Time capsule

Time capsules are used to place object from the current period that they are created to be buried or stored to be opened in the future. Here are some images of some famous time capsules.

The Helium Centennial Time Columns Monument located in Amarillo, Texas holds 4 time capsules in stainless steel that should be opened after a duration of 25, 50, 100, and 1000 years

Assignment 3

Foundation Degree (FdA) Digital Media Design

AF102   Visual Language

Assignment 2: 75% Weighting

Assignment title:  Design Time Capsule

Brief

You are going to produce a piece of packaging, for example a box, envelope or gift bag, that will give anyone who delves into it an insight into the designer or design movement that it is themed around, like a time capsule gives insights into an era.  You will design and produce every element of the package, the surface and content, using appropriate visual language based on visual research. 

Elements of your Design Time Capsule

You will produce:-

1.    A package such as a printed gift bag with tag or a measured box with a designed surface (either wrapped, covered or printed) and labelling

2.    At least one poster (A3) full colour

3.    A folding leaflet in full colour

4.    Essay with full referencing and bibliography presented as an A5 booklet

Package

Your package will be a time capsule of the past rather than the future, it will detail a graphic design movement or period or an artist/typographer or designer.  All the details and aspects of your package will work together to reinforce one overall meaning and combine to strengthen that meaning.

For this assignment you will consider and focus on the meanings, combined meanings, contextual and contrasting meanings of the these elements:

             •            Graphic design

            •            Typeface choices

            •            Compositions and arrangements

            •            Colours

            •            Relationship of elements

            •            Choice of elements for different purposes within the design

            •            Visual language and message

What you will do:

            •            Make a package such as a cardboard box which will be either wrapped, printed or covered in a style suitable to your design theme or a printed gift bag and tag.  The package must be clearly labelled with your name and a title for your theme in a way that is in keeping with the overall design and uses appropriate typography. 

            •            You will be physically creating this package as a container for the content.  For example you may need to create a template for a box made with cutting and gluing flaps and folds from one piece of card, the use scissors and scalpels with glue to cut and make your box

            •            Produce the documents for inside the package

            •            You should use a professional print service to print your packaging and poster, so you need to allow time for this in the deadline week

What your documents are about:

            •            Choose a designer / style from the given list in the page headed ‘historical periods and designers’ (or another after agreement with a member of the teaching team)

            •            Create a set of typefaces that are sympathetic to one another and your chosen style

            •            Create a set of colours/ tones that are sympathetic and harmonious (AI Colour tools, Kuler and sharing swatches for Adobe applications)

            •            Create a poster that advertises and makes explicit your style in its appropriate type, configuration, colours, composition etc

            •            Create a folded leaflet that details the historical context in the form of a timeline for the context of your chosen style or design. You should feature contemporary events, culture and technological developments that run around the time and place of the original design work.

            •            Research and write an essay on the history, function, ideology and context of the designer or style.  (See page headed ‘points to consider for your essay’ for guidance)

            •            Layout your essay as an A5 booklet, with a cover page and some illustrations taken from relevant original artwork

            •            Ensure that everything you do is conveyed in a dedicated and chosen set of typefaces or a family of typefaces or weights of one face

Software

You can use Adobe Illustrator, Photoshop, Bridge and InDesign for this assignment. 

You can choose to use any combination of the above titles for any part of the assignment other than the layout and design of the essay which must be made in Adobe InDesign. 

You must use Character styles, Paragraph styles and master pages when working in InDesign.  You are free to use any tools or techniques available in Photoshop and Illustrator.  You must also make at least one set of swatches that you share between Illustrator, InDesign and Photoshop.

Technical Specifications

This is a print assignment and so you will need to ensure that your work is saved in CMYK and at a resolution of 300 dpi.

You will need to submit a CD or a DVD data disc with all your files on it.  You should order the files into the prescribed sub folders:

Working files

            Poster (sub folder with files)

            Leaflet (sub folder with files)

            Essay booklet (sub folder with files)

Finished files as PDFs

            A3 Poster.pdf

            Essay.pdf

            Leaflet.pdf

You will also submit the final print quality pdfs onto Remus and web versions of all of your documents displayed in the given code both on Remus and the courses web server. 

Deadline

·      Friday 10^th December is interim crit.  You must show your visual research, your design choice and the first draft of your design responses.  Interim crit is part of your assessment so is compulsory.  You must have material prepared for this and be present in this session. 

·      Friday 14^th January is deadline and crit day.  Crits will start from 2.00pm and you must be ready to crit and submit by that time.  You cannot use class time on that day for any other purpose than taking part in crit, putting work on servers, burning discs and submitting.   

Pass criteria

·      You will produce package with a designed surface and labelling, containing a poster (A3) full colour, a leaflet in full colour, an essay in the form of a booklet with full referencing and bibliography

·      Your sketchbook and blog will show research (visual and factual) into time capsules, box containers ad other packaging, designers and design movements. 

·      Your sketchbook will show design development and experimentation. 

·      Your blog will show and comment on designs in progress and comment on production process. 

Extended criteria

·      Your designs are well suited to the design theme, consistent and visually interesting

·      The level of technical execution is high

·      Your sketchbook, blog and essay are well researched, well written with a wide range of relevant examples

·      Your sketchbook shows extensive design development and experimentation

·      Your blog shows a development process which implements thoughtful design solutions and innovative problem solving

Reference material for the cardboard box as container:

            •            See Duchamp's Museum in a valise

            •            The idea of a time capsule

            •            Contemporary branded collection e.g. new phone and SIM card welcome pack

            •            Body Shop skin care gift pack

            •            Early Learning Centre toy box/ package

Historical periods and designers

Here is a list of designers and movements. Choose one of the following for the subject of your box.

Art nouveau - typically, art nouveau is fluid and organic with cool decorative languor. Much ornamented with smooth contours and a flat, ‘one speed’ sinuous sense of balance and design

The posters of Toulouse Lautrec

The graphic design and black and white work of Jugendstil - Aubrey Beardsley, Peter Behrens, Otto Eckmann, August Endell, Gustav Klimt, Max Klinger, Hermann Obrist, Johan Thorn Prikker, Louis Comfort Tiffany, Henry van der Velde, Heinrich Vogeler, Otto Wagner

Alphonse Mucha

1910s flat colours - Still flowing and long lines and clear handmade origin- clearly designed but less highly finished than the seamless surfaces of art nouveau. Flat colours and simple shapes with clear messages whilst retaining a decorated and handmade feel.

Beggerstaff -William Nicholson and James Pryde

Machine age -1910s - 1930s

English seaside posters of the 20’s and 30’s - speed, flat colours, simples shapes, elegance

Tom Purvis posters

English linocutting artists - Cyril Edward Power, Claude Flight, Sybil Andrews

Constructivists- asymmetric, reduced colour sets such as Red, Black and White, high contrast, machine aesthetic - Russian Revolutionary work see the Stenberg Brothers, Luibov Popova, El Lizzitsky, Rodchenko, Solomon Telingater and Anton Lavinsky

Bauhaus - type alone and reduced large scaled layouts with sans serif as golden rule - Herbert Bayer, Laszlo Moholy-Nagy, and El Lissitzky

American 40s/50s

Heavy bold and machine typefaces like Rockwell, impact, Blocks of colour and straight edges or rough edges against high contrast backgrounds

Will Burtin, Alexy Brodovitch, Paul Rand, Alvin Lustig, Joseph Binder, Saul Bass, Bradbury Thompson, J Howard Miller, Lester Beall

Post modernism

The combination and appropriation of found elements with the goal of self conscious and endless fun. Meaning implodes and the various elements sucks the life out of each other. This involves a lot of taking things out of their historic contexts and meanings to create a new pleasure of the moment. Style triumphs over meaning. Everything becomes the same experience wherever and whenever you interact with it. This is summed up in the phrase ‘the blur of the perpetual present’.

The Memphis Group - brightly coloured, retro elements that combine in vibrant and decorated surfaces. Ettore Sottsass, Martine Bedine,  Andrea Branzi, Aldo Cibic, Michele de Lucchi, Nathalie du Pasquier, Michael Graves, Hans Hollein, Arata Isozaki, Shiro Kuromata, Matteo Thun, Javier Mariscal, George Sowden, Marco Zanini

Machine stamp – Grotesk, Clarendon, Egyptienne, Playbill, Courier, Rockwell,

Employment of the computer as basic means to camp up and overplay the early machine aesthetic. Mixing sets of type together to create a bold message of highly contrasting sets.

Neville Brody the Face and The Guardian redesign

Handmade - aesthetic of scruffy and visible means of manufacture. Scatter and retreat from ideology as a way of restaging the self. Brit art nonsense.

David Carson - Ray Gun Magazine

Points to consider for your essay:

You can sue some or all of these questions as points to answer and arrange in order to help you structure and over the most important areas of your essay.

1. What is the context and meaning of the design?

What were the original historical, political and geographical contexts of your chosen design movement/ designer?

Where and when was it thought up and produced?

Was this style a reaction against something that had happened before or was it an expression of a new phase in social development or technology?

Was your chosen design/ designer leading or being lead by developments and the pace of change?

How was the style intended to function?

Was it for a large or a small audience and did it speak about quality or mass availability and usefulness?

2. How does design work through visual language and visual style?

Does it try to be legible and functional or does it take pleasure or emphasise its own decoration and signature?

Was the design style concerned with work or leisure?

Does it prioritise elegance and balance or dynamism and vigor?

Is it cool, classical, calm and collected or is it moving, disintegrating, agitated and high tempo?

Is it serious as an expression of strong ideas?

By contrast, is it an attempt at escapism? Is it chiefly concerned with fun and relaxation?

Why is this and how is it expressed in visual terms?

How is colour used?

How is type used to convey a graphical meaning?

What are the relationship of the elements - is it simple and large scaled or small and crowded?

3. How is design used?

When a designer makes something, does he or she completely manufacture the design from start to finish?

Does the design grown from something that already exists?

Is the design completed when it is used by the public?

Consider audience and form and meaning:

            •            How do they interrelate?

            •            Can they ever be split? (Can the style be used n its own or is it glued to the time and place in which it was made?)

            •            Does form follow function? (Is that why it looks the way it does?)

            •            Is there a referent in the language of the design? (Literally does it refer to a specific meaning from the time and place in which it was first generated?)

            •            Is this lost? (Is the style left just on its own with the specific historical meaning being ‘long gone’)

            •            Does this referent have a social/ political context?

            •            Does the designer work to promote a definite ideology (set of ideas and beliefs) of which he/she/ they are self conscious?

            •            How does mass circulation and reproduction relate to the meaning of the design and the visual language?

            •            Does the design mean to be handmade and unique or handmade-looking, mass-made and common?

            •            What is the user’s experience of the design?

            •            Is this experience intended by the designer or has another set of meanings crept in? (Do people remake things and use them in another way to that which the designer had in mind?)

hello

Luigi Colani

In class we were separated into groups of two and assigned a period of design change, I was teamed with Dave Grant who opted for doing the background research whilst me doing the designer research. Our topic/period given was POSTMONDERNISM.

The designer i have chosen to research and present Is German industrial designer Luigi Colani. I have chosen Luigi because as postmodernist designer go he is certainly one of the top designer who tends to vier away from normal types of design.



Luigi Colani



Profile:

Born: 2nd August 1928

Name: Born Lutz Colani, changed later to Luigi

Luigi studied sculpture in the late 40,s in Berlin moving onto Aerodynamics in France in the 50's. He became an establish car designer, designing many car designs for Fiat and designing the first sports car (in 1957 for Alfa Romero) to complete a lap of the Nürburgring in under 10 minutes.

What make Luigi stand out from other designer for my is his determination to cancel the idea of always having to be neat and angular in our design approach. Luigi classes himself as more of a 3d philosopher than that of an industrial designer as he believe he thinks outside the box and tries to break down conventional norms of design which his own vision. Although Luigi has designed many things ranging from cutlery set for an airline to a digital camera for Canon to cars for Ferrari, he has for many years been designing prototype models some being life scale, of designes for products of the future such as flying cars and pod homes to live in.



Ferrari Testa d'oro



Canon Slr

Within all of his designs, Luigi loves to add curves and aerodynamic shape to almost every product/design he dose. As can be see from these two examples His designs instantly look futuristic.

While looking into Luigi Colani, i came across a quote that for me kind of sums up the approach taken by himself,

"The earth is round, all the heavenly bodies are round; they all move on round or elliptical orbits. This same image of circular globe-shaped mini worlds orbiting around each other follows us right down to the microcosmos. We are even aroused by round forms in species propagation related eroticism. Why should I join the straying mass who want to make everything angular? I am going to pursue Galileo Galilei's philosophy: my world is also round." — Luigi Colani

In this comment made by Luigi he explains how he envisions natural design and ergonomic shaping being what is fundamentally incorporated into design, In other comments he has made he believes that our approach to design is to wasteful with the easiest options for material etc being opted for, his philosophy is to research the right materials which should be new ones to build lightweight but strong and natural looking designs.

Future Train

When looking at examples of Luigis work it is clear to see the natural influences he adopts, with every design incorporating curves and round corners and edges, with these characteristics he products and prototype designs seem to always look futuristic. As can be seen to the left, this design is a prototype model of a high-speed train with higher aerodynamic value than older train designs.


Funky Piano






His designs also spread into the weird and wonderful. As can be seen with this piano design, it takes a whole new look on the aesthetics of the instrument. with the adoption of serious curves the piano looks futuristic but maintains being a piano.

As with all his designs this oneis no exception, This future truck made to break the mould of todays trucks as certainly dose through aerodynamics and look, But it is this approach that defines him as a postmodernist, as he has constantly broken the mould of neat angular design, as he says. It is also for this reason why i admire his work and believe him to be a good example of a designer adopting the values of postmordernism.

Brief: Assignment 3 and footnotes

Foundation Degree (FdA) Digital Media Design

 

AF102   Visual Language

Assignment 2: 75% Weighting

Assignment title:  Design Time Capsule

Brief

You are going to produce a piece of packaging, for example a box, envelope or gift bag, that will give anyone who delves into it an insight into the designer or design movement that it is themed around, like a time capsule gives insights into an era.  You will design and produce every element of the package, the surface and content, using appropriate visual language based on visual research. 

Elements of your Design Time Capsule

You will produce:-

1.    A package such as a printed gift bag with tag or a measured box with a designed surface (either wrapped, covered or printed) and labelling

2.    At least one poster (A3) full colour

3.    A folding leaflet in full colour

4.    Essay with full referencing and bibliography presented as an A5 booklet

Package

Your package will be a time capsule of the past rather than the future, it will detail a graphic design movement or period or an artist/typographer or designer.  All the details and aspects of your package will work together to reinforce one overall meaning and combine to strengthen that meaning.

For this assignment you will consider and focus on the meanings, combined meanings, contextual and contrasting meanings of the these elements:

             •            Graphic design

            •            Typeface choices

            •            Compositions and arrangements

            •            Colours

            •            Relationship of elements

            •            Choice of elements for different purposes within the design

            •            Visual language and message

What you will do:

            •            Make a package such as a cardboard box which will be either wrapped, printed or covered in a style suitable to your design theme or a printed gift bag and tag.  The package must be clearly labelled with your name and a title for your theme in a way that is in keeping with the overall design and uses appropriate typography. 

            •            You will be physically creating this package as a container for the content.  For example you may need to create a template for a box made with cutting and gluing flaps and folds from one piece of card, the use scissors and scalpels with glue to cut and make your box

            •            Produce the documents for inside the package

            •            You should use a professional print service to print your packaging and poster, so you need to allow time for this in the deadline week

What your documents are about:

            •            Choose a designer / style from the given list in the page headed ‘historical periods and designers’ (or another after agreement with a member of the teaching team)

            •            Create a set of typefaces that are sympathetic to one another and your chosen style

            •            Create a set of colours/ tones that are sympathetic and harmonious (AI Colour tools, Kuler and sharing swatches for Adobe applications)

            •            Create a poster that advertises and makes explicit your style in its appropriate type, configuration, colours, composition etc

            •            Create a folded leaflet that details the historical context in the form of a timeline for the context of your chosen style or design. You should feature contemporary events, culture and technological developments that run around the time and place of the original design work.

            •            Research and write an essay on the history, function, ideology and context of the designer or style.  (See page headed ‘points to consider for your essay’ for guidance)

            •            Layout your essay as an A5 booklet, with a cover page and some illustrations taken from relevant original artwork

            •            Ensure that everything you do is conveyed in a dedicated and chosen set of typefaces or a family of typefaces or weights of one face

Software

You can use Adobe Illustrator, Photoshop, Bridge and InDesign for this assignment. 

You can choose to use any combination of the above titles for any part of the assignment other than the layout and design of the essay which must be made in Adobe InDesign. 

You must use Character styles, Paragraph styles and master pages when working in InDesign.  You are free to use any tools or techniques available in Photoshop and Illustrator.  You must also make at least one set of swatches that you share between Illustrator, InDesign and Photoshop.

Technical Specifications

This is a print assignment and so you will need to ensure that your work is saved in CMYK and at a resolution of 300 dpi.

You will need to submit a CD or a DVD data disc with all your files on it.  You should order the files into the prescribed sub folders:

Working files

            Poster (sub folder with files)

            Leaflet (sub folder with files)

            Essay booklet (sub folder with files)

Finished files as PDFs

            A3 Poster.pdf

            Essay.pdf

            Leaflet.pdf

You will also submit the final print quality pdfs onto Remus and web versions of all of your documents displayed in the given code both on Remus and the courses web server. 

Deadline

·      Friday 10^th December is interim crit.  You must show your visual research, your design choice and the first draft of your design responses.  Interim crit is part of your assessment so is compulsory.  You must have material prepared for this and be present in this session. 

·      Friday 14^th January is deadline and crit day.  Crits will start from 2.00pm and you must be ready to crit and submit by that time.  You cannot use class time on that day for any other purpose than taking part in crit, putting work on servers, burning discs and submitting.   

Pass criteria

·      You will produce package with a designed surface and labelling, containing a poster (A3) full colour, a leaflet in full colour, an essay in the form of a booklet with full referencing and bibliography

·      Your sketchbook and blog will show research (visual and factual) into time capsules, box containers ad other packaging, designers and design movements. 

·      Your sketchbook will show design development and experimentation. 

·      Your blog will show and comment on designs in progress and comment on production process. 

Extended criteria

·      Your designs are well suited to the design theme, consistent and visually interesting

·      The level of technical execution is high

·      Your sketchbook, blog and essay are well researched, well written with a wide range of relevant examples

·      Your sketchbook shows extensive design development and experimentation

·      Your blog shows a development process which implements thoughtful design solutions and innovative problem solving

Reference material for the cardboard box as container:

            •            See Duchamp's Museum in a valise

            •            The idea of a time capsule

            •            Contemporary branded collection e.g. new phone and SIM card welcome pack

            •            Body Shop skin care gift pack

            •            Early Learning Centre toy box/ package

Historical periods and designers

Here is a list of designers and movements. Choose one of the following for the subject of your box.

Art nouveau - typically, art nouveau is fluid and organic with cool decorative languor. Much ornamented with smooth contours and a flat, ‘one speed’ sinuous sense of balance and design

The posters of Toulouse Lautrec

The graphic design and black and white work of Jugendstil - Aubrey Beardsley, Peter Behrens, Otto Eckmann, August Endell, Gustav Klimt, Max Klinger, Hermann Obrist, Johan Thorn Prikker, Louis Comfort Tiffany, Henry van der Velde, Heinrich Vogeler, Otto Wagner

Alphonse Mucha

1910s flat colours - Still flowing and long lines and clear handmade origin- clearly designed but less highly finished than the seamless surfaces of art nouveau. Flat colours and simple shapes with clear messages whilst retaining a decorated and handmade feel.

Beggerstaff -William Nicholson and James Pryde

Machine age -1910s - 1930s

English seaside posters of the 20’s and 30’s - speed, flat colours, simples shapes, elegance

Tom Purvis posters

English linocutting artists - Cyril Edward Power, Claude Flight, Sybil Andrews

Constructivists- asymmetric, reduced colour sets such as Red, Black and White, high contrast, machine aesthetic - Russian Revolutionary work see the Stenberg Brothers, Luibov Popova, El Lizzitsky, Rodchenko, Solomon Telingater and Anton Lavinsky

Bauhaus - type alone and reduced large scaled layouts with sans serif as golden rule - Herbert Bayer, Laszlo Moholy-Nagy, and El Lissitzky

American 40s/50s

Heavy bold and machine typefaces like Rockwell, impact, Blocks of colour and straight edges or rough edges against high contrast backgrounds

Will Burtin, Alexy Brodovitch, Paul Rand, Alvin Lustig, Joseph Binder, Saul Bass, Bradbury Thompson, J Howard Miller, Lester Beall

Post modernism

The combination and appropriation of found elements with the goal of self conscious and endless fun. Meaning implodes and the various elements sucks the life out of each other. This involves a lot of taking things out of their historic contexts and meanings to create a new pleasure of the moment. Style triumphs over meaning. Everything becomes the same experience wherever and whenever you interact with it. This is summed up in the phrase ‘the blur of the perpetual present’.

The Memphis Group - brightly coloured, retro elements that combine in vibrant and decorated surfaces. Ettore Sottsass, Martine Bedine,  Andrea Branzi, Aldo Cibic, Michele de Lucchi, Nathalie du Pasquier, Michael Graves, Hans Hollein, Arata Isozaki, Shiro Kuromata, Matteo Thun, Javier Mariscal, George Sowden, Marco Zanini

Machine stamp – Grotesk, Clarendon, Egyptienne, Playbill, Courier, Rockwell,

Employment of the computer as basic means to camp up and overplay the early machine aesthetic. Mixing sets of type together to create a bold message of highly contrasting sets.

Neville Brody the Face and The Guardian redesign

Handmade - aesthetic of scruffy and visible means of manufacture. Scatter and retreat from ideology as a way of restaging the self. Brit art nonsense.

David Carson - Ray Gun Magazine

Points to consider for your essay:

You can sue some or all of these questions as points to answer and arrange in order to help you structure and over the most important areas of your essay.

1. What is the context and meaning of the design?

What were the original historical, political and geographical contexts of your chosen design movement/ designer?

Where and when was it thought up and produced?

Was this style a reaction against something that had happened before or was it an expression of a new phase in social development or technology?

Was your chosen design/ designer leading or being lead by developments and the pace of change?

How was the style intended to function?

Was it for a large or a small audience and did it speak about quality or mass availability and usefulness?

2. How does design work through visual language and visual style?

Does it try to be legible and functional or does it take pleasure or emphasise its own decoration and signature?

Was the design style concerned with work or leisure?

Does it prioritise elegance and balance or dynamism and vigor?

Is it cool, classical, calm and collected or is it moving, disintegrating, agitated and high tempo?

Is it serious as an expression of strong ideas?

By contrast, is it an attempt at escapism? Is it chiefly concerned with fun and relaxation?

Why is this and how is it expressed in visual terms?

How is colour used?

How is type used to convey a graphical meaning?

What are the relationship of the elements - is it simple and large scaled or small and crowded?

3. How is design used?

When a designer makes something, does he or she completely manufacture the design from start to finish?

Does the design grown from something that already exists?

Is the design completed when it is used by the public?

Consider audience and form and meaning:

            •            How do they interrelate?

            •            Can they ever be split? (Can the style be used n its own or is it glued to the time and place in which it was made?)

            •            Does form follow function? (Is that why it looks the way it does?)

            •            Is there a referent in the language of the design? (Literally does it refer to a specific meaning from the time and place in which it was first generated?)

            •            Is this lost? (Is the style left just on its own with the specific historical meaning being ‘long gone’)

            •            Does this referent have a social/ political context?

            •            Does the designer work to promote a definite ideology (set of ideas and beliefs) of which he/she/ they are self conscious?

            •            How does mass circulation and reproduction relate to the meaning of the design and the visual language?

            •            Does the design mean to be handmade and unique or handmade-looking, mass-made and common?

            •            What is the user’s experience of the design?

            •            Is this experience intended by the designer or has another set of meanings crept in? (Do people remake things and use them in another way to that which the designer had in mind?)

Logo and Front design

Having designed the logo and implemented my changes i have created a front to my pizza box.

Logo Design



Here is a print screen of my logo design. In the design i aim to add an american flag in the yellow space between Tommy's and Pizza

Pizza Box

 My final idea, and the idea i have chosen to pursue is for a pizza delivery box. For my idea i wanted to create an American style pizza box and company brand. I have chosen to do an american style pizza box for i believed it allows me more freedom in being prominant and more outlandish in the design.


1. low end Pizza box



When looking at pizza box designs, Cheaper delivery places opted for low cost simple designs with no apparent logo or motif representing the restaurant who had made the actual pizza, higher market end pizza delivery place's chose to have more exclusive boxes with logo's and brand names clearly pasted on the boxes, they also had more extravagant boxes with more colours.



2. Higher end Pizza box



When designing my pizza box i wanted to incorporate design aspects from both examples 2 and 3. I liked the Pizza hut design (2) which being the high end pizza box contains logos for the company and advertising. i also liked the simple two colour design with a simple flame like motif. although i feel that the logo positioning and its general lay out is a little bare for what the box is trying to sell.Taking notes from the high end box i also found it helpful to look at the cheaper ones.



3. Italian style pizza box



Example 3 an image of an italian orientated design, in relation to my design has a significant role. As i have chosen to design an american style pizza box i wanted to incorporate as much USA style symbolism as possible. Looking at this design, although simple and lacking time spent did an ok job of incorporating the italian flag.

 



4. pizza hut logo

With concern to the logo design i invisioned, i planned to design a logo and brand name Tommy's Pizza thathad an almost amrican feel and pizza feel before you even looked at the box, with a successful design it would help shape the rest of the design as the logo would sit as asomewhat focal point of the box.



5. Krispy kreme logo



The typeface a wanted to create was of asimilar design to that of krispy kreme (5) but bolder. i have always felt that the logo and text in example 5 represent american style and culture, bold and effective. For these reasons i wanted to incorporate this into my design.