This was our last project for graphic design, and was due after our studio project, so truthfully most of the work was done in one day, although the logo ideas had been brewing for most of a week. I was one of perhaps three people in the class of twentysomething who did NOT present initials or logotypes. This is what happens when the professor gives a due date after the studio due date: everyone is half-dead already and feels lucky to have come up with anything to hand in at all.
I had noticed that the owner Claudie St-Arnaud liked playful designs from the inspiration file she sent us, and so I created visual puns, used bright colours, and chose more rounded, friendly sans-serif fonts. There are indeed gun/bullet references: a very typographical bullet from a C and an asterisk, and another logo that clips a section of a woodcut-style illustration of a revolver until it looks almost abstract.
The best way to see the work is to go see the slideshow (opens in new window) at my Flickr account.
For our retail studio, we were given a 4600 sq. ft. leasehold (mall or streetfront as appropriate), and asked to find a cutting-edge international fashion designer and create a boutique for them. This was a special challenge for me, because I have never been interested in fashion because most haute couture is so unwearable on my frame. I looked at designers from Korea and India especially, and settled on Anand Kabra as my designer of choice. The boutique’s design was to reflect the future direction of our designer’s three most prominent design elements. In my programming, I analyzed Kabra’s past work, the characteristics and demographics of my King’s Road site in Chelsea, London UK, and the needs of the store.
See the programming report (PDF 9mb).
For Project Management 1, we needed to survey the class and create infographics for favourite activity, languages spoken, and favourite colour. Having read some Edward Tufte, I thought this was good fun, aside from the surveying part, so I made a deal with a classmate that I’d do some proofreading, and she would survey people.
Here are the results:
Step inside the Tesla, and step sideways in time to visit a world where steam technology is common, but so are clockwork cybernetics and aetheric transference of matter not only to other continents but other universes. Dance under the light of a forty-foot high array of plasma lamps and drink absinthe or phlogiston cocktails. Step into a steampunk world where history, technology, fantasy, adventure, and mad science mingle.
The Tesla is the fruit of my hospitality studio project, where I was asked to program, plan, and develop a five-star themed venue with restaurant, nightclub, and exhibition space, in a major city anywhere in the world but North America. The concept had to be cutting-edge, integrate modern technology throughout, and cause guests to be educated as well as entertained by their visit. And so, given license to do anything I wanted, no matter how wild so long as it was commercially plausible, I decided that I wanted to do something steampunk. I’m a life-long science fiction and fantasy fan, and even more so for alternate history, especially with fantastical elements. Steampunk hits every one of those buttons and then some, because I also love Victorian tools and Art Nouveau, and steampunk covers them too. If I was going to design a club, it was going to be one that I wanted to attend.
This was my first serious try at colouring an image in Photoshop, and I am delighted with the results. The original pencil sketch shown below is by Makani.
A concept board for a bar called Lawyers N Love (not my choice of name), which includes a rendered perspective and a concept statement. I saw it as being sleek, modern and warm, despite the chrome furniture, thanks to the warm dark wood, raspberry walls, and creamy white leather with a very natural texture. I wanted the barstools to resemble marshmallows, and choose classic Le Corbusier furnishings to match them.
The perspective is based on a model I created in SketchUp (24mb). Once satisfied with the arrangement, I exported an image of a particular view. From that, I edited it in stages to first remove unnecessary lines, then create the many complex selections required, and finally coloured and lit the perspective.
See the work:
- Work-Research binder for the Loft Full of Curves (PDF, 3 mb)
- Final CAD drawings of the loft (AutoCAD 2004 DWG file, 254 kb)
- Client booklet and renderings on Flickr:
The loft full of curves is the result of our Design Project I course. The goal was a from-the-bare-concrete renovation for a Westboro loft apartment. The client was John Spencer, a senior designer at William McDonough + Partners. As a single man in his 40s, he needed space to live, work, and entertain, but wanted to avoid walls. He insisted on at least 30% sustainable materials, enjoyed transparent materials, and hoped for minimal use of colour, and space to display his art collection. Continue reading