BRADLEY SYKES ARCHITECT
DESIGN DEVELOPMENT
Once I had done Bradley’s logo I began to think about possible production processes and how I could print in a way that would be easily reproduced by the client.
I looked back at my research and Bradley’s work and began to think of his practice in which he creates subtle decoration in his work by varying textures. Therefore it seemed to make sense that I should consider other production processes where I can play with texture over colour.
in order to consider something minimalist and simple just as the client requested, I think that embossing might be the best process at this point.
I started playing with the business card design in aim to send the client a mock up to see what their opinion would be on embossing. This is also a great production process to use for the client who aims to recreate the branding if they need extra copies, as I could pass on the embossing plates I would create for their own use.
I created a portrait design as this is the most functional format for the logo design I have created. Using an unadorned sans serif typeface ‘biko’ I placed the clients name underneath the logo in a charcoal so that the printed text wouldn’t be harsh against the white background, but instead look more organic and ’natural’.
I created a mock up of the design:
The feedback I got was really positive and the client commented on how well the whole design functioned together, not only the embossed detail, but the simplistic text conveying his full name underneath. He was really passionate about the use of the emboss plate, as it communicated his own practice well, and meant that he would easily be able to recreate the designs himself.
With this feedback, I carried on with the same minimalist designs, next moving onto the back of the business cards.
I knew that by embossing the logo onto the cards it would render a lot of the space on the back unsuable for small type due to the ridges created by embossing. For this reason I will have to keep the necessary information on the back of the card concentrated and compact together underneath the embossed logo.
The information the client wants me to include is:
- Name.
- Profession.
- Behance.
- Email.
Using the same minimalist type setting as seen on the front, I set up the information on the back keeping the centre justified layer for consistency.
With some understanding of how the brand is coming together I moved onto transferring the business card design across other elements including postal tube labels, envelopes and letterheads.
For the envelope design I simply decreased the size of the front of the business card design and placed it in the top left. Such a component only needs a simple reference to the brand as a symbol of consistent as the envelope will most probably be thrown away straight after opening.
Again the design of the letter head has only one job and that is to keep consistency with the rest of the brand. It uses the same logo set up as the envelope in the top left corner. For minimalism all the text is fully justified and uses the same typeface as the rest of the branding.
The clients details are boldly represented at the bottom of the letterhead for easy finding if a business card is not on hand, through the use of a black bar.
The last of the transferable design elements is to create a label that bradley can use to secure onto postal tubes for larger scale work.
I want to create a design that can be used both landscape and portrait and so for this I will just have to consider size and scale ensuring that it is small enough to fit both ways.
The tube label, as the postal tube could possibly sent by itself with no other branded documents needs to communicate not only Bradley's brand name and logo, but also his contact details.
The design for the tube label takes that done for the business card and places both sides of the design on one layer, displaying the embossed logo on the left, and contact information on the right, reminiscent and consistent with the business card design.
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