As lunar colonies grow crowded, clients seek untouched frontiers. The brand satirizes our obsession with tech progress over climate action, imagining a future driven by billionaire interests—not the common good.
The branding process improved my existing skillset in motion graphics, colour, typography and copywriting to immerse the viewer in a futuristic universe.
I also gained skills in 3D rendering, editing UV mapping, and custom typographical embossing to produce a high-quality, luxury, and future-forward aesthetic.
I explored the liminality between digital and physical applications by introducing augmented reality motion graphics to the posters, involving the viewer more with the designs composition.
The project required a process led mindset, as I researched colour theory, generative art, and poster design. Reflected on a weekly basis to produce designs that not only look good, but provide substance that links to each locations culture and history.
Researching alternative designers, such as David Carson and Neville Brody, I improved my skills in motion graphics and typography choice to translate a physical artefact into a digital setting. (The volunteers got to keep the packets)
I also considered how to output segments for social media to highlight the best bits of the motion graphic.
Credit to @Mitchmurder who creates some of the best music around!
I explored Print and digital motion graphics by researching russian constructivist graphic design, expressive type and experimented with using
humourous copy to set the right tone for my campaign.
The campaigns mission is to spark conversations with cat owners and potential new cat parents who might resonate with the quirky and expressive language of the campaigns designs.
The project finely tuned my knowledge on creating contemporary editorials.
Learning how to pace imagery, create compositions
that clearly guide the viewer, colour theory and most importantly for the project, a greater understanding of typography, down to paragraph textures, indents and font selections appropriate for the context of the editorial.
The Flame of Horaizan was a module that introduced me to InDesign. Inspired by Egyptian aesthetics, I applied my understanding of typography, composition, illustration, and printmaking in the bordering to create a 20-page publication. While I have learned a lot more about editorial design since, this was one of my favourite projects to work on.
The Issiroth logomark is used in my own TTRPG games, which I have been running for over 10 years now. My mission is to create engaging and exciting visual material for the world my players and I have collaboratively built.