15TH NOVEMBER 2012 -  31ST JANUARY 2013

To D e v e l o p O b s e r v a t i o n , R e s e a r c h , Analysis, And Understanding Of Visual Communication And How It Operates As Key Attributes Required Of Graphic Designers. To E m p l o y A n d D e v e l o p C r e a t i v e Problem Solving Strategies, Ideas Generation And Communication Skills. To E n c o u r a g e A n U n d e r s t a n d i n g O f Fundamental Graphic Design Principles Through Both Analysis Andapplication, I n c l u d i n g A n I n t r o d u c t i o n To , A n d Basic Understanding Of, Key Digital P r o d u c t i o n To o l s A n d S y s t e m s . To E n h a n c e L e v e l s O f V i s u a l E n q u i r y , Presentation And Critical Evaluation.

3. Symbols & Semiotics 4. Brief 6. Why A Pre-existing Company? 7. Pret A Diner 8. Previous Events 9. Cultural Significance of Butterflies 10. Group Brainstorm 11. Why A Butterfly? 12. Representations of Butterflies 14. Possible Applications of Logo 15. Existing Butterfly Logos 19. Pictograms 23. Olympics Pictograms 24. Minimising a Butterfly 25. Modernism 26. Saul Bass 27. Alan Fletcher 28. Paul Rand 29. Experiment: Paper Cut Logo 30. Photoshop & Illustrator Thumbnails 31. Crayon Logo 33. Logo In Situ 34. Presentation Sheet 35. Evaluation




Semiotics is the study of symbols in communication. Symbols are anything that are a representation of another concept, idea or physical object. Semiotics is used as a way to better understand communication behaviour and how culture is read and navigated. Semiotics has 3 main branches: Semantics: The study of what signs and symbols to what they stand for Syntactics (or syntax): The study of the relation between signs and symbols. Pragmatics: The relation of signs and symbols to their interpreters In graphic design we use semiotics to better understand the way visual signs are given meaning and how they are interpreted by the public. This is important because as designers it is our job to imbue what meanings and values the clients desire our work to have.

BREIF: You are required to design and develop a graphic identity for a company, manufacturer, retailer, or service provider who wish to see a solution that strongly features an animal image. The core of the identity will be a graphic symbol. There is no one style that you should adopt when designing a symbol. The nature of the business and subject related information gathered should be the starting point for your design research and ultimately leading to a proposed solution. It is important that the content of your design proposals are stated simply and are capable of reproduction in a range of sizes without deterioration or lose of legibility. Graphic Symbols – Marks, shapes, ideograms of an illustrative nature. May be representational or abstract or something in between. For example Penguin Book Publishers a representational, simplified image of a penguin bird. Citroen Cars – An abstract geometric pattern – chevrons based on an early model’s radiator grill. The Problem Please choose any one of the businesses listed below to base your design solutions upon. Basketball Team * Arts and Crafts Gallery * Power Tools Shop * Sportswear Shop * Restaurant * Night Club * Shoe Shop (baby’s to teens) * Contemporary Dance Studio * Sport Diving Training Centre * World Music Recording Studios * Tattoo/Body Piercing Studio * Fancy Dress Hire * Art Direction Your symbol solutions must be based on animal references collected. (See ‘Design Research Gathering’) Source material will need to be manipulated to convey the essential character of the chosen company or service. The communication problem allows you to produce a solution that could be representational or abstract in concept. Ultimately the mood, content and graphic style can be serious or humorous. It will depend on the nature of your chosen client, design experimentation, visualising processes / techniques and the use and application of colour. Design Research Gathering You are required to produce visual/design research relating to any group of animals, (not including man). Please choose a group that provides plenty of visual contrast amongst the individual species. For exampleBirds – sparrow, eagle, peacock, parrot, ostrich, penguin …. Fish – angelfish, stickleback, mackerel, shark, manta ray …. Insects – ant, bee, dragonfly, butterfly, beetle, spiders ….


Reference source: Photographic images
When you have decided on the direction of your research collect as many photographic references as possible of different species within your chosen animal group. Choose your images carefully try to include only examples that clearly show the maximum amount of information relating to colour, shape, form, texture/pattern.


Reference source: Artists/Illustrators Images
You are required to collect a broad range of artists and illustrators images of animals in your chosen subject group. Try to find as many different graphic styles as possible, realistic, simplified, abstract, caricatures.

Reference source: Cultural Influences
Native American Indian, Inuit, Aboriginal, Japanese, Indian, Chinese, African, Maori Animal forms in this section may be sourced from architectural detail, craftworks, textile designs, religious objects etc

The Tree of Life 0.18% of the 1.7 million animals I have to choose from.

Why choose an existing company as opposed to creating one?
We were informed we could chose an existing company, or make up our own company. I chose to use an existing company for my project for the following reasons:


• Creating a made-up company means you cannot work with any real tangible elements when creating your branding. Rebranding an existing company you can work with the companies values, goals, strengths and weaknesses and build on those things to create the identity. • Rebranding an existing company is more realistic, because in real life a company would rarely come to you with no specifications at all of what they wanted, with no idea for a name or even clear idea of what the business is. The only time you would get this kind of creative freedom is if you were making your own company identity. • Some of the best logos come from abstract connections to the business, such as the McDonalds logo, created from the yellow arches that were part of the architecture of the older restaurants, with the red coming from the iconic red roofing. Or the BMW logo, which represents the movement of plane propeller blades, when aircraft production was only a part of the business for ta small part of the company’s history. You would not be able to make these kind abstract connections if the business who’s identity you are working on does not really exist. 



Pret A Diner is a pop-up restaurant company started in 2011 in Berlin by KP Kofler (Klaus Peter Kofler of Kofler and Kompanie) and creative director Olivia Steele. Pret A Diner pop up restaurants are events combining the art of Michelin-Starred fine dining in classic and contemporary cuisine with a visual and auditory experience where a city’s entire culture including food, art, entertainment and history are taken into account in exclusive events. They look to create immersive sensory events , combining the ambience of the ‘dining experience’ with urban and fine art, music, architecture, interior design and film instillation. Their events require you to book in advance online, and are liable to sell out, giving them an element of exclusivity. One can find out about upcoming events through their email newsletter, which you can join at the events themselves, or paying money to become join their ‘Patrons and Friends’ system. Previous events have been held in Frankfurt, Munich, Berlin, Monaco and London. In 2013 there will be events in London, Berlin, Hamburg, Rio, Venice, Basel, Ibiza, Sao Paulo and Miami. Pret A Diner does not have a logo, they do have a way in which their name is displayed, in all-caps with the ‘Pret’ on one line and the ‘A Diner’ on the other, though there is no set type or style for it. In their publications and on the web they have used hand rendered, collage and digital type to represent their name. I am deciding whether to keep these elements when creating my logo or to disregard them , for instance putting the text on one row.

Italians Do It Better, London May / June2012

“With the slogan of “Italians Do It Better”, PRET-A-DINER seeks to create a fully immersive Italian experience, blending the legendary Mediterranean hospitality with a showcase of everything ranging from contemporary Italian art, curated by Julian Farrow, to an eclectic line-up of live Italian musicians.” - From

Tree House, Frankfurt October 2011 - Guests : 15,000 Tree House saw two top floors of a sky scraper in Frankfurt be turned into a Tree House. Along with the restaurant was a gallery space curated by Steve Lazarides, showcasing artists such as Anthony Micallef, David Choe, Sage Vaughn, Bäst, Boxi, Jonathan Yeo, Ron English, Lucy McLauchlan, Kelsey Brookes, Paul Insect and Radiohead artist Stanley Donwood. Minotaur, Old Vic Tunnels October 2011 - London: Guests 14,000 Minotaur was an a collaborative event between Steve Lazarides and KP Kofler’s Pret A Diner held in the tunnels under Waterloo Station. This event was not only an art event but also a resturant with a stage, where bands and artists such as James Lavelle, Booka Shade performing and providing DJ Sets. This event was where I first discovered Pret A Diner. I came for the art, being an avid fan of many of the Lazarides artists. To the left is a screen printed poster for the event by Stanley Donwood, this is probably one of the few pieces of design for a Pret A Diner event that I really like. Which is surprising considering how great the art and aesthetic qualities of the events are.


Global Meanings: • Transformation /Metamorphosis • Fragility / Delicacy • Russia – name for Butterfly ‘babushka’ also means ‘Bow Tie’ & ‘Grandmother’ . • Asia - New Zealand – Mexico butterflies represent the soul. • Greek word for butterfly ‘Psyche’ means ‘Soul’ or ‘Mind’. • Japan – The Butterfly is a persons soul. • Christian Faith – Due to its relations to the soul, Christ and Mary are both often depicted with butterflies. • In the west butterflies are a symbol for mental health Butterflies also represent lightness, and fine dining is all in very small, light portions.


When you come to the ideas generation process you will sometimes find after an amount of time it feels that you have exhausted all possibilities. This is often because you have started without realising to focus your ideas in a certain direction. It is at this point that another person’s input can completely refresh the process and help to remove that barrier. After we had chosen our animal in groups of half the class we were given a task in which we were given an A3 piece of paper, and wrote the name of our animal in the centre, we then had 5 minutes to write anything which came to mind that we felt was important about the animal, we then passed our paper to the left, and those people had 2 minutes to write everything that they could think of relating to the animal. Our paper went around maybe 20 people before being returned us again, this meant that you got the collective brain power of 20 people working at maximum efficiency due to the subject being fresh each time. There were some things I thought were strong that were reinforced. I also ended up with some ideas about my animal that I hadn’t thought of before the task.


• Butterflies have a relatively short lifespan, and much like the restaurants, are only around for a short amount of time. • If you look at a butterflies flight path, you can never tell where it’s going to go • Butterflies are all show, with their colours and patterns, this reflects the experience you get when you go to a Pret A Diner restaurant. • Butterflies have a delicacy to them that reflects the care and intricacies of creating fine dining. • Butterflies represent new life from old life, transformation and new creation. The pop up restaurants are always new and different to what has come before. The pupa period also reflects the preparation and anticipation building up to these events, that are then only around for a short time. • The pupa metamorphosis process also relates to the transformation of the spaces in which the events are held.
Battered wings of a damaged Red Admiral Butterfly.


Clitoria Ternatea: Also known as the Butterfly Pea Flower. Used as a garnish to add colour to food in many countries.

Flight path of a butterfly.




Damien Hirsts butterfly stained glass windows. Huge stained glass window-style ‘paintings’ using the wings of butterflies

Sage Vaugn butterfly paintings. Spiraling rings of brightly coloured butterflies. These have also been translated into a video exhibition where the animated butterflies spiral frantically, and slowly one by one begin to be held in place and begin to drip paint. Sage Vaugn is a Lazarides artist who had work exhibited in the Minotaur Lazarides / Pret A Diner event.




Jean Shrimpton image for Vogue shot by David Bailey
A page from an 1800’s edition of The National Encyclopedia - A Dictionary of Universal Knowledge. I found some pages from this book in Tavistock Pannier Market a year ago and liked the illustrations so decided to buy them, some of these have been the basis for my crayon butterfly images.

Another Lazarides artist. Faile are a fine art graffiti duo who wheatpaste their screen printed works.

An ornamental style illustration by an artist called Anom Kojar. I really like this, though I think a style like this is far too detailed to use for my logo.

Talk Talk – The Colour Of Spring album art featuring a painting by James Marsh, who has designed most of their album covers, butterflies are a motif that runs throughout his work.

A photo manipulation by an artist called B-O-K-E who has created many differant animals and insects out of water. It might be in a rather generic style, but I think its quite well done and the colours are nice.

A logo needs to be designed with its applications in mind, depending on what kind of entity you are designing for there may be hundreds of things it may be applied to, all these need to be taken into account so as to ensure that the logo is suited to its job. One of the first things I did in the development process was to make a quick list of different possible applications of a logo for Pret A Diner:

• Signage • Printed Materials • Menu Leaflets • Side of vehicles • Clothes • Plates

• Insignia on Knives & Forks • Napkins • Pencils & Pens • Online • Website • Posters

When looking for ways to display a butterfly, I decided to take a look at some existing butterfly logos. I was looking for logos that were simple, witty or original. Below are some of the most interesting I found. Some are well known and well-established brands, most are not:


This minimalist design created out of triangles 2 colours and 4 tones is really nice. The type suits, but I would say that there is a slight disconnect between the type and the symbol. It could be The MSN logo is probably one of the most well known and because of the space between recognisable butterfly based logos. I usually am not so keen on the two. And I also think the type vector logos heavy in gradients, but this is one of the few I like as would benefit from being either it manages to not overdo it. The colour scheme is also nice. capitalised or even All-Caps’d.

This logo for CBC Radio in 1966 is a really nice example of the kind of logo I’d like to create if I decide to move in a modernist direction. The colours and symbol reflect the birth and introduction of CBC/Radio-Canada colour television broadcasting. Again, nice bold colours. I’m not sure what I think of the black dot. But I’m sure it wouldnt look right without it.

I do like this logo, and I think the idea of using the dot of the ‘i’ is a good one, though I’m not sure that its executed as well as it could be though. I think the dot could be a differant, more bodylike shape and still would tell you that it was an ‘i’. The gradient does seem to work, though I don’t know if I like that it goes to pretty much 100% white. There is also a slight disconnect between the two fonts. I think the contrast should be between the type and the logo, not just between the type.

This logo is quite nice. I imagine it being for a hotel or a resturant. It has a calligraphic flow to it, while remaining a sharp, smooth vector. I think I would rather see this logo in gold on black instead of shades of gold. Apparently it is supposed to represent the letters ‘GP’ but I dont really see that in the symbol. If it is for a resturant or hotel. I think it gives off an image that they would want.



This is one of the only restaurant based butterfly logos I’ve found. I like the idea of using a fork for the body of the butterfly. Again I don’t think the type is working with the logo, but that may just be because of the amount of space in-between.

I’m Not sure how much I like this one and I actually think I prefer the similar one on the previous page. It’s a mediocre calligraphic emblem also not an incredible representation of a butterfly. A logo like this could maybe do with having slightly less symmetry, like the logo on the previous page.

I think this logo generally works pretty well. The fact that butterfly wings look like leaves is well observed. I would like to do some experimentation on illustrator of this sort, creating butterflies out of various shapes and symbols.

I really like the idea behind this logo. I don’t really like the rogue dots at the bottom of the left wing, which I assume are an attempt to tie the type to the picture. But overall I think it’s a cool logo, though maybe with not as many applications.

I think the symbol is quite clever. Being an internet marketing consultancy the use of code symbols makes sense. I don’t really like the colour scheme.

Attempted logo redesign for a company, don’t really like this very much, apparently the logo is based on the letter ‘i’ which I don’t really see myself. The gradient on the type is quite nice.



This is a logo for a perfumery. I think the serif fonts reflect the ‘quality’ aspect that the business is trying to convey. I think it’s an okay logo, but nothing particularly special.

I like the idea of using the letter ‘B’ to construct a butterfly’s wings, though a butterflies bottom wings are generally smaller at the bottom and larger at the top, so I think this logo could have been worked to reflect this, as it is the logo looks a bit clumsy.

I like the crayon-ish texture of the line, not sure I like all the colours, and the type is defiantly not great. But I like the symbol, I might try looking at creating a texture like this.

Someone in my class said I should look at creating a butterfly with hearts. Interesting to see that someone else has had the same idea. It looks a bit rigid as it is, I would probably modify the hearts by squeezing them so they could sit more horizontally.

Logo for Roquefort Premium Blue Cheese. Different elements work together well. The type looks traditional which is a desired association as they have been producing cheese for centuries. Before investigating I assumed it was for a liquor. The name Papillon and the design (Especially the calligraphic text on either side of the butterfly) all reflect the brands country of origin (France).

I like the crayon-ish texture of the line in this design. Not sure I like all the colours, and the type is definatly not great. But I like the symbol, I might try looking at creating a texture of line like this.



One route I went down for my logo was to create a pictogram. A pictogram is a way of graphically minimising something down to its bare essentials for maximum recognition by the brain. Pictograms are now used everywhere, from airports and train stations to maps and road signage. Though pictograms came back into heavy usage in the 20th century, pictograms origins begin much earlier, and are closely tied with the development of early systems of writing. Languages like Cuneiform developed as a result of drawing lines of representational symbols, like a face, a bird or a fish. Over thousands of years of rewriting, these very representational drawings were slowly minimised down to a set of only a few lines, it is this style of pictogram that I have looked to create. I think that the reason pictograms are so effective is the same reason that a successful logo is effective. Maximum legibility with minimum extraneous details, while conveying as much as they can with the given symbol. As this is a subject I have looked at in the past, the following few pages are scans of a sketchbook I created on the history of language from cave painting, through to the printing press up until modern digital computers.






Some of the most iconic pictograms are the symbols created for the Olympics, these pictograms are usually created fresh in the graphic style of the games that year. Two of my favourite sets of Olympic pictograms are those created by Lance Wyman for the 1968 games in Mexico and also the set created by Otl Aicher for the 1972 Munich games. Through these designs, I have realised that even the simplest of pictograms can display as much or as little about an idea or culture as you want. Wyman designs are notable for their minimisation of detail, liberal use of a vivid colour scheme, lack of whole figures, and use of graphic symbols that relate to the sport, like targets for archery. The sports that Wyman’s designs represent are instantly recognisable. These pictograms were a direct reference to the pictograms of ancient pre-Hispanic cultures. Otl Aicher’s designs are probably the most iconic pictograms from the Olympic games, and set some standards which many since have followed. Aicher’s designs were not the first to use stick figures, but they were the first to have minimised these stick figures down to a more rigid, modernist style, gridconstructed with only straight lines and circles. You may recognise this style of representing figures from the stickmen that you see on many toilet doors today, as they come from his designs to represent bathrooms in the Munich Olympics. Most of the Olympic pictograms since have simply been tweaked versions of these ones, recreated in the graphic style and colour scheme of that year, and some have just simply reused the Aicher designs.




My first step in creating my pictogram was to experiment with different ways of depicting a butterfly with very few lines. The one I settled with was a design that looked quite like a symbol of ancient writing, like Cuneiform or early Chinese. I then redrew my chosen pictogram with the pen tool in illustrator, I then experimented with different brush styles to see which one would give it the kind of thick but painterly and calligraphic brush strokes I was looking for. The two designs I am most happy with are the two thicker versions at the bottom.

The designers I have decided to look at in this project are primarily modernist. These designers were attempting to move away from what they considered to be the clutter and mess of design at the time, transcending convention with clean, angular geometric shapes and intelligent use of vivid primary colours. I have looked at modernism because, like pictograms, everything that sums up what modernism stands for is what can be considered to make a successful logo. Much of modernist design had an almost utilitarian purposefulness. Elimination of extraneous details, a minimal, eye-catching colour pallet and hyper-legible typography are all staples of the modernist ‘international style’.
Some favorite modernists: 1.




While being a rejection of the traditional, many of these designers also looked not towards technology but also towards skill in their practice. In doing so most of these designers rejected the growing trend in the mindset that one could learn to use the equipment without 4. having the background in the history and intricacies of the profession. They valued a refined, purposeful final outcome over a clutter-laden visually heavy process piece. Its difficult to explain modernism without it sounding like a cold, unemotional philosophy, but I really don’t think it is. If you are to strip back an image of an emotion, let’s say love, hate or fear, you can be left with the raw energy and impact of that emotion, without 6. any distraction or diversion, increasing the impact of these feelings, whatever they may be, that you desire to convey. It’s a way of expressing yourself, not an expression. It can be fun and playful, it can be brutally serious or it can be aggressively effective. Much like the fonts of the international style, it is a style that can be applied to all situations, its message all depends on what someone is trying to say.



1. Erik Nitsche 2. Max Huber 3. Germano Faciti 4. Max Bill 5. Erik Nitsche 6. Josef Müller-Brockmann 7. Max Huber

Saul Bass was a New York born Graphic Designer best known for his poster designs and film title sequences. At one time, title sequences were viewed as being mind-numbingly boring. Something you had to sit through and try not to eat all your popcorn before the movie started. Saul Bass’ animated title sequences were attention grabbing, and helped form a whole new way in which audiences could be drawn into the film they were watching before it had started. One of my favorite title sequences of his is his animated type for Alfred Hitchcock’s Psycho. These titles features type that becomes fractured and dissected by graphic lines. His best work used heavily stylised and simplified objects and figures represented in his iconic, much imitated paper cut-out style and a bold vivid colour pallet. Saul Bass also created allot of iconic logos that are still in use today, most of his logo design involved emblematic symbols that could stand alone from whatever their logotype was. I really like a lot of these logos, especially the AT&T logo and the black Warner ‘w’ logo.



Paul Rand was an American Graphic Designer who’s iconic designs, branding and art direction for companies like IBM, UPS and changed Graphic Design and influenced the popular shift towards the Swiss / International style. He came into notoriety for his cover designs for the magazine Direction, which he produced at no charge in exchange for creative freedom. He was one of the great ‘celebrity’ Graphic Designers who brought credibility to graphic design as a career. Rand was influenced by the German ornamental advertising style of Sachplakat, where 1910’s designers like Lucien Bernhard sowed the seeds of modernist design. My favourite work of his is his poster work. Whether designing a book cover, a poster or a magazine cover, his work was all just as arresting and impactful. In fact he said himself that he didn’t differentiate between desiging a hardback book cover or a soft back book cover. Showing, in my opinion, that he believed that all printed media, regardless of price and audience, should be of the same aesthetic quality. Which is to say, of a high aesthetic quality.





One thing I have really wanted to experiment with is creating shapes from cuts of paper to give them a more natural, organic look, most modern design that attempts to emulate modernist design ends up looking obviously like an illustrator vector. I ripped each shape individually, and then live traced them on illustrator. In the end I decided to mirror one of the wings for both wings to give it more symmetry. I actually think this style turned out better than I expected. One thing I dont like about this paper cut is the right angles of the wings. I never created this design with aim for it to be a final logo. If I were to take this logo on to develop I would recut the paper so that it had the same quality of line on the inside of the wings as on the outside.

After talking to my lecturer, he told me that one way to make it look more interesting could be to add a third colour, and one way of doing that could be to have an overlap between shapes with an opacity. The first suggestion was that I should overlay the wings so that they meet to create a body, this was really hard to make work, especially with the right angle shapes of this test paper cut, being the corners of the paper. The other was that I could make wings with two segments to each wing, which overlap to create a second shade of red.

1. 4.





5. 3.

These were some initial thumbnail sketches created on Photoshop. As my drawing skills are not incredible, I find using Photoshop allows me to create and experiment with ideas I could not show by hand. 1. Simple silhouette 2. Segmented wings with 79 separate sections. I created this thumbnail in a really nice colour pallet filling in each section with a separate colour, which took a couple of hours. But the computer turned off and I lost my work. 3. Silhouette punched out of a circle with the bevel / emboss took to give it a 3D badge effect. 4. Rorschach test style logo. 5. Block of texture from a butterfly’s wing. I think this would make a good logo, but would need a lot of development from how it looks now. 6. I wanted to see what a colourful, illustrative symbol would look like, so I took this illustration of a butterfly, live traced it on illustrator and coloured it on Photoshop.

When I first opened up illustrator to create my logo, I decided to just doodle around on the software and create some purely digital looking butterfly forms, without influence of my previous ideas, one thing I tried to do was create a butterfly out of circles. Though the one shown in blue did seem to vaguely show a butterfly form, it certainly didn’t work too well, as a symbol and wanted to create something more interesting with it. I decided to use the same style of opacity overlay as I used with the paper cut logo, which didn’t work either, but I did see that there was a butterfly like shape emerging from the overlay colour in the darker red. I removed the shapes around this symbol and I think it works as a logo.



As shown in my logo research there was one logo that created a really nice quality of line through a drawn crayon texture. I really like the textured, thick, bold lines that oil pastels make. So taking reference from my pictogram research I decided to try some different methods to minimize a butterfly with oil pastels. The two that I think look most interesting I have circled in red. The one on the right reminds me of the cuneiform style glyph I created on page 24. I think this is more successful than that one because it has more character and is more butterfly-like. I then took these drawings into illustrator and live traced them:



I tried out a variety of different typefaces, including Didot, Perpetua, Helvetica, Toronto Subway, Gill Sans and Akzidenz Grotesk. I also tried out different drawings and compositions. In the end I have decided to choose the drawing on the left, with Akzidenz Grotesk (Shown on the bottom design) with the symbol in the colour of red shown in these designs.

After trying numerous variations, the font I have used for my logo is Akzidenz Grotesk Extended. Akzidenz Grotesk is a font that was created by Hermann Berthold in 1898. Regardless of the date of its creation it looks new and accessibly clean, something that speaks to the modernist aesthetic of the mid-20th Century, being the most widely used sans serif typeface until the introduction of Helvetica.The font was used as the primary model for Max Miedinger when creating Helvetica. Helvetica was designed to compete with Akzidenz Grotesk as the most widely used sans-serif typeface. He sought to make Akzidenz Grotesk look more even and clear, but in doing so I think Helvetica ends up more angular and rigid than its predecessor. Akzidenz Grotesk was already one of my favourite fonts due to its flexibility and character, but I have gained a new appreciation for it after realising why I like it when compared with Helvetica. I think this font is a good choice for my logo, and that it sits well with the symbol I have created.



Front of Menu & Napkins


ABCDEFGHIJKLMNOP QRSTUVWXYZ& abcdefghijklmn opqrstuvwxyz
House Typeface: Akzidenz Grotesk

Logo Typeface: Akzidenz Grotesk Extended

Colour Scheme:

C=9 M=94 Y=86 K=1


I really enjoyed this project. It’s been a really interesting journey towards the final outcome. I have looked at new processes and styles for image making that I plan to use in the future, and returnedto and developed styles I had already used. I think my final outcome has effectively drawn from both primary directions of my research. It has the minimisation and reduction of modernist design, but also of the primitive symbolism of the art of our earliest history. When I went to the Minotaur event, I found that the Pret A Diner restaurant was not just the catering for the event, but that Pret A Diner themselves put on really impressive events around the world. There is a lot to work with with Pret A Diner and I think they were a really good company to choose for a project like this. I think with the initial basic glyph symbol I potentially took the idea back too far, not conveying enough of the ideas. I think it was a good idea to go back and start with a new idea, and I think what came out of it was far superior to the cuneiform glyph-style pictogram. I wasn’t able to use InDesign at home as since the new InDesign has been released documents created on older versions of InDesign from previous copies of Creative Suite don’t open on CS6 and vice-versa. If I were to have a project of this sort again I will make sure to have upgraded my Creative Suite to the latest so that I can work at home. We live in a technological age, in which our possibilities for creativity are greater than ever if harnessed with imagination and consideration. It can greatly inform that consideration to look back at the works of others. If we do not learn from the past we will hardly be creating things that say anything new. Through looking at my favourite designers work and finding what I see to be the real essence behind modernism it has helped me to understand how to strip my concept back to the basic idea. Although I have used a really old typeface and a far older pictogram illustration technique that could be seen on a cave in Lascaux, the two meet through modernism to create a clean, modern looking final outcome.

Sign up to vote on this title
UsefulNot useful

Master Your Semester with Scribd & The New York Times

Special offer for students: Only $4.99/month.

Master Your Semester with a Special Offer from Scribd & The New York Times

Cancel anytime.