My calligrapher and artist father has been professionally practising since 1987, and as I came to realise, had no consistent brand identity or collateral. This prompted me to do in depth research towards his audience, and form the foundations of both a 'Pigsty Studio' brand image and character.

This is an ongoing project, due to the constantly developing and wide ranging nature. It spans not only logo design, but web, print, product design, packaging and collateral.

Based in Abberley, Worcestershire, the local surroundings are that of rolling hills, untamed woodland, wild animals and a peace in distance to the city. These landscape characteristics form a key role within the core values I assign to the brand identity- customers are not just buying hand crafted, unique calligraphy, but they are buying a part of this natural and 'authentic' aesthetic. As the countryside is a key aspect to the brand, it in turn brought about four brand colours; a pale gold, representing the sunshine and crops. Green in linking with the grass, rolling hills and woodlands, while the blue signifies the open, clear sky. Finally an off black which portrays a standard black ink.

The logo design is currently my calligraphic execution, although based on the artists personal style. This, when launched officially, will likely have to be re-written by him in a similar format. Beneath the name lays a pig icon, dividing the surrounding text of 'Countryside Calligraphy, ESTD 1987'. It has been divided as so, allowing it to also read 'Countryside established - Calligraphy 'since' 1987'.

Being a relatively intricate lettering style, the design has also been reversed out within a block square. This allows it to sit more comfortably on detailed backgrounds such as images, while maintaining a strong composition. As this smaller supporting text becomes illegible when scaled down, it can separate from the design to form a stand alone 'stamp'. Further more, the pig can then be removed from the text, acting as an icon to the brand as shown in the wax seal below.

As a part of developing and expressing the authenticity, skill, character, and unique nature to the brand. This stamp is encouraged for use on price tags when pieces are sold at exhibitions, and on complimentary slips when sold in commission. This tactile and unusual form of interaction creates a 'keepsake' that is memorable, likely to be saved, and an additional talking point for the customer to leave with- all building new contact opportunities in the future.

Wax colours for this include the brand colours black, gold, and additional red.

The method of construction was simple, as explained in the gif below.
The process included laser-cutting the design, aligning it with the chamber and clamping the structure together with the empty stamp body hovered above. Following this, molten pewter was poured inside and the access hole then covered with a wooden bead to act as an ergonomic handle.

When tackling web presence, an update was required. This lead to a thorough organisation and categorisation of the work range, while taking careful consideration to my audience research. Ultimately the aesthetic is aimed towards a traditional and up market 'aspirational' style, but not so much as to imply it is unobtainable or elitist- it must keep the down to earth, personal and friendly touch. It should reflect the people who seek high end quality, feeling they deserve it, as well as those who are more grounded and appreciate the artistic craft. The best way I felt accomplished this was through utilising the gold and off-black colours (relating to paper and ink) as well as injecting further desirable character through countryside images.

To aid the user experience, when greeted by the large welcome image, the navigation bar will likely still be visible at the bottom of the screen. This hints that you may scroll down to reveal more of the website. Alternately, clicking the central logo will bring your browser to the about page below. This welcome image can be seasonally changed, as can the banners, so that the site remains fresh and relatable to the users all year round.

The titles over these header/banner images is currently in a rough example font, and will be replaced by hand rendered calligraphy. These can vary in lettering styles throughout seasonal updates.

On each page after the 'about/welcome' page, the logo appears at a small scale dropped from the navigation bar. As it is small, the pig and supporting text have been omitted and instead placed above the footer, so as when the user scrolls to the bottom of the page they are gently reminded of the brand, its icon, and some of its core values.

Naturally, as content is added in, there will be various photographs of the studio and artist within the 'about' and 'events' pages. It is important to maintain an open and welcoming fa├žade to enforce the family business element.

Amongst business cards, other collateral is being designed. This includes ink stamps for simplistic packaging branding, pen and practice pad sets branded with an embossing stamp, bookmarks, and digital fonts based on calligraphic lettering styles.

If you would like to see another project,
by all means ask and lets meet up.