Client: Abigail of Abigail Art.
Client's profession: Abigail is an artist that hand draws wild animals using only charcoal.
Client's location: Canada.
Client's needs: Logo, website, hosting, digital artbook, stationery templates.
Client's goals: Portfolio to showcase her work, transition from amateur to professional, and enter high-end art galleries.
Tools used: Design - Affinity Designer, Affinity Photo.
Abigail's logo was very simple. She wanted her signature vectorised. We used this logo for all her art-related work. I took her initials as her primary logo which can be used in both big and small situations. I also made a 'combination' version by adding her full name to give further context to what she does. We used this for her stationery, invoices, letterheads, etc,
Dark and light versions of the logo.
Environmental mockups of the logo in real life. I wanted to create an aura of possibilities and build her a dream of what she could become.
Final logo output.
My reasoning with the colour palette was of mood. How do I compliment the striking black and white of the art pieces with colour that continued the emotion of the art?
I decided on a violet variation as it was not overly negative, it had a feminine touch, it complimented the blacks subtly rather than obtusely, and it was soft, allowing the art to dominate the colour.
The secondary colour was purely used to distract, catch the eye, be loud, and to contrast. It was used sparingly throughout the website, but when used, it needed to catch the eye for important UI components.
During this project, I had to edit 30 large art pieces. Even though the artist drew in black and white, the images themselves were never truly black and white.
I had to manually remove underlying yellow sepia tones, covert the images to black and white, and cut out the images so I could place them on a jet black background.
This was the most time-consuming part of the project consisting of over 40 hours of work.
The website was a relatively straight forward affair. I wanted the art to speak for itself such was the quality. As a result, I wanted little to no interruptions as the customer scrolled through.
I decided on a one-page website with maximum visual impact throughout.
Clicking on any image would take you to a separate page dedicated to the story of the animal and providing additional information about purchasing options.
For the about section, I wanted simplicity to reign. A very short but engaging bio with commission CTA and a brochure CTA. I put these CTA in this section in the hope of creating empathy with the user and a personal approach with the artist.
With the contact form, I opted for simple and unobtrusive. I did not want the contact form to distract the user as they scrolled down the page. If the user needed to make contact it was obvious to find the contact information.
This is a separate page dedicated to each art piece. I decided to put a larger image on this page, again with the intention to let the art speak for itself. I also used the original (untouched) image. I wanted the customer to see the rawness of the image for multiple reasons.
One, so as not to confuse the customer when and if they made a purchase. The edited images often looked quite different from the originals. I wanted to be integral.
Two, I wanted to capture the customer even more and draw them into the image. The roughness of the image, the uniqueness of the image, paired with a story on the other side was all intentionally done to capture the customer's attention and provoke a desire to purchase.
One of the most important parts of this project was to create a digital brochure.
I knew early on that a business card was useless and it was highly unrealistic for the artist to carry around huge pieces of art. Given the fact she wanted to branch out to different countries, I knew a brochure was the only way to quickly and conveniently showcase her art.
I worked closely with the artist's agent on this particular project. I made a 26-page brochure that can be viewed here.