Daydreaming

Problem

I was interested in the idea that conscious and subconscious thoughts can exist simultaneously, even though we tend to pay less attention to thoughts that are less defined or immediately accessible.

The challenge was to communicate this relationship through one composition where image and typography work together, rather than treating the type as information placed around an image. I wanted the final piece to feel dreamy and slightly disorienting, reflecting the ambiguity of subconscious thought while maintaining a sophisticated, high-fashion editorial quality.

Process

approached the imagery through a high-fashion editorial lens, drawing from feminine, dramatic, and sophisticated beauty imagery. I wanted the image to feel elevated and polished while introducing a sense of distortion that could reflect the less defined nature of subconscious thought.

I created the final image by duplicating and offsetting the photograph, reducing the opacity and sharpness of the secondary layer. The overlapping eyes became a visual representation of conscious and subconscious thought existing at the same time. One eye remains more focused while the other becomes less defined, reflecting how subconscious thoughts can be present without receiving the same conscious attention.

I then developed the typography as part of the image rather than as a separate element. I paired Didot with Helvetica, using Didot for its refined editorial quality and Helvetica as a cleaner, more neutral contrast.

The title “DAYDREAMING” extends across the composition, with “DREAMING” moving directly into the photograph. I wanted the typography to feel as though it was entering the dream world created by the image, reinforcing the photograph as a representation of the subconscious mind.

Result

The final composition brings image and typography together to create an ethereal and slightly disorienting interpretation of daydreaming. The overlapping eyes suggest conscious and subconscious thought existing simultaneously, while the blurred imagery and integrated typography create a sense of something present but not entirely clear.

The project demonstrates how typography can become part of an image's conceptual language rather than functioning solely as supporting information, allowing the visual composition itself to reinforce the ideas explored in the source material.