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Steven Noble Illustrations

Shock Top Seasonal Collection…

These new packaging labels that include Lemon Shandy and Pumpkin Wheat were designed by Deutsch Design Works in San Francisco and illustrated by Steven Noble in a scratchboard woodcut style. They were inspired by English pub signs, with their combination of classic typography and wacky imagery, this seasonal beer from Anheuser-Busch has a lot of personality and a style all its own.

Kraken Rum Advertising Animation Spots…

Kraken Rum just released three new advertising spots that will be aired during the ESPN March Madness that includes “Existence,” Strength” and Survival” with can be view in the following links:

Existence: http://www.krakenrum.com/movie/6
Strength: http://www.krakenrum.com/movie/7
Survival: http://www.krakenrum.com/movie/8

The Design firm, Dead As We Know It, along with illustrator, Steven Noble, and animator, Adam Gault Studio, combined their individual expertise to create these unique animations. All the illustrations were individually hand drawn in the old engraving woodcut style and supplied digitally to the animators. For example, the Kraken octopus was illustrated over a supplied wire frame with different Photoshop layers applied for the shadows.

Kraken Rum Animations

Kraken Rum Animations

Got Milk Redesign…

Silk Tricky commissioned Steven Noble to illustrate five new logos for the new redesigned “Got Milk” website and commercial national TV spots. The old fashioned style woodcuts were used on the original glass milk bottles from the 30’s and 40’s. Leveraging the awesome 3D and Motion work Silk is known for, combined with their smooth and fluid Flash animations, the new website is a fun and whimsical look at this beloved beverage. View the site at http://www.gotmilk.com

“Playing Gin” St. George Spirits is at it again…

Lance Winters along with the team at St. George Spirits collaborated with Steven Noble and Juli Shore Design to create three new original Gin labels: Terroir, Botanivore, and Dry Rye.

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To showcase how distinctive and expressive gin can be, St. George Spirits distiller Lance Winters has created a brand-new liquid triptych with three distinctive variations:

St. George Botanivore Gin
Because of its broad botanical recipe, this gin is the most versatile of the three, with floral coriander seeds balanced by juniper and earthy California bay laurel. Botanivore also features fresh ginger, dill and celery seed, and cilantro, giving it an herbaceous brightness. Therefore, the illustration incorporates those ingredients to capture the essence of that distinctive flavor.

St. George Dry Rye Gin
Made with pot-distilled rye and a minimal recipe of cracked juniper berries, caraway, black peppercorn, grapefruit and lime peel, this gin has a pear aroma with deep malty, woody flavors. All the ingredients are
once again positioned within the illustration to help pronounce those flavors as if luring you into an unforeseeable bear trap.

St. George Terroir Gin (Mt. Tam Edition)
This drinks like a walk in the woods. It’s made with hand-harvested juniper berries, wild Douglas fir from Mt. Tam, California bay laurel and coastal sage. It’s what John Muir would have carried in his flask. The label
tries to convey the outdoors with the symbolic California bear with Mt. Tam as a backdrop.

All the illustrations were created in a handcrafted scratchboard engraving style and tinted in a sepia tone for that “aged” distinctive look.

3up_gin-11
3up_gin-3

KAC Ads…

The creative directors from Rowley Snyder & Ablah Inc. collaborated with Steven Noble to create a series of 3 portrait illustrations for an ad campaign for the Kennedy & Coe accounting firm that include historical figures: Abraham Lincoln, Ben Franklin, and  George Washington.

The portraits were dressed in the “steampunk” fashion to fulfill the campaign’s message that Kennedy & Coe are not your “ordinary” accountants.

This campaign highlights how one of the nations’ leading accounting firms will empower and protect every client dollar. You can see more of the campaign on flickr.

Steam Punk Washington

Steam Punk Washington

Steam Punk Lincoln

Steam Punk Lincoln

Steam Punk Franklin

Steam Punk Franklin

Seafood seal ensures responsible fishing

PORTLAND, Maine (NEWS CENTER) — A new symbol is taking the guesswork out of seafood shopping.

Illustrated by Steven Noble in collaboration with GMRI, the new seal will identify products caught in the Gulf of Maine, which stretches from Cape Cod to the southern tip of Nova Scotia.

Only seafood that has been harvested responsibly from theGulf of Maine region can earn the new quality seal from theGulf of Maine Research Institute.

Jen Levin is the Institute’s sustainable seafood manager.  She recently spoke with NEWS CENTER’s Lee Nelson about the criteria for the seal.

Levin said seafood producers must prove their fisheries are well-managed.  They must demonstrate the steps they take to prevent over-harvesting and explain the science used to reach their conclusions.  An effort must also be made to ensure that those fishing standards are monitored and enforced.

Levin said the Institute will work with fishermen to meet the annual goals required to qualify for the seal.  They will develop strategies to reduce bycatch, minimize habitat impact, protect spawning waters and lessen energy consumption.

In addition to the environmental benefits, Levin said the seal also helps the state economy.  It guarantees to shoppers that the money they spend on seafood supports a locally-produced product.

Some of the species that already meet the conditions for the seal include cod, haddock, northern shrimp and American lobster.  Levin said pollack and scallops are close to being added to the list.

Hanaford is the first supermarket to reach a deal with the Institute to prominently feature the seal at its stores.  Levin said it should begin appearing soon in the company’s seafood cases.

For more information about the seal, click here for a link to the Gulf of Maine Research Institute’s website.

New “Altoid Sours” Packaging: Curiously Strong – Citrus, Apple, Raspberry, Tangerine & Mango…

ALTOIDS TANGERINE SOURS
New Curiously Strong Altoids Sours in a Tin and … Altoids brand has expanded it’s packaging line to include not only mints but sours, gum and sugar free mints in miniature portable 1.76-Ounce  tins that include 4 new flavors: citrus, apple, raspberry, Mango and tangerine.

altoids

The new packaging design was created by Spring Design Partners in New York along along with Steven Noble’s expertise in woodcut style illustrations to create colorful fruit illustrations for their new packaging.

http://www.altoids.com/

Kahlúa Package re-design

The world’s number-one selling coffee liqueur, Kahlúa has long occupied a prized position in the world’s liquor cabinets. Consumers everywhere associate its distinctive name and taste with an appreciation for fine spirits.

The new design builds on the existing equity of Kahlúa by introducing premium metallic accents denoting excellence and quality, along with Meso-American cues that evoke the brand’s heritageCyril Claquin, senior vice president of marketing, Malibu-Kahlúa International

Of course, all great brands grow and evolve over time, finding fresh ways to extend their appeal in the marketplace. And, in 2007, Malibu-Kahlúa International began a series of strategic innovations, starting with a new packaging system.

How do you build on a favorite? This was the critical question facing Malibu-Kahlúa International, the Pernod Ricard-owned company that shapes the brand’s global strategy. The company’s goal was to refresh the brand, while maintaining its existing store of affection and appeal among consumers around the world. This meant infusing the existing brand image with a more contemporary feel, and laying the groundwork to extend the line into exciting new flavors.

The design team at The Brand Union, along with Steven Noble’s illustration expertise, began by diving into Kahlúa’s roots, while simultaneously looking forward toward new possibilities. They conducted research in Kahlúa’s top markets, reviewing how consumers perceive and interact with the brand.

The team identified a number of priorities for the brand’s new look. This included the careful blending of existing and new visual elements. Meso-American cues evoking the brand’s birth in the heart of Mexico were given new dimension with premium metallic accents denoting excellence and quality.

Armed with this fresh palette of design elements, the Brand Union team crafted a new premium packaging system that serves as a rich celebration of the brand. Their work centered around four key factors.

Premium quality

The bottle’s well-loved elements have been revitalized with premium cues, including the addition of deep hues, metallic accents and a smooth satin luster. A simplified logo incorporates the updated color palette and increases contrast.

Meso-American authenticity

Illustrations created by Steven Noble of the Mexican landscape and topography are included on the new label while Colonial architectural influences in the illustration have been replaced with more appropriate Mayan and Aztec cues. Intricately detailed Meso-American cues on the neck label speak to the brand’s authenticity and origin.

Back-of-bottle

The intriguing and little known Kahlúa story celebrates the brand’s origins, while tasting-notes highlight the spirit’s distinct flavor and premium quality.

Outer-shipper case packaging

The updated color palette, refreshed Kahlúa logo and intricate Meso-American illustrations are brought to life on the shipper packaging’s premium quality stock.

Kahlúa’s new packaging perfectly balances the brand’s distinct personality and heritage with fresh notes. The traditional coffee flavor and the newly launched Kahlúa Hazelnut and Kahlúa French Vanilla flavors are all dramatically headlined by the new system. The rich pleasures contained within every Kahlúa bottle are now more fully expressed through the outward elements of design and packaging.

Kahlua Bottle

Kahlua Bottle

Woodcut Illustration

The Woodcut style is defined by simulating the old fashioned woodblock carvings of the 18th century and often re-creating a retro modern version to fit today’s needs for advertising, packaging design, publishing and logo identity purposes. The technique requires the use of the scratchboard medium which works most effectively to accomplish this end result. Furthermore, the style is mostly associated with “bold”, less detailed, line strokes along with loose uncleaned cuts along the outer edge of the illustration. This is a clear distinction from the other scratchboard styles such engraving, and steel engraving styles.

See woodcut samples: http://www.stevennoble.com/v/Woodcuts/

The original woodcuts (Xylography) from the 18th century were carved out from wood blocks with printing parts remaining level with the surface while non-printing parts are removed. The areas to show ‘white’ are cut away with a knife or chisel, leaving the characters or image to show in ‘black’ at the original surface level. The block is cut along the grain of the wood (unlike wood engraving where the block is cut in the end-grain). The surface was then covered with ink by rolling over the surface with an ink-covered roller, leaving the ink upon the flat surface and not on the non-printing areas.

portrait-process

In the present world, the woodcut style is merely simulated since there are often edits to be made by the demanding clients of today’s world. The level of detail is also specific to the size/scale of the illustration. For example, the Coors “waterfall” logo was accomplished by developing three different versions for three different sizes. One illustration version was created for use on the 12 ounce beer bottle label (.5’ – 1”) which was the simplified version, a second for use on the twelve and twenty-four pack cartons (2” – 6”) which was the middle version, and the third made for the delivery truck (6’ – 8’) which was the detailed version.

See logo samples: http://www.stevennoble.com/v/Logos/

The first step is to lay down the “approved” completed preliminary sketch onto a clean blackened piece of scratchboard by laying out the broad, general outline onto the scratchboard first. From there, pencil marks can be transferred to leave behind mark/outlines of the general forms from the sketch/drawing. Once this is completed, then the carving blade is used to scrap away the excess amount of black scratchboard around the outer area surrounding the illustration. The general lines are then scraped away to create the forms beginning from top to bottom. Afterwards, the shadows and details begin to take their shape through a process of improvisational line strokes across each of the forms.

The finished/completed reflective black and white art is then scanned from a flat bed scanner into the Adobe Photohop program and then cleaned-up using the magic wand command at a tolerance of 85 -100 and saved as a high resolution bitmap tiff file. To add color, the artwork is then saved in RGB and a layer is created (multiply selected) to allow color to be added behind the black and white line work. This gives more flexibility to allow for any quick edits and other adjustments such as color saturation and brightness and contrast.

Driscoll’s: a ‘Fresh Look’ of Fresh Berries

Driscoll’s, the leading provider of fresh berries, unveiled a new logo and label design that will be used throughout all areas of sales and marketing. The new look will begin to hit the U.S. market within the next few weeks.

The new brand identity will be incorporated in various brand communications from labels on individual clamshells, to the trays used to ship the clamshells as well as signage at the company’s headquarters. The new brand identity will unify and strengthen the look of Driscoll’s destination Berry Patch displays in retail stores.

The company tapped San Francisco-based Michael Osborne Design for the task. Osborne and his team retained key brand and label design touch points, such as the familiar triangle shaped label, and the vibrant yellow and green background colors, while restructuring messaging in a hierarchical fashion on the labels. The new label also incorporates an illustration, created by Steven Noble, of a farmer in a field of berries and most important, berries overflowing in a basket.

This is the evolution of this brand,” said Douglas Ronan, VP Marketing at Driscoll’s. “The Driscoll’s brand is one of the most recognized brands in the produce industry. Our heritage is in strawberries. Now, by using all four berries on our package, we are reinforcing our leadership position in fresh berries while highlighting the special efforts of our farmers.”