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.
This project focused on creating specific spatial effects through lighting. I built a model to given proportions and had to create multiple lids for it, which would mimic the effects of different treatments when lit from above by the classic architect’s desk lamp.
The first effect was “narrow, deep, and low,” seen in the feature image above. I used long, slender slits pushed to one side of the room, running front to back. This was to create a series of lines leading the eye deep into the space, which were all close together, leaving the other side of the room unlit, so that viewers would not notice that area so much. The slits were also cut so that on top, they were wide, and at the bottom they were narrow. This produced interesting patterns with the light source held at certain angles and distances. Very little light hit the ceiling, pushing it down.
The second effect was “wide, shallow, and tall.” For this one, I cut wide rectangles running across, and then built dropped reflectors that bounced light back onto the ceiling. One opening was specifically placed by the back wall, to make sure that wall was well-lit, bringing it forward. The wide bars of light running across the space made it look wider and shallower. The reflectors also created patterns of shadow when lit at angles.
The final effect was one of our choosing. I wanted to create a dappled light with different intensities, by filtering some openings but not all with translucent paper. The paper was also an openwork Japanese tissue, to further break down the light. Many small organic shapes were punched through the ceiling, and they created an effect somewhere between a disco and a forest.
In our art history course focused on furniture, we each did a presentation on a particular style or maker. I chose Charles Rennie Mackintosh because I had often heard of him but never learned much about his work.
We’d had a number of these presentations by the time I started work on mine, so I knew that I ought to spend minimal time on biographical details and focus instead on the themes in his work. I looked at huge quantities of photos, with a few sentences from the textbook to point me in the right direction, and from that developed an understanding of how Mackintosh’s furniture was filled with contrasts — light and dark, feminine and masculine, straight and curved — and how spare and Japanese it was by contrast with Victorian style.