries these forms in their composition.
Perhaps the more pure and consistent way to express the concept of Organic is from natural shapes.
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OrganicISM
M-IDEA FOREVER
Carbon Concept.
M-IDEA FOREVER is
a new Chinese high-end
mens fashion brand. The
brand identity is based
on Carbon Concept. The
brand identity symbol
is inspired by Carbons
molecular structure, which
is shaped as a hexagon.
Through different
combinations of the
hexagon structure, Carbon
can take various physical
forms, which represents
the characteristics (Avant
Garde and Technology) and
diversity of the brand.
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AKI NAGAO
Whats your inspiration of applying the DNA structure in project French Restaurant
Aki Nagao? What draws your preference on this DNA structure?
The French restaurant Aki Nagao, just like its name suggesting, has the DNA of the chef
Aki Nagao himself pulsing through the restaurant. The question is how to express this DNA.
When I had the idea of overlapping the italics of the initials, A and N, to form a striped helix,
I thought then that this was it.
How he cooks now is from all his background, the designers express it as his
DNA.
From putting the upper case of the letters A and N side by the side, I could see the common
form present. Working from there, a stripe was formed and then it progressed to a double
ingredients he chooses.
helix of a DNA strand after putting them over each other. Taking the slanted rod shape
The design team wanted to impress customers by VI, including the naming,
from the shops card and bending the logo, it became a piece of the helix formation. It then
shop logo using DNA motif and his sign logo type.
OrganicISM
How does the use of the DNA structure relate to the brand value of the brand?
The important thing to a design is its simplicity. The simplicity of the idea and having a core
concept gives the work its quality. This quality may then translate into the quality of the
brand. Having come up with the concept of the DNA and being able to design it simply adds
Be relax to come to the restaurant, put catch phrase in the graphic tool which makes
Please give us some other examples of the use of perfect natural shapes or structures in
brand design?
INTERVIEW WITH YUJI TERADA, COMMUNE
Recently I took on a project designing the package for Japanese tea. I found inspiration from
considering each individual drop of tea that is extracted from the tea leaves and each drop
of ink in a work of Japanese calligraphy, and I employed a design using dots. The collection
of dots forms a pattern with each dot drawn by hand and therefore each one being different.
This is a different concept from that of Aki Nagao. Rather than just a simplistic pattern of
dots, I drew each dot differently by hand resulting in a design with a strong organic quality
and imbued with a large quantity of information, which I believe brings alive the beauty of
nature.
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new travel experiences, social networks but there is no doubt that different
cultures have different needs and perceptions.
When we focus on brand design itself, your brand can be
influenced on different levels. We need to take into account a
lot of factors when adapting the visual language to the foreign
market.
First of all, geography is a very crucial factor, because wherever
you are on the globe, we all live in a different culture, and have
different habits and perceptions. For instance, the way you sell
Vodka in Nordic countries will be different to the stories you
tell about your brand in Asian markets. Absolut Vodka is well
known for their special bottle design and trendy communication,
often related to social problems or celebrities while also really
focusing on local culture. In the USA, Marilyn Monroe would
be used in selling the bottle, while in China, different Chinese
legends are usually illustrated on the bottle. In this way, you will
make your brand relevant locally and still maintain the trendy
A lot has been said and written about the globalization of international brands these days. Do brands have to act and appear differently to fit the local
tastes of a new market? Its not a question of globalizing or localizing; actually, we have to localize to be seen as a global brand.
brand image.
audience may easily get insulted and your brand may become
and continents belonging to a different culture and we have our own religions and beliefs. So, Europeans, for instance, of course, have different
mindsets from those of Asians or Americans. Brands have to be aware of the fact that there is no one size fits all theory, especially when they want
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OrganicISM
THE
INDIGENOUS
BRANDING
consistent brand experience all the time. Drinking a Coca Cola in America
Open Happiness
Coca-Cola is probably one of the most recognized brands worldwide. Their mission is to refresh the
world, bring happiness, creativity and optimism to people. All of this is in one bottle. An American
with just English, you may run the risk of not being understood
icon spreads the American pop culture. Only limiting their marketing on American culture was not
a good option if they want to be seen and recognized in the multicultural world. It was a way of
the Arabic script for example, it is not only just a different type,
adapting western cultures to the eastern market which was not easy and took some time.
When Coca-Cola first entered the Chinese market, shopkeepers translated their store signage to
for different dialects For this complex task, its very important
the equivalent that sounded the same as Coca-Cola in Chinese characters. Without thinking of
the meaning of those characters, Coca-Cola was translated as Bite the wax tadpole. It was clear
market and will get your brand message across the globe with the
that Coca-Cola needed to come up with another brand name for the Chinese market. After a lot of
same meaning.
research, they found the closest alternative. Ko Kou Ko L was the new Chinese brand name and
actually fitted perfectly with their strategy: To permit mouth to be able to rejoice, which means the
joy you have when drinking a Coke.
Now this is the moment the job of the designer comes in, making it look like the traditional way of
branding Coca-Cola. The first thing that needs to be adapted is the core item regarding branding,
change the colour of your logo for each continent, but be aware
which is the logo. Coca-Cola is worldly known as a typographic logotype, using red and white colour
scheme and a very recognizable typeface. This unique typeface applies, as we all know, a curly script
cultural issues that you could have avoided from the beginning.
font using wavy ribbons and it has become one of the most recognized graphical languages. Writing
a text in that font would remind you immediately of Coca-Cola. This shows the power of graphic
design.
When adapting the American logo into the Chinese version, the main visual identity system was kept
the same. They created a new version of the logo that is communicating the same values of the brand
in the same look, feel and colour scheme. This time, they called it Chinese red, which also symbolizes
prosperity and luck.
Having the branding and visual identity of the brand defined, there are more factors that must be
adapted to the new market and are very important on a strategic level. Advertising is a medium that
communicates and gets your message to your audience immediately. During Christmas in America,
Coca-Cola advertises their well-known character Santa Claus. For the Chinese market, they change
it into characters with visual elements referring to Chinese New Year, bringing joy to the people there.
With those examples, the brand shows their understanding toward their audience, and that different
religions can change their imagery while maintaining the same brand values.
The person who can make brands fit in the new market visually is the designer.
Designers are responsible for reinforcing the impact of those elements and,
together with localization experts in branding your brand will be understood
worldwide. The following design cases will illustrate this for both Chinese and
European markets.
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Before adapting and customizing your brand, its necessary to do your research and explore
the new market. Through demographics and other statistics, you can gain a lot of relevant
information for your brand and it will give you a clear view on how the market reacts on different
levels. Lifestyle and media trends can provide you with new methods on how people are behaving
these days. Who are your competitors, how are they communicating and what can you make to
stand out? By doing surveys, you will see, for instance, if its necessary to translate your logo, etc.
Once you made the decision to go on, its time to define your strategy, media choice and how you
will fill this in on a creative level. To keep the tone of your brand coherent, its advisable to have
brand managers for your different markets. In that way, people will perceive you as one global
brand, let alone you are in eastern or western market. And last but not least, get results on how
People are attracted to international brands. Why? Because these brands can help meet their high
expectations on the product or service. That is why brands want to be identified as global brands,
another.
to give the consumer a consistent brand experience worldwide and build high brand equity. But
a brand needs to know that the needs of their target audience and people from different regions
have different preferences and backgrounds. True global brands develop global icons and imagery,
but are prepared to adapt the usage of these icons, colours and visual elements to the market they
Nowadays spreading your message is going more and more digital. We all show what we like and
who we like online. Brands are now doing the same; they get their own personalized brand pages
on social network sites and are even able to have different pages per country. The way to get
local and international levels. Everybody is able to communicate back to a brand, and therefore,
building a good relationship with your local consumers is more than important these days.
The whole Ex-Smokers campaign was rolled out exactly like what we presented
it during the pitch phase. Given that as we all know, designers dont want to make
Your task, as a designer, is to always stay true to your initial idea and fight for
it. Never be happy with the first design, there is a difference between good and
excellent and it shows. Creativity contains 20% idea and 80% of sweat.
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People are powerful, because they can make or break your brand.
What the future will bring, whether its getting even more digital or not, I cant tell. But, what Im
sure is that good and clever branding will always find its way to the consumer and will go hand in
hand with the latest trends. As a base that grounds everything, design is where it all starts, so it
better be good.
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OrganicISM
What visual elements can reflect the influence from diverse customs
and cultures?
Mxico is very rich in visual language and symbolic representations.
We tried to translate each culture and tradition we were inspired by and
expressed them through keen iconic groups of elements, such as the icon
system and brand details applied into the product line.
ADELA
The intention of this design was to create a Mexican furniture brand starting from the branding process, followed by the
What do you think of the influence from local visual elements, like
The brand is merged by nature. All those symbols and imagery are very
natural for locals in Mxico. Although northern Mxico has grown as
What other local materials can be used to reflect the style of organic
an industrial and more globalized market, there are people always being
Anything you can use again, or transform into something else: leather,
textiles, etc. I wont worry about processed materials such as metal if its
form comes after its function.
Im not sure. Organic design has been there for a long time and I think
that being outside the mainstream has helped it grow in a good way. Not
being in the mainstream helps avoiding becoming a trend, which will only
generate interest for a short period of time. We are not worried about
our brand being in the mainstream, as long as we do things true and our
brand and products share a specific interest with its user.
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OrganicISM
They are great influences. We got a load of references such as these and
OrganicISM
DASTI
DASTI as a word means outdated hand manuals, books or note-books of very few pages, something that is either sold or given
so that it can be reused, a common Indian practice that led to ideation of the entire project. The vision of the brand is to showcase
the skills of thousands of talented craftsmen in this country in an organic way as possible.
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BranD
BULLETIN
VISCOM-SIGN ESPANA
DESIGNTIDE IN TOK YO
www.viscomspain.com
designtide.jp
PAP-FOR RUSSIA
Petersburg, Russia
www.papfor.com
imaginable media.
PAP-FOR Russia is the largest pulp and paper event
in Eastern Europe that represents all cutting edge
products, innovative ideas and ultramodern industry
MASALA CHAI
PACK EXPO
INTERNATIONAL
Masala Chai is a traditional tea lounge that serves a variety of authentic Chai beverages. This popular drink hails from the Indian
subcontinent and is made by brewing tea with a mixture of aromatic spices and herbs. The relaxed cool setting is ideal for middle-
income tea drinkers and students from 20 to 35 looking for positive energy and a place to study. Using a collection of kitsch imagery
www.packexpo.com
IENA
www.iena.de
from India, the designer branded the lounge using images of peaceful Indian goddesses. The vintage shape crest of an Indian
teakettle was offset with a layer of grungy raw texture. Indian traditional Pop art was combined with the serif font Rockwell to
enhance the vintage feel. Earthy organic colours including brown yellow, green and peach differentiate flavours and unify the brand.
The tea is packaged in a reusable aluminium canister and natural jute bags are used to preserve the spices and tea.
www.tdwa.com
development.
Tokyo Designers Week 2012 is held for 10 days
L ABELEXPO INDIA
October 29th November 1st
Pragati Maidan Exhibition Centre, New Delhi, India
www.labelexpo-india.com
www.100percentdesign.com.cn
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BranD
BULLETIN
BRUSSELS INNOVA
www.brussels-innova.com
miamibeach.artbasel.com
PRINT WORLD
www.printworldshow.com
SIGN ISTANBUL
December 6th - 9th
Tyap Fair and Congress Center, Istanbul, Turkey
www.signistanbul.com
decisions.
Sign Istanbul offers you the chance to showcase
innodesigntechexpo.hktdc.com
DESIGN CIT Y
November 17th -19th
Direct Energy Centre, Toronto, Canada
www.designcityshow.com
Design City, a show within a show, will bring
PACKPLUS
December 7th 10th
India Expo Centre Greater Noida, New Delhi (NCR), India
www.packplus.in
The show aims to bring together the worldwide
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