JPS Design Group - Graphic Arts graphic design, packaging design, web design en-us Fri, 19 Jan 2018 11:54:00 -0800 Fri, 29 Dec 2017 00:00:00 -0800 no Pantone’s Color of the Year 2018, Ultra-Violet <p>the <a href='' target='_blank'>pantone color institute</a> has announced the color of the year for 2018 — pantone 18-3838 ultra violet. the bold color looks elegant and modern.<br /> <br /> color has the ability to convey deep messages and meanings — especially when used by a brand, and for packaging. the pantone color institute, the consulting arm of pantone (a wholly owned subsidiary of x-rite, inc.) forecasts global color trends, advises companies on color in brand identity and product development, and on color assurance programs.<br /> <br /> pantone’s team states, “the color of the year is one moment in time that provides strategic direction for the world of trend and design.”<br /> <br /> leatrice eiseman, executive director, pantone color institute, explains, “we are living in a time that requires inventiveness and imagination. it is this kind of creative inspiration that is indigenous to ultra violet, a blue-based purple that takes our awareness and potential to a higher level. from exploring new technologies and the greater galaxy to artistic expression and spiritual reflection, intuitive ultra violet lights the way to what is yet to come.”<br /> <br /> laurie pressman, vice president of the pantone color institute, adds, “the pantone color of the year has come to mean so much more than ‘what’s trending’ in the world of design; it’s truly a reflection of what’s needed in our world today.”</p> <h3>ultra violet is well-suited for beauty</h3> <p>ultra violet is well-suited for beauty looks created by combinations, blends, and ombres. the color’s mysterious nature, steeped in spirituality, looks “spell-binding” and “expressive,” pantone’s team states. <br /> <br /> on lips or nails, a singular matte purple makes a bold statement of non-conformity. transform the eyes into “windows to the cosmos” with softly blended metallics and shimmers in ultra violet, pantone’s team advises.<br /> <br /> purple hair color elevates a street style look as a symbol of creative expression.<br /> <br /> several beauty brands are already using the color for both products and packaging — see them in this<a href=''> slideshow, ultra violet beauty.</a></p> <h3>ultra violet in packaging, fashion & more</h3> <p>in packaging and graphic design, shades of ultra violet are being used by forward-looking brands, to create a multi-dimensional feel.<br /> <br /> in fashion, ultra violet is easy to pair with different colors, although it may not seem like it at first. pantone’s team explains that this is because purple is made by combining red and blue. “with golds or other metallics, ultra violet becomes luxurious and dazzling; with greens or greys, it evokes natural elegance,” pantone states.<br /> <br /> in home decor, ultra violet makes a statement — fitting in with traditional and elegant looks as easily as it does with bold unexpected designs.</p> <h3>packaging & printing tips — overcoming ultra violet’s challenges</h3> <p>package development teams and package engineers are often faced with the challenge of working with suppliers to color-match -- and ensure a color looks consistent across a variety of different components and materials. the color-matching process is typically the first step before printing, or other decorating techniques.<br /> <br /> colors such as ultra-violet, however, often pose additional challenges. “it is a high-coverage, intense solid, and producing packaging that lives up to a designer’s intent can be difficult,” the pantone team explains. <br /> <br /> during the package design process, the color that appears on a designer’s screen, as well as physical color references, will always change depending on the substrate and printing process.<br /> <br /> when reflective, metallic and pearlescent finishes are used, which all pair well with ultra-violet and are gaining in popularity in packaging, there are even more challenges. special finishes and embellishments require different color measurement techniques.<br /> <br /> pantone offers five tips package printers and converters can follow to meet the trend of bold colors and finishes in 2018,<a href='' target='_blank'> in this blog post. </a></p> <h3>color palettes & inspirations</h3> <p>need ideas for how to use 18-3838 ultra violet - and combine it with other colors?<br /> <br /> pantone created eight color palettes, along with “color harmonies,” to help inspire designers. a mix of brights, deeper hues, pastels, mid-tones, and metallics are included. each palette conveys a distinctive feeling and mood.</p> <h3>choosing the color of the year</h3> <p>how is the color of the year chosen? color experts at the pantone color institute comb the world looking for new color influences.<br /> <br /> these influences include the entertainment industry, films in production, traveling art collections, new artists, fashion, all areas of design, popular travel destinations, new lifestyles, playstyles, and socio-economic conditions. influences may also stem from new technologies, materials, textures, and effects that impact color, relevant social media platforms, as well as sporting events that capture worldwide attention.<br /> <br /> the selected color is often taken from the pantone fashion, home + interiors color system, which is the most widely used and recognized color standards system for fashion, textile, home, and interior design.</p> <h3>a look back <br /> <br /> <a href='' target='_blank'>pantone color of the year 2017 - greenery </a> <br /> <br /> <a href='' target='_blank'>pantone color of the year 2016 - rose quartz & serenity</a></h3> Graphic Arts Fri, 29 Dec 2017 00:00:00 -0800 10 huge graphic design trends to know for 2018 <p>what were the biggest graphic design trends of 2017, and what graphic design trends will be big in 2018? as the year draws to a close, we asked leading designers and studio heads to reflect on the last 12 months, identify the biggest movements of the moment and forecast what will be big in the new year.</p> <p>just as when we brought you the <a href=''>biggest illustration trends of 2017</a>, this isn’t about following the creative herd: it’s about taking stock of where the design industry is right now.</p> <p>whether you use these trends to be inspired or move steadfastly in the opposite direction, the information here can help inform your design choices in 2018. read on for our predictions of the biggest graphic design trends of 2018…</p> <h3>01. the 'little big idea'</h3> <p>“the design theme of 2017 was big impact, but paradoxically the best work achieved it by really sweating the small stuff,” says chris moody, creative director at <a href='' rel='nofollow' target='_blank'>wolff olins</a>. “the things i have found the most striking are the consommÉs – those jobs that focus on something singular and use it to create something with clarity, distinctiveness and beauty: the ‘little big idea’.</p> <p>“this year was about simple ideas, executed with intelligence and insight to create real, radical impact. <a href='!/work/nike/they-call-us-leeuwinnen' target='_blank'>w+k’s work on the dutch women's football team</a> was a tiny logo tweak that managed to question heritage, patriarchy and even what a logo stands for. the moonpig rebrand did more with the kerning of an ‘o’ than a thousand animated cartoon characters ever could.</p> <p>“if 2018 is going to be as chaotic, channel-hopping and crazy as this year was, elegant logic will be the only way to cut through.”</p> <h3>02. braver colours</h3> <p>“2017 has been a riot of colour, with graphic designers making big, bold choices,” says shaun bowen, creative partner at <a href='' rel='nofollow' target='_blank'>b&b studio</a>. “perhaps in an effort to inspire positivity after a difficult year in 2016, we’ve seen an influx of bright colours, often with flat graphics and only one or two colours used at any one time,” he adds.</p> <p>“more and more brands are also using their core packaging hue as the backing colour in posters and supporting graphics.</p> <p>max ottignon, co-founder at london branding agency <a href='' rel='nofollow' target='_blank'>ragged edge</a>, tells a similar story. “we’ve noticed our clients getting braver,” he says. “fluoro colours and clashing tones have moved away from edgy startups into the mainstream. ebay’s new identity has colour right at its heart, using it as a way to communicate both its breadth and inclusive personality.”</p> <p>mireia lopez, creative director at <a href='' rel='nofollow' target='_blank'>dare</a>, concurs. “we’re seeing the use of vibrant colours in juxtaposition with bold imagery,” she says. “this can be seen as a response to minimalism and material design, from using white spaces and clean layouts to unexpected colour combinations and distinct varied typographical styles – and is across all areas of branding as well as digital.</p> <p>“the new dropbox brand direction, for example, is doing this with its creative use of images, and corporate identities such as natwest are shifting to a fresh and modern feel, using the potential of brighter colours to increase higher conversion rates. in my field, digital, this development is probably due the fact that sites can load faster and screens on phones are bigger, so it’s easier to play with images.”</p> <p>“using bright colours helps content stand out from meme-filled social media,” notes nathan sandhu, founder and creative director of <a href='' rel='nofollow' target='_blank'>jazzbones creative</a>.</p> <h3>03. brutalism is back</h3> <p>“although it’s been around for a while, brutalism is one of the graphic design trends i’ve seen really kick off this year,” says lopez. “the southbank centre’s rebrand by <a href='' rel='nofollow' target='_blank'>north</a> is an obvious example. the simple branding and typeface used have been inspired by and go really well with southbank centre’s <a href=''>brutalist architecture</a>.</p> <p>“we’ve also definitely seen web design being influenced by the principles of the movement,” she adds. “balenciaga’s over-functional, <a href='' rel='nofollow' target='_blank'>anti-aesthetic site</a> is the most impressive manifestation of this in my view.’</p> <p>our article <a href=''>are brutalist sites the web's punk rock moment?</a> explores this trend in web design terms in depth.</p> <h3>04. hyper brand distillation </h3> <p>“throughout 2017, design has been getting simpler, yet richer,” says ottignon. “in a world where user experience is king, complex brand systems get in the way of the content. function overrides superfluous design details, and every brand asset needs to earn its place.”</p> <p>so brands are striving to streamline their core assets, but looking to pack more meaning and distinctiveness into each element, he argues. often this starts with the name.</p> <p>"naming briefs are increasingly becoming ‘how can we distill as much meaning into as few letters as possible? <a href='' rel='nofollow' target='_blank'>bulb</a> remains a great example of this, communicating product, purpose and tone in a mere four letters. or <a href='' rel='nofollow' target='_blank'>nested</a>, a proptech startup whose name delivers on both a functional and emotional level."</p> <p>naturally, it also means means scalable, digital first symbols packed with meaning – think <a href=''>youtube</a> or <a href=''>f1</a>, where an entire brand can be distilled into an app tile or a profile picture.</p> <p>“there’s also a noticeable trend towards bespoke typefaces, such as <a href=''>ibm’s plex</a>and <a href=''>bbc's reith</a> – not to mention camden market and <a href=''>giraffe</a>,” adds ottignon. “this allows a brand to show up distinctively wherever it appears, without introducing anything that isn’t strictly functional.”</p> <h3>05. modern still life </h3> <p>the use of high-end, styled and modern-looking still life has been everywhere this year. giacomo cesana, creative director at <a href='' rel='nofollow' target='_blank'><u>cba italy</u></a>, describes the look as: “contemporary, geometrical and a bit abstract. </p> <p>"works that use flat colours with simple objects and shapes have been trendy this year, especially in fashion and the luxury market. tiffany’s christmas campaign, created in collaboration with art photographer <a href='' rel='nofollow' target='_blank'>roe ethridge</a>, is a good example of this trend in action.”</p> <h3>06. generative identities hit the mainstream</h3> <p>“we are seeing more brand identities making use of generative software graphics,” says cesana. “what used to be seen as an avant-garde craft is now most definitely in the mainstream, as nutella’s algorithm jars and the <a href='' rel='nofollow' target='_blank'>hello robot catalogue</a> at the vitra design museum demonstrate.”</p> <h3>07. flat graphics in packaging</h3> <p>packaging design has made a move towards simplicity in 2017, says rowena curlewis, ceo of <a href='' rel='nofollow' target='_blank'>denomination</a>, a drinks design agency in sydney and london. “simplicity through the use of flat graphics can be seen across all packaging categories, including wine,” she explains. </p> <p>“this does not necessarily mean minimalism but instead a stripping back of layers, detailing, text and tone to hone in on the core information and graphics. these are then treated in a simple, deconstructed manner.</p> <p>“for example, the wine brand elephant in the room, fourth wave’s latest success story, has taken the australian wine market by storm with its single colour label design. featuring just the core information and intriguing illustrations, the contrast of its simplicity with the complexity of its competitors’ designs has ensured both distinctiveness and strong shelf standout.”</p> <h3>08. 3d modelling in typography </h3> <p>“3d modelling is the new frontier of graphic design,” says cesana. “this has especially been seen in type design, but also in pattern generation.” </p> <p>sandhu also points to a potential future trend: “one-colour 3d design is growing in popularity. there has been more and more product marketing that uses the same bold background colour as the featured product itself: the product leaps off the screen thanks to the volume created by the 3d techniques.”</p> <h3>09. geometric type breaks the helvetica cycle </h3> <p>“the use of geometry in both graphic design and type design has grown this year,” says lee fasciani, founder and director of territory projects, a sister company to <a href='' rel='nofollow' target='_blank'>territory studio</a> specialising in brand and digital. </p> <p>“the use of helvetica used to happen in cycles – largely driven by the lack of alternatives (notwithstanding <a href=''>akzidenz grotesk</a>) – but now it seems the wealth of well-crafted geometric sans serifs available make designers think differently about choosing the trusted typographic statesman."</p> <p>"google fonts and the ability it gives designers to easily incorporate digital fonts into web pages is one of the reasons for this, bringing typographic consistency to branded collateral across all channels. geometric sans serif fonts also have the ability to be relatively ageless, like most geometric design."</p> <p>“there is a bold clarity and honesty to such fonts that have now been used by many large corporations to communicate the simplicity and openness that their brand team requires,” he concluded. “examples of the trend can be seen in the use of ll brown by airbnb, natwest and thameslink, and ll circular by spotify and eurosport.”</p> <h3>10. hand-drawn elements continue</h3> <p>“hand-drawn images have been particularly big in 2017,” adds sandhu. and that’s not surprising. “the personal touch that they provide to branding and marketing is undeniable,” he stresses. “in a world ever-more dominated by screens, there is just something appealing about the hand-drawn that resonates with many.”</p> <p>similarly, dan bramham, senior designer at <a href='' rel='nofollow' target='_blank'>greenwich design</a>, points to the recent rise of black and white hand lettering over the last 12 months. “i particularly like the work of <a href='' rel='nofollow' target='_blank'>oli frape</a> and <a href='' rel='nofollow' target='_blank'>vic lee</a>,” he says. “it's fantastic to see something a bit less polished, and that really stood out for me this year.” and he sees it as part of a wider trend.</p> <p>“it goes hand in hand with the movement away from the very technical and a return to an artisan approach, which we're seeing across everything from food to the resurgence of handicrafts, and the search for a more balanced way of life. </p> <p>"similarly, there's been a move away from polished photography to more gritty, real-world photographs. i think this all stems from the millennial generation looking for design that has a bit more integrity, and the manifestation of physical art in graphic design has really struck a chord."</p> <p>simon wright, managing director at greenwich design, makes a similar point" "one of the things we've noticed in 2017 is the desire to be more personal through design – a nod to a previous era,” he says. “clients sending a beautifully designed postcard or a hand-written letter for example; a return to old-fashioned methods of communication as a means to stand out.”</p> <p>original article on <a href='' target='_blank'><strong>creative blog</strong></a>.</p> Graphic Arts Mon, 11 Dec 2017 00:00:00 -0800 Guy Kawasaki’s 10 Tips on ‘The Art of Innovation’ <p><strong>guy kawasaki, a former apple executive and current chief evangelist at the free graphic-design tool website canva, gave a keynote speech about the art of innovation and also served on the judging panel of the 2017 big idea competition at the university of texas at dallas.</strong></p> <p>kawasaki said being an innovator means learning to ignore the naysayers.</p> <p>“if you truly are disruptive and innovative, you will polarize people,” he said. read on for 10 top tips from kawasaki on “the art of innovation.”</p> <p><img alt='' src='' style='height:301px; width:970px' /></p> <p>guy kawasaki [photo: ut dallas]</p> <h1>guy kawasaki at utd: <br /> 10 tips on the art of innovation</h1> <h2><strong><img alt='' src='' style='height:42px; width:42px' />don’t ask customers</strong></h2> <p>“i think you ask yourself. it comes from your vision, your passion. you create the product and service that you want to use then just hope you aren’t the only person in the world like that.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />jump to the next curve</strong></h2> <p>“great innovation, great disruption, and great entrepreneurship, occurs because you got to the next curve or created the next curve not because you made the same curve better.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />make a mvvvp (minimum viable valuable validating product)</strong></h2> <p>kawasaki said entrepreneurs need to go beyond the mvp and make sure their product is also valuable and validating to society.</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />make design count</strong></h2> <p>“lots of people when they create apps, services, and sites, they are all about functionality and not enough about design. … steve jobs considered engineers artists not people who spit out lines of code. apple is proof that design counts.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />polarize people</strong></h2> <p>“if you truly are disruptive and innovative, you will polarize people.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />ignore the naysayers</strong></h2> <p>“part of being an innovator and disruptor is you have to learn to ignore people. people are going to tell you it can’t be done, it shouldn’t be done, or it isn’t necessary.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />change your mind</strong></h2> <p>changing your mind is not a “sign of weakness or stupidity,” he said. “don’t hesitate to change your mind.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />niche yourself</strong></h2> <p>you need to have both uniqueness and value, he said.</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />let 100 flowers blossom</strong></h2> <p>“at the start of innovation, take your best shot at positioning and branding — who is going to be your intended customer and how are they going to use it? then you ship your mvvvp and reality hits.”</p> <h2><strong><img alt='' src='' style='height:42px; width:42px' />churn, baby churn</strong></h2> <p>“you need to listen to the people who are buying into your dream as they tell you how to fix it. it takes denial of reality to ship a revolution and get to the next curve, but then it takes the ability to listen to people on how to evolve your curve. that’s one of hardest bits to flip.”</p> <p>original article on <a href='' target='_blank'><strong>dallas innovates</strong></a>.</p> Graphic Arts Mon, 20 Nov 2017 00:00:00 -0800 Top 4 Graphic Design Concepts Every eLearning Instructor Needs to Know <p>teaching and education has always been about more than just the subject matter. it’s also about how the material is packaged and presented to learners. with elearning, students might never see their teachers or meet in a group with their peers. because elearning lacks some of these components of traditional education, the visual aspect has become more important than ever. good graphic design is a key part of creating effective elearning material.</p> <p>there are plenty of elearning creators who are excellent educators, but might not have been trained in visual communication. even if you’re not a graphic designer by trade, you can incorporate these graphic design principles to instantly improve the effectiveness of your elearning courses.</p> <h2>1. use images with purpose.</h2> <p>this means using images when they add something to the content, not when they distract from what students are meant to learn. images should complement and enrich the text. </p> <p>image quality is just as important as image content. your elearning content should project a professional appearance, and it can’t do that with out-of-focus, pixelated images. using low quality images devalues your content. it can make learners doubt that your course is a reputable source of information.</p> <h2>2. incorporate color psychology.</h2> <p>whether or not they realize it, your learners strongly associate colors with certain concepts and ideas. to make sure your message is getting across the way you want it to, it’s important to understand those associations and use colors accordingly.</p> <p>here are some of the most common color associations:</p> <p>red: red might be used to represent love, passion, and romance (think valentine’s day hearts, roses, etc.). more commonly in this context, it’s used to represent a warning or danger (it’s the color of stop signs, blood, etc.). either way, we’re conditioned to immediately give our attention to text or accents in red.</p> <p>green: green is generally considered a “safe” color (think of green on a stoplight or a green check mark indicating approval on a form). it’s also commonly associated with health, nature, and in some contexts, money and finance. </p> <p>blue: blue tends to be associated with authority: it’s frequently used in bank logos, branding for health and drug companies, and in many other professional contexts to indicate reliability and trustworthiness. this is a great color to use for emphasis without drawing attention away from your main message. </p> <h2>3. know your fonts.</h2> <p>fonts are an underappreciated aspect of good graphic design for elearning. after all, whatever font you choose, your learners are going to spend quite a lot of time staring at it. there are literally thousands of font options out there. but your best bet as an elearning course designer is to stick to the basics. </p> <p>a clean, sans serif font like verdana, arial, or helvetica is always a safe choice. (sans serif simply means that the letters don’t have little extensions, called serifs, at the end of the line strokes. times new roman is a serif font. the default font on your phone or tablet is almost certainly sans serif.)</p> <p>you can deviate from these standard sans serif fonts in your titles or headings, but use other fonts sparingly. generally speaking, you should only use two or, at most, three fonts in your entire course. it’s important to use fonts consistently as well. one font for all of the text body and another easy-to-read font for the titles and headers is a good format.</p> <h2>4. keep your layout clean and logical.</h2> <p>when it comes to the overlap of graphic design and elearning, cognitive load is an especially important aspect to keep in mind. per psychologist world, <a href=''>cognitive load</a> “is a theory which aims to understand how the cognitive load produced by learning tasks can impede students’ ability to process new information and to create long-term memories. cognitive load is typically increased when unnecessary demands are imposed on a learner, making the task of processing information overly complex.”</p> <p>what does this mean for elearning? essentially, it means that the harder your learners have to work to understand the flow of your course, the less attention they can devote to actually learning the material.</p> <p>part of this comes from the technical implementation and method of delivery for the course. but graphic design is a large component as well. a couple of tips for reducing cognitive load:</p> <ul> <li>utilize white space (also known as negative space). this literally means blank, empty space that isn’t occupied by text or images. including plenty of white space makes your course appear neat and organized.</li> <li>build your layout around key focal points. as soon as your learners open a new page or module, their eyes should be drawn to a specific element that captures what the page is all about. if your layout has too many focal points, learners will find it hard to make sense of the information on the page. the same is true if your layout has no focal points.</li> <li>incorporate visuals. this relates to our first graphic design principle: images should reflect the core message of the module. but visuals don’t have to mean photographs. consider replacing chunks of text with infographics, charts, or graphs, which are often much easier for learners to process. even when you are using text, create a visual hierarchy with the use of headings, subheadings, and bullet points.</li> </ul> <p>original article on <a href='' target='_blank'><strong>elearing inside</strong></a>.</p> Graphic Arts Mon, 13 Nov 2017 00:00:00 -0800 Trends in Beauty: How to Use Naturalism <p>in a digitally driven culture, desire to get back to nature has greater value than ever as consumers are craving new, more intense connections with the natural world.<br /> <br /> combining the best aspects of a natural lifestyle with the convenience of today’s digital connectivity, naturalism is gaining a new premium status. brands are embracing the intricacies and imperfections of natural visual codes and cues; raw, traditional materials, earthy color palettes and handcrafted products.</p> <h3>the desire for naturalism</h3> <p>once reserved for a specific eco-consumer and the realms of organic foods, the desire for naturalism is becoming more prevalent across a number of categories.<br /> <br /> in response to the slick, polished digital experiences we are surrounded by each day, consumers are rejecting over-manipulated, synthetic and embellished products and experiences and instead are placing a higher value on naturalism.<br /> <br /> while naturalism was perhaps born in the world of personal care, we’ve seen naturalism becoming ingrained across most categories, including fashion, interiors and product design. and as a result, it is now coming full circle with new expressions and new codes of natural in the beauty industry.</p> <h3>what does naturalism look like?</h3> <p>so, what does naturalism look like? in interior spaces, we invite the outside in as immersive indoor planting takes over the summer and graphic greenery is printed onto everything from wallpaper to packaging design.<br /> <br /> graphic patterns and typography champion handmade craft as brands increasingly celebrate natural through type and pattern, inspired by textile design, modern graphic art and printing. in addition, consumer awareness of synthetic and animal-derived ingredients continues to grow bringing with it a preference toward transparent brands and vegan-friendly and naturally derived products.<br /> <br /> deodorant brand <a href='' target='_blank'>schmidt’s naturals</a> is challenging established codes and perceptions of natural in a category traditionally cynical of natural product efficacy. refreshing and vibrant leafy patterns on pack celebrate their natural, plant-powered products and have helped assert them as a new player in the market alongside brands like secret and dove. <br /> <br /> driven by a craving for closer connections to nature, earthy color palettes such as rich yet muted tones of yellows and brown provide relief and relaxation, a welcome break from our rapid-response, digital lives. in their hong kong store, natural beauty brand burt’s bees incorporates inviting, warming color tones to emulate the magic of being inside a beehive, while a feature wall of honey jars house the natural ingredients used in their products.<br /> <br /> further than this, naturalism is impacting existing codes of premium as synthetically perfect, polished and pristine products are rejected in favor of exposing natural materials and finishes. raw materials are hero’ed in products and interiors where effects such as peeling plaster and natural cork replace a slick, polished finish.<br /> <br /> similarly, in cosmetics, wood, stone and ceramic materials are used in packaging and products to enhance natural credentials. a clay cleansing bar soap features in the face product ranges of <a href='' target='_blank'>herbivore </a>cosmetics, while naturals brand <a href='' target='_blank'>neom organics </a>incorporates a ceramic vessel in their treatment candles.<br /> <br /> naturalism celebrates the un-designed: graphic design that dismisses the traditional grid system and symmetry, instead embracing an un-staged, imperfect aesthetic. from kanye west’s album cover to supreme’s candid fashion photography, natural design expressions are creating a fresh sense of authenticity that pays tribute to being in the moment.<br /> <br /> for beauty packaging, this means challenging the norm, breaking the traditional rules and being bold and brave with graphics on pack. take inspiration from <a href='' target='_blank'>bleach london</a>, who are carving a unique space in the beauty category as they continue to broaden their bold product offering from edgy, vivid hair colors to bright pressed glitter and vibrant lip kits. their brand identity of shattered type reflects this bold expression and their irreverent marketing strategy as they break expected design codes for beauty packaging.</p> <p>how can you use naturalism to elevate your brand through packaging?<br /> <br /> champion natural packaging materials, utilize textural and tactile labels, commission handcrafted illustrations and, ultimately, celebrate nature’s imperfections through packaging.</p> <p>original article on <a href='' target='_blank'><strong>beauty-packaging</strong></a>.</p> Graphic Arts Sat, 4 Nov 2017 00:00:00 -0800 From Michelangelo to Dadaism: designers’ favourite creative eras <h3>suki heather, creative director, akqa</h3> <p>“pushing the boundaries of creativity, dada was an influential, early 20th century avant-garde art movement conveying ideas beyond aesthetic. a collective of like-minded individuals used diverse mediums to express and call into question war, society, gender and identity. hannah hÖch, the queen of subversion, pioneered techniques like photomontage to recut narratives, creating visual statements that were both comedic and shocking at the same time. dada rejected traditional norms, building a raw, risk-taking and unapologetic style, inspiring generations of artists, from music to fashion and literacy to graphics. this was a way of thinking that’s never seemed more relevant today.”</p> <hr /> <h3>ellen munro, creative director, brandopus</h3> <p>“it’s hard not to say the present. every day we’re able to look back and take inspiration from all the fascinating times that have come before, curating and creating something entirely new using old influences. if pushed though, i’d love to have been designing in the late 1950s to early 1960s. it was the era of alan fletcher, paul rand and bob gill, who fused clever, witty design alongside expressive illustration. it would have been amazing to have been a part of the heyday of simple and clever design thinking. their designs and ideas are still held in high regard, with many still in use today over 60 years later.”</p> <hr /> <h3>dan kraemer, founder and chief design officer, ia collaborative</h3> <p>“in woody allen’s film midnight in paris, the character paul describes nostalgia as “denial of the painful present”. while now may be a justifiable time to indulge in such ‘golden age thinking’, i actually believe that today is the best time to be a designer. never before has design had so much ability to positively impact people’s lives. leading corporations are appointing chief design officers, nine of last year’s 25 top venture-backed start-ups had designers at the helm, and crowdfunding communities are backing designer-entrepreneurs to bring passion-driven projects to the world. maybe i’d like to be a designer 100 years from now, to be a part of what will no doubt be an even more positive impact on the world.”</p> <hr /> <h3>jon vallance, associate creative director for brand and graphics, pearlfisher london</h3> <p>“us-based graphic designer aaron james draplin talks about how, historically, the real heroes of design have always been completely inconspicuous. they are the guys working a regular job, or the artists punching in their hours and creating timeless design without really meaning to. when i look through design annuals i do find myself agreeing with this. page after page, the work that strikes me as truly revolutionary never really comes from anyone ‘famous’. that said, i recently found out that the image of ‘man and god’ in the vatican city’s sistine chapel is an anatomically perfect representation of the human brain, and the ceiling itself represents the human nervous system. this was a big ‘bear in the toblerone’ moment for me, so perhaps michelangelo’s era in the 15th and 16th centuries is my answer.”</p> <p>original article on <a href='' target='_blank'><strong>design week</strong></a>.</p> Graphic Arts Tue, 22 Aug 2017 00:00:00 -0800