OUGD406: Module Evaluation

Throughout OUDG406 I've been able to apply the importance of usefulness of research as discovered in previous module, looking a range of ways to gather information through online research, interviews and site visits. The large nature of this module has allowed for a breath of skills to be utilised and developed especially when managing others. 

Studio brief 1 allowed for experience to be gained in relation to working within industry and to a more limited time constraint as it was a live brief. Although the final outcome for this brief was strong I feel it could be further developed by more experimentation based on research which is something I've developed throughout this module. In relation to contextualising the work this has been achieved through adaptation of the marber grid and the research into existing covers. Overall the final outcome focused on a more subjective approach whereas I think the judges preferred a more simple and objective style. 

Studio brief 2 was particularly interesting due to the research conducted not only into the event itself but those involved and the effect on Leeds itself. The research section allowed for a range of  analogue and digital experimentation through the use of collage and digital illustrations. I found that a large body of research help inform the designs allowing for a more relevant print to be produced. Furthermore the use of research also allowed the print to be linked to issues faced by women today through the incorporation of a check list which also resembles a voting slip. Additionally the amount of development allowed for each idea to be effectively explored making it difficult to decide on a final print. However the focus of Leonora Cohen with the print allows to a more subtle link to the Suffragettes allowing the problems of the past to be questioned today. Studio brief 2 allowed for the opportunity to lear to screen print which was a difficult process initially when trying to apply enough pressure across the whole print. The preparation process was fairly straight forward however was slightly time consuming however printing itself was fairly quick. Throughout the printing process it was sometimes difficult to line the second layer up due to faded sections of the print as a result of not applying enough pressure. I also discovered the importance of stock within this brief as I had originally planned on using white card to create a crisp print, however upon experimentation found that newsprint highlighted the details of the print more effectively, whilst relating more closely to the time period and events itself. Overall the application of research has allowed for a successful print to be produced. 

Studio brief 3 was difficult due to working within a group and the need to organize each other and keep a consistent style across the branding we where creating. This was aided through setting limitations based on type and colour. These where developed base on the concept of using traditional print throughout the material such as letterpress which resulted in the use of Caslon 540 st and Univers light as only a few typefaces where available. The main issue throughout this brief occurred after Raum was chosen as the winning branding, which was an incredible opportunity to showcase our work to the design community within Leeds. However as I created the catalogue spread originally I along with another student was put in charge of a team to help prepare the catalogue for the exhibition. However due to lack of time many group members failed to give up there time to participate throughout this task after repeatedly being contacted. This resulting in the majority of the work being completed by another student and I, as I created the catalogue for the throw away prints and limited editions, chased up un-submitted information and prints as well as sorted stock and the printing and binding process. Help was gained during the binding process however due to limited printing facilities available the photocopier was used to print the spreads resulting in poor image quality. This resulted in the all the catalogues having to be re-printed using white paper instead of newsprint in order to keep costs down as the majority of the catalogues had already been printed and bound. This error could of been avoided of the digital print facilities where more readily available despite upcoming deadlines due to the specific requirements of mass producing catalogues for an exhibition. Overall this experience has allowed me to develop my professional skills surrounding managing a team and budgeting which I can apply to the future briefs and the working world. Despite the difficulties face within this brief the exhibition has provided an excellent opportunity to showcase my design skills through the creating of the logo, posters and catalogue. 

Studio brief 4 provided an interesting a fun brief to finish the module by looking back over the past year at what we've learnt and enjoyed. The incorporation of the tutors within this was important as they are a large part of the university experience. The production of small books to represent each tutor featuring tips and stories allows for the delivery of important information we've learnt over the year and would of liked to know when we first started, Working within a pair for this brief was easy as the work was divided into editorial design and illustration. This allowed the work to be developed and produced quickly due to the limited time available for this brief. Due to these time constraints I feel the brief was rushed in some areas, with the illustrations being developed further if more time was available. Furthermore this brief was hindered by the lack of printing facilities available meaning drop in facilities had to be used which resulted in the production of a slightly rushed outcome. However despite these difficulties the illustrations effectively represent a key aspect of design which student will learn over the year, simplicity and the need to strip design to its core functions as inspired by Massimo Vignelli  quote 'We like Design that is clear, simple and enduring'. This simplicity allowed the fun and engaging nature of the books to be clearly communicated. Overall this breif works well to engage new students due its simplicity and the incorporation of funny and helpful tips. 

Speaking From Experience: Evaluation

Overall the outcomes for this brief have been produced to a high standard considering the time pressures and lack of printing facilities available due to upcoming deadlines. The time constraints have lead to the designs feeling rush and could be improved further being produced to a higher standard if more time was available. Additionally it has been difficult to complete this brief due to commitments to studio brief 3 in relation to preparing the catalogue for the exhibition. If more time was available the illustrations could be refined further in order to produce more accurate drawings in the case of Amber and Pete whose illustrations are slightly generic. Despite these concerns the final designs are fun and engaging, effectively represent our experiences throughout first year. Throughout this brief feedback gained help effectively develop our designs allowing for more consistant books to be created. Whilst the primary research conducted has aided in developing contextual relevant booklets that accuratly reflect each tutor/module. The thorough research conducted has allowed for the development of recognisable illustrations due to the ability to reduce the designs down to simple identifiable features as inspired by Massimo Vignelli  quote 'We like Design that is clear, simple and enduring' which is a key aspect of design I've learn this year and want to communicate to new students. Overall considering the short time span and limited facilities available when designing and producing these outcomes, they have been created to a high standard allowing for an engaging and contextual relevant design to be produced. 

Speaking From Experience: Final Crit

Upon the production of our final books (see figure 1) we gained feedback (see figure 2) on our designs. Many found the concept creative and well delivered through the use of humour to engage the students, especially in relation to Robs book. However some felt more consistency could be added to the books, however this was difficult to achieve due to the decision to incorporate each tutors favourite colour and typeface into each book. Additionally it was suggested that the books could be printed on different stock, however many thought the current stock choice was appropriate but if more time was available this could be experimented with It was also found that splitting each tutor into its own book as a demonstration of time was an effective way too visualise the modules to new students.

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Speaking From Experience: Production

Screen Printing:
In order to represent the multiple media used within Ben's modules and his hands on approach screen printing has been used to produce Ben's book (see figure 1). This involve cleaning and preparing a screen  which didn't take long as we completed this task in stages as we finalised the designs. The only problem encountered when screen printing was a lack of digital print slots to print the A2 positive to be exposed. This resulted in two A3 sheets being printed and then taped together we created a small line across the gridded images once exposed.  Additionally we also struggled with the half toning process due as the positive was bigger than A3, this was quickly resolved with soem technical support. However the printing processes was fairly quick and simple as using a large squeegee allowed for enough pressure to be applied allowing for a clean and crisp print. Some early prints featured minor errors (see figure 2) however once the screen was used and bleed properly this was no longer a problem. additionally a registration sheet allowed for the prints to be produced quickly as each piece of paper could be quickly lined up (see figure 3). The incorporation of the experimental work from Bens modules highlighted the printing technique due to the different textures and patterns and how they appear once printed. Neon yellow paper was used as this was Ben's chosen colour when interviewed, the only issue with this is the paper is quite thin creating a slightly flimsy book (see figure 5).

Digital Print:
Digital print was used to produce the remaining books as they are mainly digital modules which is reflected in production. Additionally the time constraints of this module also meant screen printing each book was not possible. This provided a high quality finish to the booklets, despite initial prints being printed out of alignment due to the incorrect paper size within the digital printing room (see figure 4). This error place an initial set back however was amended by reprinting onto the correct paper size allowing the books to be successfully bound and produced. The need to print full colour pages worked successfully however was slighted degraded after binding , this was unavoidable due to the inability to print white on top of coloured paper within the facilities available.

Binding:
Each book was hand stitch using different cotton for each book, white was used for Amber, blue for PPP and Cop, black for Ben and grey for Simon (see figure 5 - 6). The simple nature of the stitch provided a high quality and professional finish to the booklets.

In relation to Robs book which consisted of one sheet which only need to be cut down and folded, with the thin nature of the book representing the time spent with us throughout the year before he left (see figure 7).

Overall the production cost for these books individually was fairly inexpressive with each book costing around £2-3 to produce. However as five where produce the cost added to in total cost around £10 due to digital print and the production costs of screen printing. Although Ben's book was fairly inexpensive as the stock was free the binder used to mix the paint for printing need to be bought contributing the production costs.

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Speaking From Experience: Interim Crit

To further develop our initial ideas we received feedback on the illustrations and books produced so far for Ben, Simon and Amber consisting of help tips we wish we would have known at the beginning of the year. The Indesign files for each booklet where presented in order to gain feedback as well as the images shown in figures 1 and 2.

Feedback:
Initially feedback found that the concept was strong however the books lacked consistency which was highlighted by the contrast between the yellow within Ben's book and the black and white of Amber and Simons. Furthermore it was also suggested that we could split the books based on each tutor and the time spent with them over the year. Therefor individual books will be produced for Ben, Amber and Simon with the addition of a COP and PPP book as these modules are quite small so will be grouped together in order to create a booklet. Additionally it was also suggested that we create a book for Rob out tutor who left after a few months. In relation to the illustrations people found them accurate, being able to identify each on there own. Furthermore the simplistic nature allowed the illustrations to fir within the book without clashing against the patterns featured. In order to create more consistency throughout the book it was suggested that the text could be place in the same layout throughout or colour/pattern could be used. Initially we had planned to incorporate a traditional print method within each book in order to demonstrate the different skills and methods the students will learn over the year, however due to time constraints this wasn't possible.

Following this crit we discussed as a group the best way to respond. We considering the idea to incorporate a consistant colour however as the colour and typefaces used are the tutors
favourite we decided to keep Ambers and Simons monochrome. However in order to respond to feedback and make the designs more consistent the incorporation of pattern on the same side as Ben's book will be implemented within each book, matching the pattern to a certain personality trait such as checkered shirts for Simon.

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Speaking From Experience: Final Outcomes

Speaking From Experience: concrete poems

Concrete poetry (see figure 1-2) emerged simultaneously from Brazil, Germany and Sweden during the 1950s. Concrete poetry consists of typographical arrangements which hold more meaning than the poem itself often featuring the power of repetition. Concrete poetry reached its prime during the 1960s with Swiss-Bolivian poet Eugen Gomringer and the Brazilian Noigandres poets considered the founding fathers having defined the genre in various manifestos and essays. Despite its popularity during the 1960s popularity faded during the 1970s. 

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OK-RM: Under the Same Sun Branding: See figure 3

The repetition of the title across the branding draws on aspects of concrete poetry and the power of repetition to highlight the importance of the exhibition. This importance is reinforced through the bold use of colour and shape throughout the branding. The use of repetition to highlight importance is something which will be incorporated within our books in order to highlight specific details we find helpful or important.

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Speaking From Experiance: research 2

Once initial research into the tutors was conducted we also interviewed ( see figure 1) our fellow students. This allowed us to identify key features and characteristics about each tutor from the view point of a student in order to most effectively represent them in a way new students will find it easy to identify with. 

Ben:

'do you know what I mean'

doodles

'just play with it'

'use tape, collage'

experimentation is key 

'you can can't polish a turd but you can roll it in glitter' 

Amber:

Her dog pepper

Leeds print festival 

Take work to crits

no breakfast in the studio 

Simon Harrison:

checked shirts 

Simley

Baskerville

Basketball

Beer 

the Library 

Whitelocks (told us all the pubs on the first day)

Simon Johns:

Tattoos

piercings 

talks fast 

harvard referencing 

COP is real 

black t-shirts 

Pete:

Tall

illustration

'so' 

'isn't that nice' 

Ear piercing

John:

moustache

'shy bearns get nout'

v-neck

made a lot of money 

Penny:

likes the countryside 

the girls

time management 

'don't let the door slam' 

These characteristic will help develop the illustrations and be incorporated within the books themselves. 

Speaking From Experience: John Illustrations

In order to further develop the illustrations for studio brief 4 John our PPP tutor has been developed. Penny our other tutor didn't respond to our emails so we couldn't gain permission to illustrate her in time for the completion of the brief. Upon the development of Johns illustrations the main issues faced where conveying age whilst sticking to the simple aesthetic created within the other drawings and capturing his mustache and bearded as this was the key identifying feature established whilst conducting research. In relation to the development of the face the key features such as eyes, ears, nose and hair where simple to develop due to the availability of an image to work from. However when trying to demonstrate age (see figure 1) within the illustrations which has been an issue among other illustrations the simple line aesthetic previously chosen became an issue. The main difficulties faced was the use of lines to create wrinkles which in early experiments looked odd and out of place. However upon development and refinement the simple use of lines aided in demonstrating age after receiving feedback on areas in which to best place the lines. This feedback allowed for an illustration showing age through the use of limited and small wrinkled to hint at age instead of trying to full demonstrate it as was the case in earlier experimentation. Additionally it was also difficult to develop the correct beard and moustache shape for john due to his well trimmed mustache. The main difficulty when developing the facial hair using straight lines was the curves within the moustache. This was solved by staggering the lines in order to create a fluid curve which flowed into the beard creating the desired shape. The ability to demonstrate the moustache allows for the illustration to be easily recognisable as this was a major feature identified during research. In relation to the shoulders Johns slender build was easily achievable with the incorporation of a v-neck as this was also a featured identified during research. Overall the final illustration (see figure 2) works well to represent John and show the simplicity featured within the other illustrations as inspired by Massimo Vignelli quote 'We like Design that is clear, simple and enduring' as this is something in which the students will learn throughout first year. 

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Speaking From Experience: Simon Jones Illustrations

In order to further develop the illustrations for studio brief 4 I've created Simon Jones our main COP tutor who is commonly referred to as 'tattooed simon'. Previous research conducted has allowed for distinguishing characteristics to be created such as glasses, bald, tattoos. This provided a basis for the illustrations to be created from, by incorporating all of these aspects the illustration became easily identifiable. The main issues faced during this processes was the face shape as because simon is bald and doesn't have a beard it was difficult to make him look older as initial drawings make him appear quite childlike. However this was overcome through the incorporation of piercings and tattoos adding to the appropriate appearance of age. In relation to the shoulder these where quite easy to develop with the incorporation of a simple t-shirt neckline as another key feature identified was Simons fondness for black t-shirts. Overall I found this illustration one of the easier after initial difficulties when developing the face. The ability to effectively identify key features such as tattoos and piercings allowed for the illustration to be simple but effective. The simple Nature of the illustrations produced throughout this brief have been inspired by Massimo Vignelli 'We like Design that is clear, simple and enduring'. This has inspired this reflective brief as I feel this is one of the harder concepts and skills to develop within graphic design. 
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Studio Brief 3: Poster ideas and development

In order to further develop the brand identity I experimented with the development of flyers/posters inspired by the cover of the catalogue. Initially the simple use of blue and white (see figure 1) featuring minimal information worked well with the other branding to create a consistant theme due to the use of the line from the logo. However this experimentation failed to take advantage and utilised the line in the format of a timeline. This lead to the development of the information being placed at different points along the line (see figure 2) in order to creatively incorporate the timeline within the posters. Additionally this development allows the information to be split up allowing for more information to potentially be added. Upon receiving feedback on our identity (see figure 3, mock up created by another group member) it was found that the identity looked to corporate and need to have a more intriguing and eye catching aspect, which lead to the incorporation of sections of peoples prints from within the exhibition.  Figure 4 show initial designs exploring the use of peoples prints within the posters. Personally I prefer figure 4 to the gridded images used in figures 5 as I feel this offers a more refined approach to incorporating peoples print as each side of the line could change for different posters so not just two prints are featured. However the group preferred those featuring the gridded images with figure 6 being chosen for the final design. The final images will be added during the printing processes which will be carried out by another group member. I personally feel the information within the poster gets lost due to the complex nature of the gridded images. However the use of multiple prints build intrigue and engages the audience more as less of the print can be seen when compare with figures 4. Throughout the experimentations the brand colours have been incorporated in order to easily identify the posters as  being part of the exhibition but also t build on the consistant theme across the branding. The incorporation of cyan was developed based on the catalogue spread as the images had to be colourised to cyan in order to create a contrast against the text in IKB. Personally I'm unsure if these colours work successfully together on a large scale within the branding as they appear very similar when used within the same piece. The two colours work well within the catalogue as they create an effective contrast with neither colour overpower the other, however due to the bold use of both colours within the posters they appear to clash. Despite this during peer feedback many thought the colours worked well together resulting in there use within the final design featured in figure 6. Upon hearing our branding had been chosen for the exhibition the colours within the posters where amended slightly with the incorporation of orange (see figure 7) instead of cyan to create a more eye-catching brand identity as the use of blue made the identity look very corporate and failed to full reflect the exhibition.

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Studio Brief 3: Translation research

In order to develop a name for our exhibition branding research into german translations has been conducted due to traditional prints heritage within Germany as the Gutenberg Press was invented there. This was used to print the first version of the bible printed using moveable type.  Throughout this process we looked at words related to both the printing process itself and those related to the events featured within the exhibition which are based on open spaces within Leeds.

Ink - Tinte, sounds too much like Tinder.
Substrate - Substrat, only relates to screen printing whereas the exhibition features a range of tradition print methods.
Design - Entwurf, difficult ro understand/pronounce.
Space - Platz, Raume, Raum, interesting, good representation of the exhibition.
Print - Drunken, sounds too much like a heavy metal band.
Graphic - Grafik, good but fails to accurately represent the exhibition as a whole.
Open - Öffen, good as relates to events within the exhibition.
Squeegee - Rakel, only relates to screen printing
Frame - Rahmen isn't particularly relevant to the exhibition.
Public - Öffentlichkeit, too difficult to pronounce.
Traditional - Traditionell, too similar to english.

Upon reflection of the potential names above Raum was chosen due to its simplicity and ease to pronounce which will be developed within the logo.

Studio Brief 3: Production of Catalogue

In order to produce the catalogue a team has been put together, managed by Lorna and I, to screen print the cover, digitally print the spreads and bind the book together. The ability to use sewing machines to bind the books allows for a quick and easy system when stitching the books which would otherwise be time consuming if done by hand (see figure 1).  However the initial setting up of these took a while as I was the only group member available to work on this, causing a delay in the printing process. I feel this process would have been quicker and easier if additional help was available as when trying to manage the group it was difficult to get people to respond as they where busy doing other work. Certain members wouldn't give up there time in order help within the group making it difficult to manage and complete tasks as I was left to do most of the work. Once the sewing machines where set up some test pieces where completed using scrap paper in order to find the correct settings and stitch for use within the book (see figure 2). The correct settings 0 and 0 in relation to the creation of a straight saddle stitch with a setting of 5 to create a longer stitch (see figures 3). Originally thin newsprint was going to be used in order to make the books easier to bind however this wouldn't go through the printers resulting in the use of thicker newsprint which would fit through the printer (see figure 4). Additionally this makes the catalogue sturdier adding a higher quality finish in comparison to the cheaper black and white versions which will be used within the exhibition (see figures 4-5). The use of orange and blue string creates a professional finishing touch and also links to the brand colours allowing the orange to be further incorporated within the book (see figure 2). It was also difficult to work out and budget costs throughout the production processes however I'm pleased with the skills I've been able to develop within this process. Overall the production processes presented some challenges but where managed well by both Lorna and myself with the final catalogues begin produced successfully. Figures 6 show the limited edition full coloured versions of the catalogue which will be produced in the way as detailed above. 

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Studio Brief 3: Catalogue Evaluation

Overall the final throw-away catalogue (see figure 1-2) works successfully due to the consistent layout throughout the catalogue due to the incorporation of the timeline from the wayfinding (see figure 3). This allows the catalogue to work as a navigational tools with the wayfinding within the exhibition. This proved difficult initially due to the limitations surrounding space which is restricted to the position on the timeline, which proved difficult within the 2000s as this featured the most events/print (see figure 4). As a result of the restriction there is areas of white space within the book due to the need to match the number of prints to the information that can fit within the limited area. Although the space allows the images to be broken up, it can look sparse in some areas, therefor if more time was available this could be amended by reworking the timeline. However this may not be possible due to the use of the timeline and how it can be implemented into the catalogue. In relation to the incorporation of blue and orange which will be visible in the limited edition catalogues throughout the catalogue the orange breaks up the solid use of blue throughout the catalogue (see figure 4). Overall the contrast between the blue and orange allows the blue used throughout the catalogue to be broken up whilst also tying in with the brand colours. In relation to the prints highlighted in orange, these have been chosen at random to sure the purpose to contrast against the blue. To conclude the use of orange string to stitch bind the books adds a professional finish to the covers whilst further linking to the overall identity through the incorporation of colour. Production also proved difficult as it was hard to source a printer in-house which would provide high quality prints using our own paper as digital print was fully book. These difficulties resulted in some prints having poor image quality resulting in the catalogue having to be re-printed using simple white paper. Furthermore this was made difficult due to a limited number of people available to help making if more difficult to delicate and organise the completion of tasks. However this allowed me to develop my organisation and delegations which I can implement in future briefs and the professional world.

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