Type Workshop 2:

We began the session by presenting out pdf's that we created in quark, this allowed us to look at techniques that my peers used to present their typeface. i took on some key techniques that i felt where effective

- by putting the typeface in a sentence to look at its legibility and readability 
- Making sure that 

We where then asked to produce 3 words that come to mind looking at our typeface:

Graceful 
light 
Delicate 

We then went onto write a brand name that is related to our typeface - from the 3 words i got jewellery this then lead to Swarovski

The next stage was to state a brand that does not suit the typeface: I select Mc Donald's as this is the complete opposite of Light Delicate or Graceful.

Kerning - Comes in very useful when creating logo design incorporated in Branding and identity.\ area around the letterform 

find the largest gap between the type, tighten or widen the kern between each of the letterforms so they match the largest gap.

Task was to 

Experiment with kerning with our name in capitals as this is the easiest to execute:

This is a huge aspect of branding and identity - just by the simplicity of great letter spacing can give the design a new message and example of this is railway. The poor spacing could reflect that the railway is small, Rushed, Late. However if the word is well kerned this can represent a large - high quality smooth running message to the viewer.

Experimentation with the hierarchy of typography we re positioned  the words all over type page mixing up the hierarchy the task  was to communicate the order by being creative.

Task collect 6 examples of logo design 
3 key words that come to mind when looking at a logo and if it matches the companies aims: in type jourmal

Proverb - 5 or 6 words - re arrange the words but make it readable. using the techniques learnt in the class

Software Workshop: Printing a booklet:

Saddle stich binding - Folded pages stapled or stitched down the middle - 
booklet must be a multiple of 4 

Perfect binding - single leaves printed on both sides and ring bound or glued - 
any multiple of 2 

Readers Spread: What you would actually see on the screen if you where reading the booklet, I must get my pages in the correct position before printing, I initially need content on my pages - When looking in the pages option. I have noticed that all the pages have a 'A' in the top corner.

Simply go onto select the left master page and create a text frame:

From here select the drop down menu and follow this down to select Insert Special Character - Markers and the finally current page number.

 As you can see within the screenshots below, once the page number is applied to the master page the rest of the pages in the booklet are numbered accordingly.

To apply these page numbers to the right pages simply hold alt and drag to the right page.

Now moving onto printing the booklet:

First step is to select print booklet - then choose the booklet type - Print settings - go through the normal print settings, selecting paper size always landscape - position of the page marks and bleed 

From here select Printer options

Select two sided - long or short edged binding, this is determined by which edge the bing will be on, - click print and then ok.

I can use the preview to check to see if all my pages are in the correct order. 

Re pagination: 

How to save my file as printer spreads in PDF format 

Print Booklet

Choose print settings

Printer - Postscript file

this will create a fill 

InDeign will automatically create a PPD file 

From here select the PPD box - Adobe PDF

Select normal settings - paper size bleed ect.

Acrobat distillers main job is to convert Postscript files to create PDF files

Print Production Manual_ Content Plan

This is the initial starting point of my print production brief, now that i have separated my subjects in which to research i have an idea already of the chapters of my editorial design however as this print production manual is been designed for me personally i have a feeling that i will eliminate some of the content that is in the list below.

7 things to know about print:

- Based on a model based on lithographic printing - most common type of printing: 

Colour models - 

CMYK

RGB

Hexachrome

Spot colour 

PMS pantone matching system

Formats -

Standard ISO paper sizes

A& SRA sizes

Imperial versus metric 

Tabloids 

Envelope C sizes

Artwork -

Document set up

File and format & Fonts

Spellcheck

Colour Specification 

Printer marks 

Pre Flight Check 

Mock ups 

Proof 

Sign off very important.

Stock - 

Weight

finish - gloss silk matt coated or un coated

Laid or wove

Boards or carton

Many many more variations 

Plastics and acetates 

Processes -

Lithographic 

Gravure

Screen print

Floexography

Pad  printing

Six colour

Laminate gloss and matt

Foil blocking

Embossing and de bossing

Spot UV varnish

Finishes - 

Binding - Different styles.

Folding and creases 

Die stamping/Drilling

Costing - 

Get a quote very early on this is best before you start the job

Identical specificationfor 3 print estimatiors to work to

Learn roughly what things cost - Unit cost

Understand viable minimum quantities 

Extras/Authours Corrections 

Delivery? 

Software workshop:

In the task today we were told to highlight issues within a print document in InDesign. Here were the 8 hidden problems with the document. 

Tree silhouette missing link: 

To Solve the problem: To fix this double click on the question mark and then navigate and find the missing images within your folder or files. 

Text at the bottom of the page is set to registration this means it would be printed on every single plate throughout the document

To solve this: Just highlight the text then go to the swatch pallet and change the colour from registration to black

The first page has no bleed:

To solve this problem: simply extend the background over the edge to give the document a bleed.

Image is set to 72 PPI this is ok for web based design however, for print it must be 300dpi, we found this by exploration in the links pallet.

To Solve this problem: You would have to get the image again from the customer

Image has been scaled smaller 15% of its normal size:

To solve this: I must just take the image back into photoshop and then resize the image to what size it must be to function on the indesign document. change to percentage in indesign 

Image has been set to RGB not CMYK:

To solve this problem: Simply go back into photoshop with the original image and convert it into CMYK save the file and it will then appear as CMYK in InDesign 

Bottom two pantone swatches are not in use

To Solve this problem: just simply delete the swatches from the swatches pallet

The colour used on the background is RGB

To solve this: You must simply just double click and then go onto change the colour mode 

How to make this process Easier:

- Use the Pre flight process 

By selecting this is basically overviews the document and finds any problems within the document

- Make sure that all the linked images are filed using PACKAGE:

By using package this means that all images Typefaces and linked files will be included so everything has the original artwork included within the package.

Other options - File - Export to PDF

Presets that are appropriate are PDF press quality - use this for commercial print

Type Workshop: Type Classification task:

TASK: 

We have been asked to produce a graphic outcome that displays the type classifications of my selected typeface, our group where given the sans serif category and asked to select a typeface, my selection was my favourite of the sans serif typeface Garamond just because of the high readability and legibility: 

The task is to generate research into the type design to gain a greater understanding of what characteristics make this typeface individual and distinctive. 

I began by looking into some background information on the typeface and the designer: 

Designer – CLAUDE GARAMOND

Claude Garamond

Claude Garamond – born c. 1480 in Paris, France, died 1561 in Paris, France – type founder, publisher, punch cutter, type designer.

1510: trains as a punch cutter with Simon de Colines in Paris. 1520: trains with Geoffroy Tory. 1530: Garamond’s first type is used in an edition of the book "Paraphrasis in Elegantiarum Libros Laurentii Vallae" by Erasmus. It is based on Aldus Manutius’ type De Aetna, cut in 1455. 1540: King Francis I commissions Garamond to cut a Greek type. Garamond’s ensuing Grec du Roi is used by Robert Estienne in three sizes exclusively for the printing of Greek books. From 1545 onwards: Garamond also works as a publisher, first with Pierre Gaultier and later with Jean Barbe. The first book he published is "Pia et Religiosa Meditatio" by David Chambellan. The books are set using typefaces designed by Garamond. After Garamond’s death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer acquire a large proportion of Garamond’s original punches and matrices. The typefaces Garamond produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His fonts have been widely copied and are still produced and in use today.  

http://www.linotype.com/414/claudegaramond.html

After looking at some background information on the typeface i felt it was time to start looking at the design itself, to see what aspects make the design distinctive. I began by looking at the type design as a whole as shown below:

Garamond - Upper and lowercase:





From here i then decided to generate what characteristics make the typeface distinctive:

Characteristics: 

- Oblique axis
- Bracketed serifs 
- ascender extends past cap height 
- small eye of the lowercase e 
- Small blow of lowercase a 
- Rounded terminals 

- serif on the leg of Capital R
- dramatic contrasts of thick and thin
- larger, slanted serifs on T
- De sender of the j


I have then gone on to create a graphic response that visualises my findings, the out comes i have began to produce are shown below:

 - Oblique axis

- Bracketed serifs 

- ascender extends past cap height 

- small eye of the lowercase e 

- Small blow of lowercase a 

- Rounded terminals 

- serif on the leg of Capital R

- dramatic contrasts of thick and thin

- larger, slanted serifs on T

- De sender of the j 

Comparisons between Garamond and Times New Roman:

Production using Quark Xpress