My Finished Editorial

Having come to an end of Visual Communication in Context 1, my final work has been printed off and I’ve fully assembled it! 

I’m really taken aback by my outcome, the work is fantastically crisp and I really feel looking over it now that my message is well reflected and delivered! I’m really surprised by just how striking the shapes and colours make my spread, I would have loved to have tried giving the different surfaces different textures, or perhaps having another type of paper pressed on top, maybe even an experimentation with embossing / bevelling! 

MAL.

Can be seen in higher quality here.

Our Finished Risograph Postcards! 

All printed and cropped here they are! Really, really please with the outcomes here! The lines are all crisp and very premium in appearance.

Just need to get them in the belly band and they’ll be submitted with the rest of my work, good job Team Storm! 

You can see them all in a higher quality here! 

MAL.

Belly Band
Here’s our belly band which I whipped up for the group.
A belly band is just a strip of paper which holds together our card sets! 
I recycled some of the weather symbols from our designs and the typeface is Jayne Hand Print! 
Which funnily enough along with the 100% magenta also features in one of my first successful design pieces: The Strawberry Fox
MAL.

Belly Band

Here’s our belly band which I whipped up for the group.

A belly band is just a strip of paper which holds together our card sets! 

I recycled some of the weather symbols from our designs and the typeface is Jayne Hand Print! 

Which funnily enough along with the 100% magenta also features in one of my first successful design pieces: The Strawberry Fox

MAL.

Here’s the file ready to be input into the Risograph machine! 

The machine creates a master stencil based on the register black areas! 

So when we were printing the black lines, only the black sections should be exposed, as you can see here in picture 2! Then for the magenta to be printed we had to change all the pantone sections to register black of the same opacity! 

The paper will be fed into the machine and we will print all the cards with the black ink first, then we’ll change the colour drum to pantone 806u and go over all the cards with the corresponding design in magenta! 

Because there’s room for error in the alignment of the postcards, the ink often doesn’t quite line up, which actually lends a rather desirable sketchy effect. 

MAL.

Last week the group and I came up with the idea of “the weatherman” as a good poignant character whom could feature in all our works, unifying them without having to do the tricky task of keeping a house style between the five of us. 

We figured out his basic design and the composition of the postcards with what kind of scenarios could be happening, then we agreed we’d all go away compose of two postcards each and meet up again to process and print them! 

Since then this past week I’ve been involved in a cross collaborative project over at university Bournemouth doing some acting work, so with bad planning on my behalf I wasn’t able to meet my group nearly as much as we’d hoped. However to my delight the group have very kindly and maturely produced these works in my absence, and we’ll be working together Wednesday-Thursday to get them all done and ready for print! 

MAL.

mallorypjwood

mallorypjwood:

Letter Press

Letter Press workshop today. Letterpress is a very strait forward form of relief printing, originally used to print books and the likes more recently it’s been recognised for it’s artistic applications. Type-Artists such as Alan Kitching and Anthony Burrill are fond users of the medium. 

We were using a model FAG 405 Control proofing press, presses like these are now a rare commodity, all types of printing press are victims of digital convergence. 

We had a simple process, firstly as a group we decided upon a composition of two letters we wanted to print. The once decided we headed to the printing studio and started making the correct colour ink. These are rubber based inks mixed with a binder. We started with different opacities of blue before adding red to the last two runs. 

The ink is applied on the roller, an the letter piece  is secured in place (back to front) with metal blocks known as ‘furniture’, adjustable furniture blocks that require an alan key to widen/shrink are called ‘quoins’. Paper is secured on a roller and is manually pulled over the letterforms, transferring the ink across. This is then repeated with careful adjusting of the letter forms and the paper so that the letter lands in the correct place.

MAL. 

Term 3: Editorial: Self Review

I must admit I have found this past unit difficult to understand an peruse, nonetheless I think that my final outcome represents my desired theme, and my work process is visible and understandable.

I chose Bruno Monguzzi as my subject because not only did I find his work and interview interesting, but I thought he would be a good figure to be knowledgable about. During this unit I have successfully learnt about a variety of image-making processes, a plethora of graphic artists old and new as well as historical photographers and renaissance painters, I have studied and revised in depth Gestalt psychology, which I have found very interesting and useful, and I did all this with the intention of trying to understand Monguzzi’s influences and work method. Then once I could articulate Monguzzi’s processes I could easily compose an editorial in tribute. Unfortunately this backfired on me as any work I produced was in the style of Bruno Monguzzi, and with this method I lacked a theme to base the my editorial design around.

So I started again and this time concentrated solely on the interview itself; I picked out key themes and remarks that could be translated into visuals. This gave me the underlining themes for my final outcome: utility and communication.

A key theme of Monguzzi’s interview (and life by the sound of it) is the pursuit of a universal language, a way of communicating through visuals to everyone globally. I gave myself the aim of trying to communicate universally through my work, I looked into using multiple written languages, illustration and ideograms. These are all evidenced in my sketchbook.

I am proud of myself through this unit, I dedicated myself to learning methods, theories and artists inside-out and translating them into useful elements to work from. However I do have concerns with my final piece, though I believe I have created a piece of work that is supported by research, with design elements explained and delivered such as choice of typeface and layout format, but I think I may have neglected some key elements or not expressed my use of them well enough; I used both columns and baseline grids throughout to keep my design and text constant, but the bleed on the boxes may not make this so obvious. I feel that perhaps the most neglected part of my design though may be that of text hierarchy, extracting quotes and breaking up paragraphs. Really my icons were meant to express important pieces of text, but I can see how this may not be obvious or meet the remit. Lastly after submission I noticed a two minor errors, firstly all the body text kerning has reverted to metric at some point, and the kerning of my title is very askew.

If I were to do this project again I would start by first not familiarising myself with Bruno Monguzzi’s work. I would concentrate solely on the interview and any biopic information that may lend to it. I’d still study the mentioned content like gestalt psychology, Masaccio and 8vo, so that I could understand the interview better and find branches for visual influence, and when it came to the production of my final work, plan multiple paths instead of experimenting off of one given theme.  

MAL.