Following all the changes and refinements during the design development stage, this is the final outcome design of this brand identity collaboration.
After, various embossing experiments and discussion with the photographer on its layout and outcome, it was decided to have a slightly offset embossing effect on the business card. The embossing plate enabled for a soft subtle effect to come out from on the back of the business card adding an interesting texture and depth to the business card itself. As the overall design and text are very minimal it creates a strong impression on the card that takes the audiences interest to it. The slight offset effect also gives the logo some depth as opposed to looking flat, especially as it’s very heavy on the curved lines. The dark stock (Conqueror Wave Pencil 300 gsm) colour also allowed for the embossing shape to really stand out. The text was also carefully considered through the minimal size just enough to create balance for the embossed shape in the middle ground. It’s also small enough to be read in order of hierarchy and the left aligned vertical text worked to make the card look dynamic despite its minimal effect.
In addition, a similar left aligned construction was used for the postcards, using both the sans serif (Sofia Pro) and serif (Ratio Modern) as the typefaces. The photographer also chose black and white photographs for the postcards adding to the tranquil and minimal design. Furthermore, using an interesting shimmery and smooth paper stock (Opale Premium Wave Pure White Shimmer) for the postcard adds a curious edge to the design. It also gives more attention to the photographs themselves, and at the same time gives a subtle contrast that works against the textured zine and opaque packaging giving it a more premium feel and finish.
Some photographs within the zine were changed in order to suit the project better, which in turn gave it a better rhythm and made the rationale more effective and shows the photographs more effectively. It’s printed on 120 gsm White Olin Regular stock giving it a slight roughness and smooth surface suiting the similar tone that the tracing paper packaging has creating a cohesive feel to the outcomes. In relation to the photographer’s rationale the photographs have been spaced out on single pages emphasising the isolation and or tranquillity that they are portraying in their photographs. The sequence of photographs are also broken up using the locations of the photographs were taken, showing a clear direction and change of setting and mood of the publication. As the photographer also focused on ‘leading lines’ the photographs themselves were used as grids in order to create a continuous feel with each photograph despite it’ various sizes; at the same time it is also these photograph sizes that were used to fit the continuous feel within the photographs that break the sequences highlighting the idea of someone’s mood changing abruptly. A saddle stitch technique was used to the bind the zine. The technique was effective for the zine as not only is it functional but it also adds a natural and a ‘constructive aesthetic’ to the zine fitting its concept and the images that are within it. Using white thread also gives the zine a clean look and adds to the minimal tone making it not distracting to the audience.
Similarly, the packaging was also sewed with the same white thread creating a cohesive and clean aesthetic to the overall design. As opposed to the glued packaging, a sewed in packaging was much more effective and stronger especially when handling heavy objects. The tracing paper itself is not too tick nor too thin however it is still very fragile and vulnerable to tearing which is probably its main down point. Other than that, it fits perfectly with the designs and the overall concept of minimalism, clean and ‘natural’ aesthetic and concept, fitting the photographers personal brand and photography genre.
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