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.



Thursday, 27 October 2011

Packaging

I have decided to look at some existing print cartridges to get an idea of what shapes and sizes i could use.



this seems the best as it has quite a mechanic feel about them. But then again am i trying to stay too safe?

how brilliant are these... I could create oil balls which you just stop into the engine.


The classic blister pack still looks effective.

Monday, 17 October 2011

Research for Top Ten Print

Colour CMYK & RGB
CMKY is a colour model consisting of four colours; cyan, magenta, yellow and key. Key stands for black and is called Key as the other three plates are aligned or 'keyed' to it. CMYK is a subtractive colour model which means it uses the lighter background to create different colours by placing other colours ontop. 



Paper Sizes
In the ISO paper size system, the height-to-width ratio of all pages is the square root of two (1.4142 : 1). In other words, the width and the height of a page relate to each other like the side and the diagonal of a square. This aspect ratio is especially convenient for a paper size. If you put two such pages next to each other, or equivalently cut one parallel to its shorter side into two equal pieces, then the resulting page will have again the same width/height ratio. 


One of the best uses of standardised sizings would be when it comes to printing. being able to state a size which is known throughout and know exactly what size you will be offering or expecting back to a client is perfect.

Substrate
A substrate is any stock or material that receives a printed image, ranging from a standard sheet of paper to more elaborate exiting things like coffee mugs, tshirts and even the human body.


There is a lot to consider when choosing a substrate, its ability to 'take' a printed design and how long it needs to last or be used for example images printed for use in a magazine would use a different substrate as would be used in a newspaper. Substrate selection is a huge part of the design process and should be overlooked. The variety of substrates to print upon is vast and lets the designers have a much greater create input on all work.

Finishes
Print finishing encompasses a wide range of processes that can provide the final touches to a design once the substrate has been printed. these prices include die cutting, embossing, debossing, foil blocking, varnishing and screen printing to mention a few. These process' can change an ordinary looking piece into something a lot more interesting.


Finishing processes can add decorative elements to a printed piece, such as the shimmer of a foil block, or textual qualities, like those produced from embossing/debossing. The finishing doesn't stop at just the shiny extras things such as die cutting will change the entire physical look of an item allowing something to show through or the way it is held will send a different message as apposed to it being solid.


The term "finishes" shouldn't be thought to be just an afterthought at the end of the design. this should all be thought through and planned as it is a big decision to make.

Imposition
Imposition is the arrangement of a printed publication's pages, in the sequence and position they will appear when printed; before being cut, folded and trimmed. An imposition plan provides a visual guide with which a designer can easily see.

Folding
Different folding methods will produce different creative effects and offer different functionality and means of organisation. Two folds which are popular are 'valley fold' & 'mountain fold'. These folds are both named after the geographical features they replicate. Both feature a single central fold. Combined, these two folds form the basis of a wide variety of fold combinations

Duplexing
duplexing refers to the bonding of two substrates to the bonding of two substrates to form a single one. This allows a stock to have different colours, textures and finishes on each side. Duplexing also increases the weight of a stock. Two duplexed 270gsm boards would produce a 540gsm substrate.

Binding
Binding is the collective term for the range of processes that are used to hold together the pages or sections of a publication to form a book, magazine, brochure or other format. The different binding methods available allow a designer to make choices about the functionality of a publication in addition to its visual qualities, permanence and cost. Used creatively, binding can provide a simple means of differentiating a publication and adding a special touch.


Binding choices have a direct influence on the durability of a publication; sewn or burst binding are more durable methods than perfect binding, for example. Consumer magazines have a short shelf life and so saddle stitching or perfect binding is typically used as these methods are cheaper and their durability for the format is of less importance. If a publication needs to lie flat, which is often the case for manuals, wire or Canadian binding is more appropriate. 

Rasters & Vectors
Rasters (photographs) and vectors (illustrations) are the mainstay image formats of printed material today. A photograph is an example of a raster file that at a certain size would look clear and of a photographic quality. The limitation starts when you try to produce a clearer image of the photograph at larger sizes, this is when pixelation occurs. A raster file can be turned into a vector file for a graphical effect. Remember that a poor quality raster image is just an image that does not contain enough information to be made clear, changing rasters to vectors should be used for graphical effects not to solve resolution issues.

Varnishes