End of module evaluation

Overall, this module on design for screen and design for print has been valuable with broadening my knowledge to how certain aspects such as colour is different depending on the format. The brief gave understanding to the industry process which is used by proffesionals of both design and screen, giving me the knowledge to how to tackle the brief professionally, with the use wireframes for example that are used in industry. Within the brief for print, it has allowed me to develop my skills, with using new techniques of production, such as foiling, laser cutting, embossing, letter pressing, bookbinding and the use of new stock. I also found that a lot of experimentation is needed to get the desired outcome, with needing to test different stocks, binding and production methods in order to get the most effective outcome that suits the brief. The brief was challenging as it made me focus on the production rather than the content, with previously being content focused when tackling a brief. With design for screen, it has given me the knowledge to what is effective UX and UI in the industry and how to communicate ideas, with the use of prototyping on XD for example. It was found that using wireframes was a crucial part of the process in order to show each part of the apps functionality in detail, In order to achieve effective UX and UI. I found the screen based project more interesting with solving our own choice of problem, which led me to having a project based on sausage rolls, which was interesting to deliver in the format of an app, making it engaging to design. With the module giving control to us with the developing of our own brief, it is allowed for me to design with my interests and using my own skills, with the example of the design of the cute sausage roll. I would have liked to have more time to develop the app, as I felt that with more time it could have been stronger and developed more professionally and its a project of which I have enjoyed doing. With design for print I had more time to develop ideas and refine the concept, with more research behind it, therefore the process was more thought out, however I didn't enjoy the hand made processes as much as being digitally based. In conclusion, I have developed skills and knowledge of which can be taken into industry, such as colour management, UX and Ui and the professional process of each form. 

Final publication

Research- modernist magazine

The modernist magazine is a quarterly printed publication about 20th century modernist architecture and design. Published  in the North of England and now spreading its tentacles across the world.

We’ve hand picked a team of experts, and dilettantes alike, to bring you news, reviews, musings and delightful titbits about modernist architecture and design. So, if you love 20th century architecture and you revel in the smell and feel of ink and paper, The Modernist magazine is just the ticket.

Being a Modernist need not be a full time job and we could all do with a break from time to time.
Going on holiday doesn't, however, mean you have to leave your Modernist principles behind.
Whether you choose to spend your holidays at the English seaside or in a Soviet sanatorium, in a mobile home in Mid-Western America or in shelter at Scarborough - we have it covered in this issue. 

If we took a holiday 
Took some time to celebrate 
Just one day out of life 
It would be 
It would be so nice 

A new publication from Manchester Modernist Society about Manchester’s landmark building – the Toastrack. The Toastrack, also known as the Domestic & Trades College, or the Hollings Faculty of Manchester Metropolitan University (MMU), now stands empty. As MMU prepared to relocate to the city centre, Manchester Modernist Society spent a year at the Toastrack and delved into the archives; architecture, fashion, and even a mysterious skeleton all lurk within. Written and researched by Nicholas James, Matthew Steele & Jack Hale. Designed by Jonathan Hitchen.

Printed on a single sheet.

(the-modernist.org)

research- slanted magazine

 

Slanted Publishers is an internationally active publishing and media house founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, covering international developments in design and culture twice a year. Since its establishment in 2004, the daily Slanted blog highlights events and news from an international design scene and showcases inspiring portfolios from all over the world. Over the years, more than 150 video interviews with designers and entrepreneurs have been made, forming an archive that bears witness to our time.

In addition to the Slanted blog and magazine, Slanted Publishers initiates and creates projects such as the Yearbook of Type, tear-off calendars Typodarium and Photodarium, independent type foundry VolcanoType and other design-related projects and publications. These publications can be found in the Slanted Shop alongside other extraordinary products by young design talents and established producers from all over the world. Slanted was born from great passion and has made a name for itself across the globe. Its design is vibrant and inspiring—its philosophy open-minded, tolerant, and curious.

The booklet “Contemporary Typefaces” is a regular feature of Slanted Magazine presenting an editorial selection of recently published international high-quality typefaces

In spring 2017 the Slanted editors embarked on their trip to Athens to take a close-up look at the contemporary design scene there. At the same time, the Documenta took place for the first time at two sites. Athens, in parallel to Kassel, offered the perfect canvas: differences between rich and poor, between Germany and Greece, but also between different cultures in Europe, facing crisis, boundaries and displacement. All the designers Slanted met though talked very positively about the event, bringing back art and life to Athens, suffering from draconian cuts in culture budgets.

A year ago, the Slanted team dove into Tokyo—with their friends Renna Okubo and Ian Lynam preventing them from drowning—to take an intense look at the contrasting design scene. The Japanese capital is a unique place. With its clean streets, punctual transportation and polite service at every turn, Tokyo is more than just a well-run city. It unites cultural extremes: it is a city where the futuristic meets the traditional and tranquility meets speed.

(slanted.de)

development - using white ink

With the different stocks used in order to convey the signs in kirkgate market, the problem arose to how to print the map on the back of them all with trying to be coherent. The maps were printed out in black for each of the artworks except from the m&s poster, to highlight the heritage and premium value of the brand and the stall in kirkgate market. With this method, it meant that the back for the Jar Tree (chalkboard) had black text on the black stock, of which doesn't show up effectively. With the black printed on the black stock it wasn't very legible, therefore I had to consider a different method. Because you can't print colour on black stock like you can with the other colour stock, the other idea was to print white out on all the stocks, which would be coherent as a cohort. The final result of using white to print the map on the back of the artworks was successful with the white standing out significantly and working well with all stocks especially the black and surprisingly the recycled brown paper. Using the white means all the artworks have the same design on the back, meaning it is more professional.

  

further map development in production - big or small

With having created the map, with reference to Leeds.gov, I tested on the posters, to see what the best way of presenting it was. Whether having it fit the whole of the back of the artworks or by having a snapshot of where the place is instead and then including a full map in order to understand what the snapshot is. I tested on the m&s artwork first, with printing off both sides and then foiling each side:

With testing out the full map and the selection of the map, it was clear that having the bigger map was more effective. With feedback from peers stating that they also preferred the bigger map stating that it was easier to understand and visually works better. With this design decision it would perhaps mean that there doesn't need to be a map included separately as it shown on the back of each of the artworks. 

What also needs to be tested is how to do the maps on the back of each of the artworks, as having one foiled might look un coherent, so because of the black stock used perhaps testing out the white ink from the special printer may work as all the artworks would be coherent.

development- trying chalk

To experiment for the replication of the chalkboard signage, chalk was used. The chalk is hard to create the specific letterfrorms so therefore isn't very effective when trying to replicant specific type, therefore using the chalkboard marker seemed to be the best outcome.

experimentation for the photos

With the original content for the publication being the photographs of the signage in kirkgate market, and developing the publication with adding extra value with the artwork, in experimented with ways of which to present the images. With feedback stating that perhaps having the images loose would be too much for the consumer, I experimented with ways of which to present the photos without binding them.

With Kirkgate market having a lot of history and heritage in Leeds, with being well known for the place of which M&S was born, I experimented with half toning the images. I experimented with having the 'old style' photo with half toning the image and then adding a slight orange tint, in order to replicate the old style of photos to highlight the heritage. I used handmade stock, of which gave the old style effect well. However, with feedback it was stated that the photos didn't need to be changed, and instead should be full colour and is represents the now and how signage Is still apparent in 

modern day living.

After the visit from GF Smith, we were given the knowledge that heaven 42 is the most effective for printing images onto. With this knowledge, I tested printing the image onto heaven 42 170gsm. As i printed with an inkjet printer I think thats why the image didn't turn out very well, with the ink not soaking into the stock very well, which looks like it has caused the smudging on the photo. From this experiment, it is clear to stick to glossy paper.  

I experimented with using a photo album style of layout, with having cut outs on each corner of the card of which the photos would slot in, adding the choice of interaction for the reader with being able to choose wether they want to change the order, of take out and put them on their wall etc. With this method it allowed the photos to be presented like an album which correlates to the celebration of the sign lettering, however not sure that the publication needs this as well as the artworks that comes with it as it might look overwhelming and make the reader confused as to why all these elements.

Another way of not binding, is by creating an hotdog book, this seemed like a good experiment as it would allow the images to be shown altogether, without binding. However, the limitations and problems that arose when doing this experiment was the un polished finish of the book, of which is just how it intends to be, so therefore wouldn't effectively fit the aesthetic of the publication.

using hp photo paper:

Map development/experimentation

For the map of kirkgate market inspiration was taken from both of the Leeds.gov websites, with the new update added for the street food section. The map is quite simple, with not having a key or grid added to keep the simplicity, of which will add some interactivity to the publication but in an understated and less obvious way. The idea of the map, was in order to make the 'posters' make more sense to the reader of the purpose of them and what the illustration is of. With the map I experimented, with using tracing paper and foiling, in order to adhere to the aesthetic, to test to see wether it would work well with wrapping the publication in the map. Foiling the map onto the tracing paper created an aesthetically pleasing outcome, with having the contents of the publication being seen still, with the shimmering effect of the foil. The problems occurred when doing this experimentation was the delicate nature of the tracing paper, creating rips when cutting and in general, meaning it doesn't quite create a professional & polished finish. Another problem to face if I was going to take this experiment further into the final publication is how to wrap the tracing paper in a professional way, as by not attaching it, like shown in the experiment is too flimsy, however by using something like tape it also wouldn't look very professional in the finish.

Kirkgate Market maps

With the questions that I asked at the final crit for the publication to what I should add onto the back of these said 'posters' the feedback given was that experimenting with the idea of having a map would work best. So with this idea in mind, I researched already existing maps of the market. With the market being so vast and categorised into the era's and the rows, the market is difficult to map out as a consequence. The official map of which can be found on Leeds.gov's website, has two maps with showing the area of kirkgate market as well as the inside map. With the complexity, the inside map uses a grid with coordinates, with the key on the left hand side of which you can correspond with the map to find the place of which you are looking for. The other map is more simple as it just uses the rectangular shapes, without having a grid or a key to follow from. With the expansion to kirkgate market in 2016, introducing a new big space with seating areas, nine street food units and a stage for events, the map had to be developed in order to show this large new space. The new map, of which is found on Leeds.gov, is a more rough version, of which looks like a temporary one for now. 

With these maps in mind, I will take inspiration and reference to in order to create the map to be experimented with for the publication. The map will just be the inside of the market as the content and purpose is on the emphasis of the stalls inside, looking at the signage. The map isn't going to have a grid or the list of the shops as I still want to incorporate the slight out of context feel when looking at the designs of the publication, but yet still able to have a rough idea of where you can find the context. I am going to experiment with different ways of which the map can be incorporated, like wrapping up the contents or having it included, or having it on the back of the 'posters'. 

kirkgatemarket.wordpress 

leeds.gov

further research- Kirkgate market signage

reference - Design guide for tenants;

Kirkgate market is listed by Historic England, the government body for the protection of the building heritage of this country, as grade 1 listed building. Therefore it is protected by the law. With this special status, the council has a duty of care to make sure that the building is looked after. Anyone occupying the building- such as tenants of the council must not make any changes to their stall which means altering, fixing into or chaining the building or unit, inside or out, without first obtaining listed building consent.

signage requirements:

1875 block shops - limited to a height of 600mm, framed with standard pattern timber, all the text is to be one colour only, the letters may be painted by hand or made of laser cut matt vinyl. If the letters are to be cut from plastic sheet the surface is to be matt finish and sheet thickness no more than 3mm.
Any brand logo is to be in one of the colours , the logo size is to be no greater than one third of the sign. Choice of typeface is shown on the drawing. The council reserves the right to require tenants to upgrade old, dilapidated or incorrect/outdated signage with new signage.

1904 hall- there is a standard sign template for this zone already, additional sign forms such as vinyls, neons, led-powered words are not appropriate.

1976-1981- height is restricted to 600mm and its depth to 75mm. colours, materials and any internal lighting are at the discretion of the landlord.

ideas

different ways of not binding...

could be initial ideas??

initial ideas - having them be the signature pages in the publication of which will fold out, with the rest of the images being the main focus and the copied image next to it, with also having quotes from sign painters stating the dying art
bellyband- of which will hold all the content in
box- have the content in


interactive- like a wreck journal of which could come with chalk etc
Having the box of the content in
having the quotes with photos of kirkgate market - quotes from the book
having the offers etc??
the signature one of the photo and the replica next to it

final crit of publication

glossy paper-keepsake

pamphlet- with the images & a map
would be able to mass produce if pamphlet
liked the contrast in styles
map on the back of the posters - maybe get the shop owners to draw it out
use the techniques used on the front for the back
modernist magazine research
bellyband works- the concept is good
try small and big maps as may have a problem with legibility
like the glossy pictures as personal
have a big map to bind or to include- with a little section on the back
pictures in a lil book to not overwhelm
the 'posters' that have been replicated are good, especially the gold leaf replicated one
with the posters out of context works- the reader can take the posters and almost bring it in order to find it in the market - interaction
like what you find in a tourist information centre - in a package - not bound
advertise things- like what shops are selling
gift with packet
random deals- like avocados etc
have the mini booklet- with like the cut outs - wouldn't give them separately
good with the learning outcome

I agree with most of the feedback and suggestions given, with experimenting with the map concept being useful to the development of the publication thus far, however I'm not too sure on the ideas of having the photos bound together, however I will test this idea out for variation. Also, I'm not too sure on wether having random deals would fit into the aesthetic of the publication, and it may rise the problem of being overwhelming for the reader.

from this feedback I'm going to:

test out with having a map on the back of the posters by :

using the techniques / not using the techniques and printing normally
having it fit the whole back etc or having it small
or by having the map separately or by wrapping the content

how to have the pictures combined together.... having the cut out thing... or having a mini booklet
test out - as don't want to take away from the not bound concept of which was stated was effective

The original signs and the chosen replicas

With taking a visit to kirkgate market for research and development purposes, I chose a selection of the signs to replicate. With the publication focusing on celebrating the hand made methods of sign in kirkgate market and with the research into sign painting, of which stated the dying art of vinyl, it was vital that the methods chosen were not those made from vinyl. From walking around these stalls, it was clear that the most popular method for the signs was using vinyl, however the market still had traditional methods such as gold leaf gliding and chalkboard. The market also had the handwritten signs, with using paper and sticky notes and had 'new' ways of sign, with what looked liked carved wood. The chosen 4 to replicate was M&S Penny Bazaar, The jar tree, Banh & Mee and Sweet Treats. These 4 were chosen because of the handmade methods of which all hold a different aesthetic, with the M&S chosen because of the traditional method used and the heritage of the brand in the market, compared to the handwritten marker sign at the sweet sign which juxtaposes the 'elegant' traditional method of gold leaf gilding. All signs chosen present a hand made method in order to try and make the sign, all of which will be celebrating the hand. 

 

 

 

(changing to orange paper)