To increase the spread of the Azouma brand I designed these stickers that can be applied to the food containers that would be used when customers get food delivered or taken away. Using these stickers on the containers increase the status of the brand because they would be going above and beyond normal take aways which will increase the status of the restaurant. People will see the containers that will communicate the high quality the restaurant is communicating. I used the logo and the hand written Azouma that I had created and printed these on a piece of clear plastic, which can be printed on with laser or ink jet and has a sticky back so can be applied to containers. I used the clear plastic on the FMP that I had last year for a bottle label so I know that it prints onto well as long as its left to dry because the ink doesn’t have anything to absorb into.
For the menus I began by measuring actual layouts to work out the spacing that was used around the edges of the pages, spacing between dishes and headings and type size. I sized the menus to be 180mm x 260mm for the main menu with the drinks menu being thinner but the same height, which will differentiate the menus easily for the user without having to open them and check. This also means that the main menu wouldn’t be as thick and result in the customer having to flick through the menu to get to the drinks menu. I am planning to Japanese bind the menus together which means that there will have to be an area on the left of each page that will be dedicated to the binding, I cannot place any information in this area so that the binding doesn’t cover any imagery and more importantly isn’t covering any type because that could make it difficult for the customer to read the information on the front/back of the menus. Avoiding situations like this will be key to make sure that the menus are presented in a professional manner.
I began by leaving a 20mm section of the page to be dedicated to the binding and the majority of the page to be the main page and so found the centre line using the ruler and guide tool and began constructing a basic grid that I could use to help with positioning and placement of type and imagery. I wanted the new design for the brand to be clean but colourful and so placed the logo at the top with the hand written type at the base informing the customer of the type of menu. I experimented with the placement of the logo and hand written type, however after some feedback it was clear that keeping the logo at the top was the best option because it communicates to the customer the brand identity as well as that this isn’t a normal restaurant such as Wetherspoons. The hand written type has also been designed to communicate the origins of this restaurant because it has been designed to take characteristics from Arabic type as well as use letters that are used more often in places such as Morocco, for example the Z drops below the baseline. I also added a gradient to the back of the first page, however after some feedback it was decided that the design didn’t need the gradient and that this had no purpose in the design and so stripping away the gradients wouldn’t affect the brand or its message of high quality food. Other changes were that the hand written type was rescaled so that it matched the thickness of the logo so that they were equal, which made it stand out more as well as moving the logo and type down from the top of the menu so that It didn’t look to close together, but still left the white space at the bottom of the cover. I was also going to have the detailed 12 sided geometric shape bleeding off the front page in the bottom left hand corner, but this made the page seem too busy and so it was removed and repurposed inside the menu.
Once I had created the grid I could replicate this basic grid so that it was on all pages to make sure that all the type would be on the same level throughout the two menus pages and that the area for the binding was all the same. Once I had created the pages I began copying Azouma’s menu by photographing the original when I was in the restaurant and copying that into a word document, which could be used later to easily copy and paste the dishes, descriptions and prices into the new menu. When copying the menu I had to check all the spellings of the spices and some ingredients because there were quite a lot of misspelt words, randomly added capital letters and poor punctuation and so it became an editorial task as well. Once the dishes had been copied I created individual text boxes and began placing them onto the pages set in Arial 12 pt, which after feedback was altered to Futura 11pt and finally reduced in size again to 9pt after test printing and finding that the 11pt could have been reduced and not affect clarity for reading. After a critique I was given feedback to make the names of the dishes or the descriptions stand out against each other and so altered the dishes so that the names were in italic (me and Tim couldn’t find a bold Futura on the system that I could have used, however Italic worked well) to stand out against the descriptions (I tried having the descriptions in italic and the names normal, however after test printing I found that the description then stood out more than the name and so altered it back). Spacing the name from the description was key so that the descriptions were easy to read, but were close enough to the name of the dish so that it was clear that they were together; I set the leading from the name to the description set to 22 which left a gap, which helped the italic of the name stand out more on the page and I created spacing between the lines of the descriptions so that could be read easily because the lines were spread out meaning that any letters that dropped below the baseline weren’t too close to the next line. I began creating the headings in the same process as the brand name for each heading for the dishes and placed these at the top of the pages.
I created a jig that I could use out of coloured rectangles that helped me with the spacing between the headings and the dishes as well as the spacing between the dishes, this meant that I could position all the dishes and headings equally apart throughout the whole menu with ease; the headings were spaced further away from the dishes to make sure that any parts of the letter anatomy that fell below the baseline were not too close to the first dish. I set the width of the text boxes so that the descriptions did not span over 2/3 of the pages, which would leave enough room for the price and some white space which gives the reader a break from the text. The headings had to be altered in size because when I test printed and presented them in the critique it was clear that some hadn’t been scaled down so that they were all equal size so I used the first heading at a master size and move the other hand written headings over to that one and made sure that all the letters were the same scale before continuing and I also test printed for good measure just to be 100% sure.
I made sure that the paragraphs were dropping in line through the use of Shift + Enter which helped align the right edges of the paragraphs and make them more professional because they were all in line with each other. I added all the prices of the dishes and kept them away form the edge where the pages will be French folded then bound and so they were not too hard to read or too close to the edge.
Adding prices to the drinks menu was more difficult because I had to add measurements for drinks, specifically the wine and fizzy drinks because they had three different sizes. I had to reduce the area for the descriptions of the different drinks because the drinks menus were thinner, which meant that there was less space for the prices, so I had to create the different measurements so that they were on top of each other to fit into the space. I kept the measurements and prices some distance apart so that they were clear to read as well as distanced from the edge of the page. On the drinks that didn’t need a description I was able to position their prices horizontally because they didn’t have the height for the measurements used for the wines.
Once the menus were finished I began test printing and fabricating test copies to make sure that the spacing and size of the type was correct. I found that all of the type was too close to the page edges, specifically the prices and I moved everything inwards 5mm and the prices another 7mm. Adding more space to the sides meant that the descriptions had to be reduced (mentioned above) so that everything wasn’t too close to the edges. After creating two mockups of each menu it became clear that the first page was blank because I wanted all the starters to be present on the first spread, which would make it easier for the customer to choose their started, without having to flick back and forth through the menu before making their decision. There was now a blank page as the menu was opened so this was the place that I added the detailed twelve pointed pattern because the other locations that I was considering placing it were not optimal (placed in the centre of the pages with a low opacity or bleeding off the pages throughout the menu).
I printed the menus on G.F.Smith Mohawk Superfine Ultrawhite Smooth 352gsm for the front and back cover and 148gsm for the inside pages because they are going to be folded a thinner paper stock was needed. The paper was of really high quality and after looking at the samples and booklets that G.F.Smith had given out on their open day I could tell that the paper can easily be printed with both laser and ink. To make sure that the type inside the menu was crisp and pure black I had the inside pages printed through a laser which worked out very well and brought out the colours of the pattern to really stand out. I am very happy with how the final results of the menu, specifically with the binding and how the hand written text works to communicate the brand.
I had to scale down the delivery bag because it is almost as large as an A1 sheet because it is the net of the bag that has to be cut, folded and glued into place. Here is the net for the bag which you can find at (https://mattwyles.wordpress.com/2015/05/29/delivery-bag-research/). The has an extra layer on the top which folds down to give the handles and top edge an even stronger hold. I began by cutting out the holes using the leather hole punch to make the largest holes for the rope handles and began cutting the base of the bag for the flaps. Once the cutting was complete I began folding the bag beginning with the top part that gives the bag more strength then the sides and the bottom, the top was the most difficult part because it was the longest part of the bag and I had to make sure that the fold was crisp enough and precise because if the fold isn’t precise it will reduce the professionalism of the piece.
Folding the sides of the bag were the difficult because I had to fold at an angle towards the corners but after scoring the folds it became easier. I used double-sided tape to create the bag because it meant that the bag didn’t become warped where the glue met the paper. Double sided tape was better than glue because it meant that I could keep dry testing the joins before remove the opposite side of the tape and securing it. Once the bag was created I began using the rope that I had bought that was a navy blue, which was close to the colours of the brand and began threading the rope for the handles. I melted the ends of the rope so that the rope didn’t fray and tied the ends, I made sure the handles were long enough so that they did not cover the brand name and were long enough so that the used could easily slip their hand in and out of the handles and it feel comfortable.
To bind the menus I tried to find a blue thread that came as close as possible to the blue of the colour scheme. As I said in the binding posts that I had chosen to use the Marionette bind which links well to the interlacing logo. I bought cotton thread that had the thickest weight so that it should be durable enough to stand up to daily use. I found that threading the menus was difficult because the pattern was described as an intermediate pattern difficulty for people who craft as a hobby. Following the sequence was difficult because after a while the pattern starts to look all the same and I started to lose track of the holes that I was threading and so making sure that I was following the sequence with was a must.
This is the sequence that I had to follow to achieve the pattern:
After finishing the thread I tied off the two ends and super glued the ends so that they wouldn’t fray, affecting the professional finish.
For this project I had the hand-written typography that I created to be used as the headings and titles for the menus, which meant that I wanted a typeface that could work well with the hand written type and which is clear for the reader. I began looking on behance.net for good typography that I could use and found multiple typefaces that I will be experimenting with before deciding.
The aesthetics of the typefaces were a priority when looking for a typeface that could be used throughout the brand. I chose to use sans-serif typefaces because these would be clearer to read on the menu; test printing and asking for people’s opinions for these typefaces about their clarity and whether they could be linked to the hand written type.
Arkship has characteristics of the Russian cyrillic alphabet which are more block based characters and when scaled down to the sizes that are used on menus and books it became harder to read when printed because of the small gaps that are available in the counters, eyes and apertures of the letters.
Margot has the most clarity of the typeface when printed and on-screen. The characteristics of the typeface are that it has been designed to have ears on most of the letters, which could be linked to the hand written typography that I have used for the brand because of the decorative nature of the hand written type.
Ostrich Sans Medium was another typeface that I experimented with because of the light characteristics that it has. This typeface is aesthetically pleasing, however even with kerning the leading the letters are quite difficult to read when scaled down and would be harder to read if the environment was too dark and especially for older people it may cause some trouble too. Print quality can also effect this font because if the it isn’t crisp the lettering could be effected resulting in it being harder to read.
I also looked at standard typefaces that were available because there are some that are very clean and can be easily read when scaled down. Gill Sans was chosen because it has a very clean aesthetic, which is opposite to the had written text, but it would be easier to read the key information for people. Gill sans has been used with Penguin Publishers, Tommy Hilfiger and the BBC News brands because of the clarity of the typeface with its origins as shop signage and so would be very good to be used throughout the brand because of its popularity.
Futurats has a distinct look and good readability, which makes Futura a good headline font for the brand as well as being used for the body text of the menus because of the clean letter anatomy that was originally made up of geometric shapes that give the font its modern look. Futura is bolder and more spread out than Gill Sans which makes it a contender because it can be reduced to a smaller size and still remain clear enough to read.
Arial is a clean and easy to read font that lends itself well for body text and is quite similar to helvetica. Arial has become a staple for textual content and has increased in use in digital media, which has created some dislike for the typeface because it has been overused and so it clean aesthetic has become it’s only characteristic. After presenting the typeface at an interim critique it was a general consensus that Arial was too overused and lacked personality and so I altered the typeface used for the brand to Futura and found that it condensed the type that I could alter the layout which would be better for the menu.
For binding process I needed to create large enough holes so that the tread could easily be put through more than once and not become blocked; I had made sure that on all the pages to the menus that I had added low opacity marks where the holes will be placed so that they were evenly grouped along the spinal area. After researching binding techniques it was clear that I needed to make sure that the holes were large enough and that there was enough spacing between them to prevent the thread from ripping through the paper and card that I was using.
First I bought a traditional hole punch which works through compression and rotation to cut the holes in the paper using the round blade tips that are interchangeable. This technique was good and after a few practice holes it was easy to line up where the holes are needed and creating them. The only downside with this hole punch is that on thicker paper stocks it struggles to cut through, which may require multiple compressions and when releasing the pressure the punch could sometimes slip because of the strong spring inside which could cut the hole even bigger unintentionally or would cut chunks out the card surrounding the hole, which affects the professional look of the product. Having the different sized meant that it was easier for me to pick and choose the holes that I would need for this binding as some were too big/small. The area on the other side of the paper was also another factor to consider when using the hole punch because I wanted the pieced to be as professional as possible and the effect the hole punch has on the paper can make the whole menu even thicker than originally thought; the smaller the holes the more the paper is effected, which would have to be taken into consideration when binding the mens. After finding one on Amazon I ordered it only to find that the projected delivery time was very close to the final few days of the project and so I looked for an alternative.
The hole punched used here is different because it is meant for leather working adding holes for stitching or notches for belts, but also worked well as a contingency plan in case the other hole punch wasn’t delivered in time. This hole punch worked well on the thicker card if the right amount of pressure was placed on the card/paper, this hole punch struggled to cut through thinner paper stocks because it needed to be twisted as well as compressed which could result in creasing the paper, which wouldn’t look professional. This hole punch has a rotational size changer and can make holes larger than the traditional hole punch, however it has a limited amount of smaller holes. The holes on the opposite side of the paper aren’t increasing the thickness of the menus overall, but there is an inconsistency to the quality of the holes.