Monday, 18 April 2011
Fine Art Yearbook : Clive from Duffiled Meeting
We have asked for two separate quotes, the difference between them being the finish on the cover.
Quote 1
210x210mm
Cover - 300gsm coated
Leaves - 90gsm uncoated
100pp / 50 leaves
4 colour process CYMK
lock bound (improved version of perfect bound)
Specials - spot UV on the cover
1500-2000 units (negotiable)
Quote 2
210x210mm
Cover - 300gsm uncoated
Leaves - 90gsm uncoated
100pp / 50 leaves
4 colour process CYMK
lock bound (improved version of perfect bound)
Specials - matte black foil on cover
1500-2000 units (negotiable)
-
A printed estimate should be with by Monday or Tuesday of next week.
Clive also stated that we could all visit during the week so long as we give them 24hrs notice to see how the place operates and to source paper samples.
Sunday, 17 April 2011
Fine Art Yearbook : Layout and Concept Development
Off the back of Tim being away out of the country the team decided we should get on with pushing the layout onto a final design direction. I was all for this, however my book fair brief was coming to a definite end at the end of the week and I simply could not help them out with the time frame I had for two days. This was a tad annoying because the previous week I had been up for it but Tim was away and now I was busy and only able to dash over to give some input on their design work.
They came up with three slightly different directions to show the Fine Art team for the meeting the following day. The differences are in the header typeface (Quicksand) and the body copy (Courier New), while the general layout was always flexible. The statements on one of the mocks were rigid, always appearing in the same place, this would mean the images would have to work around it. The other allowed the statement to be placed wherever on the spread to accommodate to varying image sizes.
To take to the meeting we have our main concept of ‘what we cannot say.’ On top of this we tried to think of a few new concepts, none of which were as strong. We spent days on the original concept generation and only one was worthy of following up. The other two we are going to pitch to them are;
Unite, Evolve, Express, Disband.
Who needs words when we have artistic license.
Saturday, 16 April 2011
Fine Art Yearbook : Prelimenary Images
Fine art have given us some good quality images to work with for the initial layouts. It would be nice to have a few more, but there is a descent range of scales, proportions, colours and styles of work.
It is good to see that the Fine Art lot are keeping on top of their side of things, it makes out job a lot easier!
It is good to see that the Fine Art lot are keeping on top of their side of things, it makes out job a lot easier!
Friday, 15 April 2011
Fine Art Yearbook : Typeface Estilo
Liam found this typeface while on his train ride home. It is as close to what the fine art reps wanted for their header copy as we could have hoped for. The inspiration is taken from the Turner Prize publication that they supplied us with.
Some of the Lowercase glyphs are not so nice, they just don’t sit right, however the uppercase works really well. It costs $17 so we will need to run it by the Fine Art reps in our next meeting.
Some of the Lowercase glyphs are not so nice, they just don’t sit right, however the uppercase works really well. It costs $17 so we will need to run it by the Fine Art reps in our next meeting.
Sunday, 10 April 2011
Fine Art Yearbook : Yearbook Meeting 3
3
Meeting with Fine Art
(Notes taken by Liam)
Meeting 03 with the Fine Art committee today (slightly delayed from the original date due to dissertation submissions and reading week).
As usual it was very productive and progressive. Working with the course is a very pleasant experience and Sheila has been brilliant throughout.
The main aspects we went over were as previously mentioned (typeface selection, stock weights, cover specifications, concept developments and responses to the design direction).
I will summarise in bullet-points as it will be much more effective. Overall we are very happy with the way things went...
01. 'What We Cannot Say' is a big thumbs up. Strongest out of the supplied suggestions and conveys what the students on the course want to say about their practice.
02. Floating body copy is preferred for its flexibility. It is also a nice inter-changable element that compliments the fixed headings.
03. The idea of light stock that hints transparency is also liked. Initially this was uncertain, but the more Graphic was passed around the more it was welcomed and given the green light.
04. Inside stock doesn't have to be a set colour anymore. An off-white standard paper will do the job. It must feel warm and not harsh like cheap copier paper. We agree 100%.
05. Quicksand has got the go ahead; dismiss Estilo, it sits funny. Courier New has also got the go ahead.
06. Would like to see some exploration of colour with the cover. The Creamier publication has a nice warm grey that works nicely, but perhaps we can push this a little further. The text also needs to sing and stand out whilst the course tours to London. This means no faffing about with white on white. Main elements must be bold, whilst over elements can be a clear varnish... compliment hidden surprises with the brash in-your-face information.
07. Telephone numbers are likely to be removed from the nav text at the top of the spreads. The general feeling is that email will be sufficient. I personally don't agree with this, but that's where we may have to compromise.
08. Does the publication need to be A-Z alphabetical. What would happen if the flow of the book worked on a colour basis. Colour is a very important aspect of the discipline that could be pushed through. (Just a thought from Sheila on this one. We will look into once we obtain final images).
-
From here then:
What we need from the course (as we have expressed) is as follows.
01. Final contact details for every student.
02. A clarified introduction written by the course team.
03. Details on the show itself and dates of the London goings-on. (Free Range).
04. Set deadline for the final imagery and content. (In progress as we speak).
05. Decided content for filler images. (The studio for example).
06. Full details of the current course team. Names etc.
What we need to provide for the next meeting.
01. Stock samples for both the cover and leaves.
02. Print quotation from Duffields in full.
03. Comprehensive progress for the cover design.
04. Set structure for the entire piblication layout.
Next meeting: TBC Monday 14th via email.
Meeting with Fine Art
(Notes taken by Liam)
Meeting 03 with the Fine Art committee today (slightly delayed from the original date due to dissertation submissions and reading week).
As usual it was very productive and progressive. Working with the course is a very pleasant experience and Sheila has been brilliant throughout.
The main aspects we went over were as previously mentioned (typeface selection, stock weights, cover specifications, concept developments and responses to the design direction).
I will summarise in bullet-points as it will be much more effective. Overall we are very happy with the way things went...
01. 'What We Cannot Say' is a big thumbs up. Strongest out of the supplied suggestions and conveys what the students on the course want to say about their practice.
02. Floating body copy is preferred for its flexibility. It is also a nice inter-changable element that compliments the fixed headings.
03. The idea of light stock that hints transparency is also liked. Initially this was uncertain, but the more Graphic was passed around the more it was welcomed and given the green light.
04. Inside stock doesn't have to be a set colour anymore. An off-white standard paper will do the job. It must feel warm and not harsh like cheap copier paper. We agree 100%.
05. Quicksand has got the go ahead; dismiss Estilo, it sits funny. Courier New has also got the go ahead.
06. Would like to see some exploration of colour with the cover. The Creamier publication has a nice warm grey that works nicely, but perhaps we can push this a little further. The text also needs to sing and stand out whilst the course tours to London. This means no faffing about with white on white. Main elements must be bold, whilst over elements can be a clear varnish... compliment hidden surprises with the brash in-your-face information.
07. Telephone numbers are likely to be removed from the nav text at the top of the spreads. The general feeling is that email will be sufficient. I personally don't agree with this, but that's where we may have to compromise.
08. Does the publication need to be A-Z alphabetical. What would happen if the flow of the book worked on a colour basis. Colour is a very important aspect of the discipline that could be pushed through. (Just a thought from Sheila on this one. We will look into once we obtain final images).
-
From here then:
What we need from the course (as we have expressed) is as follows.
01. Final contact details for every student.
02. A clarified introduction written by the course team.
03. Details on the show itself and dates of the London goings-on. (Free Range).
04. Set deadline for the final imagery and content. (In progress as we speak).
05. Decided content for filler images. (The studio for example).
06. Full details of the current course team. Names etc.
What we need to provide for the next meeting.
01. Stock samples for both the cover and leaves.
02. Print quotation from Duffields in full.
03. Comprehensive progress for the cover design.
04. Set structure for the entire piblication layout.
Next meeting: TBC Monday 14th via email.
Tuesday, 5 April 2011
Fine Art Yearbook : Meeting 2
2
Meeting with Fine Art
(Notes taken by Liam)
Second meeting with the Fine Art Committee today, mainly put into place to clarify a concept and an overarching idea that could potentially inform some of the design direction elements.
The theme that the team has come back to us with for now is entitled 'Tacit Knowledge'. This is a concept that ultimately aims to unify the group through the idea that they have all become successful at what they do through practice - Tacit Knowledge is knowledge that cannot simply be taught, it has to be developed through experience and engagement with the process. It was described to us as like riding a bike. You can be told how to do it, but that doesn't necessarily mean that you instantly become successful at the physical engagement.
A runner up to this that the team looked at was 'If Someone Speaks...' - A phrase taken from a Freudian theory. As they ultimately didn't want to be related back to Freud this was dropped.
The group have given us permission to take the concept and run with it a little bit, as last year's team (Tom, Ollie & Angus) did. This element of freedom is appealing and something that the group and I will begin to work on immediately.
Looking ahead to production, the course has stated that they want approx. 2,000 copies in total for D&AD and other events - or whatever the maximum is that the budget forecasts. They don't really want anymore than this number though.
For now we are going to aim to develop the concept and put some immediate design decisions down onto paper as it were.
Next meeting: 12 o'clock - Friday 18th February, 2011.
Meeting with Fine Art
(Notes taken by Liam)
Second meeting with the Fine Art Committee today, mainly put into place to clarify a concept and an overarching idea that could potentially inform some of the design direction elements.
The theme that the team has come back to us with for now is entitled 'Tacit Knowledge'. This is a concept that ultimately aims to unify the group through the idea that they have all become successful at what they do through practice - Tacit Knowledge is knowledge that cannot simply be taught, it has to be developed through experience and engagement with the process. It was described to us as like riding a bike. You can be told how to do it, but that doesn't necessarily mean that you instantly become successful at the physical engagement.
A runner up to this that the team looked at was 'If Someone Speaks...' - A phrase taken from a Freudian theory. As they ultimately didn't want to be related back to Freud this was dropped.
The group have given us permission to take the concept and run with it a little bit, as last year's team (Tom, Ollie & Angus) did. This element of freedom is appealing and something that the group and I will begin to work on immediately.
Looking ahead to production, the course has stated that they want approx. 2,000 copies in total for D&AD and other events - or whatever the maximum is that the budget forecasts. They don't really want anymore than this number though.
For now we are going to aim to develop the concept and put some immediate design decisions down onto paper as it were.
Next meeting: 12 o'clock - Friday 18th February, 2011.
Subscribe to:
Posts (Atom)