Hell Bay - Brochure and Posters


Without a final logo I started thinking about the wider visual identity and what it might look like. I did some initial designs for brochure covers. The idea behind these designs followed on from the rationale of a lot of the logo designs I did; creating strokes and shapes that are evocative of the location and geography. Some of these designs are very bold, using bright colours and eye catching shape/patterns. I started thinking about what the target audience of the hotel would respond to from a cover for the brochure; I think because its a hotel, a location you would stay at, the most effective cover is going to display a picture of the location. If you were looking at a table full of travel brochure, you’re going to pick up the brochure that makes you think ‘ooh that place looks nice’.














I did some covers with full bleed images of the hotel which I think are a lot more sophisticated and show of the beautiful scenery well. These covers also show my most developed logo at the time, which utilises Benton sans wide in a thin line weight and curves representing the sea, all nicely contained in a box. With this cover and logo coming together, I was really following a simple and refined aesthetic. The consistent line weight of the elements of logo has a really nice harmony to it I thought. 





From here I started doing more editorial work on what the inside of the brochure might look like. I followed this simple and refined idea, applying large images, white space and a minimal amount of colour. 

Comments

Post a Comment

Popular posts from this blog

Out of Context - Design Development

Image
Poster - The main development stage of the poster design saw an experimentation with colour and the layout of the typography. From the initial red and blue design, an orange and blue design was made (1), orange and blue are complimentary colours so they matched a little better, and the orange was a bit less intense than the red. Next, the blue was toned down to a lavender hue and the orange was swapped out for a green (2) this colour combination was a bit less intense however the blue and green combination had quite a natural feel to it which didn’t match the tone of the exhibition. Finally, the lavender colour was paired with the orange (3) which ultimately gave the tone and, and the lavender contrasted the orange much less than the darker blue, giving a slightly more subdued composition. Although these 2 colours are very bright, when interjected with the grey, the design is not too overbearing. The final adjustments to the poster design were laying out the typography; with the title...
Read more

Rimowa - Pitch and Feedback

Rimowa -  It was really interesting for Commission to go through the presentation that they used to pitch for the Rimowa re-brand. Straight off the bat, one of the most interesting aspects was seeing the differences in their initial concepts, and the finished result, Chris addressed this by highlighting that when you’re pitching for a project and you win, that doesn’t mean that your designs will be applied as they are in the pitch, it means that you’ve won the opportunity to further work on it, and in Commission’s case, the project ended up developing in a few ways, a lot of this down to the CEO’s vision for the identity.   What also really struck me was how incredibly refined and thorough Commission’s presentation was, they created so many different aspects of collateral for the brand, and each was meticulously produced and photographed. They mentioned that they don’t normally do pitches, however this one they couldn’t refuse, and every member of the studio worked on the...
Read more

Rimowa - Development stage

As the visual identity for Rimowa was developed, it was prepared into a presentation ready to pitch to the design studio who actually rebranded Rimowa 2 years ago - Commission.   Logo - The logo did not change after its developments in the initial ideas stage, this is because it is effective and appropriate.   Posters - Developing from the initial idea of suggesting the grooves of the suitcase on the poster, this set of posters does this, but in a sleeker and more mechanical way. The grooves run across the page at an angle, referencing the diagonal grid systems often found in bauhaus design, and they were outlined instead of filled in, in order to reduce the contrast on the page and to further communicate this idea of space.   Notebook - The design of the notebook was not changed, except for the addition of 2 metal pins at the top which would hold it together. These were added in because they evoke the aluminium of   the suitcases themselves, and therefo...
Read more