標(biāo)志vi設(shè)計(jì)_武漢包裝設(shè)計(jì)公司分享標(biāo)志vi設(shè)計(jì)、品牌vi設(shè)計(jì)理念

通過(guò)獨(dú)特的設(shè)計(jì)形式，良好的標(biāo)志vi設(shè)計(jì)可以吸引眼球，從而贏得更多的合作機(jī)會(huì)，讓消費(fèi)者口口相傳。一個(gè)成功的標(biāo)志vi設(shè)計(jì)不僅能體現(xiàn)企業(yè)的意義，而且能夠成為企業(yè)的無(wú)形資產(chǎn)。

標(biāo)志vi設(shè)計(jì)創(chuàng)作理念：

As such, her works mingle iconography of innocence with that of death and the macabre: Alice’s wonderland is suddenly a dystopian hell.

In recent years Le Roy has also taken to making her works even more haunting by rendering them as 3D images, creating oil paintings that come to life when the viewer dons 3D glasses. A number of these works are currently on show at the Forman’s Smokehouse Gallery in east London in an exhibition entitled The Disenchanted Forest, showcasing the artist’s simultaneous explorations of childhood stories and the more adult recesses of the human mind.

Many of the women that take on the roles of characters like Snow White, Little Red Riding Hood and Alice in Wonderland are Le Roy’s friends, some dating back to her days living in a squatted part of the old Chelsea Art School building. And while they’re dark – disturbing, even – there’s a large dose of humour in Le Roy’s work, especially in their titles. Among our favourites are the Little Mermaid parody, entitled Whoring Ariel, and Red Riding Hood who didn't make it to grandma’s, an image that conjures up a fairytale heroine who has long ceased to give a fuck.