WIP logo design for a startup loose leaf tea company based in Hawaii.
They are strong supporters of the artisan craftsmanship that goes into tea farming, and advocate the rights of farmers who are being taken advantage of by the big tea corporations. Tealet wishes to be a symbol against big corporation methods of business, and its main competitors will be Teavana and Tazo/Starbucks.
Tealet is all about personal connection, and the social aspect of tea culture. They believe that their primary target audience — tea connoisseurs who value organic fair trade practices — will be driven by the tea farmers' stories, and the company wishes to position itself as a platform on which the consumer can really connect personally with the farmer. They want their audience to feel a connection with the brand and the farmers it represents.
As a Hawaiian-based company, Tealet's value system and business practices are rooted heavily in Aloha Spirit, which can be defined as a mutual regard and affection for mankind, extending warmth and caring with no obligation in return. It is the essence of relationships in which each person is important to every other person for collective existence. It is family; brotherhood; the joyful sharing of life.
Holding Aloha Spirit in such high regard, Tealet asked that I somehow weave this into the design. They also asked that the identity inspire a special presence within their target audience, and that it convey the artisan craftsmanship of the farmers they represent.
During my initial research, I read several theories that the indigenous Polynesian peoples of Hawaii were descendants from ancient explorers from Taiwan. This was interesting to me, so I began studying Chinese calligraphy as the main source of inspiration for my third design. I was also inspired in part by the loosely rendered forms of ancient Hawaiian petroglyphs that are carved into volcanic rock.
This typographic approach employs custom letterforms that are actually scanned from brush pen written on thick watercolor paper to achieve a high level of texture. The handcrafted, artisan theme is in the forefront here, and the letterforms take on a slightly Eastern-influenced calligraphic style. While not overt, the themes of Aloha resonate through the interconnectedness of the letters. Also, the first T (and to some degree, the last T) are meant to subtly double as plus signs, which further communicate the notion of connectedness and inclusion: Farmer + Consumer; Tealet + Farmer; Tealet + Consumer; You + Me.
See attachment for inspiration & process shots.
Seeking honest critique. Will post electronic versions tomorrow.
4 months ago
There he is! Just talking to @Colin Today wondering where you'd disappeared to and how long we had to wait until we were privy to your critique and latest shots. All that above ^^^ too much to read right now. But you've got my like! I'll come back and read it when the kids are asleep. Great to see you back with a trifecta.
Alrighty! Kids are in bed and I've read the above, which I thank you for sharing. Always good to get the background story.
It's dawned on me that you're like a method actor (which explains your disappearing acts). After seeing the process attachments with all the research, variations and refinements, I'm convinced you must lock yourself up in a room, until you've become completely at one with your concept. I admire your dedication to your clients requests.
I'm loving the texture of those strokes and I look forward to seeing the vectored version of this and how you treat the brush pen strokes against the tooth of the paper. Great stuff fella!
@Matt Vergotis Love your feedback, bud! And LOL @ your assessment of my madness-methods :D Method actor, huh? I like that. I like that a lot.
Honestly, that's not really far from the truth, and my process of achieving a zen-like state to connect with my clients goals, values, and objectives is one of the main reasons Tealet sought me out.
Regarding those brush strokes, I gotta tell ya, the vectorizing part...? That was *easy.* Once I had a sketch that I really liked, it was a simple Illustrator auto-trace. The toothiness of the paper, and how it interacted with those brush strokes came out brilliantly, with absolutely no need for post-trace cleanup.
Now, getting to that point...THAT was the hard part. Man, I *easily* wrote this out hundreds of times on plain white printer paper before getting up the courage to break out a watercolor pad I bought specifically for this project. Once I did, I completely filled 15 sheets in easily 15 minutes, and at the end of that, I STILL wasn't happy with any one attempt.
My goal was to write it out perfectly in one shot, and it just...wasn't...happening. SO, I kinda cheated a teensy-weensy small little bit, and took the best letterforms from various attempts, merged them in Photoshop, and created one composite that I was happy with. From there, it was smooth sailin'.
Well damn. I have the vector version of this all ready to post up, but it seems as though I've reached my limit for the day. :/
digging this lovely nice font! full of characteristic! it can stand alone as a strong mark IMO! Good job as always, wish to see the case study soon in behance!!
@Gary Chew Thanks again, Gary! I love getting your feedback. My and my client's main focus right now is to nail down the logo design, but I will be doing the full Behance case study in the near future.
by Jon Stapp | atomicvibe
Colors used are just to show examples of what color *might* look like. Once the client makes a final decision, I'll do a more in depth color study.
Please see original sketch shot for detailed information about the company, their motives & wishes, and my rationale. Check the attachment for my inspiration, sketches, and additional shots of the vectorized logo.
FWIW, the client (a Prospect here on Dribbble) has already seen these, and has mostly made up their minds about which option they wish to finalize, but they were very interested in seeing what you fine lot have to say before pulling the trigger.
So...please hit me with your thoughts, ideas, critiques.
4 months ago
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