COP3 - Brief

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Rimowa - Development stage

As the visual identity for Rimowa was developed, it was prepared into a presentation ready to pitch to the design studio who actually rebranded Rimowa 2 years ago - Commission.   Logo - The logo did not change after its developments in the initial ideas stage, this is because it is effective and appropriate.   Posters - Developing from the initial idea of suggesting the grooves of the suitcase on the poster, this set of posters does this, but in a sleeker and more mechanical way. The grooves run across the page at an angle, referencing the diagonal grid systems often found in bauhaus design, and they were outlined instead of filled in, in order to reduce the contrast on the page and to further communicate this idea of space.   Notebook - The design of the notebook was not changed, except for the addition of 2 metal pins at the top which would hold it together. These were added in because they evoke the aluminium of   the suitcases themselves, and therefo...
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Rimowa - Initial Ideas

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Logotype - Considering the luxury aesthetic this branding needed to convey, as well as the simplicity of modernist design, it was quickly decided that the logotype needed to be simple and modern. Despite this, it still needed to have something distinct and original about it; simply typesetting the name of the brand in an appropriate sans serif font may convey the right tone, however it doesn’t add to the overall identity. Having a distinct form or signifying aspect really creates more of a distinct brand. In Rimowa’s previous logo, one interesting aspect was the way the ‘W’ intersected and overlapped in the middle. This idea of utilising the intersecting W in more contemporary logotype was visualised in the font Anisette Bold (1). The W was also mirrored and utilised for the M which balanced out the logo effectively. This logotype was way too bold, so using a lighter weight was experimented with (2), and also applying rounded edges (3). These lines with rounded edges felt very evocati...
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Typography Mono-printing Workshop

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As an afternoon workshop, we printed abstract compositions built up of sections of letterforms. The three typefaces were Baskerville, Cooper Black and Neue Haus Grotesk, 3 distinctively different typefaces. We drew small sections of these typefaces and then cut stencils to print with.  The exercise was very interesting to undertake, the first instinct is to draw out fairly recognisable shapes and sections and to print these very precisely and rationally, however as the process continued it was intriguing to experiment more, playing with more abstract shapes, chaotic layouts and varying levels of print thickness.  My first composition takes curved shapes from Cooper Black and lays them out in a swirling composition, I was aware of the relationship each shape had with each other on the page. For the second composition made from Baskerville, I concentrated on circular shapes, a lot of them made from the negative spaces. With a selection of more rational self contained sh...
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