Desire Does Design Portfolio by Ed Davis

The Portfolio of Ed Davis

DESIRE

desiredoesart.blogspot.com desiredoesdesign@gmail.com

DESIGN

Desire Does Design Ed Davis

all about me.

ZAHA HADID BAUHAUS

Desire Does Design is Ed Davis, a 27 year Designer and Illustrator. Currently studying an Fda in Graphic Design with Interactive Multimedia at City of Bristol College. At present I am working on University Briefs and some small freelance projects. I have a passion for monsters and drawing as well as a strong desire to keep my design work as clean and as â&#x20AC;&#x153;sexyâ&#x20AC;? as possible. I also have an unhealthy obsession with typography and magenta. For a further info please feel free to get in touch: desiredoesdesign@gmail.com

Duck Soup Packaging Design

For this brief we were asked to create a Brand Identity and Packaging Solutions for a fictional BBQ company. My creation was â&#x20AC;&#x153;Duck Soupâ&#x20AC;?. The brand ethos was simplicity and quality in both design and product. I was inspired by vintage packaging and classic illustration styles. All type and visuals were hand rendered to ensure that vintage feel.

visual identity, packaging design, brand story

Block Magazine Editorial Design

logo design, image manipulation, editorial layout, brand identity

“I know people are scared of me,” says Zaha Hadid, leaning forward and avoiding eye contact. “But I don’t want them to be.”

london developers

are, says the worldrenowned architect. But that’s not going to stop her increasing her presence in the UK and following up her aquatics centre success with tall buildings in the capital. She talks about work, high points and low - and why her clubbing days are over.

Then she turns with a look that is both deadly serious and mischievous. “No one will ever come to me and say ’I don’t like you’ or ’We are scared of you because of x, y and z’ I have asked people so many times what it is about me and they won’t say. But I think it’s because they are scared they can’t control me. Developers can deal with a man like me, but not a woman. If you are a woman and you are strong, you are difficult. And men don’t listen to me. “It’s genetic, I think. Men don’t listen to women.” So how does Hadid get over this problem? She breaks into a rare smile and her eyes brighten for just a second: “I shout at them. I give them hell!” Of course she does. Intelligent, ruthlessly honest, direct and to-the-point, Hadid is not afraid to give one-word answers,

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ondon calling The last six months have been mixed for Zaha Hadid Architects. Although the firm posted a pretax profit of £4.1m in February - triple what it was the year before - it was badly hit by the downturn in Dubai and, more recently, the political unrest in North Africa. Millions of pounds worth of schemes in Dubai have been halted, as have three projects in Cairo, and the practice’s conference centre scheme in Tripoli, worth £250m. Clearly, something had to give: “In architecture in this day and age you can’t predict what will happen. We have to be very careful and we have a lot of work finishing up at the moment. Then, with what happened in the Middle East and North Africa, it might take a while to pick up and I can’t wait. It would be different if we were 20 people. I can take a risk and wait. Maybe wait for a year. But 450 people

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05/06/2011 19:25

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For this brief I was asked to create two double page spreads and a cover design for fictional architecture magazine Block. The client base was design loving, architecture fans with a disposable income. For this reason I tried to create a highly stylised magazine with a clear brand identity that followed throughout the magazine.

05/06/2011 19:25

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she smiles sparingly and laughs only when she is really amused. Her sense of humour is desert dry, her own jokes so deadpan, it is almost impossible to tell whether she is being funny or utterly serious.

i know people are scared of me.

Today, the 60-year-old, Iraqi-born, worldrenowned architect is sitting in the centre of her critically acclaimed Chanel Mobile Art pavilion in Paris, the day before its opening. She is wearing a black, ruffled, structured dress and is surrounded by two matching Prada handbags, three mobile phones and a half-metre long roll-out makeup case. “I buy these things in America,” she mutters, flinging open the case and fishing out one of five Tom Ford lipsticks for a last-minute touch-up. “They are so useful for organising cosmetics and things like this.”

05/06/2011 19:25

- no.” Patrik Schumacher, partner in Zaha Hadid Architects, says: “I think the UK is ready for this. Look at what’s going on now in east London, in particular beyond Canary Wharf and Poplar. These are all the sorts of projects we have thought about experimenting with and creating, the sorts of things we have been doing in Singapore and China and Dubai. We know London and how to deliver projects that will work with the landscape with an added twist. We will be looking into commercial and residential tall buildings with lots of amenities.”

if you are a woman and you are strong, you are diffIcult. and men don’t listen to me. it’s genetic, i think. men don’t listen to women

Hadid doesn’t agree with recent arguments from people such as Ken Shuttleworth, the architect behind the Gherkin, that we are about to see the death of the tall building: “No,” she says simply. “No. We haven’t even seen the start. There needs to be a strategic decision because there is so much pressure to have high density in London and if you don’t build tall, then buildings are very low and dense on the ground and you have no open space and less air. Personally I think it’s better to grow tall but there needs to be a masterplan so it works with the skyline.” So does she think London is ready for the Hadid treatment? “Oh, well, I don’t know. There are lots of great developments in London. I think the Shard is fantastic. But we don’t do anything the same so everything would be a surprise.” As to where she would be looking to work, Hadid shrugs before saying that the south and the east of the City might be a good place to start: “There are lots of areas of London that need attention. Southwark is

05/06/2011 19:25

Block Magazine Editorial Design

still not properly developed and it should be. That area, I think, has so much potential. Even London Docklands. That could be a fabulous place to live.” However, her reputation precedes her, which is a problem for her London plans: “I think developers in London are scared of me,” she says. “But why? They should be able to deal with it.” the good and the bad Hadid is best known in the UK for her aquatics centre for the Olympic Games, (she hates the temporary stands but “on the inside it will look beautiful”), and the design she has come up with for the Central Bank of Iraq in Baghdad. But her press coverage hasn’t always been favourable. She certainly doesn’t cherish the memory of Cardiff Bay Opera House, her 1995 project that collapsed after failing to gain support from local councils, and after a media battering that she still resents. “It was a very bad time,” says Hadid. “It wasn’t our fault, it

logo design, image manipulation, editorial layout, brand identity

was the nature of the work and I thought it was a very unfair, unjust experience. I remember very clearly that I had to make a conscious decision afterwards not to let it all get to me to the point where I couldn’t move on. Because that could have finished us. We had no work, no money. It was an awful time.” She did move on, of course, and one high point has been winning the Stirling prize last year for the Maxxi national museum in Rome - after three years of being shortlisted but failing to triumph. Hadid was described that night as the “Meryl Streep of architecture”: always shortlisted, always worthy, but never a winner - until now. “It was very exciting to win. I had no idea and it was a huge surprise and very, very important to me. And as for Meryl Streep - I have seen Mamma Mia and she is a great actress, though I prefer some of her earlier work.”

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The aim of the Bauhaus was to heal the schism between the arts and the crafts. Students (who usually numbered one hundred) were taught to be as proficient in artistic fields as in the technology of production. They were taught a multi-disciplined curriculum, often attending classes in photography, theatre production, painting, and design. The school’s founders believed that the longstanding polarisation of arts and craftsmanship was damaging to human artistic and material development. However, for the first four years of its existence, the Bauhaus did not teach an architecture courses and was dominated by the Swiss artist Johannes Itten, a charismatic teacher who was fond of wearing a monk’s outfit and tried, in 1921, to convert his students to an ancient Persian religion.

FROM HERE

THE DESSAU PHASE

05/06/2011 19:26

iInspiration Hadid may still find it a struggle at times to get men to listen to her but her success, and worldwide recognition, means she is an inspiration to many young women, especially those who want to be architects: “Someone said to me years ago: ’You realise you are a role model?’ And I didn’t. I think that now it’s becoming more clear when I go to give a lecture and I have a huge number of women coming to me for assurance that it can be done.” Is she proud to have such an influence on young women’s lives? “Yes, I am. It’s fantastic. But I want to be seen as an architect - hopefully a good one - rather than as a woman. If people say to me: ‘You’re OK for a girl’, I reply with something rude. Always.”

05/06/2011 19:26

Further spreads from “Block” magazine.

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05/06/2011 19:26

NATIONAL SOCIALISM

he Bauhaus school of industrial design was founded in Germany in 1919. Although in existence for only fourteen years, its influence on modern architecture and design has been immense, and many of its famous students and masters gave the Modern Movement a philosophical, as well as practical, grounding in the volatile years of the early twentieth century.

05/06/2011 19:26

AND EXILE

Gropius resigned in 1928, and was replaced by Meyer. Under Meyer, the school’s curriculum became more leftwing, and many of the early masters left. In these years of increased Nazi influence in Germany, the Bauhaus once again became a target of the far right. Meyer was forced out and replaced by Ludwig Mies Van Der Rohe, who banned political activity and turned the Bauhaus into a more orthodox architectural school, in a vain attempt to save it. But in 1931, the Nazis gained control of the Dessau city government. They

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growing influence of National Socialism in Germany. In 1925, after the Ministry of Education had cut its grant, Gropius announced the school’s closure. There it might have ended but for an offer from the industrial city of Dessau. In 1926, the Bauhaus relocated to a new purpose-built school, designed by Gropius and Swiss architect Hannes Meyer. Clean, modern, and confident, the new building signalled that the school’s time had come.

The following years were the heyday of the Bauhaus. Marcel Breuer and his students began to produce revolutionary tubular lightweight chairs, and the department became a valuable source of income for the school. The form of these products increasingly became derived from function, an apGropius gathered proach to design for around him some of which Bauhaus is still the brightest artists and synonymous. designers of the time, including the painters Paul Klee and Wassily Kandinsky and the designer Marcel Breuer. But the avant-garde nature of the Bauhaus was anathema to the

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TO MODERNITY

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Itten’s relations became strained with his colleague Walter Gropius, a German architect and teacher, and the school’s first director. In 1923, Itten resigned and Gropius became more influential. He was a great believer in mass production and insisted that students master the production process from start to finish, so that their artistic sensibilities would be informed by the possibilities of new technology. Gropius and the Hungarian artist Laszlo Moholy-Nagy encouraged students to make contact with industrial companies around the town of Weimar, were the school was based. The drive for mass production, and consequently standardisation, were central to Modernist architects’ vision of reshaping our cities.

criticised the school as “Jewish” and “Oriental”, forced its Marxist teachers and students to leave, branded its work “decadent”, and even planned to put an “Aryan” pitched roof on top of Gropius’ school building. Mies took the school to an old warehouse outside Berlin in 1932, but in 1933, the year Hitler became Chancellor, the Bauhaus was closed for good. Many of the Bauhaus leading lights fled Germany for good. Gropius and Breuer left for Britain where they stayed briefly in the Lawn Road Flats, and Mies eventually left for the United States in 1937, where he would complete his most celebrated work after World War Two. The influence of Bauhaus, particularly its Dessau phase, on Modernist architecture was profound. The insistence on standardisation, the experiments in mass production, and the pioneering of the concept of industrial design, all influenced the Modernist approach to building and design.

05/06/2011 19:26

Ted Baker Fictional Fragrance Campaign

For this Brief we were asked to create a fictional Ad campaign for Ted Baker. I used an animated short as the basis for a subversive campaign that was inspired by the absurdity of fragrance advertising. I did this by using my own illustrative style.

Animated ad, Store Front, Billboards, Magazine Spreads.

Ted Baker Fictional Fragrance Campaign

Animated ad, Store Front, Billboards, Magazine Spreads.

Talent Hubs Visual Identity

visual identity, stationary set, web banner, promotional material, brand guidelines.

E: info@wesport.org.uk

01/03/2012 17:45

stationary set 3.indd 4

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T: 0117 328 6250 F: 0117 328 1599

01/03/2012 17:45

01/03/2012 17:45 01/03/2012 17:45

stationary set 3.indd 1

Coldharbour Lane Bristol BS16 1QY

T: 0117 328 6250 F: 0117 328 1599

E: info@wesport.org.uk

Wesport UWE Frenchay Campus

01/03/2012 17:45

stationary set 3.indd 5

01/03/2012 17:45

RUNNER UP, Harley Brief 2012. For this brief I was asked to create a Visual Identity and Promotional Material for the new Wesport initiative Talent Hubs. The initiative was designed to support emerging sports talents in the South West. I was inspired by classic Swiss Design and Olympic Logos of the 80â&#x20AC;&#x2122;s. Having created the identity I also created a brand style guide for use by Wesport to ensure consistency throughout the brand.

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Coldharbour Lane Bristol BS16 1QY

T: 0117 328 6250 F: 0117 328 1599

stationary set 3.indd 6

Wesport UWE Frenchay Campus

Coldharbour Lane Bristol BS16 1QY

stationary set 3.indd 4

E: info@wesport.org.uk

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01/03/2012 17:45

Talent Hubs Visual Identity

visual identity, stationary set, web banner, promotional material, brand guidelines.

Go to Website Share with a friend Get involved

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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer euismod lacus eu leo pulvinar faucibus. In nunc velit, volutpat vitae pretium a, sollicitudin eget elit. Etiam cursus laoreet sapien auctor tincidunt. Vivamus id magna eu mi iaculis ultrices et sit amet metus. Nunc purus ipsum, consec Suspendisse viverra, mauris nec laoreet tincidunt, metus magna rhoncus mauris, in condimentum mi est at sapien. Fusce consectetur, est a pulvinar eleifend, est neque posuere est, at ultricies turpis libero quis nibh. Cras odio nisl, commodo eu viverra in, consequat vel felis. Sed ac erat magna. Sed fringilla sagittis massa facilisis scelerisque. Donec est mi, facilisis at pharetra ut, vestibulum sit amet nibh. Duis rutrum neque vitae purus rutrum a laoreet lacus lacinia. In hac habitasse platea dictumst. Nam faucibus, ante non fermentum feugiat, arcu tellus scelerisque lectus, nec tempus orci ligula vel orci. Maecenas porttitor nibh nisl, ac

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At the Centre of Youth Sports Talent Hubs supports talented sports people aged 12-15.

Through weekly training sessions we help promote core skills enabling you to progress within your chosen sport.

Search Facebook TalentHubsUK

Our ultimate goal is to make sure, whatever sport you play, you have fun doing it.

Find us on Twitter @talenthubsuk

Through weekly training we help promote core skills enabling you to progress within your chosen sport.

Search Facebook sessions TalentHubsUK

Our ultimate goal is to make sure, whatever Wesport UWE Frenchay Campus sport you play, you have Coldharbour Lane fun doing it. Bristol BS16 1QY

Launching this April

The new initiative from Wesport

Find us at www.wesport.org

For more info visit us at www.wesport.org.uk

â&#x20AC;&#x153;Firstly a commendation to the runner up whose attention to detail with design elements and tools within brand guidelines stood out particularly.â&#x20AC;?

Wesport UWE Frenchay Campus Coldharbour Lane Bristol BS16 1QY

T: 0117 328 6250 F: 0117 328 1599 E: info@wesport.org.uk

For more info visit us at www.wesport.org.uk

T: 0117 328 6250 F: 0117 328 1599 E: info@wesport.org.uk

Find us on Twitter @talenthubsuk

Stamp Collection

illustrated stamp design.

TEA

For this brief I was asked to create a set of stamps that represented British firsts. I wanted to create something that was quintessentially British. I found out that the concept of afternoon was created here in Britain and this inspired me to combine tea paraphernalia with things symbolic of Britain. Inspired heavily by the illustrations of Noma Bar.

BRSS Full Rebrand

For this brief I was asked to re brand The Bridgwater Reggae Soundsystem. As a growing collective the name and identity no longer suited and I was asked to bring the visual identity in line with the current brand practises. Having developed the identity I was asked to utilise it in promotional material to be used at Glastonbury Festival 2011, where the BRSS would re-launch the brand. So far this has been very successful and the BRSS are still clients.

Visual Identity, CD Cover, Apparel Range, Promotional Material, Stage Design.

BRSS Full Rebrand

Visual Identity, CD Cover, Apparel Range, Promotional Material, Stage Design.

www.thebrss.co.uk facebook.com/thebrss twitter:@thebrss

Here are a few images from the brand re-lainch at Glastonbury Festival 2011. Hosting their own stage â&#x20AC;&#x153;Babylon Uprisingâ&#x20AC;? the BRSS used this platform to showcase their new identity.

VAV Typeface Design

typeface design, poster design, promotional card deck.

FINALvav triptic.pdf

29/03/2011

13:48

VAV POSTERmiddle.pdf

29/03/2011

CMY

12:15

For this brief I was asked to create a display typeface and promotional typographic posters. Inspired by vintage advertising and the typographic style of Non-Format, I tried to create a modern type that had roots in the decadence of Art Nouveau. I also created a card deck to used as a bonus gift when the typeface was purchased, further enhancing VAV as a brand.

FINALvav triptic.pdf

CMY

29/03/2011

13:48

VAV Typeface Design

This is a second series of posters designed to showcase VAV’s versatility as a display face. Using lyrics from the classic 90’s rave tune “Let me Be Your Fantasy” I tried to play on VAV’s sexy form.

typeface design, poster design, promotional card deck.

Personal / Freelance Work

typographic posters, flyers, digital art.

Nickchristmas.pdf

20/12/2011

nickxmas.pdf

Y Y

CY CMY

CMY

Work includes, flyer design, digital art commissions, typographic poster design.

20:31

20/12/2011

20:35

Personal / Freelance Work

Work includes, Ikea Table competition from Bristol design festival, commissioned artworks, acrylic on canvas.

paintings, murals, commissions.