Design Research – Create Brand, Business ideal for Surf Boards & Surf Gear Co.

 

 

stomp

 

Surfboards & Surf Gear –100% Built on an Ethically Sound Footing

 

Boards made from Aussie grown Paulownia and Recycled Timber

 

100% Australian Made

 

Our TShirts & Board Shorts, Hats, Sun-Capes & Sarongs are designed, printed &

 

Made in Oz with Organically grown Cotton & Hemp & Sustainably grown Bamboo.

 

..Mindful of where we tread , we’re doing good business ….

 

Ethically grown or made from recycled timbers, our Boards are built on the classic designs of surfing heritage and decades of surfing culture perfecting them. The truth is we love surfing and are passionate about our oceans and preserving them for the next generation of surfers. For the love of surfing, we evolved into a workshop making our own timber boards. We are now producing hand made boards from recycled and plantation grown timber and a range of ‘Surf Gear’ from sustainable and eco – friendly materials. It’s our responsibility to minimise our impact on the planet and set a good example.

 

Were based hinterland, near Byron Bay, Northern NSW.

 

We’re putting ‘Our Foot Down’ about the way things should be done – that means sustainably, environmentally friendly, promoting an eco-sensitive message out there to all – catering for young and old, surf’n lovers of sunshine, waves and the beach lifestyle, we’ve got the gear for all ages – and our new grom’s starting out. Our clothing range is touched by splashes of colour, just like nature is and compliment the chosen earth tones which are a dominant theme that match the beautiful Timbers of our Surfboards, reminisce of the original trees, ochre and our sand and pebbled beaches here in Australia.

About our Timber we use:-

 

Recycled timbers are accessed from demolition works, old logs and furniture. The laminates for hollow boards are made from waste strips from milling timber yards, every bit respectfully utilised, appreciating their origin. Australian Paulownia is descended from native Asia and is now an Australian Plantation timber, grown in four states. Paulownia is light in weight and pale blonde in colour with it’s own character grain but approximately the same strength as Cedar. Australian grown Paulownia is extremely stable and termite resistant. It has a magic feel like a firm balsa wood. It is very light and can be painted or stained to resemble any timber and it is great to draw on too.

 

We are creating artistic enviro – designs on our gear,

just to please you and Mother Nature.

 

The artwork designs on our Surfboards, printed onto Tshirts, Boardies, Capes and Sarongs are by local artists inspired by their love and appreciation of Mother Nature.

 

Our message is simply – Preservation, Conservation, Appreciation – and we’re putting our foot down about how things are made and the materials used.

 

Keeping the Environment in Mindfulness.

(Branding Ideal) 
Stomp Surf Gear – We’re Putting Our Foot Down & Our Other Foot Forward 

 

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Tibor Kalman

Tibor’s influence in the Graphic design world can be seen everywhere- from Posters, Books, Music Videos, Film titles, to Magazine Design, package design,  corporate ethics and logos. But the legacy he left the world, perfectly described by Steven Heller:-

Of the two names that changed design in the ’80s and ’90s—Mac and Tibor—one changed the way we work, the other the way we think. The former is a tool, the latter was our conscience-

( http://www.printmag.com/imprint/lest-i-forget-tibor/ )

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Born in Budapest, Hungary in 1949. Aged 7 he and his family arrived in a new land called America, as impoverished immigrants fleeing the Communists in 1956. Although he became very successful he never forgot his experience of poverty- being displaced – practically homeless.

Tibor attended the New York University and studied journalism. However he dropped out and worked for a small book store as a clerk. One day he helped by arranging a window display and this highlighted a successful interest in design, which led to him becoming director of design – for ( the now giant Literary firm,) Barnes and Nobel in New York. This led to opening his own design agency M&Co in 1979. He then went on to serve as as creative director of Magazine ‘Interview’ in 1990 and later as editor chief of ‘Colours’.

He is greatly known for his multidisciplinary design work with the conceptually progressive firm M&Co in New York which he started with Bokuniewicz and Trovato and named after his author/ illustrator wife, Maira. M&Co’s work represented another kind of postmodernism-  witty, ironic, referential, but never sentimental, informed by a practiced cosmopolitarian sense, that defined the ‘quintessential New York-ness’. Tibor believed that since graphic design is mass communication, it should be used to increase public awareness, of a variety of social issues and responsibilities.

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He savored the nuances of type and had a fetish for vernacular design—the untutored or quotidian signs, marquees, billboards, and packages that compose mass culture—but understood that being a master of good design meant nothing unless it supported a message that led to action. Even most stylistic work must be viewed in the context of Tibor’s persistence.

Everything had to have meaning and resonance. 

M&Co had developed a house style of its own based on vernacularism, the so-called “undesign” that Tibor celebrated for its unfettered expression, which also fed into the post-modern penchant for referencing the past. While Tibor’s ire sometimes seemed inconsistent with his own practice he rationalized M&Co’s use of vernacular as a symbol of protest —

a means of undermining the cold conformity of the International corporate style.

Known for his reactionary attitudes to Social concerns he combined visual elements and associations never thought of before with innovative ideas , humour and style. This new way of ‘Capturing’ the audiences attention, he did with sophistication and used this platform to promote his views regarding the concious responsibilities Designers have or should have to their consumer audiences. He did not stop there, he also approached the subject of corporate social integrity with his fellow designers and clients, often using his influence which declared – that designers can and must be responsible for the content of the message as well as the presentation – must be image conscious professionals. His promotions projects ranged from 1980’s art rockers ‘Talking Heads’, to the furniture company ‘Knoll’ and the ‘Restaurant Florent’.

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The magazine ‘Colours’ epitomises this sensibility. He used to be inspired by the former  ‘Life Magazine’, and decided to take social ethics to new heights and jolted the world to see things a different way. Tibor took a provocative stance on Social Problems and has been criticised and praised for its sensationalism, obscenity and sexual statements. He placed dialogue between advertisments and consumers up for debate and to state political opinions. He encouraged his audiences to engage by exposing the ‘formula’ the advertising industry used, with its choices of images of sexual, violent or multicultural, as context in design, to sell products and promote social conformity.

ColoursBaby95_tibor02 ColoursRace95_tibor01 Colours Hand95_tibor00 ColoursEye95_tibor03

He asked moral questions of consumer society and its manufacturers.
He wrote a book entitled ‘Perverse Optimism’, aptly describing himself and attitudes and continued to teach post Graduate students from the School of Visual Arts in New York till the end,
in his fight with cancer in May 1999.

Colours was the first magazine aimed at the Global Village – A quarterly, in 4 languages,
launched to a world audience of young and flexible minds or
just curious people of any age that were interested.
The Magazine provided an outlet for Tibor’s beliefs in socio-political activism.

The heart of Tibor’s accomplishment was enlarging the parameters
of design from service to cultural force – Steven Heller.

His Final Communication was his exhibition at the San Francisco Museum of Art titled : -‘Tiborosity’ – August 1999 – which later toured the USA and the world.

References  

Tibor Kalman @ Art + Culture :  http://www.artandculture.com/users/179-tibor-kalman

Steven Heller : Lest I forget Tibor : http://www.printmag.com/imprint/lest-i-forget-tibor/

Tibor Kalman, ‘Bad Boy’ of Graphic Design, 49, Dies: New York Times, 1999. http://www.nytimes.com/1999/05/05/arts/tibor-kalman-bad-boy-of-graphic-design-49-dies.html?pagewanted=all&src=pm

TIBOR KALMAN:  Biography by Steven Heller: http://www.aiga.org/medalist-tiborkalman/

Obituary: Tibor Kalman: The Independent obituary by Rick Poynor, May 17, 1999. http://www.independent.co.uk/arts-entertainment/obituary-tibor-kalman-1094136.html

Tibor Kalman: Perverse Optimist by Andrew Blauvelt (2004) : Design Book Review, Issue 43, Fall 2000


Alan Fletcher – Designer Research by Carolyn Russell

Alan Fletcher      alan_fletcher_p

……was born in Nairobi, Kenya 1931 and aged five was transported back to England when his father died.
He studied Graphics in Central School in London, then the Royal College of Art. His real turning point was his post-graduate year in 1956 at Yale University in the US, with tutors  Paul Rand, Herbert Matter and the ex-Bauhaus master Josef Albers. He worked on for a further two years in America, for Fortune Magazine in New York, making new contacts and keeping company with his tutor Rand and other movie directors and designers.

This influenced his life – he became streetwise, developed a love of puns, visual cliché expressing a kind of American urban knowingness, he was able to adopt ‘the wisecrack’  into a visual conceptas well as the ‘ridiculous glamour and bravado’. Fletcher was inspired by the optical and fantastical elements being experimented with in Europe, those of Moholy-Nagy’s photomontages and photograms, along with the poetry and collage work of Kurt Schwitters and his contextual displacement of the known alphabet in unusual terms and ‘situ’. He shared an affinity with the strange and beautiful , often seeing relationships within and around shapes and linework of objects. He has been likened to the Czech Avant Garde, philosophically.

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Fletcher is said to have been ‘One of the most influential figures’ in graphic design in London, England and Europe. He had a passion for sunrise colours in his design work that boldly and poetically helped change the inter war years of appreciating colour in design. In the ‘Design Museum’ his work is referred to as a synthesis of graphic design elements and traditions of Europe and North America, and I wonder about the influence of the colours of Africa in his early years. Fiona MacCarthy wrote of Alan Fletcher, his personality and style played a strong role in the for front of the 60’s design movement and shot colour and style into postwar London. His works are known most for being both spirited and witty (designmuseum.org/design/alanfletcher).

alan_fletcher_8fff-grahpis                          alanfletcher2

Fletcher’s quirky aptitude for the use of typography as a visual art form and not only to convey a just a message to be read and understood , but to have a considered impact, either to shock, to deliberately provoke reaction or to confound the viewer.  He wished to prove that visual communication was a serious artform and working magic into word formations.

 He Played Games with Verbal and Visual Perceptions.

From the 1950’s he transformed the bleak walls of London, with his simple yet striking posters of design logos for institutions and companies such as, Penguin, Pirelli, Cunard, Penguin Books, BP and Olivetti.  His was a fusion now of, Euro Modernist / American Post-War Graphics and British Pop Art. He marvelled in the geometrics of traffic signs and road markers, constantly observing,detecting inspiration for design concepts. In 1959 Fletcher headed back to London,  a job for Pirelli, a Milan company and arrived at a time of Visual Revolution and transformation in England and Europe, he would be a huge part of.

In 1962, Fletcher co founded –Fletcher/Forbes/Gill, an early modern design consultancy company  and contributed to the blossoming of London period as infinitely rich and strange. Their work opened the eyes of Britain to new designs like combining Type and Image and Reconfiguration of Objects in the traditional sense. This changed the face of commercial ads, logos and corporate identities.

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Eg:- Pirelli Slippers Ad – photogaphically devised slippered feet topped with real
passengers heads on a cut away London Double Decker Bus.

From the 60’s to the 70s Fletcher worked on huge scale design projects for Shell and  Reuters. A change in company dynamics in 1972 and adding new designers saw the Co’s name ‘Pentagram’ emerge. This company was to dominate the design scene in Britian for the next 20 years growing bigger in London and then with offices in new York and San Francisco.

Fletcher was obsessed with how many variations of views or versions of images there are of things. From Palm Trees to the typographical  Ampersand. He Worked On 1960’s Retro Lettering For Logos For Goods n Chattles and the Victoria & Albert Museum, now the famous V&A logo based on the period Bodoni  typeface.  He created design programs for Reuters, Lucas Industries, The Mandarine Hotels , Lloyds of London, Damlier Benz – the list goes on.  He was president of the Alliance Graphique Internationale in 1983. Designing for over thirty years, Fletcher worked on projects ranging from Penguin Books to the IBM logos. His posters reveal paradox and sense of humor, in his work.

In 1992 he left Pentagram to work alone in his own studio in Notting Hill, with clients including Domus Magazine, Dentsu, London Transport, Shell, Toyota, and  Novartis Campus.  In 1993 Fletcher became Art Director of Phaidon Press.
Though fascinated by modern technology Fletcher was a defender of Handwriting and Drawing – To scratch or graze a line – Graphein

From an Interview with Alan Fletcher by Rick Poynor 1991 for Eye Magazine:
RP: Why do you use your own handwriting so much in the posters?

Alan Fletcher: I like to reduce everything to its absolute essence, because that is a way to avoid getting trapped in a style.  You’ve got to keep on breaking down the barriers. Of course you could argue that I’m creating my own style and that’s a weakness and I should try harder. I think you would probably be right. I always think of writing as drawing. Every letter is a symbol, so you can begin to play games. I don’t treat writing as calligraphy. The more controlled and raw it is, the more interesting it becomes.

Fletcher wrote and designed Books such as : The Art of Looking Sideways (2001) and Beware Wet Paint (1996), both published by Phaidon Press. He co-authored Identity Kits – a pictorial survey of visual signs, Studio Vista (1971); Graphic design: visual comparisons, Studio Vista (1963); A Sign Systems Manual, Studio Vista; together with four publications on the work of Pentagram: Pentagram – the work of five designers and Living by Design, Lund Humphries; Ideas on Design, Faber & Faber; The Compendium, Phaidon (1989); and The Art of Looking Sideways, Phaidon (2001). Fletcher’s last book, Picturing and Poeting, was published posthumously in 2006.

References-

Alan Fletcher biography : England & Co
www.englandgallery.com/artist_bio.php?mainId=183

Design Museum- 50 years of Graphic Design – Alan Fletcher
www.graphicthoughtfacility.com/design-museum-alan-fletcher

Fiona MacCarthy on graphic designer Alan Fletcher (2006)
http://www.guardian.co.uk \

1991 Winter Edition Eye Magazine:
http://www.eyemagazine.com/feature/article/reputations-alan-fletcher

Alan Fletcher (graphic designer) – Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Alan_Fletcher_(graphic_designer)

Thinking Form by Aswin Sadha, 2012.

http://www.thinkingform.com