CHAPTER 1 INTRODUCTION

Transcription

1 CHAPTER 1 INTRODUCTION 1.1 Background Ice cream is one kind of desserts that is very popular all over the world. Almost everyone in different parts of the world, from different ages, enjoy eating ice cream. In addition, almost every country has their own brand of ice cream, with refined different tastes. Cuthbert (2005) stated There is always a place for ice cream, regardless the weather, the temperature, the event, or time of year. According to Cuthbert (1976) Ice cream is a foam that is stabilized by freezing much of the liquid. In its frozen state ice cream is made up of some liquids containing dissolved salts, sugars, suspended milk proteins, and milk fat. The history of ice cream started in China. In the early 200BC it was recorded that the Chinese were eating a refreshing ice mixture. Then, the process made its way to India and Persia and brought to Sicily by the Arabs. In Rome, Emperor Nero ordered his slaves to go to the mountains and bring him snow on ice, which later were flavored with honey and fruits. In the seventh century, in the Arab continent, a crushed ice flavored with local fruits was found (Johns, 2008, p.7). Another source said that in the twelfth century Marco Polo returned to Italy with a recipe for Sherbet from the Far East after seventeen years of living in China and brought ice cream recipes from the land of the bamboo curtain (Winkler, 2003, p.12-16). Ice cream became known in Indonesia in the colonial era, since Indonesia had a lot of contacts with the European who came to Indonesia at that time. There were several ice cream businesses that lasted for a very long time in Indonesia and still survived until today. One of the oldest is Zangrandi, which is located in Surabaya, and was established 1

2 in 1930 by an Italian man named Roberto Zangrandi. It was then shortly followed by other ice cream brands. 2 Nowadays in Indonesia, there is a lot of growing ice cream brands, from local brands to international brands. The way of marketing the ice cream and the characteristics that is offered by each brand is different. In Jakarta alone there are several brands of ice cream that developed with age and has a high historical values, one of them is the Ragusa Ice Cream. Ragusa is a traditional Italian ice cream that was established in Indonesia since 1932 and is still growing now. It was first established in Bandung by Luigie and Vincenzo Ragusa, the two brothers from Italy who came to Indonesia in the colonial era. After seeing its market share in Bandung, the two brothers then tried to sell their ice cream in Jakarta, which turned out to be a success. That was the time when they found a place to sell their ice cream and finally rent a place at the 1 st Veteran Street. They built their first café, which later succeeded and still survives until now. 1.2 Problems At present, even Ragusa Ice cream is still known and loved by many, as evidenced from the crowded café every single day. The Tempo Doeloe atmosphere and delicious flavors of ice cream is the main attraction at Ice Cream Ragusa Place. Seeing the tremendous market share and good reputation of ice cream, with innovations that continue to be made by the manager of Ragusa Ice cream, it is not surprising that small businesses can become a success. But, unfortunately, as time goes on, Ragusa Ice Cream visual identity is not up to date and became unsuitable enough with the changes inside and outside the ice cream place. To corroborate with the statement above, based on the interview with the owner of Ragusa Ice Cream, it is known that when the logo was made at that time, they were not too concerned about the value of a brand identity and created a logo based on their needs and aesthetic beauty at that time. They did not anticipate the rapid development in design that now has become one of the essential needs to market a brand.

3 3 Typefaces are susceptible to become outdated, which accounts for the need of some graphic identity reinvention. The same as hairstyles and clothing, certain graphic styles also go out of fashion as quickly as they come into favor in a certain time (Budelmann et al. 2010, p.67). Nowadays, many logos are more simplified and minimal, stripped to just initials with no visual element, but they still qualify as logos. On the other hand, there are also logos that still maintain names that are set in types, with deliberate typographic styles consistent in all visual communication relating to the brand (Healey, 2010, p.7). In short, in the past there is no essential rules for logo, but as time changes there is a development of knowledge in the design industry, especially about how important a logo is to a brand and how it can be an identity to the brand, which can be an extra value to the brand itself. 1.3 Scope This thesis is limited to creating an alternative design of Ragusa Ice Cream visual identity with representative graphic elements. With limited times and budget the writer will apply a new visual identity into several essential medias to create a significant impact, which are related to the business and its activities. 1.4 Aims and Benefits Aims The aims of this research is to create an attractive and appropriate visual identity for Ragusa Ice Cream that can communicate with the younger generation customers, and yet still preserved its historical value, which is always remembered by the older generation customers. The visual identity will include representative graphic

4 elements and apply it into various medias related to the ice cream place business and its activities Benefits To make a visual identity that is able to make the younger generation customers of Ragusa Ice Cream feel connected with the brand. To make the visual identity as the spokesperson of the brand. Ragusa will be appropriately guided to implement their visual identity. 1.5 Structures CHAPTER 1: INTRODUCTION Chapter 1 consists of background, problems, scope, aims and benefits. The background explaining what is ice cream, the history of ice cream in general, and the short history of Ragusa. On problems, the writer gives a brief explanation of the visual identity problem. Then on the scope, the writer explains about the limitation on what the writer will do. Last, on aims and benefits the writer explains what is to be the aim of the project and its benefits to Ragusa. CHAPTER 2: THEORETICAL FOUNDATION Chapter 2 consists of a short theory of ice cream, then followed theory of brand, theory of brand identity, theory of logo, and theory of color, which comprises psychology of color and aspects of colors, afterwards it is followed by theory of principles of design, theory of design elements, and last theory of typography.

5 5 CHAPTER 3: ANALYSIS In Chapter 3 the writer first writes about the history of Ragusa, followed by its logo information, and the future plans of Ragusa. It is followed by vision and mission, target market, sampling method, and the survey results that the writer conducted beforehand. The survey results are followed by survey analysis and SWOT (Strength, Weaknesses, Opportunities, and Threats). Last is the alternative solution the writer can give to solve the problem. CHAPTER 4: STRATEGY AND APPROACH Chapter 4 consists of the communication strategy, creative strategy, objective, message, positioning, and also visual strategy, which will be divided into two parts: keyword and design. Last is the media strategy, where the writer explains and implements the alternative visual identity. CHAPTER 5: VISUAL DESIGN Chapter 5 consists of the creative process the writer went through to get the new visual identity, such as: brainstorming, mind map, mood board, hand-drawn sketches, and digital developments of the logo. CHAPTER 6: MEDIA PLANNING AND IMPLEMENTATION Chapter 6 consists of the planning and implementation of the logo through selected media such as graphic standard manual, menu, uniform, cutleries, equipments, signage, beverage coasters, take-away packaging, and website.

6 6 CHAPTER 7: CONCLUSION AND RECOMMENDATION Chapter 7 consists of the summaries of the work the author did for the past few months to solve Ragusa visual identity problem and its solutions. This chapter also contains a recommendation from the writer to Ragusa with the new visual identity.