Blue Microphones YETI PRO Fiche technique télécharger pdf (Page 2)

are well known: the Gama-Go Yeti is particularly well designed

and appears on everything from shirts to vinyl toys. I compiled

as many Yeti images as possible in order to not (ahem) ape

other existing Yeti.

It was now time to sketch.

Amazing as it may seem in this digital age, I began with a

pencil and a piece of paper, something no mouse or electronic

tablet has been able to improve upon. I started with what I call

the “Basic” Yeti, a somewhat bemused, friendly fellow that you

could bring home to mom. It took quite a few sketches to hone

him into what I saw in my mind to begin with, but he eventually

took shape and I scanned a rough sketch into the computer.

While I was sketching him out, other, more specialized Yeti be-

gan to form in my mind; these too would be sketched out and

digitized one by one.

With the Yeti now safely caged on my desktop, I simplied the

shape of the Yeti with a series of basic shapes, mostly com-

prised of circles, ovals and simple lineforms. All of this was done

in outline (wireframe) view. Much time was spent rening and

combining shapes until I had what I wanted, and along the way I

stumbled upon other shapes and patterns that would eventually

work their way into the other Yeti family members. It’s a mostly

intuitive process that I wish I could explain in words, which I’d do

if I could only spell, so it’ll have to remain a mystery.

At this point, with a few of the Yeti drawn in outline form, it was time to turn attention to the actual package. Blue’s

wonderful idiosyncratic approach to things is to develop a unique look for its products, from the actual design of the

mics all the way down to their packaging. Thus, no two Blue packages have the same look; aside from the Blue logo

and a blue-colored band running around the packages, there is no uniform series design look. This approach does

have its occasional drawbacks, but remains true to one of Blue’s founding principals, that every person has their own

unique individual style and sound.

Part of that critical identity to this or any other Blue product was to devise a

strong typographic quality to enhance the brand. Choosing the right fonts is

crucial to any project, and the process of spending hours reviewing different

typefaces is, well, dare I say it, fun (perhaps that’s why many designers are

single). Fonts are the visual equivalent of a box of assorted chocolates: sweet,

immediate, and a bit of a treasure hunt. It’s simply a matter of weeding through

all the bad ones and nding the gems. There are a lot of typefaces out there

and 90% of them are badly designed or won’t withstand the winds of time and

vagaries of style. And no two designers will agree on the

remaining 10%, prompting heated discussions at parties

— ultimately another reason why most designers are still

single.

The font chosen for the Yeti was the Pennsylvania font

family, designed by the Font Bureau in Boston. I was

drawn to it by the variety of weights within the family and

the way some of the lower case letters evoked a gure

walking upright, which was too nice a visual metaphor to

pass up. I went with a lower case spelling of Yeti on the

front of the box, as it was a visually friendlier way of introducing the product.

Capitalizing it was far too formal for a rst date with the consumer.

Next up: color. Yeti follows in the tradition of other recent Blue consumer product names with an arctic-like theme:

Snowball, Snowake, Icicle (we like to think of it as our way of combating global warming). Anyhow, these products

pretty much cornered the market in the blue color spectrum, so I gravitated towards a cousin color, teal. Aqua, if you

Yeti Outlines

yes

Virginia,

there is a

yeti

Pennsylvania

PMS 7466

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