ANIMATED TYPE FROM MANNSCHAFT, AMSTERDAM.

voordekunst : animatie hoe het werkt from voordekunst on Vimeo.

"ARCHITECTURE IN HELSINKI" TYPE VIDEO

"MINIMALISM" KINETIC TYPE POEM

"LIVE OUT LOUD" KINETIC TYPE

By Johnny Lee

EXPERIMENTAL TYPE IN MOTION

From a student from New Zealand

'CHERRYBOMB' TITLE SEQUENCE

I really like the way that the words appear 3d within the video footage.
I found this tutorial that shows how to do this on AfterEffects. This could be useful for the next part of this module...

http://www.videocopilot.net/tutorial/3d_shadows/

EASY RIDER TRAILER

bloody funny example of using kinetic type

BUNCH LOGO REDESIGN COMPETITION

I have been looking at a grphic design agency called Bunch from my enterprise and ppd research. They ran a competion for other designers to ere-design their logo which I thought was a pretty cool idea. It would be so interesting to give your peers a piece of your work and actually ask them to redesign it. A whole new level of critique!

The overarching theme of 'Made in Bunch'. 

These are some of my favourites:

CEE LO GREEN "FUCK YOU" MOTION TYPE

Kinetic poetry

This example of kinetic poetry explores the layout of poetry more than the words. I am investigating poetry as part of kinetic type because I think it would be a subject that would be interesting to experiment in terms with t he creative language of poetry.

Kinetic type

I like the movement of the shot in this video; the way that the shot jerks around the type as though it is laid out on one large sheet of digital paper.


The purpose of this video is purely humour driven, however I like the way that each piece of type flows into the other, making use of the negative space in the letters. For example the gaps act as windows for the shot creating a sense of movement in the viewer.


I am looking this as an example of illustrated moving type. I know that this is not relevant for the 'Silent Movie' brief, however it's something I want to look at as part of the module. I really dont like the way that the type is over digitalized making it look like a bad vectorized object. I think it would look better if it had retained more of its hand drawn quality.


In this example the motion type is 3 dimensional which I think is a really interesting way of making the type look more 'alive'. I like the way the text crawls around the buildings like some kind of creature.


I love both the book and the film of 'Fear and loathing in Las Vegas'. I know that this is a theme that has been over used and mass produced but I like this particular motion type video because of the sense of movement through the shots and the use of the original Ralph Steadman typography used for the book title and chapter titles.

'Typography School'

This video made me laugh; it features one man's views on traditional letterpress vs. technology

Motion type

It think that this typography really keeps in the right tone for the theme of the video.


I think that stephen fry's voice translates really well through this motion type because of the language that he uses. I also like the way that the subject he is talking about reflects the theme of the video.


An interesting way of using type as image.


I dont much like the way that type is used later on in this video, although I love the way that moving shapes and colour is used to portray different sound elements of the music.


I like the interesting use of image, type and colour. It is really eye catching and grasps the viewers attentin, much like the song. However I think that the way that the type is used is fairly unexciting.

IMAGE FOR ARTICLE

I sourced this image from the internet for my magazine article to act as an illustration. Had I had more time I would have taken the image myself. However I think that this image is pretty fitting! I think the style of the girl: conventional, contemporary and fashionable like the readers of the magazine and the target audience of my product.

UV inks

UV Inks

Find out the reasons why we print using UV inks!

For years the wide format digital printing market has been dominated by machines which use solvent inks. The solvent part of the ink controls the viscosity and assists in optimal drying onto the desired media substrate. The drying of these inks involves the evaporation of volatile solvent from the ink film, or the absorption of the ink into specially developed substrates.

The main ingredients of solvent inks are VOCs (Volatile organic compounds).  

Once the product has finished printing the solvents evaporate (i.e. when paint dries) giving off a very toxic odour. Although this eventually reduces to a minimal smell, it can take up to several weeks for solvents to completely evaporate.

To get an idea of how much evaporation take place this process removes about 35-40% of the delivered ink volume. In other words, you have to deliver 40% more volume to the substrate with water or solvent ink in order to achieve the desired colour density. Vapours of VOCs escaping into the air contribute to air pollution. Methane (part of VOCs) is an extremely efficient greenhouse gas which contributes to enhanced global warming.

This very problem has been noted not just in the printing industry but end line customers such as Marks and Spencer have expressed their intentions not to purchase any solvent printed graphics.

We at The UV Printing Company eliminate all of the above by using a machine that uses UV based inks. UV inks act like liquid plastic. As the ink is exposed to concentrated UV radiation, a chemical reaction takes place causing the ink components to cross-link into a solid. This is done by 2 UV lamps fixed to either side of the print head.

One of the most significant reasons for UV’s growth is concern over environmental issues. Due to the lack of volatile toxins evaporating, the process doesn’t harm any of our workers and all our prints can be used indoors with no nasty odours to worry about.

The reason for this is that UV inks do not dry in the air so no material is lost. This means nearly 100% of the delivered volume is used to provide colouration.

Due to the higher viscosities, UV inks tend to stay where they are placed. Dot gain is negligible resulting in exceptional image sharpness. For that reason, UV inks work well for printing fine line, process and vignettes.

In the past the fact that UV inks are thicker has been a problem but after a lot of development in the inks flexibility we now have inks that print and adhere to a vast range of substrates. These include banner PVC, vinyl, foam board, correx, metal, glass, plastic, wood and many more.  The use of white ink is a major plus when printing onto dark or transparent media.

LIFE SIZED CARDBOARD CUT-OUT PRINT PROCESSES AND SPEC.

• Life size cardboard standups can be printed on quality matt or pearl photo paper and then mounted onto 3mm,5mm or 10mm foam board or heavy duty card, or printed using UV inks directly onto the panel.
• The average size is of the life size card is 24 inches wide by 72 inches high
• The image can be relatively small: after a conversation with James down in digital print and my own reaserch on scanning for large prints I have found that the initial image size is not relevant as the high quality scanners used in the industry would allow the image to be enlarged to a much larger scale.
• The cost varies dramatically obviously depending on the quantity. For comsumers for things like gifts it seems that the one off prices vary from £60-£150, but obviously I would be printing more than one so the price would be less. I got a quote for a batch of 15 which I think would be reasonable (quote includes finishing (contour cut rather than square, and deilvery) working out at £48 per board: 

• The time required to produce the cut outs seems to start from as little as 5 working days for a one off, presumably more if it were a larger batch.
• There are two main ways of cutting foam board/card: hand cutting, or router cutting which is more expensive for one off jobs but much cheaper for batches.

Here is an example of router cutting:

KET FEATURES OF CARD

ideal for short terms displays where economy is important

A premier quality grey centred display board

Coated white surface box board on both sides

Smooth, white surface

Superb print quality

can be folded, cut to shape

0.5mm 1.5mm and 2mm depending on size an application

Add a strut to make it free standing 

SCANNING FOR LARGE PRINTS

Scanners typically read rgb) data. Colour depth varies depending on the scanning array characteristics, but is usually at least 24 bits. High quality models have 48 bits or more color depth. Another qualifying parameter for a scanner is its resolution, measured in ppi, sometimes more accurately referred to as spi - samples per inch. Instead of using the scanner's true optical resolution, the only meaningful parameter, manufacturers like to refer to the interpolated resolution, which is much higher thanks to software interpolation. As of 2009, a high-end flatbed scanner can scan up to 5400 ppi and a good drum scanner has an optical resolution of 12,000 ppi.

The size of the file created increases with the square of the resolution; doubling the resolution quadruples the file size. A resolution must be chosen that is within the capabilities of the equipment, preserves sufficient detail, and does not produce a file of excessive size. The file size can be reduced for a given resolution by using "lossy" compression methods such as JPEG, at some cost in quality. If the best possible quality is required lossless compression should be used; reduced-quality files of smaller size can be produced from such an image when required (e.g., image designed to be printed on a full page, and a much smaller file to be displayed as part of a fast-loading web page).

The third important parameter for a scanner is its density range. A high-density range means that the scanner is able to reproduce shadow details and brightness details in one scan.

By combining full-color imagery with 3D models, modern hand-held scanners are able to completely reproduce objects electronically. The addition of 3D color printers enables accurate miniaturization of these objects, with applications across many industries and professions.

KEY FEATURES AND ADVANTAGES OF RIGID FOAMEX BOARD

- Foamex (otherwise known as Foam PVC or Foam PVC is a rigid board that uses compressed foam, making it sturdy yet lightweight

- Images are printed directly onto the panel using UV inks - ideal for one colour to full colour prints

- Foamex is a very strong and rigid material that is easy to hang using self tapping screws, double sided velcro or double sided adhesive pads

- PVC Foamex has a smooth matte silk finish, meaning prints really stand out on it, whilst also being impact resistant.

- Unlike wooden signs, Foamex won't rot or swell

- With computer aided cutting process, Foamex can be made into any shape you require.

- Due to it's composition, Foamex can be screwed to walls, post mounted or hung in a frame.

- Foamex signs are popular for exhibition displays, signs, in store promotions, information boards, event signage and much more.

- Foamex panels come in all the popular A sizes as well as being able to custom print any size you want.

- Available in 3 thicknesses: 3mm, 5mm or 10mm

ADVANTAGES : 

Versatility - weather proof so can be used outside, strong yet light material ideal for a variety of applications

Economical - low cost to manufacture, therefore a low price for you, bulk discount available on request

Print Quality - High resolution prints using UV inks

Eco-Friendly - Foamex boards can be recycled along with other PVC products

POSSIBLE NETS FOR PACKAGING

PETZL E+LITE TORCH

This is the head torch that I have chosen to base my packaging design on. This is the size that I want for the head torch in my kit. The reason I want it to be small and compact is that it needs to be feminine and practical (handbag sized!) to suit my target audience. This particular torch weighs only 27g and has LED's rather than bulbs making it really compact. Obviously I would design the packaging for this element of the kit, so it wouldn't include this case. 


PETZL E+LITE




















SPEC FOR PETZL E+LITE HEAD TORCH:


Emergency headlamp
Total dependability for years in all conditions:

Resistant to extreme temperatures : -30 °C to +60°C (-22°F to +140°F). 
Always ready for use with a shelf life of up to 10 years. 
Waterproof down to -1 m. 
Sold with its own protective carrying case. 
Can be used in potentially explosive atmospheres (see certification specifications). 
Compact and ultra-light (27 g) - always carry it with you.
Designed to prevent accidental operation : switch can be locked. 
Performance lighting:

Plenty of light for common tasks : shines up to 19 m. 
Can shine up to 4 nights in a row (45 hours). 
Easy to operate. 
Strobe mode. 
Easy to use:

Can be worn on the head, around wrist or neck or can be attached to thin-edged articles with integrated clip. 
Light source can be oriented 360°. 
Red light helps preserve night vision. 
10 year guarantee.

Certification
CE Ex II 3GD Eex ic IIC T6, Ex tD A22, IP6X T85°C X 

Technical specifications
3 white LEDs and 1 red LED.
2 lighting levels: economy and maximum.
White and red strobe modes.

Lithium CR2032 batteries (included).
Weight: 27 g including batteries (0.95 oz).
Weight of headlamp + batteries + case: 46 g.

Equipped with clip system and removable strap.
Light source rotates 360° on ball joint.

Waterproof down to -1 m.
10 year guarantee.

POSSIBLE NETS FOR PACKAGING

POSSIBLE NETS FOR PACKAGING TORCH

VISIT TO TEAM PRINTERS

I FOUND THE TRIP TO 'TEAM' PRINTERS IN LEEDS EXTREMELY HELPFUL IN TERMS OF RE-INSTATING WHAT I THOUGHT I ALREADY UNDERSTOOD ABOUT INDUSTRIAL PRINT PROCESSES. SEEING THE PRINTERS AND THE WHOLE ENVIRONMENT HELPED ME TO UNDERSTAND MORE CLEARLY HOW THEY WORK.

VIEW OF THE PRINTERS FROM ABOVE

OFFSET LITHOGRAPHIC PRINTER

 CYAN INK CARTRIDGE

 CYAN AND MAGENTA CARTRIDGES 

 PAPER STACK

 POTS OF CMYK INKS

 MACHINE THAT MAKES THE PRINTING PLATES

 DIGITAL PRINTER

 STOCKS

 MORE DIGITAL PRINTERS

 INSIDE ONE OF THE DIGITAL PRINTERS

 MORE STOCKS PILED FLOOR TO CEILING

 CMYK CARTRIGES

 SCRAPS

 USED PRINTER PLATES FOR OFFSET LITHOGRAPHIC PRINTER

 STACKS OF PRINTS

 WOMEN HAND FOLDING NETS AND OTHER PUBLICATIONS

 DIE CUTTING, EMBOSSING/DEBOSSING, SPOT VARNISHING DEPARTMENT

 DOG

 NET READY TO BE DIE CUT

 SPOT VARNISHING MACHINE

 DIE CUTTING MACHINE

 HOW THE DIE CUTTING MACHINE WORKS

 SELECTION OF DIE CUTTING STENCILS

 HAND FINISHING ROOM 

 EXAMPLES OF HAND FINISHED PRINT PRODUCTS