Visual Thinking
How can graphic design communicate sensory experiences?
- Sight
Contrast
Scale
Cropping
Blur / Focus
Transparency
Light & Shadow
Texture
- Sound
Repetition
Wave
Vibration
Echo
Onomatopoeia
Spacing
- Smell
Temperature
- Touch
Surface
Line quality
Density
Material illusion
- Taste
As I continued developing the Five Senses Menu, I began questioning not only how to visualise the senses, but also whether the format itself was limiting the experience. Although the publication allowed people to read about vegetables, the interaction remained passive. I wanted people to experience vegetables rather than simply learn about them. This made me question whether a book alone was the right format for communicating sensory exploration.
I realised that my challenge was not how to represent the five senses visually, but how graphic design could invite people to actively experience vegetables through their own senses.
Workshop
This week's session took place at Jupiter Artland, where we participated in an on-site workshop. Instead of working in the studio, we explored the sculpture park in groups, observing how visual identity, architecture, landscape, and artworks shaped the visitor experience.
Our task was to develop an alternative logo for Jupiter Artland after exploring the site. The workshop encouraged us to move beyond designing a symbol and instead consider how identity can emerge from direct observation, spatial experience, and the unique atmosphere of a place.
Redesign Logic
Site Observation
Before sketching any ideas, we explored Jupiter Artland as visitors. We paid attention not only to the artworks themselves, but also to the relationship between sculpture, landscape, movement, and the overall atmosphere of the site. At the same time, we took a close look at the map and the current logo. These observations became the starting point for our redesign.
First Impressions & Keywords
- Exploration
- Journey
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Discovery
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Landscape
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Art
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Nature
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Movement
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Connection
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Openness
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Green
- Small Hill
Rather than selecting a single sculpture as inspiration, we focused on the experience of moving through the landscape and discovering artworks along the way.
Sketch Development
Before developing the graphic symbols, we first explored whether the identity could be created by redesigning the Jupiter Artland wordmark itself. We experimented with modifying the letterforms and integrating graphic elements into the typography, hoping to create a logo that reflected the character of the site while remaining recognisable. We wanted to keep the leaf element that appeared in the map and the original logo, but after trying many different approaches, I still felt it was too complex and lacked distinctiveness and memorability and these approaches were too restrictive and did not fully capture the experience of visiting Jupiter Artland.
We therefore shifted our focus from typography to a more flexible graphic system. Through sketching, we began exploring abstract geometric forms and connecting lines that could better represent movement, exploration, and the relationship between art and landscape.
This iterative sketching process helped us evaluate different possibilities before arriving at a clearer visual direction.
Graphic Translation
The final visual identity design will feature simple geometric forms representing various artistic interventions, combined with continuous, flowing lines inspired by Jupiter—the planet from which the name derives—and its asteroid belt. Together, these elements form a flexible visual system that embodies the themes of exploration, movement, and connection throughout the website.
Present
At the end of the workshop, each group gave a short presentation to introduce their redesign proposal. We explained the reasoning behind our concept, from our initial observations of the site to the development of the visual identity. Rather than focusing only on the final logo, we emphasised the design process and how our visual decisions were informed by the experience of exploring Jupiter Artland.
Reflections
This workshop reminded me of the importance of observing before designing. Rather than beginning with aesthetics, we first immersed ourselves in the environment, allowing the experience of the place to shape the visual concept. It reinforced how research and observation can lead to more meaningful design decisions.