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.

 

 

 

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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!

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.

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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.

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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.

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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.

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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.

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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.

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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 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.

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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.

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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.

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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.

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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.

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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.

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Joe Tilson etching

 

 

 

Pictures are taken from Tate website.

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.

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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.

Material/Process/Print

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.

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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.

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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.

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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.

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.

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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.

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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.

 

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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.

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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.

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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.

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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.

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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). 

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

 

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Collection: GF Smith

A representative from GF Smith came in this week, she showed us loads of books that have used GF Smith paper in a variety of different ways. This really helped to kickstart what I want my book to look like.

It also gave me a good idea of what kind of cover to for, paperback or hardback. I came across this exhibition booklet that had been made with french folds and inside the french fold, there was printed text. It really captivated me because I had never seen anything like it, it made me realise that maybe I’ll do something similar for my portfolio. Have the majority of the images on the outer pages and the text inside the french fold.  I know it’s going to be complicated but I at least want to give it a try.

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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.

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Creative Industry Practice: Cover practice.

I found this session a lot of, we just got to be really quick with our thought processes and have fun with our mediums. So we were designing the cover to out book, and just testing out things we could put on our covers.

We made out own patterns, drew fun illustrations that link to the ways we work and collated them together to see what kind of cover might look best.

Here are a few examples, I’m not happy with any of them so I really want to work on them because I know they have potential.

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Creative Industry Practice: Unit Editions

Unit Editions was started by Tony Brook and Adrian Shaughnessy, they are a publishing company.

As a company, they have such a clear style to the books that they publish, which I am really drawn too. Mostly because I love that kind of style, clean, great use of negative space and colour. But also because you can tell the thought that’s put into them and that they’ve really considered the author/content creator.

“If you’re going to sell books they need to have more than just content, they need to feel beautiful, they need to be objects of desire.” This quote from their talk I think encapsulates them, they truly understand good design and what a reader wants when reading a book.

Link to talk: https://vimeo.com/72907939

Images- taken from Unit Editions website.

Hothouse Talk: Sofia Clausse

I found Sofia Clausse such an inspiration! I’ve been following her Instagram for a while, purely because I enjoyed the way her work looked and the way she worked. But I didn’t really know her backstory.

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Listening to her talk about the fact that she would do things, really physically and on her own time away from her RISD work. Inspired to want to make my own work aside from university projects. You can also tell with the work she does, that she’s so passionate, she’s doing what she loves and working with people that she enjoys. Which made me want to start work like that too.prt_815x598_1441022152

Creative Industry Practice: Fig Taylor

By far one of the best people to receive a talk from, she gave us some of the best information ever.

I’ll just bullet point the things she said because she mentioned a lot of key things.

  • Before the how the why. Know who you showing you portfolio to.
  • Don’t have a confusing portfolio, make sure each image/piece is the right way and that each page leads nicely into the next.
  • Don’t have a style as a Graphic Designer. Have a versatility in terms of thinking, have a lot of work that shows what kind of designer you want to be.
  • If you want to be a certain thing have LOADS of it in your portfolio.
  • Still, think in a specialist way, employers are lazy show them what you want to do.
  • There is no limit/minimum to the number of pages you should put in. It all depends on of the purpose of the portfolio. Everyone will ask for something different.
  • There is a huge difference between a uni portfolio and a professional portfolio. Universities want to see your development, employers want to see that you get it right everytime.
  • You can have development as an extra, but don’t actually put it in.
  • You want to have a bunch of work you believe in!
  • Don’t put in work you hate doing.
  • Don’t put work chronologically, put published work first.
  • Nice to have print work, can be practical, good as a backup, cheaper.
  • A3/A4 no bigger. Eyelets and use plastic leaves.
  • Pay attention to the background of your work.
  • Don’t overcrowd.
  • Have a cross-platform digital portfolio, laptop presentations take longer than iPad.
  • Be completely self-sufficient.
  • Have a plan, minimum fuss, short amount of time, easy to use.

There was so much more said, but I think these are the key things to remember.

 

Creative Industry Practice: Kate Moross

 

Kate Moross has such a cool style, it’s something I would love to be able to do, but sadly I’m more drawn to dull colours. She really goes for it with each typeface, editorial or advertisement. Her style defines her and I think most companies look for that in a freelancer/studio, you know what you’re getting and you can tailor that to whatever project/brief.

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Images used:

Feature image – Fused Magazine

Blog Images – Kate Moross website

Hothouse Talk: Kathrine Tudball

I really liked this Hothouse talk, Kathrine Tudball had a really interesting story as to how she got to where she was and the kinds of projects she worked/works on. It even made me want to do branding, although I doubt that will actually happen.

She’s had such an interesting career going from, Johnson and Banks a rather reputable branding company to another just as reputable company Partners. With each company, she’s managed to work on some great projects, like rebranding the cystic fibrosis charity, a really clever idea for national rail construction board. She also does a lot of work for D&AD New Blood, which works to inspire young creatives.

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Images –

Feature image: The Partners website.

Page image: Mine.

 

Dialogue: discover then define

Today I managed to just focus on the discovery phase of the project, slightly dipping into my presentation for Tuesday. I was looking at the statistics of homelessness in London and England as a whole and other DOOH interactive campaigns.

I keep thinking of ideas, which is great but it’s been suggested to discover then define. So it’s been hard to keep reigning my brain in and not go too far into the design phase.

A few of the ideas I have had are: To have a touch pad where people can donate by card, however that’s already been done and it’s already been done for a homeless charity. Which I found so annoying because I thought that was a great idea.

To have a touch pad where people can donate by card, however, that’s already been done and it’s already been done for a homeless charity. Which I found so annoying because I thought that was a great idea.

Have a game or something similar that people can interact with, whilst creating awareness of homelessness. Then maybe mention how sad it is that to get their attention to a certain issue I had to use a game to do so.

Also, use DOOH to talk to homeless people. Make them feel like they are heard maybe have some kind of chat system. I’m not too sure what I might do with this though.

 

 

Dialogue: Brief research

For the Engage brief, I decided to focus on Homelessness as my social change. I’ve volunteered previously for a homeless charity and it’s been something I’ve wanted to work on for a while. So I’m really happy to have found something that I’m truly passionate about.

So I started looking into previous homelessness campaigns. Looking specifically at what kind of messages they are sending out, the imagery, whether they actually use a homeless person, whether it’s just text or image and text.

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There’s a wide range of campaigns out there, as you’d expect, however, some of them are really hard hitting. It makes me wonder whether I should do something quite harsh maybe even critical.

Small magazines, big ambitions

The other day I managed to go to my first Stack event, in which three people were being interviewed about their small publications. They were Liv Siddall who is the editor of Rough Trade magazine, Jack Self editor of Real Review and Steven Gregor, ex-editor of Gym Class Magazine.

It was really fascinating hearing them talk about how their magazines got started and where they were before. They also gave out some great advice. For instance, with indie magazines, there seems to be a certain standard that they have to be made from really nice stock, a certain number of pages, with beautiful illustrations and photographs from a selection of practitioners. There are these fictional rules. Liv mentioned this magazine called the Belville Pages, which was made by two guys in their house, they collected poetry from their favourite poets and printed them on a single piece of paper. Selling them for 30p each. Things can be simple and still beautiful.

A friend and I managed to talk to Liv after the talk, she had some really interesting things to say about finding what you want to do really simple and obvious but hearing it from someone who is in the industry made it so much clearer. She said to look back at your week or month and notice what you enjoyed doing at uni and what you didn’t enjoy and go from there. Do something you like.

It was a great experience to get to talk to people about their work and what’s best to do for yourself.

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Creative Industry Practice: Massimo Vignelli

Although we were shown a very short clip for this weeks ‘Thought of the Week’, Vignelli said a lot. There is a sensitivity towards the space between letters, typography is really white and not black, typography is the space between the black.

Three very important points, and since watching this clip I’ve come to really understand Massimo Vignelli and I definitely agree with him.

Collection brief

I’m really excited about this new CIP brief, we have to “This project is a curation of your current work. You will be tasked with creating a professional ‘Artist/Portfolio Book’ that will showcase your Level 5 Studio and Industry Practice projects.”

Now although I find it quite a daunting task putting all my work in one place and trying to find some kind of continuity, I like the idea of laying it out and find what works best, pick the type and colours and stock.

We started of layout out our homework which was to comment on a video and bring in two typeface one that represented ourselves and one that represented the video. We walked around the class gaining an idea of people’s personal style and thought process which we rarely get to do, so it was really refreshing to get that insight.

We went on to look at book layouts and how to draw them out, to get more of an understanding as to what goes into designing a book.

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Images were taken by me.

Google Engaging Brief

We got our new brief today, presented to us by Dan from Grand Visual.

Our new brief is to “Showcase the power of Google products fused with live data. The aim is to inspire social change in the local community, at relevant moments, locations and audience mindset.” To do this we have to use Digital Out Of Home, which is all kind so screens that are featured outside of the home.

One of our little workshops was to get into groups and to come up with as many things that we are passionate about and would like to change, no matter how big or small. We then presented them to the class, which helped us to get a wider view of the sorts of things we could inspire.

Dialogue: Food Typography

Over the winter break, I managed to make the whole alphabet out of food. With each letters food correlating to the food of a certain restaurant.

It was actually a lot of fun, however generating 26 different ideas was quite hard. I had done about 11 and had already run out of ideas, I had to enlist help from my Mum. I think some of them definitely came out better than others and some I know I could have done better and will probably re do.

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Dialogue: Food Photography

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Food photography is really difficult. I tried with several different types of lighting, I tried different food, different backgrounds. It so hard to get right, managing to make the food look good and making the light look real. I have to say I really didn’t enjoy the process, I felt as if nothing was going right and that ultimately it probably wasn’t the best path for me to go down.

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Working for Yourself

Our second talk of the day had to be one of the most interesting. As it delved into a part of the creative world I hadn’t considered. Whether you want to launch a company, have an idea, want to start a business or launch a product. There are loads of things to take in to consideration

When working for yourself you have to have passion, be able to promote yourself, be good at planning and know your finances.

When it comes to pricing, you need to think about your client. What do they value? Also what do your competitors charge? What are the industry norms? What makes you stand out? Most importantly get advice from someone who knows the industry better than you. Another thing to think about is if your ask to work for free, is project worth you while? Weigh up the project?

Furthermore, always have a contract. Whether its an email or an formal contract, make sure you both know the hours that are needed and when the deadline is.

There is also copyrighting your work, make sure to have all your ideas, sketchbooks, designs, even scribbles filed and dated. You cans sell an idea, but thats just a one time thing the buyer now has the idea and you can’t do anything about that. Yet there is also licensing, you can license your work to many people.

Another good tip mentioned was to never mix personal and business bank accounts, you’ll get confused as to where your money is coming from and how to balance the money.

Will Hudson

Will Hudson, one of the creators of It’s Nice That came in to talk to us for Making a Living week.

He studied Graphic Design at Brighton University and it was there that he created a blog for a project called ‘It’s Nice That’. After university he became a junior designer at Third Eye Design, still doing his blog on the side. But there came a point where It’s Nice That was doing fairly well and he and Alex Bec decided to make it a full-time job.

After his talk, there was time for questions and he gave some great advice. Or at least I thought it was good.

For instance, if you want to work for a certain company rather than say I want to work for you. Ask them to see your work, or ask for advice/go fro coffee.

Luck = preparation + opportunity. Get into the habit of doing things.

Work hard and have a positive attitude.

Hire people you enjoy spending time with.

Stay interested.

Lastly, work just within you comfort zone, being open and honest.

 

Handsome Frank

Handsome Frank is an Illustration Agency, which I didn’t even realise was a thing. It started with two friends on a pub wanting to change their career paths and has now become a huge success, as they represent over 40 artists.

They do more of the business side for the creatives that they represent. For instance, promoting the artists, doing their contracts, doing all the legal things, portfolio meetings, debt collecting.

It such a clever idea I think, and kind of obvious too as illustrators are most likely to freelance.

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

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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

Pastiche 1560: Ian Gabb

I picked Ian Gabb for my Pastiche film, ever since I learnt about his work a year ago I’ve been hooked. Letterpress is one of my favourite mediums and Gabb uses it in such a fun and captivating way and I wanted to make something that would show this. I’m not too sure how I’m going to represent him just get, possibly through stop motion moving type and using some block prints similar to his, but I’m not too sure.

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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.