OUGD501 Context of Practice - Module Evaluation

This module has been particularly hard for me, specifically picking a topic/question to write about - initially I chose a subject that was too wide and not appropriate to create a strong argument about, this meant I had to narrow down my ideas to get a finalised question. I think i found this harder than last year because I had already been given direction, because this module was more independent I struggled a lot directing myself - i liked to be told what to look at rather than look myself. Although looking for something myself helped me research something I was particularly interested: Traditional print, letterpress. By learning and exploring this medium it has helped me think about what I would like to write about next year I would like the possibility to learn about sign writing but particularly in context - so whether or not sign writing suits its context. SO for example 'Tesco' - would this still give the same visual identity in a hand painted sign? Although very broad right now this module his geared me up for next year and believe I am ready to tackle the 9000 words.

Some things I like this year:
I really enjoyed exploring with my practical it was very therapeutic and in result I have some really good looking prints - its also given me the idea to use this in my own practice.

Some things I could of done better:
Time management at the beginning of the year - I was very good at managing my time but when I hit the bump in the road with my essay it meant I was pushed for time writing, this is not something I had anticipated as I like to pace out my essay. By doing my research over summer for COP3 Im hoping this won't happen again because I will be more prepared, I also intend to start writing aswell.

Essay:
I enjoyed writing about letterpress and finding more things about the techniques and process's the only downside was it was hard to chose what to write and what not to write as the subject once i researched became broader and broader, if i could expand on my essay I would of liked to add more image comparison and possibly more context into the process of letterpress if i were to do this my essay would of been too long - even so the stuff i haven't included but i am aware about has widen my knowledge on both the letterpress and traditional print.

Practical: The practical was by far my favourite of the module I found this came really easily in comparison to my essay, I found it easy to come up with ideas to show my process and how I could share the same feelings with the people who use this medium as a first come basis. I really connected with my work and practitioners such as a burrill, I enjoyed playing with colour exploration and textures, I will be continuing to experiment over summer with the letterpress for my own personal use.

overall although this module was initially difficult to start I feel learning about the letterpress has allowed me to progress in my own practice as I am heavily inspired by traditional print - I would like to further explore handmade craftsmanship in cop 3 (seen in my proposal)

OUGD501 Study Task 9 - COP Proposal (COP3)

OUGD501 Practical Design Boards

OUGD501 Study Task 8 - Practical - Final Crit Feedback

After finishing and finalising my prints, I asked for some further feedback to see what others though of my explorations. I asked 3 questions:

What do you like about my letterpress posters?

Answers: 

• Simple, Clear & bold.
• The imperfection marks show clearly it is a one off piece
• The gradients and raw marks
• The mixed use of fonts

Is there anything I could of done differently or experimented further with?

Answers:

• Try a wider range of stock
• Colour variation
• Bolder colours

And any other comments:

Something that targets an audience other than graphic designers.

In response to my feedback I am overall happy with the comments as many of the negative comments brought up have been improved upon since then I have explored more stock and colours. I personally believe the colours are bold already but if i were to do this to the next level I would need to invest in some more ink as the print studio doesn't supply all colours.

What were your initial aims?

To explore the letterpress as a tradition process of print and experiment with technique.

What processes / strategies have you used and why?

Letterpress, this is conclusively relevant to my essay. I have particualrly focused my practice on the application of ink this is just one small area I could tackled

Is the work effective (in terms of your aims)? In what ways? How do you know it is effective (testing)?

Yes, these experiments have allowed me to learn first hand about the application of letterpress as a traditional process, this is just one small area covered, there are many I could still explore in future.

Does it communicate what it should do (in what ways)?

Yes, my idea was based on my self written brief. Although solely for my use I used puns to create a connection for a possible audience if graphic design - specifically it is more about my learning than using the pieces to communicate but it has done both.

What areas could be improved or developed further and why?

I could possibly try new layouts, these were decided by the limitations of type available to me. Also different ink applications. 

OUGD501 Practical Development & Outcomes

After further development of ideas I explored the actual letterpress process, in this case I haven't used a chase because it is not accsessible for such large type at the college - so to typeset my designs I used masking tape to bind together for the actual placement of the type I have had to go by eye. This although different to how I once thought I would be printing turned out just as successful if it had of been a chase the only issue is the amount irrgularities in the prints but i think this adds and element of craft. 

When actually doing the designs I was again restricted by the inks I could use, with a limited amount of oil based inks I could use - I had to create and mix my own colours this is really hard to do with a roller. I wanted to experiment with gradients and tones to do this It took great practice I had many attempts at rolling and applying ink correctly. In the end I experimented with applying ink with a paint brush to create a different effect this turned out really well. 

I am really proud my prints and most of all I enjoyed doing them it is really opened up a new medium to me and I would consider doing letterpress again as it was worth the amount of effort. I think this is definatley the reason so many practitioners use traditional print methods because of the hard work involved you feel like you have achieved something so great - you put hard work into it rather than just pressing a button. 

In conclusion it is clear to me why the persistence of traditional print methods is still going and used. 

OUGD501 Practical Research - Colby Poster Printing Co

http://www.mascontext.com/tag/colby-poster-printing-co/

"Glenn Hinman, president of Colby Poster Printing Co.

My grandfather was a supervisor who could actually run letterpress. In the early and mid 40s he was running a shop and he was well known. I know that because in the 70s and 80s, a lot of these printers who were still alive, would let me know, “I knew your grandfather, he was the best.” In the 40s he worked for a guy right down on Venice Blvd and one day they got busted for trying to make money. It turned out it was not him or the crew. But back then, you were a high profile person if you bought cotton and linen paper with the red and blue fibers because that’s the type of stock you used to make money. So in other words, if you bought certain stock in those days a red light would go off. They were keeping an eye on it and said, “That paper is for stocks and bonds, why does this little shop want it?” As he was getting busted and taken away, my grandfather did everything to save the shop, and keep the guys going, but it was over at that point. My grandfather and my grandmother sold the stock they had in Standard Oil but still had the list of client. So they set up a place right around the corner, about 200 yards from here that ended up burning down. He then bought this place that turned out to be a heck of investment. You wonder what was this place in 1946, maybe $10,000? Now its’ something between $1.2 and $1.5 million. So that’s how my grandfather started. Then my dad came on board and we were born into it. I started working here in 1976, Lee started in 1984 and Larry, my youngest brother, came six or eight years after Lee.

We used to do bus sign and billboards for movies like Planet of the Apes, 2001 Space Odyssey, The Death Pool with Clint Eastwood, House of Wax 3D when they had the very first 3D. I always remember that last one because that guy stuck it to us and it was down there so I had to look at it. In the 80s we used to do things for U2, White Snake, Motley Hatchet, Bruce Springsteen… hundreds and hundreds of them. My grandfather did work for the Beach Boys when they were kids, Steve Wonder and even bands from the 50s.

Now it’s getting tougher and tougher, also with out-of-state competitors and non-unions who can go much cheaper. Unions have been a great thing to us and we have all worked well together, but right now we can’t confirm with three unions that we can an employ them and and do our due diligences for two years. This was our best chance for a good year and it was just ok. Next year is an odd year and odd years are much tougher, there are very few elections. The even years are the big ones and every four you have the super elections. But this year we didn’t see the big numbers.

But this can be a thriving business. What I am really hoping for is the interest of the big unions. It’s not only a fantastic investment of a property, as it’s a third of a mile from all the freeways, but also there are three unions already here. So there is the foundation of a great business, but we are just burnt out."

OUGD501 - Practical/Essay Research - Print isn't dead Element 004

Mr Smith.

Mr smith is a typographer in London. He is has a very particular way of printing he has great knowledge in the application of Letterpress.

What are the qualities of Letterpress that you're fond of? any that you dislike?

I enjoy the construction of the work in 3 diminsions/ building the composition - its an essential part of the design process for me - the structural allow the detail to be focused & informs the thinking & the eventual meaning its a very architectural process. 

I also like the facet that I don't throw much away/ once you have used they for purpose its goes back in the case - neatly- to be used on another occasion / typographic recycling... Saying that - its always hard to settle - in to distributing type back into the case! It is the mark of well kept workshop - that has very little 'dis' to be done.

I dislike the chemical side of the process - too much cellulose thinner is not good for anyone.

How was your time as an apprentice to Alan Kitching?

Well... it was complex: nerve wrecking/ intense/ funny/ boozy/ musical/ learned/ experimental/ frustrating/ precise.

AK told me when I arrived that technically my work was 'rubbish' - he was right of course but he was the only man in the country who was 'designing with letterpress' & under his mentorship i was able to conquer those 'rubbish' qualities and craft a process that would allow me to create and think like a real designer.

Anthony Burrill mentioned your 'Smiths rules' what are they?

I go by these 3 statements.

1. Smiths rules sets out to explore visual ideas in response to typographic language/ material restrictions and the process of designing with letterpress.

2. Smiths rules should offer the opportunity for the reader to contemplate there own ideas & reconsider their philosophical approach.

3. Smith rules should be followed wherever practicable/ expectations can be made for narrow minds & when the rearrangement of ideas to conform with these rules would prove unreasonable.

David Wolske

Wolske has a painterly approach to his print producing abstract compositions.

When where you first introduced to the world of letterpress?

In 2001 I saw an exhibition of hatch show print posters and Jim Sherradens game changing letterpress mono prints. The work was so visceral it literaly took my breath away - I knew in an instant that I was supposed to be a letterpress printer/artist

OUGD501 - Practical/Essay Research, DO NOT NO! Interview with Anthony Burrill - Posterzine

Posterzine - Anthony Burrill Interview

This interview is really thorough and concise majority of the questions asked in the the interview help me to write my essay and also consider his way of working for my own practice. 

Some of the questions in the article...

How would you describe the relationship between the visuals and the messages in these posters?

When i am thinking of ideas for the phrases i am thinking of how the words look as well, how the letters are going to rest on the page. Because i am using physical, wooden objects to print these posters, you cant change things around too much. I am quite restricted in that sense and i think thats what gives them that slight awkwardness; I like that they're not too over-designed. Its quite difficult to get them to feel balanced and to work properly. The always have an in-built character, because youre using wood you've already got that as a starting point.

It gets harder and harder thinking of new things to say, and because everything is part of a single body of work as well, it has to work together. I couldn't just go off on a tangent. But when new ones do come along - i have done one recently thats says persistence is fruitful as soon as that came to me i thought, 'Yeah thats a good one'

I have heard you say you have an analogue mind - can you explain what you mean by that...

I think it comes from my age really! When I was in design education that was pre computers and when I was at the RCA there was a special computer lab, this hushed environment. I think i went in there twice.

 I am hardwired to appreciate handmade things; its just how my brain works. I am also usually working on one thing at a time.

Do you bring that analogue way of thinking to your digital work?

The work I do on screen, I am always thinking about the print process. When something is purely digital its very perfect and its not satisfying enough for me. I like to work something up on the screen for it to go through a print process afterwards , whether thats working with wood inlay or a screen print.

What is it about the physical proscess of print you enjoy?

Its all about when you pull a draw open and see all the type there. You just appreciate the beautiful wood type and its particular patina and age, and then when you start putting it all together to form words it feels very satisfying , that these things have been crafted to produce typogragphy that has a very particular style. And you are using materials that are tried and tested - you can say anything with it and its going to look really nice.

The its about trying to do something with that which keeps it relevant, so its not just a measure.

A lot of your work is funny - do you thing the design world can be a bit po faced at times? 

I went to Bangkok a couple of weeks ago for a typogaphy conference, it was not graphic designers there but hardcore type designers. It turns me into a teenage boy again, so i stood up on stage and said "Do we need any more typefaces, haven't we got enough?" I was joking but everyone was a bit taken a back. 

People get into the whole graphic design lifestyle and its all very controlled, putting your socks in order in the drawer. I am quite OCD, I like things very near and tidy but I think its that way i was brought up to make jokes about literally everything, and to the absurdity in things.

Its about producing work that has personality and i think that gets designed out of so much stuff. I don't really know what its like in the working world because I am in my own little bubble which i have created myself.

You often talk about the importance of integrity in design - what do you mean by that and why is it so important?

Its about feeling comfortable with the projects you are working on and the asscoisations. When people ask me to do things they are asking Anthony Burrill to be involved that becomes port of the story go the projrvt. So its about whether  I am happy with the way they operate their business. Thats why end up doing quite a bit of charity stuff but then I do also work with google who have quite a difficult relationship with have they are perceived.

Its hard to speak for normal graphic designers because I am not one. But the pressure of running a studio and having to pay the wage bill means you are going to take on stuff thats either not very interesting, or you are just churning out graphic design and communication thats doesn't really amount to antything. I was always quite conscious of producing work that i felt had a worth to it.

I found this interview really insightful into burials way of thinking and design process, Burrill mentions why he loves traditional print so much - loving the imperfections and the human error which shows the entire process.

OUGD501 Practical Research - Adams of Rye, W/ Anthony Burrill

http://britishletterpress.co.uk/2015/12/adams-of-rye/

Adams of Rye is a traditional print workshop in Sussex, Burrill and Adams of Rye teamed up to work on Wallpaper (Magazine) Since the partnership Burrill regularly uses Adams of Rye to print with.

This video highlights how woodblakc type is set up for press, and also the process involved in creating a 2 colour process although shown this machine used is mechanical with automation, older machines require actual involvement such as rolling and spinning handles to create and relief pressure to do this they use padding this can change the overall effect of the print.

OUGD501 Practical/Essay Research Grafica Fildalga

Grafica Fidalga (Now closed) make street posters called Lambe-Lambe ... What is Lambe - Lambe?

http://www.creativereview.co.uk/cr-blog/2009/january/lambe-lambe/

"Used as a cheap form of advert­ising, the posters were typically used to promote rock, funk, pagode or forró shows, as well as circus, theatrical and political events."

OUGD501 Practical/Essay Research - Erik Kessels Interview

OUGD501 - Practical Research - Anothony Burrill, I like it what is it?

I recently purchased Anthony Burill's book ' I like it what is it?' his book has a series of 30 posters which are most popular on the back of the poster its goes into detail about how the poster was created, the production and process involved in creating the design. 

In particular my favourite poster out of the book is the 'Oil & Water Do NOT mix poster' 

2010 - This poster was inspired by the deepwater horizon oil spill in the gulf of mexico resulting in approximately 4.9 million barrells of oil covering the beautiful beaches and wildlife. This destroyed almost anything within contact. Burrill helpe to fundraise with charities to help protect and clean up the areas effected. Oil soaked sand was collected from the beaches, the sand was then used to screen print the message. I think this is a really political statement and not only this but great way of making good out of bad. The prints were completely experimental and luckily worked, the struggle with using sand meant the screen would rip and tear because of the harsh textures, it also exerted physical pain to be printed because of the toxic smelling fumes coming from the sand, making then actually cry.

OUGD501 COP Essay Research - Presses

OUGD501 Cop Essay Research - Advark, LA