Thursday, October 27, 2011
Although The Pressing Issue takes it's content, themes and visual references from the traditions of letterpress we can clearly see it is also located at the edge of modern publishing trends. Therefore, it is only fitting that we publish it in a format that ensures we are able to take advantage of social media networks to maximise the exposure it gets. I have alsready taken the liberty of putting the magazine up on the self publishing site issuu. Check it out below. I urge you all to be proud of what you have assembled and to use your own social networks to publish the work to what is essentially a global audience. Once again - well done everyone.
Tuesday, October 25, 2011
I can see where the threat to traditional methods comes from. In fact it’s hard to ignore it. The digital world brought on by new technologies is more than a simple trend, it defines the world. The beauty about it is how global it can make things. Networking knows no boundaries and has allowed a great access to broad cultural practices. For example a publication that once upon a time was only distributed in its nation of print can now have distribution worldwide online or through an app. It’s hard to argue against that. However the digitalisation of the world as we know it has reduced the need for print. Personally I don’t think this means the end of print though. While it has been reduced it’s not going to die out. People will always have a desire to hold something printed on paper be it a book, magazine or otherwise. It’s human nature to want a physical link with the world rather than just staring at a screen.
Sunday, October 23, 2011
Wednesday, October 19, 2011
Additionally, there are people out there that still have that real passion and drive for the printed medium for publication and design. Ie. The Distillery print shop that my group are focusing on for the online publication project. The team there is an absolute perfect example of people who have an unending love for the tangible forms of publishing. They see the gap that lies within Sydney community and its diminishing enthusiasm/interest in print, and so are taking big steps to bring it back. Their way of doing so is driving and working their asses off to produce designs and outcomes that are so outstanding that it actually makes people stop and look. Their use of the old school printing methods to create contemporary beautiful designs is genius. This is something that I hope takes off the way they intend, when you see it you will instantly back it. They ultimately show you not to underestimate the power behind print. So no, its not the end yet.
I think I need to learn more, or perhaps do more testing with colour in terms of file prep for printing. Whenever I get prints done I always find one colour on the page that hasn’t turned out the way I wanted or thought it would. I am very aware that there can and is major differences between on screen colouring and the final print, I suppose it is a lot of my own downfall if I don’t leave myself enough time to experiment and test the print outs so I guess it’s something I will need to work on! Also - much like what Tom has suggested in his post, a Pantone swatch book would be very handy to familiarise myself with the process and outcomes.
Good Old library VS
Cloud information data base
Even though some web base publications are putting out hard copies, it nolonger bares the core duties of a conventional magazine. It looks more like a collectible archive that you can have access to during a power outage....
The trend of its delivery is leaning more and more towards digitalised multimedia which offers a more dynamic mix of
Literature, sound, still visuals, moving-pictures, intractive elements like java script
and hot-links that interlace relevant information.
I think alot of people saw this coming. The library terminal, bookless library
even our own UNSW library offers Sirius e-journals that's much more current whilst maintained the creditbility of a published hard copy.
A primary target as an example of the "death of Print" comes in the form of newspapers. I feel that so many newspapers and magazines are going bankrupt because they aren’t willing to expand their ideas about what a newspaper or magazine can be. Consumers want more. The business model for a newspaper, for example, hasn’t changed much since the printing press was invented
Some print media sources, however, are changing to keep up with consumer need. They’re working hand-in-hand with electronic publishers to develop an online news presence. That there is constant links and url's in newspapers that redirect the reader back to the internet.
The conception of ebooks and their rising fanbase has also created a bias against printed media. Not only can the reader obtain updates and a constant flow of information, but rather this is a greater environmental option as there is no waste created or resources used.
Tuesday, October 18, 2011
I've heard a lot of interesting arguments for those against reading books digitally. I think because it's something we have become so used to, that Kindle and friends could not be able to completely take over. Some people might prefer the tactile quality of holding a book, or the idea of turning pages (although digital technologies can simulate this, much like the idea of a digital camera shutter noise). I've even heard someone say that reading digitally "is not natural" and well…is reading even natural?
It is impossible to fathom a world without print, yet many forms have already been overshadowed. Email and SMS have very much phased out the writing of letters. We have of course also seen this in convenient ways, such as library catalogues stored on computers. And despite convenience of digital technologies, and of course the demise of Borders, it's still hard to say if books will ever get completely phased out, at least not in our lifetime.
I've been emailed by Pricilla and Hanne to say that the web code will be ready soon to post up and I will put this up on my sites folder on the COFA server and we'll advertise the publication "The Pressing Issue" to everyone at COFA.
I'm sorry to have to report that the 3D printer has had a severe mishap. "A massive plastic spew!" in the words of Rod Bamford. Check the image below to see the mess. Therefore I think we can safely say that the experiment has failed from technical issues. It was wise to have developed the backup plan after all.
Be sure to go back through the course notes and make sure that you have uploaded responses to the blog for all the designated discussion points and tasks. This will ensure the best possible assessment outcome for each of you.
So, as the semester draws to a close it remains for me to congratulate you on working so consistently throughout the course - even when we faced problems with the 3D Printing. Well done everyone!
And I'm also interested to find out, if the more expensive, durable options like UV varnish really stack up for its price? The printers informed me that it prevents Colour fading in an outdoor environment, but Machine varnish seemed to endure just fine.
“Good designers make trouble“
He started Colour magazine and lead the publication to global recognition as editor-in-chief.
Today the influence of M&Co is still strong, both as a result of its work and that of the many designers, like Stefan Sagmeister, Stephen Doyle, Alexander Isley, Scott Stowell, and Emily Oberman, who worked there and went on to start their own design studios in New York City. Howard Milton and Jay Smith who worked with Kalman in 1979 went on to found Smith & Milton in London.
Karen Kavett (younger that me)
Digital Nerd Fighter/Youtube Curator
On the other hand ,Ms Karen Kavett, self proclaimed nerd fighter, knows hell of a lot about typography, YOUTUBE employee (I learnt a lot from her videos I wonder why I bother going to uni-- jokes). This is a leading figure of the new generation designers that predominately publishes their works Digitally.
Her website was grid-in-ground sweet, and She made an awesome Inforgraphics for the special occasion of 10,000 followers that subscribers to her creative outputs distributed digitally, quickly and frequently.
That means, her work wouldn't become the likes of classic COLOUR covers that you could collect in a magazine shelf, but her designs are more conversational, current and probably the way of the future.
And did I mention she's younger that most of us in the Adv.Typo class?
New technologies are constantly appearing, the way we digest information is always changing, and we are always seeking new and exciting ways to view media. Through it all thought, print still persists. It's impossible to talk about the (potential) death of print without mentioning the two primary threats - the Kindle and the iPad. The kindle is light, has great battery life, and uses a new technology known as e-Ink. e-Ink means no more eye strain when reading a screen, due to the screen only refreshing when a page is loaded. The iPad offers a great reading experience with rich media, and a store right on the device itself, so consumers need never go out of their way to get a book again. What prof is there proof is there that these devises are having an impact on printed media? Aside from many big names in publishing scrambling to get onboard before their savings dry up, Borders has already fallen. A massive book retailer fell to it's knees only after the birth of the two devices.
Due to print being so expensive and comparatively less accessible (having to go to a book shop or newsagent) its no wonder people are finding it cheaper to find digital copies. But will the iPad and Kindle be able to flourish as distributors of digital content? With the explosion of the web, most people will pay very little, if anything, for content. News is free online, and so why should people pay on the iPad? If there is no revenue coming in, people will forget about these digital copies which slide off the front page of the App store of Kindle Marketplace - but people will still see a newspaper at their local news stand, or pick one up while they wait for their coffee.
We are at a point where the iPad and Kindle are a relatively new category, with a long way to go. There is a lot of excitement, but it's hard to tell at this stage if the glow will wear off, and people will go back to the never failing, always charged, printed copy.
I'd love to learn more about creating a document ready to print with embossing or a foil on it. By researching this, I've found that making a die cut or foil is like making a spot colour for printing. It requires the designer to create a spot colour which the printer will then make a plate for this layer, just as it does for cyan, magenta, yellow and black. It's best to name the spot colour in the swatch what you intend it to be, for example 'silver foil' if you intend to have it create a silver foil.
To ensure the foil/die cut is correctly applied, you can view the separations panel by going Window > Output > Separations. It Should appear as it's been named, for example as 'silver foil'.
Monday, October 17, 2011
Tuesday, October 11, 2011
Today I am posting the final lecture and discussion points for the online component of the course. I hope that will give everyone the breathign space to keep up their involvement in the development of the online publication that is Project 2 and also tidy up all the loose ends on the blog. If you need to make some final posts take advantage of the remaining time to ensure you don't miss out on the marks attributable to the online component of the course. Therefore I would liek to suggest the final date for uploading posts and other online discussion material will be Wednesday 19 24:00 - that's next week.
The final lecture of the course is about new trends in publishing...
This final lecture considers all that we’ve covered in the course in the context of current trends that suggest the shape of publishing in the future. The term ‘trend’ itself has long been used as a somewhat derogatory descriptor associated with those who might otherwise be called "early adopters. Reflecting the nature of the content, the lecture is a series of examples, small ‘chunks’ of information and observations assembled from the ever shifting plethora of information, speculation and hyperbole available on the topic of how the publishing industry, the design industry and all other industries are being changed by the rapid evolutions of new technologies...perhaps Marshall McLuhan got it right when he said that human beings are simply the sex organs of technology.
The Current Project
I haven't been advised this week of the status of the 3D Printing. The process depends on students submitting the form to enable the printing to be done by Hayden. I will check in and post about any issues and updates this week.
Regardless of the outcome of the 3D printing I think that Lauren and I are very confident that the project is progfressing very well. As I expressed last week from what I've seen to date I think that this semester we will have a very high quality publication.
I'm still having trouble with my Basecamp login ...
Check out the lecture and posts your discussion points and have a great week.
When designing visual hierarchy and grids there are text and image size restrictions. In some cases as most letterpress companies recommend the maximum area of an image or text is no more than 10cm by 25cm. Another printing problem is the even amount of pressure and ink spread across text or images. Colour is also limited when letterpress printing. One colour is applied at a time and the alignment of the use of different colours can be extremely difficult. Elaborate designs with numerous colours should be avoided and outlines of shapes do not produce very well in letterpress.
New dominating technologies such as the computer software ‘Adobe Suite’, in particular ‘InDesign’ not only allow the designer to overcome all letterpress printing issues but further in a considerably quicker and easier manner. They allow vast variety and diversity within developing designs and the use of many graphic features. Computer software’s act as such a significant tool for the designer as we now are able to “design, visualize, structure and edit the content of a publication” directly on screen. Style guides are easily created and are a powerful method for the design of visual hierarchy.
One of the first publications that Gutenberg printed was the Bible in 1455. It was an expensive piece at almost three years wages for an average clerk however it was considerably cheaper than the current hand written Bible of the time, which took over a year to prepare. 48 copies are known to exist, each page consisting of 42 lines of texts. It is a very traditional and limited grid form lacking features such as indents, paragraph breaks, various size of text, use of colour, different fonts, clearly restricted due to the letterpress printing method.
Bespoke is an Australian design and printing company which still uses the traditional printing method of letterpress however through the use of designing on screen. This opens up a number of unique design opportunities, expanding from the limits of traditional letterpress. They are able to letterpress custom illustrations, texts and shapes, a variety of colours and sizes, most importantly new and modern visual hierarchy and grid. Bespoke aim to keep the antique process of letterpress alive through beautiful typography and delicate images. The form of printing in similar to that of Gutenberg, obviously the machinery as evolved and improved over the years. However Bespoke’s designs and grid formats essentially have no boundaries or restrictions.
The letterpress printing method is still widely used today, only now with the use and involvement of emerging technologies. It is still a highly valued printing technique, still a difficult and time consuming method creating an extremely high cost for some projects. Letterpress is now commonly used for wedding invitations, with almost each and every line of text or image custom made to that particular project.
Andrew Byrom is a contemporary typography designer born in Liverpool, England in 1971. He left school at the age of 16 to begin a four-year apprenticeship in the local shipyard. After the completion of this, he decided to pursue a career in design and left his job to enroll at the Cumbra Institute of Art and Design and later the University of East London, where he graduated in 1996. In 1997 he opened his own design studio in London where he worked for many clients including Penguin Books and Time Out Online. He also began to teach typography at the University of Luton and Central Saint Martins. He moved in 2000 to America to further his teaching career, here he divides time between teaching and designing. He has recently been commissioned to design typefaces for The New York Times Magazine and he has featured in numerous magazines and design books including IdN, Print, Creative Review, New Typographic design and Lettering & Type. Andrew Byrom is a typographer who can see letters in nearly every object near him, and further designs letterforms out of everyday objects and further transforms this into digital typography. He has created typefaces out of chairs, neon lights, and wood forms, which he photographs and digitally manipulates them into text. For example Byrom’s “Play” text was originally made out of steel poles, photographed and then established into a digital typeface. Similarly, his typeface made out of glowing light forms is truly amazing as the digital set of characters is created by one simple shape and by turning it different ways every letter in the alphabet is produced for the audience. Comparatively to Carter, Byrom’s contribution to typographic practices further explores the physical designing of type to the digital transformation. He may not have truly witnessed the pre-digital to digital evolution but he certainly carries out both the traditional and contemporary concepts of typographic practices.
Monday, October 10, 2011
Sunday, October 9, 2011
By exporting your file to a pdf, inDesign gives you the choice to take bleed and crop marks in to your pdf. That is a good tool when designing on rectangular pieces, but not all design jobs fit in a rectangular shape, some jobs are not even geometric. What I am interested to know is, how you would sett up you’re files if the print is for a box or a custom (not rectangular) shape. Do you have the knife lines in the final pdf?
Is there any golden rules revolving this, or is it something you decide in a dialog with your printer?
Saturday, October 8, 2011
Friday, October 7, 2011
Morris Fuller Benton (1872-1948) was an extremely influential typeface designer, having completed 221 typefaces.