Lisa Whitaker PPD
Friday, 25 November 2011
Tuesday, 22 November 2011
Evaluation of Design production: print module
BA (Hons.) GRAPHIC DESIGN LEVEL 05
Module Code OUGD201
Module Title DESIGN PRODUCTION - PRINT
END OF MODULE SELF-EVALUATION
NAME Lisa Whitaker BLOG. ADDRESS http://l-whitaker1013.blogspot.com
1. What skills have you developed through this module and how effectively do you think you have applied them?
• Lateral thinking to develop concepts has strengthened outcomes. Initially I did not ‘get it’ however can see how to use this method in the future.
• Hand drawn development of ideas – develops visual thinking - Drawing skills become more refined. Applied reasonably effectively.
• Understanding correct file formats for Illustrator, Photoshop and Indesign for design for print.
• Illustrator skills to the point where I am choosing Illustrator to design over Photoshop.
• Use of nets, vectoring and crafting of packages.
• Designing boards for presentation, really pleased with how the boards came together and was also a useful way to draw everything together at the end of the brief
2. What approaches to/methods of design production have you developed and how have they informed your design development process?
• Understanding commercial print has opened up more options for substrates, special finishing and colour
• Selection of images for print – use of vector artwork over pixelated ones.
• The use of the college print facilities – acetate, transparent ink, bleeds (if A3 only way to get a bleed digitally is to print A2)
• The importance of building relationships with printers and providing the best formats and information.
• Thinking about a variety of substrates and also the weight and properties of these eg how they fold, how they would feel made up
• Start printing dummies of text layout straight away. The screen is deceptive and often point size can be much smaller and still be readable.
3. What strengths can you identify in your work and how have/will you capitalise on these?
• Extensive research and analysis has enabled me to focus on a ‘real’ product and problem
• Pushing concept development has led to a strong brand and identity.
• Improving attention to type and layout
• Project planning and tenacity has allowed me to develop this brief extensively
• Growing confidence in asking for help from experts eg Photographer/product shots
4. What weaknesses can you identify in your work and how will you address these in the future?
• Lack of attention to detail especially before print, often caused when rushing to meet a print deadline. I need to factor extra time into reviewing for typos and other errors in the design.
• Explore more innovative Graphic Design for print. I tended to focus on the research for the apple and not get inspiration from a wider selection of contemporary Graphic Design.
• Towards the end of the brief I tended to design the nets digitally rather than develop ideas on paper first. Having seen some of the others design development I would like to apply this more in the future.
5. Identify five things that you will do differently next time and what do you expect to gain from doing these?
• Explore print finishes practically such as embossing, spot varnish and foiling so I can use them in future work.
• After the last type workshop with Graham I would have liked more time to apply what we had learned about font size, space and layout to my designs.
• I managed to blog quite consistently for most of the brief however lost the blog thread in last couple of weeks so had to pick up at the end which proved a challenge.Blogging as going along the ‘story’ is still fresh and the communication is stronger.
• My research was more directed towards about the apple, I would have explored more cutting edge packaging and layout through the print task to make the design and layout stronger.
• With the Design for print I should have spent some time designing the layout away from Indesign. The design would look more developed.
6.How would you grade yourself on the following areas:
(please indicate using an ‘x’)
5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor
1 2 3 4 5
Attendance x
Punctuality x
Motivation x
Commitment x
Quantity of work produced x
Quality of work produced x
Contribution to the group x
The evaluation of your work is an important part of the assessment criteria and represents a percentage of the overall grade. It is essential that you give yourself enough time to complete your written evaluation fully and with appropriate depth and level of self-reflection. If you have any questions relating to the self evaluation process speak to a member of staff as soon as possible.
Module Code OUGD201
Module Title DESIGN PRODUCTION - PRINT
END OF MODULE SELF-EVALUATION
NAME Lisa Whitaker BLOG. ADDRESS http://l-whitaker1013.blogspot.com
1. What skills have you developed through this module and how effectively do you think you have applied them?
• Lateral thinking to develop concepts has strengthened outcomes. Initially I did not ‘get it’ however can see how to use this method in the future.
• Hand drawn development of ideas – develops visual thinking - Drawing skills become more refined. Applied reasonably effectively.
• Understanding correct file formats for Illustrator, Photoshop and Indesign for design for print.
• Illustrator skills to the point where I am choosing Illustrator to design over Photoshop.
• Use of nets, vectoring and crafting of packages.
• Designing boards for presentation, really pleased with how the boards came together and was also a useful way to draw everything together at the end of the brief
2. What approaches to/methods of design production have you developed and how have they informed your design development process?
• Understanding commercial print has opened up more options for substrates, special finishing and colour
• Selection of images for print – use of vector artwork over pixelated ones.
• The use of the college print facilities – acetate, transparent ink, bleeds (if A3 only way to get a bleed digitally is to print A2)
• The importance of building relationships with printers and providing the best formats and information.
• Thinking about a variety of substrates and also the weight and properties of these eg how they fold, how they would feel made up
• Start printing dummies of text layout straight away. The screen is deceptive and often point size can be much smaller and still be readable.
3. What strengths can you identify in your work and how have/will you capitalise on these?
• Extensive research and analysis has enabled me to focus on a ‘real’ product and problem
• Pushing concept development has led to a strong brand and identity.
• Improving attention to type and layout
• Project planning and tenacity has allowed me to develop this brief extensively
• Growing confidence in asking for help from experts eg Photographer/product shots
4. What weaknesses can you identify in your work and how will you address these in the future?
• Lack of attention to detail especially before print, often caused when rushing to meet a print deadline. I need to factor extra time into reviewing for typos and other errors in the design.
• Explore more innovative Graphic Design for print. I tended to focus on the research for the apple and not get inspiration from a wider selection of contemporary Graphic Design.
• Towards the end of the brief I tended to design the nets digitally rather than develop ideas on paper first. Having seen some of the others design development I would like to apply this more in the future.
5. Identify five things that you will do differently next time and what do you expect to gain from doing these?
• Explore print finishes practically such as embossing, spot varnish and foiling so I can use them in future work.
• After the last type workshop with Graham I would have liked more time to apply what we had learned about font size, space and layout to my designs.
• I managed to blog quite consistently for most of the brief however lost the blog thread in last couple of weeks so had to pick up at the end which proved a challenge.Blogging as going along the ‘story’ is still fresh and the communication is stronger.
• My research was more directed towards about the apple, I would have explored more cutting edge packaging and layout through the print task to make the design and layout stronger.
• With the Design for print I should have spent some time designing the layout away from Indesign. The design would look more developed.
6.How would you grade yourself on the following areas:
(please indicate using an ‘x’)
5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor
1 2 3 4 5
Attendance x
Punctuality x
Motivation x
Commitment x
Quantity of work produced x
Quality of work produced x
Contribution to the group x
The evaluation of your work is an important part of the assessment criteria and represents a percentage of the overall grade. It is essential that you give yourself enough time to complete your written evaluation fully and with appropriate depth and level of self-reflection. If you have any questions relating to the self evaluation process speak to a member of staff as soon as possible.
Thursday, 17 November 2011
Generation Press inspiration
Generation Press
An& and Paul 'Scrub' Hewitt visited the studio on Friday 11th November.
Paul shared his background and how Generation press was started. As he was talking he and An& threw in loads of 'little gems' and tips which I am going to note here possibly not in any order.
Most important An& attributes - Enthusiasm and Innovation
GP aim t have better production methods for a better environment.
Paper and humidity
One of most important factors in a printshop is getting the moisture balance right.
Paul quotes:
'Be the best, get better and better'
'I care about what we do , not what you think we do.'
'Earn your stipes'
'Collaboration, innovation , inspiration'
'Like to be challenged by good design'
'Collaborations drive him'
'Create interest rather than Sales Promotion' He referred to some work they did with photographer Jason Tozer for Colourplan and also Yacht Publishing, Rick Guest and Jason Tozer 'Eleven'
'No bells AND whistles, just a bell or a whistle.'
'Just cause you could, does not mean you should'
'Be true to yourself'
'Be a visionary'
Clients/collaborators include:
Pentagram
Collaborated with Yacht Assoc. who have design album covers for Blur. "Generation Yacht' a publishing company.
Kent Lyons & Colourplan at GF Smith in Lake Distict
Michael C place NFCU - Did an anonymous Symbiosis an Walls in new yok. London. At first no-one knew Build and GP had created the design
Nick Bell
V&A - Report of Accounts/ Post Mod Catalogue (nice link to Barney Bubbles)
Perfected Colour edging
Tips
- An& favourite paper at the mo is 'Marazion' which looks uncoated but has printing properties of coated
- Go to print with RAW iamges
- Photoshops use curves for shades
- If up to ten images link and send with the file.
- adobe SRGB is closest fit to CMYK
- If using uncoated stock use less ink.
- Dot gains are how colour is measured.
- Dont confuse overlays and transparencies with tints.
- Tints lss than 50% are difficult to print, use 55%+
- If you need to convert Spot colours to CMYK take out the 'small % ink' and will look less muddy.
I had a look at the spot colour I was using which is 703C and converted to CMYK as follows:
- On type try to ensure one of C, M or Y is 100%
- Silver on black looks crisper than white on black
- Be careful with spot colours and coated/uncoated colours eg D&AD
- Fred quote' When you leave An& your won time is going to become a very small amount of time'
Tuesday, 15 November 2011
Task one - Who am I- Who are they
In order to prepare for this task I did a mini brain storm as follows:
My current motivation is intensive research based intelligent design. At level one I was particularly enjoying Information graphics and from early on an inspiration has been Public Space information and signage. However the current brief design, designing a Brand and Identity and also the packaging and promotion for print has also engaged me . So what I can draw from this experience? The intensive research and analysis I enjoy can be applied to most types of longer term Design based projects.
For this exercise I have focused on the client group, Public Spaces particularly Museums and Art Galleries. My only concern with this area is that over the last ten years the Labour Government invested heavily in Culture which is evident in the Rich and innovative Graphics which ever Public Space you care to visit around the country. However when the Conservative/Lib Dems came into power they have slashed public spending dramatically and I would imagine Culture is one area which will feel the pinch.
Regardless of this Culture is definitely an area I would aspire to work. Referencing back to the Industrial experience Task two I showed some exciting work from Nick Bell and Build for the Design Museum. In order to engage the public, particularly children and young people, intelligent, interactive and engaging design is essential. Not only that the Public needs to be reminded through promotion that these Cultural Spaces exist. Also another driver that did not occur to me until Paul from generation press mentioned is that the Design has to appear to add value for money and not look to expensive. Overall I think this client group would be challenging not just in terms of budget constraints but also in terms of Committee type decision making.
Tuesday, 8 November 2011
Introduction to Professional Placements
The workshop with John and Jane was a well placed reminder of why we are here. Sometimes we are so busy getting each task/brief completed there is a tendency to get lost in the work and loose focus of the bigger picture.
We talked about why we are here:
1. Be aware of the professions
2. Experience the 'profession' in real time (visits/placements/Skype)
3. Evaluate what you seek from your chosen profession
4. Experience 'real' collaboration in professional terms
5. Communicate with professionals in a professional way
6. Add to your professional database.
7. Managing and learning from professional contact
8. Managing 'Creative Difference' professionally
9. Expanding and compiling 'a professional network'
10.Learning from other professionals
This workshop has certainly started me researching Agencies and thinking about the kind of work i would like to achieve in the future.
We talked about why we are here:
1. Be aware of the professions
2. Experience the 'profession' in real time (visits/placements/Skype)
3. Evaluate what you seek from your chosen profession
4. Experience 'real' collaboration in professional terms
5. Communicate with professionals in a professional way
6. Add to your professional database.
7. Managing and learning from professional contact
8. Managing 'Creative Difference' professionally
9. Expanding and compiling 'a professional network'
10.Learning from other professionals
This workshop has certainly started me researching Agencies and thinking about the kind of work i would like to achieve in the future.
Sunday, 6 November 2011
Where are they? Links to Agencies
Fuse 8
Based in Leeds, London and Russia
Team of 80
Digital Creative and marketing agency
Interactive/Web design
Promotional material
Corporate Brochures
Branding
Advertising
Event management
Qubik (Joe Gilmore)
Based in Leeds
Specialising in typographic-led design for branding, print and digital media, the studio works with a variety of clients in the commercial and cultural sector.
Includes design for branding, content managed websites, books, catalogues, brochures, posters, leaflets, signage and packaging. In addition to client-based work, the studio initiates and produces independent curatorial and publishing projects which focus on typography and graphic design.
Generation press
This is a Graphic designer called James Bates. Think he his based in london. I actually stumbled on him through a Honeyroot animation on Vimeo. Really like his work
Made by Many works with businesses to co-create highly social products and networked services for the web and mobile. We invent, make and operate new platforms and applications for brands and customers, and we create the campaigns and communities that bring them to life.
Based in Leeds, London and Russia
Team of 80
Digital Creative and marketing agency
Interactive/Web design
Promotional material
Corporate Brochures
Branding
Advertising
Event management
Qubik (Joe Gilmore)
Based in Leeds
Specialising in typographic-led design for branding, print and digital media, the studio works with a variety of clients in the commercial and cultural sector.
Includes design for branding, content managed websites, books, catalogues, brochures, posters, leaflets, signage and packaging. In addition to client-based work, the studio initiates and produces independent curatorial and publishing projects which focus on typography and graphic design.
Generation press
Categories: Print Process, GP Brand, Eco Warrior, GP X Build, Books, Business Cards,Colorplan, Colour Edging, Debossing, Die-Cutting, Duplexing, Embossing, Envelopes, Foil-Blocking, Invitations, Letterpress,Litho, Litho-printing, Metallic-Ink, Radius Corners, Recycled Stock, Riveting, Silk-Screen, Singer Sewing, Stationery,Thermochromic, Translucent.
This is a Graphic designer called James Bates. Think he his based in london. I actually stumbled on him through a Honeyroot animation on Vimeo. Really like his work
Digital/animation/interactive
Web design
Branding/identity
Award-winning, indefatigable web design/development studio specialising in representing music, media & fine goods on the internet since 1997.
Based in London but think they have strong links with Sheffield, Company registered address is in Sheffield.
Think they are working freelance in London.
A range of stop motion/animation design, promotional and installation work. I found these through Behance
Based in Bradley, Huddersfield
They are a large format graphics specialist. They serve retail, museums, exhibitions and Interiors sectors.
Based in Manchester (was Huddersfield)
Specialise in serving the non-profit sector
Probably around 10 designers
Branding, packaging, product branding, advertising, logo design, Creative Campaign and website design.
Michael c Place
Founded in 2001, we are a London-based graphic design agency
producing bold, memorable and effective graphic design and communications— including for print, packaging, digital and moving image. Clients big & small, including Nokia, Design Museum London, Sony, Getty Images.and a host of smaller independents
.
I discovered this Agency through its fantastic interactive website - this is a skill i really want to learn.
Based in Manchester
They specialise in Designing Interactive websites
Based in London
We are visual communicators designing for three dimensional interactive environments.
Most of the time – work with architects, curators and museum directors. Together, we try to make museums absorbing and inspirational places to be.
Some of the time – work with heads of marketing and communications. With them, we help hone the voice that best captures their organisation’s relationship with people.
Occasionally – working with publishers, editors and writers, we make books, catalogues and magazines objects of beauty and substance.
Occasionally – working with publishers, editors and writers, we make books, catalogues and magazines objects of beauty and substance.
Based in London
A team of 31
Made by Many works with businesses to co-create highly social products and networked services for the web and mobile. We invent, make and operate new platforms and applications for brands and customers, and we create the campaigns and communities that bring them to life.
Based in Manchester
A team of five
Based in Manchester
Art, Design and Coop
Ultimate Holding Company is a unique organisation. It operates a radical and publicly engaged art studio, alongside a graphic design business that aims to contribute towards positive social and environmental change.
Originally, the studio set out to raise the design standards of street-based agit-prop, mainly for local direct action campaigns. This activity was always artist led and largely funded by occasional graphic design commissions from small ethical organisations and arts grants. Now it runs a complete commercial graphic design studio alongside its acclaimed art practice, which delivers publicly engaged projects around the UK.
Subscribe to:
Posts (Atom)