澳大利亚岛屿塔斯马尼亚岛(Tasmania)有了一个新品牌,它拥抱了该岛坚硬的景观。

2019-02-11 1191 0
塔斯马尼亚西海岸的新品牌已经开始注入新的活力。通过拥抱它的崎岖和准备进入偏远地区。自然和与世界分享它的特性。 塔斯马尼亚是澳大利亚南部沿海的一个岛国,与大陆相对隔绝,以荒野、荒地、受保护的公园和其他自然保护区而闻名。 该设计项目由studio For The People完成,旨在吸引更多的旅游、商业和居民到该地区,同时改善该地区的经济。该工作室表示,它的目标是在品牌中涵盖该地区的人、地方和故事。 “为人民服务”的创意总监和联合创始人詹森·利特尔说,了解这个地区的历史对这个项目来说非常重要,尤其是在过去的150年里,这里曾经是一个开采和种植松树的地方。mdash;换句话说,开采各种金属和矿物,以及伐木,即砍伐和加工树木以生产不同的产品。 曾经,西海岸号称有3万多人口。他说。但是随着一些社区的采矿逐渐枯竭,自然保护已经改变了这些行业盈利能力的经济现实,该地区的人口已经减少到4000人。 塔斯马尼亚西海岸对其未来提出的关键问题是:我们如何才能遏制这种衰落,并与一种将为未来铺平道路、同时又能保留我们过去的新叙述联系起来? 西海岸社区表示需要一个新的品牌,向世界展示这个地区丰富的特色。他补充说,这是该地区与地方议会共同制定的未来规划的一部分。 渴望发展一种诚实的叙述方式。真实地反映了故事、传统和个性。在该地区,品牌并没有回避该地区的偏远地区。或者,这是一幅严酷的风景,气候和自然条件更加恶劣。 利特尔说:“西海岸的真实情况是,严酷无情的天气总是迫使人们生活在陆地上。但这种紧张关系产生了有趣的东西:创造力、工艺、故事和新的思维方式。 整个品牌的口号包括:不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;不适合胆小的人;并且往错误的方向迈出了一步。 语言探索并接受了这样一个观点:这个地方并不适合所有人,你需要有一点韧性,并接受不完美的地方。少说。正如一位当地人所说:“如果你得不到什么,你就成功了。”如果你做不到,那就去做。 西海岸的话出现在所有大写,在一个矩形的轮廓,形成的标志,它出现在各种格式。 明亮,对比色的特点,整个品牌如蓝色,橙色,绿色,黑色和白色。 一套图标包括各种动物的图像,人们参加活动,如山地自行车和自然的象征,如树木和瀑布。 据设计工作室介绍,这些作品是与澳大利亚插画家马可·帕尔米耶里(Marco Palmieri)送彩金时时彩平台大全开发的,与复制品一起使用,有助于讲述该地区的环境、个性、过去和现在的故事。 除了标识,工作室创建的资产还包括定制字体、图像和摄影库。 Borja的摄影师Ollie Khedun和Hayden Griffith拍摄的一系列照片也被使用,其中包括一些个人在探索该地区自然景观时,不看相机的大气照片。 我们刻意将尺度与自然力量的关系表达给人类,常常以10:1的尺度来思考,同时保持人们的匿名性,帮助观众在镜头中看到自己的潜能。少说。 无衬线,全大写字体侧线已在整个品牌使用。利特尔说:“我们与排印师马修·r·r·古尔共同开发了这种主字体,它借鉴了殖民和矿业繁荣时期出现在整个地区的多产、大规模的招牌式印刷。” 我们把它建立在通用模板的基础上,这是一种由约瑟夫·a·大卫于1876年发明的刻字装置。它有一个复杂的网格,允许用户跟踪任何字母、数字或标点符号的形状,使许多非专业人士能够以一种非常有效的方式产生粗略但一致的字母。 工作室已经创建了这种字体的不同迭代版本,并将其与免费使用、开源的谷歌类型Work Sans组合在一起。 工作室的目标是让社区参与整个品牌项目。

New branding for the West Coast of Tasmania has set out to “breathe new life” into the remote region by embracing its “rough and ready” nature and sharing its identity with the world. Tasmania is an island state off the South Coast of Australia, which is relatively isolated from the mainland, and known for its wilderness, rough land, protected parks and other natural reserves. The design project, completed by studio For the People, aims to attract more tourism, business and residents to the region as well as improve its economy. It aims to encompass the area’s people, places and stories within the branding, the studio says. Jason Little, creative director and co-founder at For the People, says understanding the region’s history has been important to the project, particularly the past 150 years when it was a site for “mining and pining” – in other words, mining for various metals and minerals, and logging, which is the cutting and processing of trees to make different produce. “At one time, the West Coast boasted a population of over 30,000 people,” he says. “But as mining gradually dried up in some communities, and conservation has shifted the economic reality around the profitability of these industries, the region’s population has shrunk to 4,000. “The critical question that Tasmania’s West Coast was asking about its future was: how can we curb the decline, and connect to a new narrative that will pave the way for the future, while preserving our past?’” The West Coast community expressed the need for a new brand “to showcase the region’s rich identity to the world” he adds, as part of a plan for the region’s future developed with the local council. Keen to develop a narrative that was “honest” and “a true reflection of the stories, heritage and personality” of the region, the branding has not shied away from the region’s “remoteness” or that it is a “hard landscape with even harsher weather and nature”. Little says: “The truth of the West Coast is that its harsh and unforgiving weather has always forced people to live on the terms of the land. But this tension produces interesting things: ingenuity, craft, stories, and new ways of thinking.” Slogans throughout the branding include: “not for the faint of heart”, “gravel not grass”, “in nature we trust” and “take a step in the wrong direction”. “The language explores and embraces the idea that this place isn’t for everyone, that you need to have a little resilience and acceptance of the imperfect,” Little says. “As one local said: ‘If you can’t get something, you make it. If you can’t make it, you make do’.” The words “West Coast” appear in all-capitals, inside a rectangular outline, to form the logo, which appears in various formats. Bright, contrasting colours feature throughout the branding such as blue, orange, green, black and white. A set of icons include images of various animals, people taking part in activities such as mountain biking and symbols of nature such as trees and waterfalls. These have been developed with Australian illustrator Marco Palmieri, and are used alongside copy that helps tell stories about the region’s environment, personality, past and present, according to the design studio. As well as the identity, assets created by the studio include a bespoke typeface, iconography, and a photography library. A selection of photographs shot by Borja photographers Ollie Khedun and Hayden Griffith have also been used, which include atmospheric shots of individuals exploring the region’s natural landscape, never looking at the camera. “We deliberately tried to express the relationship between the scale and power of nature to mankind, often thinking in terms of 10:1 scale, while maintaining anonymity of the people to help the viewer see the potential of themselves in the shot,” Little says. Sans-serif, all-caps typeface Sidetrack has been used throughout the branding. Little says: “We developed this master typeface with typographer Mathieu Réguer, and it references the prolific, large-scale sign-painted typography that appeared throughout the region during the settlement and mining boom. “We based it around a Universal Stencil Plate, a lettering device invented by Joseph A. David in 1876. It features a complex grid that allows its user to trace any letter, numbers or punctuation shape, enabling numerous non-professionals to produce crude but consistent lettering in a very efficient way.” The studio has created different iterations of this typeface and teamed it with Work Sans, a free-to-use, open-source Google type. The studio aimed to involve the community throughout the branding project. Working alongside the West Coast Council, it ran a “community engagement” programme to gather insights and feedback throughout the process from a wide range of local people, from school children to councillors. The branding is available to use for anyone in the community, from local residents to tourism operators. “As an open-source identity system, every aspect is free to use by locals in the region, providing the tools to communicate effectively, where these would normally be cost prohibitive to anyone but large tourism operators,” Little says. He hopes that with access to the brand guidelines, “the region can convey a coherent narrative and regional style, while maintaining the individual personality of each town, business or initiative.” He adds that he hopes the new branding will” empower” local residents and “help to attract visitors, businesses, residents and investors” to the region. All project photography © Ollie Khedun and Hayden Griffith
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