With these illustrations I then began to develop the composition of the prints. To highlight the sense of fun, I experimented with oversized illustrations to grab the attention of the audience this was then anchored with the statements I made based on what I took from my interview with Ben. I liked the bold aesthetic however felt it didn't work in holistically representing both of our individual styles.
From this I then started to develop the type for the statements, this needed to complement the illustrations most importantly contextualise them giving them a more defined purpose. This initial experimentation used a ink to create my own handwriting adding a sense of personality to the prints. Evaluating this I found it was unsuccessful as it contrasted the smooth digital aesthetic of ben's illustrations too much and the irregular line weight wasn't aesthetically pleasing when used in conjunction with the minimal illustrations.
Reverting back to more digital techniques I experimented with digital typefaces, due to the spherical design of all Ben's illustrations I felt it was fitting to use a typeface to complement this. The best resolution to this I found was Circular bold, the geometric sans serif offers unique quirks that give it a lot of warmth, a sense of legibility and a neat minimal aesthetic that works well against the illustrations.
I liked this typeface however felt it still held a sense of digital rigidity. I have been experimenting with liquified type a lot within my practice this academic year and feel it is becoming part of my stye. I used circular as the base font for this for reason mentioned above and liquified it to create humanist quirks that remove this digital rigidity and add a playful sense of fun. I like this style of type as it means every word is unique and adds further creative expression than the standard typeface.
With the type developed I revisited the composition, I came to the conclusion in summary mine and Ben's aesthetics are similar in the fact we are both minimal with compositions, using symmetry and white space to work with the design creating a modern fresh aesthetic that doesn't over-crowd or complicate the psychical work. With this realisation I implemented this within the composition of the print this used the available white space to complement the minimal illustrations that were neatly anchored by the type.
I added a footer to the prints which included both mine and Ben's logos, this represents our equality within the collaboration working together as two professional as opposed to a student. This will also work well in terms of exposure as hopefully ben will publish this project to his social media sites and website which would work well in terms of me breaking into the industry with my logo at the bottom I will always be credited alongside ben. symmetrical to this is a forward slash which will be used to number the prints. I plan on producing a short run which can then be numbered to create limited edition collectors items. If we later decided to sell these prints they could sell for a higher price due to their limited run of a rational print method.
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