Starting out with sketches the main point was to take three objects that fit into one of the modes of appeal. This stage was very important because it flexed my mind into seeing the product from a different point of view. How can you take an emotion and put it into a Pellegrino label, or take the label and look into the facts of the Pellegrino. Through this part of the process sketches are important but also fun to do, because the freedom to draw out the image of the mode was available. Through trial and error I began to understand what the difference between each mode is. Taking the three objects, and applying new modes to them was a good way to test what qualities can file into each mode.
When taking those sketches and putting them into the computer is not an easy step. There are certain things one has to think about, typography, composition, and above all making sure that the idea stays within that mode of appeal. For the Pellegrino; its original mode was ethos; because of the way it is label, including parts of type that makes the consumer trust that this is the finest tasting sparking water.
For logos; there was extensive research I did in the sketching phase, but to narrow down facts of where it is made, how it is made, and tips on ways to serve it can not all be put onto one label. For example, there were three different directions I wanted to show, where it is exported to, the rock that it is made with, and what temperature to serve it at. All of these different directions fit the Logos mode because they are facts that allows the viewer to understand something new about the product.
For pathos; it was the desire of wanting something up scale. The emotion of drinking the water and feeling fancy, or elegant was what was meant to imply. When looking up images of Pellegrino, I found many that included served with a meal. Many restaurants will offer the costumer sparkling water as well, it almost fits in like a glass of wine. So the real challenge was to take that sketch and make it into a puzzle, Pellegrino completes that elegant meal. How can the viewer understand that this is the final piece of the puzzle that could complete an elegant evening. It seemed as if I was building a narrative that the consumer could imagine themselves in. Adding a narrative is a good idea when it comes to pathos because like reading any story the reader becomes engaged in the story, this is the same situation when it comes to making a label, to capture a shopper in a grocery store, and placing them in an environment.
Taking the next step once finalizing the ideas, was designing around those modes of appeal. By taking certain design approaches, it emphasis's the mode. It was a challenge not to just rely on the idea, but also to execute design principles. Even going back to the dot project, and imagining one word that describes our mode.
For logos; it was all about being "crisp". To show modern typography that will catch the viewers attention. Showing hierarchy to the main point of the label. For me personally I learned a lot about type lock-ups, and struggled through it. The stretch was to understand exactly what kerning was (where it should be), and lining things up to a T. It was important to use these basic principles when using it to emphasis the "crisp" aspect. When coming up with different type lock-ups I wanted to keep that image of what a crisp image of good typography would look like.
For pathos; a straight on shot of a dinner table was the direction I wanted to go with. Also to include an empty space, that the Pellegrino should be. I originally started with going to the Capital Grill to shoot the images, but the lighting was too dark. The next approach was to create a dinner setting that was in the photo lab. This way I had more control into the placement of the utensils, and lighting. The theme was to set an elegant dinner setting, once again to show the mode of appeal.
As I would refine the ideas, and create a new label, there were endless possibilities to how it could come out. It was important to look at what different type lockups there were, and different dinner compositions I could use.
For logos; The type when to being viewed sideways.
For pathos; an a-symetry composition of the scene was the way to go.
Although the end result seemed simple, the ways in getting there were not. I practiced over and over how to cut the background out of images. As well as in my logos, taking the label and presenting it as if the label is already pasted onto the bottle. For pathos, I would have to rearrange the glass, or utensils just the slightest bit to get the impression of a grid like structure.
Within the last few steps was crucial. This is when the tweaking, and minor changes can influence the over all label. From where the placement of the type sets, to how it actually is viewed once on the bottle. Questions I would ask myself is, where does my eye directly go, how do the images look, and how the logo fit with it all.
For the finalized product the mode showed through the design. The clean cut modern typography in the Logos was the final idea that was executed. The logo sat above from the type because the type lock-up was meant to only show the 8-10 degrees. The pathos was meant to almost be viewed in two sections, the type and then the image. By adding the red dotted circle where the pellegrino is suppose to go, is what combines these two sides as one complete piece.
