Aidan Baron

Visual Communication Design, 2021

“Visual Communicator since 99′ that is inspired to make things look more reasonable”

 

I’m Aidan (Baz) Baron an Australian based designer living and working in Canberra.

In the midst of finishing my Bachelor in Visual Communication (to be completed in 2022), I have found a passion for clarity and simplicity — communicating as much as possible in as little as possible.

My strengths cover a range of areas including branding & identity, layout design, print design, editing, videography, illustration, design thinking and motion graphics with a strong drive for attention to detail.

Aidan Baron

Selected Portfolio

FADx Gradute Festival - Branding and Identity

FADx Gradute Festival - Branding and Identity

Created in 2019, the FADx brand was developed for the Graduate Exhibition for Faculty of Arts and Design students. The 2019 brand emphasised the 'X' symbol which has remained as the primary brand element since. The 2019 brand lacked professionalism and consistency; so in 2020 Aidan Baron and Joao Romano undertook the initial rebrand which was simplified, bright, bold, and contemporary. FADx 2020 also saw the introduction of animation and video to the branding suite which worked well and is desired to continue in the future years. During the development process of the 2020 brand, too many voices of influence on the design developed some drawbacks in the design — too many variations in iconography and the loss of clarity and legibility across various elements. The 2021 rebrand came with some aims: streamlined, less colour, refined icons, longevity. Co-designed with Mikaela Danvers & João Romano, I present to you: FADx Graduate Festival. The Faculty of Arts and Design Exhibition brand for years to come.

The Shape of Music - Infographic

The Shape of Music - Infographic

The Shape of Music is the outcome of representing the typically entirely invisible nature of music in a visually artistically way. Embedded within the artistic representation are the unique parameters of danceability, energy, liveliness and valence. The infographic explores the role and relationship of each track within an album, creating a visual landscape to be explored with your eyes. This infographic allows the audience to discover trends, relationships, patterns and connections for themselves - creating a new way for people to experience music.

Scene Magazine - Layout, Branding and Identity

Scene Magazine - Layout, Branding and Identity

Scene is a conceptual magazine created from a brief for a lifestyle magazine. Simplicity was at the forefront of the design with a desire to show the power of photography within each layout. A black and white theme was developed with the limited use of colour highlighting significant aspects within the layout. All elements and design choices of the Scene Surf Lifestyle Magazine, with the consideration of the 18-35-year-old target audience, help deliver a simple but effective magazine layout that shows off the world of surfing in an appropriate fashion.

Australian Capital Territory Coat of Arms - Branding and Identity

Australian Capital Territory Coat of Arms - Branding and Identity

The Australian Capital Territory Coat of Arms is a concept designed to lead the future. The capital of Australia is the perfect place to undertake this opportunity and do so inclusively, representing the diverse, modern Territory and native history. Taking into consideration all the provided stimulus provided by the Government and relevant experts, the proposed concept perfectly balances and combines past, present and future in a lockup that is capable of remaining relevant for generations into the future. Suitably referencing back to traditional heraldry, the arms picks up on British heritage, but importantly more appropriately and adequately represents the heritage missed on their colonisation of Australia. Ngunnawal representation is a primary focus of this piece, along with the notion of Canberra (originally spelt Koyanberra) meaning ‘meeting place’. Proximity and element representation allude to this notion which critically connects to the regions Aboriginal history. All elements have been used and placed intentionally. Similarly, colours link directly to the region, is derived directly from the landscape of the territory, perfectly complimenting each other and the region itself. Chosen elements prioritised Ngunnawal representation while showing off the Territory’s natural beauty through the use of its elected mammal, fauna and floral emblems. Colour, line and rudimentary representation lend the contemporary touch along with geometry which references the Griffin’s flowing geometric planning of the Territory. Intentionally, the arms’ lined design comes into its own in a duotone layout (i.e. black and white or themes found on page 33), allowing the arms to be legible and adaptable to varying scales, formats and colour spaces. The design has also made allowance for alterations to be made seamlessly. Colours and texturing has been kept rudimentary with the intention that indigenous Aboriginal art is incorporated appropriately by a local artist. The inclusion of the Imperial State Crown exclusively at the top allows for its effortless exchange for another element if anything is to change with its British connection. This concept is not merely designed for the now, but to represent the Australian Capital Territories past and endure well into the future.