Good Is... Task Three

Task


With a focus on Stock, Substrate and 'special' Print Finishes find as many variants as possible for each of the following areas of Design: Branding and Identity; Packaging and Promotion; Publishing & Editorial; Information & Wayfinding

You should consider production values, scale and functionality in relation to appropriate contexts and target audiences and evaluate their impact on the design decisions that have been made. Wherever possible you should aim to collect physical/actual examples of print as this will help you to evaluate the important tactile, formal and functional elements of your source material 

KEYWORDS: Coated, uncoated, die cut, spot ink, UV varnish, Emboss, laminate, duplex


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Branding and Identity

1

Revolution Food Menu

2

2011 LCA 3rd year Graphic Design students business cards

Ollie Saward - Design debossed, 3 layer business card with blue card sandwiched in between (duplexing)

Ben Bowsher - Design foiled

Scott Marc Berry (smb) - Logo embossed

Charlotte Hitchen - Design debossed

Anand (an&) - Logo embossed with foil blocking, on the back text debossed with foil blocking

Karl Cartwright - Spot varnish on K

 

Adam Townend - Spot varnish on logo

Jimmy - Laser cut logo

Lets Make Stuff (Dean Gray) - Spot varnish on image

Sam Reynolds - Logo foiled

Carl Holderness - Spot varnish on logo

Dan Boome - Metallic logo

Pearl - Different coloured stock on back

Emma Butler - Printed on thick stock

3

Grafik Magazine Identity

Sea Design created the branding and identity for grafik magazine. When printed, this logo is even more effective with its foil blocking finish on different coloured stock.

4

Clarke & Reilly Branding - Morse Studio

Here, attention to detail has really been paid to this branding identity for a furniture makers.

Clarke & Reilly is a London-based duo creating interiors from sourced artefacts and limited edition, hand-made furniture, textiles & lighting.

Morse Studio was commissioned to create a brand identity using their existing monogram as a starting point. Our approach focuses on creating a distinct typographic style which includes a system of horizontal-dashed rules (a reference to the hand-stitching in much of Clarke & Reilly’s work), and an alternate set of numbers characteristic of late nineteenth century lettering in London. Stationery and launch materials use a rich mix of finishes; the uncharacteristic way in which these elements are combined aims to convey Clarke & Reilly’s unconventional approach.

5


Perriscope Creative Rebranding

 duplex printing, flocking, embossing

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Packaging and Promotion

1

Creative Networks (Calderdale) Invite

2

Liberty Membership points mail-out

3

Henry Moore institute gallery programme 2011

4

Fleur Tang - Homework

“Fleur Tang garments and packaging are made with 100 percent organic materials. From the cotton in the mills to the manufacturing, every process is done with the environment in mind – and without harmful chemicals. A piece of clothing with peace of mind.: – The minimal design aesthetic features a single logo embossed onto each package. Substantial effort was invested in developing an innovative closure for the box to enhance the uniqueness of the experience.

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Publishing & Editorial

1

New Blood 2011 event book

2

Ligature, Loop & Stem - A Typographic Lesson

Learn typography lesson in letterpress style

3

Graphic Design for Fashion - Byboth

“The cover was printed with three or 4 spot colours with an exposed trimmed edge. The front cover has the graphic design studio names debossed and the reverse has the fashion designers names.

We intentionally did not put our names on the front cover, because it just did not fit in the design, it was so tight… We did want our credit on the spine to wrap into the back cover to link it into the design of the back cover, YES, the publisher was horrified… But this is the benefit of being author and designer, you only step on your own toes…

Overall, we wanted a cover that people want to pick up, this is achieved by the colour… Structurally though, it is completely in line with what we have been doing on the inside. The cover shows best the scale of the objects too, which was painstakingly maintained throughout each page so it feels like all the objects were simply laying down next to each other.”

4

5

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Information & Wayfinding

1

RCA Catalogue - theluxuryofprotest

Peter of The Luxury of Protest has emailed me about this folded A3 catalogue he and Karin von Ompteda designed for the Royal College of Art. On one side the catalogue highlights seven students representing the seven different schools that comprise Research RCA department.

On the other, the entire student body is visually represent through an information visualization that shows the distribution of all Research students across departments. Each student was recorded with regard to school, department, degree type (MPhil or PhD), project type (Project or Thesis), status (Part or Full-Time), nationality and relationships to collaborators and funding agencies (arched connection lines).

n single color (PMS Black) with yellow gold foil stamp on Arjo Wiggins Curious Metallics White Gold 120 gsm paper.

2