I Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out

military command, high civil office, legions everything, now restrains itself and anxiously hopes

for just two things: bread and circuses

Juvenal, Satire 10.7781

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Adam Garbutt

Methodology and Influences illustrated in:

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My design process is all about visual engagement with the audience. The main areas of my design practice are branding and identity, art direction and illustration.

In this book I explore the ways in which my research, influences and methodology shape my practice and how they each in turn build upon one another to create a fully rounded outcome.

Anona Bakery is an English high-end Italian bakery that celebrates the culture of ancient Rome. The brief required the creation of a brand and identity that would clearly show the influences of ancient Rome, whilst remaining relevant to a contemporary audience.

Statement of Intent &Brief

V1. Research

British Musuem VisitArbeia VisitRome Photography RequestLibrary SecondaryBritish Musuem Archive Collections

2. Development

Bread ExperimentsColourLogoPattern

3. Application

Designer Marian BantjesCloth Apron & Bag for LifePaper BagBottles & JarsWebsite La Rgion Des MusesWebsite Outcome

4. Presentation

Studio AnagramaStage SettingFood Photographer Ivana Jurcic Final Outcome Photographs

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By using different methods of investigation, researching allows me to create a base from which to develop my ideas, contextualising my design practice.

Primary and secondary research is useful in different ways: primary is helpful when putting a concept into reality and seeing it as part of a bigger picture, while secondary research allows me to be more focused on particular aspects of the picture and investigate them in depth.

1. Research

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The British Museum is great for gathering an overall look at a time period and establishing the context where previous civilizations positioned themselves within the world.

With the Romans, at the British Museum, it is very easy to see the influence from around the surrounding areas such as Greece, due to the locality and ease of access. The two cultures do have some overlap, especially when it comes to mosaic design because many early Roman mosaic makers where in fact Greek.

This information was incredibly helpful when it came to designing the mosaic patterns for Anona, it helped define the look I was going for by knowing what type of mosaic would best establish the brand as something intrinsically Roman.

The British Museum Visit

1.0. TBM, London.Enterance. (Right)

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1.1. TBM, London. Greek Rotunda mosaic. (Right)

1.2. TBM, London.Late-Roman mosaic. (Below)

X1.3 Arbeia, South Shields. Soilders Quarters. (Above)

Arbeia in South Shields is a partially reconstructed Roman Fort, with a barracks and Commanding Officers House that have been rebuilt on their original foundations.

The difference between this visit and the British Museum is the context they provided, this museum reconstructed the areas Romans would have lived in, instead of showing what is left of their lives. This was influential in establishing the art direction for Anona, and how the brand would fit into the modern world if the Romans culture was still existing.

Arbeia Visit

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1.5. Arbeia, South Shields. Grave Inscription. (Bottom)

1.4. Arbeia, South Shields. Granary. (Top)

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1.6. Pompeii, Marine fauna. Naples National Musuem. Pre-79 AD.

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I made a photography request to have certain photographs taken in Rome by Grace Buckley; in particular I wanted images of mosaics present throughout Rome. In addition to that, photographs of the Latin inscriptions on the monuments. I had seen previously inscriptions at Arbeia left over on the gravestones, however I was wanting some closer to the source.

These photographs formed some of the very initial pattern designs for Anona, without knowing the best locations its hard to discover them easily on the Internet. Been there however, its a lot easier to find what youre looking for because the city is one big relic. The best examples of the mosaics came from the Baths of Caracalla; these were the most influential, simply because of the variety and the fact that they all came from the peak of the Roman timeline.

Rome Photography Request

1.7. Rome, Parthenon. Inscribed: M. AGRIPPA.L.F.COSTERTIUM.FECIT Marcus Agrippa son of Lucius, having been consul three times made it (Below)

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1.8-9. Rome, Mosiacs in the Ruins of the Baths of Caracalla. A.D 217

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Concerning Primary and Secondary research, I use the library as a top up once I have gathered a basis for the subject. Books are great for having around to help continue to reinforce and inform what Ive already learned. But most of all, they make great image banks, they have the best of the best on the subjects they cover so finding prime examples to study is made easier.

In this instance, examples of Roman wall paintings and mosaic designs. These books where all incredibly helpful in further focusing what I had learnt and seen from Arbeia, the British Museum and the City of Rome.

Library Secondary Research

1.10-16. Various Pompeii Frescos Library books. (Above)

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1.18. Pompeii street vendors store front. (Bottom)

1.17. Mosaic construction (Top)

XVIII1.19. Pomeii, Carbondised Bread. Bakers mark. AD. 79

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The British Museum, unbeknownst to me when I visited, had an online archive of the artifacts from its collections. This provided some vital artifacts I wish I had discovered before hand.

One of then been Roman bread stamps, were used the leave an impression on the bread to signify the bakers mark. Much like today how breads have different brands. I thought this would be incredibly useful in terms of creating a point of difference within the Anona brand. An example of this mark can be found on the next page. It was also here that I found the name Anonna on a coin, featured on the first page. The British Museum archive was an invaluable source of information throughout the project.

The British Museum Online Collections

1.20. Pompeii Fresco, TBM Collection. (Below)

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1.25. Baker, Terentius Neo and his wife found in the ruins of Pompeii after the eruption of Mount Vesuvius, AD 79. (Right)

1.26. Repeat pattern mosiac, TBM Collection. (Bottom)

1.21-24. Various Bread Stamps, TBM Collection. (Top)

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Trial and error is a major part of my development process, figuring out what does and doesnt work whilst relating it back to the tone of voice and target demographics. During the development I revisit my research to further inform my choices made throughout the design process.

2. Development

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Taking inspiration from the findings of the British Museum, I wanted to create my very own stamped bread. With the first batch I attempted to create a plain white roll, as a benchmark for against different flours and mixtures. The method I used originally was to stamp the bread before baking, however this resulted in it been pushed out, while leaving the stamp while it baked made it sink to far in. I created three different moulds from ones I had found on the British Museum collection, however they all gave roughly the same result once baked.

I later abandoned this idea due to the time it consumed and I wasnt getting any closer to a resolution after already having searching online and inquiring with a artisan bakery in Bristol.

Bread Experiment

2.0. Bread Experiments, Stamped before baking.

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2.1-3. Various stamps made to test what shape worked best. (Top)

2.4. Bread baked, stamp marks gone. (Right)

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The information I had collected during my research became incredibly useful when it came to deciding upon a colour. One thing to note also with colour is the context it carries, and why then it was used. Colour within the Roman culture had lots of context I was previously unaware of, colours that where seen as most valued was because of the effort required to make them. For example: Tyrian purple associated with the Senate of Rome came from the glands of a sea snail.

This not only applied to dyes but also the paints used in frescos, I created a swatch palette of all the three main colours found throughout Roman wall paintings from my research to try and find a balance in creating something that worked contextually as well as visually. I use this method throughout a lot of my briefs because of it opens up ideas to alternative routes.

Colour

2.5. Chosen two colours. Purple & Cream. (Above)

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2.7. Example of one the wall paintings, from my research previously. (Right)

2.6. Various colour swatches made from the wall paintings of Pompeii,used to imform my final colour choice. (Right)

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The name for Anona originally came from Annona, the name for the Roman Goddess of Grain. Shortened down for to be more aesthetically pleasing, as it still pronounced the same, yet the influence isnt lost.

Going through the process of elimination until a resolution is met that expresses the values of the brand Im trying to create. Here I met one logotype as seen [2.14]. This was the logo I then refined and crafted to create [2.8]; I was attempting to find a balance between the elegance of the Roman inscriptions to appear high-end, yet still appealed to the people.

Logo

2.8. Anona Bakery, Final Logo.

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2.9.

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2.12

2.13

2.14

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The final pattern [2.19] I created and used throughout the brand I made through the same process as the logo and the colour choice. Which was to create, then eliminate the items, which dont fit the bill, and leaving the rest to develop further.

The Mosaic patterns at the top and the bottom, on the right, where too much like the pavement designs found within the Vatican. They didnt appear to be very inviting, however the pattern tiling of the bottom one was easier on the eye, unlike [2.21]. So I developed my own pattern using the simple geometry other Roman patterns are made of to get to my end result: complex as [2.21] but easier on the eye then the bottom pattern.

Pattern

2.16. Various examples of Roman mosiac borders. (Bottom, Right)

2.15. Pompeii, floor mosiac. (Bottom, Left)

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2.17

2.19

2.21

2.18

2.20

2.22

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This stage is all about applying what Ive created and seeing how it relates to the media and format relevant to the subject of the brief. Similar to development, however, this is a deeper refinement of what has already been created.

3. Application

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I find it useful to find artists who arent necessarily graphic designers to help inform my work; this is particularly useful when its within a field Im personally not that used to. I like the uncomforting sense that this gives me because I want to learn more and be out of my depth.

Although pattern design isnt exactly that complicated, I find it useful within my practice to see what other artists are creating to get inspired to try different applications.

Designer Marian Bantjes

3.0. Maharam, Riddle. Marian Bantjes. 2011

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3.1-2. Maharam, Teleray. Marian Bantjes. 2011 (Top & Bottom)

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Printing my own fabric is something Ive always wanted to try since seeing the Printed textile show, going beyond paper and trying different materials to make the digital, physical with. (Other than screen-printing and laser cutting). I like to experiment within my practice and extend its reach.

Not to be a jack-of-all-trades, but rather someone who tries something different. This is what I think makes my practice stand out, seeking that something different.

Cloth Apron & Bag for Life

3.3. Leeds College of Art, Textile Fabric Printer. 2015 (Below)

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3.5. Final Products: Bag for life and Apron. (Bottom)

3.4. Pattern used from an existing Apron to make a copy for Anona. (Top)

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Bringing life to a brief is one of the most important things for me, finding the essential items that might not be all the exciting and giving them a purpose. A paper bag for simply taking the bread from the store and to advertise the store around town is something that I carefully considered the application of.

Things such as this are important to me and what my practice stands for; an all things considered. The paper bag made for Anona had to represent a high quality bakery, taking inspiration from luxury bags from fashion houses, yet not out classing its self.

Paper Bags

3.6. Paper bag mockup, used to conceptualise the shape and form. (Bottom Left)

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3.7. Final Paper bag, made from fireproof paper. (Right)

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This is another application, with a similar approach taken too as the bag. It didnt want the jars and bottles to appear to rustic using hessian, but I didnt want them to look as if they didnt fit with the period I was trying to create.

Its one big balancing act, as seen to the right. Creating a look, which fits with the simplicity of the pattern, not over complicating it, but providing enough information to reinforce the brands aesthetic and direction. Although the label had to be edited on due to vinyl cutting limitations, the outcome nevertheless fitted appropriately into the rest of the picture after refining and developing the look.

Bottles & Jars

3.8. Bottle and Jar Final Products To be sold instore. (Above)

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3.9. Traditional sticker label. (Top-Left)

3.11. Typography Label (Bottom-Left)

3.10. Patterned Label (Top-Right)

3.12. Final Label, Mock-up (Bottom-Right)

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Although I do, do all my research at the very start, I carry on researching throughout the project timeline to continuously inform my self of what Im creating and to fill in the gaps. The La Region Des Musees website was one of these gaps, I wasnt wanting to create a traditional website for Anona, It needed to be something unique. Just how the Roman culture is a split away from our own, its familiar but its still alien and hard to full imagine.

This website brought to me a lot of them senses, it wasnt difficult to navigate but it was unfamiliar to what I was used to with a website and that had a lot of influence on how I initially design my website.

Website La Rgion Des Muses

3.13. La Rgion Des Muses, Information page. (Below)

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3.15. La Rgion DesMuses, Navigation. (Bottom)

3.14. La Rgion DesMuses, Event Page. (Top)

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Taking inspiration from both the old and the new, with the Anona website I wanted it to be its own entity. Although used to advertise the website, it saw it as been simply more than that, as everything should be. It could be a hub for local events, or even for learning new recipes to make with the bread you buy from the Anona Bakery.

Making something larger than its self is something that inspires my practice; things should not just have to end when they start.

Website

3.16. Anona Bakery, Home Page. (Above)

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3.18. Anona Bakery, Image link interaction. Bread of the Week (Middle)

3.19. Anona Bakery, Recipe Idea Page. (Bottom)

3.17. Anona Bakery, Image link interaction. Recipe Idea (Top)

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Presentation of the final outcome to me is just as important as the actual creation, putting what Ive created in context and giving it life. The work here goes into creating the scenes and knowing what will add to an image by reinforcing a concept or theme. This comes in the form off: props, backdrops, lighting and post-editing work.

4. Presentation

LI find Anagrama influential in the way they present their work, they have a way of showing the simplest things off in a way to make them more exotic than they truly are, as seen here. Its something I find admirable, but its what I also strive for within my own art direction and practice, and is kept in mind while Im creating designing.

The way the products are presented plays a big part in making the brand convincing. The balance and pacing of a project is incredibly important, its something I keep reminding my self when taking the final photographs of how it will look when Its shown together and not as a single image because Im trying to tell the story of the brand.

Studio Anagrama, Violeta

4.0. Anagram, Violeta. Product range shot. 2014 (Below)

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4.2. Anagram, Violeta. Roll sandwich wrap. 2014 (Bottom)

4.1. Anagram, Violeta. Baguette bag. 2014 (Top)

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4.3 T.K.Maxx, Rustic glass-ware. 2014 (Below)

The presentation of Anona was vital for me when I started the brief, using the research Id done I keep on look out for ideas or ways to present the bread in the final resolution. One thing that really caught my eye was the window display from Bettys, which used a range of materials but most of all; It made me want to go inside. I wanted to create the same temptation that Bettys gave me in photograph form.

I sourced the glass and the bread from Waitrose after photographing the bread from different supermarkets to make sure the bread I was buying was going to be in keeping with the art direction I was creating. The props for Anona made up more of the image than the actual design, but the actual styling its self took as much work as the design considerations.

Setting the Stage Props

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4.5 Wood cut, for use as props. 2014 (Bottom)

4.4 Bettys, Northallerton. Window Display. 2014 (Top)

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I wanted to see how actual food photographers presented their images, to achieve a similar standard my self. I referenced these images while I was photographing which really helped me to geta feel for the look I was trying to achieve.

Using different colour backdrops, Ivana is able to display a wide range of various atmospheres and moods available, this was very influential in the way I conducted my photo-shoot because the look of something that handcrafted wasnt going to be represented well if it was too clean cut and clinical.

Food Photographer Ivana Jurcic

4.6-10 Ivana Jurcic, Various shades of wood. 2015.

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4.11. Anona Bakery. Rustic kitchen, branded Baguette bag and Jars.

The final images sum up the brand story that I was trying to create with this brief, by putting the products into a similar context that a customer may experience, it comes closer to reality. The products them selves arent all fully featured here, yet the brand its self is still just as strong with or without them because at the core, the Anona Bakery isnt just about the bread and the jars of olives it sells.

This is the product of my methodology; its applicable not just to creating brands, but also to creating posters and illustrations. Each stage presented here requires as much work as the previous to create a fully rounded and realised outcome.

Outcome Final Imagery

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4.13. Anona Bakery. Jars product shot, Context. (Middle)

4.14. Anona Bakery. Bread fresh from the Ovens, Brand Story. (Bottom)

4.12. Anona Bakery. Bag for Life, Context. (Top)

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