Design Context Development

I continued to develop the Typography: Process and Product publication yesterday. Mainly involving tweaking the grid, its now 12 columns instead on 10 and I sorted out some of the typeface sizes etc to make it feel more consistant. I think its coming on quite nicely, the layouts are working better on the 12 column grid. I've also added some other elements like the lito press diagram at the start of the industrial type section. I change the 'and' on the cover to a Caslon ampersand, it looks nice and is more expressive.

Design Context Publication Layout

I started work on my design context today. The format is a booklet, slightly smaller that A3, so quite large. I thought this would be nice as it give it quite a unusual, special feel. It is really simple and at the moment feels quite formal and almost academic.

After a good chat with Joe, I feel like I've got a good handle on getting the typography really spot on, which is obviously really important becasue it is a publication about type. I feel like once I have got it layed out and know what I am working with, there will be room for me to make it viusally more experimental and interesting.

Music Self Promotion

This is a self promotion piece by design studio Music entitled 'Stuff we really like'. Very nice piece of design and an interesting twist on the tradition hard back format. I'd like to do somthing equally as beautiful and understated for my design context. It manages to contain lots of disperate elements but still feel cohesive.

Design Context development

To begin with for my design context I did a few typeface tests to see what I felt was the most appropriate for my design context publication, its going to be fairley formal and there is quite a lot of information to deliver so it needs to be very clear.














I tried out putting a few differnt way of putting the type together that wwill appear on the cover.





































These are two diagrams of a lithopress that I traced I was going to use them on the cover but after experimenting with a couple of layouts I don't think it is really working.

Design Context Presentation Crit

We had our design context crit/presentation yesterday. It was pretty useful to me if only to confirm that I need to clarify what I am doing. I am happy with the general direction, and I think I have got some good content. However I need to make some desicions and work out exactly what I want to include and what I am trying to say. Its the last day of my placement at Team Impression tomorrow so I will have time to hammer it out over the weekend. Below is the quick slideshow I put together for the presentation, outlining what I wanted to include at that time.

Angus MacPhersonPresentation

David Pearson Interview

David Pearson kindley agreed to do an interview with me over the phone, so I got some slightly more in depth answers. Amazingly he had tracked me down to a blog post were I was rude about some of his work, he had the chance to explain why he did the book cover the way he did, which was very interesting. Thanks David!

A lot of your work, a lot of your book covers, could be described to be inspired by vintage design and drawing from classic penguin books and stuff. What's your motivation to take inspiration from those kind of things?

Well there's probably all sorts of reasons, the main one is just I obviously don't ever feel inspired unless I'm looking at something else or researching something. I guess that probably says that I'm not a particularly intuitive designer! Haha! But also I'm just really a bit of a hobbiest and in particular I do collect books and I've always loved books. In fact I was always a bit surprised Penguin gave me a job because I felt like a bit of a groupie and I didn't really think that people like that were supposed to get a job at Penguin. Yeah, you know all my heroes are generally dead, so in trying to emulate their work I think in turn my works tends to look a bit more traditional. And also typography, if you use type as the main driver behind your design especially if your not applying lots of effects to it, like modern day effects, three dimensional things silver and all that lot, your work can very easily look more traditional. There's all sorts of reason really, but yeah generally speaking I love history, I love old books, I love old printing methods. These are the things that really inspire me.

My book's looking, not entirely, but quite a lot of it is going to be about production methods, finishing techniques like die-cutting and foil blocking, looking at those kind of things in design. But obviously looking through your website I noticed, there isn't really any of that, how come you don't indulge in that kind of thing? Your work is very concept driven or really visual rather than looking at the finish, how come you don't go into those kind of things?

Oh I mean I do look at the finish in terms of the books production within reason. Because as you know if you produce a book you could be producing a run of two hundred thousand an they could be printed half over hear and half in the states, its not really realistic to say do letterpress or whatever. What you've really got to do is find a way to emulate that which is realistic in a production sense. So in that respect we do look very closely at production, but if your talking about the very much hands on, almost like a printers workshop aspect then I don't really get that opportunity because I'm working in a commercial design area as oppose to a sort of bespoke design area. I never really get that opportunity.

Alright I should be looking to do more private, personal projects that allow me to do that, but to be honest I just love designing, often on a budget, to the biggest possible audience. I get a bit tired, a lot of designers strive to design things for designers or themselves and I don't really know what they're for and I don't really know why these things are going out into the atmosphere. I'd rather do something that has some sort of purpose. So you know, vanity designing is something that I don't really agree with. It's easy for me to say because I work with books and there's never usually much money to play with. So I don't want to get on my high horse about it, everyones got different jobs to do.

Yeah absolutely, but I understand kind of wanting your design to speak to not just designers but non-designers as well.

Oh yeah thats just really exciting to me, when your mum understands it, thats usually the litmus test.

That kind of leads me on to my next question quite nicely. So do you think those kind of experimental, bespoke finishing techniques have much relevance to non designers. Do you think the average man in the street will notice a die cut or spot varnished book cover for example?

I think so. Yeah its a very good question but the only reason i think so is because if you look at wedding invites for example. Anyone who's getting married is thrust into this environment were they've suddenly got care about finishes and how luxurious or how tactile something is, I think people do have the aptitude for it. I think we can underestimate how image savvy people are. We're so exposed to so many images these days people are very sophisticated in that respect. One of the reasons 'Great Ideas' solved so well it wasn't just because of the design it was the finish, it was the uncoated stock and the tactile finish to it and that can be really under estimated within design. So sort of going back slightly I really think what I do is very much bound within the production, it can really get you out of jail sometimes if you've done something quite average it can pull back some of the quality in the production process. Thats one thing I will really miss if books increasingly become digitised is that ability to play with the finishes.

I think I looked on your blog the other day and I noticed you picked up on the lurid green on the Penguin popular classics covers. Its a really interesting talking point in that it is a vile colour, your absolutely right, but the thing is, its supposed to be vile. the main argument with those colours, they're basically a two quid book covers and they were originally quiet a nice pastally colour so it was all very gentile and sophisticated. There was a lot of mutterings in house at penguin, that a lot of people would rather then buy those versions than the ten pound black classic versions that Penguin also sell because they actually found them more attractive. So the whole point of the green series was to almost; its like a sort of Tesco's value version. Its the only time in my life I've ever been given the brief to make them look worse, that was it! We had to make them look less attractive so we used that horrible green colour. It's mad isn't it really, they were just worried that they would strip away sales from their more expensive versions.

Oh wow, very, very interesting.

Yeah, yeah. Oh god, I go into a bookshop and I see a whole wall of that green and it makes me want to be sick!

I never thought you would track me back to my blog!

Oh god no, I'm very thorough! You'll be running scared now.

Ok well my next question, we kind of touched on it a moment ago, is were do you see the future of graphic design going? In twenty years time do you think there will still be books printed and what kind of quantity how important do think that will be in ten or twenty years time?

Well, I think there will still be books but I honestly don't think there will be too many. But you know, books and printed matter will always be required in certain circumstances like catalogues and novels will always have a representation in paper form. But other books like reference manuals and reference books and car manuals, there is no reason why they can't be digitised. if you think of a student for example in a lecture theatre if they can have their whole years books on a palm reader that gets very exciting and it makes a lot of sense. I'm certainly not against this kind of movement at all. To a certain extent its a good way of passing on information. But yeah I think increasingly, especially with what I do, book objects will be increasingly more, media driven. I think there will be more glorious and more fine editions around. I think the cheaper paperbacks will fall away a little bit, which isn't necessarily a bad thing. I think that it will exist but in a much reduced state as it will with all print. We can't keep cutting trees down at the rate that we are doing. I think it makes sense. The next generation, it won't make sense to them because the won't have grown up with books. That's a kind of rambly answer but the emphasis is on the generation shift. If you grow up without books your not going to need books.

Where you involved with graphic design pre the introduction of the Apple Mac? Hows the role of the computer changed while you've been involved with graphic design?

Well it was just coming in as I was studying. I'm 31 now so it's kind of always been there for me. I'm maybe not best qualified to discuss. Maybe five years before that would have been the real way in sort of thing. Macs were just starting to creep into colleges when I was there. So yeah I'm very much used to that really. But having said that you only really get something interesting out of a computer if you put something interesting into it. You can't really start on a computer and hope to create wonderful work, it just doesn't happen. I would always try and mention that its a tool and nothing more, as much as people want to celebrate virtual effects. The other thing is I naturally distrust short cuts. I value process even if it means I take ages to do something I'd rather do it the long way round. I'm interested in what that does to your head while your working on it, the way you're evaluating constantly, thats the process for me. Its not hitting the effect that will do something on your behalf.

Has the role of the computer, in terms of communication and blogs, changed while you've been a graphic designer?

Oh absolutely yeah. Blogs are still quite a recent thing I suppose. But yeah its great for me to know what someone on the other side of the Atlantic is doing with book design. There's a sort of solid core group of book designers, we all kind of know each other now because we know what each other are working on and we commission each other. It all stems from blogs really. I mean I can't speak highly enough of a well written design blog, I think these people should be commended. That surely will be the next generation of star designers, they will be people that have a blog presence and quite a strong personality through that.

Alex Bec Interview

I emailed Alex Bec who is one of the founding members of It's Nice That some questions for my design context publication, here are his responses.

1. When you embark on a new brief to what extent does the production method inform the ideas you come up with?

The idea is always put first, and then the relevant tools are chosen to make it happen.


2. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

Because we are still human beings with real senses.

3. To what extent do you think expertiemental and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

Perhaps, if used well. The key is that the audience's needs are kept in mind, regardless of process.


4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

I think we'll always need some printed collateral, but there's no way there will be as much as there is today. The things that still need to be printed, will most certainly be printed.

5. Where you involved in design pre the introduction of the apple mac?

Nope


6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

Because I absolutely disagree that you can 'do anything with a laptop and digitla printer' in typography. As I said before, we will always remain human beings.

Theo Van Doesburg

I went to see this exhibition about Theo Van Doesburg and the De Stilj movement at the Tate modern last week. it was really interesting and ties into my design context quite nicely, as it is looks at a lot of the early origins of graphic design and all of it is produced using letterpress and pretty basic printing techniques. There is a good artical about Van doesburg on the Guardian Wedsite.

Response from Holga Jacobs

Holga Jacobs from mind design also got back to really quickly with some answers to my questions. Thanks Holga!

1. The identity you designed for Circus is employed across a mind blowing range of media. When you embark on a project like this in what ways does the production method inform the ideas you come up with?

In this project there are many production methods. We worked with illuminated acrylics, acid etched aluminum, steel, printing on mirrored stock, etc. Normally we always think of the production method right away when we do the first sketches. However, in this case as it was so varied, so the initial design of the logo is more based on the interior. 'Circus' features a table that doubles up as a stage with steps leading up to it. Beside those steps the logo was influenced by kaleidoscopes and mirrors. Other influences came from Surrealism and Art Deco, a period I am very interested in at the moment. The overall identity is quite a complex puzzle of different elements and somehow reflects that different people where working on it in the studio at the same time. Many ideas develop in teamwork.

2. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

Absolutely. There is unwritten rule in typography: if you can't do it in letterpress then don't do it on the computer. This might not always be true but its good to keep traditional production methods in mind when designing anything. I am not very interested in digital technology I must admit. Obviously I use the computer but the development of new programs could have stopped for me about 5 years ago. I rather have less functions, it helps me to focus.

3. To what extent do you think bespoke and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful foil blocked menu for example?

If they don't notice they have to be educated. Print quality and attention to detail is important. I rather produce less in quantity. In a way it should reflect how we consume today. I prefer to buy one good product and keep it for 10 years from a company with a good identity, good design, good packaging, etc. rather than something from the Argos catalogue that I replace a year later by the next model.

4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

I hope that print will improve in quality and reduce in quantity. Everything that is high volume mass market communication can be moved to the internet.

5. Where you involved in design pre the introduction of the apple mac?

Yes, for a short period of time just when I started studying. It was brilliant. Of course it was all a lot more hassle but somehow design was slower and more considerate because of that. You only had one shot so it was important to think it through first. Today clients are already asking for the third pdf version before you even had time to think about the project properly. Its a much more fragmented way of working and especially since the intention of pdf's clients are much more in control.

6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

Its not so much the computer, its more the way we communicate now. Communication has been much more demanding and distracting and there is just too much of it. Sometimes I spent more time writing e-mails explaining when and how I will do a project than actually working on it. I don't do social networking and those websites are banned in the studio. The rare occasions when the internet is down for a day due to technical problems, thats usually a very productive day.

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

Those techniques are much closer to production and make you work differently on the computer. For example when you have done a bit of screen printing it is easy to understand how offset printing with 2 or 3 Pantone colours works and what overprint or knock out on the computer means. Once you understand printing and production methods it becomes interesting to challenge those and push their boundaries.

Response from Jay Cover

Jay got back to me really quick with some answers to my questions. Thanks Jay!

1. When you embark on a new brief to what extent does the production method inform the ideas you come up with?

Depends on the brief. My general working process is to attempt to embody the message in the method anyway, so I sort of preempt the notion that the method informs the idea, but that all depends on the brief as I usually adapt processes I use and research other processes to come out with an appropriate response. I suppose what you're getting at is the idea that some designers have a certain working method that they use, which mainly applies to illustrators who develop a portfolio of work to display a consistent visual language?

I'd say it was 50/50 really, as I occasionally use devices that I have developed in my personal practice, that I would like to see applied commercially, so sometimes the outcome is mediated by a process, which sometimes in the right context, is far more interesting in my opinion anyway. But generally I take each brief as it comes and deal with it in a way that would best communicate the point.

2. For you what is the attraction of using lofi processes in design and production like screen printing and model making?

I suppose the attraction is that there is a definite personal visual language, with character and personality of it's own / or it's makers. Also to my mind there's a great deal you can learn from hand rendered processes that you can't learn by working on a computer. I personally, simply, like to make things, I like what I learn from the processes involved in production and how I can apply & improve those processes. It's a good thing for expanding your mind as well as your skill set, as co-ordination between head & hand effects and informs ideas.

3. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fascination for designers?

There's always going to be an urge amongst creative people to express themselves, without the aid of a computer, to have a voice of their own making. The computer can be very restrictive and less immediate, when you can only see your creations on screen and not in your hand - sometimes this just doesn't satisfy. I guess?

4. To what extent do you think experimental and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

I think if you present these processes appropriately and you are wary of their application, anyone will notice. You just have to use necessary techniques and not do superfluous things just for the sake of it, generally for your own self-satisfaction. On the other hand introducing unusual things into the public arena is never a bad idea, unless it's antagonistic.

5. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

I don't know exactly what you mean by printed collateral - excess printed material presumably, collateral just means additional, it doesn't mean too much? Please advise? - sorry didn't want to sound patronising there, just Graphic design is about clear communication, this goes beyond what you produce, you have to look at what you're saying and question it.

I think the term graphic design is far too general in contemporary society, I don't actually consider most design agency's - designers, they just brand and market, re-present existing ideas and don't do it with much clarity, so hopefully the definition of design will adapt and become more clear. For me graphic design is progressive and making information accessible as well as looking at what you're saying, questioning why you're doing it. It's more for social benefit than for profit, or at least for both, design is for solving problems - not expanding pockets. I hope design will return to traditional values within the next 20 years, like the design of roadsigns etc, but keep up to speed with methods of communication being developed that will be less wasteful.

6. Were you involved in design pre the introduction of the apple mac?

Well the Apple Mac was released in the 80's, and I'm not quite that old. I didn't actually consider myself a designer until I finished Uni in 2007, when I got my first few commissions and I was getting more interested in type and reading more about graphic design. Before that I was just a do-er of things, visual things mainly. I guess I was involved in it, in that I was learning about it un-wittingly.

7. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

Well I guess I was just on the cusp of most development, in terms of communication. Although I didn't notice as I was just doing my own thing. For me personally I use it alot more since graduating, obviously most jobs require being sent to printers so it's necessary and always has been since I've been practicing, I guess communication is the biggest thing though. Blogs were just taking off when I finished Uni Manystuff had just started and itsnicethat was also just starting, I think they both started just before I finished Uni, which wasn't very long ago, but they've come a long way in no time at all, comparatively, well the impact of them anyway. So the only thing I can say I've noticed is the use of communication, especially things like, anyone being able to set up a website and market themselves internationally for relatively low cost, which is great and has helped my practice enormously.

Nous Vous Email interview

I've emailed some questions to Jay at Nous Vous. Their use of a lot of lofi design and production techniques makes their perspective very relvant to my design context publication.

Hi Jay

My names Angus MacPherson and in my 3rd year studying graphic design at Leeds College of Art. For my final major project I am producing a publication entitled 'Typography: Process and Product' looking at how developments in technology have influenced design over the last century. The final sectioon of the book looks at design in the 21st century or post digital design and reasons why even though it is possible to do practically anything with a computer designers still put a huge amount of energy into using manual design and production techniques.

I really admire your work and I think the way that your practice ambraces lo and hi tech design and production techniques makes your perspective very relevant. It would be brilliant if you could answer a few questions for me about these issuses.

Many thanks
Angus MacPherson
www.angus-macpherson.co.uk

1. When you embark on a new brief to what extent does the production method inform the ideas you come up with?

2. For you what is the attraction of using lofi processes in design and production like screen printing and model making?

3. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

4. To what extent do you think expertiemental and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

5. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

6. Where you involved in design pre the introduction of the apple mac?

7. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

Many Thanks Jay

Alex Bec Email

Alex Bec is one of the founding members of It's Nice That, a design blog that I check regularly, he is also a working graphic designer. I think that as a regular contributor to It's Nice That he will have a very broad understanding of design and be very aware of current trends and hopefully be able to give me some insightful answers for my design context publication.

Hi Alex

My names Angus MacPherson and in my 3rd year studying graphic design at Leeds College of Art. For my final major project I am producing a publication entitled 'Typography: Process and Product' looking at how developments in technology have influenced design over the last century. The final section of the book looks at design in the 21st century or post digital design and reasons why even though it is possible to do practically anything with a computer designers still put a huge amount of energy into using manual design and production techniques.

I am a big fan of It's Nice That (I just recieved the lovely third publication with the huge Parra print. Thank you very much!!) and I think your, obviously very broad persepective on design would make your opinion on current trends very relevant. It would be brilliant if you could answer a few quick questions for me.

Many thanks
Angus MacPherson
www.angus-macpherson.co.uk

1. When you embark on a new brief to what extent does the production method inform the ideas you come up with?

2. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

3. To what extent do you think expertiemental and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

5. Where you involved in design pre the introduction of the apple mac?

6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

Big thanks for your time

E-mail to Mind Design

Mind design is one of my favouite design studios out there at the moment. There work is incredibly creative and beautiful and they also do some large scale jobs where their work is applied across a hugs range of media. I think their perspective would be really interesting for my design context book.

Hi Holga

My names Angus MacPherson and in my 3rd year studying graphic design at Leeds College of Art. For my final major project I am producing a publication entitled 'Typography: Process and Product' looking at how developments in technology have influenced design over the last century. The final sectioon of the book looks at design in the 21st century or post digital design and reasons why even though it is possible to do practically anything with a computer designers still put a huge amount of energy into using manual design and production techniques.

I really admire your work and I think the way that you utilise such a wide range of production techniques and the way you are so amazingly creative with type would make you perspective really interesting, I would be very greatful you you could answer a few quick questions.

Many thanks
Angus MacPherson
www.angus-macpherson.co.uk

1. The identity you designed for Circus is employed across a mind blowing range of media. When you embark on a project like this in what ways does the production method inform the ideas you come up with?

2. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

3. To what extent do you think bespoke and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful foil blocked menu for example?

4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

5. Where you involved in design pre the introduction of the apple mac?

6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

Very big thanks for your time

David Pearson Email

I just emailed David Pearson to ask him a few questions for my design context pubication. He is a very talented and creative typographer and his work draws heavily on historical styles. I think this makes him perfect to interview for the final section in the book, which considers why modern graphic designers are still so interested in pre digital and lofi design.

Hi David

My names Angus MacPherson and in my 3rd year studying graphic design at Leeds College of Art. For my final major project I am producing a publication entitled 'Typography: Process and Product' looking at how developments in technology have influenced design over the last century. The final section of the book looks at design in the 21st century or post digital design and reasons why even though it is possible to do practically anything with a computer, designers still put a huge amount of energy into using manual design and production techniques and are influenced and inspired by design from a non digital age.

I am a massive fan of your work and I think your clearly huge understanding of type and also the way you use and reinterpret classic and historical uses of typography would make you perspective very interesting. It would be brilliant if you could answer a few quick questions for me.

Many thanks
Angus MacPherson
www.angus-macpherson.co.uk

1. The covers you have done for Whites books are obviously inspired by vintage books. What motivates you to draw inspiration from historical and vintage design?

2. My book is in a large part going to look at production and finish techniques and how they relate to the way a designer works. Much of your work is very simply produced and it is the concept and visual quality that that is the primary focus. Why do you personally not choose to utilize premium and bespoke production techniques like, spot varnishing, die cutting or foiling etc.

3. Do you think experimental and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

5. Where you involved in design pre the introduction of the apple mac?

6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

Big thanks for your time

Bassment Context.

My friend, Alistair, who we are doing the Bassment club night identity for, sent me through some images as a starting point for are designs. They are all black and white photos of old Ska and Reggae acts, I think they are a really cool place to start from and I'm pretty excited to work on this projct.

He also gave me a whole lot of flyers from reggae nights, like Subdub in Leeds and a few nights in York. The design doesn't really stand out on any of them but again they offer a good starting point for our designs and an idea of the feel and style we are going for.

Jack Featherstone Interview

I've been a big fan of Jack Featherstones work for a while now and I think the way it bridges so many different medias and formats makes his opinions very relevant to my deign context publication. He very kindly answered a few questions for me.
































1. When you embark on a new brief to what extent does the production method inform the ideas you come up with?

This of course depends on what the brief is. But in general the production method can have a massive impact on my work. Sometimes to the extent that the process completely takes over and the work is based solely upon ideas and experiments that come from it, as opposed to a preconceived concept that id rigidly stuck too. Usually it is a matter of starting out with a basic idea, laying some guidelines and then letting the project evolve naturally through the production method.

2. With the way graphic communication, advertising and promotion is becoming increasingly digitised why do you think a physical, printed products still hold such a fasination for designers?

Because designers are human beings and human beings like to touch and hold objects. We like products to have their own personality and this can sometimes be difficult when the product is solely expressed through a computer screen or mobile device.

3. To what extent do you think expertiemental, quirky and premium finishing techniques are relevant to non designers? Do you think the average man in the street will notice or care about your beautiful die-cut, spot varnished book cover for example?

This seems to allude to the question of whether or not design should be democratic and keeping in line with the ideas that came from the Bauhaus. Should everything you design be accessible and communicative to the average person? I think not, design should be custom and relevant to the audience it is meant for. But designers are often selfish and obsessive, so given the chance (budget) will often employ methods that seem a bit over the top, which I think is wonderful.

4. Where do you see the future of graphic communication in 20 years, how much printed collateral do you think we will still need?

Motion design for mobile devices will become incredibly important, advertising will bombard the consumer will personalized holographic messages. Think minority and you'll get the idea. Printed matter will be obsolete by then, but of course don't forget about the obsessive, selfish designers who I am sure will still produce limited addition publications.

5. Where you involved in design pre the introduction of the apple mac?

nope

6. If you were what impact on your personal practice did the introduction of desk top publishing have? If not how has the role of the computer changed while you have been a designer?

The computer is taking more control by the day, it scares me.

7. In our current climate where, typographically, it is possible to do pretty much anything with a laptop and a digital printer, why do you think designers are still so interested in real physical graphics like paper cuts, models and the use of photography and manual production techniques like screen printing and letterpress?

see answer no. 2.