End of year show – Display Ideas.

As we aren’t just creating a final piece and handing it in we are, in fact, showing our final pieces to the general public, it’s important I take some time and think about how I want to display my work at the final show. This is a wonderful opportunity for us, as we are able to get our name out there in the design community free of charge.

Along with printing my apron for the show, I need to print out the business cards and print the labels to go onto the bottles. As we had a problem printing the labels where they wouldn’t come out the right size, I had to make do with printing them on high-quality photo paper and sticking them on with double-sided sticky tape.

My initial layout idea for my end of year show was to have a small space next to a wall with a white wooden box roughly chest height in front of it. I would then have my apron hung from the wall behind the box, with the logo about eye level and the bottles and business cards neatly displayed on the box.


Unfortunately, there weren’t anymore display boxes when I went to set up, as the ones that my course had been given had already been taken. Instead, I managed to get myself some table space.


As you can see in the image below, I decided to try using a glass stand we found, with a light underneath. We placed the bottles on top of the stand and the light underneath lit up the cordials inside which looked interesting and made them stand out. We placed the apron to the left and laid the business card neatly in front, some showing the front and others the back,  so people could see both sides designs.20170623_090654

Unfortunately, as there wasn’t enough space for everyone, we had to each take up less space. What I did was simply moved my apron in front of the glass stand and moved all the business cards up next the bottles – again with some face-up and others face-down.


Overall I liked how my exhibit was displayed, but would have obviously liked to have had my original idea of a box next to a wall to be the final display, as I feel it would have looked more professional and cleaner than what I ended up having.


Business Cards – Development and final piece.

 To go along with the new labels and apron, I decided to create some business cards as well. Business cards were a good idea to create as they could possibly get some more business for the client when displayed at the summer show as potential clients take them away and contact the supplier at a later date.

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I wanted to design business cards that look elegant by having a minimal amount of clutter on. I wanted the logo on one side and a brief description of the company and website address on the back. I did have a look at having the business cards vertical rather than horizontal but I feel it looks silly as you don’t see many vertical business cards, so I went with the simple and traditional layout.Screen Shot 2017-06-16 at 14.57.56

My initial idea was to have the business cards very similar to labels, but as I had so many different label background designs, I wasn’t sure which to choose. I don’t know if many companies do this, but my idea was to have five different business cards all with different backgrounds, that would be shuffled together. I thought this idea was strange although I have seen illustrators and other artists business cards in this way.  I liked the idea but I felt the business cards didn’t look as good as the labels in the same style as they look odd and needed to be simpler. The one good thing about those designs was that they stood out a mile.Screen Shot 2017-06-16 at 14.50.14

A peer suggested that I put the texture inside the logo and text instead of a fill. I did this by using the create outlines tool in Illustrator for the text and a using the object – pattern tool to create the texture and then adding the texture as a fill to the logo and text. I much prefer these designs as they still contain the textures that have backed the whole brand but in a simple form.

As with the labels, I didn’t know if I was going to have any problems printing the cards, luckily everything went fine. I had thought of printing out each side of the business cards separately and then sticking them onto cereal box card but that isn’t very professional and I want my display at the final show to look good.


I came up with the idea of arranging the business cards, as seen in the image above, with the fronts aligned to the left and the backs aligned to the right. All I had to do then was print the design on both sides of a piece of white card and I would have business cards.


As you can see it worked well, except for the fact that the printer printed it slightly out of line, so you can see a tiny bit of the black line around the edges.


Overall, I am very happy with the business cards as they look professional and have the watercolour design element I wanted the whole brand identity to have. To be honest, I like the way it’s turned out so much I wonder if I should have tried this kind of style for the labels as these look professional and have the elegant factor I wanted.

Screen Printing Aprons

One element I am creating for the Cornish Country Cordials rebrand is a new apron design. I was planning on either stitching or ironing my logo onto aprons but since I have already researched and experimented with screen printing, I have decided to screen print the logo onto the aprons.


Cornish Country Cordials previous aprons were rather strange as they were a battleship grey colour and featured the old logo, which was an outline of an apple with the Cornish flag inside. They also featured the companies slogan ‘Proper Squash’ – which I haven’t used in the rebrand, as I don’t feel it suits the language of their target audience.

screen print

My new redesign for the apron consists of a black apron with white logo in the centre of the chest. The reason why I have chosen a black and white colour scheme is that the brand itself doesn’t consist of anything that signifies that they’re crafted in Cornwall except the word Cornish on the logo.


Back along when I created the logo, I briefly experimented with the positioning of the logo on the aprons and felt that the central position looked the best with a logo that was structured in a triangular shape. Now that I had decided on the position of the logo, I still had the problem if deciding on the size of the logo. I knew from the experiments above that I wanted the logo to not be too big and not too small, so to get the right size, I printed off a few different sizes and held them to my chest so I could see what the size would be on the aprons. The size that was just right was roughly just smaller than A5.


Once I had the design sorted, I placed the logo at the right size on an A4 sheet in Illustrator and printed it on acetate. I then got a design technician to put my design onto a silk screen so I could start printing the following day.



The first print I did didn’t come out like I wanted it to. Unfortunately, the print studio I was working in had run out of Super White Binder, so I had to go and buy some more. Sadly at the shop, I was given just white binder which wasn’t what I had asked for and doesn’t have as much pigment which is what I needed for printing on my aprons. We didn’t realise this until we had printed onto the first apron.20170609_154752

As you can see the logo looks more of a light blue rather than a bold white.20170609_154819

These are the two inks; the top being the white binder and the bottom being the super white binder. As it was my first time on my own doing screen printing, I didn’t have a clue that there were two types of white screen printing ink. Luckily someone had too much super white binder so managed to spare me some. Once the art technician saw the two inks, she quickly realised that I had been given the wrong one by the shop keeper.20170609_155137

So I washed off the screen and started on a new apron, although this time used the Super White Binder I had been given my another student and as you can see the outcome is superb. The logo is sharp, very readable and the white on black looks great.


Overall, I could have possibly made the design slightly bigger, but to be honest I think it looks great the way it is. The only thing I slightly dislike is that I didn’t align the design completely in middle vertically as it is slightly off centre. I really like the white logo on black apron as it looks classy and professional.

Packaging – Producing The Product Labels.

Sally, the owner of Cornish Country Cordials, prints all her labels herself and wanted the new labels I create, to also be able to be printed by her. The labels she uses are 105mm by 70.7mm, which means you can fit 8 on an A4 page with a small bit of wasted paper at the top and bottom (as seen below).


My initial idea is to have the label layout rather similar to the original with just the overall design being changed. At the moment I am slightly unsure about the overall composition of the labels but once I have all the elements ready, I am sure the composition will come together nicely.


 My initial idea for the new labels was to create individual abstract watercolour designs for each flavour that would feature colours you associate with the fruits inside.

Before I actually created the watercolour experiments, I got a really nice watercolour image of Google that was free to use commercially and created a mockup of what I was planning on doing to show to Sally. She really liked the idea and how it looked but I personally loved how it looked and wanted to make my designs almost identical to the one I found. Obviously, some of the text isn’t very readable, although as it was just a first idea I left it the way it was.

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As the website only had this design and didn’t have others versions with other colours, I had a go at changing the colours myself in Adobe Photoshop. I didn’t plan to use these but decided to do them to learn something new in Photoshop.

Blood Orange

Blood Orange.

Whole lemon

Whole Lemon.

Very Berry

Very Berry.

I liked the designs above, only I really wanted to create the watercolour designs myself but found it really hard getting the style I wanted to work. The method I was using to create these designs was firstly laying down a decent amount of water evenly over the paper and then dabbing wet pigment over the water, which resulted in these nice designs as seen below – this technique is like wet in wet.


The design below was scanned in at 600ppi rather than the 300ppi of the scan above. I did this as the quality is better and obviously I want the labels to look as good as they can.Scan 1

The reason why these designs above (for the orange & chilli cordial) looked good, was that I was able to use original colours in my watercolour set, rather than having to mix them myself. With having to mix the exact colour I wanted myself, this meant that they weren’t very bright, which resulted in weird looking watercolours that I didn’t like. (as seen in the image below)

(As seen in the image below)


This problem I was facing was getting me rather annoyed as I wasn’t getting the result I imagined I would for the other flavours. So I decided to try and just use the design for the orange and chilli cordial that I liked and digitally change it like I did with the image that I got of the internet.

In the images below, you can see that I have digitally changed the colour which is what I did with the image I got of Google. I imagined that the designs would look rather natural, which is what you would get from creating them in real life rather than on a screen.

Scan 1 blood ornage

Orange Experiment.

Scan 1 very berry

Very Berry

I really wanted to have the whole watercolour designs created by me but unfortunately, I couldn’t get the same results from digitally changing my own scan as the results of digitally changing the free image I got of Google. As you can see in the image above, you can bearly even tell that it’s supposed to be watercolours! I am really disappointed that am not able to get the desired colours for each flavour as I wanted to have the whole design made entirely by myself.

I used these adjustment tools to change the colours of my original watercolour image to colours that are associated with the other fruit drinks. I am not 100% sure how to correctly use these tools but I experimented until I got the result that I wanted.

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As I wasn’t able to get the desired colours myself, I decided to ask a lecturer as he obviously knows more than I do and might have known another way or a workaround. Unfortunately, the only way he knew, was the way I had already been doing so he just had a go at that but like me couldn’t get the exact colours I wanted.

Due to this, he said maybe I should just use the versions I created using the image I got of Google. At first, I didn’t like that idea because I wanted the whole design to be my own, but after some thought I decided to go ahead with this idea and use the Google image version.


Although I liked the designs, they were too over saturated and I wanted my designs to me rather muted, healthy and natural tones whereas over saturated colours look unhealthy.


These versions are less saturated and I look a lot more natural which is what I wanted the designs to look like. One other thing I have changed in these versions are that I’ve used the spot healing brush and patch tool in Photoshop to make the designs for each label look slightly different. A problem that I was facing was the text on the labels not being very reading on light areas of the watercolour, I managed to solve this by using the patch tool to drag a darker area over the light area solving the problem.


After some more tinkering, I finally came to these designs which I like and feel are completely finished. The most noticeable change between the previous designs and these is the watercolour for the Whole Lemon Cordial. It was pointed out to me that the design looked like it was for a lemon and lime cordial – which it isn’t, so I changed the colour using the colour balance tool and experimented until I got this result which I like.


Now that I had the watercolours it was time to experiment with layout.

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I wanted to keep the layout of the labels very similar to the labels she already uses, as they are simple and display everything in a clear and functional way. The two sketches above show the initial layout idea.

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This was my first idea for the layout of my labels which has the logo at the forefront, flavour a bit smaller underneath and then extra information neatly placed around the sides. The one major problem with this design was that the same font was being used too much, which resulted in the design looking very cluttered.

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When talking to lecturers about my problem and asking their opinion on my labels already, it was suggested that I try using two different fonts in my designs – one Serif and one San Serif. It was also mentioned that I should see what the labels would look like if I decreased the size of the company logo on the front.

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Unfortunately, when I went to Sally house to pick up the labels, she only had different ones left as you had been preparing for The Royal Cornwall Show that week. As the labels were a different size, I needed to go back and recreate the labels and to the new size of 99.1mm by 67.7 which was fairly easy but annoying.

Final Labels.


Overall I am rather pleased with the final designs. As I said already, I would have liked to of been able to have the watercolours made by myself but seeing how the labels look now, I am glad that I didn’t use the edited versions of my own watercolours. The only thing looking at all the designs digitally now that I’m still not 100% happy with is the saturation of the backgrounds. If feel this way as I still think it’s a bit too much but if it was any lower you wouldn’t be able to see the white text so I will have to leave it like this.

Lino Printing Research – Experiments.

Lino Printing is a printing technique very much like woodcut where you carve a design into the material using a sharp knife or V-shaped chisel. The carved out section of the Lino, won’t be shown on the final print as no ink will have reached the lower surface after having been rolled.

The material carved into for Lino Printing called Linoleum was invented and used as a floor covering in the late 1800s. Before Lino, artists used to carve designs into a piece of wood which was a lot more expensive than Lino, when Lino was introduced people described as the poor engravers wood.


How to create Lino Prints.


First of all, you will want to draw your design out onto a sheet of Linoleum and begin to carve away the parts you don’t want to be visible in the final print.20170504_120329

Once done you should have something that looks like this. On the left Lino, I created some interesting scratch mark textures, which I would later lay over some Brusho experiments.


Next, you need to ink ready. The ink we use for Lino Printing are called blocking inks and you will want to put a small blob of ink on your pain of glass. Then you will need to evenly roll the ink all over the face of the roller and roll it over the

Here are some of the interesting results I got from using green and black inks.


The reason why I wanted to experiment with lino printing was that I wanted to see what it would look like to have texture over the top or underneath watercolour. Unfortunately, I didn’t think completely about what I was doing as I wanted just the textured lines above to be shown and not the background so basically, I wanted the opposite to what I got above.20170504_105354


I quite liked these versions but they differently wouldn’t work for Cornish Country Cordial’s labels as they don’t look elegant and are in your face too much. The experiment above might work for a cordial made from fruit found in a jungle but doesn’t work for a cordial made from healthy Cornish fruit.


20170504_110201Here is my favourite result using the textured print over the top of the Brusho. If I was to do something like this for the cordial labels, I would create a lino design opposite to what I did with patterns and shapes that are associated with the fruits.

Experimenting with Brusho.

Brusho is a powder paint, that when mixed with water and sprayed using a spray bottle over a piece of paper, creates these amazing wet in wet style pieces. Different colours of Brusho can be mixed together to get more accurate colours – just like watercolour.

I was introduced to this medium by my friend and wanted to try it as I love the free flowing effect wet in wet watercolour gives you, so I wanted to see how it would look with Brusho. One thing I didn’t realise before starting my experiments was you could adjust the spray pressure on the head to get different effects. If you have the pressure really low like I had, sometimes the Brusho just drips out creating really dark horrible blobs on the paper which I don’t like.

With Brusho, just like watercolours, you want to choose colours that when merged together create a colour that compliments the other two.


This is an example of the low-pressure nozzle, where the Brusho has just dripped out onto the paper creating a really wet bold patch, that I don’t particularly like.


This is my favourite experiment as blue, yellow and the blended green work nicely together. With the right colours, I think you could make Brusho look like the juices from the freshly squeezed fruits in the cordial. Brusho also creates these interesting visual textures that could make the labels really pop on a shop shelf.

The thing I liked about Brusho was how it could be used to make it look like the cordial were what in fact made those incredible splashes. Although this was interesting I feel for my project watercolour is going to be more suitable as it’s easier to mix the right colour.

Logo Design – Designing And Developing The New Logo.

One of the items inside the new branding packaging for Cornish Country Cordials I am creating is a logo. I am wanting to create a logomark and/or a logotype that connotes the country, healthy wellbeing and possibly the middle-class market.

Here are my initial ideas for possible logos.


I really like all three of the bigger designs on this page of ideas. My favourite is the tree with leaves made from the three c shapes. Through the whole design, I want to convey CCC’s ethos of using locally and naturally grown fruit and veg and how the cordials are healthier than those that have added flavourings and preservatives. I will do this by incorporating an aspect of nature in the logo.


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When I showed these initial logo design ideas to Sally the owner of Cornish Country Cordials, she said her favourite design was the top-left one. She said she really liked the idea of having the three c’s arranged to look like foliage. At first, she liked the version with the solid rectangle background but I advised her that the block behind the logo wouldn’t look good on the labels with the watercolour idea we had, I also mentioned that the ridged shape doesn’t work with our handmade ethos as it might look to industrial.

Here are some vectorized versions of the logos and below are 3 of my favourite initial designs.Screen Shot 2017-05-08 at 12.08.40

I am a fan of this design as it has everything I want below to feel when the see the cordials – that they’re good enough for animals to drink. Although it still needs tweaking I like the idea behind it.

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With this logo, I like the hand written type as it gives the sense that everything is handmade and good for you. I would like to rework the hand drawn part as the weight isn’t the same all the way through.

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This third logo I like, as it had a hidden meaning. The 3 arcs that make up the leaves are supposed to be the 3 c’s for Cornish Country Cordials.  The only problem that I have with this logo, is that when I should it to my lecturer he said the logo looked like Adolf Hitler’s nose and moustache and obviously we don’t want customers thinking the same thing when seeing the logo.

More logo sketching.


Here are some more ideas I had one afternoon, some keeping with the natural theme but others like the champagne glass that go for the more middle to upper-class feel.

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I was originally using the serif font Minion Pro but had a look to see what a san serif font like Futura Light would look like. After looking at them both for a while, my lecturer and I came to the conclusion that the San Serif font Futura Light worked better, as the contrast between the thick hand lettering and the Futura Light felt more natural.

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As I wasn’t 100% set on the first hand-lettering draft I did, I decided to try again and see if I could do it better. The top attempt was created in my own hand written style whereas the bottom version was created in the way most people do hand lettering with a brush pen. The brush pen way should have a heavier weight on the downstroke than the upstroke. To help me vectorize the images in Illustrator, I watched a few Youtube videos to get tips. One of the main tips I got, to make the vector version look more professional, was to use the anchor points in a horizontal, vertical, horizontal, vertical pattern and this way you get nice curves.

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The top logo was the original handwritten logo, with the following two being the second draft versions of which the top one is the one in the correct handwritten style, although I do prefer the second of the two. I had the idea of having a bird sat on top of the C and liked how it looked when I draw it out on paper but wasn’t a fan of how it looked digitally.  I really like the bottom design of the four with the leaf growing out of the C of Country as it has everything I want from the logo – to show the nature and handmade sides of Cornish Country Cordials. If I was to use this as the finished logo, I would use the new hand lettering as the example above is using the first draft of my hand lettering.

20170511_150117 (1)The idea of the logo being a bird drinking out of a wine/champagne glass was one I really liked as it shows that Sally’s cordials are almost good enough for animals to drink.

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If I was to use this as the final logo, I would like to rework the tail feathers, as I am not sure whether to have them pointy or flat. As the image needed to be recognisable in black and white, I tried just using one single colour as seen below and it worked nicely.

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After looking at the design with just a solid colour, I noticed that it actually looks more sophisticated, which is somewhat what I want the logo to connote.

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After looking at the design again, I noticed that I didn’t like the bottom of the wine glass, as it was just to round. So I flattened the bottom of and now I like the design a whole lot more.

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I draw an initial logo design with a bunch of others, that featured two champagne glass ‘tinging’. I came up with the design when thinking about how women aged 20-40 will be drinking the cordials. When speaking to Sally, she said that women often buy the drinks to mix with Prosecco and other alcoholic beverages and when drinking them, they would most probably be with friends having fun. I think all three of the logos work well as they feature the semiotic of having a good time. Overall, I like the design but I don’t think it’s the strongest idea I have.

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This logo design I created in a spare moment and it incorporates the idea that nature is inside the cordial you buy. I personally have mixed feelings about the design, as it works in some ways; such as the idea that nature is inside the cordial, although myself and other people have thought people might not get the idea and think that the cordials have flower water inside.

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The top logo was the client’s favourite and also one of the logos which I really liked even though my lecturer told me he thought it looked like Adolf Hilter’s moustache and nose. To get around this, I decided to see what it might look like with a single C shape of foliage but I wasn’t too happy with the outcomes, so I kept with the initial design.

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I still wasn’t happy that people might think it was Hitler’s moustache and nose, so I sat down with my lecturer and we decided to move the c shape arc’s closer together and move them down the trunk a bit and I feel it looks a whole lot better.

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It when suggested to me that I experimented with using more than just the three c shape arcs. At first, I wasn’t too sure about the idea but gave it ago anyway. The first design I liked at first but somehow went off it so changed the orientation of two of the arcs which made me like the logo a lot more.

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I was advised to go even further and change the size and orientation of some of the arcs. A few of these I like but still personally feel having just the three arcs as the whole bassist of the ideas as the three together symbolised the three c’s of Cornish Country Cordials – but at the end of the day, it’s all up to the client!

I will now send all the versions of the three arc tree logo to the client so she can choose the final version or give final ways to change one.

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These are my personal favourite designs as I feel they all fit the target audience of women aged 20-40, have connotations of nature and goodness and would be liked by people from middle to upper-class backgrounds.

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Here are some of the finished designs displayed on aprons, which is one of the places they will be seen, so I need to make sure they work.

Clients Final Decision.

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I emailed the client Sally, with a bunch of subversions of the logo she liked. Her reply was…

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The font she was talking about was Futura which I featured of some other logos I sent her. So I changed the font and sent it back to her again.

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This time her reply was…

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followed shortly by…

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I had wondered this question throughout the whole logo design process, so made sure that there was nothing too small on any design. To give her another option, I changed the Futura weight from Light to Book.

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I am very happy with the final logo as it has the upper class feel I wanted, it incorporates the nature aspect I wanted. The logo overall looks stylish and I also believe it fits the target market of women aged 20-40 as it’s elegant and has a powerful and modern look. The logo is also very recognisable which is what logo has to be to be a good logo.