Development of WRETCHROSPECTIVE STYLE Inlay Card


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Slide 1

Enyinna, Mase, Teddy and Shannon Third Inlay Card Development Analysis

Slide 2

This inlay card design was made with great inspiration from one of the actual artist’s Wretch CD albums. This reflection towards this existent work granted the design with benefits, but was also slightly problematic towards the efficiency and proficiency of the design. The main good aspects of it was that both our group and others believed that aesthetically the design was of high quality, however due to the direct inspiration taken from an actual CD cover it started to in ways look more like a CD cover rather than an actual inlay card for an album.

Slide 3

We took the original photograph of the artist and transported it onto Adobe Photoshop for editing necessary towards the inlay design to be done. During the step towards the right we used the ‘Magnetic Lasso’ tool to get rid of the background, as we decided it would be a better idea to create a different background that could complement the design to a greater extent.

Slide 4

We then set up a new page that was of the size necessary towards the inlay card, and transferred the cropped image of the artist onto it.

Slide 5

We realised that unfortunately for the photograph of the artist we used for this design, the artist’s left arm was out of the frame. Therefore we had to recreate the arm using Photoshop, in order for the drawbacks of this to be limited.

Slide 6

Using the ‘Magnetic Lasso’ again, we were able to highlight around the area of the artist’s hat, which is somewhat a trademark of the artist’s identity that conventionally fits well within the Grime genre. We did this in order to create ‘Colour Isolation’ and therefore the trademark colour of the artist’s identity and affiliated colour to Grime will still be present on the artist. We created a ‘Black and White’ effect on the rest of the artist, in order to not only refer to similar codes and conventions of existent Grime productions, but to also build upon the consistency of the rest of the productions that our group have created for the Media project.

Slide 7

This is how it looked after we merged the hat onto the new black and white image of the artist.

Slide 8

In these steps, we added layers of ‘Motion Blur’, which not only built upon the aesthetical factors of the design, but also the consistency of the conceptual themes within all the ancillary designs. This is since blurs and motion blurs have been present within many of them, whether it is on the artist himself, the background he has been in front of, or the text that is on the design. Within the development on the right, we then decided to increase the lighting and flare upon the artist’s hat, as the shine added towards the quality of the visuals. It also balances the contrast of the darkness from the ‘Black and White’ effect, to the brightness from the artist’s hat. This overall allowed us to illustrate a positive tone on the design, which relates to the tone felt in our music video. An ‘Outer Glow’ was also incorporated on the artist, to emphasis on the positivity that will be found on the design, and also make him stand out clearer from the background we would create. Therefore it would look more appealing on the eyes.

Slide 9

Within this step, the affiliations to Wretch’s actual album cover ‘Wretchrospective’ were implemented. And first we decided to use the feature of the notepad and transfer it onto the design. This was illustrative of a typical item that Grime artists and lyricists would hold dear to them, as many would take one no matter wherever they go. This is to make sure they always keep note and write down any ideas or new lyrics that may suddenly spring to mind.

Slide 10

In this development, we implemented a sky-like feature on the background, by using a gradient tool to fade a sky-blue colour into white. This in combination with the shine on the right hand of the hat helped to endorse a very realistic immersion of the sky being existent.

Slide 11

Within this step many artistic brushes provided by Adobe Photoshop were used on the background, to connote a great amount of positivity which again illustrates the tone of the video. The greens help to convey purity and gives the image a nice and natural feeling. The blues help to strengthen the consistency of the use of the colour on the various designs we have produced.

Slide 12

A photograph of estate buildings were added onto the image, to endorse conventions of Grime to a greater degree. Within various Grime videos estate flats or underprivileged areas are usually shown within them, and therefore this typical feature connotes the artist’s type of music very strongly on the design. This feature was also existent within the ‘Wretchrospective’ album cover, thus making it more appropriate of use on our design as well.

Slide 13

Effects were applied upon the estate buildings within the design to create the half silhouette-like style that’s on the ‘Wretchrospective’ album. It gives the feature a darker tone, and therefore emphasizes on tones and feelings found in real Grime productions. The contrast of the nice, positive looking sky to the dark, sinister looking estate flats also allows the CD cover and our inlay design portray both subversions and emphasis of the Grime genre. This therefore is again reflective of our music video.

Slide 14

Ink splatters were added towards the design to imitate the ones present on the ‘Wretchrospective’ cover. The ink splatter relates to the idea of lyricists constantly writing down their own rhymes and lyrics in order to build the basis behind their music, and therefore this subtle feature was also suitable on the inlay card. The presence of the small silhouetted birds were also added, and they along with the arch that has been added build upon the positive and grand feeling found in the design.

Slide 15

For this development we then decided to add a strip across the middle in where the writing of the album title would be added on top of. We also added the record company’s logo onto it.

Slide 16

The album title was finally added to the design, and the same font that was originally used on the album cover was also used on the inlay for consistency. However changes in effects and composition were made to the inlay in order to fit in better with the inlay’s actual design. With the design on the right, further effects were applied onto it to make sure it was even more suitable towards the inlay card.

Slide 17

Further writing was added by the top right hand side of the design, in order to promote the idea of the song we used, ‘Me and You’, being one of the major tracks of the album. However we soon realised that this was perhaps unnecessary towards an inlay card, and text in general is only needed on one of them if on any at all. Bloom was also added on the background image, in order to build upon the image of the sky and the tone of positivity. It also seemed to work greatly on the artist who had a glowing aura as well, therefore this subtle effect was favourable.

Slide 18

In our final step, we decided to completely get rid of any text that is on the inlay card, as we found out it would be an unnecessary addition to it. We also got rid of the logo for the same reasons. For this we had to get rid of the strip that the album title was on, because it would have been there for no reason and therefore looked out of place. We also got rid of the notepad paper featured by the bottom of the design, because it seemed to appear too faint and visible to make out what it actually was. The images of the estate flats were then made bigger in order to fill the empty space left, and also make that stand out more as well.

Summary: Slideshow of development work for Inlay Card 3

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