Posts Tagged ‘scratchboard’

Spytail Rum Label Illustrations created by Steven Noble

Wednesday, April 3rd, 2019

Bigger and Leith , who owns a small portfolio of fine spirits from established, family-owned distilleries, commissioned Steven Noble to create some unique illustrations for their new labels called Spytail Rum. SPYTAIL is named after a legendary submarine – plans for which were discovered by their distillers. The first mechanical submarines in the world were invented in France – and tested on the Charente River which flows nearby our distillery. These were the submarines which Jules Vernes used as the inspiration for his famous novel – 20,000 Leagues Under the Sea and which inspired these illustrations.

Woodcut Illustration

Monday, October 18th, 2010

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

Wednesday, October 13th, 2010

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.”

AdPulp: Sell! Sell! in London is helping Fentimans, the independent Hexham-based soft drinks company, tug Coca-Cola’s long white beard this Christmas.

Monday, August 2nd, 2010

fentiman_s-fighting-santas

Created by Sell! Sell!, the ad depicts an old-fashioned illustration created by Steven Noble of a Fentimans Santa wearing the colours of Curiosity Cola and workman’s boots standing victorious over a chubby Father Christmas lying prostrate and dressed in his customary red outfit much championed and featured by Coca Cola.

Vic Polkinghorne, creative director of Sell! Sell!, commented “Fentimans make great soft drinks but they’re in a market that’s dominated by big brands and heavy spenders. To make their budgets work as hard as possible they need something cheeky or provocative to help them cut through the blizzard of Christmassy nonsense that’s spewed forth at this time of year”.

Brand New: A Clawed, Orange Crustacean is Worth a Thousand Words

Monday, August 2nd, 2010

Remember the mid- to late-1990s? When everyone and their mother came up with a .com and an idea of delivering the wackiest products or services through the magic of the Internet and the funding of bottomless venture capitalists? For example, you know, lobsters. Lobsters. By Internet. Delivered by FedEx. Makes perfect sense. Started in 1995 by Providence, Rhode Island entrepreneur Andrew Rock, Lobster.com has been delivering fresh lobsters — only the freshest and Maine Certified — for more than a decade. Being early adopters, means that they got a fantastic URL and they recently put that to good use with an identity redesign by fellow Providence business, Nail.

lobster-logo
In a bold move, the logo doesn’t spell out the word “Lobster,” and instead it simply shows you one, an immediately identifiable lobster that works as a very charming rebus and turns a URL that could look like one of those generic catch-all web sites full of ads into a kind of leader URL. Nail hired illustrator Steven Noble to create the custom woodcut illustration of a Maine lobster and then added a slightly distressed, serif “.com” creating an amusing fusion of vintage illustration and contemporary technology. I don’t normally think of the Internet as a place where I would get my lobsters, not that I buy lobster ever, but now I know where to get some shipped right to my house after I’m done posting to Brand New.

Destination Beer

Wednesday, January 21st, 2009

“The Destination Beer Logo is Ready for Prime Time” by: Brandon DeLoach

Andrews Distributing turns to Marblehead for help retooling their classic Steven Noble illustration into a complete identity system for print, advertising, and online display. The result is a fully developed brand ready for its public debut.

The original Destination Beer logo was a commis­sioned illustration by world famous craftsman Steven Noble. Noble’s enormous portfolio of work is particularly well known in the beer world. He is responsible for the Sam Adams portrait, the Orig­inal Coors water fall, the Shiner Bock Ram, and several other beer icons. Noble gave Destination Beer a classic look with traditional, one-color scratch board shading over water color. The final illustration proof is pictured to the right.

db_logo

Ready for Prime Time

With Destination Beer set to grow into a full campaign across all media, Andrews asked Mar­ble head to take Noble’s illustration and turn it into a fully functioning brand. The centerpiece on the new brand is an updated Destination Beer logo. The new logo can be printed at tiny sizes, displayed online, even embroidered, while retaining the beautiful detail and craft of the original Noble illustration. We also developed a brand standards manual detailing color, type, logos, and photography for Destination Beer’s public image. We look for ward to seeing the new logo in action as the campaign rolls out this year. The new logo and samples from the stan­dards manual are pictured below.

Hello Creative

Wednesday, January 21st, 2009

Steve Fischer at Hello Creative:

“Steve is one of those rare creative types who can use both hemispheres of his brain to create tight, outstanding illustrations–every time. His website speaks volumes about the quality of his work, so let me speak to the quality of his ethos: Steve is sharp, friendly and very professional. He pulls out the stops and delivers above-expectation results consistently. Thanks Steve!”

Hired Steve as a Illustrator in 2007 , and hired Steve more than once

February 15, 2008

Woodcut Illustration

Tuesday, December 23rd, 2008

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.

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.

Biography

Wednesday, December 3rd, 2008

Since graduating from the University of California, Davis in 1990, Steven Noble has  mastered a wide range of detail and style within the scratchboard medium and has become internationally recognized for his work from clients as far way as Japan to Europe. 

Over the years, he has become equally adept in the woodcut, pen and ink, traditional engraving and steel engraving styles, as well as a variety of stylized scratchboard techniques. His highly disciplined and complex line work is based on over 15 years of experience using X-Acto precision knives carved into pre-inked clay boards which generate very fine line strokes which allow a versatility in the detail from bold woodcuts to very fine traditional 19 century steel engravings.

Over the course of his career, he has created many nationally recognized logos and ad campaigns for a large list of prestigious and high caliber clients such as Coors (corporate/packaging logo), Exxon-Mobil (stock certificate), JP Morgan (annual report) and Mercedes-Benz (ad campaigns).  A lot of his expertise encompasses a large volume of subject matter that include food, portraits, animals, maps, architecture, and corporate conceptual images. 

In 2001, he won the “Meade Show Award for Excellence” for creating the best corporate conceptual illustration for an annual report for the Wet Seal’s 2001 Annual Report. In addition, in 1996 his work was recognized in the Communication Art Magazine for the best advertising spot for “Beaulieu Vineyards.” 

MTC’s 1994 annual report was one of Noble’s first assignments. In the ensuing years, his major projects/clients have included packaging and labeling for (logo) Annheiser-Busch, label illustrations for Sutter Home, Napa Ridge, Fetzer, Cakebread and other wineries; illustrations for Mecedes Benz; a stock certificate for the newly merged Exxon Mobil; posters for Union Bank of California; labeling for Tri-Valley Growers; package illustrations for Ore-Ida, Franciso Bread and Seattle’s Best Coffee; and advertising spots for Sees Candy. He also has done editorial illustrations for the likes of the Chicago Tribune. You can find more samples of his work at: www.stevennoble.com.

Steven continues to strive for excellence in his work and is always up for the next challenge. One of his last projects was a series of illustrations for the acclaimed Children’s book “Zathura” which came out (Fall 2005) at the same time as the release of the movie “Zathura”.