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To design is to create effective solutions to problems by evoking an emotional response among audiences while maintaining aesthetic appeal.

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As a designer, I strive to produce work that allows people to gain perspective by applying values and principles that are all-around positive. I create with a contemporary flare, maintaining mindfulness and creativity as well as aesthetic appeal to achieve a dynamic outcome.

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1. Modern
2. Playful
3. Colourful
4. Bold
5. Delicate

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'Haters' from 'A Poster Every Day' by Magdiel Lopez (2017)

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Style: Surrealism and minimalism

Lopez's series 'A Poster Every Day' is inspired by the colourful culture that he was surrounded by as a child. His work attempts to evoke emotional response and tell a story through the conceptualisation and development of a specific idea. This style appeals to me as its bold, but also minimalist. I am drawn to the surrealist style combined with the neon colours as well as Lopez's intention of evoking an emotional response from the audience.

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'Lineartifacts' exhibition by DFT (2020)

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Style: Line art and minimalism

DFT's design style is very minimalist, aiming to create visual experiences through his immersive, imaginary worlds. His works explores themes of identity, time and the connection humans have with nature. This design style appeals to me as it fascinates me how such messages can be implied through the most simple, yet elegant lines. I also appreciate the concept of DTF's work as it explores identity and humanity - subjects which I am personally drawn to in my own design processes.

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Adobe Create Booth by Velvet Spectrum (2018)

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Style: 3D and typographic design

Velvet spectrum aims to create unique compositions and environments which pull the audience through different immersive dimensions. It pushes the boundaries of reality through its use of bright and fun use of colour to tell a story using 3D typography, interactive spaces and mural designs. Personally, I am drawn to the colours that Velvet Spectrum uses in their work and like the use of organic lines and shapes to convey a particular meaning.

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Style: Minimalism

Saxon Campbell's design work is clean and minimal, however it does well in conveying a message or marketing a product for brands. His work uses a lot of neutral colours and he focuses mostly on how typeface's can combine with colour to create a simple yet effective design. He uses some shapes in his work but keeps it simple whenever he does so. I am drawn to Campbell's design style as it's clean, simple and is able to translate meaning effectively and aesthetically. I also think that the colour pallets he uses are something I would like to explore in my future design practices.

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Style: Minimalism

Noemie Le Coz has a diverse design style, focusing on conveying a sense of playfulness using pops of colour and interesting compositions. She does a lot of brand work which has the aim of distilling core messages in its clearest visual form. Her work is simple, yet fun and bold, and she has a clear message in each of her designs. I'm inspired by Le Coz's colour pallets and minimalist appeal, I like the simplicity of her concepts and think they're delivered in a fun, effective way.

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In week 2, I experimented with visually communicating movement onto paper with a video of moving animals as my stimulus. The first experiment drawn was goldfish swimming, and the second was of birds flying in the wind (refer to 'Visual Process Experimentation (Week 2)'). The broken, organic lines reflect the swift, ever-changing movements of both animals as I was trying to draw them. It was difficult to capture the movements as a still-image but I found that looking at the video more than my page helped to convey movement much more effectively. The linework used for the fish were more calm and light, whereas the linework for the birds was more messy are they were flapping their wings and moving rapidly through the wind.

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For this experiment, we were to collect as many objects with primary and secondary colours as possible, then arrange the items in a way that separates each colour from one another. I grabbed as many items as I could which coincided with the colour pallet, ensuring I had items of different sizes, textures and shades to aid in the visual aesthetic of the compilation.

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I used Adobe Fresco to create a more refined version of my bird logo. I was inspired by the colours of some of my researched designers and experimented with different line thicknesses and styles. I used organic lines to help the viewers eye move around the image while also adding another dimension through the orange shades. I wanted to create contrast through my colours so that they logo would stand out and appear fun and playful, a reflection of my own design style.

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In week 4, we experimented with designing birds as a logo form using a reference image. Abstract design is a style I am not familiar with nor have I ever been drawn to the aesthetic appeal of it, so I found this task quite challenging. In the end, I think my sketch found a balance between minimalism with the line work and abstractness in the geometrical shapes and white space.

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This pictogram visually communicates the process of cooking eggs on toast in nine steps. I chose to keep the line-work organic to maintain a sense of playfulness, a reflection of my own personal style. I also chose to make the lines thick to align with my professional identity keyword "bold" while playing with the gestalt theory of 'closure' in order to convey minimalism and evoke a sense of creativity from the audience.

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For my self-map, I spent a while pondering about how I was going to find a correlation between myself and a geographical map. I haven’t travelled much in my life, and I grew up in the small town of Cairns, so I really had no emotional connection to maps or even the concept of geography at all. Then, I began to think more about my home, and how my dad and I used to stare up at the night sky and point out the brightest stars when I was younger. I thought about the constellations and how the stars would be at different places during different times of the year. This formed the foundation of my self-map. I used a photo I took of myself experimenting with contrasting coloured LED lights as the focal point, implying that I am the subject of the image, and I used a map of the night sky in Cairns on the night that I was born in the background. I blurred the map in the background to remove the harshness of the intricate linework, which added to the ethereal appeal of the image overall. It also allowed for the white star map to blend with colours in the background, creating depth within the image. I ensured the colours on the wall behind me were a different colour to that of my face so that I would contrast against the cool colours, adding a bold, vibrant aesthetic. I believe that these colour choices mixed with the delicate feel of the star map behind me align well with my own professional identity key words, finding a balance between boldness as well as delicateness. I also added the date, location and coordinates of the star map to add some context for viewers, as well as to aid in the composition as I felt the image needed another element.

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For my personal icon, I felt as if the best way to represent myself while still aligning with my professional identity keywords was to create a digital illustration of myself which can be scaled up or down, used for profile pictures, etc. I chose to try a style I hadn’t experimented with to challenge myself a bit, however I feel as if I may have focused too much on the visual representation of myself rather than creating something simpler and more minimal to align with the category of being an ‘icon’. Although I think my design was a little too detailed, I feel as if this was a good learning experience for me as it takes me a step away from my usual comfort zone of realism, blending and fine art practices and gets me acquainted with the use of illustrator and more abstracted means of design. In creating this, I am also able to identify areas that I could simplify more to allow my design to fit into the category of an icon.

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For my logo, I decided to use an image of my face that I took for another creative project and trace around my own facial features in one continuous line. I added some features to the line drawing to give some personality and creative flare and created depth by keeping the linework white and adding a darker coloured shade behind it. I experimented with different variations of the shadow to see what would look best, I decided that black was too harsh and anything lighter than a dark brown would not have enough of an effect, so I decided on a neutral-coloured brown and off-centred the same shape slightly behind the white line work. With this line drawing, I placed it over a rounded, warm-beige coloured circle to maintain a modern and contemporary appeal to my design. I chose a circular shape as I wanted to stay consistent with the organic feel, however I felt as if I needed to add more. I decided to play around with the line work further and add two thinner lines, both differing in colour and weight to add another layer of dimension. The white line really helped to tie in with the face and the beige line helped to break up the flatness of the beige circle. I was content with my logo until I realised that it wasn’t fully coinciding with my brand identity as it lacked the colourfulness I was seeking to communicate in my work. I eventually changed the background colour from white to blue so that the main logo would still pop, however it would also align better with my personal identity keywords.