After we assembled multiple designs utilizing type as image which followed a certain set of key words (anomaly, texture, etc), we took three of these designs and applied them to the space where the branding would actually live: the windows outside Irving. For the designs, I wanted to continue to stay away from creating a full-spread texture and rely more on the space itself to dictate the placement of the elements.
For the first design I used my texture composition. The original design itself was far too complex and desperately needed refinement: if placed onto the window itself as is, the design would function more as tinting instead of branding. And, well, that just wouldn’t work. So, I experimented with depth and attempted to create structures that still maintained the architecture / biological aspects of the original design, but also refined it and allowed it to fully utilize the space.
For the second design I used my direction composition. I included multiple forms into the piece and also altered their construction a bit by making them a tad more organic and made them seem like they were moving more, both by receding and moving forward into space. I also wanted this image to have a sense of depth. The color choice is, of course, CMYK, which ties to the printed aspect of design.
The final design (and the least successful in my opinion) used my anomaly design. I also wanted this form to stray from creating a full bleed pattern, so I limited its use and only allowed it to live in specified areas of the space. The color scheme is the same as the previous design, CMYK.