Showing posts with label what is design for print?. Show all posts
Showing posts with label what is design for print?. Show all posts

Thursday, 24 November 2011

OUGD201 - Evaluation


BA (Hons.) GRAPHIC DESIGN
LEVEL 
05
 Module Code  
OUGD201


 Module Title
DESIGN PRODUCTION - PRINT



END OF MODULE SELF-EVALUATION

NAME
Stephanie Lawson
BLOG. ADDRESS
sl-lawson1013.blogspot.com

1.  What skills have you developed through this module and how effectively do you think you have applied them?

With doing the 'What is design for print' brief, I've had a huge insight into print and the industry, I have a much better understanding of how printers can effect your final outcome, whether that be print quality and finishing, or the way in which you set up your document for print. This can most certainly work to my advantage with my own work, its quality, and if I work for others, I know the correct way to save and document a file for print.
My final outcome for 'Good is...?' Is printed to a higher standard than I had achieved with other products and briefs within the first year, I am genuinely quite proud of how professional my work is beginning to look.

My time management skills I feel have massively improved, I have found methods which suit and work for me best. To do list have their place, but I managed to, throughout this module, create huge A3 hour by hour, day by day lists. Although time consuming, I found I really stuck to them, I was able to outline my week, and see it in one go.

Layout skills is also something I feel I have improved on, just slightly. I've never really approached catalog / book design before. My first drafts, in regard to laying out the content was quite simply, abysmal. I wouldn't have identified my lack of skills in this, if I hadn't created an initial drafting to begin with. After doing the print tasks, and my own initial research I gained much inspiration. I was able to create something which looked 'ok', not brilliant, but far better than I had began with.



2. What approaches to/methods of design production have you developed and how have they informed your design development process?

When having a tutorial with Lorenzo, he introduced the concept of creating a 'story' in approach to the given brief. Although this didn't quite work for me, as I was using an existing company to brand and design for, its certainly something I can think about in future briefs. Something else I did which really impacted my design production and development was the mass amount of design sheets I produced, It felt most appropriate considering the range of ideas I had. Producing them in pencil was also a different approach, although not very visible on blogs via photographs, I most the vast amount of detail I can achieve to really help me in the design process. I was quite literally designing straight from my design sheets, in every amount of detail. Another paper approach to design development was the mass series of 3d mock ups in regard to packaging, books, business cards and leaflets. Having a hand held structure made designing that bit less confusing! Designing for 3d pieces is particularly difficult, I find. So such visual aids were a necessity. Another advantage of having these, is to see whether the product will actually work, and in some cases, things which worked on paper, simply couldn't be constructed.

The print visit to Duffield was also very helpful and informative in regard to print. I'm very much a visual person, in that being taught the ins and outs about print through slideshows, books and the internet isn't particularly ideal for me. The print visit enabled me to visualise the taught information from the sessions, to apply them to my own designs. It also gave me a better and clearer understanding of the limitations of print within the industry in regard to time, stock and quality. To know how I could produce the work I wanted printing.


3. What strengths can you identify in your work and how have/will you capitalise on these?


I really wanted to push my ideas and imagination, deciding to produce a pop up catalog did just this. I was able to put my crafting skills into play. Having gone to crafting sessions when I was younger, and producing and selling hand crafted cards for a few years (having access to embossing and metallic heated embossing) I had some knowledge and skill with a pen knife. I believe this can be seen in the delicate crafting needed within a lot of my final products.

Because of my crafting history I knew about embossings and metallic heated embossing, I have found this knowledge has come into play when attempting to mimic printing processes, to prove my concepts in relation to printing for my final outcomes.

4. What weaknesses can you identify in your work and how will you address these in the future?

Using a range of printers, to print my final outcome was a huge mistake. All in all I had used 3 different printers, in a range of environments, each having their own colour settings, thus resulting in my iconic brand colour green, becoming, some what, a range of greens. Unfortunately I didn't have the time, nor funds to correct this mistake. So when approaching the next brief, It will be most certainly something I think of before designing. Another mistake I made was stock. Again because I printed onto a range of stock, colours were different, also I feel I used the wrong stock for the pop up catalog. I found cutting out windows and fine detailing extremely difficult, the stock used simply wasn't durable enough; window panes snapped. The way in which I attempted to fix the mistakes wasn't too brilliant either, so the quality of the product diminished.

Layout, although something I feel I improved on slightly, towards the end of the brief, I was able to identify the many way I could improve it further. Program usage for instance, I used illustrator to arrange my content, I really should have create a grid, opened my designed into InDesign and arranged content accordingly using columns, bleed and crop marks. The way I approach layout thus affecting my print preparation.

Not being able to see the obvious was a huge misfortune I had! After spending hours developing my logo, I failed to notice it was hugely inappropriate in its shape, luckily enough I happened to place the designs on a site to gain feedback, in which fellow students pointed this out to me, I changed it soon after to say the least.


5. Identify five things that you will do differently next time and what do you expect to gain from doing these?

- When printing, I will most definitely use the same printer to be sure colour palettes are consistent throughout designs (if more than one product)
- Produce many, many mock up sheets. My imagination and creativity is much easier to draw first, then design to screen, rather than going straight in at the deep end. I think the designing process will be a lot more affective to myself, less time consuming and easier for me if I approach each brief I get in the future with lots of paper and a pencil.
- Consider using InDesign is producing something with a sum of content. My work will look more professional, aligned and overall a better outcome.
- Read more. Its only until after the brief submission I realised the vast amount of information in regard to layout I've missed out on, which really could have aided me.
- Get first hand experience. Whether that be a print visit, contacting a professional or doing it yourself. Not just in regard to print, but anything you may learn for the first time, now I know I'm a visual and doing learner, take this idea on board.

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


Attendance - 5
Punctuality - 5
Motivation - 4
Commitment - 4
Quantity of work produced - 4
Quality of work produced - 3
Contribution to group - 3





Thursday, 20 October 2011

Good is...? Studio Workshop

Within todays session we were asked to come up with Five print formats (in regard to our good) For instance, size, scale and packaging. Five print methods, so the techniques you would use to print your formats, and finally five print considerations, for instance print runs, 2d etc.


Print formats

  1. Square catalogue
  2. Magazine spread - A4 format
  3. Large vinyl environmental graphic sticker
  4. A5 promotional insert for magazine
  5. Guide - A4 extending folder design
Print methods
  1. Screen printed front of catalogue on grey board
  2. Digital print for catalogue paper - bible paper stock
  3. Lithography for promotional insert due to quanitity
  4. Digital print onto vinyl due to scale
  5. Screen print onto extending folder - stock low density card
Print considerations

  1. Binding and folding methods for extending folder
  2. Large print run for magazine inserts
  3. Limited, screen print run for catalogue fronts
  4. Producing mock ups before prints to avoid mistakes
  5. Use crop marks on designs
From the session I can see I clearly need to look into processes more and get an exact idea of how I'm going to achieve what I want to do. I need to mock up a series of idea in regard to packaging, and look at the nets critically, to get a better and clearer understanding on how I'm going to go about printing them.

Saturday, 15 October 2011

What is design for print - Design production - Research

The information i'd like to / could include

- Choose substrate appropriate for print type
- Work with CMYK when dealing with screen to print
- Work to the size of the print out
- Use finishes to add to a product
- Spell check before printing
- Always do a pre-flight check
- Produce mock ups before printing final pieces
- Get several printing quotes, early on.
Learn roughly what things cost (unit cost) the more the cheaper
- Be aware the stock will effect the vibrancy of the print out, if uncoated it will be less saturated than that on gloss.
- Always work with 300dpi - High resolution for print out
- Composition - slug, bleed, columns, layout of book (imposition) 
- Finishes
- File setup
- Printing techniques

....

Think -



Stock:
- Weights (gsm)
- Finish gloss / matt / silk / coated / uncoated
- Laid or wove
- Boards Carton
- Plastics and acetates

Paper types

Newsprint: Short life span, cheap, used in newspapers and comics
Antique: roughest finish offered on offset paper, used to add texture to publications such as annual reports.
Uncoated woodfree: Largest printing and writing paper category - e.g office paper and photocopy paper
Mechanical: Produced using wood pulp, for short term use, eg newspaper
Art board: Uncoated board, cover stock.
Art: High quality paper, good printing surface, especially for half tones and where detail is important. Colour printing, magazines.
Cast coated: High - gloss finish 
Chromo: Waterproof coating on one side, good for embossing. Used for labels, wrappings and covers.
Cartridge: Thick white paper used for pencil and ink drawings. 
Grey board: Lined or unlined board made from waste paper. Packaging material. 

Size:

- A sizes
- SRA - oversize A versions
- Standard ISO sizes
- Imperial (North America) versus metric (Rest of world)
- Tabloid, Braodsheet, Berliner
- Envelope 'C' sizes
- DL size - Regular envelope


Print methods:

-Lithographic
- Gravure
- Screen print
- Flexography
- Pad - printing
- Six colour

Lithography:
Uses metal plate to transfer a design via a rubber blanket to the stock. Typically four colour (CMYK)
Wash print:
Allows most delicate of colours to be applyed to a substrate. Uses highly diluted ink to produce a flat colour which is subtle. 
Silk screen:
Imposes an image onto a substrate by forcing ink through a screen has has a design. Slow process, high quality. 
Letterpress:
Relief printing in which an inked raised surface is forced against a substrate. First form of commercial printing. Unique in its slight indentations through varying prints.
Hot metal printing:
The process of casting type in lines of molten metal. 
Thermography:
Used to produce raised letters on substrates. Powder dispensed onto sheet of printed paper, the powder sticks, when pushed through an oven fuses with substrate and leaves a raised surface.



Finishes

- Laminate - gloss / matt
- Foil blocking
- Embossing / de-bossing
- Spot W varnish

- Binding
- Folding and creasing
- Die stamping / drilling



Wednesday, 12 October 2011

OUGD201 - 7 things to know about print

Print seminar - 7 Things to know about print

Litho is the most common form of printing

The 7 area
- Colour models
- Formats
- Stock
- Processes
- Finishing
- Costing
- Art work

Colour models (e.g CMYK)
The way colour is generated in print is completely different to screen models
- CMYK
- RGB
- Hexachrome
- Spot colour
- PMS pantone matching system

Formats
Options and limitations help you to be creative and more economical 
- A sizes
- SRA - oversize A versions
- Standard ISO sizes
- Imperial (North America) versus metric (Rest of world)
- Tabloid, Braodsheet, Berliner
- Envelope 'C' sizes
- DL size - Regular envelope

Stock
The correct weight and finish of a paper of substrate are crucial to the feel of a job
- Weights (gsm)
- Finish gloss / matt / silk / coated / uncoated
- Laid or wove
- Boards Carton
- Plastics and acetates

Art work
- Spell check
- Document set up
- File formats
- Spell check
- Colour specification
- Printer marks
- Pre-flight check - Software, suggests changes for print
- Mock ups - helps client understand, no surprises
- Proof
- Sign off (Really important)

Preparing artwork correctly for print is the sign of a proffesional. It will save you and the printer a lot of grief when done correctly. Always get the client to sign off the proof, it offers some insurance if things go wrong.

Print processes
-Lithographic
- Gravure
- Screen print
- Flexography
- Pad - printing
- Six colour
- Laminate - gloss / matt
- Foil blocking
- Embossing / de-bossing
- Spot W varnish

Finishing
- Binding
- Folding and creasing
- Die stamping / drilling

Closely linked to the print process

- Cost
- Get a quote early
- Identical specification for three print estimators to work on
- Learn roughly what things cost (unit cost) the more the cheaper
- Understand viable minimum quantities
- Extras / Authors corrections
- Delivery
- Be aware of the impact special sizes / finishes have an overall cost. Sometimes a finish can cost nearly as much as the rest of the print.

Binding:
- Burst binding
- Swiss binding
- Otabinding
- Pur board
- Perfect binding
- Thread sewing
- Case binding
- Flexi binding 
- 2up perfect binding

Tuesday, 11 October 2011

What is design or print - Finishing - Experimenting with Embossing

A while ago now, I used to attend craft classes in which the establishment provided equipment, I remembered I used something called heat embossing which involved using a special pen / glue, powder and heat gun. The pen drawn onto any material, the glue from the pen being clear, the powder is then poured over it, excess poured off, and the heat gun blown over it. Eventually the metallic powder heats up and bonds with the material. Its a really nice effect, and is very flexible considering any shape can be drawn. Although, small, intricate detail is hard to achieve.


Just a few logo designs - I could possibly use this within my final outcomes within the task and set brief


Mac suite workshop - InDesign

New Document



Always use a 3cm Bleed - Prevents document white edges being trimmed.

Shortcuts:

'W' key removes guides, gives preview to how document will look once printed.
cmd + shift + > / < (shortcut to increase / decrease object / text)
'X' switches outline and fill

Creating a new swatch (CMYK)


Creating tint swatches for previously created




Created tints / pantones

Saving chosen swatches to personal swatch palette

Placing file in photoshop
Must take into consideration:
  • CMYK / Greyscale
  • 300dpi
  • Actual size
  • Format - Tiff or PSD - Transparency
Illustrator

Saved as CMYK and AI


Placing a duotone in InDesign - The colours used are automatically added to your swatch palette

Placing a vector
The image will not be of high resolution on screen
Keep folder image is placed in when moving InDesign document to keep the high photoshop quality.
If the original file is changed, InDesign automatically updates the changes.


Press Alt and double click to directly edit image

Image > Get info > Open with > Photoshop
Means document will always open with chosen program

To add a spot colour to an image in InDesign, select image when two circles appear. bring up swatch menu, top left fill option > choose swatch. Brilliant.

Separations
InDesign can separate the prints into CMYK, and spot colours. Useful for screen printing. Each print out can be used to create a screen of a different colour.


Window > output > separations preview


Showing each of the previews, with either C, M, Y K, or spot colour.






Window > output > Attributes > overprint fill
Window > output > seperations
Shows the way in which document will look when printed and how the colours mix over one another.

Shows the ink limit - the magenta showing its reached its limit of 300%