As the design would be wrapped around the bottle, I needed to consider how different type alignment would weigh up against eachother when actually on the bottle..
- As I am aiming to be celebrating 200 years of Carling through the introduction of a spin-off of a classic I wanted that to be clear but still recognisable back to Carling subtle ways. I did this through the choice of type - as its form is familiar to the actual logotype of the brand, feeling strong yet more of a crafted approach through the letterpress style of lettering, with imperfect ink and erosion of the lettering, reflecting that of craft.
- I experimented with the positioning and alignment of the main title - rotating and shifting words up a line and down, etc.
- Aswell as the positioning and alignment of the detailing that would fit within the more structured table of information on the side.
- I wanted the illustration to be the main focus of attention, celebrating the artwork and reinforcing the concept of "Black label" with bold "Blackwork" linear illustrations; this will be closely followed by the visible and bold word-form upon spinning the bottle slightly
- (but with the layout I did aim to reduce having to spin the bottle as much as possible so even when it is just present on the shelf versus all the other competitors the consumer is intrigued and educated on this beer as quickly as possible, as my research does show how little of the consumers time you now have!)
- I aimed to kee type size as consistent and structured as I could. As I am predominantly using just the one typeface this did provide the consistency on the label, but I want to ensure it has an overall balance through form too.
- Although the above designs are aiming to not only celebrate Carling, but celebrate the artists work too (similar to the ideas behind Omnipollo and To Øl) I thought it'd be best if I considered providing some more content/story to the beer itself. This is where I could really let the desired tone of voice reinforce the product and allow those emotional connections to be made.
"We are ready to celebrate here at Carling! Are you?! To commemorate 200 years of our golden heritage, we will be introducing a new Black Label product.. Ladies & Gentleman, say hello to The New Black Label IPA.
Even stronger, hoppier yet dry. Enjoy!"
I wanted it to feel professional to stay appropriate for the global audience which Carling sees. But at the same time, allow it to feel less serious and more casual, like you are actually chatting with an old friend who is introducing you to their new discovery; allowing it fit with the demographic and laid back, experimental style of craft in a stronger way.
As it is celebratory I am encouraging the party, fun and consumption, but in a civilised way. The style of writing asks rhetorical questions to the consumer allowing it to feel personal and directed (aiming to trigger an emotional response).
- I do love 'Savate' as a typeface due to its unique and unusual style. It fits the experimental style of craft perfectly however, for this style under the Carling brand - it probably isn't most appropriate.
Inspired by the whole underlying space references/themes I started to think about how I could actually incorporate the more colourful illustrations onto the labels - also injecting colour into the label backgrounds and typography rather just through experiments with textured brush stroke backgrounds...
- The purple was meant to invoke mystery and depth to the concept.
- Introduction of colour did lead to some strict colour palettes, did not want to overwhelm or detract from the overall design.
Re-introduced all my ideas for the Irish concept?
- As the illustration is meant to be so charismatic and eye-grabbing, I kept the background plain and contrasted from the coloured type - still representing the colours of Guinness - black/grey aired with the gold, then injected with the traditional Irish Leprechaun colours - greens, orange and white.
- The names of these are meant to be cheeky and representative of the stereotyped humour of an Irish man.
- The sense of humour in the first one in-particular is directly relatable to the character from Rick and Morty - it is relevant to the desired style if you couldn't make the connection, but re-apprioriates his use in the show well to a different product.
- am worried about the originality of this ideas however...
.. which is why I developed my own character!
A very useful feedback session with some course mates prior, inspired me to try and combine the various works and approaches I have done together, to see what new ideas it could bring to the table..
... it inspired very Nick Dwyer-esque illustration layout for the label and a very silly name! Could genuinely see this working as a completely differently approached spin-off product for an Irish brand - maybe not Guinness, as their style is too high-end/classic - even through their Hop 13 and other existing spin-off products I have seen in my research.
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Began honing this back to the supported Egyptian/Zamalek concept
Considered the different ways each element of the design can fit together.
The title running vertically on the label vs. horizontally
- pros of vertical - consumes less space, provides a break in the design BUT not as quickly legible.
- pros of horizontal - layout can feel more considered - like editorial, legible quicker, have to consider if the whole word can be viewed from a facing view or if it wraps around the whole bottle.
Confirmed that Savate is not the right typeface to match this style of Egyptian crossed with Carling.
High Voltage is much more impactful and fitting.
Needed to provide some context to the story of the Zamalek IPA. Behind where the nick-name in South Africa came from and how I am re-appropriating that into a 'STRONGER' introduction of the 'Zamalek', but through how Carling are now venturing into IPA's too..
"In the 90s, Egyptian football club Zamalek played against South African side Kaiser Chiefs and handed them a walloping. Local fans claimed that Zamalek football club was as strong as Carling Black Label."
Again, I wanted the tone of voice to feel professional in order to stay appropriate for the global audience which Carling sees; but at the same time, allow it to feel less serious and more casual - it should educate consumers on where the concept has came from whilst invoking conversation too. The is reinforced through the use of informal words like 'walloping', aiming to begin breaking down those over-serious barriers present in some branding and start encouraging engagement with the brand on more of a emotional/semantic level. For example, igniting fond memories such as remembering a funny related story from the 90s told by your Grandad at halftime of a football game perhaps with your Zamalek IPA in hand. This is what stays with the consumer.
Then I also wanted to cleverly reference their use of the nick-name "as strong as a pint of Zamalek".. (to encourage empowerment and positivity - can be perceived as masculine, or gender neutral!!)
Other info/detailing: (describing the product, but also giving back to the purpose of Carling)
"A Strong, Hoppy, Dry IPA"
"Celebrating 200 years of Carling"
- More layout experimentation - seeing how it can all fit together and flow most efficiently and visually clear.
The introduction of colour into my illustrations inspired me to see how this could become directly adaptable to the concept..
Referencing the Egyptian, sandy, desert-y, summery vibes which in itself could invoke engagement.
However, it was agreed that the impact of the black illustrations was much stronger and clear, alongside the Carling Black Label concept. It kept the label more consistent and strict to a colour scheme - which was solely experimented through a hand-crafted, brush stroke texture background which somewhat supports the use of imperfect letter-press styled lettering across the overall identity.
- Definitely prefer the starry night version of the illustration beneath. Gives more to the hint of surrealism within my work - more mysterious and intriguing.
I went back into my research into Zamalek as a footballing side to see how I could maybe find one last connection/justification to them to strengthen the concept. I had previously used more of a summer inspired orange for the texture to try and give back to the idea of Egypt, but decided a stronger justification would be to directly relate to the football teams colours they play in - white, black and red!
The red stripped back and with a lower opacity within the texture appears quite pink, however I do not see this as a bad thing. It is still a homage to Zamalek FC - the strongest football team to enter South Africa - but it also allows the brand to touch on more of its feminine side too, and in this day and age, gender equality and neutrality is never something to be frowned upon, especially with growing markers of female beer drinkers.
Thus, the final label design was decided upon.
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