Parfumeur Pattern Development.

This is where I started to take my hand drawn patterns into the digital. I started by scanning in my image and then adjusting the contrast etc so that the colours and shapes were more defined.

Colour experimentation came next and this is where our research into possible themes came in really handy as I referred back to the tones we had selected for each theme and apply them to the pattern using 'rep ace colour'. It was interesting to see how altering the colour can completely change the feel of  a design. I felt that the blue and pink option was my favourite as the pastel tones worked well with the theme of the fragrance and I also liked the contrast between both of the colours.

I then looked adding a background tone into the pattern. I fond that the darker colours were very unsuccessful as they competed for attention with the shapes and the lighter tones looked uncomfortable within it. The pastel tones were a lot more cohesive although I felt the blue looked best as that was the majority colour which again let the pink stand out in an attractive way. After deciding on the colour a subtle outer glow was added to make the transition between the pattern and background less obvious.

The last part of this process was to mock up the possible cut outs that could be created to let the wood show through. I tried to explore as many options as possible and initially I thought that the diamond shapes would be the most successful but I found after doing it that it detracted attention away from the 'butterfly' shapes as the wood showing through was so dark. The cutouts of the pattern itself worked the best although it could be a struggle to do them that way.

I then moved onto the adrenalin style design. I immediately duplicated the initial shapes to make a more complete pattern. I followed what I had learnt previously and applied a pastel colour to the background and added an outer glow.

I then moved onto varying the colours and I found that these tones were a lot more brightly coloured than the previous design and the contrast between the tones was a lot more powerful. I found the red and blue to be the most successful as I liked the electric appearance.

Finding the cutouts for this design was a lot different as there wasn't a set pattern to follow. I started by taking the spaces from around the lines, the first I felt looked to random and the second to heavy with a great deal of wood showing through. I then changed approach and erased the line itself which look better but still not as how I would like. I then developed this thought to remove the spaces around the line which I think worked better as it enhanced the pattern rather than detracting from it.

I then repeated the whole process with the dilated pupil inspired design. I found this one a lot harder to get the colours right to get the contrast and also tones to link with the theme. The cutouts were also harder as I had to find areas where the paper would stay together and not separate into different pieces.

With this final design I applied my two initial patterns on top of each other to create a more in depth look. I kept the colours quite muted to give a relaxed vibe.

Parfumeur Initial Pattern Designs.

Almost instantly we decided that we wanted our pattern designs to have an abstract look that stepped away from the traditional illustrative style that is often used for perfume packaging. We also felt that the abstract look would also attract a male audience as well as female. Initially I started by using some water colour pens to do some experiments with shape and colour. I based my initial colour choices on tones that reflected our research into what colours would represent the scents.

After this I moved on to focus on the designs that I thought were the most successful and how I could link the forms with each scent. This is where we came up with the idea of having the pattern represent how each of the emotions stated effects the body. So I adapted some of my initial designs so that they linked more successfully. We then applied the colours of that emotion into the design too.

Sweet, sublime love

For this emotion set we decided to link it with 'butterflies' in your stomach. I started off with the basic repeat composition and then altered it slightly for the rest to see what would be the most effective.

Excitement and Fear

This design was inspired by the increased heartbeat people experience when they are excited or scared.

Passion and Desire

This was inspired by how people's pupils dilate when the look at someone they are attracted to.

Elegant and Dignified

The further description of this scent was 'story yet still' which these patterns represent. Starting calm on the surface but revealed to be more erratic underneath.

Type and Grid Workshop Four.

• headlines should be in the boldest typeface to demonstrate importance
• drop down a weight for a subtitle
• body copy can be set with differing type size but the same weight
• to work effectively wit hierarchy you need to understand the information you're working with
• you don't have to have complex hierarchies
• if your information need separation use a second type weight or indentation etc

Task

• select a font
• select a distinct character
• make it between 200 - 500 point size on screen
• draw a grid over the character
• delete the letter and keep the grid
• by hand use your grid to redraw the typeface
• identify what makes a typeface distinct, what makes it different, how is it constructed?
• enlarging and hand rendering will give you an appreciation of how it is constructed.]

Frankenstein type

• pick a word from the list: bungling

• pick three standard fonts
• futura
• bernard mt condensed
• consolas

• use pieces of each to create a new letter