errandboy- maja music dvd

taken plastic out of the equation left errandboy with a design problem, they wanted to create a high quality piece of packaging that would interest the recipent even if they had their eyes closed they could feel the package. maja's music is earthy, warm, organic and atmospheric. they tried to create a sort of ancient artifact influenced by pottery pieces around maja's studio. the logo was burnt into the wood using a metal branding tool and velvet inserts were used and a rubber stamp made for the type on the back of the package.

asterik studio- zao 'parade of chaos'

another die-cut cd package from asterik, lineing up the centre inlay with the booklet insert. vital that everything lined perfectly for the aesthetic to work

asterik studio- open hand: the dream cd pack

 i love the use of die-cutting to create the folding layers in the cd packaging, it was to reflect the depth of the music. i think the use of colour works really well to break up the layers yet keeping a connection with the grainy images. lots of careful mathematics and mock-ups were undergone before creating the final resolution.

sign* - jaques brel

this box holds a 120-page picture book and the complete collection of jaques brel 16 cd's. the box became a collectors item with 60,000 made selling within eight weeks. sign* wanted to create maximum impact therefore chose to print in full colour plus 3 pantone spot colours.

 below is the follow up for the cd box, this was a much easier design as they had a production run of 40,000 copies within 2months. use of silver blocking

999 design- 'the getaway presspack'

designed for the product launch of new sony playstation 2 game 'the getaway'. 999 design created a pack the contained a ransom note, a lock of hair and photographs aswell as the game on disk. i like how these extra products were sent with the game as it makes it seem real and gives a high quality finish to the product.

arthur steen adamson- university of worchester

The University of Worcester is embarking on a hugely ambitious project, redeveloping Worcester City Centre and creating a unique space that combines education and community activities. This multi million pound project has already secured a number of grants, but needed a unique and flexible publicity brochure that would communicate the scale and complexity of the project, as well as provide a unique fundraising tool. This brochure needed to be appropriate for formal business committees that would be discussing the allocation of multi million pound grants, but at the same time be engaging and unusual. It also had to be flexible so that it could be updated regularly, and provide a sense of progress and achievement. The small target market for this item is suited business people that are used to dry, formal applications for funding.

What we did:
Naming
Brand Architecture
Print
Illustration
Photography

arthur steen adamson- good earth

When Tetley Tea asked ASHA to position its U.S. Good Earth herbal brand in the UK, initial research revealed that the name ‘Good Earth’ set all kinds of expectations in the minds of customers. The challenge was to find a way of defining and being ‘good’ that was credible and didn’t feel like ‘greenwashing’.

By exploring the meaning of ‘Good’ and creating a unique definition of the target audience, ASHA focused on ways Good Earth could take the lead in being good. As a result ASHA defined the brand positioning and the brand philosophy. ‘You can’t be good all the time, but at Good Earth we believe that if you start by doing a little bit of good, the rest will follow’. They then went onto create the brand sign off: ‘Thank Good Earth for that’.

By defining ‘Good’ in each of the different contexts and looking at how to put being ‘Good’ into practice, ASHA built a communications framework for the creation and expression of the brand identity across packaging, point of sale, on-line, promotional items, TV, press and outdoor advertising.
Only a year after launch Good Earth enjoyed a 5% share of the organic tea market, and the brand currently has a prompted recall rate of 7%.

What we did:
Positioning
Target Market Identification
Brand Architecture
Brand Identity
Launch Strategy
Market Proposition
Advertising
- TV
- Press
- Outdoor
- Mobile
- On-line
Promotions
- Sale
- In-store
Website

By defining ‘Good’ in each of the different contexts and looking at how to put being ‘Good’ into practice, ASHA built a communications framework that underpins the creative strategy and expression of the brand identity across packaging, point of sale, on-line, promotional items, TV, press and outdoor advertising.

ASHA developed the basic branding elements of the brand including the tone of voice, logotype and use of colour and illustration.

The Good Earth mark was hand-crafted to increase its strength and impact both on-shelf and in communication media. The bottom loop of the g has been cleverly designed to look like a ‘halo’ over the ‘e’ of the earth, communicating the goodness of the brand. The use and application of the existing illustrations were amended to create a greater sense of freedom and relevance. Colours were amended and added to create a palette that was more modern, subtle and flexible.

The recommendation for the tone of voice was to create copy that helped to establish Good Earth as a leader and a partner in doing ‘good’. As such, the copy is rooted in a belief or opinion, offers suggestions and is written in a human and interesting way.

The Good Earth guide was created by ASHA to enable Good Earth to demonstrate how it is ‘Good to the planet, Good to others and good for you’, across each of its products. The guide enables the brand to take to realistic approach to goodness, varying the type of certification and focus for each product, but at the same time maintaining the brand focus on all three categories of ‘goodness’. The guide is used across the packaging range and the philosophy is taken through each of the packaging elements – with actions and challenges included on the sachets and tabs.

Taking the philosophy ‘You can’t be good all the time, but at Good Earth we believe that if you start by doing a little bit of good, the rest will follow’, ASHA developed a campaign that enabled the Good Earth brand to consolidate its brand positioning throughout the launch campaign.

By challenging people to be ‘good’ the campaign successfully communicated the positioning statement: ‘Good Earth is Good to the planet, Good to others, and creates products that taste great and are Good for you’. By setting specific challenges for each of the three categories the cross media campaign also serves another purpose – it enables people to bring the brand positioning to life.

The sign off ‘Thank Good Earth for that’ provides the final memorable impression.

ASHA’s concept for TV advertising encapsulates the brand philosophy, positioning and brand identity in a different and memorable way. The advert, using the rich, dulcet tones of Amanda Drew for voice over, carried along by the relaxing organic sound of ‘Illuminated Red’ from the up and coming acoustic folk band ‘The Accidental’. The pace of the animation is gentle, honest, engaging and stands out from the current noise of stressful advertising on TV.

click to watch the Good Earth advert

Developed in line with the theme of the through the line campaign, the website provides inspiration, ideas and information about how to be ‘good’. With much cynicism amongst the target audience about brand ‘green washing’ it was crucial that the website was designed to be credible, friendly and genuine – not like a corporate entity cynically ‘preaching’ the green message as a marketing gimmick.

Combined with traditional product information, the website delivers a suite of simple ideas for adults, families, kids and teachers, as well as honestly guiding the user through the confusing mass of accreditations and endorsements (Fairtrade, the Soil Association etcetera).

The site uses a very simple navigation combined with a friendly, earthly illustration style using tea ‘washes’ and line drawings to communicate the simplicity of the ideas. The colour palette echoes the product packaging.

Promotional items were created to reflect the positioning ‘Good to the planet, Good to others, and Good for you’. Disposable, biodegradable cups were distributed to tea and coffee ‘out of home’ outlets for serving tea to customers. Postcard sized sachets each containing a tea bag were handed out at supermarkets, allowing customers to send a free sample of tea to friends and family.

ASHA created the ‘Big Tea Bag’ jute shopping bag. As a promotional item it has a long life both in and out of the home, required low media spend and had high impact on the target market. On one side the bag carries re-crafted versions of the Good Earth packaging illustrations, with copy delivering the Good Earth tone of voice. Viewed from the other side, it looks like a very large tea bag.

Distributed to key stores and covered in a number of women’s publications, the bag has proved a very successful promotional item both in terms of PR coverage and sales.

arthur steen adamson- jude's

Jude’s ice-cream tastes spectacular, and is served in the restaurants of some of the UK’s most well known chefs. The business had built its reputation for fantastic tasting, excellent quality ice-cream in this market, and needed to create an equally strong consumer brand.

It was critical to the business that the consumer and trade brands complemented each other and that the trade brand was in no way damaged by a more intentional push into the consumer market.

What we did:
Brand Strategy
- Positioning
- Naming
Brand Identity
Illustration
Website
Point of Sale

With the original family members still perfecting the flavours, running the business and selling the product, the brand needed to communicate the personal touch, craftmanship and love that goes into the creation of the ice cream, and at the same time maintain the comfortable Englishness and sense of family of the owners of the business.

This was communicated by taking traditional visual elements, and giving them a twist. The Jude’s mark has been created using a bespoke hand cut font, the apostrophe has been created to look like a scoop of ice cream.

On the packaging, country kitchen crockery was used as an inspiration, and traditional looking rustic stripes were created on the pots.

All the information on the pots was then applied as if on stickers, with the Jude’s market contained in a spoon shape sticker. The stripes were then given a twist, with the tip of the spoon dipping into the bottom cream stripe as if it is ice-cream.

Hand-drawn ‘doodles’ were then added to the back label to communicate the personality, time spent and attention to detail given to each flavour.