(SB2) BRIEFING

DESIGN FOR SCREEN 
screen based user experience for a media of your choice

- how does brief 1 translate to screen?

- the role of communications

   --> how do I maximise the potential of digital devices? 

- use mixed media 

   --> combination of image, audio and video 

- blog development and what you failed and how you improve from the experiments 

• website
• interactive installation 
• AR
• VR
• digital book
• projection mapping 
• projections at an event 
• interactive identities 
• kinetic typography 
• immersive screen-based experience 
• film

CONTEXT

- understand the processes, technologies and media used in contemporary GD

- respond to your findings and direction from SB1 

INDENTIFY

target audience (same or diff from SB1?)

overarching aim of the project  (what are you trying to achieve?) 

the from of the screen 

I have been really interested in film making. I love watching Wong Kar Wai's productions and the way how he express everything using different shots, angles and shots really did create an atmosphere that I canThis would be a really good opportunity for me to try it out and create something that I am really interested in 

Brief title / working title

Short description of ‘design for screen’ (purpose)

Audience

References/Competition (3 titles)

Format/Production Considerations

considerations: global? 

(SB1) PLANNING

Asked Dom today about inductions for foiling, laser cut and ceramics. She is going to ask about them for us and will email us about the slot. Also booked digital print on Wednesday at 1 for testing out the stock for my book. 

FRI  try out concrete with own box

SAT edit all images to dreamy effect n try out grids and typography 

SUN Manchester 

MON 

TUE laser cut 

WED 1pm digital printing 

THURS 

(SB1) CRIT 18OCT

CRIT NOTES

• Concrete marks 
• Texture —> Scan images—> zoom into the images —> play with quality if scans —> texture  —> structures (interlocking) 
• Images in city —> grid (close together) 
• gaps (wider for the nunnery, packed for the city) 
• typography (big, long, bold —> city) 

• CONTRAST (NUNNERY VS CITY)
• need more contrast inside the book
• Play with stock (concrete texture, weight)

• ORIENTATION OF IMAGES
• Landscape for the nunnery
• Vertical for the city 

• IMAGES
• stick back cover in the box, last page would be images of the nunnery 

INSERTS

• Attaching small pieces of paper with city images on it to create contrast 

FEEDBACK 

Helena focused on the contrast of the city and the nunnery. I was kind of too focused on translating the “contrast” idea on the outlook of the book and the packaging. She thought that the contrast should also be communicated through the content of the book (layouts, typography and orientation of images). Her ideas were really useful and she gave exactly what I need as I was stuck with the content. 

Helena suggested some ways for the layout of the book. The form of the book would be the one that I did to represent the one way route idea. She suggested to stick the back cover of the book onto the box, place the dreamy images on the last page and use concrete textured paper for the other pages. She also suggested to play around with the weight of stock, which his exactly what I was thinking about, making it from thick too thin as you turn the book. I abandoned the idea, as I thought it would not be significant. However, after Helena mentioned that, I decided to try it out to see if it works. 

Also, she mentioned that I should try using more visual elements to interpret the city. She suggested to use concrete textures and maybe scan images and play around with the quality of scans. Images could be zoomed to create different textures and they could be placed in an interlocking way to show the building structure of the architecture. 

I could also create a grid from the images of the city, with a clean and organised feeling, then place images closely on the grid to create the packed structure of the buildings. The orientation of the city images could be placed vertically and in a narrow black to represent the skyscrapers. Typography could also be big, bold and long to create the suffocating feeling of the city. 

As for images of the nunnery, I could place images further away from each other or even use a pan / landscape version of the nunnery to represent the open spaces in the area. 

(501) BREIFING & TASK

• one brief only 
• 2500 word 
• any area of GD (specific) 
• focus on an area that I am interested in
• exploring 
• clear understanding of the topic 
• 20creds
• be critical and speculate 
• define your own brief 
• experimental 
• making links
• rationalising research with practical outcome
• understanding on your research 
• find my area of interest/ try smith different 
• start off with a theme? 

AIMS

• look at an area of GD that I am interested in and do research on it 
• documenting 
• analytical, critical, reflective 
• integrate your research in practical project 

OUTCOMES

• how do I show the link between the practical work and the essay 
• understanding and knowledge 
• problem solving 

SUBMISSION

1. written outcome (2500 words)
2. practical outcome (6 design sheets) *linking research and outcome 
3. blog (documentation, development and research) 

STRUCTURE OF THE ESSAY

• introduction
• critical argument (support you argument with text) 
• collect examples, cases studies 
• conclusion 
• harvard bibliography 

17/10/2019: module briefing

4/11/19: establish a brief

06/02/20: tutorials

26/03/20: submission briefing

23/04/20: module submission

INTERESTS

• typography 
• advertising 
• branding 
• publishing/ editorial 
• design for screen 

TODAY

1. write 10 words that relate to your GD practice (the way you see your practice) 

• creativity 
• research 
• primary colours/ black 
• crits 
• looking at existing designs 
• building up fundamental skills first, then develop a design style 
• branding 

2. write 10 things that you are interested in as a human 

• Hong Kong's activism 
• geography 
• fashion and styling 
• interactions of people 
• reliance on social media 
• humanity 
• films 
• trends 
• my future 
• comfort zones 
• nature 
• alcohol 
• parellel universe 
• sociology 
• philosophy 
• travelling 

3. 10 things you read about/ researched last year in PP, Cop pr Studio 

• printed publications 
• how technology is affecting printed publication 
• co-existing of technology and printed materials 
• process of publishing printed materials 

STUDY TASK 1 

crits

- sharing ideas 

- knowing how other people think 

- absorbing knowledge from others 

- organising your ideas into a presentation 

creativity 

- every individual thinks differently 

- the more you look at different people's work, the more creative you get 

developing a design style 

- every individual has their own unique style

- a mixture of things that you like 

- sometimes it might be too different that it is not generally accepted by the society 

- needs confidence 

- needs experience and time

humanity 

- selfishness 

- selflessness 

- social media is reflecting the dark side of humanity, how people are insulting each other anonymously, hiding behind fake accounts 

sociology

= 

the study of the development, structure, and functioning of human society, 

the study of social problems.

- interactions of people 

- communications of people 

- bondings between people in a society 

fashion and styling 

- take inspirations from others, try add your own elements in it to make it your own 

- people following trends without thinking if they suit them or not 

- people putting on all different luxury brands and thinking that it is trendy and cool 

- people trying to fit in and are not daring enough to try putting on things that are "different" 

how they link to a graphic design discipline??

(SB1) IDEAS DEVELOPMENT

CONCEPT
- quick city escape from the suffocating concrete city 
- relaxing to look at 

IMAGES
- dreamy and soft edited images
- comfortable to look at 

TYPESETTING
- one way route 
- starts in the beginning, ends in the beginning 

COVER
- laser cut the patterns of windows (Chinese tradition architecture) 
- green paper underneath 

PACKAGING

Just in the case concrete box idea wont work physically, I thought of another idea of using making a vacuum book. 

I was inspired by this book i found online, I think that the material used as the packaging (something like foil) gives a feeling of modernism. This could be interpreted as the hectic city of Hong Kong. With the effect of vacuuming, it could communicate the idea of how suffocating the city is. Audience will need some time to open the packaging and get the actual book out of the vacuum packaging which could represent the feeling when I visited the Chi Lin Nunnery, the feeling of slowing down, mindfulness and meditating. 

(SB1) PROCESSS AND TERMINOLOGIES

• design - indesign 
• pre-press - colour management 
• production - print methods, paper, binding 
• finishing - finaihing touches 

VERSO = back side, left side

RECTO = front side, right side 

BOOK SIZES

- how do you want the book to feel 

- could be part of the reasoning 

- constraints (conceptual, practical) 

STOCK

GSM - the higher the gsm the more weighting 

90 gsm - thin 

270 gsm - thick (soft back book ) 

350 gsm - business card

70 gsm - normal paper

= doesn't directly control the stiffness 

= only weight 

PAPER GRAIN 

- all paper has a grain 

- easier to fold, bend and tear along the grain direction 

• absorbency *need testing!!* 
• coated/ uncoated 
• print quality, print method (certain paper <--> certain production methods) 
• ink holdout 
• colour 
• weight 
• opacity 

COLOUR MANAGEMENT 

- colour on screen vs colour on print 

spot colour 

= physical ink 

= pure mixed ink 

= pantone colour system 

PRINTING AND ALIGNMENT 

LITHOGRAPHY  

- uses plates 

- layering basis 

- "offset" lithography 

- screen printing like 

Pros

- high quality print 

- high print run 

Cons

- expensive 

- high print run 

DIGITAL PRINT

= inkjet, laser 

Pros
- Fast turn around 
- Fast set up
- One off jobs 
- Flexibility - testing

Cons
- Slightly lower quality 
- Cracking in folds
  --> how to prevent? 
depends on the paper stock 
try methods of folding 
leave a bleed 
*screenprinting, letterpress won't crack*
  --> inkjet - might crack a bit 
need testing 
- More expensive for higher quantity print runs

LETTERPRESS

- relief printing 

- raised surface which is inked 

SCREEN-PRINTING 

- low print run 

- one offs 

- colours (spot colours) 

RISOGRAPH (Fred Aldous, Footprint) 

= screenprinting in a box, uses wet ink

- high print run (super fast) 

- low set up costs (depends on how many colours, layers) 

- little environmental impact (soil based ink) 

- colour (layers) stock 

- uses spot colours, set colours 

- layering system (mix colours within the layers) 

*at least 10-20 copies of same image*

BINDING (PLAY AROUND WITH COLOURS)

SPRIAL BINDING

- wire, plastic

- threads through holes at the side of the book 

- relatively cheap

- book can be completely opened 

WIRO BINDING

- clamps around the paper 

*double open book? 

SINGER STITCHED

ELASTIC BANDS

- things that could be rearranged 

- no fixed bind 

- no fixed page numbers 

* special elastic band 

CASE BOUND

PERFECT BOUND 

JAPANESE STAB STITCH 

COPTIC STITCH 

PAMPHELT STITCH 

SADDLE STITCH (digital print room) 

- no stitching at all 

- uses staples/ wires 

- long staplers 

- loop staples for binders 

BINDING RINGS 

BELLY BAND

- a piece of paper that wraps around the book 

BOLT BIND

- Put a hole on all pages and put the pin in 

GATEFOLD 

- opens on both sides

- cannot trim the sides when you fold 

THROW- OUTS 

- opened on one side 

TIP-INS

- attachment of a single page (attached into the book)

- different stock, size, colours 

- easier down by hand 

TIP-ONS 

- temporary 

- attached ON the book 

- able to take out and add in 

*memory, disappearing* 

FINISHING 

FOIL BLOCKING (heat pressed) (library) 

EMBOSSING 

= raised surface 

DEBOSSING 

= indented surface 

DIE (digital print), LASER, KISS CUTTING 

DUPLEXING 

- bonding diff paper stock with different textures or colours on each side 

*embossing, debossing, business cards*

LAMINATE

VERNISH (digital print) 

- colourless layer (use black on a separate file) 

TRIMMING AND GUILLOTINING (book binding) 

- finished edges 

*set bleeds and crop marks 

(SB1) PREP FOR CRIT

1. [COVER] 
wood cover
- laser print the silhouette of the nunnery 

wooden box
- sliding lid 

symmetrical front and back cover 
- spine acts as the axis of symmetry 
= communicates the idea of the architectural building method of the nunnery area

2. [STOCK] 
weights of paper will go from heavy to really light from the outer to the inner (middle) 
- from hard to fragile 
= communicates the idea of the Nunnery having really rigid lines on the outside (archi) and soft lines towards the inside (ponds and bushes) 

3. [TYPESETTING] 
typesetting goes in a one way direction
- the start is also the end 
= communicates the idea of the one way route of the area, starting from the beginning and the finishing point is actually the starting point 

4. [PRINTING METHOD] 
use embossing for the instructions
- both visible and invisible, u can't see it, but you know it is there 
= communicates the act of naturally behaving really serious without visible signages telling us not to do this or that 

5. [FORM] 
concertina? 
- ends at the beginning 

= communicates the one way route of the area

- + shape

= shows the bird view of the nunnery area 

square book? (150cm x 150 cm)

- regular

- following rules 

6. [BINDING]  

perfect binding with hard cover

- no sewing and threads 

= communicates the idea of using no nails used when constructing the architecture  

7. [TEXTURE] 

- emboss texture of wood onto paper 

= both fake and real, artificial 

(SB1) TYPESETTING

TYPESETTING
= composition of text by means of arranging physical types

READING PROCESS
- our eyes spring jerkily along the lines = saccades 
- alternate with fixed periods lasting 0.2-0.4 seconds 
- info is only absorbed during the fixed period 
- 3-4 letters of each word are focused on sharply 
- if the sense of the text is not clear, the eye jumps back to recheck 

TYPOGRAPHY ELEMENTS 

1. the letter - design of the individual characters 
2. the word - how the glyphs fit together 
3. the line - combination and arrangement of words in a body

TYPOGRAPHY PRINCIPLES

Hiarachy 

- some messages will be more vital than others in every communication 

- A hierarchy of different type sizes, styles and weights can be used to denote the de- gree of importance of each individual line.

Alignment 

- left aligned 

 = ragged right edges 

 = easy reading and typesetting 

- justified text 

 = look clean and classic 

 = if carelessly set, might look distorted and hard to read 

- centres & right aligned 

 = not commonly used, difficult to read 

The rag/ ragged edge

= irregular or uneven vertical margin of a block of type 

--> in, out, end 

Paragraphs 

- affects overall look of your text 

- for greater control 

1. indented - first paragraph does not have an indentation while the first line of the following paragraphs are indented 
2. full line break - a full line break to separate paragraphs 

Letter Spacing: Leading 

= distance between the baselines 

- hand typesetting, letterpress - strips of lead were used to increase vertical distance between lines 

- bad leading - ascenders and descenders almost touching, lack of white space 

- for body copy, should be slightly bigger than the font pt size, increased/ decreased proportionally 

Letter Spacing: Tracking (-40, +40)

= amount of space between a group of letters 

- readability decreases when negative tracking is applied 

- wide tracking opens up the type, airy feel with white space, can become less legible if used in extremes 

Kerning & pairs 

= process of adjusting the spacing between individual characters to achieve visually pleasing result

- overhangs 

Hidden characters 

= returns, spaces, tabs 

= only shows when you have "show hidden characters" turned on 

- useful for finding double spaces and unintentional line breaks 

Line length 

- comfortable line length = 40-75 characters, 7-12 words 

Windows and Orphans 

= lines or words left hanging or separated from a complete block of text 

- use tracking and line spacing to remove 

Grids 

- Raster Systeme: Josef Mülle-Brockmann

--> 8-32 grid fields which can be adaptable to the design 

- most important yet most invisible part of design and typography 

- keep organised and control appearance 

Rivers 

= gaps in typesetting which run through a paragraph of text, sue to coincidental alignment of spaces 

- turn a proof sheet upside down to test for rivers 

- disadvantage to justified text 

Baseline grid 

= aligns all text to a vertical grid, like writing on a lined paper, regardless of type size, weight, style, spacing

Hyphanate/ not

= process of breaking words between lines to create more consistency across text 

- mandatory in justified text 

https://estudio.leeds-art.ac.uk/pluginfile.php/43441/mod_resource/content/1/Typesetting%20Guide%20504%20Design%20Production.pdf

(SB1) LETTERPRESS INDUCTION

The letterpress induction went on for 3 whole hours. It took us the whole morning doing letterpress and I personally think it was worth it. Letterpress requires a large amount of time for preparing and setting up everything for printing. 

- Thins, mediums, and thicks, were used to squeezed into empty spaces so that the sentence would fit in to the frame. 

- Slugs were used to align each sentence to make them parallel to each other. 

The printing process is basically spreading ink onto each letter. The paper would sit on top of the letter and when pressure is added onto the paper, the ink will then print on it. This printing process did not take long. The only thing to be aware of is the amount of ink that you use, as it directly affects the texture of the letters of your final product. 

Our printing outcomes. They looked pretty nice. The amount of ink was abundant and the prints look professional. However, some edges of the letters might but cropped. This is because of the moulds that have been used for decades and some of them might be worn out. This makes letterpress not perfect, but I think this is what makes the outcome special and unique. Digital printers will never produce effects like this. 

(SB1) 6 PEOPLE 1 WALK

TASK
go on a journey in a group of 6
translate the journey into the book form
no content is needed, focus on form and materiality 
- title of book
- size.. how many pages
- stock
- cover
- format/ bind 
- layout (grid)
- orientation of book 
and why?

*readers' experience 

ROUTE
From Leeds Arts Uni to LUU Student Union 

WHAT WE THOUGHT OF
- using a pamphlet stitch for the spine 
- use tracing paper for the last half of the book cuz it drizzled when they headed back. However, suddenly changing the pages from normal paper into tracing paper would not look nice, therefore we decided to just stick the tracing paper on top of the last few pages .
- took 36mins for the walk, we decided to make the book in a concertina form to show the "never ending" like journey. the concertina form also shows how dull and regular it was to walk from uni to the union, nothing really happened and the walk was really stable. 
- as the walk was 1.13km we decided to scale the distance down into 113cm for the size of the book 
- for the paper stock, we decided to use neutral tones for the stock. The colours are easy on the eye but still easy to look at
- 36 folds 
- make it really boring and dull
- pages are not in the right order cuz people were walking in different directions and gave the walk a really messy feeling (too hard to read) 
- overlapping images to show how things were jumbled up during the walk
- off white smooth plain paper 
- make the book really small in size to look like a handbook and easy for carrying to school 
- Dom suggested us to make the concertina extended into different directions to show how people were walking in different directions - 10cm x 10cm squares for linking them to different directions 
- make a turn at every 113cm 
- 22, 10, 3

---------------------------------------------

OUR WALK
Our route is from uni to the LUU student union. As I needed to attend the embossing induction in the middle of the walk, I only participated in half of the walk and then I headed back to uni for the induction. Anyways, we talked about the walk after the induction ended and my group mates provided a lot of descriptive information 

KEY POINTS
- dull
- cold
- a lot of different people passing by 
- drizzled a bit when they headed back from the union 
- 36 mins walk 
- walked for 1.13km

COVER
For the cover, we decided to use a hard cover to make the final outcome look more refined, as the concertina might be too messy to look at and too fragile to hold. 

FORM
The form of the book is a concertina that pops out from different directions. It is to communicate the idea of different people walking from different directions. Also, when audiences unfold the publication, they will have to put a little bit of effort in reading it and that correlates to the never ending feeling of the walk. 

LAYOUT OF IMAGES/ TYPESETTING 
For the inside of the book, images would be placed really close to each other and text will be overlapping on the images. This way of placing text and images is to show how busy the roads were when we walked by and how people were waking passed by each other in all different directions. 

STOCK 
As for the stock, we decided to add tracing paper on the last few pages of the book. This is to visualise the rain of the last part of the walk, showing our visions when it rained and everything looked blurry. 

THE FINAL MOCKUP
- 36 folds
- concertina form to show the continuous and never ending route (A turn in every 1.13cm) 
- concertinas in different directions show people coming from all different directions 
- tracing paper at the back to show it rained when we were heading back 
- made it square to show how regular the route was 
- packed layout and text to communicate the jumbled up feeling