Art of Karl Hauber
Here are some examples of graphics work that I have produced for clients. Some were complicated, and some were simple. Sometimes everything seems to click on the very first go, and sometimes it takes a long process of homing in on the final result.
WONDERFUL SKIN CARE
When I was first approached to help with an advertising campaign for Wonderful Skin Care, they already had logos, slogans, and a variety of stock imagery they were looking to use. There was even a rough sketch draft of what they had in mind. My job then, was to put all the pieces together in a way that made things look appealing, in spite of how little space there was to work with.
In the first set of drafts, I tried to stay as close as I could to the original format, but I knew there could be problems making the most important information stand out.
As much as any designer would like their audience to be interested in everything at once, people's attention spans are short. If you can catch someone's attention at all, it's a good idea to get the core message across before you lose it again.
Perhaps it is because of my time spent as a photojournalist, but I think it is important to try to display the most critical information in the most prominent way. Of course what is important in an advertisement and a news article are two different things. Thankfully, they were happy to discuss which elements they thought were the most important parts of the message.
In the end, we went through a couple rounds of drafts before settling on a final. Even though I had a number of image editing tricks up my sleeve, it became apparent halfway through the project that some of the pre-existing photography work was not set up ideally, in terms of composition. Once we had the second set of images, it was much easier to make the products stand out, and cut out some of the extraneous or repeated information and make what remained stand out more.
A few months after the first advertising campaign, I was called in again to work on some very minimal web advertisements. This time we had an even smaller amount of space to work with, and the image dimensions sometimes meant that the pre-existing logo ended up at the very bottom edge of legible. In the end though, I think we were able to get the message across.
This project started out with very humble origins. Yarker Consulting needed a logo, possibly a monogram, but they didn't have any pre-existing material to work with, and we had to come up with a good look from square one. But even in the very early draft stage, everything started falling into place quickly.
None of the rough drafts that had sharp, crisp lines felt like they were accomplishing the goal, and the remaining curvy drafts started gravitating toward imagery that corresponded to the company's meteorology focus.
Most of the variations ended up as minor changes to the way curves intersected or didn't intersect, but perhaps the most challenging part of the logo was not the image but getting the typeface just right.
Although the monogram had a freehand sort of look to it, the text needed to have an air of respectability while still fitting in with the rest of the piece. In the end though, going for a slight italics look is what made everything mesh, invoking a rainy feel underneath the clouds.