Anthology: Screen prints and Riso prints

I managed to do some screen printing on Friday, and start experimenting with layering my imagery. I really wanted to try screen printing the sea, just to see how realistic it might look. But it really didn’t turn out well, mostly because the image was too heavy so the ink flooded the screen.

blue seaCLG0182_140.97.34.34_2018-02-20_15.34.28.168.jpg

These are just two of the outcomes, I trued several times to make it work. However I think i’m just going to have to try again with a lighter image. Or just try something different.

I also tried riso printing it, which worked slightly better. But, the negative messed with the ink, as you cans see in the middle. CLG0182_140.97.34.34_2018-02-20_14.16.31.043.jpg

rope and boat screen p

These were a few attempts at layering. Again my screens weren’t well done, so a lot of the imagery is completely flooded with in. Yet I like some of the textures created. Below it looks like a mouth a little. I also did a little test in photoshop with a riso image of rope. Just to see how the two would interact.

layered rope and screen print

blue screen p rope


red boat drainwg  copy.png

Some of the textures from the screen really worked in my favour for the boat above. I’m not too sure that’ll be something I’ll carry on though. We’ll see.


These are a few texture test I did with the riso, just seeing how the riso would produce this really nice rope texture and the barnacles too. I’d like to try and incorporate these some more.

red riso rope transbarnacles


Anthology: Collage research

Its come to a point where I need to move on and develop my work. So I’ve started to look a little deeper into my text and collage as a medium. With my piece of writing, there loads of motherly and female related visuals and references that I’d love to utilise.  I really don’t want them to go to waste. These are a few key quotes that I think lend themselves to be visually represented:

Then out of the ocean inside my mother was a thump-thump. It must have been a fish.”,

“A woman pregnant with a daughter carries three generations in her body.”

it seemed the ocean inside my mother was creating great waves to throw the out and onto land.”,  

“crashing against her shores.”,

My mother didn’t seem to notice the Atlantic was coming out of her and just looked around at the ceiling.”

What I’m stuck with is how to represent these aspects of womanhood.  I think drawing a women would lend itself well here. I’m not great at it, so maybe some continuous line drawing or more abstract drawing styles. I say this because finding an appropriate image to collage with is really difficult, unless I was to take my own photos. Which is also something I’ll try.

However I have been looking into more interesting forms of collage and how I can mix mediums, like letterpress, riso printing, or even screen printing. So this is also a possibility. I think I’ve just got to be clever about where I go with it and think wisely about the choices I make.


Here are a few interesting collages, that I’ll take inspiration from.

Some are slightly more relevant than others, obviously none of these use text which is what I’m looking into next. But what they do, do is use women and texture quite interestingly.

Anthology: Collage and layering

I did a few more collage and layering experimentations, I cut out some sails from pictures of the sea and fish. I also managed to photoshop an image of the sea so that it looked red, which came out quiet interestingly. I found if I actually changed the colour of the image it looked quite sinister. I wasn’t too sure if this was appropriate for this piece because of the red Atlantic comparison to blood or if it just looked scary. So I ended up layering a transparent layer of red over the top of the image.

boat on red sea


red sails blue sea

At this point I’m just having fun with the imagery and doing some layering experiments.

sea sails

Anthology: Initial responses

After reading the text a few times to get a feel for it. I started pulling out key themes, words, places even. There were a few different types of boats mentioned, like an Eastern rigs fishing boats, a dagger, sailboats. Our Lady of Good Voyage Church was also mentioned, which I’ve depicted a little of below. There are also small things mentioned like, “scrape the barnacles off their hulls” which paint nice pictures. 



These are just a few small sketches and paint experiments. The blue flecks are small waves and the blue swirls come from the Our Lady church.


Another few small sketches, I attempted drawing but it’s really not my strong suit so I resorted to tracing. I’ll probably return to drawing with ink maybe or doing some quick/continuous drawings. Those usually turn out quite interestingly.

boat sketchesboat with water

Anthology 2: Red Atlantic

We were given our anthology text this week, I managed to get my second choice which is Red Atlantic by Dominique Sinagra. She says the text is inspired by the confessional poetry of Anne Sexton and Sylvia Plath, whilst also drawing inspiration from Frida Kahlo’s paintings. The story is an evocation of an “East Coast US childhood through a series of imagistic scenes.” The piece is a culmination of images from childhood, an emerging sense of self, it follows marriage, birth and near loss. 

The piece is so visually rich, often referencing boats and fishing, and highlighting the area in which the story is based Gloucester, Massachusetts. It also brings in some nice childlike imagery, coming from the perspective of a 6-year-old viewing her mother giving birth.

Here are a few initial visuals I’ve collected.

These images show the area in which the main characters father takes his boat to fish and the boat he goes fishing in. In the piece, it says he would go fishing with his crew for up to a week, then return to sell the fish. I quite like the blues and greens depicted in the image on the left. These could be quiet interesting to use.

Here is an image of Our Lady of Good Voyage church in  Gloucester, MA the church is mentioned because the hill that her father used to live on would look down onto the church. She also mentions that the Mary that stands between the peaks holds a boat in the crook of her arm. Edward Hopper spent a few year in Gloucester this is one of his paintings that depict the view from Portugee Hill with the church in the distance. I’ve also put this beautiful picture of a eastern rig fishing boats which is one of the boats mentioned in the piece.

Material/Process/Print: Final cover design

cover draft 1.1

These are my final cover designs. I decided to completely bring it back and use a simple repeat pattern of crop marks. I prefer the cover above so this will go on my final book.  Ultimately I could have done something better, but I found the process too difficult and didn’t want continue designing. These were the designs I’m most happy with.

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Design Comp: printed matter

We finally came to a conclusion with our wayfinding. We went for these posters, using the same type as our promotional posters and the same background. Simple but effective. Which I believe Karl designed.

Then the publication follows a similar format. A lot of it we would refine, like the map would be in our colour scheme with our type, but because of the lack of time we had to use the university map. The publication is a three fold booklet, that opens up to all the studios, with pictures of their work.

Finally the poster, which we also used for the front of the publication. It follows the same format as my previous design, but with a different colour palette.

Screen Shot 2018-01-10 at 1.00.09 PM copy

Material/Process/Print: initial cover designs

I found designing the cover very difficult. I found the CMYK bars and crop marks, very constricting, and even when I tried distorting them I felt like they weren’t going any further.  Also choosing typefaces was difficult, I find I can never make my mind up.


I started off by being quite literal with the colour bars, by moving them around the screen and hoping that something stuck.

Screen Shot 2018-01-06 at 3.57.05 PM copy

I then thought that it could be the colours themselves being too brash. This lead me to make the crop marks translucent. But nothing felt right. Even making letters out of the made the cover look far worse. So I’m going to keep trying by maybe dialing it back a bit. Maybe just have on thing on the cover and not over crowd it.

Material/Process/Print: developing designs


In the beginning I thought it would be helpful to do a few experimental design in my sketchbook. To get a real feel for the shapes themselves. But it kept cropping up that using indesign would be best to manipulate the shapes, as this felt too slow.


But as you’d expect using a computer had its own set of problems and set me in a bit of a rut. But I kept pushing through trying to find different people to inspire me, or send me on a helpful tangent. These are a few of my designs at the moments. I’m still struggling, I think it comes down to the fact that I don’t like the colours or the shapes.

Design Comp: Wood type experimentation

After my research into wood textured type, I did a few of my own experiments. I started off by distorting images of wood and bark and finding letters within the bark itself.


I printed our images of bark and wood, put these through the scanner and then moved them around to distort them. From those scans I created several letters a C, A, and S. The process was fun. But the outcomes weren’t as rewarding.

I even put some of the images through illustrator and put a drawn effect over the top. So that the images looked illustrated. This didn’t make them look any better. I think they’d look better being solitary with text, or if I could make them look all the same.

Material/Process/Print: Moving to Letterpress

I’ve been trying to find somewhere to do these lithography prints, however its been really difficult to find somewhere that would do a short run of prints and do it cheaply . At first I thought I might move to stone lithography, but thats not something I can do at the university. It was then suggested I do Letterpress which was a technique I had originally wanted to do.

I’ve started looking up some source images, to help spur some inspiration.


These images came from the book Letterpress : new applications for traditional skills, which goes through some of the ways letterpress is being used in a contemporary setting. I was really drawing to the bottom image, with its layering of colour and shape. It would be fun to do something like this with an informative tone.




Material/Process/Print: Rachel Littlewood

Whilst looking into people who would be at the hothouse talk, I came across Rachel Littlewood who used lithography in an experimental way.

The project was called Press P it was a collaborative project in which six pairs were asked to push the lithography printer to its limits and create experimental work. She worked on switching the plates so that the colours came out in strange ways. She also just use two colours and switched those so the cyan thought it was magenta and the magenta thought it was cyan. She utilised the colour marks to frame the work and show how the colours were changing. Which is such a classic image to use when experimenting with colour within printing.

Her website shows more of the development and colour differentiation she managed to achieve.





All images taken by Rachel Littlewood, from her website.

Material/Process/Print: Calverts Visit

I got the opportunity to visit Calverts a Co-Op printers in Hackney to have a more in depth look at their lithography printer.

We started off looking at the printer itself where Arthur explained the use of CMYK within the printer and how the paper passes through each colour to create an image. Inside the each colour section are several rollers, one that feeds the colour in, one that has the plate which has the image on, another feeds the paper through, and another is the blanket roller which takes the image from the plate and prints it onto the paper. From that I understood its a very complicated way of printing and that there are a lot of mechanisms that go into it.

The reason lithography is so special is that it uses water on the areas of the plate that aren’t being printed. So the ink is repelled from the water and goes to the areas that do need to be printed. After the paper has be printed into, because its still wet and the prints will naturally fall on top of each other once they’ve come out of the machine. The paper is sprayed with a small amount of starch powder, so the paper doesn’t stick together.

You don’t just have to use CMYK Pantone colours can be created for he prints that you make, but it would cost more.

I also got to see where the printing plates are made, it very similar to producing your own film. The plate is subjected to light to evoke a chemical reaction, therefore creating the printable plate.

Overall, its a fascinating process which makes me want to use it even more. Hopefully I manage to find somewhere to use a lithography printer thats cheap!

Design Comp: feedback research

From our feedback, it was pointed out that there was too much going on and we needed to pinpoint a theme. It was here that we felt a bit thrown off, and we weren’t too sure which direction to go in. It was then suggested to us that maybe we use wood as our theme, seeing as we wanted to keep the palettes to display work.

We all started researching typefaces that used wood as their theme and came up with a variety of techniques used. I only picked up on a few because I started experimenting fairly quickly.


Ellipsis: Divider page design

I really struggled to find inspiration for the divider page design, I think my downfall was looking in the wrong places. So I broadened my search too look at book design and other books that have used divider pages. I also looked on various visual communication blogs and websites and cam up with the images below.

cecile divider page presentation

From this research I started design whatever cam to mind, using the research as a basis as well as some unexpected things. This was where I really found it difficult to really go for it and do whatever. I kept giving myself boundaries.

cecile divider page presentation (1)

I eventually moved on to decide on the design aspects of the page, like the type and colour. I landed on type thats fairly easy and simple to read but had a clear hierarchy, I also think the type really suits the colour.

cecile divider page presentation (2)

With the format I had originally wanted it a single A5 page using both sides. For some reason that kept looking strange, having the name and piece description looked more cohesive. So I decided to have it as an A4 horizontal page that folded in to A5. It means that there would be blank pages facing each piece of print.

cecile divider page presentation (3)

This is my final design I ended up having the name frame the piece description and fill the page. Filling the page became my aim as it felt too blank and floaty. I’m quite pleased with its contrast but there are definitely a few things I’ve realised looking back.  I think it only works with the two colours and looking at the brief it seems that we’d only be allowed to use one riso colour. Another things is I planned the layout to my name so I’m not too sure how it would work with other names.

cecile divider page presentation (4)

Material/Print/Process: Lithography

For the current studio project I’ve been focusing on lithography as my method of printing for this project, as it a printing process I had no prior knowledge of. So I decided to do some research on the process. A lot of the information I came across was extremely boring and convoluted, although it gave me more of an an insight I still wanted to know more.

This is when I came across a few books that described the process by showing the kinds of prints and colours it creates. The book below show how the CMYK colours have to be laid out in order for the image to not create a moire pattern (creating a basket weave pattern). It also explains the use of halftone dots, to give an illusion of a full colour image. This might be something I’ll focus on in my five prints as its unique to lithography.

litho and cpt booklitho and cpt book 2

Ellipsis: Small Publishers Fair

Its was so exciting to find loads of publishers and people who make books in such fascinating ways and on some amazing topics. I was drawn in by so many of the stalls, in particular a man who had screen printed a book made completely out of aluminium foil.

However a publishers that really caught my eye was Ugly Duckling Presse a publishers based in Brooklyn, New York but Katherine who was running the stall is moved to London to be their correspondent here. They started by having a small  poetry zine called 6×6 in the 1990’s, it contained 6 poets who had 6 pages to fill with poems. From there they became a nonprofit publishers made up of volunteer (although a few are paid) making books because it’s what they love to do.


These are the 26 and 30 issue of the 6×6 magazine, the covers of which are letterpressed and the interiors are offset lithography. I asked as to why the corner is cut off but Katherine didn’t know, she thought it might have something to do with the fact that the owner of the publishers is Russian. She also said that she designed the cover for the 26 issue which is probably why it’s one of her favourites. I think I’m just drawn to the colour on each magazine they go seamlessly together.


Design Comp: initial poster designs

I started on the poster, by just messing about with the sort of type as we weren’t too sure if we’d use handwritten type or not.

I took what I learnt in Regular Practices’ workshop, sprinkling smaller parts of text or imagery to balance out the poster. I also took inspiration from the posters that I’d looked into from other exhibits.

At first, I used different typefaces, and also tried them in lower case but that just looked silly. I moved the text about to see where it worked best, the middle was obviously better and looked nicer. But I still felt like there was too much going on with the colour.

I then maybe took the colour a bit too far. Although I thought at the time this could be a lively way to make a group of posters, the transparent colour really steals the show.

This is when I felt like I was getting on a better track with the poster. The formation is fun but still gives you the information you need. But I  think I still need to work on the size and thickness of the ‘CASS SHOW’ text, it looks a bit confusing.

Design Competition: Poster workshop 2

The task this week was to add text to the illustrations that we’d made the previous week. We were given these pieces of acetate with summer show information varying in point sizes to be place over our illustrations. Then came a short briefing of how we might use the type in an innovative and interesting way, the aim was to work creatively and break the boundaries of what we thought should be done. I love this was of working, because you can work quickly though so many ideas. The first few are generally your worst and then you get the hang of it and start to see the type in a different way.

Often when working this way you hit a wall and don’t really know how to proceed, your kind of stuck for ideas. I found this happened quite a lot, however it was suggested, I cut the type to fit around the illustration so it appeared like a layer. I also turned the illustration upside down, that gave another wave of ideas.

download (10)

This was my final one, the one I was the happiest with. Looking back on it though, I wished I’d moved the visual communication to a better place off to the side somewhere. Maybe making the CASS Show slightly bigger too.

download (11)

Design Comp: Poster research

I started off by looking at what other universities had done for their degree show or summer exhibitions.

These were a few that I found quite interesting and showed a variety of designs between them.

What’s quite cool is some of them give you a preview of what work you might find within the exhibition and others you’d have no clue. The ones that don’t give you a hint would surely have to use graphic design to aid them and really push the exhibit. Which some didn’t do, like the Southhamptons exclamation mark, it’s too simplistic. Or CSM the colours may be nice to look at but they’ve not utilised graphic design in an interesting way.

The following few images are of posters that I particularly like, they use text in a fun way or different way. They each use imagery in a different way, whether it takes up the whole space, or is a small snippet of whats to come.






Images taken from:


British Museum workshop

At the British Museum we were asked to, observe an piece and draw it from all directions, to include the background the foreground, but exclude the people. I’m not great at drawing, so I did multiple drawings varying in detail, the most detail came from the architecture.  I moved on quite quickly to drawing the people, as the object I was drawing became too frustrating, therefore I focused on the more interesting aspects.




The following few images are where I started to really focus on the people surrounding the objects, what they were focusing on, and what they were saying. I noticed that most of the people too their time to take pictures and selfies with each artifact, but didn’t spend much time looking at it and taking in its information. A lot of people just wanted to fist bump the arm.

brist museum drawing 1CLG0182_140.97.34.11_2017-11-03_16.15.14.346CLG0182_140.97.34.11_2017-11-03_16.15.38.340CLG0182_140.97.34.11_2017-11-03_16.15.55.343


Material/Process/Print: Etching Induction

Etching has been a printing process I’ve wanted to know more about since I started my degree, I knew very little about it, but it sounded fascinating. The above picture shows the paper and plate just before they’ve been put through the roller to print.

The etching process is quite lengthy, but I wouldn’t say its too complicated. You start off with your plate, which can be made from zinc, copper or steel, however in the workshop zinc is more commonly used. First things first the plate has to be beveled, this is when you file the edges of the plate to roughly a 45-degree angle. This is so when the plate and the paper go through the printing roller the plate doesn’t pierce the paper.

Next, the plate is polished so that it becomes like a mirrored surface. The plate is then washed with water and degreased using an ammonia and white chalk mix. To check its fully degreased pour water over the plate and if it slides about instead of pooling it’s then ready for the next step.

After degreasing the plate has to become very dry and warm. To do this place on a hot plate or dry it with a hairdryer. It has to be warm so that the soft/hard ground can go on easily, this is a substance that’s slightly tacky put onto the plate so you can create your design. A thin layer is rubbed all over the plate, the ground needs to set, leave the plate for a minute or so, then its ready for your design.

Using an etching tool, which is basically a needle on the end of a stick of wood, you can start drawing very lightly onto the plate. Then the plate is ready to be put into the nitric acid, place the plate gently into the acid and move the plate occasionally so that bubbles don’t form on the surface aggravating the process.  The amount of time the plate needs to spend in the acid does vary depending on the ground used and how clean you want you lines to come out. Twelve minutes is a rough estimate. Take the plate out and then place in water to rinse off. The ground is then removed using white spirit.

It’s at this point that you’d prepare your paper, which has to be cotton rag paper and soaked in water for at least half an hour.Whilst the paper is soaking you can ink up your plate. Take a small amount of ink on a small cardboard square and ink up the plate using horizontal and vertical lines to completely cover the plate. Then take a rag and work the ink into the plate using circular motions. Take the back of your palm, when most of the ink has been rubbed in, and work the rest of the ink in.

Your then ready to print, dry you paper between to larger sheet of paper and roller and big roller over them to squeeze the water out. Take your paper to the roller press and place it onto of some newsprint, place your plate on top of the paper and then some more newsprint on top of the plate. Fold the thick roller blankets onto the paper and pull the roller over your plate.


Then you have your first etching! You can probably use your plate several thousand more times.

Etching 20 August 1968 I (L.289) 1968 by Pablo Picasso 1881-1973

Picasso etching.

Shepherd's Purse 5 2002 by Michael Landy born 1963

Michael Landy etching.


Joe Tilson etching




Pictures are taken from Tate website.

Design Competition: development

We got together this week to make some more solid decisions about what we want the exhibition to look like.


We landed on this being our colour palette, as we wanted one colour to represent each studio including level 4. The colours themselves came from a few of our sources images, we thought they were a more subtle take on red, yellow, green and blue with the grey/beige to balance them out. It would also be a nice colour to print on.

As for our system of display, Katie mentioned that palettes could be a nice and versatile material put 3D work on. They’re also fairly cheap. Each studio would have a few the would guide you through the room, similarly to the image below. Then the rest of the work would be hung up in frames or using bulldog clips. By each person’s work would be a small introduction to the student and their work., this would be on a small plack.


As for wayfinding, we thought that using tape on the floor in the colours form our colour palette. We would be a fun way to lead the viewer to each studio. This would also be listed in the publication, the studio with their corresponding colour.

Ellipsis: Type Specimens.

For the first part of the core workshop, we were asked to make a type specimen. This is something I’d done before with Kim so I had some familiarity with the task. Although the hardest part for me is actually choosing the type, it was the first time I did this exercise and it was the same this time too. There’s just too much to choose from.

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I eventually decide on Quicksand a typeface from Google fonts, it’s simple but has some interesting quirks.

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I started off by creating a fun illustration out of some of the glyphs for the first page. I enjoy this type of thing because you’re just having fun with the form of the type and seeing what might fit together. It originally was going to be green with light almost translucent pink accents, however, although I love that colour combination it’s vastly overdone. So I settled with something a bit more subtle.

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The theme for this type specimen was to show how the type works with layered colours and transparency. Here I’m just playing about with the orientation of the text, which again is something I find frustrating because there are too many options, I was aiming for it to look clean yet slightly edgy. But that wasn’t going as planned.

Screen Shot 2017-10-17 at 11.41.16 AM

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Eventually, landed on the above format. Simple and compact, I’m not too sure if it really speaks to the typeface, but I like the layout and think it represents the type in an efficient way.

Design Competition: publication research

The publication and posters are one of the more interesting parts of the exhibition experience for me anyway. They set the tone and expectations of the exhibitions, so are quite integral really.

These are a few fun publications I found.

There’s a lot of colour being used to distinguish between the sections within the exhibition. It also helps to brighten up and keep continuity throughout the display. Additionally colour is a way to make a change when you want to have the layout and type stay the same. Which is what the Mucem museum did above. The binding of the publication is also something that can set apart the guide. For instance below the Design Museum used rings to bind their booklet, making its easy for the pages to be taken and used a poster. Therefore, have a double use. Or they could be folded like the V&A did below a fun fold let the inside patterns slip out and created a flow of colour and design.


The five print processes that I experimented with for this booklet were risograph, monoprinting, digital printing, a handmade stamp and lino printing. I chose to print them on Hahnemuhle 130gsm a soft textured paper that’s suitable for digital printing which is mostly why I chose it. I also wanted to see how the texture would react to each process.


I was originally going to have the name of each process on the paper but I reread the brief which indicated to use the same image/text. So I stuck with the word risograph in Rift soft typeface. The riso and digital print had the cleanest outcomes and were the easiest.

The stamp was probably the worst outcome because it just looks really mishap and messy. So I probably won’t revisit it for type. But for a shape or pattern, I’m sure its great.  As for the paper, it reacted exactly how I expected slightly blotchy due to its texture.


This is the lino print, it was probably the most surprising of the five. I thought it would be unclear and react badly with the paper. I also thought making the lino print would be so frustrating. But it was the complete opposite. It came out really sharp and opaque, it was easy to print and the paper didn’t move about.


As for the monoprint, this was probably the best outcome. To make my print I laid tape down onto a piece of vinyl plastic and cut into the tape to make the word risograph, I then inked up the tape, took the tape off the vinyl and the printed it onto the paper. This was such a time-consuming process and not the easiest way to monoprint. Additionally, I  got the letters the wrong way round.

Design Competition: Display Research

I did some searching for exhibition displays that I particularly liked, or felt could be achievable with our budget and resources. The following images represent what kept cropping up.


When our group initially spoke, a couple of the things we agreed on was that we wanted it to look professional. Seeing as the main goal for us in our third years is to get hired. Another thing we agreed on was to use wood in some way, mainly because it cost effective and something we can easily get a hold of.

The images mostly show interesting way that wood has been use to display different types of work. But they also show the kind of space you’d need to have to contain the display mechanisms. Although lovely a few of these just wouldn’t be possible, due to out space being limited and strange shapes.




Images taken from,

Design Comp: Wayfinding Research

As initial research, I started looking into different kinds of wayfinding, from the extreme to the budget. Initially, I took note of everything that I liked no matter how it was done/how expensive. The following images are just a few that I collected.

Kingston degree show



I quite way-finding that uses the floor although it may not be that new or innovative, it still utilises an unused space. Which we as students could really take advantage of, especially because the space we’re using isn’t that big.

Arrows are a pretty common place within way-finding so it could be interesting to use something a little different. Like tape that leads you to your destination. Or having a board that notes all the places you could go.



Images taken from,,

Material/Process/Print: print sample book.

I originally was really excited by this little project, the idea of picking different types of paper, in different weights and colours and thinking of an obscure printing method.

The papers I picked were a khadi mulberry at 25gsm,  newsprint 50gsm, meadow grass paper 120gsm, hahnemuhle 130gsm, marlmarque 200gsm. But having spent my whole budget on nice paper I had to think of a cheap way to print that wasn’t digital and that I could easily do at home. So I decided to monoprint.


I created several versions, one using tape that was quite grided, however, the ink kept drying up before I had time to print. So I moved on to just painting the letters on the vinyl, but that kept coming out really blotchy and looked terrible.


From here I really didn’t know where to go, the method that I thought would be quite fun wasn’t giving me the results that I was looking for. So I was rapidly thinking of the printing methods that I could do with the things I already had at home, I came up with the idea of making a stamp out of card and pieces of foam. I created a pattern, as word proved to be too difficult, and started printing all over the pieces of paper.


After having fun experimenting with the stamp on each piece of paper, I remembered that I had to put these into a booklet in a presentable way. I settled on using bulldog clips to bind the pages, as it allowed me to look at the paper in its larger format. I considered a saddle stitch but that felt too permanent.

The booklet itself could have used a lot more attention and consideration, I realise that. But I decided to focus more of my time on experimenting with the paper itself, it’s definitely something I’ll take forward and make sure to focus on with the next booklet because I enjoy the assembling of the book, it’s just I could be more aware of how to do it and the best ways to do it.



Material/Process/Print: Critical and Design Thinking

Within critical and design thinking we look closely, we analyse, we observe and we see what can be improved. Critical thinking involves thinking factually, vertically, rationally and convergently. Design thinking involves speculation, thinking laterally, emotionally, subjectively and divergently. We focusing on these processes and taking them into our studio practice and applying them to our current projects.


For our first session, we did a few exercises to help us think outside of the box and recognise where we might be boxing ourselves in where it’s not necessary. The pictures above and below follow how we take instructions and box ourselves in rather than taking these instructions and seeing how far we can push them. For instance, we were asked to draw what a book looks like. I think we all drew a book that resembles the one above. However, books can be in any shape or form they’re not restrictive.

With the exercise below we were asked to design a book out of an A4 piece of paper, and by this time most of us had caught on to the fact that we can be quite expressive with the things that we create and that we create restrictions that aren’t there. So I based mine of a couple of things I’d seen before and made something I think could be quite interesting.


Ellipsis: GF Smith visit

GF Smith wasn’t what I expected, I didn’t quite realise it be such a showroom. It was such an amazing display of the types of paper and services they provide, which also included a bit of their history and paper samples dating back to the late 18th century.

Our tour started off in the GF Smiths pop up shop, which was a result of the worlds favourite colour, Marr’s green, which is a type of jade/blue-green. Its a really beautiful colour that is becoming the 51st colour in the GF Smith colourplan paper collection. Colourplan paper is like cashmere, it’s so soft and vibrant, the pigments sit on top of the paper fibres to give the paper more vibrancy. Colourplan is also put through several tests to analyse it’s colour, texture, and robustness.















We were then shown what else GF Smith has to offer other than their paper. In the picture above you can see that they provide booking printing, there isn’t a huge variety of options they offer but what is available is absolutely beautiful. They have 3 different sizes A3, A4, A5, in a thick card like stock, gloss or matt, and a range of cover options. I’d say they’re more for your portfolio. They also have framing and larger format printing available.














Then we got a view of their exhibition space, in which they had some pieces that were made for the Hull City of Culture, they had 6 artists/designers use their paper to create sculptures in their respective styles. The gridded colour spectrum was made by Made Thought who do all of the current design work for GF Smith.

I managed to have a look at some of their archival pieces, a paper sample book from the 1960’s which had raw edges, which I found quite funny because today their samples are immaculate and clean. There were also a few images of what the offices looked like after they had been destroyed in both world wars. It was so cool to see these artifacts, although some of them may not be that old they tell a story of how GF Smith came to be where it is today those are the kind of stories I love to know.

Ellipsis: Benwells visit

We managed to visit Benwells printing company, to give us a look into the different types of printing methods out there. It was amazing, I knew of some of them like embossing/debossing and I could kind of guess what foil blocking was.

We had a tour of all the printing facilities and got to see how some of them were done, our first look was into foil blocking. It was explained that foil blocking is the process of putting a metal or foil-like texture onto the paper, this is done by heating a die and transferring the foil onto the paper. This was such a cool process to watch as I really had no clue how it was done, or even why it was done. Below is a picture of all the different coloured foils they have.


Next, we had a look at embossing and debossing which I thought would be a fairly straightforward process,  in a sense it is but there’s just a lot to consider when doing it. For instance the type of paper and the weight of it, 270gsm was the paper they were demonstrating with which gave a good emboss. But with around 100gms you have to be careful as the paper may cockle in the process and leave it looking messy and if it’s too thick the emboss/deboss won’t be clear enough. You also have to consider the height/depth of the emboss/deboss if it’s too thick it might pierce the paper, so a shallow emboss leads to cleaner lines.


Then we got to see the lithograph in action, litho works by having each colour on separate plates and then coming together on a different roller which then imprints the image onto the paper or card. There is much more to it than that, but it’s quite complicated. They explained that this lithograph, in particular, has 14 rollers which are changed every 12 months. It uses Pantone colours which they can mix together to create other colours, or if its a special order they can have a colour mixed up for them. Another thing that was mentioned was that litho actually look over from letterpress as it gave much clearer edges and was more efficient.


In addition to having a look into Benwells printing processes, they allowed us to take a few samples. Which couldn’t have filled me with more joy. I managed to take samples from all the different techniques and a range of different colours too.

Matierial/Process/Print: Real Review analysis

The Real Review is a publication initiated by the REAL Foundation (an architectural foundation) using analysis and inquiry the magazine evaluates what it means to live today. A collaboration between Jack self, the founder of the REAL foundation and the Real Reviews editor-in-chief, and OK-RM (Graphic designers). 


The magazine itself was designed by OK-RM, the illustrations by Nishant Choksi, the typeface used is Gestalt, 118x260mm at its smallest, made with a thin coated paper at about 40gsm, and printed by PUSH print.


The magazine was designed with the user in mind, to be efficient, economical and readable. They recognised that magazines are often folded in half for ease and there for presents the magazine in a pre-folded format. With this in mind, they’ve numbered each quarter. Although I think the design is interesting and innovative, whilst reading the magazine I’ve come across some things I think that could be improved. For instance, when reading some of the articles and holding the magazine as seen below, when you’ve finished reading the left side you find yourself having to unnecessarily maneuver the magazine. But then this kind of works in their favour when it comes to the imagery as it creates these almost collaged creations.


Overall the shape may be annoying at first but as OK-RM predicted: “readers would create a unique relationship with.” I found a way that feels quite natural to read this magazine, so maybe it something you have to persevere with and if you get frustrated a the very beginning maybe the magazine wasn’t for you anyway.

Design Comp: Summer show visual aesthetic

Whilst brainstorming with my group about out ideal aesthetic for the summer show, we all agreed that we wanted it to look clean and professional. It was suggested that we make it similar to most professional exhibitions, with things clearly labeled and bio’s of each student. We thought white would be the main color and a few accent colours in the wayfinding and exhibition guide.

Although these images showcase the work in different ways, this shows the level of simplicity that we had in mind. Another suggestion was to use wood to help display the work, like wooden crates for example.


We also thought it would be fun to have a section where you could leave a comment or answer a short question. This adds an interactive aspect to the show, that most people love. It also makes you feel like your adding something to the exhibit itself.




Images are taken from Dezeen, More Publishers, Grafik

Material/Process/Print: Publication analysis and Photography.

As our first project is all about the printing process and the materials we use to print, we were set with the task to analyse a small booklet or magazine. We looked at who printed the publication, who designed it, what were the colours used, the type of binding etc.

We also focused on how the publication made us feel, what impact did the type of stock used on have on us, the way it was laid out, what was the intent with the publication, did it fulfill its intent.










The publication I decided to analyse was the Designers in Residence 2016 pamphlet from The Design Museum. It was perfect bound with a french fold that has a serrated edge so the user can slice the pages to reveal some beautiful illustrations. There were 18 folded pages which meant there were 38pp in total. The publication is 165x234mm in size. It was risographed and digitally printed on a fairly

The catelogue gave me quite an uplifting feeling, the weight of it wasn’t too heavy so it was straining to read, the colours were warm and inviting and encouraged me to pick up and read it. It’s also quite a fun catelogue with its interactive pages. It left me feeling light and enlightened.



Movements: Screen printing

I managed to cut out my stencil in a way that I was finally happy with although there isn’t much to it. I went with three of the most space age colours I could find, a dark jade, light sky blue and a deep orange. In doing my research on Space Age these were a few of the colours that kept popping up.

Sadly my prints didn’t come out the way I had hoped, the lines were probably too thin and as it was a stencil the paper kept moving about and closing the lines. The only pat that came out well was the green blocks, which are nice but on there own they don’t really speak to Space Age.

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CIP: Kickstarter screen printing

As we decide to move away from hand painted t-shirts and do screen printed t-shirts instead seeing as they would be more cost effective and take up less time to make. We did a few testers prints to present to accelerator. They came out so beautifully and clean, and they were so easy to make even thought the process can be a bit arduous. Here are a few pictures of the process. This helped us work out that it would take about an hour to 40 t-shirts.

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CIP: Kickstarter notes

We were set with the task to start a Kickstarter campaign for our Market Ready product, we as a group thought that it would be best to expand our brand if seeing as we need to raise money. We decided that we have tote bags as well as t-shirts as this would appeal to our target audience.

These are just a few notes that I made after we were introduced to the brief:

  • A campaign last for 30 days
  • Rewards are given for each donation £5-£100
  • There need to be a video explaining your company and idea
  • You want to put why people should care/donate to your company
  • The most popular donation is £25
  • You want to link to social media and possibly have a newsletter that goes out to each pledger
  • Stickers/badges/card are a good reward fro small donations
  • You want to keep the video short and sweet

Movements: Space Age layouts

There is a fair amount of continuity in the space age graphic layouts is crazy, pretty much all of the have a title or some text that inclines upwards, they also have a lot of spheres/moons/atoms in the background. There also very reminiscent of the 1960’s with the type choices


Below I’ve done a few layouts that sum up the space age, big titles, clear hierarchies.


Movement: Letterpress experimentation

I love experimenting in the letterpress room, because the outcomes are immediate and you can try so many different orientations/types. With this I had an idea of what I wanted to do going in, that I would focus on the incline of the text as that’s what I’d seen in a lot of Space Age graphic work, the text would look upwards as if to look into space.

I did a few sketches so I didn’t forget any of the ideas as they came to me, most of these I’m adding in patterns that’s just so I can get a feel of how I might want it to look eventually.


These are just a few examples of the prints I made, most of them came out  modernist/bauhaus I think because of the colours I used. Which is why I finally did a yellow one.

Pastiche 1560: Storyboard

For my pastiche I knew I wanted to focus on the way Sofia Clausse works and I knew I wanted to show I wanted to have clips of me doing similar patterns to her like the gif below.

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This lead me to research her more and look into the notes that I made from her talk she did for the Hot House. This got me thinking that maybe I could map her journey, where she’s studied and where she lives now or at least have it represented as she mentioned that where she’s lived and her heritage have influenced her and grown her love for type.

sofia storyboard 1

After coming up with this I went start to filming and soon realised how much it was lacking and that ultimately the film has to be a maximum of 60 seconds and each shot wasn’t giving enough information. So I thought maybe to simplify it instead of making it more convoluted to just focus on why I liked her work, but this made me think that maybe the viewer would think it was my work and get confused.

sofia storyboar 2

This lead me to my final storyboard, in which I show a few clips of me representing Sofia have the world map show her journey and then layer on top text from the voice over. Ultimately I came full circle.

CIP: Pastiche final

The final video caused a lot more problems than I had anticipated, a lot of the drawing I that I was doing weren’t coming out as I had imagined, they were either too blotchy or didn’t look anything like Sofia’s work. I also messed up with the positioning of the camera, so some of the drawing weren’t centred and that took ages to get right and even then a few of them aren’t quite right.

When I had finished filming and started editing it all together, it became apparent that it wasn’t going to be easy to have it under a minute. Many of the clips of me drawing were 2-5 minutes long. Therefore I needed to find a way to speed it up without it looking ridiculous.

This lead me to add some digital drawing over the top, as Sofia does like to dabble with digital type and shapes. After that I final managed to get it to a point where I was happy with the follow and how my voice over covered the content.


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Map of Me: Logo design

Designing the logo for the app was probably the easiest part. I knew that I wanted something food or restaurant themed, so started drawing napkins knives, forks, glasses, having the F and R involved. The knife and fork seemed like the best option, its simple yet effective.

I decided to use quite a thick outline for the design and have it fairly cartoony. Originally it was going to be grey which fitted in with the pastels and wouldn’t be so harsh as a black. However because the header background was dark blue you couldn’t see the grey, so I switched it to a light pink which fit with the type colour and background. It also fitted in with the restaurant that started this app (Rasa).



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Google Engage: Design development.

When it came to the design of the screen, I wanted to go a simple a possible. I don’t want to overwhelm the viewer.

So I started looking into typefaces that were easy to read, specifically on a screen.Colours that evoked certain feelings, like hope, happiness, calm etc. I settled on Helvetica as the typeface and yellow, orange, green and blue for the colours. Each colour representing a different activity.

I’m still wondering if I need to do more design wise, or if simplicity is my best bet.

greenyelloworange vertical bgblue vertical bg

Google Engage: Mockup screens.

Taking my placement images further, I managed to do a few mock ups of what the screen could look like. There are still a few things I need to figure out with the design. For example, I don’t think it looks nice/practical with centred text, I don’t know if having a horizontal screen is a good idea. Generally I need to find some kind of continuity between each screen.


maybe blue on box (1) copycan on brickhi on O pillar

CIP: Pastiche development

After failing miserably to make a film about Ian Gabb,  I moved on to someone who’s work I felt passionate about and someone who I aspired to be someday. I thought back to people who had made want to do some much work and be so creative and realise that after a Hothouse talk by Sofia Clausse I felt so inspired and motivated, and I felt it was clear I should do my film on her.

What really interested me about her was her ability to produce one thing after the other which is a way of working I really enjoy. She’s also obsessed by patterns and they’re something that she focused a lot on whilst at university, they’re also one of my favourite pieces of her work. This was definitely something I wanted to include because I want to show people why I like her as a designer. prt_800x1000_1442528493


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Pastiche: Ian Gabb stop motion attempt

For some reason, I found this stop-motion so difficult. I think, to begin with, my storyboards and ideas weren’t strong enough and needed more developing, but really I don’t think Ian Gabb is the right person to do my film on. I like his work, yet I’m not passionate about it, maybe that’s why I’m struggling to come up with ideas.

Also, I know I should have planned better and maybe use the letterpress room and then maybe I’d be happy with my outcome.

Here are just a few clips from the film.


CIP: Dirty Shirts break down

Our unique selling point:

  • Each t-shirt is hand painted making it unique.
  • It’s a one time thing so extremely exclusive

Product Range

  • 3 nature inspired t-shirts, 3 different designs
  • Medium and large sizes.
  • Unisex
  • Designed by Charlotte and Sam

1-shirt2 t-shirts


Customer Profile

  • We are aiming our t-shirts at students, particularly those that are creative.
  • Also local artist who are looking to support small brands.


Stall design:

Simple stall set up: folded t-shirts laid out on bench 3 hanging at the back and 2 on the left and right hand side. Gives people the opportunity to see the designs and sizes before picking from the table.stall.png

Design Comp: Typography choice

After each of us did some experimentation with wood typography, we realised this wasn’t the best way to go. We landed on using the wood as a texture in the posters but not for the type. This way our theme could still be present without being to over powering.

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Katie then made a typeface from her handwriting. Which although lovely, we felt was too sketchy especially if we were going to use wood in the background of our posters, publication and wayfinding. This is when we returned to Rift Soft the typeface I used for the first poster. We agreed that we use the same layout and same type, but have a background and alter the colours.

rift soft