03 | Typography
Project Brief
This assignment requires choosing and completing one of the five briefs published by ISTD as part of the ISTD 2023 Student Assessment Scheme. Any acceptable deliverable might be used for the final implementation, but it must place a significant focus on idea creation, research, and the expert integration of typography into design. The chosen brief for this project was Brief 4: The Body Politic, to capture a specific political landscape at this point in history, making it accessible to those voting for the first time.
Project Deliverables
Design Strategy
Honourable South Africans, let us drink some beer and get political. Political leaders have failed to unite society behind clear and achievable goals, and a common national identity or sense of the greater good is lacking. With a turnout of roughly only 30% of the population who voted in the previous national election, the lack of interest in politics has created a stalemate between the three leading political parties.
Young people (18-25) currently form a small proportion of the voters at the polls (6%). Therefore for this project I opted to
focus on the vibrant young alternative crowd in South Africa, recognising them as the prime target market. These trendsetters don’t follow norms – they create them. From fashionable bisexual girls to the progressive African goths. With their unique tastes and rebellious spirit, they are eager for innovation and ready to redefine the game. It’s time to captivate their hearts and minds.
focus on the vibrant young alternative crowd in South Africa, recognising them as the prime target market. These trendsetters don’t follow norms – they create them. From fashionable bisexual girls to the progressive African goths. With their unique tastes and rebellious spirit, they are eager for innovation and ready to redefine the game. It’s time to captivate their hearts and minds.
To do this, young South Africans will be confronted by the only thing that they can’t resist… beer. South Africans consume
34.47 million hectolitres of beer a year. Beer offers an ideal experience to confront young South Africans with politics in a way that does not feel forced. What are South Africans going to do… not drink? South Africa is a sociable country where much of the young population spend substantial proportions of their disposable financial resources on alcohol in comparison to other age groups.
34.47 million hectolitres of beer a year. Beer offers an ideal experience to confront young South Africans with politics in a way that does not feel forced. What are South Africans going to do… not drink? South Africa is a sociable country where much of the young population spend substantial proportions of their disposable financial resources on alcohol in comparison to other age groups.
Our solution is ‘The People’s Beer’ sponsored by SAB breweries. By confronting consumers with thought-provoking phrases, our packaging is guaranteed to spark conversations about pressing current affairs. Each bottle becomes collectible art pieces that align with a political problem currently affecting South Africa. These labels won’t just adorn bottles but also embody the rebellious spirit and distinctive identity of the alternative scene, offering more than just beer - it’s an artistic statement in every sip.
With the use of a survey, a shortlist of the 12 political points of tension that young South Africans grapple the most, emerged. Each point was then assigned a beer bottle as a designed typographic outcome was then created for each beer.
The outcome consists of a campaign that includes a packaged product range of a lager and pilsner beer as well as all accompanying secondary packaging - six pack carry cases.
By using iconic typefaces, iconography is crafted to replicate the ‘looks and feels’ that relate back to the words being read. The typefaces are crafted in a way to create images that tell stories and political points of tension within the South African political scene in a contemporary context. Traditional rules of typography have been broken intentionally to create a sense of unease as a means to highlight the political points of tension. Iconic typefaces are used to resignify new myths as the visual tropes of these typefaces are exploited to create logo marks that viewers are able to recognise. Colour is used similarly as the designs do not necessarily stick to one specific colour palette but rather a myriad of colours that apply to each illustrated typographic outcome that best fits it conceptually.
Mahatma Gandhi once said that “Peace is not the absence of conflict, but the ability to cope with it.” Us South Africans need to start addressing our current issues as ‘The People’s Beer’ is here to provide South Africans with the wakeup call that we deserve. It is time that we re-unify the nation one bar fight at a time.
Research & Design Development
This study and development provides an overview of the design and thought processes I used for the project. I use mind mapping and drawing as part of my thought process. This document features all of my hybrid work, which combines writing with conventional sketching experiments as well as digital research. Please click here to view all of my research and development.
Development Timeline
This is the process in which all typographic outcomes were created. The final outcomes consists of various stages were strategic decisions were implemented to achieve a final result that would best target the audience of young adults.
The Logo Mark
“The People’s Beer” logo employs a curvaceous bespoke typeface to evoke a sense of conviviality and approachable enjoyment. The curvy letters mirror the friendly contours of shared laughter and camaraderie, inviting all to partake in a communal experience. This typeface choice encapsulates the essence of gatherings and fosters a relaxed atmosphere around the brand. It’s a visual representation of the way people come together over a refreshing drink, transcending backgrounds and uniting in merriment. The playful curves embody the spirit of celebration, making “The People’s Beer” logo an emblem of lively togetherness and the simple joys of human connection.
The Colour Palette
Each beer has its own personal colour scheme that relates to the message being conveyed on a conceptual level as well. A clear example is the use of the LGBTQ+ rainbow colours for the bottle design for ‘Religious Bigotry.’ In this case the iconic colour palette contradicts the message being said within the typography. Because of this approach, the design calls for multiple colour schemes as each design requires its own unique and imagined palette.
The beige/ off white colour is the only colour that is cohesive over all beer labels. This is used to create some sense of unity between the varied colour palettes. This subtle, earthy tone symbolises balance, unity, and a willingness to listen — an invitation to bridge divides. This choice exudes a calm and composed demeaner, projecting a candidate’s ability to navigate complex issues with thoughtfulness.
Typographic Application
By using iconic typefaces, iconography is crafted to replicate the ‘looks and feels’ that relate back to the words being read. The typefaces are crafted in a way to create images that tell stories and political points of tension within the South African political scene in a contemporary context. Traditional rules of typography have been broken intentionally to create a sense of unease as a means to highlight the political points of tension. Iconic typefaces are used to re-signify new myths as the visual tropes of these typefaces are exploited to create logo marks that viewers can recognise.
In this example ‘Helvetica’ is used to contradict the visual message. Because the typeface is constructed from a slab sans serif, the typeface garnered popularity owed to its clean, neutral and simple appearance. Helvetica’s “humdrum design” is key to its success but in this image the type is manipulated as a new myth is formed. The unstableness and deconstruction of the type forms allude to the new meaning of brokenness. The understanding of the ‘safe’ typeface becomes ‘unsafe’ because of the treatment added to the letterforms - juxtaposing the associated meaning of the original typeface to the new meaning.
Different typefaces are used during the project to relate to the conceptual meanings of each typographic outcome except for body copy. The body copy remains consistent across all deliverables and outcomes. The selection of ‘Officina Sans ITC Pro’ as a clean body copy typeface involves strategic intent. The choice directly influences readability, evoking a sense of clarity and professionalism. ‘Officina Sans ITC Pro’ establish a modern, approachable tone, while ensuring legibility across various sizes and platforms, enhancing the overall visual appeal and user experience.
Grid Structures
Final Outcomes
