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Green Technology for the Urban Environment

Client: Roofscapes, Inc.

Philadelphia, Pennsylvania, USA

Agency: Murphy Design

Philadelphia, Pennsylvania

A gree" alternative to heating and cooling in urban environments. Roofscapes uses Its ■dcnliV/ to address tl<e beauty that can also be found m ths emerging residential and industrial solution to interior temperature and humidity control.

The Challenge

Green and smart are terms that are entering the mainstream of the building industry. More and more structures are constructed out ol economical materials that provide warmth, light, and protection without harming to the environment. Philadelphia-based Roolscapes, Inc., takes this concept a step further, bringing verdant beauty to the roots ol new and existing structures while providing winter warmth, summer coolness, arid balanced humidity levels to the interior. The company specializes in the installation and landscape design ol green roofs and caters to both residential and industrial developers. Ttie identity for this new launch had lo say this message loud and clear in a one- or two-color application and had to adapt easily to both print and digital presentations.

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Print and collateral materials are unified by Murphy's use ol natural paper and images of a "green " environment, further creating a holistic portrait of the company.

The Process

During the development of the company's promotional brochure, the client asked Murphy Design to create a brand identity. The team explored typographic options for the tagline "Green Technology for the Urban Environment." Visually, this phrase serves as a black earth foundation. The green company name serves as the overhanging rooftop. Using a condensed seril typetace, the logo grows tall and green, helped by the addition of the slylized. leafy swash that emerges Irom the letter R.

The Result

Initially, Murphy Design's solution was implemented on Roolscapes' stalionery program, collateral materials, presentation folders, and a PowerPoint presentation. The logo has definitely helped business bloom with orders from new accounts.

Green teduilojy lot IhtSikuImiHKil inc.

Green teduilojy lot IhtSikuImiHKil

Charlie Miller, p.e., principal ' 7114 McCailum Street Philadelphia. PA 19119

215-247-8784 phone 215-247-4659 iax

CMIU.ER0ROOFMEADOW.COM WWW.KOOTV.EAOOW.COM

An identity created tot an independent interior designer, Design Directions Interior Design's logo provides a cnsp. memorable brand for this one-person company.

Client: Design Directions Interior Design

Los Altos. California. USA

Agency: Zurek Design

Easton, Pennsylvania. USA

The Challenge

Anita DeSousa is an independent interior designer who needed a crisp, memorable name and image to represent her one-person company. The challenge faced by Zurek Design's Pamela Zurek was one of distance. The client is based in California—a far cry from Zurek's Pennsylvania studio. However, sometimes relationship and reputation outweigh proximity. DeSouza chose to work long-distance with Zurek because she knew her and knew the quality of her work.

The Process

Together. Zurek and DeSousa selected the name Design Directions for the fledgling firm. Zurek then presented DeSousa with three logo solutions in PDF format via email. Once DeSousa settled on a basic style. Zurek refined six two-color combinations, looking for one that conveyed the critical messages of crisp, vibrant, and professional. A striking blue lavender paired with black offered the most effective solution for the bold, stylized sans serif type treatment, housed in a square.

The Result

Zurek's logo has garnered attention for DeSousa's company. Thanks to the new identity, the business has really taken off. DeSousa recently completed the remodeling ol an upscale restaurant, 231 Ellsworth (the name and the address), in San Mateo. California.

OregonPower

Client:

Agency:

Off-grid or supplemental v/ind power >'s sweeping the Pacific Northwest, where power sources areata premium. Oregon Power Solutions' true-to hto style addresses the strength and effectiveness of an old concept driven by new technology.

Oregon Power Solutions, LLC

Baker City. Oregon, USA

TAK Designs, LLC

Baker City. Oregon

The Challenge

Oil-grid or supplemental wind power has become a viable energy source in the Pacific Northwest, where sweeping winds blow across barren high desert plateaus and access to municipal power sources is at a premium. Oregon Power Solutions is one of many companies harnessing this renewable resource for electrical power. The client wanted to use a windmill image in its identity package, but it did not want to use the true-to-life style, which, in its opinion, others in the industry have overused. The logo also needed to confer not just the name but also a feeling of ecological responsibility as well as messages of an old concept being driven by new technology.

The Process

Beyond these criteria. TAK Design was left to its own devices. The team selected a heavy, classic serif font and stacked Ihe graphic and lexl in a manner thai gives an almost mechanical feel to the identity's overall appearance. They created a stylized icon that depicts an almost straight-on view ol a turning wind turbine. To fulfill the client's request for an ecological or "green" message, a blue and green palette was selected. Approximately 15 concepts were developed along these lines before the client made the final selection.

The Result

To date, business cards have been produced on recycled paper stock for this startup company, which is launching its new enterprise in 2004. The client plans to expand the identity's presence when more funding becomes available.

Blue Mountain Workshops inc

Specializing in Ihe craltmg of Ivgh-end cabinetry, built-ins, doors, furniture, and miltwork for residential, commercial, and institutional markets in the Pacific Northwest and California. Blue Mountain Workshops' identity depicts its mountainous location.

Client; Blue Mountain Workshops, Inc.

Baker City. Oregon. USA

Agency: TAK Designs, LLC

Baker City, Oregon

The Challenge

Nestled in Oregon's Blue Mountain region. Blue Mountain Workshops specializes in crafting high-end cabinetry, built-ins. doors, furniture, and millwork for residential. commercial, and institutional markets in Ihe Pacific Northwesl and California. The 6,000-square-foot facility needed an identity that spoke of its location and its strong presence in the region. This was a challenge, as the iconographic image could not be depicted with cliché imagery.

The Process

TAK Design, also located in Bend. Oregon, look up the task, which carried the additional mandate of using a classic serif typeface in the final solution. Numerous typefaces were tested and presented, but none suited Ihe client. Al an additional meeting, the team showed a concept thai used a classic sans serif treatment. As one learn member recalls. "They went from wanting classical lont to 'that's it!' fairly quickly." Out went the serils. Similarly, the team worked through a series of realistic mountain images and moved loward a much smoother representative illustration. The linal icon started life as the snowcap on one of Ihe earlier renderings and was distilled through a dozen transformations.

The Result

After linal selection, the exuberant client printed business cards, letterhead, and envelopes designed by TAK. Since then. Ihe client has placed the new identity on company vehicles, trailers, signage, and its website.

Chapter Nine: Self-Promotion

Graphicw'se

The distillation ot a simple, lignthearteo sympol mat focused on bidding a character out of the letter G serves as the focal pomt ot Graplrwise's delightlul identify.

Client: Graphicwise

Irvine, California, USA

Agency: Graphicwise

Irvine, California

The Challenge

Cutting-edge, simple, and meaningful are important adjectives to ascribe to a design studio's image if it wants to appeal to a wide variety of potential and existing clients. But Graphicwise also want to portray humor, imagination, and range to that same target market.

The Process

Being the client and the designer is always a challenge, but Graphicwise was up to the task. At first, the designers developed complex forms, caricatures, and intricate presentations. The process evolved into the distillation ol a simple, light-hearted symbol that focused on building a character out of the letter G. A puzzle piece was added to the image, conveying the message that the studio can make a cohesive solution from numerous elements.

The Result

Both new and returning clients immediately got Graphicwise's message, which was employed on the studio's stationery program and website. The logo has garnered strong interest from numerous potential clients as well as existing clients since its launch.

A puzzle piece was added to the equation in Graphicwise's identity program. applied to its letterhead and business cards, as shown here.

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Client: Richard Zeid Design

Evanston, Illinois. USA

Agency. Richard Zeid Design

Evanston, Illinois

A dynamic graphic approach that focuses on a modem, stylized Z letter form, created vnth three shapes, symbolizes Richard Zed 's basic design process research, design, and implementation.

Zeid's stylized Z trans/ates well when applied to promotional materials such as the studio's leather presentation binder.

Zeid's stylized Z trans/ates well when applied to promotional materials such as the studio's leather presentation binder.

A strong black and orange palette communicates Zeid's coirimitment to dynamic design.

The Challenge

Objectivity is a designer's greatest virtue—a difficult professional stance to maintain when the client is you. When Richard Zeid created the identity lor his studio, he lound himsell faced with a number of soul-searching questions. What does the concept say about me as a person? What does it say about me as a designer? What does it say about how I work and what I do? Does it convey what I do lor my clients?

The Process

Because he had no client to set a schedule for delivery. Zeid took months to wade through the conceptual phase of the process, revisiting his work at various stages. He tested and retested each concept to see if it accurately portrayed his work methods and practices. In the end. he selected a dynamic graphic approach that focused on a modern, stylized Z letterform created with three shapes that symbolize his basic design process: research, design, and implementation. The visual was completed with the addition of a black sans serif type treatment and a bold orange and black color palette.

The Result

Given a client roster that includes the Chicago Tribune, the National Restaurant Association, Bank ol America, and Edelman Public Relations, it's realistic to say that Zeid effectively and successlully conveyed his message to his target audence.

Client: Staple Design

New York, New York, USA

Applied to the apparel and accessories it also designs and retails, the Staple Design logo appears even as custom embroider/ and button branding or, its line of leans.

Agency: Staple Design

New York. New York: and Tokyo, Japan

Applied to the apparel and accessories it also designs and retails, the Staple Design logo appears even as custom embroider/ and button branding or, its line of leans.

A "shop/gaiiery/oftice/muse-um/record shop/bookstore/chair store/piay-ground/romper room/design think tank/video game emporium/adult cinema" housed in the Reed Space in Manhattan's Lower East Side. Staple Design created a stark, calligraphic image to represent itself across a broad youth-oriented audience in the United States and Japan.

The Challenge

With offices on New York's Lower East Side and in Tokyo, Staple Design is more than a design studio; it describes itself as a "shop/gallery/office /museum/record shop/bookstore/chair store/playground/romper room/design think tank/video game emporium/adult cinema." It goes without saying lhat Ihe logo for this multi-faceted organization had to say a lot and convey an open-ended message at the same time. The real challenge, though, was that the studio itsell had to define its own parameters and be its own client.

The Process

Numerous sketches and concept developments led to a dynamic typographic solution. The Staple Design team aimed for enough visual appeal to draw the attention of a youth-oriented audience but not enough to limit its usage on a variety of products and media. The result: A stark black, blue, orange, and white palette makes the raw calligraphic type treatment stand out against any background.

The Result

Thus far. Ihe Staple Design logo has been applied to everything "except the kitchen sink." Besides its stationery program and website, the identity appears on the studio clothing line of casual wear, hats, key rings, lighters, belts, socks, pocketknives, T-shirts, and music CDs. The business has gained a strong and loyal following for its branded apparel and accessories as well as interest from retailers.

Client: Hornall Anderson Design Works, Inc.

Seattle, Washington, USA

Agency Hornall Anderson Design Works, Inc.

Seattle. Washington

The Challenge

Designers are olten their own worst clients. Besides dealing with selt-expecta-tions, the longevity of a design studio can—and often does—call for an occasional logo redesign. Alter having invented its identity several times over the past 20 years. Hornall Anderson Design Works (HADW) decided it was lime to attract a new audience of potential clients and to alert existing ones that the studio's designers remain Iresh and current. The studio specifically wanted a new look that would transition better from one that could potentially become dated.

The Process

The HADW design team directed its attention to a typographic solution that incorporated a striking color palette. Playing with a variety of letterforms, the team chose a witty yet uncomplicated solution. A capital A with the top chopped off also forms the letter H viewed from an angled perspective. A rich, deep orange and dark blue palette complements the treatment.

The new look and feel reflects a delightful way of connecting with existing clients and potential new relationships: check-the-box options such as "laid back." "may save your life someday," and "stressed" are included in the stationery program. including the employees' business cards.

After 20 years of brand-building, Hornall Anderson Design Works refreshed its own identity, concentrating on a play on the letter A that also reads like the letter H seen at an angular perspective.

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