Research & Development Kat Dunbobbin u1363236 by KatDunbobbin

RESEARCH & DEVELOPMENT KAT DUNBOBBIN GRAPHIC DESIGN

KAT DUNBOBBIN - CMYK

An Introduction to Final Year DPQ Choosing A Subject Is Printing in graphic design a sustainable or viable practice? Research into proposed project Who is Currently Comparable? RSA & D&AD Some basic background information How will the organisation work? Ideas for How the organisation works Concept Development Branding Concept Development Manifesto Concept Development Web & Print Concept Development Advertising Branding Research Who is my Target Audience? Creating a Plan Colour Schemes and why they are important. Choosing a Name Logo Ideas Creating An Icon Icon Development Reflections of Icon development Final Branding Animating an Icon Adding a seal of approval? Does it work? Brand Application

Reference Manifesto’s My Manifesto Draft 1 My Manifesto Draft 2 Trustee’s of CMYK Manifesto Manifesto Visuals Manifesto Experiments Issues with Print Lino Cut Printing Screen Printing Letterpress Printing UV Printing Evaluation of Printing Laser Cutting Is Removing Print from Graphic Design an option? How and Why designers need to take responsibility? Why will print be lost to time? Why Print won’t be lost. Ryman Eco Oil & Water Fairphone 2 CMYK Collective Online Design Advertising Research Advertising Development A Project Review

An Introduction to Final Year FINAL YEAR AND WHT IT INCLUDES

Content of Research & Development

This year of Graphic Design is my chance to enjoy creating something with my own creativity not bound by money or real world limitiations. This excites me after a year in industry with tight deadlines and strict guidelines to work to. The brief that I write will hopefully include lots of physical experimentation and attempt to face a real world issue ina creative way using my own expereinces. This year will be structured to imclude the following A Final Major Project: This project will be up to me to decide and write a brief for. The brief must follow a theme given for the year and be my guide as it will be what I am marked against for my degree. A Special Study: I will choose a process that I am unfamiliar with that I would like to use in my final major project and document myself learning it. step by step. Hopefully this will act as a guide for me in the future and be useful for those following in my footsteps. Processing: In this year I will be given the oppurtunity to expand my knowledge useing processing. This will allow me to expand my project into an interactive field and teaches me a new skill in the process. Print Sessions: This year I will have access to the print facilities that have in previous years been un open to me. I will learn to use them in a basic manner and document my process doing this through a group project following the life cycle of a butterfly.

KAT DUNBOBBIN - CMYK

CHOOSING A SUJECT

Choosing a Subject

DYNAMIC PARAMETRIC QUANTUM This is the theme that I have been given for the year. It sounds complex but breaking it down it simply means the following: Dynamic: A process or system characterized by constant change, activity, or progress. Parametric: Something relating to or expressed in terms of a parameter or parameters. Quantum: A required or allowed amount. It asks that the project we write for ourselves has obvious changes, creates rules for itself to change within, and to create multiples of whatever we choose to produce.

BRIEF DESCRIPTION OF PROPOSED PROJECT IDEAS.

KAT DUNBOBBIN - CMYK

Is Printing in graphic design a sustainable or viable practice?

Brief: To create an ethically sound design orientated collective. Keeping in mind the ways in which printed design can be sustained as part of the industry while considering wastage and prevention of print waste from design. This collective aims to increase the efficiency and improve ethics by means of sustainable ideas and methods. Lastly it will, as a brand, aim to show and make people in the design industry aware of the part that they play in the issues that it’s combatting and making print exciting and relevant to the industry again. Target Audience: The target Audience will be Design Companies and freelance individuals producing for the mass market. The message will offer them an example of cleaning up their production methods and using the more sustainable materials while still being relevant and exciting. Using print to bring back an element of tactility without reverting to unsustainable methods. Creative Requirements: With print being a constant issue in every professional industry the sustainable design collective (CMYK) will aim to both inform and offer an alternative view and methods to reduce print wastage in the design industry. This will be achieved through experimental materials and physical production methods. Aiming to show that printed design can be exciting, bold, creative and still sustainable in the industry by simply considering your designs before they reach a production stage. Objectives/ Deliverables: Branding Brand Guidelines booklet Advertising Physical Print Experimentation Website Social Media Animated Icon Manifesto Manifesto Posters Event Props (Signage, Pencils, Pens, Folders, Hard Drives, Canvas Bags, Stickers)

Research into proposed project and it’s viability.

Over the last decade or two, designers have noticed issues with the sustainability of physical print processes in graphic design. The ways that designers are producing work is not only creating a massive waste of resouces in misprints, but uses harmul chemicals and no biodegradable materials to produce the pieces thay are working on. These things accumulate to cause an issue which people are trying to solve. Being print conscious in design simply means to think before you print. Is what you are about to produce correct? Can you use a better material? Are there better ways of producing your artwork? I propose that my brand will aim to convince designers to ask themselves these questions while designing and inspire them to be creative with their answers. Why is Print in design causing an issue? “The whole ‘Is print dead?’ question has been knocking around for a while now. Digital people say it is dead. Print people say it isn’t. I wanted to change the record and say, yes, a certain kind of print is dead, or dying, but who cares? Quite simply, the internet does fast, cheap distribution of throwaway information much, much better than print does. So in killing that specific kind of print, digital media has cleared the way for a new, much more interesting, much more exciting print to spring up. The reason for publishing the book now is to draw a line under the death of print debate and start to celebrate the birth of a new kind of print instead.” - Ruth Jamieson, Author of Print is dead, 2015

Why Does Print need to be saved? Print is a fundamental of design, it has always been a fundamental element. Only recently has design moved to a non physical space, however this has caused a severe divide in Graphic design. There is a clear and worrying split between those designers who are using the digital media to drive design and those who a designing to fill a specified void for little more than a click bait and quick money.

How can it be saved? Print can be saved. Making it interesting and tangible by using the amazing new print methods that are available will go a long way to re introducing print into the design process where it currently is lacking. Using print to create digital media is another way to keep it necessary and tangible.

KAT DUNBOBBIN - CMYK

Who is Currently Comparable? RSA & D&AD

The RSA is another example of a community working towards a better design industry. They do this by aiming their award at students coming into the industry. I think that it just as important to reach those who are current and working, they are the immediate influencers and the industry grows following in its predecessors footsteps making print and its delcline a real issue if not dealt with immediatley.

Looking at how some other projects have approached a similar issue and how they are run should help me to clarify my own brand and collective’s purpose. The D&AD White Pencil award was introduced to aknowledge those designers working in an innovative way. They explain it as follows, “part of our responsibility

as an organisation set up to support and encourage excellence was to help agencies, studios and individuals understand and get involved in more sustainable ways of doing business; to encourage a movement that ends up with corporate social responsibility as the cornerstone of ALL corporate growth plans and ethical business behavior the norm, not the exception.Ahead of the curve as they so often are, Unilever liked this and generously sponsor the D&AD White Pencil. So in 2013 we made the D&AD White Pencil a category in its own right, attracting some fantastic entries.”

I really like the way that the RSA have a short manifesto that exlains what they are working towrds. I think including a manifesto would be very useful to my collective in making it easier to buy into.

Some basic background information

In May 2014 the Innovation in Waste Prevention Fund was launched. This scheme is funded by Defra as part of the waste prevention programme. Grants will be awarded to partnerships with creative ideas for preventing waste. The fund will run for two years and grants will be awarded in three phases. Each year, over 4.7 million tonnes of paper and board ends up in the waste stream in the UK. This is a waste of a valuable resource, uses declining landfill space and can contribute to climate change. Paper from non-sustainable sources can result in the permanent destruction of forests and the communities and wildlife they support.

The three major types of waste in the printing industry include: 1. Solid Wastes - In a general printing environment solid waste could consist of the following: empty containers, used film packages, outdated materials, damaged plates, developed film, dated materials, test production, bad printing or spoilage, damaged products, and scrap paper. 2. Wastewater - Wastewaters from printing operations may contain lubricating oils, waste ink, cleanup solvents, photographic chemicals, acids, alkalis, and plate coatings, as well as metals such as silver, iron, chromium, copper and barium. 3. Air Emissions - Printing operations produce volatile organic compound (VOC) emissions from the use of cleaning solvents and inks, as well as alcohols and other wetting agents (used in lithographic printing). Larger plants can be the source of NOx and SO2 emissions. Waste can be reduced most efficiently from the inception of the printing project through graphic design choices. Preparing layouts that use the most efficient image size to the press sheet size reduces paper waste at the later stages of cutting and binding. Designers should also be made aware of inks containing heavy metal or other hazardous pigments and provided with information on non-toxic alternatives. Other graphic design options to consider include decreasing the amount of ink coverage of the layout and using non-coated, non-bleached paper, and recycled papers. Looking for alternative materials that generate less waste and/or are less toxic in terms of human health, can provide a printer with economic as well as environmental benefits.

HOW DOES IT WORK?

WHAT PRODUCTS ARE WORKING TO SAVE PRINT

KAT DUNBOBBIN - CMYK

How will the organisation work? The way that I propose that the organisation would work is similar to that of the D&AD and RSA. Each put on events to try to educate and celebrate the industry and the creative ways that they are changing and improving. My collective will do a similar job but focused on print in graphic design and ways that designers are creating innovate ways to improve the industry surrounding this point. Print doesnt have to necessarily mean ink on paper. It could also refer to any physical production meaning products and alternative advertising. Not only this but there would be oppurtunuties to add your own name as a designer to the trusteeâ&#x20AC;&#x2122;s of the manifesto and have the seal of approval from the organisation. As a side note the organisation would try to adhere best to the manifesto in its own branding and advertising, a way of funding this scheme would be using part funding from something similar to the waste prevention fund and sales of tickets and products from their events.

KAT DUNBOBBIN - CMYK

Ideas for How the organisation works

Branding this project is important because it gives the concept and desired effect a real world application. Branding a conscience for an industry is a delicate thing to get right. It needs to feel professional enough to come across important and bold while not being too commanding. Designers need to feel that they have a choice which is what the project is all about. I propose to brand this project following some of the guidleines that I would hope other designers would follow in the footsteps of. To maintain print as part of the industry in a non damaging way to the future or the heritage of design it is importnat to consider the ways in which the branding is produced. I propose to look at this in 3 disfferent ways, the first being to remove printing as a process to improve destructive design elements. The second being to improve the printing process used in graphic design to maintain a rich heritage while improving the longevity of printed matrials. Lastly to experiment with the branding in a non physical environment such as animated or designed for a screen. KAT DUNBOBBIN - CMYK

MANIFESTO CONCEPT

BRANDING CONCEPT

Concept Development Branding

Concept Development Manifesto Writing a manifesto for this brand will outline the reasons and questions that designers should be considering while they are working. In a world that is driven by design its important to understand the responsibility that a graphic designer has for the way that not only the industry works but the ways in which they can directly improve what is infornt of them before it reaches a stage where consumerism and money drives design. This manifesto will also be used to advertise and inform of the brands purpose and the information that designers need to understand.

KAT DUNBOBBIN - CMYK

This project will include a part of experimentation into print and aspects of web. It is important to know what the restrictions are for printed design before we can understand how to improve the process. It is also important to understand why certain print process have chnaged and updated themselves before we can achieve the same. Once I have experimented enough to find at least a solution to some of the issues raised in the manifesto I will use the most appropriate method to produce Advertising and promotional materials for the brand, manifesto and online presence.

KAT DUNBOBBIN - CMYK

CONCEPT FOR ADVERTISING

EXPERIMENTS CONCEPT

Concept Development Web & Print

Concept Development Advertising Advertising will play a large part in putting the message of the brand and its social and industry conscience into the real world and hopefully begin affecting the ideas that graphic designers are putting out there. Using the print and web experiments I will create a series of promotional materials, ie. posters, web content and physical adverts. Advertising will also have to consider the conscience set forward by the manifesto and be considerate to the ideas and suggestions provided. Meaning that advertising talks, seminars mixers and exhibitions as well as projects that earn the seal would be advertised. Hopefully this will end a well rounded project which has the potential to have real world applications for a positive outcome for the graphic design industry with room for growth as the industry changes and mutates.

KAT DUNBOBBIN - CMYK

Branding Research

Who is my Target Audience? TARGET AUDIENCE

Getting your branding perfect can be a make or break aspect of your venture. Your brand has to encapsulate everything that you are as a company and it will be your identity once your project is out in the world. With these brands I have researched they all appear to match the ideas that I earlier brainstormed for my own company. In short they should be, Strong, gender neutral, link to print in some way, clear, readable, and it should traspire well into an icon.

The target Audience for this brief would be any designer that will be producing graphic deisgn for the commercial industry. This is aimed at any project going into a mass market. If I were to attempt to narrow that field down to a particular group of people I would say that they are best described as the following: - Designers - Working in Industry - Producing Mass Market product/design - Creatively minded - Open minded - Young but not necessarily students I would however also like the following to take notice of the project although I might not be tailoring it specifically for them: - Heads of design companies - Clients of Designers - Educational Institutes - Freelance workers It is important that anyone who will be contributing to teh future of graphic design also understands the heritage that they have a responsabilty to maintain. This specifically includes print in a reduced or non destructive way. I would like them to take more responsability for the work that is mass produced and what it doing for the industry. I also aim to educate and join together the big players who influence the up and coming designers into thinking that way about design.

KAT DUNBOBBIN - CMYK

Creating a Plan

It is very important when entering into a self initiated brief to set a plan and time scale for yourself to make sure that you are completing the work you inteded to in a timely manner. Here is the plan that I have for this coming project and producing itâ&#x20AC;&#x2122;s deliverables. As you can see the majority of what I have planned for this project is staggered over different blocks of 6 weeks at a time. this is to break the project up and give me a chance to focus on each aspect of the design process. I have also broken some sections up such as social media and branding review as I feel that it is important to do these things through out those processes.

KAT DUNBOBBIN - CMYK

COLOUR SCHEME FOR THE BRAND

CHOOSING A SUJECT

Choosing a Name

Colour Schemes and why they are important. The colour scheme for the brand is centrede around the idea of saving print and re-introducing it to mainstream graphic design. A subtle way of doing this is using the print standard colours in the brand. Not only this but the colours make for a bright well balanced visual. They make it easy to Print the materials wether that be brand orientated or advertsing. These will need to be translated for RBG so that when the designs inevitably end up online as well as in print they will be as close as possible to the desired effect.

I Ended up choosing Kite from this mind map. I felt that metaphorically it made lots of sense for teh business Idea and had a nice amount of letters to work with for a logo as well as a recognisable image that could be used as an Icon. After some experiments and feedback from other designers I found that it wasnt standing out from the rest of the companies under the same name. It was very popular and everyone had used very similar imagery. I decided then to alightly adapt the design for the logo and spell Kite with a â&#x20AC;&#x2DC;yâ&#x20AC;&#x2122; as in KYTE. I still wasnt completely satified with this as it felt like a compromise that didnt really have the impact that I wanted. I added Collective to the end so that I could link one of my other names to it and although I liked that aspect as it gave it a professional feel it still felt like a compromise. After that I though the best move was to not be precious with this and go back to my initial mind map. I found that the name that fit best with what I had been aiming to do with my designs was CMYK. I later experiment with taglines which eventually changed to CMYK Collective.

BRAND IDEAS

Logo Idea 1

Idea: The idea with this design was to make it fluid and personable while being clear and current. The colour of the logo would remain black, or white on darker stocks, to keep a regimented appearance and the colour scheme would be introduced through the brand details such as an icon and shapes. Positive: The positives of this design is that it does look like it has personality and gets a good message across about the physicality of design as it looks handwritten. Negative: This design has become too trendy, it will lose its professional stance by veering too far into that realm of visuals.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 2

Idea: The idea with this design was very similar to that of the first idea, it however now includes a strapline to give it more direction and structure. Positive: The positives of this design is that it does look like it has personality and gets a good message across about the physicality of design as it looks handwritten. The strapline works well to make it clear that it is a group. Negative: This design has become too trendy, it will lose its professional stance by veering too far into that realm of visuals.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 3

Idea: The idea with this design was to take the personality from the earlier designs but give it more structure. That is how it ended up with a serif typeface. Positive: The positives of this design is that it does look like it has personality while being more professional in appearance. I also think that the use of the icon in this works very well and would give a good brand correlation across the platforms. Negative: This design has become dated due to the older fashioned typeface being used.

KAT DUNBOBBIN - CMYK

kyte BRAND IDEAS

Logo Idea 4

Idea: This logo design was a further derivitave of a previous idea but bringing the icon into play as part of the logo. Positive: The positives of this design is that it looks more fun and design related. It has a nostalgia like effect by using the traditional kite which plays into the message of the project. Negative: This design lacks visual impact. It is still missing a modern edge to make it current and to match the proposed style of advertising.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 5

Idea: This logo shows a new way of using the colour scheme in a spot colourformation. Positive: The positives of this design is that it links back to the digital media side of the brand showing the progression of print to screen. Negative: This design lhas become too far removed from the printing aspect of the project, it need to focus on saving or conserving print in the industry.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 6

Idea: This logo is more along the lines that I think would sit well between print and digital. Positive: This is clean, clinical and clear while maintaining a colourful personality. This works well as a versatile design on different papers and materials. Negative: Gradients and the icon could be lost when size is reduced.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 7

Idea: This logo design is to show the potential of layering using print methods, it would be created well using either screen print and them digital scans to mass produce or laser cutting. Positive: The positives of this design is that it looks more fun and design related. It has a nostalgia like effect by using the traditional methods while using clear typography it has a modern feel. Negative: This design would be potentially difficult to produce as it would be lots of inks to make the colours and effect. Not the most efficient methods.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 8

Idea: This logo design was to bring back the clincal look but with some typography quirks. Adding the Initiative and Collective gives a clear indictaion that the brand is a group with a purpose. Positive: This logo is clear and clinical with fun colours and sits nicely between print and digital. Negative: This design lacks visual impact.

KAT DUNBOBBIN - CMYK

BRAND IDEAS

Logo Idea 9

Idea: This logo design takes the positives from the last logo design but improves on the visual impact and clarity of the typography . Positive: This logo is clear and clinical with room for variations and sits nicely between print and digital. The tagline works to show the brandâ&#x20AC;&#x2122;s purpose. Negative: This design lacks a playful edge, however I feel this could be brought back in through the use of colour or including an Icon.

KAT DUNBOBBIN - CMYK

Creating An Icon

ICONOGRAPHY DEVELOPMENT

In modern branding icons serve a much larger role then they ever used to. An icon serves as an immediate trigger for a brand which is vital, especially while working in an online format. Sometimes a logo is still too much for such simple advertising. Using an icon as not only a symbol at the begining of web addresses, stamp marks, seals, quick advertising and much more should help my brand. I intend to keep my logo very professional looking and simple. Doing this is a way to seperate it from other companies with the same name. While researching this I found that these logo’s are all very “Artistic” looking not clinical and designed but more so about appearing to be “unique”. My logo however then needs somehting to link it back to a design industry. This is where the icon comes into play. I have used the shape forms in teh logo to create a simple design that over time would end up being recognisable.

Icon Development

The icons of widely known brands all seem to have a similar set of rules, the first of which being that the icon is roughly a square shape. The second is using very simple bold colours this enhances their brand identity while being bold and visually pleasing. The third is to use typography from the logo of the brand. These are all things that I have tried to consider while producing an icon for my brand. Placing the 4 letters together to create shapes. Initially I tried to break the letters down and build shapes from sections. This outcome was not particularly visually pleasing or obvious of its intent. I found that by layeirng the letters I was able to produce a more obvious combination of the letters while maintaining the stipulations from the inspirational branding. Adding a tagline makes the intent of the brand more obvious.

KAT DUNBOBBIN - CMYK

Reflections of Icon development ICONOGRAPHY

KAT DUNBOBBIN - CMYK

The icon has developed as I have removed more and more sections of the layered image to give a more simplified visual. I have also added a multiply effect to give the impression that the colour scheme shows through each later as it would from certain print methods. I think that this icon in tandem with the logo will work well to cemement the brand identity and can be used as a seal of approval on project worthy of it and a web icon for the digital experiments.

KAT DUNBOBBIN - CMYK

CMYK Collective These are the designs that I am happy with and will begin applying to the rest of my project.

Black Icons for CMYK. First with Design Approved text underneath. Second without.

CMYK Collective Logo. White on Black background to size specifications.

CMYK Collective Logo. Black on White background to size specifications.

4 colour layered icon using process colours. For full specifications and branding please see external brand guidelines booklet.

KAT DUNBOBBIN - CMYK

Once you have loaded the png’s in you need to open your timeline to do this: Window > Timeline

Animating an Icon Here are some screenshots of the process used to produce my animated GIF of the icon I have designed for the company CMYK Collective. I think that this will work well as a way of simple advertising online and screen based adverts as well as pushing brand presence.

As the window appears at the bottom, click the button create video timeline. Click into the dropdown menu on the right and select make frames from layers. A timeline will appear at the bottom showing your layers/PNG’s You need to then set the time at the base of each image/layer to your desired length and set the loop counter to forever. To Export your PNG File > Save for Web Check your settings are looped and click ok.

To begin creating a GIF for my icon I broke down each step of the animation ie. different colours Once I have decided on the steps each needed to be exported as PNG from Illustrator.

Open Photoshop File > Scripts > Load Files from Stack Then click into browse and load your png’s that you previously exported.

Adding a seal of approval? Does it work?

Adding a seal of approval is like an award but for a project not a person. It shows that it has adhered to the values and teachings of the manifesto of my brand. I like the idea that it is like a cruelty free stamp but for the deisgn industry rather than a cosmetics product. These Icons seem to be very to the point and obvious but using singular symbolism. I like the idea of being approved, it sounds positive and draw attention to the work behind the product. Each of these icon is set to a square sort of shape and tends to be neutral of colour or a single colour. Due to this I think to be inkeeping with the brand it would be a good idea to use the Icon that I have already designed but add approved or design approved underneath. This would only be available in black cut out or transparent varnish.

KAT DUNBOBBIN - CMYK

TESTING SEAL SIZING

SEALS OF APPROVAL

KAT DUNBOBBIN - CMYK

As you can see the word approved is far more visible than design approved so unless the seal is larger than 30mm wide then only the word approved will be added to the seal mark.

KAT DUNBOBBIN - CMYK

Brand Application In order to see how my branding will come together I feel that it is important to see it digitally mocked up before print. This show that there is stage where my designs are checked before production in order to evaluate changes reducing waste mis-prints. Mock ups also saves cost and waste of producing these pleasing visuals to advertise with. No need to print and then photograph. I have chosen to show how my brand will be mocked up using a variety of materials, effects and products in order to evaluate what would fit best with my brand.

Letterpress Logo on recycled white board. In full black.

Logo on signage, potentially in an office or at an event. Using polished metallics.

Letter press Icon in 4 colour on recycled white board. Potential for simple branding application.

Cut out logo from white perspex. This shows how the logo looks removing print from the process all together.

Metallic letterpress on recycled white stock.

Cut out Icon from white perspex. This shows how the Icon looks removing print from the process all together.

Cyan metallic letterpress on recycled white stock.

Very simple Logo application to stationery. Black on white.

Labels. Recycled white stock, natural rope.

Very simple Logo application to stationery. Silver on Black.

Labels. Recycled white stock, natural rope.

Black logo vinyl on glass.

Metallic Stamp of Logo, removing print until necessary can be printed onto any media.

Black Icon vinyl on glass.

Metallic Stamp of Icon, removing print until necessary can be printed onto any media.

Label for how print products would be sent, Black logo.

Label for how print products would be sent, Black Icon.

Unbleached Canvas bags for events and mixers, using icons. For all mock ups from Brand please see extenal Mock Up booklet.

KAT DUNBOBBIN - KYTE INITIATIVE

Reference Manifesto’s to inspire my own The evolution of culture is synonymous with the removal of ornament from utilitarian objects • Ornament and crime Adolf Loos 1910 No-one not even the power of the state, can help mankind’s evolution. It can only be delayed. • Ornament and crime Adolf Loos 1910 Among ourselves there are un modern people even in the cities, stragglers from the eighteenth century, who are horrified by a picture with purple shadows because they cannot yet see the colour purple. • Ornament and crime Adolf Loos 1910 Ornament is no longer a natural product of our culture, so that is it a phenomenon either of backwards degeneration, the work of the ornamenter is no longer adequately remunerated. • Ornament and crime Adolf Loos 1910 Ornament is wasted labour power and hence wasted health. • Ornament and crime Adolf Loos 1910

We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. • First things first, Ken Garland, 1964 There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social market- ing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help. • First things first, 2000 The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself. • 10 principles for good design Dieter Rams, 1987 Design makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product. •

10 Principles for good design Dieter Rams, 1987

You have to be willing to grow. Growth is different from something that happens to you: You produce it. You live it. The prerequisites for growth are the openness to experience events and the willingness to be changed by them. • An incomplete manifesto for growth, Bruce Mau, 2000

The absence of ornament has brought the other arts to unexpected heights. • Ornament and crime Adolf Loos 1910

You can travel farther carried on the accomplishments of those who came before you. And the view is so much better. • An incomplete manifesto for growth, Bruce Mau, 2000

When young people who take a joy in artistic creation once more begin their life’s work by learning a trade, then the unproductive “artist” will no longer be condemned to deficient artistry, for their skill will now be preserved for the crafts, in which they will be able to achieve excellence. • Bauhaus Manifesto, Walter Gropius 1919

The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions. • An incomplete manifesto for growth, Bruce Mau, 2000

Together let us desire, conceive, and create the new structure of the future. • Bauhaus Manifesto, Walter Gropius 1919 By far the greatest effort of those working in the advertising industry are wasted on these trivial purposes, which contribute little or nothing to our national prosperity. • First things first, Ken Garland, 1964

People get satisfaction for being able to create/craft things because they can see themselves in the objects they make. • Draft Craft Manifesto: On Making and Consuming Things by Ulla Engenström (2005) Materials become important. Knowledge of what they are made of and where to get them becomes essential.  - Draft Craft Manifesto: On Making and Consuming Things by Ulla Engenström (2005)  Learning techniques brings people together. • Draft Craft Manifesto: On Making and Consuming Things by Ulla Engenström (2005)

At the bottom, crafting is a form of play. • Draft Craft Manifesto: On Making and Consuming Things by Ulla Engenström (2005) For a group of people who pride themselves on “problem solving” and improving people’s lives, we sure have done our fair share of the converse. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) We have to remember that industrial design equals mass production, and that every move, every decision, every curve we specify is multiplied—sometimes by the thousands and often by the millions. And that every one of those everys has a price. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) designers are feeding and feeding this cycle, helping to turn everyone and everything into either a consumer or a consumable. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) We are suffocating, drowning, and poisoning ourselves with the stuff we produce - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) Before we design anything new, we should examine how we can use what already exists to better ends. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) Design education is at a crossroads, with many schools understanding the potentials, opportunities, and obligations of design, while others continue to teach students how to churn out pretty pieces of garbage. Institutions that stress sustainability, social responsibility, cultural adaptation, ethnography, and systems thinking are leading the way. But soon they will come to define what industrial design means. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) we can’t expect people to understand the benefits of a water filter when they can’t see the gunk inside it, we can’t expect people to sympathize with greener products if they can’t appreciate the consequences of any products at all. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) our ways and means are completely antithetical to how planet earth manufactures, tools, and recycles things. We choose inorganic materials precisely because biological organisms cannot consume them, while the natural world uses the same building blocks over and over again. - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007) Climates Before Primates - 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007)

KAT DUNBOBBIN - CMYK

My Manifesto Draft 1 A Manifesto for the CMYK Collective. Print has been both an asset and an anchor for Graphic Design. Through history it is made clear that print was always the primary form of visual communication. This lead to an evolution in the print industry, we found ways to improve every aspect, the ink, the paper, the methods. Graphic Design will always drive the technical print evolution that surrounds it. We use it to facilitate and drive ideas. Choosing a print method to visually present your work shows a flair and individuality. It adds character and texture; screen printing will give a vibrant, layered, multi faceted product while Lino cut printing can offer easy manipulation, and the freedom to see your work recognized on any material. Printing in different mediums allows a designer to tailor their work. Letterpress printing for example gives a wide variety of shape and words while being structured and ordered for a larger readership and businesslike clarity. This shows the way that print influences our designs. It must however be considered that in order to print using these methods a designer had to invent them. Would the silk printing screen have ever been born if Simon Samuel hadnâ&#x20AC;&#x2122;t reinvented the practice from Asia to create luxury western wallpaper? Would we have continued on innovating to achieve the result we envisioned, or would wallpaper have not been made? Do we create designs because we are able to visually present them in a functional way? Or do we design because there is an underlying constant pressure to reinvent the world around us?

Re-invention is the key to Graphic Design; nothing is new. If we understood that nothing would halt the evolution of mankind, would we be more likely to conserve the ideals of graphic design? or would we continue to attempt, in a futile effort, to preserve and therefore halt the evolution of print. The potential for reinvention is by no means exhausted. Everyday we see new technology expanding from existing ideas. Nothing idea is stand alone, it overlaps and pushes the boundaries of every bordering medium. Digital intervention shows this more strongly than traditional print media. Offering an almost unlimited supply of colours, textures, sizes and shapes has eliminated the individuality of choice in printing. When everyoneâ&#x20AC;&#x2122;s work has the opportunity to be completely individual in appearance being inspiringly inventive becomes a challenge. While all of these traditional print methods can be expanded to allow for mass production, they form no real competition for the accuracy of digital print. However there is plenty of evidence that Graphic designerâ&#x20AC;&#x2122;s are reverting back to the traditional methods to give a more unique look and physicality to their work that has been lost through the invention of mass printing. With print changing in such drastic ways would it really be out of the question to move entirely to digital visual communication? Although the physicality would potentially be lost by doing so the benefits are shown in the improvements with connectivity, interactivity, accessibility and long term cost.

KAT DUNBOBBIN - CMYK

My Manifesto Draft 2 A Manifesto for the CMYK Collective. In 1910 Adolf Loos told us that, “there are un modern people even in the cities, stragglers from the eighteenth century, who are horrified by a picture with purple shadows because they cannot yet see the colour purple.” Understanding the world around us is one of the most crucial aspects of being a Graphic Designer. We cannot afford to be the stragglers, unable to see the world and the way that it is changing. One of the largest changes to the design industry for the last decade or two has been the question of printing, and its sustainability as a process of visual communication, is it viable in the future? In 2007 Allan Chochinov made a very poignant remark, “For a group of people who pride themselves on “problem solving” and improving people’s lives, we sure have done our fair share of the converse.” By simply asking ourselves the important questions, we can gain a clarity that should help us to be our communities problem solvers again. When designing consider: Is print an asset or an anchor for Graphic Design? Does history show that print was always the primary form of visual communication, and if so, why? Is Graphic Design what lead to a revolution in the print industry? We found ways to improve every aspect of print, the ink, the paper, the methods, but why did they need to be improved? Graphic Design will always drive the technical print evolution that surrounds it, so is it our responsibility as designers to push this and invent? We use print to facilitate and drive our ideas. So why does choosing a print method to visually present your work show a flair and individuality where the design doesn’t? Print may offer easy manipulation, and the freedom to see your work recognized on any material, but should this be a consideration at all? Should design be physical?

Is physical print something that should be considered a luxury in a world that doesn’t necessarily have the materials readily available or easily produced? Should we adapt our designs or reinvent the technology to print them, in order to simply preserve print as a process of visual communication? Printing in different mediums allows a designer to tailor their work. But in this millennial generation that exists in a large part online, wouldn’t this mean removing print from the communication entirely? Does print influences our designs? It must be considered that in order to print, a designer had to invent the method. Does that mean we cannot re-invent the method? Would we continue innovating to achieve the result we envision, or would we abandon our design to conform to the available? Do we create designs to visually present them in a functional way? Or do we design because there is an underlying constant pressure to reinvent the world around us? While re-inventing, are we improving? If we understood that nothing would halt the evolution of mankind, would we be more likely to conserve the ideals of printing in graphic design? Or would we continue to attempt, in a futile effort, to preserve and therefore halt the evolution of print? The potential for reinvention is by no means exhausted. Everyday we see new technology expanding from existing ideas. No idea is stand-alone or new, it overlaps and pushes the boundaries of every bordering medium. Is it our responsibility as designers to build these boundaries, or knock them down? Does offering an almost unlimited supply of colours, textures, sizes and shapes eliminate the individuality of choice that printing can offer? When everyone’s work has the opportunity to be completely individual in appearance being inspiringly inventive becomes a challenge, so should we be? While all of these traditional print methods can be expanded to allow for mass production, they form no real competition for the accuracy of digital print. But does that matter? There is plenty of evidence that Graphic designers are reverting back to the traditional methods to give a more unique look and physicality to their work that has been lost through the invention of mass printing. So should we be reverting or re-inventing print? With print changing in such drastic ways would it really be out of the question to move entirely to digital visual communication? To remove printing entirely the physicality would potentially be lost however the benefits are shown in connectivity, interactivity, accessibility and long term cost, but is that enough? What can we do to preserve the heritage of printing in Graphic Design, while considering the viability of the practice in a digital age? What can you do? Make a difference.

KAT DUNBOBBIN - CMYK

MANIFESTO TRUSTEES

Trusteeâ&#x20AC;&#x2122;s of CMYK Manifesto

Allan Chochinov

Michael Bierut

Stefan Sagmeister

Ben Rider

Dan Mather

Susan Kare

In order to make the manifesto and the brands message viable, it is important to have to have the input and support from recognised members of the industry. In the same way that Ken Garland had all manner of industry designers sign his First Things First Manifesto I will have the following as Potential Trustees for the manifesto. These people range from the most influential designers of the last century to up and coming modern multi disciplinary designers.

Paula Scher

David Carson

Neville Brody

April Greiman

Leta Sobierajski

Debbie Millman

Bruce Mau

Ken Garland

Dieter Rams

Jiani Lu

Seymour Chwast

Bradbury Thompson

What elements I would like to use from these designs:

KAT DUNBOBBIN - CMYK

- Large Lettering - 2 Toned Printing - Use of Raw Paper colours - This could be screen printed really nicely - Laser Cut letters could create a really interesting hanging design

Manifesto Visuals Looking at how some Typography specimen sheets have been layed out has inspired me to use type in a creative way to produce a really striking visual for my manifesto. I like the idea of using the large lettering from my logo design to produce interesting shapes and colours while weaving my text through the design. Printing this in a really interesting way would help to hammer home that printing is vital for design to continue as a practise.

What elements I would like to use from these designs: Regimented Layout 2 Toned Printing Clear Typography Good to make a series of posters

KAT DUNBOBBIN - CMYK

Manifesto Experiments 1

Taking the inspirational material that I have found during my manifesto visual research I will attempt to recreate my brand manifesto using the templates from others. This should give a good indication of which style to the work within best fitting to the current body of work.

Using a graduated texture over a range of colours from my CMYK colour scheme gives a good retaining image to work across a range of advertising and posters. Below are examples of the ways in which this layout and imagery could be used to show the CMYK Manifesto. Proâ&#x20AC;&#x2122;s: - Clear & Bold - Good use of colour - Clean Layout Cons: - Body text too small - Not clea message

KAT DUNBOBBIN - CMYK

Manifesto Experiments 2

KAT DUNBOBBIN - CMYK

Looking at the 4 potential manifesto experiments here I have tried looking into how you can show the ideas of my brand without being unsustainable in print methods. The first of which uses a canvas that we all have access to; skin. By writing the manifesto on skin I think it emphasizes the metaphor for a sustainable resource not only that but hints that the way of working is within us, the deisgners. I have also played with physical manipulation of colours as you can see in the jackson pollock esque paint background. This was attempting to link back to the roots of art and design being merged however I do feel that this experiment was unsuccessful. It loses readbility and the message. The next was a very simple 2 colour minimal print. This could be achieved through most mediums using most different types of ink. This could also be easily represented on a screen without losing a tactile feel. The alternative to this would be to use the UV Printer to prouce a gloss finish over the text on a coloured stock, black for example to be a much more subtle message but still eyecatching with a pop of cyan.

KAT DUNBOBBIN - CMYK

Manifesto Experiments 3

KAT DUNBOBBIN - CMYK

I think that this series of posters would work really nicely as posters for my brands manifesto. They hint at its content trhough the design but also by showing a visual of a cut out sheet over a coloured stock one means that cheap 1 colour prints could be used in tandem with a laser cutter to produce this very simple but effecive design. I also think that doing these as a series make most sense as it shows subtley that it is a collective and breaks the 4 colours from the colour scheme up making it bold and eyecatching for its purpose.

KAT DUNBOBBIN - CMYK

Issues with Print Some of the biggest pitfalls with physical print in the design industry today can be summed up into cost, sustainability and trends. It is important to undertstand what these things boil down to with each print method and why they are causing certain print media to be lost over time. The following will explain briefly why each of the issues covered could lead to the loss of print in the design industry. Old Fashioned Traditional print mediums such as bloack print, letter press and screen printing can be considered outdated and rudimentary in terms of the process. The styles that you can achieve from these print processes vary from rustic lettering and one colour block prints lent themsleves to design up to 30 years ago but not necessarily the detailed imagery that modern designers tend to favour. Expensive The price of producing physical prints will always be a factor in what gets produced by designers as it it their client funding it. However we know that certain printing processes are more expensive to produce than others. For example once you have screens screen printing is exceptionally cheap to use the inks but is not so efficient for mass production. Litho plates are great for mass production but cost a lot in inks and time. UV printing is exceptionally expensive for the inks, however the longevity and finishes you can aquire using it could be argued to outweigh the costs.

Reduced Visual footfall Visual footfall isnt something that would have been considered an issue with print until very recently. With the introduction of advertising online we can now see millions of people exposed to advertising online within minutes. No print required. Designed on a screen for a screen. Social Media has caused print to be redundant in many ways due to this, you very rarely see an advert simply on a wall or TV anymore there will always be an online campaign to go with it. This gives designers a new challenge of creating adverts using print that can still be seen as useful and motivating. Prone to damage Another aspect to print that either needs acknowledging or solving somehow is the fragility of physical print. When something has been created physically like a printed brochure poster or product it is far more prone to breakage, loss and deterioration over time. You would eventually need to reprint in order to maintain a standard of high quality More difficult to edit / update Once a design has been printed it cannot then be chnaged or updated. Mis prints prove costly and posters will go out of date along with catalouges and brochures. Online you would not have this issue simply update you design and re upload. Damaging processes The processes of lots of print methods are damaging to the environment. Linocut for example uses linoleum sheets which are not sustainably produced or screenprinting for example uses toxic chemicals to remove traditional inks from their screens after use. Standard prints on non-recycled paper are using up finite resources which is a pointless venture if they are used for nothing more than bin lining with mis-prints. Time Consuming A very common issue with printing especially non mass market adapted processes is the time that they take to produce. For example due to they way in which a UV Printer works it can take hours for a single print with certain finishes. Lino cutting and letter press take lots of time and hard work to produce their equiptment in order to print and screen printing although quick to get through can never really be used majorly as a mass market process.

KAT DUNBOBBIN - CMYK

Lino Cut Printing Positive - This old fashioned print method can be updated using laser cutters to create very crisp designs - Cheap to produce and re usable - Editable Designs Negative - Prone to damage - Difficult to mass produce unless including digital scans and prints

Lino cut CMYK Icon on White Stock

Lino cut CMYK Icon on Cyan Stock

Lino cut CMYK Icon on Magenta Stock

KAT DUNBOBBIN - CMYK

Screen Printing Positive - This old fashioned print method can be updated using laser cutters & Ascetate to create stencils and UV Inks to produce crisp images & Typography. - Re Usable Negative - Prone to damage - Difficult to mass produce unless includin digital scans and prints

Lino cut CMYK Icon on Yellow Stock

Screen Print in black on cyan stock GF Smiths

Screen Print in black on Magenta stock GF Smiths

Screen Print in black on Yellow stock GF Smiths

Screen Print in black on GF Smiths white paper.

Screen Print in full black on cyan stock GF Smiths (Patchy ink due to lack of ink on screen)

Screen Print in full black on magenta stock GF Smiths (Lose definition of lettering in logo)

Screen Print in full black on Yellow stock GF Smiths (lose logo tagline)

Screen Print in full black on white stock GF Smiths (Not aligned correctly due to human error)

Screen Print in black on cyan stock GF Smiths (Not aligned correctly)

Screen Print in black on magenta stock GF Smiths

Screen Print in black on Yellow stock GF Smiths

Screen Print in black on white stock GF Smiths

Screen Print in full black on cyan stock GF Smiths (Lose tagline almost entirely)

Screen Print in full black on magenta stock GF Smiths (Ink bleeding around lines too much ink on screen)

Screen Print in full black on Yellow stock GF Smiths

Screen Print in full black on white stock GF Smiths

KAT DUNBOBBIN - CMYK

Letterpress Printing

UV Printing

Positive - This old fashioned print method can be updated using 3D Printing - Re Usable Technology - Adds texture - Adds Individuality

Negative - Prone to damage - Difficult to mass produce unless including digital scans and prints

Negative - Very expensive Machinery - Very Expensive inks - Undertsnding the software and process is vital in using this print method

Positive - This modern print method can be updated utilised in creating a massive variety of print outcomes - Very durable prints upon completion - Extremely high quality can be achieved using this method - Becoming increasingly more popular and available Negative - Very expensive Machinery - Very Expensive inks - Undertsnding the software and process is vital in using this print method

UV Print on blue stock in 1 pass of black at 8

UV Print on Magenta stock in 1 pass of black at 8 clean lines

UV Print on yellow stock in 1 pass of black at 8 Nice bright colour

UV Print on blue stock in 1 pass of black at 8 much clearer than screen sprint counterpart

UV Print on magenta stock in 1 pass of black at 8 much slower to produce than screenprint

UV Print on yellow stock in 1 pass of black at 8

UV Print on blue stock in 1 pass of black at 8

UV Print on magenta stock in 1 pass of black at 8

UV Print on yellow stock in 1 pass of black at 8

UV Print on blue stock in 1 pass of black at 8 Very clear with information.

UV Print on magenta stock in 1 pass of black at 8

KAT DUNBOBBIN - CMYK

EVALUATION OF UV PRINT

Evaluation of Printing UV Printing has proven to be a very succesful mode of printing following my self initiated guidelines. I asked myself if there were potential ways of improving the way that UV Print can be produced to work better using less ink,materials, time or money. As it is I experimented with using just 1 colour prints on coloured stock and creating full 4 colour prints with high quality finishes and varnishes. There is a toss up between the ways that this could be considered good for the industry as it produces high quality prints with unique varnish finishes and watermarks. These will all have a longer life and are more durable than standard laser ink printers due to the composition of the ink and being cured allows for it to become a semi solid material able to flex and warp if needed as with packaging and or booklets. The other way that this could be used to a higher print standard for the manifesto would be to utilise it on more durable materials such as perspex or straight onto products such as laptops, books, folders even food. To comapre this process to a ver similar one such as screen print you find that although it takes longer to produce a single print and costs more in materials it will give a much cleaner finish and correct details every time unless there is an error making it a good print method for functional design with a longer life than what we currently use.

Clear Varnish finish

UV Print on Yellow stock in 1 pass of black at 8

Watermark Sealing

Small defined detail.

KAT DUNBOBBIN - CMYK

Laser Cutting Positive - Uses absolutley no ink - Can be used on a very wide variety of materials ie. No paper necessary. - Can be used in tandem with many other print methods - 3D options can be produced using a laser cutter Negative - Very Expensive Machinery - Requires a certain amount of training to use this method to its full potential

KAT DUNBOBBIN - CMYK

Is Removing Print from Graphic Design an option?

Why will print be lost to time?

To remove print from the practice of graphic design would drastically alter the visual language with which we are acustomed to, it drags into the equation what graphic design is and who is responsible for the industry. In my opinion print will never be something that we can eradiacte from graphic design due to the long standing rich heritage that it rests on. Print has evolved along with design throught the centuries but putting some form of ink to a form of paper has been a fundamental the process is what changes and mutates. By removing this from teh way we design we lost touch with how people interact physically is you remove print there are 2 options available to us; create imagery using web space and the connectivity of the inetrnet to advertise or find new ways of producing tactile design through mediums such as sculpture, broken materials and altering our physical surroundings. This has long since bene an element of design but I do not feel after my experiments that it works as efficiently and print therefore is not something that would be able to sustain the industry alone.

Printing has a few reasons to worry about having an expiration date. The first being cost. Many production methods now cost far more to produce the printed amterials than the revenue that they inspire. For this reason many people have moved to screen presentation, web spaces and social media to advertise. Another reason that print is dwindling in the mass market is the ever so present decline of sustainable materials. It is estimated that within the next 40 years oil prices will be sky high making ink a luxury commodity. This means that the ink will either need re inventing to be water based or recycled from sustainable materials.

WILL PRINT BE LOST?

REMOVING PRINT

KAT DUNBOBBIN - CMYK

Print however will become a luxury design medium by means of cost and tactile production. As companies and people move to cyber space having a well designed brochure with an expiration date and beuatifuk finishes can be more effective than it ever used to be in making a company stand out.

How and Why designers need to take

Why Print wonâ&#x20AC;&#x2122;t be lost.

Designers are the people who not only fix problems that our generation creates but also we visualise the world around us for those who do not even know that people are guiding their every view of the world. Clients fund our projects to sell, advertise or campaign on their behalf but ultimatley it is a designer who puts together the work and decides on the materials used, the effect that they have and the imposition they play on the world around them. This being the case I feel that it is the designers who have the power to drive certain standards into the industry. This being that every project should be to better the world around them or graphic design as a whole. Each project should be considered in terms of its viability; is the way it has been produced effective and if not how can it be changed to make it worth the damage that it causes? Each project and the way that it is run should be justified in producing its pieces in the way that it does.

Print will not be lost in my opinion due the fact that most design ebbs and flows in trends much like any other creative industry. Fashion drives markets lower down the ladder as print processes do with design. As print becomes more of an expensive aspect of the design process its role may mutate to be something that is used in only certain sections of the industry, such as packaging and brochures while it will be lost in advertsing. This will then flip as it usually does upon the recievership or advances in new materials and techniques to create physical prints. New inventions always drive print based on the current social and economic environment of the time, as money becomes less tight development into new machinery will bring new life to print. I believe that it is our job as designers to hold such an important part of design in the industry until it can be used to its full extent again.

responsibility?

CMYK Collective is designed to be that guiding influence for designers to work to a standard worthy of the industry.

KAT DUNBOBBIN - CMYK

Ryman Eco Ryman Eco is a project to create a font series that is more ethically conscious than most currently in circulation. It is designed to use 30% less ink than an average font to print by building each letter from seperated lines as you can see below. This project would be a good example of working in a way that adheres to the manifesto of CMYK Collective. It may be deisgned for use on a screen and not be focussed around innovative materials but it does represent an ingenious approach to type design that will decrease the amount of wasted ink on any printed work. This fits very well with â&#x20AC;&#x153;We found ways to improve every aspect of print, the ink, the paper, the methods, but why did they need to be improved?â&#x20AC;? Ryman Eco does imporve the print method in a significant way inspiring more designers to do the same and work ethically.

KAT DUNBOBBIN - CMYK

Oil & Water Athony Burrill’s project for Oil and water was a brilliant example of using print methods especially traditional ones to make a point about the materials used. They use a screen print process to stamp in their message by using the contaminated materials they are fighting to clean up as inks. It makes print viable and exciting for the future by using it in such intuative ways for an advertising campaign. This project clearly consideres the idea made in this section of the manifesto: “why does choosing a print method to visually present your work show a flair and individuality where the design doesn’t?”

KAT DUNBOBBIN - CMYK

Fairphone 2 Fairphone shows another aspect to what the CMYK Collective are trying to push. Innovative ideas in design. The way that this company has approached their design process is one of sustainability, freedom of choice for the consumer and product longevity making it less wasteful than most parallel designs on the market. The prroduct is designed for the customer to be in control of their own devide, replacing and fixing it themselves by making the design simple and user friendly physically as well as in the software. This part of the manifesto lends itself to the fairphone project, â&#x20AC;&#x153;The potential for reinvention is by no means exhausted. Everyday we see new technology expanding from existing ideas. No idea is stand-alone or new, it overlaps and pushes the boundaries of every bordering medium. Is it our responsibility as designers to build these boundaries, or knock them down?â&#x20AC;?

CMYK Collective Online Design You can view this website semi live : https://katdunbobbin.wixsite.com/cmyk

KAT DUNBOBBIN - CMYK

These Digital Mock ups show how the social media looks over multiple platforms and showcases the branding working in a real life format. I am really happy with the balance that this has between professionalism and creativity. I think that they have enough colour to be bold and exciting while being professional and interesting for an important purpose.

Another aspect of web design that is important to take into consideration is making it suitable for mobile devices. The user is the most important part of this type of design and them being able to use you design and page functionally is vital to its success. One of the largest things that I have noticed while producing this is that actually the job is really no longer there. By using one of hundreds of web builders that are free to access online such as squarespace, Wix, Wordpress or GoDaddy you dont need to have any idea how to design a website. This is worrying indication that if design were to move to purely web, Graphic designers job wouldnt necessarily exapnd to accomodate the new space like you might imagine.

KAT DUNBOBBIN - CMYK

Advertising Research To research advertising I want to chose really inspiring images that are either successful campaigns or directly relate to my project or target audience. Seeing how others have displayed brand through advertsing without seeming cheap and meaningless. I need people to either believe in the brand as strong and important or to be interesting enough to attend an event to learn more. While being recognisable to those in the industry.

KAT DUNBOBBIN - CMYK

Advertising Development

w w w. c m y k c o l l e c t i v e . o r g

Firstly I wanted to play with the icon that I had prodcued to really drive home the brand, the bright us of colour would still be able to play a part in drawing the eye and by simply adding a website for people to visit or some deatils for an event you have a call to action. This is speaking without words in the hope that people would be curious enough. I like that the broken icon insinuates a broken industry.

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KAT DUNBOBBIN - CMYK

Advertising Development

CMYK Mixer Event 2 017

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CMYK Mixer Event 2 017

S e p t e m b e r 9 2 017 w w w. c m y k c o l l e c t i v e . o r g

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This layered typographic design is using a trendy techinque popular online which would be interesting to use in connection to the brief making it current. The quotes used to build botht the backgroud text and the forefront text are from the CMYK Collective Manifesto and so would hopefully get the brand message across.

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KAT DUNBOBBIN - CMYK

Advertising Development

KAT DUNBOBBIN - CMYK

Advertising Development

These designs would work in a series of 2 at a time, using the logo in different iterations of the font gives a unique layered appearance that when produced using a process such as Screen printing or UV Printing would allow for overlapping colours as in the Icon for the brand. Out lined it gives a similar finish but using less ink and works as a metaphor for the design industry and its boundaries.

KAT DUNBOBBIN - CMYK

Advertising Development

Utilising a halftone effect that I have learnt from screen printing allows a print influence into a simple typographic based design. These simple designins could be produced in many ways on most print techniques such as screen printin, UV Printing, digital print, sublimation print, Litho print and even laser cut layered over paper.

KAT DUNBOBBIN - CMYK

Advertising Development

This design follows on in a series from the last. Using the last 2 colours from the colour scheme.

KAT DUNBOBBIN - CMYK

Advertising Development

This set of posters for the brand would be show in a series of 4 using the colour scheme over the letters from the icon/logo. By associating the correct colour to the letter it drills home that this is about print but by not being produced using print for the most part the juxtoposition should send a subtle message that you can achieve similar if not more exciting results by changing the print process to be more fitting to your idea making it more applicable and justified in an industry struggling to maintain print.

KAT DUNBOBBIN - CMYK

Advertising Development

This design follows on in a series from the last. Using the last 2 colours from the colour scheme.

KAT DUNBOBBIN - CMYK

A Project Review

Advertising & Web

This project has been a very enjoyable and fullfilling one. I have been able to look into a serious issue tha tI believe the industry I hope to be part of is facing at this current time. Not only this but I have applied myself to experiment and produce outcomes with the aim to combat this issue. I know that lots of this prohect touches on trodden ground but I feel that what I have achieved fills a gap where others have failed to interpret the issues that have been long since pondered and fought against. From my research I found that I am not even close to the only one trying to find ways to combat the issues that print and its limitations play on the graphic design industry but I also know that what I have created will sit well with how other companies and brands have chosen to do similar things. My target audience is slightly different to D&AD and the RSA because rather than targeting simply students or big businesses I feel that it is important to evaulate what any and everydesigner can do to help the industry that they are invested in.

The advertising and web side of the project came very easily once I had sorted the branding and manifesto. I felt it best to keep the style throughout the products and advert in order to push the brand. With this in mind I ran a series of experiments for some advert using different print processes to achieve the same designs. this gave me a good indication of not only why print was so important as a tactile element of design but also the different finishes and effects that I could achieve.

PROJECT REVIEW

KAT DUNBOBBIN - CMYK

As for the web side I knew I had to find some way to push the brand in the newer cyberspace. the way that I intended to do this was to produce digital mock ups, create a website and social media for the brand and for everything that was printed it was digitally produced for that space and audience. As a side note I think that this worked very well to build a quick following and would work in the future but need that tactile printed element to give it purpose and meaning. The animated Icon produced worked really well as a web space design utilising that which I could not achieve through print making this brand multi modal.

Brand & Manifesto

Conclusion

The branding of this project caused me lots of issues, I found it very difficult to decide how subtle my message had to be and the metaphors that the logo had to make all while inkeeping with a theme ans style set by a precident of other projects. I found that I need to simple not be precious with this work and experiment with different names and how they would look. I dont think that any would have been unsuccessful but am glad that I allowed myself to change my branding further along inception as I did not feel that it fully did the job that I had desired it to. I am suprised by how helpful the feedback I recieved was to my work, I found that from the feedback I was able to adapt my design to include an Icon which I feel works very well and enhances the brand massively. This later went on to be utilised in all manner of brand application and advertising.

To conclude this project I feel that I have created a sound brand with a purposeful message that has real world applications and avenues with which to grow into. The branding is strong and could easily be subtley updated to stay inkeeping with trends of the time like any other large company.

The manifesto for my company went through a few stages, to begin I looked at how others had written theirs and what messages they were getting across. Some were more successful than others in this but most seemed to have a similar view that design was an ever changing industry and both our clients and ourselves neeed to be open to change. I tried to keep this in mind when writing my own. In fact 2 quotes really struck me and I felt them necessary for my own manifesto to illustrate the notion as not being new but a very old idea that has withstood the test of time. After drafting this something seemed off. I felt as though it were an explanation and had no real feeling behind it or call to action. This prompted me to stage all of my point as questions for designers to consider making it somewhat personal to each designer and interactive depending on how you percieved the manifesto.

This project has taught me a lot not only about print and the way in which it should be used and approached but elements of the design process which perhaps normally in a commercial world get over looked and rushed can really give a valuable insight and have drastic repurcussions on designs. I feel that this has been successful partly due to the plan that I set for myself at the start of the year, I found that realistically I only deviated from this once or twice when I chnaged my branding and was restricted with print techniques available at the time. having a plan allowed me to complete the deliverables taht I wished for while giving me chnage to experiment and create something exciting. I would love to see this project grow into what I know it could be and am excited to see how it continues to recieved both online and in person.