Showing posts with label Studio brief 1. Show all posts
Showing posts with label Studio brief 1. Show all posts

Tuesday, 24 December 2013

Responsive: Cath Kidston - How to do a seamless pattern.

Before I got on with any idea sketching/ producing of the print, I wanted to look into ways in which a seamless pattern could be created:

I first began looking at how shapes could be slotted together in order to create a pattern as shown below:

I thought that if I created  pattern via slotting different shapes together this would enable it to look seamless, as the structure of the pattern would join at different points, meaning that there would not be a clear outline around each tile. 





However I realised after thinking about building a pattern this way that the brief requirements state that they want both a single tile and multi tiled version of the pattern, as it is clearly obvious we can only create documents as a square shape, I would have to think of another way to create a seemless pattern. 
I started to look on to see if there was any form of tutorial on how to do so, and I found a really helpful article that teaches people, very simply, how to create seamless patterns. 






When creating a pattern in a square i have to be weary that any design that overlaps the edges, is made up on the opposite side of the pattern, at the exact same point that it overlapped the edge. This must be repeated for all sides of the square so that, when put into a multi tile composition all 4 sides match up. Therefore I think it would be easiest, once I have designed an idea for the tile, to begin composing it from the outside in so that all the sides match. I will then continue to fill the rest of the tile, with symbols within the pattern.




Saturday, 30 November 2013

OUGD504: Responsive - Cath Kidston print.

In order to get ideas flowing about starting points for my print, I began to consider, what is quintessentially British?


… and based on our…

  • British sense of humour and cheekiness
  • English heritage (Taken from brief)

Below I brainstormed a number of possibilities:


- Tea, cake, buns, teapots. 

(In the brief it is not only described how the brand plays upon british heritage, but how the demographic audience of Cath Kidston likes 'Making stuff… be it food for friends or cushions for her new sofa' see brief.

- Red telephone box. 


- Red postbox and stamps. 


- Polo (sport).


- Yorkshire terrier.


- Mini cooper. 


- Red bus. 


- Sticks of rock, Deck chair, Windmills. (British seaside), Ice cream.


- Beefeater. 


- Picnics. 


- Sailing (seafaring nation).


- Hare.


- British shorthair cats. 


- Penny farthing.


Before I get down to any type of sketching/ idea generation I want to look at how the prints are already presented and if they have a certain style. 


'We are looking for an original theme and a fresh new take on our unique visual style. Your print can take any visual direction you wish, as long as you believe it to be in tune with our brand.' (Taken from brief)



The prints which we design will be used across 3 areas of products:
- Women's fashion.
- Women's accessories. 
- Home.



I found that when looking at this collection of prints, there was a distinct style that was existent throughout each. The prints have most definitely been handrawn before moving onto digital work, Therefore I will endeavor to work solely by hand when drawing up the design. 


I also found that the prints follow a very painterly theme that is often accompanied by some pencil sketching. 

For example in the horse print:


  

The painterly effect is particularly reminiscent of oil paintings, Although trying to design using acrylics may prove inappropriate on a timescale, as they take so long to try, I could design in a quicker alternative such as acrylics. Which I would then import into a program such as illustrator. It is important to realise the aesthetic which the Cath Kidston brand has already created as this is particularly stated on the brief.


Cath Kidston's floral prints .vs. oil paintings.






An important detail I have also seen within the prints is there is no evidence of blending colours together to create a collection of tones, shadows, highlights etc. Instead Cath Kidston uses block colours in a variety of shades, placed next to each other in order to create extra dimension, this style is reflective of the arts and crafts movement. The floral pattern seen above, looks particularly like some wallpaper I found from the arts and crafts movement. 



I compared my list of initial ideas to current prints, to see if any of them were of similar concept. The brief states that they are looking for a fresh design, 'Our prints are... reinventing our favourites but not copying our past.' (taken from brief) Therefore, I wanted to avoid anything that would lean upon my design being similar to previous ones. 
Below is the list of initial starting points I came up with, I have marked the ones with an x that are similar to the prints that Cath Kidston has already had:

- Red telephone box. 
- Red postbox and stamps. 
- Polo (sport) - X
- Yorkshire terrier.
- Mini cooper. 
- Red bus - X
- Sticks of rock, Deck chair, Windmills. (British seaside), Ice cream.
- Beefeater - X
- Picnics. 
- Sailing (seafaring nation) - X
- British shorthair cats. 
- Penny farthing.

I have seen that previously in many of the Cath Kidston prints that horses have been quite a frequent icon, and so to avoid any sort of repetition I have decided to stray away from any pattern that would include this symbol, thus ruling out polo. I have also seen a red bus within Cath Kidston's iconic London themed print, a print with repetitive use of the london guards, and a print already influenced by sailing. Therefore I will not be persuing any of these 4 ideas. 

Below are the 4 prints that have already been influenced by these themes. 










The two themes that I would like to work with, which I have seen no influence of in previous Cath Kidston prints are:
- Red postboxes and stamps.
- The british seaside. 

As Cath Kidston has its roots firmly set within the british landscape I want to create a print that really celebrates the British Heritage. The red postbox is a hugely iconic british symbol, as is the stamp which houses the portrait of our queen. However I also wanted to try and work on an idea that was quite contrasting to many that Cath Kidston had already produced. In many of the previous prints the place in England that is most celebrated is the capital - London. However I found there wasn't much within the previous range that celebrated other areas of Britain, for this reason I wan't to celebrate a part of the nation that is often cast aside and understated - The British seaside. 

I Then began to brainstorm symbols or things associated with the British seaside, I went on to ask my class mates what first came into their minds when they pictured the british seaside. I recorded all these results in a spider diagram.

(Insert picture)

I managed to find a list of 28 things that I and other people associate with the phrase 'British seaside'. From these 28 I began to think about which words would be most relative for the target audience of Cath Kidston. For example, I didn't want to include things within my print that would be more appropriate for a younger audience, and so this made me rule out ideas such as, rock, ice cream, seagulls, rides, donkey's and mini golf etc. 

I also had to consider the dynamic of the print, how would each of the symbols relate and harmonize?  How would an object such as a stick of candy floss fit cohesively with a lighthouse without them looking like they had just been thrown together like miscellaneous objects into a pattern? For this reason I decided to only pick out subjects from the brainstorm which were landscape/setting based. 

There were 9 things within the brainstorm which I thought were most appropriate. These are underlined. These 9 things were:
- Beach huts.
- Deck chairs. 
- Carousel. 
- Parasol.
-Pier.
- Sand castle.
- Lighthouse. 
- Shells.
- Sunshine. 

However 9 subjects would prove to be too much for a Cath Kidston print as the aim is for the pattern to not be too fussy and cluttered, for this reason I have decided to narrow down my subjects to the following 5:
- Beach huts. 
- Deckchairs. 
- Pier.
-Sancastle.
- Shells. 








Friday, 29 November 2013

OUGD504: Responsive - Cath Kidston print.

Brief:

The Creative Challenge

Design one new conversational print taking into account our brand values and print style. Examples of conversational prints within our range would include Cowboy, Garden Birds, Guards of London – these are prints with a recognisable picture within them. Classic Cath Kidston floral, spots or stripes would not be described as a conversational print.
The print should be designed to be used across three of our product categories; Women’s Fashion, Women’s Accessories and Home. We are looking for an original theme and a fresh new take on our unique visual style. Your print can take any visual direction you wish, as long as you believe it to be in tune with our brand.
A selection of entries will be exhibited at our new London flagship store at 180 Piccadilly (opening December 2013) during April 2014. All commended entries will be considered for a 12 month internship within our Print Design team.

Creative Requirements

Please submit the print in both repeat tile and stepped out versions, and create three different colourways. You should use a maximum of 12 colours.


Wednesday, 13 November 2013

OUGD504: Design for print research.

Design for print. 
Contextual research. 


What is the purpose of print coating?

Print coatings are used on printed products primarily for protection or to achieve certain visual effects. Coatings can provide protection from moisture, scuffing, scratching and finger prints. They can also be applied to one or both sides of a printed piece to create a glossy or dull finish or can be applied selectively to highlight a certain visual element. Source

There are 4 different types of print coating:

  • Aqueous Coating


                                                                                              Source


    Aqueous coating is a clear, fast-drying water-based coating that is used to protect printed pieces. It provides a high-gloss or matte surface that deters dirt and fingerprints. Aqueous coating improves the durability of postcards and other mailed pieces as they go through the mail, and protects business cards as they ride around in people's wallets. It also looks beautiful on brochures, catalog covers, and presentation folders. Aqueous coatings provide more substantial scuff-resistance than varnishes. Aqueous is typically applied to the entire printed piece, usually by the last unit on a printing press. Due to its water base, aqueous coating is more environmentally friendly than varnish or UV coatings. Source
Best for protecting work and resisting the natural elements that come with design being passed around and damaged. Protects a piece from effects such as dirt and fingerprints. It is an ehtical choice as it is more environmentally friendly than other processes such as varnish and uv coating. 
  • Varnish


                            
                                                                                        Source

    Varnish is basically clear ink and can be gloss, satin or matte. A flood varnish covers the entire printed page for protection or sheen. A spot varnish allows you to highlight specific areas of a printed piece and adds shine and depth to specific elements on the page such as a logo or image. Varnishes are also applied on-press, but they are heavier-bodied and can be applied (like inks) to only certain areas (spot varnish). A plate must be created to apply a spot varnish, so artwork is necessary.
Must have a plate created in order to apply a spot varnish and for this reason you must produce an artwork. Varnish can be applied to specific areas or flooded over the whole piece. It can be applied alone to a piece to create an effect or over design. 

  • UV coating


    UV coatings are cured by exposure to ultraviolet light to quickly dry and harden the coating. UV coatings provide the highest gloss versus other coatings but may crack when scored or folded due to the thickness and hardness of the coating. Some find it too shiny for some uses. UV coatings can be applied as a flood (covering the entire printed sheet) or as a spot coating and can be applied on or off press. UV compatible inks must be used on sheets that will be UV coated. UV coated sheets can not be foil stamped and embossing should be done after the coating.


    Uv coatings are dried via the use of a uv light in which the coating hardens. A uv coating provides the highest density of of glass versus others however it has other downfalls. Because the solution of a uv coating is thick compared to others, it could break down and crack, for example folding a business card could cause the UV coating to break apart. If you are wanting to combine processes such as foiling or embossing, these must be applied after the coating as a pose to before.
  • Soft Touch® Coating



    This coating creates a velvety texture. The paper becomes "soft" to the touch and increases the tactile appeal. It creates a softer look and feel on printed materials than either aqueous or UV coating, while creating a barrier which is fingerprint resistant. It dries fast, is non-yellowing, and is eco-friendly. Luxurious and sophisticated are words often used to describe the effect Soft Touch® coating produces.

    This type of coating might be found on higher end work with a more affluential audience, the coating creates a velvety appeal, as if it is 'soft' to the touch.