Jacqui Browne | Graphic Design

Recently graduated from the University for the Creative Arts in Farnham

Lover of colour both visually and critically.
A believer that interaction in any form is just as important as the visual content to allow for interest through more than just our visually dependant eyes.
Research in my work is key and is the answer to the discovery of exciting, new ways of thinking and approaching design.
Always striving to learn more and gain experience within the Industry.
Willing, ready and always up for new challenges.

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About
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/4.5
Shutter Speed
1/250th
ISO
800
Focal Length
51mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/250th
ISO
800
Focal Length
41mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/60th
ISO
800
Focal Length
33mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/60th
ISO
800
Focal Length
39mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/125th
ISO
800
Focal Length
27mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/160th
ISO
800
Focal Length
48mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/200th
ISO
800
Focal Length
23mm
Camera
Canon EOS 550D
Enter Full View
Colour communicates visually and through pre-conceived meaning, but how can we add further understanding and experience through other human senses?
The title of this project is the question that I set myself for my Final Major Project. I had looked at colour previously throughout my university design work and dissertation but I wanted to push this further into a critical process. I felt that I was being constantly taunted by the thoughts that we can only describe colour by giving it a relationship to another visual or emotional state. How can people with colour deficient vision understand this? In a way I saw this as language almost discriminating against these colour deficient people in a way that left them unable to communicate their perception. 
I did not want to base my project on this problem as such, or that of my main inspiration of synesthesia. I knew that each individual’s experience of colour, synesthesia and colour deficiencies are always significantly or even subtly different. I therefore wanted to take focus on seeing whether we have the natural ability to create relationships between our senses and colours. 
Not only is our olfactory sense often ignored in this world of design, but more importantly (which makes the previous statement seem incomprehensible) it is considered to be the doorway into our subconscious memory. Within our subconscious memory is where we hold associations that are personal to each of us but should generally make more sense than any socially dictated meanings. 
Throughout the project I held a number of experiments to explore the connections between colour, smell and memory and was able to discover that we can quickly and easily create understandable connections between that triangulation. The conclusion was that perception and experience is personal to each individual and the differences between them when extra information is removed and we have to purely rely on our senses is beautiful. 
I wrote and designed a set of 5 books which discuss the experimental process that I took, along with my personal understandings and conclusions. Each book comes with a scent as each book displays the results from that scent along with the fact that those results help support the section that is discussed within each.
A supporting poster was also designed that draws the triangulation of the investigation together. 
Camera Info
Aperture
f/5.7
Shutter Speed
1/200th
ISO
800
Focal Length
18mm
Camera
Canon EOS 550D
Enter Full View
D&AD Competition Brief for the V&A
The intended design concept for this hoarding was to have three stages of viewing capabilities so that a level of interaction was present. From research into hoarding designs it stated that the design must be easily read and understood from a far and from moving vehicles. I not only wanted to address this advice but also go against it and create more depth. The first distance that the design should be viewed from addresses this factor, as the square pixels of colour allow for the message ‘Come A Little Closer’ to be read from a distance. If the viewer is on foot then they can indeed come closer (second distance) and the images of objects and surroundings can be seen within the design. For the final stage, being even closer to the hoarding will allow for the viewer to be able to read the sections of text that are located in selected pixels. These sections of text are interesting facts that can be discovered about the Museum. These are also separated into appropriate facts for children and adults as they are placed at relevant heights on the hoarding. The intention behind including these facts is to draw the viewers into the Museum and to create a ‘treasure hunt’ type activity and to increase general interest and excitement. The idea of the ‘treasure hunt’ also ties into another concept that was kept in mind during the design process. The idea of taking the use of a hoarding literally seemed interesting. Hoardings are of course in place to hide something. To address this idea within the design, the principle of pixels was investigated, as using pixels means that at certain distances an image can be seen, but can also become something completely different and unreadable at other distances. The images of objects are also broken up and overlayed with colour to address this concept further. Finally, the colours that were used were drawn from the branding and way-finding system within the V&A to show consistency.
Camera Info
Aperture
f/5.6
Shutter Speed
1/80th
ISO
100
Focal Length
27mm
Camera
Canon EOS 550D
Enter Full View
D&AD Competition Brief for the V&A
The intended design concept for this hoarding was to have three stages of viewing capabilities so that a level of interaction was present. From research into hoarding designs it stated that the design must be easily read and understood from a far and from moving vehicles. I not only wanted to address this advice but also go against it and create more depth. The first distance that the design should be viewed from addresses this factor, as the square pixels of colour allow for the message ‘Come A Little Closer’ to be read from a distance. If the viewer is on foot then they can indeed come closer (second distance) and the images of objects and surroundings can be seen within the design. For the final stage, being even closer to the hoarding will allow for the viewer to be able to read the sections of text that are located in selected pixels. These sections of text are interesting facts that can be discovered about the Museum. These are also separated into appropriate facts for children and adults as they are placed at relevant heights on the hoarding. The intention behind including these facts is to draw the viewers into the Museum and to create a ‘treasure hunt’ type activity and to increase general interest and excitement. The idea of the ‘treasure hunt’ also ties into another concept that was kept in mind during the design process. The idea of taking the use of a hoarding literally seemed interesting. Hoardings are of course in place to hide something. To address this idea within the design, the principle of pixels was investigated, as using pixels means that at certain distances an image can be seen, but can also become something completely different and unreadable at other distances. The images of objects are also broken up and overlayed with colour to address this concept further. Finally, the colours that were used were drawn from the branding and way-finding system within the V&A to show consistency.
Camera Info
Aperture
f/5.7
Shutter Speed
1/100th
ISO
100
Focal Length
18mm
Camera
Canon EOS 550D
Enter Full View
D&AD Competition Brief for the V&A
The intended design concept for this hoarding was to have three stages of viewing capabilities so that a level of interaction was present. From research into hoarding designs it stated that the design must be easily read and understood from a far and from moving vehicles. I not only wanted to address this advice but also go against it and create more depth. The first distance that the design should be viewed from addresses this factor, as the square pixels of colour allow for the message ‘Come A Little Closer’ to be read from a distance. If the viewer is on foot then they can indeed come closer (second distance) and the images of objects and surroundings can be seen within the design. For the final stage, being even closer to the hoarding will allow for the viewer to be able to read the sections of text that are located in selected pixels. These sections of text are interesting facts that can be discovered about the Museum. These are also separated into appropriate facts for children and adults as they are placed at relevant heights on the hoarding. The intention behind including these facts is to draw the viewers into the Museum and to create a ‘treasure hunt’ type activity and to increase general interest and excitement. The idea of the ‘treasure hunt’ also ties into another concept that was kept in mind during the design process. The idea of taking the use of a hoarding literally seemed interesting. Hoardings are of course in place to hide something. To address this idea within the design, the principle of pixels was investigated, as using pixels means that at certain distances an image can be seen, but can also become something completely different and unreadable at other distances. The images of objects are also broken up and overlayed with colour to address this concept further. Finally, the colours that were used were drawn from the branding and way-finding system within the V&A to show consistency.
Camera Info
Aperture
f/5.7
Shutter Speed
1/80th
ISO
100
Focal Length
18mm
Camera
Canon EOS 550D
Enter Full View
D&AD Competition Brief for the V&A
The intended design concept for this hoarding was to have three stages of viewing capabilities so that a level of interaction was present. From research into hoarding designs it stated that the design must be easily read and understood from a far and from moving vehicles. I not only wanted to address this advice but also go against it and create more depth. The first distance that the design should be viewed from addresses this factor, as the square pixels of colour allow for the message ‘Come A Little Closer’ to be read from a distance. If the viewer is on foot then they can indeed come closer (second distance) and the images of objects and surroundings can be seen within the design. For the final stage, being even closer to the hoarding will allow for the viewer to be able to read the sections of text that are located in selected pixels. These sections of text are interesting facts that can be discovered about the Museum. These are also separated into appropriate facts for children and adults as they are placed at relevant heights on the hoarding. The intention behind including these facts is to draw the viewers into the Museum and to create a ‘treasure hunt’ type activity and to increase general interest and excitement. The idea of the ‘treasure hunt’ also ties into another concept that was kept in mind during the design process. The idea of taking the use of a hoarding literally seemed interesting. Hoardings are of course in place to hide something. To address this idea within the design, the principle of pixels was investigated, as using pixels means that at certain distances an image can be seen, but can also become something completely different and unreadable at other distances. The images of objects are also broken up and overlayed with colour to address this concept further. Finally, the colours that were used were drawn from the branding and way-finding system within the V&A to show consistency.
Enter Full View
D&AD Competition Brief for the V&A
The intended design concept for this hoarding was to have three stages of viewing capabilities so that a level of interaction was present. From research into hoarding designs it stated that the design must be easily read and understood from a far and from moving vehicles. I not only wanted to address this advice but also go against it and create more depth. The first distance that the design should be viewed from addresses this factor, as the square pixels of colour allow for the message ‘Come A Little Closer’ to be read from a distance. If the viewer is on foot then they can indeed come closer (second distance) and the images of objects and surroundings can be seen within the design. For the final stage, being even closer to the hoarding will allow for the viewer to be able to read the sections of text that are located in selected pixels. These sections of text are interesting facts that can be discovered about the Museum. These are also separated into appropriate facts for children and adults as they are placed at relevant heights on the hoarding. The intention behind including these facts is to draw the viewers into the Museum and to create a ‘treasure hunt’ type activity and to increase general interest and excitement. The idea of the ‘treasure hunt’ also ties into another concept that was kept in mind during the design process. The idea of taking the use of a hoarding literally seemed interesting. Hoardings are of course in place to hide something. To address this idea within the design, the principle of pixels was investigated, as using pixels means that at certain distances an image can be seen, but can also become something completely different and unreadable at other distances. The images of objects are also broken up and overlayed with colour to address this concept further. Finally, the colours that were used were drawn from the branding and way-finding system within the V&A to show consistency.
Enter Full View
To begin this project I read ‘Brand Madness’, ‘The Science of Persuasion’ and ‘Notes for the New Millennium’. During the readings I could not help but disagree  with the fact that some people think that brands are using the six tendencies of human behaviour against us (Reciprocation, Authority, Liking, Consistency, Social Validation and Scarcity). I continued with my main overal statement of ‘I do not think that it is bad for brands to use these tendencies of human behaviour even if it is manipulation because we all face these principles on a daily basis. We should therefore have some level of immunity towards them’. This opinion may not be easily agreed with so I went forward to document my life over ten days and highlight/understand when and how these principles are used by myself and by others against me.To add more depth to the investigation I wanted to be able to see the effects of these human behaviours if I were to be outside of my comfort zone. By being someone different it added a variable to the project. 
I created a scientific style publication to display my findings. It is split into three sections which can be taken and read separately . A strong grid and clean layout was used for the majority of the publication to reflect the factual look I wanted to achieve. The colour scheme was also a well thought out part of the project. Purple was used for the possessions section to reflect the combination of colours of red and blue that are in my room. Cream was used for the section of my life as a comfortable feeling and suggest clarity. A grey was used to suggest discomfort through the days where I was out of my comfort zone. 
For the section whereby I was out of my comfort zones a system was used (i.e. different point sizes for the text and a variation of image sizes) to reflection when I felt the more uncomfortable etc. 
Camera Info
Aperture
f/4
Shutter Speed
1/40th
ISO
100
Focal Length
38mm
Camera
Canon EOS 550D
Enter Full View
To begin this project I read ‘Brand Madness’, ‘The Science of Persuasion’ and ‘Notes for the New Millennium’. During the readings I could not help but disagree  with the fact that some people think that brands are using the six tendencies of human behaviour against us (Reciprocation, Authority, Liking, Consistency, Social Validation and Scarcity). I continued with my main overal statement of ‘I do not think that it is bad for brands to use these tendencies of human behaviour even if it is manipulation because we all face these principles on a daily basis. We should therefore have some level of immunity towards them’. This opinion may not be easily agreed with so I went forward to document my life over ten days and highlight/understand when and how these principles are used by myself and by others against me.To add more depth to the investigation I wanted to be able to see the effects of these human behaviours if I were to be outside of my comfort zone. By being someone different it added a variable to the project. 
I created a scientific style publication to display my findings. It is split into three sections which can be taken and read separately . A strong grid and clean layout was used for the majority of the publication to reflect the factual look I wanted to achieve. The colour scheme was also a well thought out part of the project. Purple was used for the possessions section to reflect the combination of colours of red and blue that are in my room. Cream was used for the section of my life as a comfortable feeling and suggest clarity. A grey was used to suggest discomfort through the days where I was out of my comfort zone. 
For the section whereby I was out of my comfort zones a system was used (i.e. different point sizes for the text and a variation of image sizes) to reflection when I felt the more uncomfortable etc. 
Camera Info
Aperture
f/3.5
Shutter Speed
1/30th
ISO
125
Focal Length
31mm
Camera
Canon EOS 550D
Enter Full View
To begin this project I read ‘Brand Madness’, ‘The Science of Persuasion’ and ‘Notes for the New Millennium’. During the readings I could not help but disagree  with the fact that some people think that brands are using the six tendencies of human behaviour against us (Reciprocation, Authority, Liking, Consistency, Social Validation and Scarcity). I continued with my main overal statement of ‘I do not think that it is bad for brands to use these tendencies of human behaviour even if it is manipulation because we all face these principles on a daily basis. We should therefore have some level of immunity towards them’. This opinion may not be easily agreed with so I went forward to document my life over ten days and highlight/understand when and how these principles are used by myself and by others against me.To add more depth to the investigation I wanted to be able to see the effects of these human behaviours if I were to be outside of my comfort zone. By being someone different it added a variable to the project. 
I created a scientific style publication to display my findings. It is split into three sections which can be taken and read separately . A strong grid and clean layout was used for the majority of the publication to reflect the factual look I wanted to achieve. The colour scheme was also a well thought out part of the project. Purple was used for the possessions section to reflect the combination of colours of red and blue that are in my room. Cream was used for the section of my life as a comfortable feeling and suggest clarity. A grey was used to suggest discomfort through the days where I was out of my comfort zone. 
For the section whereby I was out of my comfort zones a system was used (i.e. different point sizes for the text and a variation of image sizes) to reflection when I felt the more uncomfortable etc. 
Camera Info
Aperture
f/3.5
Shutter Speed
1/30th
ISO
125
Focal Length
35mm
Camera
Canon EOS 550D
Enter Full View
To begin this project I read ‘Brand Madness’, ‘The Science of Persuasion’ and ‘Notes for the New Millennium’. During the readings I could not help but disagree  with the fact that some people think that brands are using the six tendencies of human behaviour against us (Reciprocation, Authority, Liking, Consistency, Social Validation and Scarcity). I continued with my main overal statement of ‘I do not think that it is bad for brands to use these tendencies of human behaviour even if it is manipulation because we all face these principles on a daily basis. We should therefore have some level of immunity towards them’. This opinion may not be easily agreed with so I went forward to document my life over ten days and highlight/understand when and how these principles are used by myself and by others against me.To add more depth to the investigation I wanted to be able to see the effects of these human behaviours if I were to be outside of my comfort zone. By being someone different it added a variable to the project. 
I created a scientific style publication to display my findings. It is split into three sections which can be taken and read separately . A strong grid and clean layout was used for the majority of the publication to reflect the factual look I wanted to achieve. The colour scheme was also a well thought out part of the project. Purple was used for the possessions section to reflect the combination of colours of red and blue that are in my room. Cream was used for the section of my life as a comfortable feeling and suggest clarity. A grey was used to suggest discomfort through the days where I was out of my comfort zone. 
For the section whereby I was out of my comfort zones a system was used (i.e. different point sizes for the text and a variation of image sizes) to reflection when I felt the more uncomfortable etc. 
Camera Info
Aperture
f/4.5
Shutter Speed
1/60th
ISO
250
Focal Length
51mm
Camera
Canon EOS 550D
Enter Full View
To begin this project I read ‘Brand Madness’, ‘The Science of Persuasion’ and ‘Notes for the New Millennium’. During the readings I could not help but disagree  with the fact that some people think that brands are using the six tendencies of human behaviour against us (Reciprocation, Authority, Liking, Consistency, Social Validation and Scarcity). I continued with my main overal statement of ‘I do not think that it is bad for brands to use these tendencies of human behaviour even if it is manipulation because we all face these principles on a daily basis. We should therefore have some level of immunity towards them’. This opinion may not be easily agreed with so I went forward to document my life over ten days and highlight/understand when and how these principles are used by myself and by others against me.To add more depth to the investigation I wanted to be able to see the effects of these human behaviours if I were to be outside of my comfort zone. By being someone different it added a variable to the project. 
I created a scientific style publication to display my findings. It is split into three sections which can be taken and read separately . A strong grid and clean layout was used for the majority of the publication to reflect the factual look I wanted to achieve. The colour scheme was also a well thought out part of the project. Purple was used for the possessions section to reflect the combination of colours of red and blue that are in my room. Cream was used for the section of my life as a comfortable feeling and suggest clarity. A grey was used to suggest discomfort through the days where I was out of my comfort zone. 
For the section whereby I was out of my comfort zones a system was used (i.e. different point sizes for the text and a variation of image sizes) to reflection when I felt the more uncomfortable etc. 
Camera Info
Aperture
f/3.5
Shutter Speed
1/30th
ISO
160
Focal Length
31mm
Camera
Canon EOS 550D
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When given this project one of the main tasks was to identify the main influences and inspiration in ones design and general life. My main excitement and inspiration comes from layered images that display lots of colour and interesting elements. This also links well to my fascination of cooking. The way in which a variety of components are put together in a creative way shows the correlation between cooking and design. In life a certain level of control and understanding is needed but taking risks is still a big factor to be able to able to achieve something new and different. Within both design and cooking, preparation is always completed first. Information is gathered first so that the stages of development can persist to travel in the intended direction. 
I naturally developed a sense of personal branding during this project, creating the mutations of cooking and graphical equipment. This led to developing a brand pattern which I used as packaging and to bring each element of the project together. 
Camera Info
Aperture
f/4
Shutter Speed
1/60th
ISO
400
Focal Length
31mm
Camera
Canon EOS 550D
Enter Full View
When given this project one of the main tasks was to identify the main influences and inspiration in ones design and general life. My main excitement and inspiration comes from layered images that display lots of colour and interesting elements. This also links well to my fascination of cooking. The way in which a variety of components are put together in a creative way shows the correlation between cooking and design. In life a certain level of control and understanding is needed but taking risks is still a big factor to be able to able to achieve something new and different. Within both design and cooking, preparation is always completed first. Information is gathered first so that the stages of development can persist to travel in the intended direction. 
I naturally developed a sense of personal branding during this project, creating the mutations of cooking and graphical equipment. This led to developing a brand pattern which I used as packaging and to bring each element of the project together. 
Camera Info
Aperture
f/4
Shutter Speed
1/60th
ISO
400
Focal Length
31mm
Camera
Canon EOS 550D
Enter Full View
When given this project one of the main tasks was to identify the main influences and inspiration in ones design and general life. My main excitement and inspiration comes from layered images that display lots of colour and interesting elements. This also links well to my fascination of cooking. The way in which a variety of components are put together in a creative way shows the correlation between cooking and design. In life a certain level of control and understanding is needed but taking risks is still a big factor to be able to able to achieve something new and different. Within both design and cooking, preparation is always completed first. Information is gathered first so that the stages of development can persist to travel in the intended direction. 
I naturally developed a sense of personal branding during this project, creating the mutations of cooking and graphical equipment. This led to developing a brand pattern which I used as packaging and to bring each element of the project together. 
Camera Info
Aperture
f/4
Shutter Speed
1/60th
ISO
400
Focal Length
31mm
Camera
Canon EOS 550D
Enter Full View
When given this project one of the main tasks was to identify the main influences and inspiration in ones design and general life. My main excitement and inspiration comes from layered images that display lots of colour and interesting elements. This also links well to my fascination of cooking. The way in which a variety of components are put together in a creative way shows the correlation between cooking and design. In life a certain level of control and understanding is needed but taking risks is still a big factor to be able to able to achieve something new and different. Within both design and cooking, preparation is always completed first. Information is gathered first so that the stages of development can persist to travel in the intended direction. 
I naturally developed a sense of personal branding during this project, creating the mutations of cooking and graphical equipment. This led to developing a brand pattern which I used as packaging and to bring each element of the project together. 
Camera Info
Aperture
f/4.5
Shutter Speed
1/60th
ISO
400
Focal Length
54mm
Camera
Canon EOS 550D
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A Project to apply for work experience. I developed a business card, CV, cover letters and a leave behind. The idea for the leave behind was to defeat the typical idea that employers would look at your CV and website for one minute and move on. I therefore looked into having a tea bag within a small package with the slogan of ‘have a cuppa and view..’. I also branded the tea bag itself so that it was a well rounded addition. I chose to use recycled paper to show that I am ethically aware and understand that the environment can be an important part of design. I also wanted to play on the idea of ‘I hope to see you soon’, in a similar way to recycled paper itself.
Camera Info
Aperture
f/4.5
Shutter Speed
1/50th
ISO
2500
Focal Length
56mm
Camera
Canon EOS 550D
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A Project to apply for work experience. I developed a business card, CV, cover letters and a leave behind. The idea for the leave behind was to defeat the typical idea that employers would look at your CV and website for one minute and move on. I therefore looked into having a tea bag within a small package with the slogan of ‘have a cuppa and view..’. I also branded the tea bag itself so that it was a well rounded addition. I chose to use recycled paper to show that I am ethically aware and understand that the environment can be an important part of design. I also wanted to play on the idea of ‘I hope to see you soon’, in a similar way to recycled paper itself.
Camera Info
Aperture
f/4.5
Shutter Speed
1/50th
ISO
1600
Focal Length
45mm
Camera
Canon EOS 550D
Enter Full View
A Project to apply for work experience. I developed a business card, CV, cover letters and a leave behind. The idea for the leave behind was to defeat the typical idea that employers would look at your CV and website for one minute and move on. I therefore looked into having a tea bag within a small package with the slogan of ‘have a cuppa and view..’. I also branded the tea bag itself so that it was a well rounded addition. I chose to use recycled paper to show that I am ethically aware and understand that the environment can be an important part of design. I also wanted to play on the idea of ‘I hope to see you soon’, in a similar way to recycled paper itself.
Camera Info
Aperture
f/4
Shutter Speed
1/40th
ISO
2000
Focal Length
38mm
Camera
Canon EOS 550D
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A Project to apply for work experience. I developed a business card, CV, cover letters and a leave behind. The idea for the leave behind was to defeat the typical idea that employers would look at your CV and website for one minute and move on. I therefore looked into having a tea bag within a small package with the slogan of ‘have a cuppa and view..’. I also branded the tea bag itself so that it was a well rounded addition. I chose to use recycled paper to show that I am ethically aware and understand that the environment can be an important part of design. I also wanted to play on the idea of ‘I hope to see you soon’, in a similar way to recycled paper itself.
Camera Info
Aperture
f/4
Shutter Speed
1/30th
ISO
2000
Focal Length
38mm
Camera
Canon EOS 550D
Enter Full View
A Project to apply for work experience. I developed a business card, CV, cover letters and a leave behind. The idea for the leave behind was to defeat the typical idea that employers would look at your CV and website for one minute and move on. I therefore looked into having a tea bag within a small package with the slogan of ‘have a cuppa and view..’. I also branded the tea bag itself so that it was a well rounded addition. I chose to use recycled paper to show that I am ethically aware and understand that the environment can be an important part of design. I also wanted to play on the idea of ‘I hope to see you soon’, in a similar way to recycled paper itself.
Camera Info
Aperture
f/4
Shutter Speed
1/30th
ISO
1250
Focal Length
38mm
Camera
Canon EOS 550D
Enter Full View

Information Graphics- ‘The Art of Tea’ 
Looking at the way in which there is no specific art to making tea but instead each person has their own taste and method of making. Photos were taken every 7 seconds of each family member through their tea making process in their own environments. It really displays the timing it takes for each person to complete the process. 
Landscape print on A0.
When the piece was chosen for display the format needed to be changed to portrait. This was a challenge as the image size could have been reduced so much so that they would not be recognisable but this is how it was tackled and may even work better than the original piece. Also printed on A0.
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Information Graphics- ‘The Art of Tea’ 
Looking at the way in which there is no specific art to making tea but instead each person has their own taste and method of making. Photos were taken every 7 seconds of each family member through their tea making process in their own environments. It really displays the timing it takes for each person to complete the process. 
Landscape print on A0.
When the piece was chosen for display the format needed to be changed to portrait. This was a challenge as the image size could have been reduced so much so that they would not be recognisable but this is how it was tackled and may even work better than the original piece. Also printed on A0.
Enter Full View
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