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Designer Blog Post #15

One of Santa Claus’ many depictions before Coca-Cola (pre-1920s)

Santa Claus Coca-Cola Ad: “It Will Refresh You Too” (1935)

     A good design can do more than simply advertise or inform. It can have a lasting impression on culture and last far beyond its initial spell. Take, for instance, Coca-Cola’s interpretation of Santa Claus. Starting in the 1920s, Coca-Cola has consistently depicted what we would call the classic appearance of Santa: a round old man wearing a red suit and cap with fluffy white fur. Before this, Santa Claus was envisioned very differently and his look varied depending on the culture and location. Some gave Santa a long green/blue coat and a wreath upon his head, while others made him look like a little old fairy-like man. Until Coca-Cola came along, there was no definitive design for Santa Claus.

     What Coca-Cola did was create a new appealing look for the character, which has since been engraved in American society and the Christmas tradition. Santa now appeared more welcoming, warm and charming, similar to a friendly grandfather. Before long, Santa’s new look spread around the world and started to appear in places outside of Coca-Cola’s advertisements. Countless books, toys, television, film, and merchandise have featured the red-suited Santa and even more will do so into the far future. What began as nothing more than a design for soda ads has become the image everyone sees in their mind when they think of Santa.

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Designer Blog Post #14

     Something that I have always found interesting is how a single icon or image can have so many differing ways of appearing. There is a seemingly infinite number of ways in which an existing symbol can be depicted. Things such as logos can be completely changed but still retain the same basic qualities which made them recognizable in the first place. The symbol of Spider-Man, for instance, has seen many, many different interpretations over the course of the franchise’s long history. The spider symbol has been redesigned each time for a variety of reasons, not just because of the presence of a different artist and his/her unique vision. Each version or update for Spider-Man requires its own take on the symbol. The symbol changes to properly fit within a new story or reflect a different tone/setting, or to simply keep the brand fresh. No matter what alterations are made, even if they are extremely drastic, the image of the spider remains. It will always be recognized despite the passage of time or shifting styles.

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Designer Blog Post #13

     Rebranding an entire company is a challenging prospect. Revamping the look and feel of a brand could have devastating consequences if not done right. That is why some companies opt for altering as little as possible and simply bring old designs up to date. Target, for instance, barely changed their logo at all in 2004. The logo design that it had used since the 1970s was iconic in the eyes of the public. The company realized this and did not want to stray far from what was so beloved. The 2004 redesign moved the brand name underneath the icon, as well as recoloring it with the same red. This may seem like a minor change, but in reality it places a much greater significance on the icon. Before, the icon was adjacent to the name, making both equally noticeable. Now, the icon is the first thing that catches the eye. It is the company’s way of capitalizing on the icon’s existing success and further tying it in to the brand’s image and identity. Also, the recoloring of the name serves to link the two together. Even in cases where the icon would be absent, the name is enough to make customers visualize and instantly recognize the brand.

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Designer Blog Post #12

     Package designs change along with the times. As new trends come in, old ones are abandoned. Some brands are able to maintain their image and identity throughout the years, only making minor adjustments every so often to keep up with the times. Other brands have to entirely reinvent themselves to gain the favor of the newest generation and retain their place in the market. Dr Pepper is such a brand, with a long and remarkable history that has seen many changes over its course. It has existed since the late 1800s, but did not make the leap to cans until the 1950s, like many other soda brands. Here, we shall look over the history of Dr Pepper in canned form and see how it has evolved.

     The first wave of cans in the mid-’50s was, of course, experimental since the idea was still new at the time. The style is rather simplistic, having only basic shapes and using only red, white, and green. 1960 tried something unique by covering the can with alternating red and yellow stripes around a white background. It is immediately eye-catching and lets the consumer know that the taste inside is as colorful and full of energy as the outside. 1964 slightly modifies this design by shortening the stripes and reserving them to the bottom. This places a larger focus on the logo, which has been given a new V-shaped figure underneath the oval. This addition feels somewhat unnecessary and seems more fitting for an automobile company than soda.

     1967 saw what would be the basis for all future designs for Dr Pepper. The iconic shiny dark red coloring was introduced, making the product look sleek and refined. One year later, the logo changed to better suit the new coloring. While the oval around the name is kept, the new type is bold and stylish. In 1985, the logo was removed from the encompassing oval and placed diagonally over the can. This decision helps imply action and a sense for the modernistic. Its effect is similar to that of the stripes in the early ‘60s design, but more powerful in how the sense of motion is applied to the logo. The bright red stripe under the logo further emphasizes this. Oddly, the ‘85 can has the logo repeated in the corner above, nearly spoiling an otherwise clever design. This mistake was corrected in 1997, which also saw the logo change in the typeface. Other than this, the 97′ can is much of the same.

     The current Dr Pepper can harkens back to elements from many of the past designs. The ‘97 typeface has been slightly altered, while the color scheme of white and dark red remains. The logo is placed back in the oval, which now implements the diagonal positioning first seen in 1985. In this way, the logo is fancy and energized while neatly composing itself in a comfortable space. The logo manages to reinvent itself while drawing upon the past.

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Designer Blog Post #11

     In the spirit of the Halloween season, I have decided to look at Count Chocula, the classic spooky-themed cereal from General Mills. Count Chocula began in the early 1970s along with Frankenberry to start the popular “Monster Cereals” series, which had later additions like Booberry. Its design, along with its brothers, has changed quite a few times over the years. However, it still keeps the general features of the original design intact, merely updating the art style every decade or so.

     The count’s first appearance in the ‘70s had a simplistic but appealing look. Its thick, crisp black lines meshed well with the limited color scheme of brown shades. This design, which lasted well into ‘80s, were discarded in the ‘90s and early 2000s. The lines, while still present, were heavily minimized and the character received a polished gleam thanks to the airbrushed coloring. Certain elements like the eyes and ears were exaggerated as well. Despite the changes, Chocula is still recognizable to the older fans while being alluring for the new generation. No features have been added or removed, only brought up to date. The newest look for the count, first shown in the early 2010s, Chocula is now slimmer and much more angular, but it brings things closer to the 70s design by having less exaggeration. This is how character design should evolve: retaining as much of the original as possible within a new stylization.

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Designer Blog Post #10

     As I see it, packaging is something that makes or breaks a product’s salability. The packaging is supposed to be what sells the product to you. Its job is telling you what is inside and describing what it can do for you. Unless you already know what to expect, a item’s box or outer casing is all you know about it. That alone determines whether or not you decide to give it a try.

     One of my favorite examples of package design is that of Toblerone. It is a chocolate treat similar to many other candies, but it is set apart from the rest by its unique shape as well as the box which compliments its form. The long, triangular form immediately catches anyone’s eye; it sticks out among other brands because of its iconic and distinctive appearance. For one who has never seen a Toblerone bar before, the box acts as an indicator for the shape of the chocolate within it. No other candy before or since Toblerone’s introduction has done anything like it.

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Designer Blog Post #9

     In any large space like a building complex or city, a visual guide is necessary. It is also necessary for that guide to be as clear and concise as possible so as to avoid confusion while remaining informative. I came to this realization when I first started at FGCU: a time in which I had absolutely no idea where anything was. All of my classes were in different buildings, and I wanted to find the shortest route possible between them. I soon discovered the campus map online and I was never lost again. Everything is neatly defined and labeled. Instead of placing the name by each location, the map uses a numbers and icons which correspond to the list at the bottom. This reduces any clutter that would block one’s view of the surrounding attractions. The map is also useful in that it points out more minor things, like the placement of all the traffic lights and stop signs. Interestingly, the layout is not in the traditional top-down view, but in a sort of three-dimensional perspective. Because of this choice, the dimensions of the buildings are exposed, giving the viewer a better sense of place. The shapes make it so that the buildings can be easily identified when traveling towards them. The map became a tool that I always held on my person during that first year. Even today, I keep a copy on my cellphone so it is always quick to pull up.

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Designer Blog Post #8

     The most important aspect of designing a fictional universe is the characters. After all, we the viewers experience the story’s world through their eyes. Through a character’s thoughts and actions, we can see how this world operates and how the people in it react or adapt to it. This is what fleshes out both the character and the universe, capturing our attention and pulling us in.

     In order to accomplish this, a character has to be likable or at least somewhat relatable. The kind of character who is most often relatable is someone who is given a good range of emotions. Emotion is what makes characters who they are and is what draws the viewer to them. Visually, emotions are all captured in the face and in body language. In the example below, we have concept art of Captain Hook from Disney’s 1953 animated film Peter Pan. Look at the different poses and expressions Captain Hook makes. His face and bodily movements work together to give a sense of egotism and sophistication while also providing a subtle but ever-present bit of humor. You can tell that he is the pompous, aristocratic type just by glancing at his gestures and general appearance. The air about him tells you what you need to know without even hearing what he has to say or seeing the kind of things he does. The lesson here is that emotion can be visually represented to get across a character’s personality without the use of any words or even context.

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Designer Blog Post #7

1972-1978 Map Design

     Yesterday, I read over the new course module about infographics. As I was thinking about the defining traits of an infographic and what makes it effective, I realized that examples can be found nearly everywhere in our daily lives. They are found on posters, websites, class lectures, new articles, maps, research reports, surveys, etc. I got thinking back to the first module project, when I did a slideshow presentation on designer Massimo Vignelli. One of his most famous works was the map for the New York subway system, which lasted from 1972 to 1978. Though it was not too well received by subway users at the time, it has been revered as being a visually appealing yet also informative piece.

     Its major fault came from the fact that while the layout of subway lines were accurately marked and depicted, the same cannot be said of the city above. The geography aboveground was not realistically rendered, leading to a lot of confusion. Bits of the city were simplified or outright contorted to accommodate the subway system. Despite this, the design made enough of an impact to maintain a presence even today. In 2011, Vignelli was called upon to remake his old map design. This time, he preserved the city geography while keeping the look of the subway lines nearly the same as before. The new design achieves the best of both worlds: accurately depicting both the subway and the city while also making it easy to read and navigate. This map can be accessed online and is fully interactive.

2011-present Map Design

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Designer Blog Post #6

     This week, I would like to look at another company logo; this time one that I have always highly admired. I am going to pay respects to one of my favorite childhood brands: LEGO. Its logo follows a long lineage of evolving concepts dating back to 1934. The first several logos experimented with different ideas and were quite different from each other. With each logo since 1953 (with 1954 as the exception), the design has subtly changed while retaining a similar color scheme and typeface. The modern look was introduced in 1973 and was slightly retouched in 1998.

     At first glance, the appearance of the modern LEGO logo can be somewhat plain, but I think this was an intentional move. This is a company that mainly advertises itself to the youth, so the basic stylization is meant to be alluring to them. The bubble-like font emphasizes a friendly, childlike sensibility. The square shape is reminiscent of a common LEGO brick. In this way, the logo gets across the product and the brand’s tone in one image. I would also claim that the logo’s look is designed to appeal to not just children but to all ages in general. While children are the main audience, LEGO attracts older fans and collectors as well. The simplistic look is child-friendly without being “babyish” to older consumers. It calls upon their childhood nostalgia while still being inviting for the new generation. Overall, the LEGO logo is a successful design that manages to speak to both audiences.

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Designer Blog Post #5

     So many logos have seen changes throughout time. Either they become something completely different, or merely update to a modern look. Some, however, manage to remain the same despite the passing decades and changing trends. One that is notable to me is the Mercedes logo, which has been in use since 1909. The alterations it has received over the years have only been very minor and have not changed its general appearance. What makes the design so remarkable that it can last for well over a century? I believe the answer lies within the shape. The three-point star, though basic, acts as a symbol for the company. The classic shape is immediately recognizable and brings the Mercedes name to mind. If the shape was changed in any way, it would be a major detriment to the company’s identity. Mercedes would not be recognized with any other image.

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Designer Blog Post #4

     Something that I have noticed in recent years is the change in appearance of most websites. In general, websites have evolved to look sleeker, modern, and simplified. It seems that most companies have learned from past mistakes and adopted the notion that simplicity is the way to go. In the example above, we have GoDaddy’s main webpage from 2005 (top) and its most recent look from 2018 (bottom). The 2005 version of the site is way too cluttered. The entire page is nothing but an amalgamation of text, boxes, and links. The messy nature of the homepage makes it difficult to find what you are looking for. The 2018 version tears down everything wrong with the old page and starts fresh. The new site shows all that needs to be seen without much text or imagery. The search bar and sections of the site are clearly defined and cannot be missed. The main draw is the pair of images in the center: they show off immediately what the company is about and what it offers to the customer. Overall, it just feels more welcoming and less complicated.

     The article linked here has talks about the growth in simplicity in websites in good detail. https://www.interaction-design.org/literature/article/simplicity-in-design-4-ways-to-achieve-simplicity-in-your-designs

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Design Blog Post #3

Something that occurred to me while working on my designer project was how effective the Helvetica typeface is. It is difficult to explain how what looks like a basic font manages to be so powerful in logos and advertising. I believe that Helvetica works because it is what it is: a plain, simple font with no frills or fancy decoration. This bold appearance gives off a sense of strength, confidence, and professionalism. It comes off as modern and, in a way, timeless. Both examples above are from Massimo Vignelli, who regularly used Helvetica and even pushed for its use in Italy. I think he took to heart that simplicity was often the best answer and carried that sentiment throughout his many different works. He saw, as well as I do, that Helvetica can make a statement without having to do much.

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Designer Blog Post #2

I often find that simplicity is key when it comes to designing. This is especially true when it comes to advertising for companies. Using too many colors, shapes, etc. can lead to a design that looks nice but is lacking in overall identity. I believe that the best example of this as well as one of the most iconic brand logos is that of Coca-Cola. It is consistent in both its typeface and its red-and-white color scheme. The non-elaborate design helps to push the brand’s iconography. Every single product (from T-shirts, to coolers, to Christmas ornaments, and more) of the brand carries the logo, making it a universally-recognized and beloved symbol. It proves that a design does not have to be anything grand to make its mark.

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Designer Post 1 (8/21/18)

The classic look of Sonic the Hedgehog has long been a favorite of mine. Recently brought back into the limelight in 2017 for Sonic Mania, the 1990s Sonic design is simple but appealing. It echoes the appearance of classic cartoon characters such as Mickey Mouse and Felix the Cat, particularly in the rounded dimensions and exaggerated features (eyes, feet, etc.). This image can be found at https://www.sonicthehedgehog.com/sonic-mania-plus.

I am taking Graphic Design I for two reasons: because I am generally interested in creating visuals and because I want to learn all that I can about digital design. To advance in my field, I will have to be familiar with many important ideas and concepts regarding form and communication. Graphic Design I contains the information that I need to progress as a designer.