Bequia Threadworks Brand Identity Design

Bequia Threadworks is a nonprofit sewing enterprise that empowers and trains the women of Bequia as artisan seamstresses. Working to spark economic transformation for Bequian families, the clothing line and identity are affirmation of the island’s craftsman history.

Teal was chosen for the logo color, inspired by the water in the Caribbean. A custom monoline script was created to reinforce authenticity and craftsmanship. Custom buttons with the B letterform were made to be used on the clothing line.

 

 

Bonjour 2020

Hi-fidelity Stereophonic Design

When I visit my local Goodwill, I usually head straight to the vinyl records section. I just gotta know what obscure album might be there or if today is the day I find that one album I’ve always been looking for. I’m also on the lookout for great design. Every once in a while I come across a cover design so strong, that it just stops me in my tracks. That’s how I discovered my first Command Records album.

Command produced records in the late ’50s to mid-’60s and were produced and engineered by Enoch Light, a pioneer in stereo recordings during a time when AM (monaural) radio was the standard. Many of the covers were designed by well-known artists/designers like Josef Albers and Paul Bacon. Josef Albers! These abstract, minimalist covers stood apart from the typical covers of the time and beautifully captured the essence of the music through expressive design and well-crafted compositions. The covers gave the listener an idea of what to expect — a crisp, modern, stereo sound that’s harmonious, but with a sense of playfulness. Most of the Command Records covers incorporated classic design principles brilliantly: balance, proportion, rhythm, emphasis and unity in a modern style that still looks fresh today.

What a great example of form and content working well together. Stereophonic design, indeed.

The Golden Ratio: where design and mathematics coincide

The golden ratio (also known as the golden mean, golden section or divine proportion) is a height to width ratio that measures 0.618 and manifests itself in nature, art and architecture. The Parthenon in Greece incorporates the ratio, but it’s unknown whether or not the designers actually used the principle. The human form has this same basic geometric relationship — DaVinci studied this and created drawings that illustrated the proportion in his Vitruvian Man (below). Piet Mondrian used the golden ratio in much of his work in  the 1920′s. Even Twitter uses the golden ratio principle for it’s screen design.

The Golden Ratio looks like this:

It's defined as the ratio between two segments such that the smaller (bc) segment is to the larger segment (ab) is to the sum of the two segments (ac), or bc/ab = ab/ac = 0.618.

And can be calculated like this (adding 1 to the ratio is phi, yielding the same basic geometric relationship):

More examples of the Golden Ratio:

Fascinating! Is it an inherent aesthetic preference or is it a design technique turned tradition? How do you explain the proportion found in nature? However you decide to answer those questions, it’s hard to argue that it has had an enormous impact on art and design over the years and continues to influence design today. Next time you see something that just “feels” right, or that you just can’t take your eyes off of, take a look at the proportions and remember – Ahh, it must be the 0.618!

- Ryon

Library of Congress and Bill of Rights detail

I found this beautiful version of the Bill of Rights on the Library of Congress site, which has an amazing collection of images: A Bill of Rights as provided in the Ten Original Amendments to The Constitution of the United States in force December 15, 1791. http://www.loc.gov  http://1.usa.gov/Ha5LQY

Type Observed: Hobo

I see the typeface “Hobo” in a lot of different places — labels, signs, posters, logos – the list goes on. I once thought that this was one of the ugliest type designs out there, but I now realize that it’s not the design itself, or even the terrible name — it’s mostly because of how it’s used and misused. Of all the type crimes out there (thank you Ellen Lupton: http://www.thinkingwithtype.com/contents/extras/#Type_Crimes), you’ll often find Hobo as a nearby accomplice. And I’ve certainly made my jokes about this “awful” typeface over the years, but once I studied the origin and the history of this design, I’ve become much less critical.
Stylistically, Hobo looks like something crafted from 1970′s, but was actually designed in 1910 towards the end of the Art Noveau Movement. It was designed by Morris Fuller Benton, one of America’s most prolific typeface designers. After closer examination, the letters are actually well-proportioned (when typeset properly) — every part of each letter is curved, which gives it a decorative effect, but with a modern twist. It’s lowercase letters are unique — descenders that do not drop below the baseline. Yeah, it’s weird — but it’s designed to be a display type. Fairly progressive for 1910, considering that most typography from that period was very decorative and ornate.

So I’m no longer a Hobo-hater. I just hate seeing it being misused.

Note: If you’ve seen examples of Hobo type out there (good or bad), please send  some pics my way – I’m starting a collection of images and would love to include yours! Thanks.

There's a story behind that.

While stopped at an intersection recently, my eye was drawn toward a helical red and blue striped sign that we all recognize as the barber's sign — the archetypal spinning sign mounted to the facade of the modest building. It made me wonder about the history and the meaning behind that design and intrigued me enough to do further research. I remember reading about the symbolism of that design years ago, but couldn't remember all of the gory details. Looking at the object in isolation seems like a strange and unusual object, but when you understand the origin and meaning, it all makes sense.



Back in the day, barbers used to perform medical procedures, including tooth extractions and bloodletting services. Apparently, they would hang the bloody bandages on a pole outside to dry and the wind would wrap the bandages around the pole. Yes, disturbing, but we’re talking the Middle Ages here. The pole represents the staff that was used for the patient to grip to encourage blood flow. The color red is symbolic for arterial blood, blue represents venous blood and the white symbolizes the bandages. It’s also possible that the blue was added when the signs were used in the United States, to honor the national colors. It's interesting how universal and immediately recognizable this design has become over many centuries in many cultures.

But a note of caution: If you’re in certain parts of Asia, the barber's pole design could be used to advertise and disguise a completely different type of business establishment, but I’ll steer clear of that story.

Flat Out Strangers Logo

You know about the Flat Out Strangers, right? Well, if not, that's OK. They're the South's most dangerous, mysterious, yet most-revered rockabilly/country/americana/bluegrass bands around. Don't just take my word for it - listen at www.myspace.com/flatoutstrangers or visit their new site at www.flatoutstrangers.com. It's great to see these guys doing well — I remember the neighborhood gigs that scared the living daylights out of the neighbors, the live and rockin' recording at "Jake's Fill Er Up" (which proved to the world that they are the bada**es of Rockabilly), to the shows at Doc's Gumbo Grill and many others. These guys are original as they come, and they needed a design that reflected that. Something mysterious, something bold, yet timeless. Tall order, but a great challenge. Here's where I started:

A rough sketch below: Letterforms that have character - something that looked from the late 1800's, but with a modern twist. Hand-drawn and hand-crafted. A few embellishments here and there, but not too ornamental or too decorative. A touch of the Old West, a hint of the eclectic, a good dose of authenticity.

Refinement on the letterforms and the individual swashes:

And the final:

And an avatar/monogram design:

Check ’em out at their next show or become a fan on Facebook:

http://tinyurl.com/2ffn66e

Vaughn's Promo Cards

Black Bottom Biscuits CD “Ain't No Kinda Blue”

I recently designed the CD package for the Black Bottom Biscuits, a local country/bluegrass band based here in Columbia. Album is "Ain't No Kinda Blue", and George Fulton did an awesome job interpreting that title for the cover shot.

Old family recipe books from the ’40s and ’50s provided some great inspiration for the interior and influenced much of the interior booklet design, complete with hand-written recipes, aged paper textures and color palette.

Check out the Biscuits at http://www.blackbottombiscuits.com