Tell him what we mean by modern.
Key computers search advantages. important meat and taters.
good job discovering what they do and don't do.
to concerned with features.
jumped the gun in showing what it could look like. ******
what does this look like / visual inspiration.
design criteria - key words.
the brand type everything will change in the end. it won't even look like google anymore.
look into the user defined element.
walker art center
let the user change it.
represent the attributes/keyword in the inspiration. visualize it.
Walker Art Center Branding:
Walker Expanded is a new graphic identity for the Walker Art Center. The identity uses digital font technologies to create lines of words and textures. Installed as a series of fonts on your computer, it becomes a kit of parts allowing the designer to create on-demand, customizable identity strips for each project. Unlike a typical font, each letter on the keyboard produces a word instead of a letter or character. So instead of differences like bold and italic, each font groups words into different vocabularies with language that is tailored to specific audiences representing both internal and public usages. There is even a font for the gift shop, which has its own vocabulary. Also built into the font are different patterns that can be typed out and set behind a row of words to help create a single graphic mark. In application, the strips run edge to edge, either horizontally or vertically and can be spare and simple, or ornamented and complex. Like a piece of tape, this strip of words and patterns can brand almost anything from a business card to merchandise to a building. Designed with Andrew Blauvelt; font programming by Eric Olson of Process Type Foundry
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Today the center’s materials are covered with colorful pattern strips embedded with descriptive words. These elements are used alone and stacked on top of one another. It’s an identity system made from a kit of parts. “We got our inspiration from a roll of tape—being able to take a roll of tape and slap it across something edge to edge,” Kloepfer says. With this concept, “we could brand anything from a postcard to a building just by varying the scale of the words and patterns.”
Beyond the logo
Olson believes designers are increasingly aware that typefaces, especially custom typefaces, can be vitally important to an identity. A custom face is flexible, unique, and proprietary. Walker Expanded has all the advantages of a custom font with the branding capabilities of an identity system. As Olson puts it, the identity’s parts work together like little Legos that can be combined in seemingly endless ways. “You can mix and match anything,” he says. “The possibilities are extreme.”
Flexibility in action
Meet Walker Expanded. It’s an identity system that looks like a mixture of graffiti, street signs, and firstrate typography. Unlike most identities, it puts a good deal of decision-making power into the hands of individual designers. They choose the patterns and colors and combine them with vocabularies grouped by purpose. There’s a set of words, for example, that relate to the Walker Shop and another called Peer to Peer for internal use.
Designers are free to stack—or not—as many patterns as they see fit. They can also vary sizes and generally use the system’s elements in the best way for the project at hand. A recent calendar, for example, needed just a single pattern/word strip running down the side of its pages; this approach reinforced the Walker brand while allowing the calendar to maintain its own look. For the parking garage under the new building, designers blew up the scale of the system to brand the walls. Bags from the Walker Shop feature multiple pattern strips in a variety of sizes.
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