Upon discussion amongst the group on the image scan experiments, it was considered that this process meant the colours on both the photographs and mosaic tile pieces were dulled and limited the overall image quality. It was also considered that the process did not allow as much of the image to appear through the tiles pieces as would have liked, therefore I began working on some digital experiments which removed the use of these physical shapes. Instead, in these experiments, shapes were overlayed digitally, lowering their opacity so that the photographic image is still noticeable through the colours, which was found to work a lot more effectively in brightening the colours and keeping the image quality.
Initial experiments looked at exploring the placements we had already previously looked at in the scanning experiments, placing these in rows. However, it was thought that this placement did not work as effectively digitally since the image started to become too busy. It was also thought that this placement didn't convey the right kind of message which we intend to show, with this placement representing us as more of an army rather than a community.
Continuing to play on the initial concept of diversity and community, the placement was manipulated to one which was a lot less rigid, through changing the size of the shapes and placing each in a more scattered fashion that allowed more of the photographic imagery to show through. From the initial concept, however, it was decided to change the use of shapes. Originally a different colour would represent each individual course but included various shapes within this, however, in these developments it was decided to stick to one shape and one colour per course in order to place a distinct visual aesthetic to each course without the shapes getting too complicated, whilst the use of colour still allows the idea of diversity to be reflected.
In order to make these shapes look more 3-dimensional, each shape was manipulated and given a very thin black shadow with the same level of opacity as the shape (50%). It was thought that this then allowed the shapes to look as if they are thin pieces of material overlayed onto the photographic imagery as in our original concept, which gave the visuals a bit more depth and playfulness. The shadow being the same level of opacity as the shapes themselves then also allowed the imagery to still be slightly visible through this as if a reflection onto the image.
It was then thought about how the university's current branding, mainly its logo, would fit amongst these design developments. It was found that these worked better placed at the top of the design since most of the more detailed elements of the photographic imagery appeared at the bottom of the design, therefore this placement allowed more of the imagery to be shown through. It was also found this worked better when it was overlapped with one of the other shapes, since when placed in an empty space the logo tended to look out-of-place and too different from the overall visual aesthetic, but when overlapped the logo was found to look more a part of the image.
To further match the visual aesthetic of the shapes in their opacity, the logo was manipulated in other variations to match this level of opacity. However, it was found that this blended in too much with the design and limited its detail in terms of the typographic information present inside it where it was then overlapped with another shape, so for this reason it was decided to revert back to the previous idea, keeping this logo at 100% opacity.
However, it was then thought this logo could be given a similar shadow effect to the shapes, which then tied it nicely to the visual aesthetic of the shapes without it losing its detail and impact as an important piece of information.
Further variations were then also explored, looking at how all the different colours and shapes could come together in one general poster or series of posters to represent the university/its diversity and community as a whole.
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