This gallery contains 14 photos.
This gallery contains 14 photos.
After experimenting with different methods of representing scent visually, I settled on my tests with ink and water as the best representation what it seems like. I also liked the possibilities for including vibrant colours, which contrast with the harsh black and white of the image, showing the disconnect between a colorful life of scent, and the disconnect of missing that sense.
I emphasize this harsh feeling on isolation and being broken inside, I included various textures like rust, cracking off the page.
For my final design fer Lily’s Bar and Tea Room, I decided to stick fairly close to the original design, while trying to meld the elements of the tea, drink and music in a more complete way.
After talks with the owners, I decided to focus on the pub side of the bar, so I kept the image of the pint in the logo, and minimized the tea cup into a simple tea bag. Similarly, I felt that any attempt to include a fiddle in the design overshadowed the logo, especially if kept to scale with the pint. Using a bow instead of the whole instrument is far more elegant, and allows the focus to remain on the drink.
While I got rid of the teacup, I kept the circle theme as a colour accent, using purple as in the original design.
For my final design for corporate identity of the pub and tea room, I didn’t want to stray too far from the original design, to allow locals and recurring tourists to instantly recognize the pub.
I experimented with different ways of using the scenic location in the design, but I felt that in the end it overshadowed the logo itself and the pub, which is the main draw of the place, even over the music.
in my designs I wanted to incorporate the images of the tea and the music in with the logo, as in the original design they don’t blend together well.
I even considered using the Lily flower in my design, as the name is very unique. However, this could be a little too feminine and off-putting to older men if flowers are the main focus of the design. Whenever I see flowers as the main part of a design I automatically think of hair salons.
One theme that I noticed early on way the repeating circle patterns of the top view of a table, with the pint glass and tea cup resembling each other.
I added texture to my final logo design for a business card, to add a rougher artistic feel.
The card itself was designed to emphasize the colours in my design. I created a 3D model of the business card for my Editorial Book, but the resolution of the final render was far too small.
A difficult question for any designer to attempt to answer is this; “What is Graphic Design”, and the answer is..that there is no answer. The nature of design itself is that it changes with the times, evolving and adapting to fill new purposes as society develops. Graphic Design can be thought of as one of the true universal languages, a form of expression that transcends language barriers and culture – communication in its purest form. Using symbols as language has been used by humanity for longer than word themselves, crude carvings on stone walls, simplified for clarity, which were used to record information long before the advent of paper.
Design today is a mish-mash of elements from throughout history, with print, and later the computer industry driving designers onwards to new places in their efforts to communicate. Innovations in technology meant that type, photography and texture could be blended seamlessly, and the designer was no longer limited. As technology became more and more ubiquitous, graphic design became increasingly important as a bridge between programmer and consumer, with designers branching out into so many different areas that they blend into the background of everyday life. Magazines, books, signs, instructions, websites, search engines, mouse pads, dog toys.. all have been designed to fit their purpose perfectly. Over the years we learned how design can influence people on a subliminal level, revolutionizing the marketing industry with new ideas about how perception of a product can influence people without them knowing. A well designed piece will set a tone that can be read without words – just a glance and we know everything that needs to be said. Such is the power of Graphic Design
Because I want my design for the Editoral Spread to be illustrative, I began looking into possible visual representations of smell.
I really liked the idea of representing the coldness and disconnect the interviewee feels with no sense of smell by drawing an anatomical diagram of the nose on a photo of his face. Anatomy diagrams are stark, simple and without sentimentality, and thy fit with his own questions about which part of his sensory system doesn’t work.I was disappointed that this had already been done but I still think its worth some experimentation.
I also love the idea of using inks as a visual for the scents themselves, as the effect is smokey and mysterious, must like how my interviewee sees it. As well as adding a layer of unpredictability to the design, this method also has the potential to add vivid colour to the design, perhaps in contrast to a highly exposed black and white figure to represent the world he is missing out on.To see whether this idea could work in the way I imagine I took reference photographs of ink dropped in a clear glass of water, to try to capture the ink in motion