CLAIRE O’BRIEN
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Hello there! I am a visual designer and illustrator with five years experience creating Installation, Exhibition, Animation, Illustration, Print & Web Marketing materials. I’m efficient, fast-moving and organized, with an additional background in communications and an in-depth understanding of social media advertising, as well as considerable experience in large-format printing, design for motion and web .
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CLAIRE O’BRIEN
@dazhkaclaire www.claireobrienillustration.com
In fact, I like to consider myself a multi-disciplinary designer - I am passionate about making beautiful things, and I enjoy solving puzzles in order to make that happen - using whichever tool or format that best suits the task. I am used to working at a high-pace in busy and stressful environments, and I do relish a good challenge - but above all, I value the people I work with. I have been fortunate to work with wonderful artists and lovely humans (now good friends) along my journey, and I’m looking for a new warm, creative team to join, who row together when things really need to get done - isn’t it just more fun that way? I love colour, texture, folk-art motifs and a good pattern. I’d love to meet with you and talk shop!
TABLE OF CONTENTS ICONOGRAPHY
CHRISTMAS FANTASYLAND (SINO HOTEL GROUP) .......................... 6
PRODUCT DESIGN
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01. SEE THE WORLD ...................................................................... 50 02. SUSTAINABILITY JOURNEY ........................................................ 52 03. OLD MACDONALD ....................................................................54
ILLUSTRATION
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2018 - HELLO, HONG KONG! (ART BASEL/UBS) .............................. 30 2017 - WHERE IS TEDDY? (ART BASEL/UBS) ................................... 36 2016 - EVERYDAY SUPERHEROES! (ART BASEL/UBS) ....................... 40 2015 - POP-ART PHOTO BOOTH (ART BASEL/UBS) .......................... 44
VIDEOGRAPHY & ANIMATION
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01. TENOCHTITLAN PRINT SET........................................................ 18 02. BROCHURE & PRINT CATALOGUE DESIGN.................................. 20 03. PRINT & WEB ADVERTISING...................................................... 22 04. PHOTOGRAPHY & SOCIAL MEDIA PLANNING............................. 24
EXHIBITION, EXPERIENCE & INSTALLATION DESIGN
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PAPER-CRAFT CAMERA (ART BASEL/UBS) ....................................... 10
DESIGN FOR PRINT & WEB
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CLAIRE O’BRIEN
CHRISTMAS FANTASYLAND
SINO HOTEL GROUP SINO Group is a large real estate and property development company in Hong Kong, which develops residential properties, offices, industrial buildings, shopping malls and hotels. The SINO Hotel Group comprises of seven hotel properties across Hong Kong, as well as in Singapore. In Autumn of 2017, the Hotel Group approached the studio with a request to rejuvenate their Christmas Banquet marketing material for each of their Hotel Properties, including four major and two boutique hotels. The concept was to create a ‘Christmas Fantasyland,’ wherein each of the properties would represent a magical place in the realm of Christmas Banquetry, from ‘Dessertland’ to a ‘Turkey-Feast Land.’
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The client strongly desired a change from previous design iterations using photo composites; expressing an interest in a more ‘unique’ approach. They also requested that each of the hotel properties be branded with a key badge icon representing their chosen theme or ‘place’ within the Christmas Fantasyland.
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CHRISTMAS FANTASYLAND Client : SINO Hotel Group Hong Kong Year
: 2017
PROJECT OVERVIEW: In response to the brief, I proposed a flat-style, Scandinavianinspired tessellation, in which each of the property icon ‘badges’ would interlock in a seamless pattern. Harmoniously aligned in style, weight and colour, each of the icons could also be understood as a stand-alone image, which each hotel property would be then be able to incorporate into their individual branding to create banners, hotel menus, napkins, web and print signage , using their individual inhouse graphic design teams.
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I began with the image of a stylised Turkey, into which elements and repeat patterns of Nordic folk-art were incorporated; marrying traditional festive decorative motifs with sleek forms to create a modern, yet warm and appealing look. I presented both pencil roughs and a digital mock-up showcasing the proposed final badge design. The client was extremely happy with the style and direction of the initial
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icon, and so we continued to develop the suite of icons along the same theme, making sure to carry elements of the same visual thread throughout. I then created a layout of the main image in both portrait and landscape formats to allow for a greater degree of flexibility with derivative print and web materials.
INDIVIDUAL PROPERTY BADGES
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I designed the Turkey, Wreath, Christmas Tree and Gingerbread House badges as well as the smaller secondary icons (Mittens, Kettle, Bread Tray, Branches), whilst the team created the Berry Pie, Motor-Car and background shape-layer designs. I then vectored all of the icons and prepared the layouts to ensure visual conformity in the final image output.
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FINAL PRESENTATION: COLOUR After finalisation of the property icon designs and key-piece layouts was agreed, I created several colour pathways for the client to choose from for the final design; bringing in traditional rich festive tones of burgundy, brandy red, spruce green, clotted cream and biscuit. The challenge: each icon, representing an individual hotel property, was to appear of equal visual importance, whilst at the same time not causing the overall image to appear busy or ‘cluttered’. To allow for each icon to ‘breathe’, I opted for a tonal colour treatment,
PROJECT OVERVIEW:
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with a higher contrast against a letter-boxed background to create a clear sense of visual hierarchy. The client was pleased with the solution and requested to see several iterations of each using different headlines and logo layouts. Having opted for heavy red-based colour-ways in past campaigns, the client eventually opted for the spruce green colour-way (C) for the final artwork.
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PRODUCT DESIGN
PA P E R - C R A F T C A M E R A For Art Basel 2017, I was asked to design a special take-home ‘gift’ for children who attended the Junior Art-Hub, sponsored by UBS Bank. The challenge: the gift had to tie-in thematically with both the Junior Art Hub Space (6 years+) and the Mini-Space (3-5 years), as well as cater to the interests of both age-groups. Lastly, the gift needed to be ‘memorable, special and unique,’ so that each child who visited would have a life-long memory of the event.
Having already created the Installation Design for the 2017 Mini-Space (see p.24), I decided to create a flat-pack ‘camera,’ which could be used by the child to recall their favourite scenes from the animated story using stickered backgrounds and characters, or (for the slightly older age-group) to draw their own personalised scenes on the view-finder ‘screen’, creating new special memories.
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Inspired by origami and paper-craft, I proposed the idea of creating a toy crafted from paper card, allowing the user to complete the construction themselves, and customize it with colour and stickers to truly personalise their creation. The rationale: colouring and sticking are enjoyable tasks for the littlest fingers, whilst the construction element is appealing to the slightly older child, who enjoys the puzzle-solving aspect of folding and fitting pieces together.
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DESIGN PROCESS To minimise printing costs, I designed the camera in only two parts: the main body and the lens cap, with the pieces to be laser-cut from a single sheet of card. To negate any potential logistics issue with the use of wet materials, glue was completely avoided. Instead, the entire toy would be held together using a slot and tab system, with simple
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instructions to fold or slot written on non-visible segments of the tab and inner camera to help the child or parent to piece it together. I created several prototypes by hand before designing the final piece, which, due to well-placed double tabs and holds, was sturdy enough to withstand a lot of use by little hands! To finish off, I created an A5 sticker sheet to accompany each camera set, incorporating scenes from the animation as well as some new icons and characters to add personality. Lastly, the front of the lens cap could be opened up and some small treasures stored inside, for a little extra fun!
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DESIGN FOR PRINT & WEB
PAT T E R N & A D V E R T I S I N G
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01. TENOCHTITLAN PRINT SET Client : Personal Project Year : 2014 PROJECT OVERVIEW: As an artist, I am deeply inspired by folk-art emblems, patterns and motifs from various cultures and ethnicities around the globe. Having always personally enjoyed patterned prints on textiles, clothing and home-wares, and inspired by the dramatic sunsets and skyscapes of South America, I decided to create a repeating pattern print that could be used across a range of products, with a flexible scale and dimensionality that would be suitable both on large surface areas (bedding, rugs) and smaller products (stationery, tableware, accessories, etc.).
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Incorporating traditional Aztec emblems, shapes and motifs in bright, jewel-tone colours, I employed the use of bold geometric shapes and lines and repeated colour to tie the piece together, with varying scale in order to create a more dynamic pattern.
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02. BROCHURE & PRINT CATALOGUE DESIGN Client : Colour My World Studio Years : 2017 - 2018 PROJECT OVERVIEW: Colour My World Studio is a unique Creative Arts service provider in Hong Kong. Catering both to expat and local Chinese families, it offers a wide range of workshops for children, teens and adults, which focus on experiential learning and process-led discovery. These workshops run the gamut across multiple disciplines, including drawing & sketching, painting (acrylics, gouache, oils), textiles, fashion design, print-making, multi-media, sculpture, ceramics,
photography,
graphic
design,
digital
illustration,
animation and film-making. With such a wide spectrum of courses available, cataloguing proved to be a challenge - particularly when creating Holiday Workshop
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Guides, which would need to cater not only to regular clientele, but also to visitors who might be less familiar with the various programmes offered. I proposed the creation of a more imagecentric, catalogue-style brochure, in which custom timetables, colour-coded age-ranges and dramatically reduced text would create a more easily accessible guide for children and parents. I created a simple, easily editable inDesign brochure template, with clearer, colour-coded categorization of available workshops by age
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and subject-matter. Since many of our families travel regularly throughout the summer period I created matching timetables for easy workshop selection by available dates.
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03. PRINT & WEB ADVERTISING Client : Colour My World Studio Years : 2014 - 2019 PROJECT OVERVIEW: At Colour My World Studio, I was responsible for the creation of advertising materials for both print and web-based campaigns. These included ad-sets for local print (Expat Parent) and online (Sassy Mama, Little Steps Hong Kong, Facebook, Instagram) publications; modifying each set according to the resolution and size requirements of each. I also created roll-over banners and .GIFs for embedding in ours and partner websites, with matching graphics to incorporate into inhouse marketing email campaigns as well as partner programs with affiliate international and local schools (Canadian International, Victoria Shanghai Academy) offering Colour My World workshop
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ESA programmes in Drama, Creative Writing and Visual Arts.
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04. PHOTOGRAPHY &
SOCIAL MEDIA PLANNING
Client : Colour My World Studio Years : 2017 - 2019 PROJECT OVERVIEW: Colour My World offers Visual Arts workshops on an eight-week term basis, with new project prototypes being produced regularly in advance of email marketing campaigns to clients. As part of my role, I was tasked with photographing some of our projects to display on such marketing campaigns and on social media. I opted for a variety of images, alternating between ‘doing’ (showing hands, people) and product shots (finished artwork, materials) to create a warm, informal and cosy feel that was in-keeping with the studio brand. I am passionate about social media planning, with a strong interest in layout, colour-gridding and content analysis for Instagram. I
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particularly enjoy the challenge of considering not only the visual composition of each individual image, but also the gallery as a whole. I developed a grid system in which I alternated colour images with ‘white’ so as to allow more negative space and a cleaner visual experience. Using planning apps such as UNUM, I mapped out grids, taking care to consider the colour composition, layout and visual weight of each set of nine photographs, each of which centred around a key image tying the set together.
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I developed a colour-grading system for each of the photographs, to ensure visual conformity and a smooth transition from one colour-family to the next, in accordance with the term theme and time of year.
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STAGE DETAIL, JUNIOR ART-HUB MINI-SPACE (2018)
EXHIBITION & INSTALLATION DESIGN
ART BASEL HONG KONG ART BASEL is an international Art Fair and exhibition held annually in Basel, Hong Kong and Miami. From 2015 - 2019, UBS Bank sponsored the creation of a Junior Art Hub - a space designed specifically for children who visited the exhibition to interact with and create visual artworks of their own inspired by the annual theme and ‘Hero’ piece of the exhibition. The space was divided into two areas: one for young artists ages 6 years and above, and one for our youngest visitors ages 3-5 years.
At the end of each session, the children were to be presented with a special ‘take-home gift’ thematically linked to the space and the activities they had just enjoyed. I was asked to create memorable and unique gifts that could be reproduced on a large-scale, with materials and production sourced in Hong Kong, mainland China and Europe.
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As Art Director and Lead Designer of the ‘Mini-Space’ (for ages 3-5 years), I was in charge of conceptualising and creating an interactive area designed to promote and encourage active play, through which key ideas and themes from the exhibition were simplified and explored. During their visit, children would interact with performers in the space; playing games, participating in active storytelling, role-playing and engaging with the installation pieces themselves as part of active learning about the artworks in an age-appropriate manner.
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ABHK 2018: HELLO, HONG KONG! For the 2018 Art Basel exhibition, I created an immersive soundstage storytelling experience for our youngest participants. Given the very young age-group for whom the experience was designed, high levels of interactivity and sensory play were key components to be incorporated into the design. Bright engaging colours, high contrast and simplified, appealing shapes were used to create a stylised scenic representation of various areas and recognizable landmarks within Hong Kong, from the iconic red lamps, neon lights and hanging ducks of the food
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markets to the famous Star Ferry and outlying islands. Accompanying atmospheric sounds including traffic, haggling crowds, animals and distinctive local noises (tram jingle, for example) were layered and played in the background as performers acted out an interactive story using hand-held puppets. Designed to enhance the narrative of the story, the stage background moves in tandem with time, showing a linear progression from night/very early morning to day. To create a fully immersive experience, a stage-floor was also incorporated, which
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extended the scene right out to the young audience seated in front of it.
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Catering to a child’s point of view was at the forefront of the design ethos. Buildings were designed to be proportionate to and at a child’s eye-level, with accessible lights, sounds and movable elements to inspire and encourage interactive play. During storytelling, children were invited up on the stage to solve life-size colour and shape-matching puzzles, with real basket lids and removable felt Dim-Sum buns, lily-pads and fruit, whilst working push LED lights, hanging felt lanterns and a fully moveable track ferry were also included to add to the overall narrative experience. Liaising with local and mainland Chinese manufacturers, the stage was fabricated and built in Hong Kong, with the laser-cut wooden ferry produced and imported from the mainland just prior to installation in the space. The painted basket lids were authentic and sourced locally, whilst the play felt pieces were cut and pieced together by hand in-house from the vector shape-outline patterns I created. Children particularly enjoyed pointing out familiar, brightly coloured landmarks, and were able to explore and touch the stage after the performance, which proved to be a very popular phototaking opportunity, and one of our most successful installations to
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ABHK 2017: WHERE IS TEDDY? For the 2017 Art Basel exhibition, the team was asked to explore an installation idea inspired by the artist Michael Craig Martin’s ‘Objects of our Time.’ Focusing on how a young child might interpret and try to understand this idea, we conceptualised a narrative around ‘The Secret Life of Everyday Objects.’ In further keeping with the theme, I proposed the inclusion of motion design into the mini-space; creating a simple interactivestyle animation (using Adobe After Effects) with vector-illustrated backgrounds and assets. I wanted to create a cinematic experience for the young viewer, to facilitate a dream of stepping directly into
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the world of imagination. To achieve this, I designed a full-width illustrated wall to house a 2m wide screen, behind which a reverse projector (located out of sight) was used to project the animation without outside light disturbance - achieving a bright, large-scale moving image that could be displayed in an equally brightly lit, functional room. To further enhance the illusion of objects coming to life, I created a life-size wall decal to surround the screen, designed to match flush
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with the opening scene of the animation (house window). Thus, to a young child, the illusion of reality was created, as they peered through into the world of the ‘child’ at the centre of the narrative, searching for their teddy bear.
MINI-SPACE INSTALLATION 2017
ISOMETRIC VIEW
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During the performance, the actor (playing the role of the child) would enlist the help of children in the audience to help him find his favourite soft-toy, retracing his steps throughout the day as he interacted with various objects in the room, garden, beach and restaurant. Giving simple visual clues like colour, size and other characteristics, the performer would then proceed to ‘look’ for the object - appearing to ‘open’ doors, drawers, ‘lift’ rugs and toys with pre-timed animation, and asking the audience to help him spot what he is looking for. For an extra element of fun, some rogue rabbits were added, popping up here and there ‘unbeknownst’ to the performer, who would invariably express his surprise to find the children excitedly pointing them out wherever they found them. I finished the space with a set of A1 illustrated posters depicting young children engaging in various daily activities with their teddybears, to add a ‘living story-book’ quality to the space as a whole. Small bluetooth speakers were placed in front of the screen wall to play ambient music and sound-effects, which were controlled backstage and could be stopped and started to accommodate for additional time taken, should the audience be especially absorbed by a particular scene or idea. Lastly, motion loops utilising objects and icons from the story were
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played on-screen during games and activities that followed, so that the space was ‘alive’ throughout the entire session experience - a source of great fascination and enjoyment for our young viewers!
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PROJECT OVERVIEW:
ABHK 2016:
For the 2016 Art Basel exhibition, we were asked to take
to-day lives would be celebrated - because not all heroes wear
EVERYDAY SUPERHEROES!
inspiration
capes! I created a series of three scenes depicting the ‘habitat’
documenting the histories and achievements of famous women
of one such person, from three very different fields: Public
in various different fields; from Science and Technology to the
Services (Fire-fighter), Science and Technology (Scientist), and
Arts. We decided upon a theme of ‘Everyday Superheroes,’
The Arts (Rock Star).
PROJECT from the OVERVIEW: photography of Annie Liebowitz,
where the accomplishments of important people in our day-
MINI-SPACE INSTALLATION 2016
ISOMETRIC VIEW
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SCIENTIST
ROCK STAR
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FIRE-FIGHTER
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Each ‘scene’ consisted of a stand-alone stage set wrapped with an illustrated vinyl decal sticker, from which some detailed areas were extruded to create a more three-dimensional feel. I finished off each set with some locally-sourced play accessories, including beakers, hoses, buckets, costumes, play guitars and a glitter ball. The Rock star and Fire-fighter sets also incorporated push LED coloured lights to add some extra dimensionality. Beginning the 45-minute session with a thematic story enacted by performers, children and parents were then invited to pose in front of the stages using the props, costumes and accessories utilised during the performance; recreating all of their favourite scenes! To cap the experience, I wanted to create a take-home gift that would have both an immediate and longer-lasting visual impact. I decided upon using Polaroid cameras to deliver instant images of each child, which could then be placed into a colouring book style photo-album specially designed to showcase the activities. Once filled, the album could be sealed, coloured in and kept as a highly-personalised photo-souvenir of each child’s visit, and a memento of one of Hong Kong’s most popular activities: good oldfashioned, family-photo fun!
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ABHK 2015: POP-ART PHOTO BOOTH For the 2015 ART Basel exhibition, Pop-Art was the prevailing theme. Inspired by Andy Warhol’s Soup Cans, I was asked to redesign the interior of a conference room, transforming it into a Junior Art-Hub ‘Mini-Space’ for children aged 3-5 years. The client requested that the space would comfortably fit a 45 minute activity session, including games, story-telling and craft activities. Having had previous experience of working with very young children, I decided to hinge the concept of the room around shape, colour and texture; crafting a sensory experience that allowed for tactile as well as visual engagement with the artwork. To create a smooth flow throughout the space, I designed five individual activity ‘stations.’ Upon entering the space (Kowloon), children could touch and play with primary-coloured discs covered in various textures (beads, feathers, bark, etc.), followed by a storytelling session with colourful building-blocks (Mong Kok), sand-art (Wan Chai) and games (Causeway Bay). To conclude the session,
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I designed a ‘Pop-Art Photo Booth’ (Central) placed outside the doorway, which families could use for photo-taking opportunities upon their exit. Paying tribute to Hong Kong as our host city, the booth included signage inspired by the Hong Kong MTR (subway system), UBS branding as well as speech-bubbles surfaced with blackboard paint, which could be customized with personalised messages using coloured chalk. The booth featured a perspex window pane
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inside which a child could pose next to an iconic pop-art figure. Finally, black dots were printed onto the perspex pane to recreate the famous ‘half-tone pattern’ look.
MINI-SPACE INSTALLATION 2015
ISOMETRIC VIEW
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FINAL TOUCHES: DECORATION To fully transform the space, I decided to disguise the original conference room walls and carpet with false walls and an overlay carpet, onto which stickers and decals could be placed without causing damage to existing furnishings. For decoration, I took further inspiration from the distinctive colourful wall tiles of Hong Kong’s subway system; turning
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PROJECT OVERVIEW: them into pop-art inspired poster art on the walls of the space. To create a bigger visual impact, I created a ‘tonal triptych’ for each station area, with Warholian-esque overprinted pattern repeats designed to engage the imagination of our youngest visitors. The posters were designed to be both functional and decorative; serving as a useful visual tool for performers to signal children and parents to move to the next activity area.
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MOTION DESIGN
A N I M AT I O N & V I D E O G R A P H Y
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Poppy learns how to draw her first self-port
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Client : UBS / Art Basel Hong Kong
PROJECT OVERVIEW:
01. SEE THE WORLD Year : 2016
To illustrate the personality of the studio and its unique, holistic
Client: Colour My World Studio
promotional videos showcasing some of our workshops, designed
which are voiced by actual students, suggesting a more personal,
to be shown to prospective clients as part of a welcome package.
hand-crafted artisinal approach advocated by the studio -
I decided to Incorporate video taken by teachers from the studio
communicating to clients that it is about approaching art not
classrooms as well as my own footage, keeping some of the
as a cookie-cutter technicality, but rather, a journey of personal
imperfections and hand-shakes to add a cosier, ‘home-made’ feel
growth and discovery.
Years : 2016 - 2017
approach to PROJECT creating art OVERVIEW: in Hong Kong, I created a series of short
that added a sense of nostalgia and warmth; in-keeping with the studio brand. I carefully crafted a script for each of the videos,
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trait on the Explorer’s Art programme.
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Scenes filmed in the studio interior are warm and cozy.
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02. SUSTAINABILITY JOURNEY 52
Client: TREACLE Studio / Assa Abloy Year : 2015
PROJECT OVERVIEW: PROJECT OVERVIEW As part of a campaign video for Swedish manufacturing company
PROJECT Assa Abloy, Treacle askedOVERVIEW: me to create a series of vector-based
plaster and other natural elements to soften the overall look. The project was to be completed in a very short time-frame,
animation backgrounds. Having created pencil roughs based
with each of the backgrounds turned around in a day or less
on shared storyboards, I was asked to develop the look of the
to prepare for animation. I also created several assets to be
buildings further to coincide with the sustainability theme
utilised in animation, developing the overall visual style and
of the video. I added in textural wooden details, clean white
language of the project.
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and as close as possible to the final design. This work-flow allows for a fast, predictable turnaround for tight time lines, and makes it easy to utilise assets for future project stages.
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When working with vector, I tend to create my concept sketches with the final output in mind. I think like Adobe Illustrator: in shape first. Lines are kept simple, clean and precise,
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03. OLD MACDONALD 54
Client: Personal Project Year : 2019
PROJECT OVERVIEW: PROJECT OVERVIEW In 2019, I decided to create an animated music video to the
PROJECT OVERVIEW: classic children’s song, Old MacDonald, with a twist! Drawing
appreciated by the very young (who love to count, find and point out everything!). For each animal I created a unique
on my professional experiences of working with and designing
series of thematic assets designed to add interest and fun (for
for young children, I decided to incorporate modern character
example, the Sheep has odd socks!), whilst painterly textures in
designs with a touch of humour, including a high level of detail
the background add visual warmth.
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ILLUSTRATION www.claireobrienillustration.com Deeply inspired by folk and mid-century art, I specialise in illustration for children and fashion. Though I am a digital illustrator, most of my work begins life as a hand-drawn pencil sketch on loose-leaf paper. I love to experiment with colour and texture to create a sense of warmth and coziness. My favourite subjects to paint include people and animals: particularly woodland creatures! More samples of my painting work can be seen on my portfolio website: www.claireobrienillustration.com
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And on my instagram profile: www.instagram.com/dazhkaclaire
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@dazhkaclaire