THE ROLE OF GRAPHIC DESIGN ON OLIVE OIL CONSUMPTION

INTRODUCTIONDespite the Olive Oil branch is symbolized the Peace all around the World, in the olive oil sector the argument are not finishing. Turkey is the most im-portant producer in the World, but Turkey struggle with the problem of con-sumption and exportation.

The aim of the thesis that is to handle the olive oil sale rates how effect-ing on the graphic design.

Turkey is the fourth biggest olive oil producer in the World and the hometown of olive oil, unfortunately the consumption is very weak and poor. Everyday tons of olive oil is produced and exported, but just 1 kg olive oil fall per person in a year in Turkey. At the coast of Turkey has the most consump-tion like as Aegean Sea, Marmara, and Mediterranean Sea. Because the olive trees commonly bring up here, therefore the production and consumption proportion raised high. The Olive oil culture does not spread more in east of Turkey. So the food culture of West and east different from each other.

For this reason I aim to process a general information about Olive Oil, benefits, sharing the problems of olive oil on Graphic Design according to sale rates, and geographical values in Turkey.

I deal with the case study of Tariş and Verde. I lay out a short history and the role of design both Tariş and Verde. Also I compare and contrast between Tariş and Verde differences, similarities, defiance and redundance.

The analysis based on comparison will be significant in deter-mining design needs on the packaging of olive oil to increase the sale rates in Turkey, specifically on olive oil , identity based products and designs. I would like to propose methods, which may be efficient to increase the sales rates and exemplify this with the branding I par-ticularly designed for “Verde.” According to increased consumption and sale rates in Turkey, my target audience is upper-middle class Turkish public between 25 –60 age groups, mainly graduates of high school, university and take care of their health.

In Summary, present my project which is redesigned the exist-ing company identity “Verde”. I hope the new identity design are beneficial for increasing the sale rates and become prevalent the ol-ive oil in Turkey.

THE ROLE OF GRAPHIC DESIGN ON OLIVE OIL CONSUMPTION

Deniz KuruCourse Coordinator : Alessandro Segalini

IZMIR UNIVERSITY OF ECONOMICS, FACULTY OF FINE ARTS AND DESIGN

DEPARTMENT OF VISUAL COMMUNICATION DESIGN

SPRING 2009, GD494

08-09 GD494 GRADUATION THESIS 2

CONTENTS

INTRODUCTION

TABLE OF CONTENTS

CHAPTER

1. HISTORY OF OLIVE OIL

2. PROPERTIES AND BENEFITS OF OLIVE OIL

3. THE CASE STUDY OF TARİŞ

3.1 A Brief Historiography of Tariş

3.2 The Role of Design in Tariş

4. THE CASE STUDY OF VERDE

4.1 A Short History of Verde

4.2 Verde in the World Markets

5. A COMPARATIVE GRAPHIC DESIGN ANALYSIS OF TWO DIS

TINGUISHED OLIVE OIL BRADS: VERDE AND TARİŞ

5.1 Finding Solutions for New Identity Design

CONCLUSIONS

REFERENCES

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HISTORY OF OLIVE OILHomer is a poet who lived in ancient Greece. He called the olive oil (fig 1) as ‘liquid gold.’ In B.C. athletes who lived in Greece rubbed their bodies with oil for their custom. Also olive oil trees are very holy for them such as they used it when their funeral ceremony. Body of Saint and martyrs are washed by using olive oil when they were dead. Olive oil is not only used for food but also it has been medicinal,magical,an endless source of fascination and wonder and the fountain of great wealth and power. The olive tree, symbol of abudance, glory and peace, gave its leafy branches to craown the victorious in friendly games and bloody war, and the oil of its fruit has anointed the noblest of heads throughout history.olive crowns and olive branches symbolized of benediction and purification .

Olive culture has ancient roots. First olive fossil was found in Livorno(fig 2), dating 20 million years ago. Beginning in 5000 B.C and until 1400 B.C. ol-ive cultivation spread from Crete to Syria, Palestine and Israel. Commercial networking and application of new knowledge brought it to Southern Turkey, Cyrus and Egypt. With the expansion Greek colonies, olive culture reached Southern Italy, Northern Africa and spread into Southern France. The help of the roman rule Italy had excellent olive oil by the first century A.C. For the rocky Greek countryside and hellenic society olive tree was sacred who cut one down were condemned to death or exile. The belief that olive oil conferred strength and youth was widespread. In ancient Egypt, Greece and Rome produced olive oil for their cosmetics and aromatics (fig 3).

Olive trees despite harsh winters and burning summers, despite chop off, they continue to grow, bearing fruits. Temperate climactic conditions, characterized by warm dry summers and rainy winters, favor plentiful harvest,stone,drought, silence and solitude are ideal conditions for the olive tree. Italy and Spain are now the most productive producers of olive oil, al-though Greece and Turkey are still very active. There are about 30 varieties of olives growing in Italy today.

PROPERTIES AND BENEFITS OF OLIVE OILAccording to the scientific researchs, the beneficial effects of consuming olive oil are backed by lengthy. Per 1 gram the energy value is 9 calories. But metabolism of each diffrent group differs greatly from the rest. Olive oil contains a series of compounds that are very beneficial to most function of the human body.

While animal fats are fundamentally made up of saturated fatty acids also olive oil has a low percentage of polyunsaturares (fig 4). They are thought to be less harmful to your body then other fats. This is important because these kind of fatty acids can not be synthesized by the body.

Extra-virgin olive oil is the most digestible of the edible fats and:It helps to assimilate vitamins A, D and KIt contains essential acids that cannot be produced by our own bodiesIt slows down the aging processIt helps liver and intestinal functions.


1. Olive oil is a fruit oil obtained from the

olive, a traditional tree crop of the Med-

iterranean Basin.

2. Livorno is a city in Italy.

3. Olive oil is a natural source of beauty

and life. During the Homeric era it was

used exclusively for the care of the

body. When he arrived shipwrecked on

the island of the Phaeacians, Odysseus

dusted himself down and then oiled his

body wittpodrome races were awarded

prizes of olive oil. The ancient Greeks

believed that olive oil made wrinkles

disappear and delayed hair loss. The

athletes would smear their bodies

with large amounts of olive oil before

competing, as would warriors before a

battle.

4. Polyunsaturares are types of animal or

vegetables fats are used to make cook-

ing oil and margarine.

The ancient Greeks were in the habit of consuming 1-2 spoonfuls of ol-ive oil every morning. It was a matter of hygienic practice which helped deal with simple chronic constipation and with stomach ulcers. Now, in spite of the advancements in modern medicine and pharmacology, this practice is recommended for its positive influence on the digestion.

It is noteworhy that olive oil has a beneficial effects in the dietary treat-ment of diabetes. In addition it helps control blood pressure and increases the bone mass. It is believed that olive oil has a favorable effect on the develop-ment of the central nervous and vascular systems, in brain development as well as normal child development. Another important benefit of the olive oil facilitates the cleaning of the gull-bladder. (fig 5)

The humanbody is easily absorbs olive oil. This means that the body absorbs the good ingredients such as vitamin E, phenols and other antioxiz-iding substances. They protect the humanbody from the negative effects of free radicals. Olive oil contains a high percentage of phenols and vitamin E and as a result help delay the aging process. Olive oil consumption has a very possitive effects on blood cholesterol.Olive oil limits the oxidizing the bad cholesterol because it is rich in anti-oxidizing. When heated, olive oil is the most stable fat, which means it stands up well to high frying temperatures. Its high smoking points (410 F) is well above the ideal temperature for frying food (365 F). The digestibility of olive oil is not affected when it is heated, even when it is re-used several times for frying (fig 5).

It is known that populations with Mediterranean lifestyle and habitually use olive oil as their primary source of fat for cooking and dressing foods live longer, healthier lives. Researches are beginning to focus on some of the oth-er elements in olive oil, elements that are similiar to anti-cancer compounds found in some fruits and vegetables. Olive oil does appear to have role not only in combating heart disease but also in the control of excess weight, diea-betes and in protection againist some of cancer.

Now, this does not mean that adding olive oil to a bad diet will make you healty but cutting fat intake, limiting animal fats and using olive oil as primary source of dietary fat, along with a diet rich in fruits, grains, legumes and vegetables accompanied by a regular physical activity will enhance health (fig 5).

THE CASE STUDY OF TARİŞ A.Ş.A BRIEF HİSTORİOGRAPHY OF TARİŞ

Tariş was founded in 1915 by local fig farmers to by-pass foreign merchants and loan sharks for the purpose of sell their products directly to the international and national markets. Tariş is the first and the biggest Union of Agricultural Producers (fig 6) and Sales Cooperatives in Turkey. Union of Agricultural Producers and Sales Cooperatives attended Tariş in 1937 and also Union of Cotton, Olive and Olive Oil Producers and Sales Cooperatives attended Tariş in 1949. Tariş is to active with fig, raisin, cotton, olive and olive oil agricultural sales cooperatives in 1965 locations in Aegaen and Marmara region and with more than 127.900 producer members in Turkey. Them main goal of Tariş is to act as a cooperative union through which the rights of producing members are protected. Dried figs to olives and olives oil, from vinegar to soaps, deter-gents and agricultural textile products are the range of Tariş products.


5. www.olioeolivestore.com/properties-

benefits.html

6. The Central Union of Agricultural Pro-

ducers and Forest Owners (MTK) repre-

sents an industry that uses renewable

natural resources in a sustainable and

economical way.

According to Can Özcan’s analysis ‘Legal Framework for Cooperatives’ can be dated back to the first law of cooperatives in 1867(fig 7). This law was replaced with a new one in 1923 in the Republican era. Following the 1929 World Economic Crisis, a new law of cooperatives was issued in 1935. With this law, Tariş was put under government control in financial and administra-tive sense and started acting as a government agent. Since 1935, Tariş has been instrumental in the implementation of the ‘Price Support System’ (fig 8) in which the commodities of the member farmers are bought at pre-determined prices that might not be same as international market prices. The ‘Prices Sup-port System’ was an essential part of the Turkish agriculture policy for the last 60 years and was financed by publicly-owned banks.’

Even though the largest and successful examples of Cooperative Union (fig 9) in Turkey is Tariş, the corporation has some structural problems as a result of its administrative and financial dependency on the governments. Since the early 1950’s Tariş’s management has been effected directly by daily politics. As a result of abortive use of public funds and loans, Tariş has also had a significant problem of dept for years. In summary, the problem of inflexible and bureaucratic corporate culture was faced Tariş, too many and unqualified employees, logging production technology, production-orient management structure, limited distribution network and relatively high operational costs.

In spite of its well-established research and development capabilities since the mid 1980’s, high product quality and appropriate prices of Tariş, in the Aegean region a locall brand known mainly was entered the 1990 by Tariş. A clear corporate identity and strong and brand awareness was lacked by Tariş in the Turkish Olive Oil market. In this period Tariş needed re-structuring, but little part could be done as a result of its heavily bureaucratic structure. By the way, during the 1990’s the Turkish olive oil industry starts to experience some changes. In his research on Tariş as a brand which benefited from design processes Can Özcan claims that ’restructuring of Tariş became possible when the International Monetary Funds (IMF) forced the Turkish Government to restructure fiscal policy towards the agricultural sector in 2000 with a new law passed in June 2000 ‘Price Support System’ ceased to exist and Unions of Cooperatives gained administrative autonomy from the government with administrative autonomy, government financial support was also with-drawn and Tariş has been left to survive on its own in a market economy.

Response of Tariş Olive and Olive Oil Agricultural Sales Cooperatives Union to these new developments (fig 10) has been to conceive a new strat-egy.

In February 2001 Tariş Zeytin A.Ş. is founded to market the products of the members Tariş Olive and Oil Agricultural Sales Cooperatives Union which is the most important instrument new strategy of survival. The opin-ion of the company was as a dynamic and creative producer of olives and olive oil to found Tariş as a brand in national and international markets. The main aims of Tariş Zeytin have been to produce and natural and healthy products, to protect the tradition of quality, to maintain the cultural heritage, to protect the environment, to follow the technical investment and to make high quality Tariş Olive products available in national and international markets.

Tariş Zeytin A.Ş. constituted a flexible and motivated team who are cre-ated a strong IT ( fig 11) infrastructure to use the web technology effectively and developed a new marketing strategy for Tariş Olive and Olive oil prod-ucts in which the strategic use of design played an important role.


7. Agrindustrial Design 1st Product and

Service Design, Symposium and Exibi-

tion on Agricultural Industries: Olive

oil, Wine and Design

8. The effects of Supporting Systems

on production, consumption, foreign

trade and welfare were analyzed and

compared by data compiled with in a

five year period.

9. A co-operative federation or secondary

co-operative is a co-operative in which

all members are, in turn, co-operatives.

Historically, these have predominantly

come in the form of co-operative whole-

sale societies, and co-operative unions.

10. administrative regulations, fiscal dis-

cipline imposed by IMF increased com-

petition and internal problems etc.

11. Information Technology

THE ROLE OF DESIGN IN TARİŞ A.Ş.

According to different market research sources in the Turkish market the sec-ond or the leader olive oil company has been Tariş Zeytin A.Ş. In the last two years Tariş’s market share has doubled and beyond the market average, Tariş is the only and fastest growing olive oil company. Since its establishment in 2001, Tariş Zetin A.Ş. has distributed their olive products in the nation-wide. They present themselves in major supermarkets such as Carrefour, Real, Mi-gros, and Metro, the diversification of its sales channels, law cost but infor-mative promotional campaigns about olive oil and Tariş, the diversification of export markets, diversification then into organic, natural products. Today, Tariş which 1.952 retail sales points, 85 % of the olive oil sales take place from in large super or hypermarket chains and 53 wholesales dealers throughout Turkey Tariş also export their products to 30 different countries where are in-cluding retail sales points in Ramstore chain in Russia, Kaufhoff retail chain, Germany and its sales corner in Harrod’s, London in the UK. A franchising chain had also began operating by Tariş with special ‘TA-ZE’ concept olive, olive oils shops in Izmır, Istanbul and Chicago in the USA. Additionally, Tariş Zeytin A.Ş. also began online sales of more than 200 olives, olive oil and related products and the web site won national and international design awards. World Bank acknowledged the Tariş as one of the best practice of Union Company which examining resemblances or differences the other Turkish cooperatives in terms of growth and profitability. Strategic design had an important role in these success by recreating and coordinating Tariş brand identity at different levels. With a market share of % 26, Tariş moved up to the second place from the fifth one in Turkish olive oil market, in spite of the better market penetration of the market leader (Unilever Group). Ac-cording to Can Özcan’s analysis, ‘ in extra virgin olive oil sub-category, Tariş caught up with the market leader in October 2002 since financial figures from 2001 conceive that Taris Olive and olive oil Cooperatives Union with their new strategy implemented by Tariş Zeytin A.Ş. which has increased their profitability and made important progress towards a self adequate, competi-tive existence in a market environment. The positive performance of Tariş Zeytin A.Ş.. Brand awareness of Tariş had also contributed with packaging design and Tariş increased significantly in big cities where health awareness new olive oil consumers are concentrated. Today, Istanbul, Izmir and Ankara is the there big cities where sharing the Tariş. The design strategy of Tariş is especially concentrated in extra-virgin olive oil segment and through design the identity of Tariş and olive oil is more strongly affirmed.

In the case of Tariş design has been massive in these successes. A design consultant based in Istanbul which has worked shortly with the top manage-ment of Tariş Zeytin A.Ş. in Izmir. The most important success of Tariş is to the strategic use of design by top management’s commitment. Design deter-mination has not been evaluated as responsibilities at tactical or operational levels, but at the highest strategic level.

Design has been one of the most important changes of top management, which is a unusual case in Turkey in many other countries. Tariş identity in products and packaging, specialized retail shops, purchasing points, web sites and advertisements have been to recreate, the specific mission of design Tariş. The strong Mediterranean identity of olive and the historical roots of Tariş in





oil, Wine and Design, Can Özcan

13. www.ta-ze.com.tr

the Aegean region had been based on by design strategy. According to Can Özcan analysis;

• Tobuilda corporate identityon theexisting foundationsofTarişhistory and quality

• Tocoordinatecommunicationwithconsumersandthepublictoin-crease the brand awareness of Tariş in the Turkish market

• Tocreateenvironmentsthatstimulatespecificretailingexperiencesfor olive products.

• Todevelopnewandvalue-addedoliveproductswithdistinctiden-tity.

In short, design has been used strategically in Tariş Zeytin A.Ş. to re-in-stallment the company and their products competitively in the Turkish olive oil market and support their export in the international markets.

The situation of Tariş nonetheless is with their limitations. All competi-tors practically have started using design in their product packaging and com-munications after Tariş’s striking achievement in domestic market. Practically all brand and companies are increasingly active which is now one of the ex-tensive fields of competition. Since the extra virgin olive oil segment get in to the market where consumers from upper income levels are targeted with the different competition are increasing their design standard elements in the market, it is to be difficult for Tariş acquainted as a competitive tool by its main competitors.

Tariş have depended on the Turkish packaging industry’s existing capa-bilities for new product design and developments. The main design elements of olive oil markets are glass containers in packaging. Tariş is satisfied a con-stant needed by using innovative packaging design in domestic and interna-tional markets. Tariş also uses different and impressive glasses and ceramic containers. Such requirements need a strong packaging system. Unfortunate-ly, Turkey has a weak image as a producer of olive oil between Mediterranean countries. Tariş must be supported packaging design to disappear their poor image in domestic and international markets.





oil, Wine and Design, Can Özcan

13. www.ta-ze.com.tr

THE CASE STUDY OF VERDE A.Ş.A SHORT HISTORY OF VERDE

The olive oil company titled Verde belongs to the Ulukartal family (fig 14) who has been actively serving to the Turkish food industry since 1928. Their branching in the olive oil sector is a continuation of their family history and tradition of providing finest products for both to Turkish and global consum-ers. The Verde is the trademark of a product with a rich history and also an es-tablished brand in Italy. The Ulukartal family secured the brand name Verde from its Itallian owners for 49 years. The Turksih Verde A.Ş. today is becom-ing one of the leading establishments in the Turkish food industry (fig 15).

Verde A.Ş. continues this tradition of fine quality, tasteful Mediterra-nean products produced by the Ulukartal family. The company’s attention to the quality of the products as well as sustainability as it is registered in their Italian counterpart is supplied with their awareness to the importance of hy-giene and health. Today the company sets the standards for the local market and even globally (fig 15).

Verde’s olive oil production center is in company’s own facility in Izmir Torbalı, where the most current, state of the art technology is used. Olives are collected from the healthiest groves in the Ayvalık, a distinct in Aegen region also famous for its produces of the highest quality olives that are grown in Turkey. Within 24 hours of harvesting the olives are being pressed at the fac-tory using the Pieralisi cold press method. Each day, approximately 150 tons of olives are pressed resulting in a yield of 30 tons of olive oil. This high qual-ity Verde Olive oil is bottled for local and foreign markets (fig 15).

Verde A.Ş. has total storage capacity of 1000 tons of olives oil in stable, underground air-conditioned facilities of stainless steel storage tanks. These stainless steel, chromium nickel storage tanks were specially produced for Verde A.Ş. The production and bottling lines as well as the storage tanks are nitrogen flushed to remove oxygen from exposure to the oil. The results are fresh, high quality oils that retain their aroma, taste and healthful properties until the day that bottles or containers are opened for consumption (fig 15).

To present the high acidity oils to the consumption, Verde has a Refin-ery plant with capacity of 80 tons a day physical and 120 tons a day Chemical refining, 200 tons a day in total. With these capacity, Verde’s refinery decreas-es the high acidity oils to consumption-qualified olive oil (fig 15).

Verde A.Ş. has storage supplies for 3000 tons for unrefined olive oil and refined olive oil with a serving total storage of 4000 tons. Verde also exports refined olive oil, besides supplying both to local and global markets by mixing it with natural olive oil in different percentages which determines the purity of the Olive Oil distributed (fig 15).

The quality control department of Verde has ben using the most up to date technology laboratory that is able to analyze all the providing param-eters of IOCC, COI, EC and TSE (Turkish Food Codex) which also has the sufficiency Certificate for Trade Appropriateness accredited by Turkish Stan-dards Institute. Verde A.Ş. has given the honors for being the first Turkish ol-ive oil producer to export its own olive oils to the US, Argentina and Australia its own trademark (fig 15).


14. Ulukartal family had began as Kartal

and Pastavilla pasta in pasta sector in

1928. They sell the Kartal pasta to Koç

group and has been actived olive oil

sector with Verde in 1996.

15. www.olioverde.com.tr

VERDE IN THE WORLD MARKETS

Experienced Verde quality experts follow the growth and development of the olives on the trees throughout the year. When the olive fruit ripens in the fall, these olives are harvested hand picked to prevent bruising and damage. These select olives are gathered carefully and fastidiously and transported to Verde’s modern production facilities.

Verde’s processing plants are the highest quality available in Turkey to-day, meeting or exceeding all international standards for the local market and abroad. With the traditional cold press method Verde Olive Oils are extract-ed without any additives or heat. The pressed oil flows into nitrogen-flushed storage tanks and bottling lines where it is never exposed to air or human contact. The system for Quality Control followed all oils and under the stan-dards set by the International Olive Oil Council (IOOC) produced all oils. All of these process, which Verde Olive Oils go under reserve the company a fair share and a distinguished representation with their natural produce in to the world’s culinary traditions.

People who enjoy and prefer the natural and quality olive oil through-out the world prefer Verde’s olive oils especially to ones who think taste and health matters the most. Verde Olive Oils rank second to none in all major olive oil consuming countries including United States, Italy, Spain, Canada and Far Eastern Countries (fig 16).


15. www.olioverde.com.tr

16. Verde Yag, Bessin Maddeleri San. ve

Tic. A.S., Ahmet Hamdi Karaalp, Do-

mestic Sales Manager

A COMPARATIVE GRAPHIC DESIGN ANALYSIS OF TWO DISTINGUISHED OLIVE OIL BRADS: VERDE AND TARİŞ It is relatively difficult to make a comparative analysis between the graphic design productions of Tariş and Verde. While Tariş is a public corporation that has financial and structural problems, Verde is a private company with strong finances. When Tariş first introduced their product their networking was not sound enough and therefore the corporation was not able to spread. After they applied a make over in redesigning all of their products, their new “face” brought an immediate attention through out the World, hence their networking has been improved ever since. Despite Verde is a newly estab-lished company, they have sound networking globally and well-endorsed funds. Both companies produce their products in the facilities using the state of the arts technology and with highest quality.

From a graphic design perspective both Tariş’s and Verde’s logos do not signify that they are in the olive oil (as well as its side productions) business. The logo of of Tariş seems like it belongs to a communication company. Logo of Verde look like a company who produces jams or even biscuits. Tariş uses strong and bold line in their logotype, which does not represent the softness and elegance of olive oil. the usage of the color red in the logo might be eye catching, interesting and even charges the appetite of the consumer, but still far from what an olive oil company should be recognized with (fig1). Also Verde has been using softer lines than Tariş. But also the typeface does not indicate that it is a worldwide company which trades olive oil. Verde also has been used the color of red in their logo. The usage of the red color might evoke smilar affects in the consumer as with the case in Tariş’s logotype. Fur-thermore Verde uses yellow in the typeface which can be referred the oil, but not olive oil (cap 1). However both logos do not to represent the olive oil, which is a major problem of these two pioneering companies in the olive oil sector.

When considering the design for product label Tariş has been using il-lustration on their labels. Each product label is different from one other be-cause of the specific features of the product. The illustrations of Tariş prod-ucts are successful one from the other. Product coloring has been considered to depend the product feature. The good solution to represent the product in their feature. For example; one of the product name “ Erkence” which is early harvest. While it is green, it is picked with hand on their branch and it is directly squeezed which is not kept waiting. They have been used the tons of soil on “Erkence” product labeling because of the feature. And the other product example is “Olgunca”, which is a natural Sızma olive oil. It is because of the purple and red olives as they are crushed with water which does not


Cap 1.Tariş and Verde Logo

exceeding 30 %. They have been used the purple and red tons on this labeling. Many products of Tariş are well designed to considering the product feature using illustration. These well-designed products definitely increase the sale rates.

On the product labeling Verde does not have a “designed” item. The representation of the product is supplied by a figure depiction of olives and branches from an olive tree. They have been used the same figures on all of the labels of their products without marking their difference as it is in Tariş’ case. This shows that is they have not even considered graphic design as a marketing strategy on their products.

Many studies state that the consumer is attracted to well designed products. With Verde however, not having a fine strategy of marketing especially not having a graphic design team to emphasize the uniqueness of their products creates their problem especially when the sales rates are considered with Tariş’ products. Therefore, in taking the case of Verde I aim to redesign all of the graphic design elements in their olive oil products of Verde, which may be used towards increasing their sales rates in Turkey. My application will also include several printed materials to promote Verde products such as bro-chures and catalogs need to redesign.

FINDING SOLUTIONS FOR NEW IDENTITY DESIGNMy contribution is to redesign their logo, product labeling, a brochure, and a catalog. Because Verde needs a redesign all of the graphic design elements in their olive oil products of Verde.

First, I began to design a new logo for Verde. When designing their new logotype, I considered referring the olive oil and to attract the consumer who doesn’t know which one to choose from the market shelf. In the redesigned logo, I employed the font of Aubrey and work on it to create good sense of space within the word Verde. I fixed the letter by my self and added serifs that refer the olive oil branches. At the background of the typeface, I used a form resembles to a slim woman’s body which looks slender and elegant (cap 3).


Cap 3. The Redesign of Verde Logo

Cap 2.Existing Verde Logo

For product labeling, I designed illustrated forms for each product which has its own feature signified with a color and the use of the illustra-tion (cap 5). I design the label for the olive oil titled “Erken Hasat” thinking of the product’s initial feature which is its being harvested early. It is green, therefore means it is hand picked from the tree and it is directly squeezed and not kept waiting. Therefore, I used the olive branches, olive tree on the label. And I choose the shades of soil because of the natural quality of the product I think designing different labels and in different style, which also communicates to other products with the logotype and color, would be an element of attraction for the consumer. The other product is “Extra Virgin” which does not to use any chemical in its process. It is hand picked as with “Erken Hasat”from the trees and after harvesting it is squeezed in the first 24 hour. Because of that I designed the label like the contours of a woman’s body in order to represent the purity and elegancy. I used illustrations of olive oil tree and its branches. The important feature of this label is that the label is designed to be transparent and the product is entirely visible from the clear bottle. The shape of bottle also conveys the features of a woman’s body. And I also designed a special product for Verde. The title for this special product is “Organic Olive Oil,” which is produced organically. To represent the idea of organic agriculture I used the color of green. The shades of green fit best in representing an organic produce. I maintained the style in using the tree branches as illustrations also uses the forms of braches with in illustration. In order to emphasize the uniqueness and the quality of this rare product I designed the logo with the shades of gold.


Cap 4. Verde Products

Cap 5. The Redesign of Labels for Verde

For the cover of the brochure, I employed the illustrations of branches as I used in the labels and followed this sequence in each design. Inside the brochure, I took photographs that would advertise the products and intro-duce the products with texts (cap 6).

For the cover of the catalog , I picked and applied a different color, with several shades of red. I also designed the illustration of trees and branches. Inside the catalog I took product photography and introduced each item with text including a short history of Verde and information where to find Verde products in three different languages (cap 7). With these solution the Verde A.Ş. should increase their sale rates both in Turkey and the World.


Cap 5. The Redesign of Brochure for Verde

Cap 5. The Redesign of Catalog for Verde

CONCLUSIONThis thesis allowed me to strengthen my design process. My aim writing this thesis is to demonstrate the research process and design process in redesign-ing an olive oil product’s elements for graphic design. I intended to research and generate a solution to Verde’s olive oil sales with the help of graphic de-sign. I redesigned the logo, the label, the brochure and the catalog with an emphasis on color and shape for their relationship with the specificities and the quality of their products.

After observing the lack of differentiation in Verde’s products, I realized that each olive oil company needs to have a different and custom identity (graphic) design. The company should keep the customer’s in mind when they are attempting to design their products. The graphic design is an impor-tant tool to be used in order to attract the attention of the consumer.

Therefore, to conclude since their product is already superior in terms of quality the best way to increase the sales for Verde Company is to apply-ing the redesigned logo, label, brochure and catalog, which was created with an emphasis on colors and shapes, which are inspired by and represent the features and the quality of their products.


REFERENCESVerde Yag, Bessin Maddeleri San. ve Tic. A.S., Ahmet Hamdi Karaalp, Do-

mestic Sales Manager

Agrindustrial Design 1st Product and Service Design, Symposium and Exib-tion on Agricultural Industries: Olive oil, Wine and Design

IOOC, (2005) International Olive Oil Council

TARİŞ (1993) History of Tariş, Türkiye Toplumsal ve Ekonomik Tarih Vakfı, İzmir

Price Support System, http://sosyalbilimler.cu.edu.tr/tez/814/

Corporate Union, http://en.wikipedia.org/wiki/Cooperative_union

h t t p : / / w w w . c h e f s - h e l p . c o . u k / m e d a r t i c l e .

php?narticle=3&section=Olives

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THE ROLE OF GRAPHIC DESIGN ON OLIVE OIL CONSUMPTION

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