In recent years, the photographic palette has become extra extraordinary. Designers can choose from an ever growing number of sources for original, stock and useage free images. Because of image enhancing computer programs, photographic images can make stronger and more exciting visual statements than ever before. Then there's digital photography to further supplement the image making process. So equipped, a designer can conveniently improve, even change the meaning of a picture.
Andy Attiliis has experience using of all these options to find the most effective and appropriate photo/design solutions. More specifically, art direction, focused research, photomontage, retouching, digital photography and illustration are the skills that help him get the most out of photography. They enable him to utilize each worthwhile bit of unexpected inspiration that comes to mind along the way. Such confidence and versatility can significantly increase the performance of a message. For client's who understand that the best photographic approaches are those that allow for evolution, the horizon of creative possibilities becomes very wide.
While today's photo possibilities are extremely varied and accessible, there are pitfalls for clients who are aren't experienced with the creative process. Running a computer search to gather gorgeous photos that loosely relate to the text and flowing it all into a layout is a risky way to present the germ of an idea. Because, at first glance, it can look too good. Even acceptable as the finished product to someone who is already familiar with what the message is supposed to be saying. The problem with such a seemingly efficient scenario, is that all the good thinking, writing and image development that should have taken place in the beginning could be precluded by some easy pickin' existing photos. Better and more efficient that hard working concepts come before glitz. An annotated rough sketch presented before investing time in cosmetics usually ensures that a creative provider's thinking is on target.
a. Review materials supplied by the project originator. Make use of a job information form to organize and consolidate necessary input. b. Based on input, submit a preliminary sketch showing content and composition that will best support the creative direction. c. Decide whether original and/or existing photos are the most appropriate photo solutions. d. Settle on a look that will best support art direction and brand consistency. e. Finalize a more finished line drawing for the photographer and/or final assembly of the image. g. Present facsimile of the proposed photographic image within the design format. h. Photomontage, retouch and enhance final image as necessary. i. Production manage color proofing through final production.