FRIENDS OF LETTERPRESS Design Project 1
Student Ananya Post-Graduate Graphic Design ananya@nid.edu
Faculty Guide Tarun Deep Girdher Senior Faculty, Graphic Design tarundg@nid.edu
REFLECTIONS ON PRACTICE
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CONTEXT
There was a time when Print Labs was the cornerstone of NID. The staff did award winning work and constantly pushed boundaries. But as graphic design became more and more digitally driven, Print Labs began to lose its relvance too. The current scenario is such that students only ever go there to cut paper or bind notebooks (or worse, as a passage). Most students are completely unaware of the rich resources available there and their potential for exploration. NID is the only design institute in India to have an operational letterpress setup. The origins of printing lie in letterpress and though the technology is obsolete commercially, the possibilities
of the medium are limitless, and so are its benefits. It is a very efficient medium of short run printing, uses minimal power, its tactile feel and human engagement is unmatched by any other form of printing, not to mention its an extremely fun activity. A strong need is felt by the student community of Graphic Design for a revival. Hands on learning needs to be brought back to graphic design. Its time to get off the computer and get our hands dirty. And what better to kickstart this initiative than letterpress printing.
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INFORMATION COLLECTION
There were 5 basic parameters of collecting information. 1. WHAT - understanding the subject content 2. WHY - understanding the objectives 3. WHO/FOR WHOM - understanding the target audience 4. HOW - understanding the processes involved 5. WHEN - understanding the current scenario
Information was collected both through secondary sources as well as conducting interviews with primary users. Secondary research helped me understand about letterpress, the process, the current scenario the kind of work produced, efforts for revival of the medium. Primary research revealed the perspectives of the people who use this medium today for commercial purposes.
1. INDIAN TYPE FOUNDRY ITF is the only remaining type foundry in Ahmedanad where one can buy metal type. Arvind Patel, the owner reminisces of the glorious days of letterpress when the craftsmanship was valued. Today however it is considered as nothig more than scrap. He has moulds to make gujrati type which is impossible to find today and a huge collection of books and work done on letterpress. But for him the future looks bleak as the future generations of his family will not carry on his family’s legacy started by his grandfather.
2. KANSARA BINDERS At Kansara Binders, the story starts on a happier note. They have cases and cases of type. Although it is only used for hot foil stamping, the technicians are not at all worried about its extinction, in fact they say that it is irreplaceable. The technicians not only handcompose the type themselves, they are also quite adept at designing the layout of the entire page. All the latest technologies are available but letterpress still has its own palce and faces no competition.
3. PRINT LABS, NID NID, the premier design institute of India, has an operational letterpress setup. There is a proofing press, a hiedelberg traedle press and four complete typecases. This is quite unique as no other design institute can boast of such rich resources. But the presses just sit there gathering dust, while students walk by blissfully unaware. The only time it is used is when a demonstration happens for the Graphic Design students or a student takes it on as a project.
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3 INSIGHTS & ANALYSIS
PROJECT PROPOSAL
EVOLUTION OF LETTERPRESS
INFORMATION COLLECTION
KEY INSIGHTS
A basic mind map was prepared to analyse all the information collected. A number of interesting insights emerged from this process. A study of existing clubs told me that they are passive in nature, however the club that this project requires would have to be hands on and activity-oriented. Also the overall onjective is
INTERVIEWS
STUDY OF CLUBS AT NID
LETTERPRESS VS. DIGITAL TECHNOLOGY
BASIC CALENDAR BREAKDOWN
not so much revival of letterpress but its reincarnation. The idea is to explore its possibilities in today’s context. Interviews of senior students and masters of letterpress revealed that its knowledge will have immense academic benefit for students since all the fundamentals of good typography lie right there.
4 REDEFINED PROJECT BRIEF+DESIGN CRITERIA On the basis of the insights and analysis from the information collected, the project brief was redefined to make it more focussed. The design criteria also began to emerge at this stage. I realised that the most suitable method of achieving the goals would
be to establish a student driven club to organise workshops on letterpress. Now the operational sysytems for the same needed to be designed. Hence the major objectives of the project are as below -
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Creating a space (an activity-oriented communitycentric club) for sharing ideas, stories and engage students in a medium of hands on, extra-curricular, inter-discplinary learning.
Encouraging experiments in relief printing and revive and reinvent the medium of letterpress printing and promote it as a fun, hands-on activity.
Changing perceptions of PrintLabs and utilise the existing resources available in PrintLabs effectively and providing a platform to people (who are masters of the medium) to share their experiences.
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5 CONCEPT EXPLORATIONS
Once the design criteria became clear, various concepts were explored for setting up the club. Different operating models and their pros and cons were deliberated upon to come up with the ideal one that would be most appropriate for the club. Also what kind of activities and workshops the club would organise were considered. The structure of the workshops was clearly outined along with the costings and logistics of the same. The stakeholders as well as the different sources of generating funds
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OPTION 1 - Accordion fold book This would be an interesting option. One side can contain all the information while the reverse may be used for notes. However production may be a little difficult. OPTION 2 - Single page book The production is quick and easy. It also serves a dual purpose wherein the first three folds can have the information and on opening it can be a poster.
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were also looked into. Finally what kind of merchandise the club would produce and what would the participants be given was also explored. The idea of producing small cards using rubber stamps seemed promising. Also making limited edition prints and notebooks for sale was considered. Below are the different options for the welcome kit for participants.
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OPTION 3 - Centre stapled book This is a simple and straightforward solutionwith easy production. A different book can be made for each workshop according to requirement. It can contain informattion with blank pages. OPTION 4 - Folder with loose leaflets Production is easy and it is customisable, where the same folder can be used for all workshops by just changing the leaflets inside. However sheets may be lost easily since they are loose.
RASCI Model is a responsibility assignment matrix and describes the participation by various roles in completing tasks. RESPONSIBLE - Those who do the work to achieve the task. They also ensure that it is done as per the approver. ACCOUNTABLE - The one ultimately answerable for the correct and thorough completion of the task, and the one who delegates the work to the responsible. An accountable must sign off (approve) on work that responsible provides. There must be only one accountable for each task specified. SUPPORT - Resources allocated to responsible unlike consulted, who may not provide input to the task, support help complete the task. CONSULTED - Those whose opinions are sought, typically subject matter experts, and with whom there is two-way communication. INFORMED - Those who are kept up-to-date on the progress, often only on completion of the tasks, and with whom there is one-way communication. PROS - very clear division of roles and responsibilities. CONS - does not address specific tasks to be carried out and thereby may cause some confusion. - no clear chain of command.
Matrix Management is the practice of managing individuals with more than one reporting line. In this people with similar skill sets are pooled for work assignments, resulting in more than one manager. The structure of the club can be flat with smaller teams assigned specific tasks. However they can meet from time to time for coordination. Each team can have 1-3 students depending on requirement. 1. ADMINISTRATION - They woud handle administrative duties like getting approvals and permissions. They would also ensure that all other teams are functioning smoothly. 2. ORGANISATION+LOGISTICS - They would handle the organisation of workshops, participant registrations, bringing experts for demos etc. 3. PROMOTION - They would take care of promotion and announcement of workshops. 4. DOCUMENTING+ARCHIVING They would handle documenting workshop and archiving output, storing artworks and putting up displays at the end of a workshop. 5. FINANCES - They would handle all the funding and finances of the club and allocate funds to other teams. 6. SOURCING+MAINTENANCE - They would handle sourcing of materials and maintenance of equipment, ensuring it is used and cleaned properly. PROS - specific tasks are addressed very clearly. - lack of hierarchy ensures high degree of responsibility and accountability. CONS - there may be other activities and it would be confusing as to whose domain they fall under.
A Hierarchial Organisation is an organisational structure where every entity in the organisation, except one, is the subordinate to a single other entity. Members of hierarchial organisation structure chiefly commuincate with their immediate superior and their immediate subordinate.
The members of the core committe can be divided according to the type of workshops. Each team would be responsible for their workshop but assist the others in organising theirs as well (since only one workshop would be conducted at at time).
PRESIDENT - The club can have one Student President (who may be elected by the core members or by the faculty chairperson). The President would be in-charge of the club and be responsible for calling club meetings, handling finances, getting approvals, delegating tasks to core members etc.
A. INTRODUCTORY WORKSHOP TEAM - They would handle introductory workshops. Four such workshops can happen in the first semester and two in the second. The focus would be familiarising students with the fundamentals of letterpress printing. B. BASIC WORKSHOP TEAM - They would handle basic workshops. Two such workshops can happen in the first semester and two in the second. The prerequisite for these would be for the participants to have attended an introductory workshop. The focus would be experimentation with letterpress printing. C. ADVANCED WORKSHOP TEAM - They would handle advanced workshops. One such workshop can happen in the first semester and two in the second. The prerequisite for these would be for the participants to have attended an introductory workshop, or a basic workshop or have some experience with letterpress printing. The focus would be producing a thematic tangible output.
CORE MEMBERS - Apart from the President the club would have 4-5 core members, who would be subordinate to the President. They would carry out any tasks assigned t them by the President and assist him/her in day-to-day functioning of the club etc. STUDENT VOLUNTEERS - The student volunteers would be the unofficial members of the club. They would be subordinate to the core members, who would have the discretion to choose volunteers as they see fit. They would assist the core members in promotion and organisation of workshops. * All members would be subordinate to Faculty Chairperson. PROS - clear chain of command is established. CONS - hierarchy may become ineffective and lead to abuse of power.
PROS - since the primary objective is to conduct workshops, a structure based on that woud work well. CONS - may create competitiveness within members. - no clear chain of command.
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7 FINAL CONCEPT After all concepts were expored, the most appropriate ones were validated by discussing with the guide and stakeholders and finalised. A basic proposal was prepared giving all necessary details on setting up the club for the operating model in palce, to the breakdown of workshops as well as the visual identity of the club
and its merchandise and ideas for the launch of the club. An online copy of the proposal can be accessed here issuu.com/ananyamittal/docs/fol_proposal
It was decided that a two tier structure would be implemented for decison making. The structure would be flat and organic so that no decision is taken by a single individual and ensure that the club is community-centric rather than people-centric.
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FOUNDING MEMBERS
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CORE COMMITTE
The members who would establish the club and recruit all the other members. They would include the faculty chairperson (head, Print Labs) and 3-4 student members. They would also include Print Labs Staff. * first preference for booked sessions and discounts on club merchandise.
This would comprise of the faculty chairperson, relevant staff and 8 student members ( 4 UG, 4 PG) As a rule they would only be senior graphic design students always since they would need to be technically sound. * attending workshops, discounts on club merchandise.
3. ADMINISTRATION ORGANISATION+LOGISTICS PROMOTION DOCUMENTING+ARCHIVING FINANCES SOURCING+MAINTENANCE
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FACULTY MEMBER
STUDENT VOLUNTEERS
Volunteers would be invited to help out with the tasks of the core committee. Typically they may help out with promotional activities and documentation of workshops. This exposure would enable them to be a part of the core committee in the future. * attending any one workshop
S1 STUDENT MEMBER
4. FUNDING
WORKSHOP PARTICIPANTS
The participants of the workshops conducted by the club. They are an important part as they would help generate publicity by sparking conversations about the club activities. Also they can be a part of the organising committe in the future. * being involved in club activities in the future
SELLING MERCHANDISE
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PAID WORKSHOPS FOR OUTSIDERS
OFF-CAMPUS MEMBERS
CONTRIBUTION IN KIND
6. TRANSFERRING EXPENSES ONTO PARTICIPANTS
SUPPORTERS/ CONTRIBUTORS
ABSORBED BY PRINT LABS * privileges of members
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These would be senior Graphic Design students and alumni who have been closely associated with Print Labs. They would serve as club ambassadors. They can be called to conduct workshops and generate publicity for the club. * preference for booked sessions, discounts on club merchandise, taking merchandise for sale.
Any supporter and contributor (people who pledge paper, inks etc) * can attend one workshop, club merchandise according to contribution
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Introductory - beginner level, no prerequisite skills, would give an introduction to the technique of letterpress printing.
Basic - intermediate level, participants would be required to have attended an introductory workshop or have some experience with letterpress printing, would deal with more experimental techniques that can be done on letterpress.
Advanced - advanced level, participants would be required to have attended an introductory workshop or a basic workshop or have some experience with letterpress printing, would be thematic and specific output oriented.
Experimenting with color, Experimenting with alignment, Experimenting with paper, Making rubber stamps
Making postcards on love, Happy birthday cards, Hot foil stamping, Letterpress Scrabble - DIY woodtype, Letterpress + Binding, Embossing-debossing, Block making - woodcut/linocut
Basics of Handsetting type, Fundamentals of typography, Introduction to Letterpress 15 participants 3 workshops in even semester and 2 in odd
10 participants 2 workshops in even semester and 1 in odd
WORKSHOPS 1. Full day - full day sessions conducted from 10 a.m. - 6 p.m. (working hours of Print Labs), could be conducted on weekends. 2. Broken down into smaller sessions - workshops can be broken down into smaller doable sessions,eg. over 3 days in 2 hour sessions.
ODD SEMESTER (JUNE-OCTOBER)
EVEN SEMESTER (NOVEMBER-MARCH)
Week
Dates
Week
Dates
1th 2th 3th 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th
09-13 JUNE 16-20 23-27 30-04 JULY 07-11 14-18 21-25 28-01 04-08 AUGUST 11-15 18-22 25-29 01-05 SEPTEMBER 08-12 15-19 22-26 29-03 OCTOBER 06-10 13-17
24th 25th 26th 27th 28th 29th 30th 31st 32nd 33rd 34th 35th 36th 37th 38th 39th 40th 41st 42nd
17-21 NOVEMBER 24-28 01-05 DECEMBER 08-12 15-19 22-26 29-02 JANUARY 05-09 12-16 19-23 26-30 02-06 FEBRUARY 09-13 16-20 23-27 02-06 MARCH 09-13 16-20 23-27
8 participants 2 workshops in even semester and 1 in odd
3. Booked sessions - these can be an additional arrangement under which students/alumni/past members who have some prior experience with letterpress can book a sesssion in the PrintLabs and work on independent projects with the help of technical staff. participants would be required to bring their own material (papers, any special inks)
KEY UNAVAILABLE WEEKS INTRODUCTORY WORKSHOP BASIC WORKSHOP ADVANCED WORKSHOP
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7 LEARNINGS This project above and beyond anything else was a great learning experience. As told to us from the very beginning, what I learned was how to actually do a project. I was always much more engaged in the process than thinking about the final outcome. I realised that design is something that cannot be done in isolation. People influence people and thus its important to constantly be in touch with your peers. Through this project I had the opportunity to work on the letterpress setup. I feel very privileged to have done so. Assembling type by hand is such a humbling experience. One has to put so much thought into every single piece. In contrast when working on the computer, designers become resigned to technology and
very passive. It reminds us how technology is taking over our sensibilities. Hands on learning becomes all the more important then. I learned about the importance of managing your time well. I also learned how critical it is to document every step of the process so that You can revisit your decision making process at any time. I learned that context is the most important factor when you are designing anything. The solution has to be appropriate for the context.
BIBLIOGRAPHY
ONLINE RESOURCES
- Letterpress : the allure of the handmade, David Jury - The big book of logos, David E. Cater - Logobook, Paul Ibou - Logo Art : innovations in logo design, Charlotte Rivers
This project has been documented chronologically here - friendsofletterpress.wordpress.com An online copy of this document can be accessed here - issuu.com/ananyamittal/docs/fol_documentation
Paldi, Ahmedabad 380 007
28th March 2014