Personal blog of Kate Green. My other blogs are available at www.justanotherartstudentsblog.tumblr.com (CoP) and www.meandviscom.tumblr.com (PPP)

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3 screens are better than 1 projector

After much pleading for help, ten days before the installation date we finally got an appointment to see Matt to discuss projection mapping. We got a brief induction into the software and it all seemed possible, however the size of the space we had to work with made it impossible. In addition, the laptop that would power the projection and the projector itself would need turning off each night to…

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Making video art

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I’ve edited together a couple of short films before using Premiere Pro – the 20:20 Print Exchange and Loosely Bound at Beacons – but I’ve never really ventured into the video effects section. Making an abstracted film for an art installation would require much delving into this new territory.

Our concept for the Love Arts Festival windows was to create a projection inside the window that took as…

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For the window installations Zoe, Loren and I made for the Love Arts Festival, we decided we needed to create a graphic identity that could be used to connect the windows and the online activity, such as the website and Twitter. I was allocated this task due to my interest in graphic design.

To aid this I thought we needed to come up with short and snappy description for the project. I reflected on why we ask people “when you are sad what makes you happy”, the resulting videos, and the call to action that this might prompt. I came up with Get Happy Leeds as it reflected the positivity the Festival wanted and it reminded me of the  upbeat Judy Garland song “Get Happy”. I ran my idea past everyone via our Facebook group and they though it was great.

One of my aims with PPP3 is to strengthen and further develop my skills in Adobe Illustrator, so I decided to use it create the logo. I started with looking at the copy and how that could be presented and how the different layouts changed the text.

I then showed them to the group for feedback and suggested a pick-n-mix of ideas explored in this first exercise to create the next set. I went away and tried again, this time considering the needs of vinyl cutter as the logo would be applied to the windows, as well as the feedback that the ideas needed simplified. In this next round I also added colour to each idea. The ideas were from a similar palette, one which I thought reflected happy, and we to open up discussion on what direction we should go.

Again I posted these to our Facebook group and asked for feedback. We were all drawn to a similar two, but given the needs of the vinyl cutter our final decision was easy.

We decided that yellow would be the best, most happy, colour for the logo so I explored different colour ways. I liked the idea of coral too so I put that in just to make sure that we definitely thought yellow as the best by giving us something to compare against. I tired it with and without eyes and with different coloured eyes. We all agreed the strong yellow with eyes (the same colour) looked best.

In addition, thinking about Vimeo and Twitter that would be used in the project, I identified a minimised logo that could be used as the square avatar. I cut out the face from the logo, which gave the project a friendly, approachable, and cheerful image. I decided it had to be a different colour to the yellow as with too much yellow it is hard to identity different elements, and as the avatar and the yellow logo used as the timeline cover would appear together on social media, I thought it best. I thought the greeny turquoise complimented the yellow and brought calm to the branding.

With the avatar I edited the two ps, shortening the descender on the first and removing it in the second p to emphasis the nose space created by the joining text. You can see the difference the nose makes between the two samples below.

logo dev_Artboard 3 copy 5

 

I think the avatar works really well across social media, however the presentation of the logo could have been improved. I think it looks a bit weird with the Festival logo on Twitter and a bit small on the Facebook, however, it’s fine for the time that I had to do it.

It looks a lot better on the windows.

I feel more confident in Illustrator now. I’ve learnt how to:

  • export individual artboards as image files
  • convert text to outlines for the vinyl cutter
  • add new artboards
  • edit points to adjust the image
  • save colours

What I’m still not confident with is

  • changing artboards once the file is set up
  • creating curved shapes
Identity development For the window installations Zoe, Loren and I made for the Love Arts Festival, we decided we needed to create a graphic identity that could be used to connect the windows and the online activity, such as the website and Twitter.
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Update for October 15 tutorial

Update for October 15 tutorial

Weekly-Updates

Writing task

Achieved more than last week in much less time. Lots to add to the text but I had to stop due to other work needing done for an upcoming window installation, part of the Love Arts Festival.

Chapter two: thoughts on Alan Kitching

Documentary

Bradford Industrial Museum and the printing newbie both confirmed. Meeting with the letter artist this week at the Love Arts Festival launch.…

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A PHOTO

The next chapter of my #dissertation is practically writing itself now. Super inspiring work. Would love to hear from anyone who has an opinion on #letterpress - good, bad, or indifferent.

A PHOTO

Not long to wait for #gethappyleeds, a little project I’ve been working on with my vis-comrades. It goes on public display at #nationofshopkeepers #leeds next Wednesday eve. Come check it out, it’s part of the #loveartsfestival :)

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Get Happy Leeds

get_happy_logo

Loren, Zoe and I met up today to talk about the interactive element of our window installation at Nation of Shopkeepers.

Overnight I’d suggested Get Happy Leeds as a name for the project and for use on our website etc. We had discussed it via our Facebook working group page and all thought it was a good idea. We felt it reflected our interviews and was a positive and upbeat approach to mental…

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Street filming day one

CanonMarkII-Audio-3

Zoe and I took to the streets today to ask members of the public to participate in the film installation we are making for the Love Arts Festival.

IMG_1133Zoe used her camera and we borrowed a sound recorder from the AV suite. Zoe’s role was to film and I was to ask the question and record sound.

We tried really hard to get a diverse range of people involved and managed it amongst younger groups, we just…

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I visited The Print Project today so we could see if we were both comfortable working together on the proposed documentary for my dissertation. The meeting was successful and we have agreed to move forward and when to film. I will prepare a storyboard and list of questions and send it to Nick beforehand.

I spent the morning in the Shipley-based workshop. I got a tour, a break down of terminology, an explanation of what all the different machines do, and a look at some of the work. I got a chance to ask loads of questions. I didn’t formerly record the answers as they match the direction of my current thinking.

Nick also suggested some ways to do the documentary, and like David suggested at the tutorial that I should take a central role and be part of it as a journey to me becoming a printer. I agree that that is one way to do it, however I’m not very comfortable in front of a camera, I think it may compromise my impartiality when editing, I don’t think I want to be a print maker as a career and I don’t think me saying “no thanks” is a satisfactory end to the documentary, plus will it really give the desire narrative? As a final nail in the coffin to that idea: when would I ever have the time to print and how would I balance appearing infront of the camera and controlling what’s happening behind the camera as a solo project? However, I really appreciate his offer to print something in the studio and there may be a way to incorporate that into the film. I’m still considering other way to include myself in it.

I took some photos to help me plan shots and see what lighting would be like as there are no windows in the space.

The Print Project visit I visited The Print Project today so we could see if we were both comfortable working together on the proposed documentary for my dissertation.
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I can not believe how many things can go wrong for one project. With a deadline of 1 October to submit 25 prints of 20cm x 20cm size to the annual 20:20 Print Exchange coordinated by Hot Bed Press, I thought I’d be pretty safe to start it once I finished work on 10 September – little did I know then what I know now.

After trying to visit the Vernon Street printroom and finding it locked up, I waited patiently to get on to the e-studio to see their timetable for use and phoning in would have been pretty useless. And I waited, and I waited. Turns out the e-studio was having an upgrade and students weren’t allowed on to freshers week. When I finally got on it turns out it was shut until the end of September, which was very frustrating as I planned to use the letterpress machines as part of my dissertation’s creative practice.

On to Plan B I wondered about using the Blenheim Walk print rooms. Unfortunately given my other commitments there was no way I was going to have the time to get in when the shop was opened just to get the binder or paper needed. In addition I didn’t have a full day just to process a screen for printing (yes it really does take that long in our print rooms), or leaving any linocut prints on the racks for an adequate drying time (not to mention I’m not the best at linocutting). Besides, I needed help getting my prints ready for screen printing, which would have been difficult as all the IT technicians were set up the new IT suites and helping other services and courses move rooms.

On to Plan C, I wondered if there was anything clever I could do with photocopying? Then I remembered the low quality paper that’s used in the printers and that we aren’t allowed to use our own.

Plan D: professional level printing from our proper suite at uni. Nope! They weren’t plugged in and re calibrated yet following a summer expansion.

Plan E, a place I never thought I’d get, was to just use the plain old laser printer and print something, anything! I remembered the library printer had better quality paper than all the others. After some toing and froing as the library didn’t have the packages that I used to create the print, and the coloration needed changes as the depth and brightness was so different to the studio printer where I was testing it, I manage to get it to spit out 25 prints.

I can’t say that they are my finest work. I would have much preferred to have spent a week or two tinkering with letterpress instead of a couple of days of mad panic, but they’re done. I hope that the recipients like them as much as my entering to the print exchange in 2013.

I created the print in Adobe Illustrator to help strengthen my working knowledge of the software. I like the idea of using the statement ‘think before you print’ in a print exchange. The statement had tickled me since seeing a poster leftover from the former business occupiers of the space where last year’s 20:20 Print Exchange was hung in Wakefield. The also seemed to resonate with my situation in trying to get my prints together.

The choices after that were just from experimentation and hitting on something that aesthetically pleased me. When I tried this colour combination and the shadow I liked to 3D style and optical illusion. It seemed to cause I reaction when looking at it and reinforce the words.

20:20 Print Exchange 2014 I can not believe how many things can go wrong for one project. With a deadline of 1 October to submit 25 prints of 20cm x 20cm size to the annual 20:20 Print Exchange coordinated by Hot Bed Press, I thought I’d be pretty safe to start it once I finished work on 10 September - little did I know then what I know now.
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Update for October 8 tutorial

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Task

The weekly task was to write 500 to 1000 words from chapter 1. I only managed 250 words on the letterpress process. Progress has been very slow as I had to do a lot of research to achieve that many words. I could only allocate Sunday to do the task and the Monday morning deadline has meant that I have to draw a line under it now. I had reasonably hoped to also start investigating and writing…

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Text taken from: http://www.anthonyburrill.com/about/biography

Graphic artist, print-maker and designer Anthony Burrill is known for his persuasive, up-beat style of communication. His work is held in the permanent collections of the Victoria and Albert Museum in London, the Cooper-Hewitt National Design Museum, New York and has been exhibited in galleries around the world including The Barbican, The Walker Art Centre and The Graphic Design Museum, Breda. In 2012, he made his first foray into curating with the exhibition Made in L.A. – Work by Colby Poster Printing, at KK Outlet in London.

Words and language are an important part of Burrill’s output and he has developed a distinctive voice that is sought after not only by collectors of his posters and prints but also by clients including Wallpaper* magazine, The Economist, The British Council, London Underground and The Design Museum. Burrill is perhaps best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People”, which has become a mantra for the design community and beyond.

Burrill has a long-standing relationship with the printers Adams of Rye where he uses traditional techniques to compose and print his work. The integrity lent to the process of image-making by hand-made methods is essential to his practice across all media — from print, to screen-based, to three-dimensional applications. In 2010 he worked with Happiness Brussels to design a screen-printed poster made with oil and sand collected from the beaches of the Gulf of Mexico disaster. Proceeds from the sale of the limited edition poster “Oil & Water Do Not Mix” went to CRCL (Coalition to Restore Coastal Louisiana) and copies were acquired by the V&A and Cooper-Hewitt for their collections.

While Burrill’s work is grounded in a serious devotion to his art, he has a lightness of touch and humour that, although often copied, is unique in the field of graphic communication. He frequently embarks on innovative collaborations with friends and fellow creatives. Recent and regular colluders include product designer Michael Marriott, writer and philosopher Alain de Botton, designer Ben Kelly and creative director Erik Kessels.

Installations, events and work in three dimensions punctuate Burrill’s practice. At the renowned annual graphic art fair Pick Me Up at Somerset House in London in 2011, Burrill re-located his studio to the gallery and held workshops and daily collaborations with fellow designers, illustrators, photographers and musicians over the course of ten days. For Graphic Design Worlds at the Triennale di Milano in 2011 Burrill and Michael Marriott built and installed a red-timbered chalet structure, clad with recreations of Burrill’s work cut from multi-veneer board.

As well as his self-authored work and commissioned design, Burrill makes regular appearances at events and talks worldwide. He also runs creative workshops attended by children, students and creative professionals alike. He documents and communicates his work and points of inspiration prolifically via social media, with thousands of followers on Twitter, Instagram and Tumblr.

Burrill was born in Littleborough, Lancashire. After studying Graphic Design at Leeds Polytechnic he completed an MA in Graphic Design at the Royal College of Art, London. He now lives and works on the Isle of Oxney, Kent.

Anthony Burrill Text taken from: Graphic artist, print-maker and designer Anthony Burrill is known for his persuasive, up-beat style of communication.
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Text taken from: http://www.debutart.com/illustration/alan-kitching#/biography 

ALAN KITCHING

Alan Kitching is one of the world’s foremost practitioners of letterpress typographic design and printmaking. Alan Kitching is renowned for his expressive use of wood and metal letterforms in creating visuals for commissions and his own limited edition prints.

Alan Kitching has had solo shows in London and Barcelona, and contributed to various group exhibitions including the Pompidou Centre Paris, the British Library and the Barbican Art Gallery London.

In 1994 Alan Kitching was appointed Royal Designer for Industry (RDI) and elected member of Alliance Graphique International (AGI).

Alan is Honorary Fellow of The Royal College of Art and Visiting Professor, University of the Arts London. Alan has conducted his workshops and given talks to industry, art schools and design conventions in UK, Europe, Australia and South Africa.

Previous clients include: Borough Market, The British Library, Creative Review, D&AD, Dazed & Confused, The Guardian, The National Theatre, Penguin Books, The Times, Royal Mail, Saatchi & Saatchi, Scheufelen Paper, Clarks Shoes, Random House, AOL and the Tate Modern.

Alan Kitching Text taken from:  ALAN KITCHING Alan Kitching is one of the world’s foremost practitioners of…
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Where should I find people?

Where should I find people?

Map

Given the time frame and travel constraints I shall focus my documentary on Leeds and Bradford, stretching further into Yorkshire if needs be. I think this will give it a unique edge when compared to the British letterpress films that are currently circulating; they are very London centric.

Setting this geographic boundary means I can make better use of the network of colleagues and acquaintances…

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Who should I talk to

Who should I talk to

sketchbook scan002

This is a diagram of all the groups who I could think of that may be connected to letterpress printing in both positive and negative ways. I will try to find different people from these groups for the documentary and/or research purposes.

sketchbook scan002

 

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