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FOLIO TABLE OF CONTENTS 1 THE BRAIN & IT’S CREATIVE PROCESS 2 GO AHEAD GET IT OFF YOUR CHEST 3 TEXT, GRIDS, LEADING, YOU GET THE IDEA 4 CLOUD NINE AIRLINES

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THE BRAIN & ITS CREATIVE PROCESS DESIGNING INTERACTIONS Design is visual thinking. The brain works so quickly that we come up with tens, hundreds, maybe even thousands of thoughts and ideas. This sculpture represents how the creative process works for many, including myself. When a new brief is handed out, a flurry of ideas pops into the brain, and as the process goes on, these ideas get refined and slowly whittled down, sometimes these ideas are merged together to form a new idea. At the end, we get the final, refined idea. Laser cut medium-density fibreboard 100% polyester thread 2mm nails

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IDEA GENERATION RESEARCH


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In the initial stages of the design process, I came up with several ideas involving paths and crossing lines, wanting to come up with a way to create words. I started with the idea of using lasers and mirrors to reflect the beams, then came up with an idea of nails and string intersecting, and finally the use of coloured liquid and fine tubes to form a gradual gradient effect when flowing in the shape of a letter. 5


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As the design process went on, I realised that different ideas were merging to form a completely different idea but using same elements. It struck me that what I had just gone through was an apt was of portraying design, and combined the idea of using brain outlines and sewing thread.

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THE CREATIVE PROCESS MODEL


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Design is visual thinking. Each layer represents a different stage in the thought process, and each string represents an idea. As you progress on, you narrow it down, and sometimes a few ideas can intersect to create a whole different variation.

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GO AHEAD, GET IT OFF YOUR CHEST HOARD IT Keeping something to yourself can cause stress, and there are various reasons why some people cannot speak about it or talk to anyone about it, everyone is human. What I wanted to achieve is an avenue for people to get the weight off their shoulders,by providing a giant wall where people can anonymously get it off their chest. It could be a confession of love, it could be something you did but could not say. What ever it is, the wall is there for you to have a release. Chalk board paint Coloured chalk

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CHALKBOARD WALL TEST DEMO


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To get a rough idea of how this would work, I painted a wall with some chalkboard paint and stenciled on the logo and let people let loose and try it out in a smaller scale and the results were incredible.

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GET IT OFF YOUR CHEST HOARDING WEBSITE DESIGN AND ONLINE WALL


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The scaled down design of the chalkboard wall with the website and a QR code for people to quickly access the website and get more information about the wall, and the website showing loading, online wall, about and why do it pages.

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TEXT, GRIDS, LEADING, YOU GET THE IDEA BOOK DESIGN*, AND ALL THAT ENTAILS Book layouts are something that most people do not pay attention to. So much detail is involved with many of the aspects in layout design. Typesetting for print is a delicate process. Attention has to be paid from things like grids to kerning, sequence and hierarchy. Throw images in to the mix and you have a lot of different ways you could layout a book.

Print

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PLAYING WITH STRUCTURE LAYOUT DESIGN


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When laying out elements for a book or magazine, you have to pay attention to many things and also be sure that every letter is legible and that images and text are in line where necessary. A lot of trying and testing was involved in this process.

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PELICAN BOOK COVERS 1957–62 A4 BOOK LAYOUT


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The luxury of a larger print space allows images and text to be larger and allows greater emphasis of hierarchy. Larger pictures signify a stronger importance compared to a smaller picture. Smaller text for notations, larger for body text.

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PELICAN BOOK COVERS 1957–62 A5 BOOK LAYOUT


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With a smaller amount of page space, there has to be either less on a page or elements have to be resized to fit. I tried a completely different layout and experimented with 4 column grids.

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CLOUD NINE AIRWAYS TOTAL IDENTITY A collaboration with Rebecca Thomson, Sophie Khoury and Viola Mitter. Who says the holiday only starts when you get to the destination? We wanted our airline to focus on the little details that would make the flight a more comfortable and memorable time. We wanted the holiday to start once you get on the flight, and to be tailored to the way you like it. Cloud Nine Airways is the answer to all of this and boy did we brand the hell out of this one.

Print Interactive

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IDEA GENERATION RESEARCH


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We broke off into the Christmas break having to come up with a few different ideas for what our airline could be and how they would be standout in an already crowded industry.

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PLANNING AND DECISION MAKING


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We wanted passengers to be able to personalise their flights in an array of ways. Because our airline were to be fixated on the small details, we felt that our identity and branding should reflect that, and set out to split a large list of things to design. We found inspiration in many of the 70s and 80s designs and patterns as reflects in the logo design process.

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RESEARCH AND INSPIRATION


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Our group went through any flight related material that we could get our hands on to see what we could pay more design attention to. From things to luggage tags to boarding passes and uniforms.

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BRANDING DESIGN PROCESS LOGO


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We wanted our logo to be symbolic, direct and easily identifiable. We spent the better part of four days working on logo ideas and colour schemes. Initially, we wanted our logo to have a retro feel to it, but it did not quite work with the image of the branding. By the time we decided on the final logo, we came up with upwards of 80 different logos.

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CLOUD NINE AIRWAYS CORPORATE LOGO AND STATIONARY


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We wanted our logo to be iconic and easily identifiable as Cloud Nine Airways. We decided to keep corporate corporate, and any flight related material in colours that represented the continents.

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CONTINENTAL BRANDING AND EPHEMERA


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Luggage tags with languages of the country of departure, postcards, stamps, notepads and boarding passes designed with their respective continental colours. Africa - Purple Europe - Blue Asia - Red North America - Red Australia - Green South America - Pink 41


ON FLIGHT MATERIALS


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We wanted our on flight material to be easy on the eye and invoke a calm emotion. We felt that with a slight touch of wood for the personalised memo and menu would really make the passenger feel special and that the airline takes care of them individually.

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IPHONE APPLICATION


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The mobile application was made to be a widget based system that continues to allow users the ability to personalise. Through this app, users can see photos uploaded to the Cloud Nine AIrways instagram account, read reviews about potential destinations and even buy their air tickets on the go.

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UNIFORMS AND EMBROIDERY


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We felt the uniform should stay smart yet casual but have an element that changes depending on the continent you are, akin to our logo. The embroidery of the logo and the steward/stewardess’ name, the scarves and ties would reflect such colour changes.

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Eugene Tan Folio  
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