mailing invite KELSEY ROONEY
BEGINNING The beginning of the process was to choose an event from a provided list - all very different. At first, I was especially drawn to the World Food + Music Festival, since I really love using rich colors that are often associated with food - reds and oranges. At first, I decided not to go this route, but instead step outside of my comfort zone and mkae an invite for the 80/35 Music Festival. When the drawing began, I realized pretty quickly that I would have a better time executing an invite for an event that I found more interesting - so I went back to the World Food + Music Festival. Upon research on the event, I found the logo used a deep red that I was really drawn to in the beginning.
sketching
In all honest, most of my “sketching� time was used to create new ways of folding and invite. I wanted the piece to have a unique shapte and experience beyond the typical card or gatefold - I wanted to take those fundamentals and make them more special. Here are some examples of the folding techniques that I tried out. I decided to pursue the one on the top right corner.
mock-ups
mock-ups The mock-up process was a pretty quick turn-around from the regulat sketching, so I didn’t include many of my beginning sketches since most of them didn’t really lead anywhere (for 80/35). We were asked to bring in three 3D mock-ups of an actual invite for class. The on the left was one that I created after the initial critiques... I had a mishap with my original mock-ups and they ended up getting ruined before I got the chance to get a picutre of them. The mock-up process was a lot more difficult than I thought it would be (especially for the envelopes). It’s one thing to have a big idea, and another to be able to execute it. I found myself second-guessing most of what I made, but then settled for the the look on the left, which carries throughout my design process.
going digital
going digital
process Going digital was the next step in the process. I had my concept down and ready to go, I just needed to execute it. During the process I ran into a few hiccups - making precise measurements was difficult, especially gettinf exact placement for the fork and spoon cut-outs. After working with that detail, Professor Ward helped me come to the solution that I would just need to make stencils of the utencils and trace and cut them out with that. Overall, the invite design wasn’t terribly diifcult to tackle once I got past the utencils roadblock. Next was the envelope. I know that I didn’t want to use a basic rectangle-shaped envelope - I knew I wanted to make it more abstract and geometric. I decided I wanted to carry the design from the back of the invite to the front to keep it cohesive and interesting. Constructing it was a little more than difficult. I had the vision, I just had to get the execution down pat. I learned pretty early on that I had to print two separate sheets of paper for the envelope because the dimensions didn’t work with the typical 11x17 tabloid sheet - it needed to be a tad bigger. We got fancy paper! Megan from Field Paper came in to show us an endless list of possibilities with paper - which really got me excited since I knew I would need a thicker paper for my envelope. I ended up getting a linen paper for my invites and a heavier stock for my envelope - which I ended up really happy with. Priniting was a struggle - my heavy stock paper wouldn’t go through the regulat printer in the lab, soI needed to come in during the day and work with professor Ward to print my envelope. Otherwise, the linen paper went into the printer fine, but with the ink rubbing off a little bit in some areas.
final