OCOC BLOG


Designs on your time

At OCOC'17 we had an icebreaker design class for the second time. This is always good fun and has multiple purposes. Not only does it get everyone going back to basics looking around them and loosening up their design eye, but it also gets everyone familar with the college surroundings and looking that little bit closer. 

In 2014 the goal was to make mini moodboard and design for the paper doll.

In 2014 the goal was to make mini moodboard and design for the paper doll.

In 2017 we had sketchbooks featuring croquis designed by Marianne Faulkner of Pop Antique who was also running a fashion illustration class. And, coloured pencils in the welcome bag courtesy of Foundations Revealed.

In 2017 we had sketchbooks featuring croquis designed by Marianne Faulkner of Pop Antique who was also running a fashion illustration class. And, coloured pencils in the welcome bag courtesy of Foundations Revealed.

Jesus College is a truly lovely place. From the 15th century onwards architecture to the stunning gardens. There is plenty of structure, colour and texture to look at. Oodles of inspiration. We are lucky enough to have access to the Chapel as well as Hall and the lovely quads, but this time I think the lovely weather mean the gardens won. Especially good, as we were concentrating on colour this time.

Colour was a focus this year and the glorious flower borders around the quads gave lots of wonderful inspiration.

Colour was a focus this year and the glorious flower borders around the quads gave lots of wonderful inspiration.

The twisted vines and branches was a popular focus. Several attendees spotted these.

The twisted vines and branches was a popular focus. Several attendees spotted these.

The reason I came up with the class initially (before the 2014 conference) was because I feel social media means we spend a lot of time looking at each other's work and that corset design was getting very inward looking. New corsetmakers (and not so new) were starting to fall into the trap of unintentionally creating pieces that looked like the current favourite makers. I was beginning to find it hard to tell whose work I was looking at. Yet it was clear there was huge talent there. Personally I love the design process, gathering source material and refining it. I wanted our attendees to remember how much fun that is.

Some very cool designs took form.

Some very cool designs took form.

I find it totally fascinating going round the room and seeing what our attendees have focused on. They see things sometimes I've never even noticed despite being in the college a fair number of times now! Now if we could only get to see some of the ideas made up! But there's always more ideas than time!

Design For Print - General Printed Materials

This article first appeared in Foundations Revealed in 2013

So,  we covered basic logo design last time. In this article I’m going to look at general artwork requirements. The sort of stationery you’re most likely to use and how to prepare artwork for it and also how you should approach press ads etc.

A wee reminder of my background before corsetry took over. After a year or so work experience in an ad agency and a design consultants  I qualified with an HND in Design for Print. This was way back in the early 90s when Macs were tiny and we still used floppy discs and type scales. I then started work for a newspaper publisher as a Mac operator and then carved out my own niche as graphic designer which then led to a small design department until centralisation and redundancy gave me my exit. By then I’d had enough of sitting in front of a Mac screen.

Ok, I’m assuming you now have your logo and you’re happy with it. It’s all nicely designed and you have a few versions tucked away in a folder to draw from for different applications. But a logo isn’t much used without something to put it on, and we can’t do all our promotion and contact on the web.  Sometimes we need something more physical and tangible.

What do you need then.
Well first and foremost the basic is a business card. Even if you use other material for customers you’ll need business cards for networking and just generally tucking in your pocket or bag just in case. Also design it cleverly and it can double as tag!

Letterhead.
All you need is a simple design on A4 with your full details (website, registered address, phone number, email)

Promotional literature:
postcards, leaflets, brochures, flyers, posters, banners and pop-up banners. All can be as simple or as elaborate and you desire (and can afford).

Other items such as labels, packaging, tags.
Some of these you can so yourself if you have a decent home/office printer. Others are simply logos applied to different materials so really only require a good vector logo as covered last time.

Successful business cards
A business card has to do a job first and foremost. Like any piece of graphic design, it has to get the message across. In this case it’s who you are, what you do and how you can be reached and, very importantly ‘remember me’. If you do a google search you’ll find sites full of amazing and innovative business cards. Some are very successful but some are totally impractical. For a start I’m assuming you’re working on a fairly tight budget, well complex cuts, textures and fabrication cost money. Also you have to think about retention. A fancy shape might not fit in a wallet so just gets thrown away, or a design might result in a card so fragile it falls apart quickly. I’ve also thrown away cards picked up at networking events because I haven’t a clue what the company actually does because the card is so obscure. Thing is that business card is doing nothing for you from the bottom of the bin. 

You do want your card to look good and also feel good. A lot of the perception of quality comes from touch so a nice strong, stable card with a pleasant texture is going to say more positive things about you than a thin flimsy thing from a ‘print your own business cards’ machine on the station concourse!

I opted for a double sided card. It costs a little more but the addition of a small image on the back really adds something I feel.  I still have lots of white space on there though so I can write on it, something to think about before designing a dark, dense double sided card. I also punch a hole in the corner thread a ribbon through and use the back for fibre and cleaning details and it magically becomes a tag with my full details on it.

Lovely letterheads
Letterheads are fairly self-explanatory. Again think about the paper you use. Standard printer paper is fine for most things but keep some heavier weight paper or perhaps a classier plain or laid paper on hand to give a classier result when needed. I don’t think many small businesses go to the expense of having letter-headed paper printed these days. Home printers are such good quality now that you can get perfectly acceptable results as long as you use nice paper. Have all your relevant details on your letterhead. You must have your registered place of business. Treble check your spelling, something you should do with everything (but if anyone spots an error here keep it to yourself, nobody likes a smart alec haha!) and again, as with everything, pay attention to your choice of typeface. Once it’s set up you can use it as a basic frame for your invoices, contracts and all you general stationery. You can also think about Complement slips when you’re doing that.  Or you may want to use a postcard or card for that. So that’s your basic corporate identity package dealt with.

Promote, promote
I’d say most of us get most use of the small promotional materials like postcards and flyers. As soon as you do a wedding show or any type of selling or promotional event you’ll need something to hand to people. Personally I like postcards as I think people keep hold of them longer. Pick a really nice photograph of your work, add your logo if you wish and keep the text on the back.

Flyers can have a bit more info and perhaps more images. But don’t over clutter.  Then next steps up are leaflets and brochures. Anything from a simple folded sheet up to complicated multi-page affairs can be done but I’m assuming it’s most likely to be the simpler options at the moment. If you do decide to have a lookbook printed up then I’d strongly suggest getting a professional in as it must look classy and professional and you don’t want money wasted because of a simple error.

Up and up and up
Posters, banners and pop-up banners are all useful. Pop-up ones that spring out from a cylinder to give you a tall, narrow, self-supporting sign are ideal for wedding shows etc. They’re also fairly reasonable to have printed.  This is when the vector type I was talking about last time comes into play as you need that type to scale up substantially. Also this is when keeping file sizes manageable gets a little tricky as you need to supply a big enough image  to use at this size without degrading. However the printer will give you guidelines as sometimes it can be surprising. I’ve designed large format posters in the past such as billboards and trackside boards and they are surprisingly low resolution as they’re intended to be seen from a distance. However ideally you still want your type to be vector.

Designing for printing.
The basic rules for all these media are the same.

  • Ask the printer for specifications. They’ll tell you what resolution they need images to be, what file formats they prefer. They may even provide you with a template to drop your artwork onto. If you don’t want to they’ll even design it all for you, for a charge of course.
  • Check your spelling. Nothing says unprofessional like spelling errors and bad grammar.
  • Make sure your images are big enough. You’re looking at images being around 300dpi at actual size in most cases but that takes it back to rule 1. Postage stamp sized images will stay postage stamp sized and remember what looks fairly big at 72dpi on your computer screen will be much smaller at print resolution.
  • Keep it legible (I know I banged on about that one last time, but it’s no good to you if nobody can read it).
  • Embed or outline your fonts. As discussed last time, you can’t rely on sending the font to the printer. If they’re anything like my old company we were strictly forbidden to put an outside, unofficial font on our Macs.
  • Add bleed. The printer will tell you how much and if there’s a provided template there will be an indicator of it. Basically bleed just ensures that your background or image covers the full area if you want it to. Without bleed there’s every possibility a sliver of white could be left at the edges.
  • CMYK!

Template showing - from outside in - bleed, trim line and the safe margin for types. The dotted line is a fold line.

Now you may find when you price up printing for promotional items that your confronted with two price options. One for digital printing and one for litho. Digital printing works best for short runs but if you require a lot of flyers for instance then litho may be cheaper. Offset litho is the method used for large run print jobs such as newspapers. The set up is complicated and expensive as plates need to be made up and the press set up with ink for each colour. And although computers have eased this it’s still more involved than digital. However once the set-up is done thousands of copies can fly off the press. It’s therefore far more cost effective for large runs.

Advertising!
This brings me rather neatly to dealing with newspapers and magazines. I worked for years in newspapers and part of my job involved setting adverts for customers. We designed and laid out the ads for everything from tiny 3x1 ads to full colour double page spreads. Those customers weren’t charged any differently for a fully designed ad than if they sent their own artwork in so consider that if you’re thinking of putting an ad in and aren’t very comfortable with doing the artwork yourself. But do bear in mind the quality can be very variable and with departments shrinking and becoming more pressured and more mechanised you may not get the same quality of service as once existed. But it does make life easier for you, and I have to say, often for the pre-press department too. In my years there I’ve seen logos sent in on crushed carrier bags, and with the usual pen marks and staples through them, pictures sent as the 3k link thumbnail instead of the full image (that was a common one) and so many variations of horrendous ads done in randomly inappropriate software packages (and I include Word in that) that we just had to pull apart and re-set anyway.

When you send in artwork it will probably go into a dropbox to apply standard actions on it to colour correct it for the newspaper’s settings. It will then go through another computer  before it goes to film and then to plate. With increasing computerisation and fewer staff it’s entirely possible a font will default or a mistakenly RGB picture will turn black and white. These things don’t always get noticed so be very careful in your checks before sending it in and check required specifications before you do (they will have a spec sheet with everything on it).

Here are some things to look out for:

  • Print resolutions can be anything from 200 to 340 dpi. Our newspapers were 200dpi. your images must be the appropriate dpi at actual size. Too small and they’ll turn to blurred and pixelated smudges. Too big and you’ll cause yourself unnecessary difficulty in sending it.
  • Papers are printed on low quality paper which can experience ‘dot gain’ where the ink dot spreads making it less legible. You can often set your photo-editing software to allow for this to some extent but it’s crucial that you’re careful about type size. We had a minimum of 6pt in most typefaces but you could get away with 5pt depending on the font and how important the content was.
  • Right hand pages are always the most desirable.
  • Be very, very careful about images and graphic elements. DO NOT use anything you don’t own unless it’s clearly marked as free to use.  You might think nobody will find out but believe me the big companies do. It’s amazing how some US conglomerate can track down an image in a tiny ad in a  local newspaper in a small Scottish town. I’ve seen it happen (coughcoughDisney).
  • Don’t expect magazine quality from a newspaper.  Colour and clarity may not be quite true, the printing plated may be slightly out of register and sometimes ink transfers between pages. If it’s very bad you may be able to push for a free ad but basically don’t expect too much from newsprint. Magazines on the other hand will be printed on better quality paper and more time will be taken in the production therefore quality should be higher generally.

Here’s a good wee example of a slight problem. The Kris Kristoffersen ad hasn’t quite taken the mediun into consideration in that the type is dark with poor contrast to the black background. On glossy magazine paper this would probably be fine but on newsprint, not so good. It gets away with it here because this is a quality broadsheet printed on good paper but on a cheaper tabloid it would be a difficult read. The Primal Scream ad is a better design for a newspaper.

Images for editorial
If you’ve been asked to supply images and copy for editorial then the principles are just the same. Make sure you have good quality images at a high enough resolution.

I hope I’ve been of some help. It’s a big topic and I can only give a broad overview here. But I hope I’ve been able to help you avoid the most common pitfalls.

Design For Print - Logo Design

This appeared as an article in Foundations Revealed in 2013, so I've slightly updated it to share with you.

For anyone going into business the first thing you think about is your name, and subsequently that name in any visual form becomes a logo.  Now, we aren't talking here about branding as a whole, which goes into the full theory of presenting your public face to the world. I’m here to help you with the practical. I’m assuming some basic familarity with a graphics program, no matter how elementary. I’m most familiar with Illustrator but I’ll keep it nonspecific as software use isn’t the point of this.

Some background. Before concentrating on corsetry I was a graphic designer. I worked for 18 years in the newspaper industry and before that did some of the manual  junior work in a couple of agencies. I astarted in graphics when it was still letraset and repro cameras, and Apple Macs were  mystical rare things that lived in darkened rooms.  As someone who has seen the profession undermined by the prevalence of home desktop publishing packages, I would of course say to use a professional when you can but I appreciate it isn’t always possible. However most printers will offer a design service and if you’re advertising in a magazine or newspaper then they should too. However I’ll go into advertising, brochures and so on at a later date. For now we’re talking logos. 


Why do you need a professional looking logo? 
Peers, professionalism, seriousness, quality
It’s more than likely the first thing you see. It’s a representation of you, your brand in black and white. People have to read and remember your name from it, so it must be legible (something I’ll be returning to again and again). If it’s shoddy, broken up, unprofessional then people may very well think you are too.

What do you want to say about your brand?
Demographics, colour theory, typefaces
 won’t dwell on the psychology here. But have a really good think about who you want to attract and how you want to attract them. Your choice of typeface is crucial, as is colour. A heavy, blocky face or a slab-serif is masculine and aggressive. A script can be feminine and soft. It can be elegant or casual, even punky.

Colour, letterspacing, rules and other graphic devices all make a difference. Conservative and classic, young and fun, gothic, historical, alternative, fetish can all be suggested with font and colour.

These say very different things (not all of them good)

What to look for and what to avoid
Gimmicks, bad fonts, bad typography
There are simple rules to good use of type.
Keep it legible
Use novelty fonts with care.
Never use display/fancy/script fonts in all uppercase
Don’t mix lots of fonts.
Try to keep within one or two complimentary font families
Oh yeah, and legibility again
Rules are made to be broken (requires skill and care)

The golden rule is legibility. Your logo is useless if it’s unrecognisable.

There are countless fancy fonts, and many of them are very eyecatching. But approach with care. Not only are you risking the legibility factor, but the fancier the font the shorter the lifespan and the more risk of it looking amateurish. Many of these fonts can end up looking twee or childish. They can summon up images of tacky shop signs, that downmarket hairdresser round the corner or the worst internet excesses of the MySpace pages of old. Of course a clever designer could employ them with tongue in cheek irony and make them work. That’s a tricky gamble though. For most of us it’s better to underplay things. Maybe use that novelty font as an initial or a monogram and then something simpler for the remaining lettering.

And of course – 

Also be very careful with how you handle that type. Don’t stretch or squish fonts. Somebody has spent time carefully crafting the design of every one of those characters. You distorting that font would be like someone taking your corset design and chopping a bit off it.

While we’re on fonts, check out the licensing. When you download a font there will be a read me or a doc with it detailing the allowable usage. If you download from one of the very many free font sites on the web there’s a fair chance that the originator will have specified non-commercial use only. If you’re in any doubt pay for your font. There are decent free fonts about but just check out the usage carefully. This is your business, don’t start it off on a wrong note. You can of course use one of the standard fonts on your computer. There’s nothing wrong with the classics like Times New Roman. They aren’t world shaking but, like a painter using a limited palette, restrictions can make you more creative. And if it sends the message you want to send then it’s perfectly appropriate.

Spaces and refinements
Spend some time on the details. Rattling off a word in a typeface can lead to some odd letterspacings, especially in script typefaces and between certain characters.

This font was typed straight in and obviously that gap after the F has to be closed.

If you find manipulating individual letter spacings using the character tools tricky then try outlining your type (as discussed below) and moving the individual letters point by point until they’re perfect. I usually resort to the old squint through half closed eyes trick to judge it.
The other thing to watch for is letterforms with ascenders and descenders and be very careful to avoid clashes.

To make this work all I did was move Crikey to the right and down so the y and h interlocked and made the C and the A a little bigger and shifted them slightly. A quick tweak but it sorts the clash of characters out and makes a feature of the interlocking ascender and descender.

Try to find a pleasing balance between the various words in your logo. Play around with sizes, perhaps enlarge an initial letter. Fit smaller type in suitable spaces and pay careful attention to lining things up.

Don’t rule it out
Don’t undestimate the effect of basic graphics like lines and boxes, or as one of my old tutors said, recto-linear frameworks! One of my favourite designers was always Vaughan Oliver and as I was at college in the early 90s the curved box he tended to favour often crept into my work. Pixies album covers were a big influence!

Adding pictures
Small illustrations, whether realistic or abstract can be very effective but be very aware of how they work at different sizes. Be wary of small detail that will vanish at a small size or on a rougher paper. And make sure it is perfect and sharp or it will look dreadful at a large scale.

The technical considerations
Reproduction in mono & colour, scaleability, 
In these days of web centric design it’s easy to forget about print limitations. But you’ll get brought up short if you want to put an ad in a local free paper or take out an ad in a programme or fanzine where the budget isn’t stretching to full colour printing.

I was always taught to design a logo in mono. A good design should work on the simplest terms. Think of someone photocopying a page with your name on it. You would want your logo to be readable, to hold up even on a low quality black and white image. So design something in mono then add colour later so you have both options. Keep things clean and, that word again, legible. Having a set of logos to hand - mono, one colour, full colour – means you have something ready for all print eventualities.  I’d also suggest having copies in a spot colour, CMYK and RGB. But more on that later.

Vector v Raster
Why does it matter, what does it mean

In the most simplistic terms – vector images are mathematical patterns of lines. Raster images are made of dots. Programs like Illustrator use vectors and mean your logo could be scaled up to the size of a building with no degradation. But a raster image is restricted by the number of dots per inch. Photographs are raster images and if you enlarge them too far you’ll end up with something akin to a pop art image of huge dots. With vector images you don’t have to worry about resolution, with raster you do.

Enlarge a vector and you get this:

 Nice and clean and will work on a business card or a billboard.

Enlarge a raster image too far you’ll get something like this:

Image I don't.jpg

Pretty self-explanatory.

So, for a logo we want vector. When you see paths with the little clickable points in a program like Illustrator then you’re safe, it’s vector. That also goes for any image graphics you have as part of your logo, like a scroll or small illustration. 

Now obviously for web use things change. You’re dealing with pixels on a screen rather than print on a page. You have to save in formats that will suit the site you’re uploading too. So don’t worry about vectors in that instance. You’re saving to screen resolution, equivalent to 72dpi, usually to a specific size to keep the file size low.  

Preparation for print
You have your beautifully designed and perfectly honed logo and now you want to save it to send to your printer to pop on some business cards for you. 

Outline your type
No printer has every font ever made and to supply him with the font is illegal, unless it’s a completely free font of course. But it’s unlikely he’ll want to install every random font and in a larger company they won’t permit it. If you send a logo and they don’t have the font it will default to an ugly, mis-spaced screen font. So, make sure it’s converted to paths. In Illustrator, it’s under the type menu and it’s ‘create outlines’. 

Colour
There are three options. For screen use we work in RGB, the light primaries of Red/Green/Blue. If you’re putting something on the web RGB is perfect. 

But RGB will produce odd results when put through some printer’s software. The colours might go a bit odd or it might change to black and white. For print we work in CMYK, which is the ink colours of Cyan, Magenta, Yellow, Black (K being used to avoid confusion, stands for ‘key’ or some printers will tell you it stands for kohl). For full colour work a plate Is created for each ink colour. On a basic job the paper is white. This is why a one or two colour print job is cheaper than full colour with traditional print methods. And also why all the cost is in the set-up and it’s cost effective to print high quantities. For small print jobs though, it’s often digital print rather than the traditional offset litho.

On the left, RGB and CMYK on the right

The other alternative is spot colour where  a specific ink colour, such as a pantone colour is specified. A spot colour is also the format if you want a metallic ink, or a varnish (glossy area on an otherwise matt job). When the colours are seperated out (literally) to make plates, a seperate plate is made for a spot colour, varnish or special ink.

Case study.... Me!
This is the logo for my company Crikey Aphrodite. I’m thinking of changing it soon but this is how it stands for now

.I’m very influenced by mid 20th century fashion so I wanted a typeface that looked rather retro and feminine so I chose Ribbon 131. I wanted a script but to maintain legibility. My name isn’t always easy to spell for some people so I wanted to avoid fonts that didn’t have a clear ‘r’  as many script faces don’t.

Below are a couple of images showing my logo on different mediums. It’s used on business cards, postcards, vouchers, banners, a rubber stamp and I have it set up on my embroidery machine too. A good logo should be versatile and work for you.


Please note, none of the font combinations in the article are proper refined logos, merely examples to show the pitfalls and give you food for thought. Play around with typefaces, think about what you want to say and have some fun. Look at other logos and think about how they link in with the business. Make a note of the things you like and what appeals to you. 

I hope this is helpful to you. I’ll be putting another article together on designing other promotional material and things to look out for when submitting to publications which will be along soon