Tuesday, 22 November 2011

Task 4 - Specialist Production & Definitions


Task 4 - Specialist Production & Definitions

TASK  

Based on the terminology and examples introduced during this session, extend your awareness of the diversity of print production methods in relation to professional design practices discussed. See how this impacts on what you have learnt so far and how it might affect your personal interpretation of print issues around the 4 core areas below.

  • Branding and Identity 
  • Packaging and Promotion 
  • Publishing & Editorial 
  • Information & Wayfinding 

It is important that you identify and evaluate unfamiliar products, contexts and functions of design for print as this will help you to develop a broader and more informed understanding of the specialist nature of print production.

Research Sources / Further Information  

LOOK AT: How the Pantone Matching System (PMS) works. What exciting alternatives different stock/substrates can provide in terms of options. How you might collaborate/interact with specialists How the same problem might be solved in different ways.

Task 3 - Stock Options & Print Finishing


Task 3 - Stock Options & Print Finishing

Study Task

With a focus on Stock, Substrate and 'special' Print Finishes find as many variants as possible for each of the following areas of Design:

  • Branding and Identity 
  • Packaging and Promotion 
  • Publishing & Editorial 
  • Information & Wayfinding 

You should consider production values, scale and functionality in relation to appropriate contexts and target audiences and evaluate their impact on the design decisions that have been made. Wherever possible you should aim to collect physical/actual examples of print as this will help you to evaluate the important tactile, formal and functional elements of your source material

Your findings should be recorded and critically evaluated on your Design Context blog.

Research Sources / Further Information  

Keywords

Coated, uncoated, die cut, spot ink, UV varnish, Emboss, laminate, duplux

Websites (all links)

Pantone matching system
4 colour & metallic ink
Emboss/foil/thermo 

Books

Experimental Formats - Roger Fawcette-Tang

Task 2 - Colour for Print


Task 2 - Colour for Print

Using examples of design for branding & identity, packaging & promotion, publishing & editorial, information & wayfinding explore the following colour systems:


  • CMYK (process) 
  • Spot Colour (2 or more) 
  • Monochrome & Tints (solid colour and half-tone) 


In order to develop a significant awareness of print production methods, you will need to identify at least 2 examples of each colour process from each of the four areas of design.  Make sure you continue to explore a range of sources and research methods and post your findings to your Design Context blog. Your posts should be supported by an appropriate level of critical analysis and reflections on why you have chosen the examples.

Branding & Identity

[insert images and annotate]

Publishing & Editorial

[Insert Images and annotate]

Information & Way finding

[insert images and annotate]

Packaging & Promotion

Thursday, 10 November 2011

Type Workshop Part 2

We have set up a three column A4 page and inserted the second paragraph of block text.
We were told how paragraphs don't always need to be placed in block text and indents play just as big role  as the paragraph. A default indent is often created by pressing "tab" however its a ten mil space which isn't wanted all the time. For our paragraph we decided to use a " three character " indent.


TIP
If people don't notice your layout that means you've done a good job because the reader shouldn't notice your layout over the article

We then got given another set text and had to fit it onto a new A4 document and try make it as legible and readable as possible. I choose to go for a 2 column style document but the right way would have been a 3 column which not only read nicely but also looked pleasing when reading the text.


Colour of the page actually affects how we are brought to the page. It engages the part of you which sees the whole document. By adding more leading you add more white into the document which makes it nicer to look at. If you increase the weight of a typeface you will darken the whole feel of the document. 

We now had to incorporate the image onto our page. This was an image of some block press which needed to be placed in our document and allow the text to still be read.

Type Workshop

This morning we covered how to fit body text into a set sized column. Using different point sizes and leading we managed to fill it out.


Using the same method as the first we moved the body text along a column and reduced the point size but increased the leading to achieve the same effect as the first.

We as a group came to conclusion that the third column felt the best to read after being printed however we thought the second was the best whilst on the screen however.

Moving on from the first document we changed the layout to a 10 column document and pasted the third set of type into the document and made it fill a single column, a double column and a 3 set column.

The third column in my opinion was easier to read yet many aid the second was easier. A big point brought up was we should judge what is easier to read depending on our final outcome... if the final outcome was to print.. then print off the document and double check the type does read better printed as a posed to being read on screen and vice versa. 

TIP:
never go below five or six words per line.
never go eleven to twelve words per line.

Moving on from the above we decided to change the font to see how different typefaces effect the settings we have set up... just because it works for one type doesn't mean it will work for every other.



To test it further i used each type set of the family ariel to see how the likes of italic + Bold affect the readability.

It did change slightly but the settings did work for the different type styles which are in the same family.

Tuesday, 1 November 2011

The problems we have with car oil...

Problems:

      • The labelling is too difficult to fully understand
      • The market feels male dominant
      • The packaging is all the same
      • No universal oils for certain car types ( classic, family, hatchback, sport, high performance )
      • Pouring the large containers can spill and leave everything messy
      • The expensive cost of oil plus the effort needed to change oil makes it undesirable 
      • Overfilling the oil level can damage the engine and kill the car
      • Changing oil feels like something that a garage should do
      • Staining clothes and anything it touches
      • Getting the wrong oil can be just as bad as using no oil
    • Add more...
Solutions:
      • Standardise the oils for certain cars eg. Classic use one, Family use one, Sport... etc
      • make the containers smaller so its better and easier to use
      • Ditch the liquid side of oil and make it into a solid to transport and adding it easier.
      • Create a modern more universal packaging to make it less scary and friendlier.
      • Allow the process of adding oil to be easy
      • Make overfilling and choosing the wrong oil almost impossible.
      • Colour coded oils would replace the #W-30 etc coding system
    • Add more

Undertanding Oil


On every bottle of motor oil there is a seal that gives you three pieces of information:
  • The API service rating
  • The viscosity grade
  • "Energy Conserving" indicator (it either is or it isn't)
The API service rating is a two-letter rating that tells you the type of engine the oil is meant for petrol or diesel and the quality level.
The viscosity grade (for example, 5W-30) tells you the oil's thickness, or viscosity. A thin oil has a lower number and flows more easily, while thick oils have a higher number and are more resistant to flow. Water has a very low viscosity -- it is thin and flows easily. Honey has a very high viscosity -- it is thick and gooey.

Measuring Motor Oil Viscosity

The standard unit used to measure viscosity is the centistoke (cSt). According to the Automotive and Industrial Lubricants Glossary of Terms:
Viscosity is ordinarily expressed in terms of the time required for a st­andard quantity of the fluid at a certain temperature to flow through a standard orifice. The higher the value, the more viscous the fluid. Since viscosity varies inversely with temperature, its value is meaningless unless accompanied by the temperature at which it is determined. With petroleum oils, viscosity is now commonly reported in centistokes (cSt), measured at either 40°C or 100 °C (ASTM Method D445 - Kinematic Viscosity).
The centistoke rating is converted into the SAE weight designation
Multi-weight oils (such as 10W-30) are a new invention made possible by adding polymers to oil. The polymers allow the oil to have different weights at different temperatures. The first number indicates the viscosity of the oil at a cold temperature, while the second number indicates the viscosity at operating temperature. How the polymers work:
At cold temperatures, the polymers are coiled up and allow the oil to flow as their low numbers indicate. As the oil warms up, the polymers begin to unwind into long chains that prevent the oil from thinning as much as it normally would. The result is that at 100 degrees C, the oil has thinned only as much as the higher viscosity number indicates. Another way of looking at multi-vis oils is to think of a 20W-50 as a 20 weight oil that will not thin more than a 50 weight would when hot.

Thoughts
      • As messed up and confusing the codes seem on the front of oil packages they are quite straight forward once known.
      • This took a lot of understanding and seems to be an annoyance and off put towards buying the product
      • a survey showed that people with certain cars all use the same type of oil, perhaps it would be easier to have a single oil for petrol cars, diesel cars, classic cars, high performance.
      •  need to be easier.


Monday, 31 October 2011

Other kinds of oils.

I have been thinking about how to package my branded oil... I know i want to create a range of oils in an easy to read and easy to understand format... I have been thinking a lot about the glue stick idea and how to package it, but would this feel too new? are people so used to the liquid format that such a drastic change would scare them off... perhaps I'm playing it too safe..

I thought about other oils which are out there. The most commonly bought oil is kitchen oils, such as olive oil so I'm looking into packaging for this type of oil..



This is such a beautiful design and hugely inspiring me.
The above show quite nice ways of selling oil for the kitchen and I'm thinking about how i can use this to my advantage... I don't think i want to resort back to selling the oil brand as a liquid as its just too easy... i want to create something crazy and new... something i feel should be out there as a motoring enthusiast which isn't !...

The way the above use simple designs to look elegant is brilliant. I feel that if car oils lost the whole mannish and mechanical feel it has people would be more interested in maintaining the oil levels in their car because it would be cool to buy it instead of a complicated choir..

Thoughts
        • The above show how elegant designs can increase the effect of expense.
        • Ditching crude manly styles would make people more interested in it
        • I feel using the elegant effect would work on something which costs so much to buy and will make people sort of respect the very thing their driving around and maintaining.
        • Maybe using a colour code idea on my designs would be helpful rather than the letter codes most oils use now...

Existing Oil Packages

I checked out a bunch of current oil packaging which is easily ordered and bought via garages and the first thing I've noticed is they literally all look the same... BORING... the best part of this project is that i am able to make up a product which doesn't exist perhaps isn't possible to be made but the story is that it will exist.







I understand that the packaging has to be useable more than just nice to look at but its just so universal. The above has made me think about the ascetics of my product i would need to make it look quite mechanical... or do it?. maybe go against the usual and make it smoother and nicer. 

I feel the style people use for the packaging is really male orientated,

Thoughts
          • The packaging looks mechanical 
          • Male dominent
          • Practical
          • Complicated
          • Make it simpler
          • Friendlier 

Friday, 28 October 2011

Print Techniques


CMYK
This is the widely used printing method to achieve full colour printing. It is also known as Process, 4 Colour Process or Full Colour Process. It uses only four ink colours: Cyan (C), Magenta (M), Yellow (Y) and Black (K) layed down on the paper as dots which combine to create the illusion of other colours. If you look at any piece of print under a magnifying glass you will notice a matrix of tiny dots of the four colours.
Spot colours
Spot colours are true colours which are pre-mixed to the colour required rather than achieved through a process method on the paper. They are much punchier than process colours and can either be printed on their own (for single or two colour jobs) or printed in addition to CMYK (resulting in a 5 or 6 colour print). It all comes down to cost at the end of the day though, as the number of colours used can potentially be endless.
Pantone® colours
These are spot colours from the international ink colour matching system from the company called Pantone. They are designed to allow people in the design and printing industries to specify and match specific colours in the printing process. They are sometimes known as PMS colours (Pantone® Matching System). They can also be created using the CMYK printing process but rarely come out exactly the same colour as in the Pantone® Matching System. Pantone also provide colour specifically for different types of paper and coatings so that a consistent colour can be achieved across a range of products.
Metallic inks
These are spot colours that have a metallic constituent in the ink, giving a shiny quality to a range of colours from Pantone®.
Hexachrome® colours
By using six colors instead of the standard four in CMYK, it is possible to expand the spectrum on a full colour print job. This system has been developed by Pantone® and results in a bigger visual impact. However, there are higher costs involved due to the extra inks and plates.
Coated paper
This is paper printing stock that has an outer layer of coating on either one or both sides. It is available in a variety of finishes including Gloss, Silk and Dull or Matt, which give slightly different results. They can produce sharp and bright printing due to the fact that the ink is not absorbed into the paper very much and the paper also reflects light well.
Uncoated paper
This is paper printing stock that does not have an outer layer of coating. It is sometimes preferred by designers for its natural feel. However, the effect is very different to Coated paper because the ink is absorbed and the dots expand. This results in print that is less sharp or bright than Coated paper, depending on the quality of the paper.
Proof
A representation of what the finished printed item will look like, so that the designer or customer can check for errors or printing problems before committing to the costs of printing the full job. This will generally consist of either a test sheet from the actual printing press, or a digital printout from a smaller machine. The costs vary greatly between the methods. Some online and discount printers will alternatively provide a digital PDF proof that shows folds, trims and so on. These are quick and easy to approve, however they provide no indication as to how colours or other physical attributes may turn out.
Dummy
A blank version of a proposed printed document, produced to demonstrate the feel of the paper stock that has been specified and the size of the document. On larger more expensive jobs this can help the designer or customer decide if they are happy with their choice of paper.
Lithographic printing (Litho)
This is a printing of method which uses a metal plate inside a printing press machine. The plate carries the image to be printed, to which the ink is applied. This is then applied to the paper as it passes through the press.
Offset printing
This very common printing method refers to Litho printing where the paper does not actually come into contact with the plate. Instead it is transferred from the plate to a rubber ‘blanket’ cylinder and then onto the paper.
Digital printing
Digital presses accept the digital data of your design and print straight from it, without the need to produce plates or any other such tools. Generally this method is used for shorter print runs as the set up costs are lower and the quality does not always match Litho standards. The main benefits of using digital printing are the short run costs, the possibility of item by item customization,
Registration
When two or more colours are printed together, Registration refers to the process of exactly aligning them on the paper so that the image is sharp.
Letterpress printing
This is a ‘relief’ method printing where a raised surface is applied with ink and then pressed onto a sheet of paper to create the text or image. This results in the text or image being slightly depressed into the surface. Once a common way of reproducing books, these days it is generally used in craft applications such as high quality invitations or letterheads.
Thermographic printing
To achieve a raised glossy feel in printing (often in business cards) powder is applied to printed ink while it is wet, and is then heated and cured.
Web printing
This is printing using a continuous roll of paper rather than individual sheets. It is used for very high print runs, such as newspapers.
Varnish
Applying a varnish coating to a printed surface can add a glossy, silk or matt finish.
UV varnish
This type of varnish is applied to give a very high glossy finish to printed surfaces. It is often used and referred to as a Spot UV, where it is applied to specific places on the print, such as photographs.
Self cover
Refers to documents where the cover is printed on the same material as the text pages.
Fold formats
There are many different formats and styles for folding smaller documents, but the most common tend to be: 4 or 6 Page Fold, Gate Fold, Concertina Fold and Roll Fold.
ISO standard
Different parts of the world use different standards for paper sheet sizes, but the most widely used system is the ISO standard. This consists of the A series (e.g A4) and the C series for envelopes (e.g C4 envelope for an A4 sheet). There is a B series of intermediate sizes for the A series but it is not so commonly used. RA and SRA (e.g SRA4) sheets are used by printers and are slightly larger than the A series, providing extra grip and trim in the printing process.

Bindings

Saddle Stitch binding (stapling)
The standard form of binding which uses folded pages inserted into a folded cover, all of which are then stapled through the fold. This method is only suitable up to a limited number of pages (depending on the paper weight) as using too many will result in the finished job buckling and not lying flat. Typical uses are brochures, magazines and small booklets.
Case binding
This method is for books of at least about 80 pages and gives a hard, durable cover. Pages are sewn together with thread and then the whole thing is glued into the hard cover. It is generally the most expensive method of binding. Typical uses are hardcover books and documents.
Perfect binding
This method is often chosen for the distinct flat spine it gives, which is useful for documents that will be kept for reference on a shelf. As with Case binding, pages are also stitched together and then glued into a separate (but not hard) outer cover. Often used for documents or brochures that have too many pages for Saddle Stitch Binding. Typical uses are company Annual Reports and paperback books.
Spiral Wire and Wire-O binding
This consists of a line of small holes along the edge of the cover next to the spine. Then, either a Spiral or Wire-O (double loop) wire is then inserted into the holes. The main benefit of this method is that it allows the document to lie flat or be folded over. Typical uses are notebooks and calendars.

Finishings

Lamination
This is a very thin plastic coating which is sealed onto the printed sheet in either a Matt or Gloss finish. Matt tends to create a very smooth and professional looking surface, while Gloss creates a very vibrant and shiny effect. Lamination is often used to improve the durability of the printed job, but can add to the costs and be seen as ecologically unfriendly as it cannot be recycled.
Foil Blocking
A technique where a metallic foil is applied to a specific area of a printed sheet (such as a logo) to create an eye catching shiny effect. The method uses heat and pressure too apply the foil and the result is a much shinier finish than normal Metallic inks. However, it is more expensive as it requires special tools to be made.
Embossing and Debossing
This effect is where a a specific area or detail of a printed job (such as a logo) is either raised up (Embossed) or pressed down (Debossed). This makes the area more tactile and prominent than the surrounding area, or it can be used to suggest a slightly 3-dimensional look, such as a bevel.
Die cutting
This technique refers to either punching an irregular hole in a printed page or trimming the whole sheet in an irregular way. It requires a metal punch tool to be made which adds to the cost, depending on its complexity. Often used in packaging, where unusual shapes need to be created.
Encapsulation
This means to completely cover a printed sheet in clear plastic. It gives a much higher level of durability than Lamination and is used on ID badges and surfaces that need to be wiped clean.