Aaron Hargreaves/Final Mock-Up

 

Back to the beginning.

I went back to the point where this idea worked, and found using my iphone camera created the photograph I was after.

 

I downloaded an app that gave the the facilities of editing each photograph to the effect I was pursuing. 

 

I produced a series of six photographs where five were selected for the final resolutions for the business cards. One of these photographs was slightly darker than the rest due to the angle and the lighting, so I decided to leave this out.

 

These were mocked-up and presented to Aaron. Aaron was very pleased with the outcome and loved that each one was slightly different.

 

Send off to the printers.

Aaron Hargreaves/One Shot

 

The digital mock-up was printed and positioned in the form it is going to be photographed.

 

I used a digital SLR for these photos to improve quality, however the problems seemed to come back. I also couldn't seem to achieve the effect I wanted. Taking it to Photoshop made no difference and even started to make things worse. But I created some great vibrant colours by doing this.

Aaron Hargreaves/Composition

 

Hand drawn type gave a real personal/abstract feel to the design and started creating a typeface picking elements from each sketch.

 

I just kept going.

Finally drew each letter form, which was taken to a digital form to be applied onto the layout.

 

This was the final outcome with a main focusing on hierarchy when being photographed.

Marc Design Postcards

(photos coming soon)

Shortlist.

 

 

 

 

Shortlist Magazine

Aaron Hargreaves/Development

 

The information was planned out to be taken to a digital form where his own typeface would be created and used in this design.

 

It was important that al aspects of this design was going to be legible in order to work. Some parts were pushing it, but as I had identified this before hand, it was taken into account.

Start Typing

 

A friend came to me asking if I do tattoos?

.. So I shook my head and said yes.

He presented me with a quote and asked me what I could do. Straight away this wanted to play with the idea of what you could actually see using a typeface which would usually be easy to read, in its boldness. Playing with this idea, I drew this typeface  focusing on shading the negative space. This was to try and create an effect where the bold type was at the point of fading away.

He loved this idea, and booked himself in. Wally.

 

 

 

Final buzz.

Aaron Hargreaves/Initial Ideas & Development

 

I grabbed the nearest camera and took some test shots. The natural light created depth, and straight away seemed to work.

 

 

Different angles created different colours in the composition, and this is where the first problems started to kick in. As I started to create depth, the information started to blur, which was the main issue. 

 

 

Another problem when creating the depth is that the information became hard to identify due to the angle, in a similar way as it started to blur.

The Works Skatepark/Development

 

Keeping in contact with the Skatepark from the last module, I was asked if I could mock up some flyers for the business based on their old flyers. The flyers had to function in a similar way to the old design, however the information needed to be legible for its target audience.

 

The logo was re-touched adding elements of the design in the previous module.

 

Aaron Hargreaves/More In A Photograph

 

A few initial ideas were put down, based on my initial research into Arron's work and his area of photography.

 

Once the ball started to roll, the depth idea started to come into play, where I was able to think about the layout and composition of the design.

 

This straight away needed to be photographed to achieve what it was I was looking for. To do this, the information was hand rendered, and positioned in such a way the paper was folded.

 

This gave a sense of depth whilst trying to keep the information legible and, well abstract.

 

Aaron Hargreaves/Abstract

 

The Edge Of Vision

After this I looked at a few abstract photography books. I was able to pick out key details which could help in the design of the cards, such as, 

Angles

Composition

Depth

Colour

 

Man Ray/Untitled Rayograph/Gun with alphabet stencils/1924

 

laszlo Moholy-Nagy/A 17/1923

 

Silvia Wolf/Chance 07/2006

 

 Silvio Wolf/Chance 05/2006

 

Richard Caldicott/Untitled No.179/2000 & Untitled No.58/1998

 

Shirine Gill/Untitled/2007