HERZBLUAT Management Consultancy, Marketing & Advertising Agency

Management consultancy
Marketing &
Advertising agency

Salzburg, Austria

HERZBLUAT Management Consultancy, Marketing & Advertising Agency

Management consultancy
Marketing &
Advertising agency

Salzburg, Austria

In the digital age, the visual representation of a company is crucial.

Professional image editing and final artwork are key elements that help strengthen brand identity and effectively communicate a company's message.

In this article we introduce you to Michael Höller, an experienced image editor and final artist who has been working successfully with HERZBLUAT for many years.

In an in-depth interview with him, we will highlight the importance and benefits of professional image editing and final artwork.

A conversation with Michael Höller

Image editing and final artwork at the highest level

Michael Höller: Expert for image editing and final artwork

Michael Höller is a recognised expert in his field.

With sound training in pre-press, decades of experience and a deep understanding of the art and science of image editing and final artwork, he has made a name for himself working for major brands that are very well known internationally.

His work is characterised by quality and perfectionism. Values that he shares with HERZBLUAT.

The importance of professional image editing and final artwork

Mike Höller emphasises how important professional image processing and final artwork are for companies.
They help companies maintain a consistent image and communicate their brand identity effectively.
This promotes recognition and strengthens customers' trust in the brand.

A common misconception is that image editing is synonymous with manipulating or faking images.
In reality, however, it is about enhancing, optimising and adjusting images for better visual impact and consistency.

Advantages of outsourcing to a specialist

Outsourcing specialised tasks such as image editing and final artwork to an expert like Michael Höller has many advantages.
One of the biggest advantages is the quality of the work. With his expertise and penchant for perfectionism, Michael Höller can guarantee a high standard of quality that is difficult to achieve internally.

In addition, outsourcing to an expert offers more flexibility.
While internal teams often have to juggle several projects at the same time, an external specialist can concentrate fully on a specific task.
This leads to better results and faster project implementation.

The future of image processing and final artwork

Image processing and final artwork have developed rapidly in recent years and will continue to do so in the future.

With the advancement of technologies such as artificial intelligence and machine learning, new opportunities are opening up.

Michael Höller is optimistic that these developments will lead to even more images and even more image processing.

He looks forward to these challenges and is ready to use the latest tools and techniques for the best possible quality.

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Mr  Ms  Divers 

By working with an expert like Michael Höller in the high-end sector, we offer our customers many advantages.

By outsourcing specialised tasks such as image processing and final artwork, they benefit from higher quality, greater flexibility and more efficient processes.

This strengthens the brand identity and improves visual communication.

The entire interview with image editor and final artist Michael Höller

Professional image editing and final artwork help companies and brands maintain a consistent look through colour and style adjustments to effectively communicate their brand identity and promote recognition.

Today, when Photoshop is no longer a foreign word to most people, image editing is often equated with manipulating or faking images.

While it is of course possible to manipulate images to achieve certain effects, the main task of professional image editing is usually to enhance, optimise and adjust images to achieve better visual impact and continuity.

Both worlds, the image processing as well as the final artwork, together ensure consistency in the brand identity.

The most common software for image processing, "Photoshop", has developed continuously since my first professionally used version 5.0 from 1998 until today, and rapidly in the last few years.

Due to the constantly growing computer capacities, for example, it was a huge leap between "I'll wait 15 minutes until my image is saved" and the possibility introduced in Photoshop CS6 2012 to save images in the background while editing the next image. This "small" innovation alone has robbed every single image editor of any prospect of a "computer-induced forced break", which in the past could extend to half an hour, or one simply saved once during the lunch break and hoped for the rest of the day that everything would work out. Of course, not only the computers of the image editors have developed further, but also the cameras of the photographers. The amount of files that we process today in a single image and save within seconds used to be entire server partitions.

Another very helpful development in recent years has been the use of CGI (computer-generated images/renderings) in image processing. This made it possible to invent new environments, stages and entire worlds, for example, to be able to stage product images in a special way or to generate the product images themselves, without shoots and exclusively virtually. In the last decade, many photo shoots have been replaced by render work, especially in technical areas such as the automotive industry. Here, the image editor is often challenged to conjure humanity into "dead images", which brings me straight to the current topic of our time, artificial intelligence (AI) and machine learning (ML).

Currently, the topic of "AI image generation" has arrived in the masses and is also being gratefully accepted for the most part. Back in 2010, we had the pleasure of generating backgrounds for the first time in image processing with the help of artificial intelligence embedded in our software to save us hours of retouching work or at least to create a good basis. This is exactly where we are again today in Photoshop, the then feature "Content-Aware Fill" has been further developed and can now not only generate areas from the environment of the image, but has been given its own brain. After the first tests of the beta version, one is afraid of having one's work taken away from one, but experience shows: with every possibility we are offered to generate images, even more images will be created and even more image processing will have to be mastered. Personally, I am happy about every further development and combine these "new tools" with my "old knowledge" about image processing, so that the images remain in the usual excellent quality, supported by artificial intelligence.

Besides the "eye multitasking", where the eyes sometimes have to focus on three monitors at the same time and on a colour pattern in parallel, the understanding of light and all the associated effects probably play the biggest role. As an image editor, you juggle with numerous controls and tools to achieve a result that, on the one hand, is correct in terms of colour, brightness, perspective and the message to be conveyed, and on the other hand, is "human", i.e. allows for imperfections and blemishes and thus appears pleasant to the viewer. So a certain level of empathy certainly plays a big role as well, because you have to think in all worlds - the perfect one, the human one, the client's one, the end client's one, etc. - while working.

You can achieve very good results quite quickly with today's software. Professional image editing, like professional painters, is clearly distinguished by expertise and experience.

As an example, one topic, image composition: once you have understood how images are "read" by viewers, you can achieve great effects with little things. This does not even have to be a grand manipulation. Usually it is enough to diminish disturbing objects and use subtle, subconscious accents to gently but vehemently lead the viewer's eye in the direction we want it to go within milliseconds. As in painting, one grows through one's tasks here, learns and develops, concentrates one's expertise and can achieve perfect results specifically and quickly.

In my example, it's about product photography and high-priced, very colourful fun sporting goods, where not least the visual appearance contributes to the purchase decision.

Here it is crucial to be able to achieve the best possible colour reproduction across all platforms, i.e. in print as well as digitally, in order to prevent any complaints or unwanted deception on the part of customers.

The customer wants and must receive what he has seen. This task can only be accomplished by special colour measurement equipment with very specific software.

Here, we digitally determine the colour values from the original colour sample, convert them into the respective colour spaces, simulate colour profiles, take paper specifications into account and carry out test prints, just to be sure that we provide the best possible reproduction for the viewer. Only then does the actual image processing begin, where we are allowed to adhere to these findings. A very extensive, exciting and safe process, with optimal results for the end customer and the complaints department.

A consistent appearance creates trust and recognition among customers and thus strengthens the brand identity, while visual chaos in communication distracts from the focus or even overwhelms it.

Consistency is the be-all and end-all for our customers in terms of recognition, which is something we are allowed to champion as image editors as well as final artwork artists.

A professional final artwork takes into account technical requirements such as colour management, resolution, file formats, print specifications and other specific production details.

This ensures that the design can go into production in a high-quality and error-free manner.

Proper final artwork thus facilitates workflow and collaboration between designers, producers and other parties involved.

The role of the final artwork has evolved from a purely technical task to a multidisciplinary approach.
Designers today often work in different areas such as print, web, UI/UX, animation or packaging.

Final artwork plays an important role in preparing designs for these different media and requires knowledge of specific requirements and standards.

Today, pre-press is no longer the sole focus; rather, from business cards to software, attention is paid to consistency in corporate design.

The way design elements are placed, dimensioned and documented varies to meet the specific requirements of each industry:

In the area of the Graphic designs often includes the final artwork of logos, business cards, flyers, posters and other visual communication materials.

Here, the precise placement of texts, images and other design elements is important. Adherence to design principles such as balance, contrast and hierarchy is also important.

During the final artwork in the Packaging design is about adapting the design to the specific dimensions and requirements of the packaging.

Here, all design elements, including texts, logos, images and colours, must be adapted to the spatial restrictions and production requirements.

In POS communication design, you often try to attract more attention than the competition by using a special design or finishing.

Here, suggestions and also concrete solutions for unusual die-cut contours for cardboard displays or unusual finishes for product packaging can be worked out in the final artwork, while the designers are already working on further advertising subjects.

The final artwork ensures a consistent presentation of the brand identity in various media and materials.

Precise implementation of the brand design, including logo, colours, fonts and other visual elements, ensures,

that the brand identity is consistent and recognisable in all communication channels. This creates trust and credibility with the audience.

In both areas, I think our biggest advantage is flexibility. While a design is worked on and coordinated for a long time, production dates and deadlines are getting closer and closer.

For image processing and final artwork, there is often a crisp timing left at the end of the process chain, while, to exaggerate, the production machines are already warming up.

Furthermore, an "external eye" often detects inconsistencies or simple mistakes that have already been made internally throughout several projects and are therefore no longer noticeable.

In addition to the tried-and-tested multiple-eye principle, carefully selected and long-standing partners, we rely on the latest measuring equipment,

monitors and software to back up our claim as final artworkers and professional image editors.

We love to take on new challenges and can implement them cleanly and efficiently as a well-coordinated team, if necessary with the support of our long-standing partners.

Feedback from clients is an important indicator of the effectiveness of image processing and final artwork.

Companies can conduct customer interviews or surveys to find out how well the design or visual elements are received by customers and whether they achieve the desired effect.

As in many industries, experience and expertise, portfolio and references play the biggest role alongside price.

Since we always keep our workflows optimised, the automation of recurring actions plays a major role.

The rule here is: first think through the entire process and plan the workflow, then implement it efficiently.

Certain work steps are thus taught by the software and executed independently and error-free as required.

Here we think that soon an artificial intelligence, which follows our processes locally, could provide further suggestions for increasing efficiency.

Take time to evaluate your current process in image editing and final artwork.

Identify possible bottlenecks, inefficient processes or quality problems. This can help you to identify and target weak points.

Professional state-of-the-art equipment is only useful if you know how to use it.

Companies today need to communicate their brand message consistently across different channels and platforms.

This cross-platform consistency of communication design challenges us as image editors as well as final artwork artists.

With this multitude of helpers available to us today, it is always important to choose the right tools that meet the individual needs of a task. - Many roads lead to Rome, not all are efficient.

The popularity and relevance of each tool and technique can vary depending on specific requirements, subject area and preferences.

There is a lot of talk about the beta version of Photoshop with its "generative fill", which is a nice gimmick. We are looking forward to the full version.

There are a variety of techniques and tools in image editing that are constantly evolving.

A great help in image editing are special tools that are dedicated to just one task, such as cropping images.

In classic final artwork, on the other hand, where you always have to have everything 100% under control, you don't blindly rely on external tools.
Here, nerds craft scripts among themselves that make a certain amount of work easier, the rest is digital manual labour.

The role of the final artwork has evolved from a purely technical task to a multidisciplinary approach.

Designers today often work in different areas such as print, web, UI/UX, animation or packaging.

Final artwork plays an important role in preparing designs for these different media and requires knowledge of specific requirements and standards.

The expansion of many industries into the internet, i.e. from catalogues to websites, has opened many new doors.

There have never been so many images to work with as there are today, and never has it been so exciting to develop corporate design manuals that work across platforms, from refined business cards on uncoated paper to software on the touch screen.

We look forward to further challenges and are excited about what comes next.

As the programmes and tools used become more complex and cross-curricular, the challenge is,
Familiarise themselves with the complex functions and ensure that the team has the necessary skills and knowledge.

As you can see, when HERZBLUAT offers something for the eye, it's perfect!

Let's improve the quality of your images and strengthen your brand identity.

To do this, we bring the best image editor and final artist on board for you. Contact us and learn more about our collaboration with Michael Höller and how we can help you optimise your visual communication.

Professional image processing and detailed final artwork - the "extra mile" that pays off.

You can reach us by telephone +43 664 81 97 894 or by e-mail to office@herzbluat.at.

We look forward to working with you and inspiring your customers for your company!

Gregor Wimmer
Management consultant
Marketing specialist

+43 664 81 97 894

You can find many works by Michael Höller on www.maker.at.

#MichaelHöller #Photoshop #CGI #KIImage generation #Rdrawing #Image editing #Retouching #TopQuality

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