Author Archives: Ryon Edwards

Ryon Edwards

Design is an integral part of every RP strategy, and Ryon is its Czar. He joined the firm in 1996 and is recognized as one of the Southeast’s most respected art directors. He is also well known for his vast knowledge about and obessive love of typography.

Logo Makeover 101

We recently completed an identity update for New Morning Foundation, an organization that seeks to improve young people’s access to reproductive health education, counseling, and clinical services throughout South Carolina. We were asked to give the existing logo a “facelift” and to redesign existing brand identity collateral.

Why do we “rebrand” anyway? That word and the word “branding” are thrown around quite a bit, but it’s important to remember that the logo is not the “brand.” The brand is all about the customer touchpoints and the experience one has when interacting with the organization — when you boil it all down, the brand is someone’s gut instinct about a company or organization. I remember Marty Neumier stating years ago in a workshop that “the brand” is what OTHERS say it is, not what the company says it is. That statement has stuck with me for years.

And the logo is a small, but very important part of the brand. It must strike the right balance of the rational and the emotional. It must convey the spirit of the organization in a split-second. The cross-sensory experience is the brand, but the logo has to uphold and to support that.

Changes or redesigns could mark an internal cultural shift, a change in business objectives, or change in ownership. Often times, as in the case of New Morning Foundation, it’s a matter of staying relevant and is born from the desire to have visual consistency across mediums. Lay a solid foundation with a strong, meaningful logo, and that will help branding efforts at any level.

 

Old logo

 

 

New logo

 

 

 

New identity package

Vintage typewriter inspires new typeface

I recently came across this antique typewriter and was immediately fascinated by its design and pristine condition. It’s a 1966 Olympia DeLuxe SM9 made in Western Germany. After some research, I found out that these Olympias were the top of the line and cost about $175 back in the day. I was surprised to find out that many writers still prefer manual typewriters, and that these archaic machines have become quite collectible. Check out this link for a pretty impressive listing: http://www.mrmartinweb.com/type.htm. I couldn’t wait to try it out — I carefully placed a piece of paper underneath the roller and proceeded to type away. Ahhh, the action, the ease of the keystrokes, the mechanical precision, the sound and the high-pitched “ding” at the end of the line made me smile. Then I proceeded to examine the actual letterforms that appeared on the paper and found them to be a script style — graceful and beautiful with some very interesting characteristics. It was unexpected, since the clunky, mono-spaced slab-serif style is most commonly associated with old typewriters.

A few days later, I was sharing photos of the typewriter with a colleague and had a moment of inspiration. What if I recreated this script typestyle and preserved the history of the SM9 through typography? So I’ve begun this experiment by sketching some of the letterforms (see early sketches and preliminary digital rendering below). I plan to create a complete character set and to build a functional typestyle.

Maybe I’m not going to write a novel anytime soon on the SM9, but it sure has inspired me to create something that I’m passionate about. Which proves that you never know where you might find inspiration.

Why we buy, why we brand: A historical look at our relationships with brands

A couple of weeks ago, AIGA South Carolina members and guests were treated to a lecture by Debbie Millman, one of today’s most influential designers. She is the president of Design for Sterling Brands in New York, the national President of AIGA (professional association for designers), a contributing editor at Print Magazine, a design writer at FastCompany.com, a contributor to Brand New (UnderConsideration.com) and Chair of the Masters in Branding Program at the School of Visual Arts in New York City. In 2005, she began hosting the first weekly Internet radio talk show about design, “Design Matters with Debbie Millman”. Her most recent book is entitled “Look Both Ways: Illustrated Essays on the Intersection of Life and Design.” Pause. Question: How does one person manage to do all of that?

Debbie took the audience through a historical look at our relationship with brands. She started by taking us back 50,000 years ago and discussed the “Big Brain Bang”— how the human mind starting developing and separating cognitive and emotional function: 30,000 years ago humans began “making” and “marking”; 10,000 years ago we began beautifying ourselves — not for each other, but for religious beliefs. Crests, shields and flags were decorated and designed for identification by the mid 12th century. The word “branding” is derived from the word “brond”, which means to mark, or to burn, and later became known as “brand” in the late 19th century when farmers marked their cattle for identification. Trivia: the very first trademark registration for a product was for The Bass & Co Brewery (the red triangle), which was registered under the UK’s Trade Mark Registration Act of 1875.

Debbie continued to discuss five waves of modern branding. Here’s a brief recap:

Wave 1 (1875-1920)
• Industrial Revolution
• Mass production and homogenization of products
• Coca-Cola brand became popular
• Trademark Act of 1906 (stated that products could not mislead or make false claims)

Wave 2 (1920-1965)
• Brands became anthropomorphic, and incorporated a story or a benefit
• Morton Salt developed a tag line, “When it rains it pours”
• Betty Crocker image created, one of the best-known women of the interwar years — (and someone who never existed)

Wave 3 (1965-1985)
• Brands became self-expressive
• Brands became a part of our lifestyle and culture (Nike)
• Levi’s designed a revolutionary way to make jeans through the use of rivets

Wave 4 (1986-2000)
• Brands became synonymous with “experience”: enter Starbucks

Wave 5 (2000 – present)
• Rise of the Internet and all things digital: ipods, smart phones, etc.
• Online social communities now provide companionship (or a sense of it)
• Brands have become connectors (example, Livestrong bracelets)
• Brands have the power to create emotional bonds and offer connections between our most basic instincts

It’s interesting to look at how branding originated and to be aware of the different waves that have occurred. Obviously, there are some underlying needs from which branding originated, which are still very relevant today: integrity, honesty, identification, connection and the desire for emotional bonding. Check out this link that Debbie shared that might suggest what’s to come: www.pranavmistry.com/projects/sixthsense. Pretty amazing. Thanks to AIGA SC and Debbie for a great lecture.

New Work: Nature Conservancy of SC

This piece demonstrates multiple development scenarios in the Bulls Bay Corridor, located in the Lowcountry of South Carolina. Through the use of data-based maps, scientific data and charts, this brochure demonstrates how land use choices can impact the Corridor in a variety of ways. The cover uses a combination of letterpress and silk-screen techniques, and includes a CD that contains all maps, data, and PowerPoint presentations.

Green Chair and Guitar

© Ryon Edwards
36 x 42
Acrylic and pastel on canvas
Inspired by an old, abandoned green chair and a new acoustic guitar.

New Work: Central Carolina Community Foundation

Hot off the Press: 2009 annual report for Central Carolina Community Foundation. The design complements the new brand identity we developed for CCCF in 2008 and takes it a step further with a strong emphasis on typography and hand-drawn lettering. A short-fold cover allows the logomark to be visible while reading the first half of the book — we used the extra space on the press sheet to create bookmarks, which will be used to raise awareness of specific areas of need: Dropout Prevention, Homelessness Prevention and Illiteracy.

Thanks to everyone at Central Carolina Community Foundation and special thanks to Tonia Cochran and JoAnn Turnquist for being such great collaborators.

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New Work: Preservation Trust of Spartanburg

CreateAthon client Preservation Trust of Spartanburg

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Nonprofit Preservation Trust of Spartanburg recently launched Spartanburg Architectural Salvage, a retail store that caters to owners of older homes, DIYers and architects looking for period pieces salvaged from old homes and buildings. We were thrilled with the opportunity to work with these folks since salvaging these items keeps them out of the landfill. Plus, wouldn’t you want something original and authentic if you were fixing up an old house? Or even building a new one?

The first order of business: a new name and identity system, including a series of custom illustrations and three distinctive logos. The business cards doubled as hang tags.

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More patina work coming to the blog soon.

CreateAthon Preservation Trust Creative Team: Kevin Smith, Ryon Edwards, George Fulton, Courtney Graham Hipp, Lauren Bowles, Jay Coles   Identity design: Ryon Edwards, George Fulton