Thursday, 28 February 2013

Type Workshop//notes

Construction of Grids

before making a grid, you need to know what you're making it for
looking at columns; one column gives you little freedom, two columns for type section and image section and these can be sub-divided where needed

columns grid can be used for displaying statistics, used for a leaflet format, newspapers and general information
however, lines of text will be narrow and would need to use a small typeface

for stats, figures, graphs and trend line publications: use 4 columns per page

(these four columns can be divided into 8...16 etc.)

Thumbnails:
always make a variety of thumbnails
enlarge a small selection of appropriate thumbnails by 1:1
compare them, generate ideas and progress

10pt type and 15pt leading
columns length 15cm
loosely means use 15pt leading
(there must be 10 lines within that field)

by drawing lines where the ascenders and descenders meet, it is straightforward to find out what point size to use when using different sized text in one document, ensuring that the lines of text flow and match proportionally with the other text used

task: 
make a concertina fold/document min 5 panels, max 16 panels
content can include current work/subject/themes
use a mixture of different grids for different reasons
be dynamic


Wednesday, 27 February 2013

Feel Good Drinks//presentation boards

Collaborative Dazed and Confused//action plan

ACTION PLAN

what (do you need to do): brainstorm different ideas and themes that relate to our subject, and categorising them to ensure we are as specific as possible
who (is responsible for doing it): Emily and Lisa
when (does it need to be done by): 27th Feb

what: create a shared Pinterest board of visual inspiration 
who: Emily and Lisa
when: 27th Feb

what: secondary research into specific photographers who investigate into photo journals and/or focus on capturing youth culture as a subject
who: Lisa
when: 27th Feb


what: relevant publication and editorial visual research and investigation
who: Emily
when: 27th Feb 

what: x4 research presentation boards for concept crit
board 1- brief, rationale and ideas, background info (dazed and confused), examples of previous entries
board 2- visual research (taken from pinterest board)
board 3- photographers and photo journals (relating to our subject)
board 4- editorial and publication research
who: Emily (boards 1+4) and Lisa (boards 2+3)
when: 28th Feb 

what: online survey to collect primary research concerning what aspects of youth culture today are iconic and memorable
who: Emily
when: 28th Feb

Collaborative//re-written brief

Brief Title: 
Dazed and Confused

The Brief:
Produce a single, iconic photograph that portrays contemporary youth culture to be featured in Dazed & Confused magazine and a publication relating to the process and journey that went alongside the development of capturing the final image.

Concept/Proposition:
To display contemporary youth culture in one single image through themes such as fashion, music, trends, social media, events and current affairs. Moreover, to document and exhibit the ongoing process and idea generation within a publication format.

Background/Considerations:
- what aspects of todays youth culture are the most poignant and iconic?

- think about how a single image can capture an array of messages, themes and concepts

- consider the most appropriate design and photography style to fit into an edition of Dazed and Confused magazine

- in 10 years today, which images will stand the test of time?

Target Audience:
Dazed & Confused readers- british/artistic/creative/fashionable/musical
aged 17-23
male and female

Mandatory Requirements:
- a single photographic image that captures this period of time

- a supporting publication

- evidence the research, documentation, experimentation and development of work through Design Context and Design Practice blogs as well as presentation boards

- label all blog posts correctly

Tone of Voice:
- colloquial
- light-hearted
- informative
- personal
- use of slang
- engaging

Deliverables:
- one single photographic image to be submitted into D&AD 
- publication
- x5 presentation boards
- on-going documentation on design context/practice blogs
- mounted A3 print (if entry is successful in the first selection stage) 


Tuesday, 26 February 2013

Product, Range and Distribution//Re-written Brief

BRIEF TITLE: Product, Range and Distribution- An Exhibition Of Polaroid Photography

THE BRIEF
Produce a body of work that explores the relationship between content, context and product in relation to Polaroid photography. Aim to produce a response that clearly and effectively exploits the function of your concepts in relation to 'An Exhibition of...'

Your work should practically and conceptually explore the possible products, ranges and methods of distribution that may be suggested by your content and furthermore reflect your own creative ambitions within graphic design.

BACKGROUND
The brief is in three parts:

Part 1: Based on the introductory workshops develop a practical, visual and contextual investigation of Polaroid photography. You should aim to develop research from a range of primary and secondary sources in order to fully explore the opportunities for informed creative development. Your research and development of this part of the brief should be documented on appropriate blogs and will be prented as part of your interim concept pitch.

Part 2: Develop a body of practical and contextual research that explores the relationship between: 
Publishing & Editorial 
and
Product & Packaging
One of these should be your primary focus of contextual research with the second allowing you to relate this discipline to the broader creative and professional contexts of graphic design. Your contextual research, critical observations and reflective evaluations should be documented on your Design Context blog and summarised in the design and production of a 16 page Design Context Publication.
Part 3: Develop and produce a practical and contextual response to your research that brings together your research into content, context, specific design disciplines and appropriate media/formats. Your response should explore the relationship between product range and methods/media of distribution as well as specific audiences, contexts and appropriate tone of voice. 
CONSIDERATIONS
- analogue vs. digital photography and the use for analogue photography today
- how can old trends and styles be resurrected and manipulated to fit in with today's digital culture?
- how to bring the analogue into the digital age and/or combine the two
- what is the appeal of a more hands-on approach to photography for the younger generation?

TARGET AUDIENCE
- young, trendy students, creative and individual
- nostalgic for the use of film photography (older age bracket, 25-40)
- non-digital photography enthusiasts/photographers

MANDATORY REQUIREMENTS
- A range of product packaging that explores and exhibits Polaroid photography in all its different forms and uses

- A publication exhibiting Polaroid photography through: 
different artists, experimentations, processes, techniques and camera use information

- Evidence the research, documentation, development and production of your resolutions through both Design Practice and Design context blogs as well as presentation boards
- Correct labelling of your work on your blog is essential.  Failure to organise your work clearly will affect the assessment of your work 
- Your response to the  brief should be supported by a short rationale (250 words) and evaluation of your work in relation to the initial brief.
TONE OF VOICE
Tone of voice should remain instructionalreminiscent, esoteric and informative consistently throughout 

DELIVERABLES
- A range of product packaging that explores and exhibits Polaroid photography in all its different forms and uses

- A publication exhibiting Polaroid photography through: 
different artists, experimentations, processes, techniques and camera use information

- Presentation boards articulating the selected research development, resolution and contextualisation of your work.
- Posts to your Design Practice & Design Context blog demonstrating your ability to effectively record, document and critically evaluate the progress of your work in relation to your own intentions and appropriate areas of contemporary creative practice.
- A 16 Page Design Context Presentation and supporting research
STUDIO DEADLINE: Interim Concept Presentations - 19 / 03 / 2013

Whta's Good//studio workshop lists

WHAT'S GOOD?: POLAROID PHOTOGRAPHY


x5 words that sum up your good:

- instantaneous
- analogue
- observational
- niche 
- retro


x5 words that sum up your target audience:

- nostalgic
- creative
- experimental
- photographer
- individualist


x5 words that sum up the tone of voice:

- instructional
- controversial
- reminiscent
- esoteric 
- informative


x5 products that you want to/could create:

- camera packaging
- film packaging
- instructional/informative Polaroid publication
- way-finding design and promotional material for  a gallery, showcase or exhibition of Polaroid photography
- branding guidelines for a new range of Polaroid products


x5 processes I am interested in using:

- spot varnish
- coptic stitch binding
- foil blocking
- die-cutting
- perforated packaging


What's Good?//Research Presentation Boards











Thursday, 21 February 2013

505 Workshop//lists

After having had a studio crit based on the 5 formats we brought in, related to our professional practice, we devised a series of lists to help progress onto the next stage.

x5 things I don't know about my products:

- how to do coptic stitch binding by hand, step-by-step

- what uses are there for coptic stitch binding and what type of books use this method of binding?

- different methods of printing onto glass, commercially

- different ways/methods of packaging a cd (other than a plastic case...)

- can coptic stitch binding be reproduced non-manually (and on a mass scale?)

- different ways/alternatives for printing onto cd's


x5 things I don't know about processes (that I want to do...):

- foiling within aspects of an illustration (or other printed aspects)

- coptic stitch binding

- layering stock to create different layers of colour, how to do this properly and neatly

- gilded edge to publication pages (or single page, stock)

- how to re-create a spot varnish effect within a student, studio environment

- printing using spot colour, as a student on a budget

- perforated packaging, different methods and the different types of perforation that exist


x3 things I would do to improve my favourite product (skull book):

- time-consuming to produce and need for binding to be executed and finished off perfectly in order for the book to function and look good (at end result)

- add a spot varnish or even foiling at the front cover (not distinguished enough from content pages)

- create a protective casing for the book, hard cover or die-cut? more interactive and finishes off the book as more of a gift/an experience


x3 reasons why I like this product:

- the 'exposed' coptic binding with printed title on the spine; adds a twist on the binding method and creates a striking feature on the cover 

- the basic colour scheme used, the black and white with the addition of a neon spot colour is very effective and encourages the colour to pop out

- the subtlety of the book title as a sticker, allowing the imagery ad content to speak for itself

- the size/thickness ratio is ergonomic and nice for the user to hold and flick through



Type Workshop//notes

The Rule of Thirds

the concept of the golden ratio can be simplified

a section of the thirds can be split again into thirds to help with proportion
especially with more complex design

people scanning a page are more likely to notice things placed near the focal points and the division is comfortable to view (as your eye naturally reads the page)


Canons & Grids

- Van De Graaf


a gridded page is much like scaffolding for a building, the elements can be organised and structures, and it helps the continuity of information

the Van De Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions

the extra space on the edges of the page and the bottom are used for where our hands go when reading through a publication, ensuring that no content is covered up- this is what makes the canon so effective and useful


Making My Own Grid:
using InDesign, I set up my own Van De Graaf canon on a double page spread, and then used the rulers to divide up the page evenly and accurately





Leading

according to empirical rule, there should be 7 words per line for a text of any length
using columns makes this rule easier to apply

the point size of the leading changes according to the point size of the body copy

e.g. 15pt body / 17pt leading

the key is ease of reading for the user
text must not impair the rhythm of reading and this does not apply to titles and subtitles



Creating my own DPS:


I started off using the Van de Graaf canon as a basic layout and guideline for the double page spread


I layered over another grid on top to mix up the layout a bit and create a more interesting design composition between image and text


The Van de Graaf canon allowed me to place my image and header neatly and allowing plenty of white space for the content to be legible and readable for the user


I placed body text into columns from the second grid I placed over the canon, to create a contrast and distinction between the body and the headline/title


The final completed double page spread.
I included solid black lines to divide the text up a bit and make it clear for the user where the text started and finished whilst using separate, diamond dividers to line the headline and the image together.



Typography//Paper Size Task

Using the Fibonacci Sequence, the task was to create our own paper sizes.

I started off with my own number sequence, adding up the sum of the previous two numbers to create the next number in the series:

1+3= 4
3+4= 7
4+7= 11
7+11= 18
11+18= 29
18+29= 47
29+47= 76
47+76= 123
76+123= 199
123+199= 322

I then applied these numbers into creating my own paper sizes:


47 point title should be complemented with 29 point body copy by applying Fibonacci's sequence

Tuesday, 19 February 2013

Product, Range and Distribution//task

TASK 
research x5 formats related to own professional practice

consider:
1. stock
2. sustainability
3. durability
4. how they are assembled
5. how it is produced (in both commercial and student environments)
6. what production methods would I want to do with it and why?

Chain/Coptic Stitch Binding

1. paper and card, three varying thicknesses, 
cover stock almost coated or satin-like
2. 
3. well bound, use of coptic stitch binding to hold numerous pages in sections, bendable, tough stock, slightly water resistant
4. use of coptic stitch binding
5. through hand-sewing sections of the book in an equal number of pages
6. foiled front cover (which isn't distinct enough from the content pages)




Cosmetic Product Packaging

1. vinyl
2. Neal's Yard encourage users to return the blue glass bottles by giving them 10p for every one
3. thick glass reduces risk of product smashing, vinyl label sticker has a coated layer keeping it waterproof
4. stickers labels are simply stuck onto the bottle
5. a pad printer (in commercial print) would be used to print the logo onto the bottle however as a student, a clear vinyl sticker would work (but awkward on a rounded surface)
6. 




Cosmetic Product Packaging

1. clear vinyl
2. 
3. long-lasting, durable- vinyl onto plastic is too sticky to peel off
4. printed vinyl which is then stuck around the product bottle
5. vinyl stickers can be printed easily both commercially when mass-produced and within a student studio environment
6. an additional feature on the lid to continue the design aesthetic across the different surface areas of the product




Product Packaging (nets)

1. white coated card
2. not very sustainable
3. quality of the ink and print remains durable where the stock doesn't and is easily squashed with and without the product inside
4. assembled from a cube net (with lid)
5. can be produced commercially and as a student in the same way, use of printed nets and die-cutting for accuracy and then assembled accordingly
6. I would try laser-cutting the nets using a more sturdy stock, less fibrous and therefor less easy to rip and tear





Music Packaging, Design and Branding

1. coated paper
2. 
3. stock itself is flimsy and easily tearable however the use of the hard plastic cd casing protects the cover
4. cover and inserts are folded up into the clear case to be displayed accordingly
5. as a student, cd can be printed using different software programmes or using vinyl and commercially printed on a mass scale
6. use a fold-out cardboard case instead of a generic plastic case, helps the design to stand out more, especially when the cover is particularly interesting or photographic, and creates more of an experience for the user




Product, Range and Distribution//examples of...

5 examples of branding and logos associated with Polaroid:

1. With the introduction of the square format film (which would be sold cheaper than the rectangular format film) in 1973, the well-known rainbow stripes utilised within the Polaroid branding was manipulated into different sized squares to communicate the new film format. The colour edition and the black and white edition help the user to distinguish easily which type of film they are purchasing purely through 
the colour scheme.



2. Point-of-purchase packaging for Polaroid when it initially started out. This was at the point where they were competing against the Kodak yellow packaging which was the brand to compete with at the time. But the muted grey of the original Polaroid packaging was swallowed up by the Kodak yellow which was storming the shelves at the time. The typeface that is used here as well proved to not be effective as the 'a' and the 'o' were too similar looking, and people were pronouncing the brand name incorrectly. 



3. The typeface changed to News Gothic (designed by Morris Fuller Benton) to enable clearer readability for the user and give the Polaroid brand more distinction against other competitors. These images are examples of point-of-purchase wayfinding/signage design that utilises the simplicity of the new found typeface and developing brand identity of Polaroid, focussing on simplicity and clarity in terms of style.



4. The coloured, geometric stripes and squares that are used as a distinguishing feature of the Polaroid branding have been taken from the component design of the original, older Polaroid cameras and manipulated into a more contemporary design style. The idea was for the branding and packaging to remain simple, using small pt size for any text and lots of blank space to create further emphasis on the design features (this contrasted massively to design at the time where sales managers were keen to cover all packaging with as much content as possible). The design also created a repeated pattern when the boxes were stacked on the shelves, another aesthetic additional aspect to the branding. 



5. 1968 Polaroid Colorpack Film packaging. 
Due to lack of budget at the time, the quality of the print reproduction was poor so to amend this, the use of the silhouette image to display which model was inside the packaging, was a silhouette illustration. This same image was also featured in newspapers, where the print quality was also significantly poorer back then.



5 examples of print that contain aspects of own interests and things I want to pursue with on this brief:

1.  3D Typography





2. Foiled Product Packaging




3.  Spot Varnish


The layout of the publication itself utilised the fibonacci sequence and white space, allowing the photographic content to stand out and speak for itself, which results in a clean and well designed overall aesthetic.




4. Mixed Media
combining photography with illustration as a medium




5.  Experimental Photographic Techniques and Processes



Monday, 18 February 2013

Product, Range and Distribution//Polaroid Photography

During a studio workshop, we compiled lists to help us progress into the next stage of the new brief, which for me, will be surrounding the subject of Polaroid photography. These lists were written in light of our work and research so far on the subject and where we needed to go from there.

Areas to specify within chosen subject:

1. Different effects/techniques that can be used with Polaroid film to produce different results
2. The Impossible Project (and other existing projects, campaigns etc.) What is it? How has is helped encourage Polaroid users?
3. General useful, interesting facts and statistics about Polaroid
4. How it works; film, development and camera...
5. Style of photography and how it is stylised; Who uses Polaroid? Where can they be seen on display/in use?

5 Skills I want to improve on as a designer:

1. Photoshop
2. Photography skills, using different cameras, using a studio and experimenting with more hands-on techniques
3. Keeping on top of the brief; being ahead of myself and being completely prepared for all crits
4. Primary research; going out, visits, first-hand information and experiences out and about
5. Producing effecting design without relying heavily on computers (less digital)

How will I improve:

1. Ask for help from tutors more, use Lynda for online software tutorials, practise using Photoshop more and ask for help from my peers
2. Giving myself the opportunity in the brief to experiment using different cameras and styles of photography
3. Writing lists, keeping track of the week ahead on the timetable and preparing
4. Learning new techniques, utilising the resources at college more
5. Research into what's on in Leeds and make plans into the weekend

Thursday, 14 February 2013

Collaborative Brief//Emily and Lisa

During the latest responsive workshop, we discussed our creative partner forms with each other to produce our own contract:



We then listed our shared interests and differences within our partnership to see the overall balance of how we would work together.

Common Interests with Lisa:

1. interest and love of photography
2. keenness to explore design resolutions 'away from the computer' and to something different/new
3. contemporary style and fashion trends amongst our generation
4. love of Dazed and Confused magazine
5. to utilise the photography resources in college more
6. test out new processes such as developing film, booking out studios for photo shoots and scouting suitable models and locations
7. improve on progressing photo editing skills
8. contemporary, colourful design style
9. editorial design
10. photography journals, photo shoot locations and primary/secondary research


Differences with Lisa:

1. different ideas concerning what we would consider an 'iconic' image of our generation
2. design skill set in terms of software
3. interests within contemporary culture, in terms of how it would be portrayed, what's important and what's not
4. photography skill level
5. knowledge when using different cameras and software

Type Workshop//notes

Grid and Divine Proportions

Fibonacci sequence: 

about proportions not measurements
ratio of 8:13
found/used in renaissance paintings, architecture, can also be used in design as well

a series of numbers, a sum of the two preceding numbers, continuous
e.g. 0+1=1, 1+1=2, 1+2=3...

can be used for type and point sizes as well as page/shape/box sizes

e.g. 55 point title should be complemented with 34 point body copy by applying Fibonacci's sequence


Dividing the Page:

1.62 is the golden number
 a way of achieving balanced designs
correct proportions on the page

basic calculations to finding the golden section of a page:

1.62 divided with page width (rounded to nearest whole number)

these new measurements can be continually divided by the golden number which creates the beginnings of some form of grid




Wednesday, 13 February 2013

Collaborative Brief//creative partner form

Why have you chosen to work with your creative partner? What are your aims?

I was originally keen to focus on developing my photography skills and experimenting with new ideas, processes and techniques and so I wanted to collaborate with someone who's photography skills were more advanced than mine as well as someone with a passion for photography. 
i also feel that by collaborating with Lisa, our design styles will complement each other, as we have similar interests but tend to produce quite different outcomes so hopefully this will encourage a final result far from what I what produce if I was just on my own, giving me a chance to expand my horizons and try something a bit different.


What are your specific areas of creative interest in this brief? 

My specific areas of creative interest within this brief would definitely revolve around photography, but more specifically, spending time setting up photo shoots with the appropriate setting, models, equipment and facilities. Also developing my layout skills within editorial design, where I can pursue and experiment with publication designs with predominantly photographic content utilising techniques such as the fibonacci sequence and the rule of thirds. 
In terms of the brief itself that Lisa and I selected, I'm looking forward into researching the notion of contemporary youth, and what we find are significant aspects within 2012/2013 that will become iconic in years to come. 


What specific design skills do you have to offer in relation to your chosen brief? How do you intend to use them?

- layout and grid: putting together publications and general editorial design work, using grids for clean layout and editing and re-writing appropriate content

- photographic experimentation: I have previously had a lot of fun experimenting with new processes and techniques within photography with a range of different cameras to produce certain effects and I feel this could be useful when developing ideas for one iconic image for this brief

- competent across a range of software programmes such as Illustrator, InDesign, Photoshop and other photo editing software


What specific non-design skills do you have to offer in relation to your chosen brief? How do you intend to use them?

- ability to make compromises and not be too stubborn when pushing my own ideas, enabling that when working collaboratively, the workload and final result is well balanced between the partnership

- ideas and organisation: generally, I'm well-organised within collaborative and group work, keen to give out ideas and suggestions whilst also listening and utilising the ideas of others within a group

- peace-keeper: I don't like arguments or any form of conflict and so I always try and make sure that when working in a group, everyone is happy and resolve any disagreements of arguments that may occur. This saves a lot of time to allow significant progress within a brief as opposed to constantly discussing and arguing over it


What will your specific roles be in the collaboration in relation to your brief?

- editorial design: designing for any publication or editorial work that may go alongside the brief, focussing on neat, clear layout and utilising the college resources for any finishing processes or techniques that may need to be done

- photography: using film cameras such as Polaroid and Holga cameras as well as an interest in digital and instant photography, how these merge, differ and interact with each other. In terms of my photography style, I tend to focus more on photographing aspects of the environment, objects and things around me playing around with how the image breaks up and focussing on the less noticed parts of our day to day life.


What will your individual responsibilities be in relation to your brief?

- research: exploring Leeds to locate appropriate settings and concepts for photography shoots, whilst also using a wide range of research methods to pin point what it is we want to communicate within one iconic image. Methods such as surveys, books, journals, exhibitions, blogs, websites and magazines regarding contemporary youth culture.

- publication/editorial/layout

- experimentation: with a range of ideas, concepts, processes, techniques, materials, facilities and resources. the experimentation process will be key in leading up to the one final image, whilst keeping documentation of the 'journey' and progress as ideas change and develop.


What will your joint responsibilities be?

- execution of photography: ideas, test shots, organisation when booking facilities, studios and models, developing our own film and using different software and techniques to edit

- being organised and managing our time efficiently, not leaving everything until the last minute and doing as much work as we possibly can in order to gain the best possible final result

- sharing opinions on design styles, content and the final image we submit for the brief