Exploring with CAD

Typeface

As the original typeface is unable to be sourced, alternatives were selected in which may resemble the pre-existing typeface. 'The light font' was selected as this follows a similar structure. A wide kerning was developed in order to mimic the previous typeface. Although the original type promotes consistency, the new type selected appears to promote a more established aesthetic, as it contains serif aspects. 

Initial CAD developments 

The 'blended block' illustration was firstly selected in order to promote a colourful, eye catching design, although this felt to overpower the thin typeface. A boarder was added in an attempt to balance the design, but the square shape appeared to explore sharp, impure tendencies, as this  'perfect' shape is not frequently seen in nature. 

To combat the previous issues, the original illustration was explored in multiple circumstances. This felt to appear confined, as the previous organic shape was slotted into a primary shape. This in turn making the design appear constructed, and inorganic.

Typographic compositions were explored, promoting the idea that the text does not always have to appear horizontal. The body copy was also explored in terms of hierarchy, with colours being used to highlight specific aspects of the type. 

In order to explore with hierarchy further, the pattern was explored with in order to highlight key pieces of information within the design. This appeared effective, although promoted large areas of negative space. 

By selecting individual brushstrokes it allows the illustration to appear as if a 'smudge' of the product. The texture in relation to this, promotes this further, promoting an organic product.




Feedback


When gaining feedback over these designs, it was suggested that some were more effective than others. It was also suggested that the favoured designs were that of the vertical stroke and the single vertical stroke. (the last two listed above).. Although these two were selected as the favourites, it was suggested that they both would have to be altered before they would be suitable label designs.

When discussing this with Amy she stated that she did not like the vertical design as it was difficult to read, she also went onto suggest that the horizontal design should contain more strokes in order to make it more visually appealing to the consumer.

Although I did personally prefer the vertical design, I decided that I would explore further with the horizontal design, as sometimes within a collaboration a compromise must be made.