Thursday 31st October 2013 "The Media and The Gaze" Helen Clarke
"Men look at Women. Women watch themselves being Looked at"
- 'Ways of Seeing (1972) by John Berger
- Women internalise the Gaze- looking at themselves by how other women are interpreted in the Media
"Vanity" (1485) by Hans Memling
- Mirror shows an impossible reflection
- Painter painting a nude for his pleasure but the use of the Mirror blames her for the stance- a device
which blames the women and makes it out to be ok for her to be viewed in this way
- In advertising, Pre-occupation of model gazing at themselves gives us permission to view them
- Voyeuristic
"Birth of Venus" (1863) by Alexandre Cabanel
- Hand covering brow and waking from sleep- allows for us to gaze uninterrupted
- Invited by the artist to gaze- Implication that the women doesn't stop us from looking
Sophie Dahl for Opium Advertisement
- Reclining pose- deemed too overtly sexual when first released
- Turned from horizontal to vertical format- more emphasis on face rather than the body
"Venus of Urbino" (1538) by Titian
- Looks out of the side of her eyes- flirtatious invitation
- Curtain suggets private area to view her in
- Hand- sexual gesture or covering modestly?
"Olympia" (1863) by Manet
- Difference in the Gaze from "Venus of Urbino"- looks us in the eye challenging the Gaze
- Hand in a definite placement stopping the Gaze
- Women is prostitute- social outsider- symbols of being a Courtesan
- Celebrating the powerful Female Figure
"Le Grand Odalique" (1814) by Ingres
- Gorrilla Girls used this to produce a poster advertisement
- Challenging the facts through the re-apporpriation of the image
"Bar at the Folis Bergeres" (1882) by Manet
- Type of Self Portrait
- Shared perspective using the Mirror- put in the position of the Painter themselves
- Behind her is Paris Society- Look of exclusion and disaffected manner- superficiality of the Paris
nightlife
"Picture for Women" (1979) by Jeff Wall
- Reflection of "Bar at the Folis Bergeres"
- Reflection divided by 3 mirrors in the Background- photograph is a constructed scene
- Wall separated himself from the female figure- the use of space shown by the camera separating the
male and female
"The Camera in Contemporary Media has been put to use as an extension of the male Gaze of the Women on the Street"
- Rosaline Coward (1984) "The Look" Essay
The use of sunglasses in adverts- Stops the Gaze from being returned
Eva Herzigora for Wonderbra Advertisement (1994)
- Looking down means no return of the Gaze
"The Profusion of Images which characterises Contemporary Society could be seen as an Obsessive Distancing of women"
- Rosaline Coward discussing Peeping Tom (1960) film
- Distancing of women doesn't make them appear as Human Beings
- Objectification taken to the Extreme
Male body Objectification
- Amount of images- a lot more of Females rather than Males
- Males tend to return the Gaze- makes it more confrontational
- Representation of power, fitness and being a Machine
Marilyn: William Travillas dress from 'The Seven Year Itch' (1955)
- How bodies are chopped up for the camera making the film easier to follow
- Females in 1940-1950's filmes are passive and reacting to the Male leads (Patriarchal Male role and
Passive Female role)
- Darkened rooms of cinemas will allow for looking without being seen
"Judith Beheading Holofernes" (1620) by Artemisia Gertileschi
- Active role of women in such a violent image
- Repositioning of Women in Art History
"Women are marginalised within Art History.. Women are suppose to be marginalised"
- G. Pollock (1981)
"Untitled Film Still #6" (1977-79) by Cindy Sherman
- Challanging the Gaze
- Upright image to focus on the face
- Holds mirror but it is facing down on the bed- viewer denied narrative to view
- Unnatural pose makes it awkward- staged
"Your Gaze Hits the Side of my Face" (1981) by Barbara Kruger
- Use of word 'Hits" challenges due to the violence behind the word
"Eating a Banana" (1990) by Sarah Lucas
- Humourous Work- Has sexual undertone
- Returning the Male Gaze- What are you looking at?
- Serious connection to Women Perception
"Money Photo" (2001) by Tracy Emin
- Commenting about how 'her work can't be real from the money she is getting from it'
Use of Page 3 Models
- Still prevalent in 2013
- Caroline Lucas MP challenging this in Parliament
- It is available everywhere and can be seen by everyone
Attack of women speaking out against the Objectification and Page 3
- Criado-Perez campaign to re-instate women onto British bank notes
- Use of social media to attack her 50 times a day with threats of Rape and Murder
- Attempts to silence voice ad oversight of women
Use of Social Media used to perpetuate the Gaze
- Plays of the body consciousness of teenagers, carrying these criticisms into adulthood
"To photograph is to appropriate the thing being photographed"
- On Photography Essay (1979) by Susan Sontag
- More like Passive Observing- how the Paparazzi shoots others
- Drive to get to see celebrities like normal people
Reality TV
- Appears to offer a position of power as an all-seeing eye
- Voyeuristic passive consumption of a type of Reality
- Contestants are aware of their representation and editing means that there is no Reality
"Big Brother"
- Equality of men and female being gazed upon
- Making voyeurism an everyday activity- The Gaze at its worst
"The Truman Show" (1988) by Peter Weir
- Everything he does is filmed
- His world is just a show, fake and set up
"Looking is not indifferent. There can never be any question of 'just looking'"
Following from the Lecture we had on the topic of 'Identity', we went onto looking at Identity and 'The Other' in Visual Representation:
-Pseudo-Science- Identity is based on physical traits- Essentialism (A form of innate characteristic- e.g.. born virtuous
-Digital Identity- Escapism- can become anybody- this fluidity allows for opportunity for reinvention
-Identity- Who we are and how others perceive us
Identity Creation:
We went onto making a list of: Factors that make you you?
Lifestyle
Life Experience
Personality Traits
How You've Been Brought Up/ Where You Come From
Parents/ Socialisation
Money
Environment/ Era
Marital Status
Diet
Physical/ Social Determinants and the Diabetic Relationship between them
Education
This followed with a list of: How do you express your Identity?
Physical Features
Manner
Hobbies and Interests
Possessions
Fashion- Expression and Defence against People
Brands
Social Interactions- Values, Mannerisms, How you Treat People (Not what you Say but what you Do)
Accent
Social Circles
These are all Subjectivities- complex and multi-determined by society to make our own sense of self (our own creation)
"Circle of Culture Diagram by Stuart Hall:
"Circle of Culture Diagram by Stuart Hall Woodward, K. (1999) "Identity and Difference", Sage: London
Culture is the framework within which our identities are formed, expressed and regulated
There are 5 Sub-Cultures which effect our identity:
Laws and Regulations in how we exist- Limitations of Society
Consumption and buying which effects how we are Represented
Representation is effected by what we buy and how we present ourselves to the rest of Society
Production towards having a job or a role in society- How you Contribute
Identity- what you are expected to buy or have- The Stereotype and what is expected from you
Identity Formation:
Jacques Lacan
Identity is solidified through Childhood
"Otherness" Concept
Process of Psychoanalysis
When you are born, you have no comprehension as to being a separate being from your Mother. This symbiotic link was called "The Hommelette" in regards to the scrambled mix of body parts not understanding each other
"The Mirror Stage"- At 6-18 Months, you realise that by giving signals, you can get a response back, such as by Smiling, you get a Smile back. The outside worlds reaction to us and what we do. Eg, Baby crawling past a mirror and seeing a sense of itself as a cohesive being (Metaphor)
Our Identity is formed from the reaction of others and not how we want to be seen
"Mirror Stage"- Sense of Self (Subjectivity) built on:
An Illusion of Wholeness
Receiving Views from Others
RESULT= OWN SUBJECTIVITY IS FRAGILE AS WE ARE CONSTANTLY TRYING TO STRIVE FOR A STABLE IDENTITY
Constructing The Other:
To make our Identity seem more solid, we remove ourselves against what we are not
Problems: Relies on the assumption of opposites and radical otherness. In the same way that we create our own identities- in opposition to what we are not, so does a Society
E.g. Speaking in Recieved Pronunciation to say you are from a higher class rather than with an accent with dropped vowels of working class to make you seem better off- making our sense of self more better and defined.
Identification:
Shores up unstable identities through the illusion of unity- 'showed fashions, belief systems and values'- Subterranean Values (Matza, 1961)
IN A STATE OF CONSTANT CRISIS, WE HAVE TO CONTINUE TO RE-INVENT OURSELVES
Study Task:
Analyse 1 image from the Western Media (Newspaper or Music Subculture Music Press Story or Advertisement) which attempts to secure to give an identity to the reader by "Othering". What does the image promise you by stereotyping and creating the 'Other'. Needs to be Approx. 300 Words.
"Loose Your Love Handles For Life" (2013) by Drew Price
Mens Health Magazine (2013) "Fuel Your Goals Nutritional Manual" Mens Health Magazine Pull-Out Booklet, September 2013 ed,. page 5
These pages are from an article within a copy of
'Men’s Health' Magazine which discusses the need to loose weight, entitled
'Loose Your Love Handles For Life' showing an image of a thin cut, skinned
carrot. On the opposite page is an advertisement for Weight Loss Powder showing
a rather toned male figure.
The readership for the magazine is quite a focused
target audience towards health-conscious males between the ages of 20-40 so the
article automatically targets the audiences want to re-invent themselves by
using the visual of the thinned carrot to show the audience what they can
achieve and the identity that they can become. The fact that the advertisement
opposite is propositioning the audience with a weight loss supplement instantly
reminds the audience of how our identity is formed from the reception of others
which is affected by the way that we are seen and how we look, encouraging them
to partake in the pursuit for a healthier body and, in conjunction, a stable,
better and more defined identity.
The imagery promises the reader that by following
the rules in the article, you can create an identity of power and strength,
which no other will match, particularly as the article promises the loss of
weight ‘for life’. It attempts to provide a secure identity for the reader by
suggesting how they can better themselves by loosing weight and therefore
gaining a stronger sense of self. This sense of inclusivity gives the illusion
of there being ‘otherness’ towards those who do not re-invent themselves in this
way, such as over-weight people or those who do not exercise, with the language
choices of ‘maximum strength’ and ‘ultimate body’, emphasizing how the
followers of this magazine are bettering themselves and stereotyping those who
don’t as lazy or comfortable with being a lesser version of themselves. This
makes the readership see themselves as a higher class of human as they want to
achieve perfection, shown to them through the image of the toned masculine body
on the advertisement opposite.
For the brief, we have been asked to produce an Info-Pack on the topic of Print. The brief states that there needs to be evidence of research into the following areas in order to produce the content for our Info-Packs:
Production Methods
Stock Considerations
Finishings
Colour Systems
Costings
History
Environmental Factors
As well as what I research into, we will be having Seminars and Workshops to inform our Research and understanding further.
Plus, I will be taking part in Inductions and trying out different print techniques for myself in order to collect Primary Research on Processes and Finishings to understand the topics (See Design Practise Blog). Not only this, but we will have Visiting Lecturers coming to talk to us on the subject of Print (See PPP Blog).
In conjunction with this, I'd like to look into design inspirations regarding Info-Packs on the topic of Print and how other people have approached this.
Processes/ Production Methods:
Screen Printing:
Screen-printing is a popular method of
printing as you can print on a variety of stock or fabric using as many ink
colours as you wish.
"Silk Screen Printing" Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p105
Initially, there is a lot of preparation, as you have to
wash your mesh screen and prepare it by emulsion-coating the screen before
being able to expose a black and white image onto the screen using ultraviolet
light acting as a stencil. The colour ink needs to mixed with a Binder with a
ratio of about 70 percent Binder and 30 percent colour ink which will allow for
the ink to be thick enough to print cleanly without being too quick to dry so
it doesn’t clog up the screen. If doing multiple colours, you need to line up
the screen and do a tester print first to make sure that the registration for
each print is in line with each other. When printing, a generous amount of ink
is placed at the top of the screen and, using a squeegee, is scraped down from
one end of the screen to the other, forcing the ink to go through the mesh
screen to print onto the paper. Between each colour, you need to clean the
screen with water and allow it to dry before being re-using it. This method
allows for a clean image that can be printed over a large surface multiple
times very quickly making it a commercial favourite. (See Design Practise Blog)
This black and white screen printed calendar is simple yet effective due to the focus of the illustrations which are emphasised due to the inks overlapping. The detailed captured through the print process is precise and adds to the hand-wrendered elements of the overall product.
Thermography:
Thermography is the use of heat to create a physical chemical reaction to transfer the image onto the necessary media. There are 3 main ways of doing this; Direct Thermal, Direct Thermal Transfer and Dye Diffusion Thermal Transfer.
"Direct Thermal Thermography"
Jurgens, M.C. (2009) "The Digital Print" 1st ed., London: Thames & Hudson Ltd, p137
Direct Thermal is when an image is formed through the direct application of heat to a heat-senstive material, like thermal paper. The image is created in the coating of the media by heating up the surface amusing it to soften. The coating becomes darker as the image is then transferred through a mixture of heat and pressure. This usually produces a brown or black outcome.
"Direct Thermal Transfer Thermography"
Jurgens, M.C. (2009) "The Digital Print" 1st ed., London: Thames & Hudson Ltd, p139
Direct Thermal Transfer is when a blend of heat-sensitive coloured wax-resin is heated and transferred onto a material under pressure. A ribbon with ink on one side is held with the media between a thermal array and pressure platen. They are both passed underneath during printing at the same speed, with the resistors melting, softening and causing it to transfer the image onto the medias surface.
"Dye Diffusion Thermal Transfer Thermography"
Jurgens, M.C. (2009) "The Digital Print" 1st ed., London: Thames & Hudson Ltd, p143
Dye Diffusion Thermal Transfer is the same as Direct Thermal Transfer except instead of using pigments, dye is used to transfer onto the media instead which gives a different image quality. Dye is transferred from a ribbon to the media by the application of heat in discreet areas. The surface of the media must be close to the ribbon to make for optimal diffusion and application of the dyes.
This application of thermography in these mail-outs shows the different textures and applications of ink that can be produced, with some being quite grainy and textured whereas other sections are more flat and clear, particularly effective due to the overlay.
Letterpress
Letterpress is a traditional form of printing where individual blocks of letters are put into a matrix and covered in ink before being transferred to material through the pressure of a printing press.
Typecast Letters for Letterpress
The letters themselves were punch-cut, where the letters were carved back-to-front on the end of a steel rod and hammered into softer metal before being indented and moulded to produce a single letterform. Once the font was ready and assembled in the matrix, mirror imaged so that it printed the correct way around, it would be tightened in a frame called a chase and would be printed over. The letters themselves can be printed over as many times as you want and, when finished with, the chase can be broken up and the letters reused to produce the next piece of print.
"Gutenberg's Textura"
Garfield, S (2011) "Just My Type" 2nd ed., London: Profile Books, p37
The letters produced via letterpress are clear and legible which made it the perfect way of reproducing works yet they still hold some of the organic imperfect elements of physical print which adds to the charm of this method of printing.
Digital Print:
Digital Print refers to printing a digitally-produced image directly from the computer using a printer that will reproduce the image. The main widely-used digital printers are Inkjet or Laser Printers.
"Inkjet Printing"
Jurgens, M.C. (2009) "The Digital Print" 1st ed., London: Thames & Hudson Ltd, p68
Inkjet printing is when droplets of ink from a printhead inside a printer are propelled onto the stock. The printheads inside the printer travel along the width of the stock, while the nozzles filled with ink are about 1mm away from the stock's surface to get a precise hit of the desired area with the dots they produce. Continuous Inkjet Printing is when the ink droplets come out of the printhead in a high frequency, continuous stream so the dots appear connected rather than separate, giving a wider spread of colour. Drop- On-Demand Inkjet printing is the opposite, where drop-on-demand will only release an ink drop when it is needed for printing a dot making for a more precise print.
"Electrophotographic Systems"
Jurgens, M.C. (2009) "The Digital Print" 1st ed., London: Thames & Hudson Ltd, p110
Laser printing is an electrostatic process where the device receives signals from the computer and converts them into laser pulses that expose a photoreceptor drum to replicate the image being printed. The process involves 5 steps; Imaging is when the desired image is transferred via light to produce an electrostatic image onto the drum. Developing is when particles become either attracted or repelled to the image on the drum. Toner Transfer is when the image will be transferred to the media through contact with the drum. Toner Fixing/Fusing is when the toner is fixed to the media by heating as it is passed through pressure rollers. The paper is then exited from the printer where the device cools. Cleaning is when the drum is cleaned of all the residue of the toner used ready for the next cycle. If this is done in colour then a coloured Toner is used.
Thanks to Digital Printer, the ability to print has become widely available almost everywhere, particularly in the home meaning that people can print on demand whenever they need to. This accessibly has improved prints popularity yet, at the same time, has taken away from the business of handmade printing techniques as the need for fast turnover at a cheaper price means that, for many, digital printing has become cost effective.
Lasercut:
Printing doesn’t necessarily have to include the use of ink. Lasercutting uses a laser controlled by a software program to produce a printed image into a stock substrate. You can etch an image or have it completely cut out from any unconventional material as you can control the depth of the cut and the strength of the laser, which is very effective for detailed designs and precision (See Design Practise Blog).
"Personal Wedding Invitation" (2012) by Chase Kettl
These beautifully crafted invitations have been laser cut to get a precise line through the wood substrate. it has made for a very effective aesthetic, making the traditionally hard stock become something fragile and delicate.
Lithography/ Offset Printing
Lithography is when 2 printing plates are separated by their chemical characteristics as well as by surface elevation. Areas to print are usually on a plate which is made of polymer whereas non printed areas are expressed in aluminium. The inks used in Lithography are oil-based and greasy therefore one of the surfaces attracts the ink. Whereas the other surface will have been dampened with water beforehand so will repel the ink from areas that are not to be printed.
"The Offset Litho Process"
Gatter, M. (2010) "Production for Print" 2nd ed., London: Laurence King Publishing, p20-21
Offset Printing is based on the same principle as Lithography where water is used to repel ink away from the non-print areas. Offset Printing got its name due to the fact that, during the print process, the actual plate itself does not come into contact with the paper. The plate itself is hard and would ware out very easily if it came into contact with abrasive paper which means that the plate is preserved and lasts longer. The image on the plate is transferred to an immediate roller prior to being transferred to the paper. There are 2 versions; Web-fed Offset and Sheet-fed Offset. web-fed is based on a roll of continuous paper whereas Sheet-fed can be done using individual pieces of paper
"Personal Business Cards" (2013) by Agata Przypylska
These lithography-printed one colour business cards have been printed with even amounts of ink and with clear, legible text at the back showing where the ink has been repelled and attracted.
Intaglio/Gravure
Intaglio is a traditional printing method where the printer scratches or etches into a material, covers in it ink and prints using pressure thereby transferring the image onto the stock.
"Gravure"
Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p101
Gravure uses the same principle as Intaglio where a image is recessed into a copper plate yet the image consists of cells which are engraved. These cells are filled with ink when on the press and ,due to the different depths of the cells, will leave the desired amount of ink on each section of the image. A blade called a 'doctor blade' scraps off any excess ink from the plate or cylinder. The paper is fed through the press through a rubber cylinder and presses the paper into the cells which picks up the image and thus transfers the image. It is a simple printing method which is straight-forward and can be maintained yet an cost a lot of money for the cylinders.
This example of Gravure printing shows how the image was recessed into the plate and therefore the ink has been transferred so that the information is clear.
Colour Systems:
RGB:
The RGB colour mode is used when working in the on-screen medium and is made up of the Colours Red, Green and Blue, also known as the Primary Colours.
"Additive Colour" Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p37
This colour mode is an additive colour mode as it is made by light and the colours are mixed together to make a various range of colours that can only be seen when made from light. If you were thinking of printing when using this mode, you need to convert the display to CMYK.
A way of physically showing the way that colour changes in light using the RGB colour model is the Colour Injector, which uses a mixture of RGB pure inks to change colour and the use of light to make it luminescent in the dark.
CMYK:
THE CMYK colour mode is made up of 4 colours, Can Yellow Magenta and Key and are the colours of the inks used in the Physical Print process.
"Subtractive Colour" Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p37
This colour mode is Subtractive as when the colours are mixed together, they produce Black. CMYK Colours are all printed separately using 4 separate plates and are printed on top of each other, combining the colours, to give the impression that it has been printed all together. The range of colours available in CMYK is not as large as the range available in RGB.
"Print Production Booklet" (2013) by Hannah Van Sickle
This editorial design has been produced solely using CMYK showing how a full 4 colour print can work.
Pantone:
The Pantone Colour Matching System is a standardised system of 1114 mixed colours that is used to determine the shade of a colour. This can include Metallics and Fluorescent Colours.
This system is globally renown so it is used and understood by designers from all over the world so there is no confusion when it comes to colour choices within Print Production as it can be used as a point of reference. Colours are given a specific number called a PMS (Pantone Matching System) Number that is then used to identify the colour needed.
"The Pantone Formula Books"
Gatter, M. (2010) "Production for Print" 2nd ed,. London: Laurence King Publishing, p116
To help choose the colour you want, there are books available to use to determine how a colour will look when printed on a particular stock. The problem with Pantone Colours is that they cannot be recreated exactly by the CMYK colour mode so this can create a lack of consistency if attempted within some work for a client. Despite this, they can translate very well onto a screen-based medium.
The product design shows how Pantone can be applied to not just solid colour used in design but be applied to objects or aspects of everyday life, such as skin tone, shades of leaves or sweets.
Halftone:
A Black and White Photograph is not made up of areas of colour and instead, is made up of a large amount of grey shades. These cannot be printed so they are broken up into a large number of dots. These dots are larger in the darker areas and smaller in the lighter areas so it gives the effect of greyscale even if it is being all printed in Black.
"Halftones"
Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p35
The dots themselves are based around an optical illusion in the fact that they are individual circles but, when viewed from a distance, give the effect of being a full view, connected image. These dots can be placed at a 45 degree angle for single printing as this is less noticeable to the naked eye whereas if printed at 90 degrees, it draws away from the image and brings focus to the dots themselves.
"Colour Screens" Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p38
This can also be achieved with Colour originals as each of the 4 process colours can be broken up into dots and, when printed, give the full effect of colour.
This distinctive packaging design shows how the dots can be seen when printed at a 90 degree angle, making them visually obvious to the human eye. It also demonstrates the way that halftone can be used for colour and the element of larger and smaller dots for large and small amounts of colour. This works well for this design as it takes a usually hidden aspect of colour presentation and is daring enough to exposing them.
Spot Colour:
A Spot Colour is a specially mixed Ink produced for printing. Instead of being part of the 4 Process Colours, it is a colour specifically mixed as an additional or separate colour that is pure from the rest. Spot Colours encompass the use of specialist inks, such as fluorescence or metallics. The problem with this is that it can be an expensive process to include additional spot colours on top of a 4 colour process but it can be a necessity if a brand uses a specific colour for their identity. On the other hand, it can be cheaper if you use just 1 spot colour with black and white rather than do a full colour print.
This printed mail out shows how using just 1 Spot Colour on a black and white print out can be effective as it takes over the design to emphasis the typography and imagery used. The use of the spot colour makes sense for a mail out as it would keep the cost down for something which would be printed a lot and handed out.
Greyscale:
Greyscale imagery, also known as Black and White, are made exclusively of different shades of grey. Each single pixel dot has information on the colour intensity that it is suppose to be, with black being the weakest and white being the strongest. These images create a tonal contrast due to their monochromatic visuals.
The advantage to using Greyscale is that it is much cheaper as it is just using Black and White Ink with no colour values.
Monotone/Duotone/Tritone/Quadtones:
There are instances where you only come across images having used custom inks from being Greyscale. These can be created using the Duotone effect which takes the wanted colours and makes them into halftone variations. One ink is Monotone, 2 inks are Duotone, 3 inks are Tritone and 4 inks are Quadtone.
"Duotones" Bann, D. (2006) "The All New Print Production Handbook" 2nd ed., Switzerland: Rotovision SA, p35
This allows you to create a different effect by adding colour to a Greyscale image, adding depth, shadow and colour.
Formats:
ISO Paper Sizes:
The International Standards Organisation (ISO) paper size system is based on the metric system. The base format is a sheet of paper measuring 1m squared. This applies to all aspects of paper sizing (including Manufacturing and Selling) outside of North America. There are 5 sizes to the series: A, B, C, RA and SRA.
ISO Paper Size Chart
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, page 235
ISO Paper Sizes
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 234-237
Most people are
familiar with the ISO A sizing system as it is the standard sizing for paper
usage and each time is halved in size whereas the B series provides intermediate sizes for the A series
although this is rarely used. The C series is usually used for stationary like
envelopes, folders and postcards as it is slightly bigger than the A series so
standard paper can fit comfortable within these sizes. The specific printer
sizes of RA and SRA reference the size of untrimmed paper used by printers
which are larger than the standard A series to have room for bleed, grip, trim,
registration and crop marks.
North American Paper Sizes North American sizes are based on multiples of 8 1/2 x 11inches. Some sizes are exact multiples of this whereas some of them are larger to compensate for bleed margins and grips when printing.
North American Sheet Sizes
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, page 239
As a designer, it is necessary to be aware of the difference in paper sizes in the US because, if you think they are the same as in Britain, you can easily produce work that is unsuitable based not the fact it is the wrong size.
The range of formats used in this festival brand encompasses a breadth of areas, from flat posters to 3-D objects on a range of stocks, from paper to glass to plastics in a range of sizes, from small badges to full sized trophies.
"Interactive Print A Newspaper Story" (2010) by Anthony Smith
This newspaper shows how you can manipulate and change the format of something, even by just doing something as simple as folding, to give it a unique and unexpected layout.
The collateral for the Launch Tradeshow shows the wide range of formats that can be applied using real world situation and environment design like wall graphics highlighting how Design isn't just confined to a small object.
"Branding for NML (Newmark Logistics)"(2013) by Maurizio Pagnozzi
This brand identity looks into traditional branding formats, like business cards and letterheads, whilst also considering the printing of fabric with uniforms.
Stock Considerations: Paper is made from wood that is ground down into chips and squashed with water into a pulp of pressed moist wood fibres. The water within the pulp is squeezed out using rollers and the fibres bleached white for colour before being dried out in steam drums. Rollers are used again to compress the paper into the desired consistency and laid into thin sheets. These sheets are then cut down into to size before being fed into a printing press. This produces a standard stark white paper stock.
This info graphic shows the basic metrology into how paper is transformed from pulp to paper with the simple pictograms highlighting the changes and stages it has to go through.
This video documentary shows a detailed explanation of the paper making process in an easy to follow manner. It is interesting to see the physical transformation that the wood goes through to become the flat paper that we are use to.
Classifications of Paper:
Paper categories are defined by 3 areas: Surface, Type of Pulp and Weight/ Density
Coated- There are 2 differences between paper types which are Coated or Uncoated. Coated is when paper is coated in an agent to improve the opacity, lustre and colour-absorption by making the surface flat and smooth. By using PCC, China Clay, Pigment or Adhesive, the coating fills the molecules of the fibre in the paper which improves brightness and printing qualities.
Uncoated- Uncoated is paper without a coating. It is surfaced-sized in order to produce a good surface bonding strength
Wood- Free and Wood Pulp- Wood- Free has a short life-span, poor surface strength and is off-white but has a high opacity and bulk. Wood-Pulp are of less expense then Wood- Free.
Recycled- Common varieties include 50%, 75% or 100% Recyclable paper which has gained popularity in order to help the environment, with the papers made up of recyclable fibres as a base. The fibres give the paper a high opacity.
Rag Paper- Compromised of at least 25% of cotton fibre pulp, it is characterised by its durability and a smoothness which resembles fabric. It is only appropriate for certain types of special printing, like Lamination
Matte/ Silk or Calendared- Uncoated Paper is Glossy or Matte whereas coated paper can only be slightly Glossy or Matte. You can produce textures for the paper using Matte Silk producing a smooth and non-reflective surface which will create high-quality images and readability.
Cardboard- Printers usually define paper as cardboard when it is of a weight greater than 80lbs. If there is a light paper and cardboard version of the same weight, the cardboard is called fine Cardboard. Graphic Cardboard comes in 2 types: Multi-layered and Solid. Multi-Layered is so-called for being made of different layers of different types of pulp whereas Solid is made from many layers of the same type of pulp.
Paper Weights and Thickness:
Paper Density of a type of Paper is the Mass of a Product per Unit of Area. Paper Density is a measurement of the area density. Paper products that let in little or no light to pass through is considered dense or heavy whereas Paper Products that let some light through are considered lightweight. The thickness of the paper affects what the paper can be used for. Thicker paper is more durable and upmarket the feel yet it is more expensive to use.
In regards to what paper type should be used for what, it is considered that:
90-100gsm: Stationary, Text for Magazine and Booklets, Flyers and Brochures
120-170gsm: Text for Magazine and Booklets, Flyers and Brochures
These are usually actions undertaken after printing. Finishing is when you have produced the design and wish to affect the outcome of the print by adding an effect to the design to enhance it in some way, whether that be aesthetically or practically.
Binding:
Binding is the way that a large amount of pages are put together in a structure in order to hold for a long time, such as within the format of a book. You attach the sheets using an adhesive, such as sewing, gluing, ext.
Binding Styles Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 54-59
Perfect Binding- All pages are trimmed to the binding edge and held together by glue or thermoplastics
Case Binding- The pages are stitched together along the spine. The book is then glued to the end paper and binder boards at the spine
Saddlestitch Binding- The covers are placed over a chain and stapled along the side
Screw and Post Binding- Pages are stacked, drilled and fastened with a post with an adjustable screw head. This is adjustable so that more pages can be added or taken away at a later stage
Side Stitch Binding- The covers and signatures are stacked and wire-stitched at the bound edge
Tape Binding- A glued tape is applied to one edge of a stacked amount of paper, overlapping the covers. Heat is applied to melt the glue so it binds it together
French Fold, Singer- Sewn Binding- Each piece if paper is folded in half and bound together by an open edge by sewing the collated sheets
Standard Wire-O Binding- The wire is exposed on all sides, penetrating the covers as well as the pages
Standard Wire-O Binding with Spine Flap- The wire is exposed on all sides, penetrating the covers as well as the pages but the cover has an extended flap which folds around the book forming a fore edge.
Half- Canadian Wire- O Binding- The Wire loops go through either the front or the back cover allowing for a visible, printed spine
Reverse- Fold Standard Wire- O Binding- The Wire loop penetrates the text and one end of the cover. Back cover folds back on itself to form a double thickness and reverse spine
(See Design Practise Blog)
Embossing/De-bossing:
Embossing is when the overall design or pattern is impressed in paper when passed in-between metal rolls engraved with the desired pattern. A relief die (raised design) and counter die (sunken version of the relief die) of the design is produced and pressed into the substrate so they fit exactly and cause the substrate to raise. This makes an element of the design stand out and makes a strong surface effect.
"The Glenlivet Archive and Cellar Collection Press Kits" by theFarm
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 206-207
The raised letterforms of the brand makes them stand out from the rest of the label, causing the customers eye to go straight to the brand identity. Alongside the serif typeface, it gives the appearance of being traditional and aged.
On the other hand, De-bossing is the opposite to Embossing where an image is recessed into the paper. When de-bossing, the placement of the relief die and the counter die are reversed to produce the opposite effect.
"Jo Hamilton Business Cards" (2013) by Avenue Litho Team
This business card shows how de-bossing can be used in a subtle way to make a huge impact in regards to the surface texture and quality.
Foiling and Flocking:
Also know as Blocking, Foiling is the application of foil to paper where a heat die is stamped onto the foil using an adhesive and pressure and leaving the design on the paper. This is usually done using a heat pressure for a certain amount of time (which will vary depending on the printers). Foils can come in various metallic colours, finishes and thicknesses. Foiling gives the impression of being of a distinctive higher quality than images which are just printed as it enhances the visual aesthetic which is why it is a popular technique for high-end brands, hardback books and packaging designs.
"Cha Tang Tea Room Menu" by Dalziel + Pow
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 200-201
Using foiling, this menu looks like a luxurious, costly design that has been done for a strong, up-market identity thereby enticing customers who like to indulge in the finer things in life.
Flocking is a similar process to Foiling where heat and adhesive is used to transfer the flock material onto the substrate. The fibres of the flock are very short to make for an easy transfer and produce a velvet- like textured surface to the stock. Due to the thickness of the aerial compared to the stock, when transferred, flocking gives the appearance of being raised like embossing. The fibres of the flock are dyed which means that it can come in a range of colours.
"Hungerford Interior Design Branding and Stationary" (2012) by Arithmetic Creative
The flock gives an added surface texture to the stationary and instantly makes the audience engage by making them want to feel it due to the luxurious aesthetic.
(See Design Practise Blog)
Spot Varnish:
Used to add a glossy surface to the printed paper. It can be applied all over the paper or in just selective parts of the image to add to the aesthetic effect as well as protect it from dense ink coverage or smearing. Varnished sheets should be folded or creased before it is applied. The varnish gives the appearance of newly applied ink or being wet.
A popular version of this is UV Varnishing which can be applied in a thicker layer and thus, provide a better quality finish.
A simple spot varnish has been used on the covers of these books to emphasise the title of each book on the cover.
(See Design Practise Blog)
Die Cutting:
Die Cutting is when you create a punch die in the shape that you want and press it against the paper, creating a bespoke shape other than a rectangle. This can also be achieved by using a laser cutter. The ideal effect is to have a precise, crisp cut to give an effortless aesthetic. This can be of a relatively high price if it is a one-off but usually the stamp can be used for re-runs if it is a project which may require constant reproduction.
"Elias & Grace Identity" by Aloof Design
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 128-129
The use of Die-cutting for this identity is to visually reflect the mother and child target audience that the brand is aiming for.
Costings:
Normally when designing something, the idea comes first and the cost of producing the print is an afterthought but it is a good idea to get into the habit of researching the cost of your intentions before going through with them. A lot of things can affect the cost of a print job and, if you have a budget, particularly if working for a client, you need to think about the ramifications of your design choices. To start with, I looked into costings in the Print Room in College to see what the prices were like in there.
Costings at Print Room at LCA Blenhiem
Following this, I also went to look at costings for Digital Print as well to see if there was any comparisons i could make between them.
Costings at Digital Print in LCA Blenheim
What I noticed from this costings was that it depended on a variety of things as to how much you print would cost. This would effect you not just in college but especially in the commercial realm as well. The main determiners seem to be:
Stock choice
Colour inks used/ spot colour
Scale/ size of print
Amounts of prints
Method- digital print vs physical print (binder, screen,ect)
The choice of printing digitally or
manually can affect cost. Each printer has there own individual print costs for
digital printing but you would need to make sure that your work hits their
print specifications otherwise it would need to be changed which can cost more
time and more money to be fixed. On the other hand, physical printing would
mean paying for the rent of a screen and all of the components like materials,
inks and binder yet you would be in control and can make changes as you go
along. The size of the print needs to be considered as the large the size of the print, the more paper and the more ink is going to be needed to produce it. This goes for the amount of prints needed, as a small amount of prints will be cheaper than a bulk amount, however some printers will offer a deal on a certain amount of prints being produced.
Choice of stock can be a factor in regards to price as a thick, high quality stock can have a great visual aesthetic but can cost a lot to produce on a grand scale. Likewise, a thin lightweight stock would be cheaper to print on in bulk but may not give you the desired effect. In regards to paper prices;
Sheets are more expensive then paper on a roll
Wood free paper is more expensive than wood-pulp paper
Coloured paper is more expensive than white
Paper with cotton fibre is more expensive than paper without cotton fibre
Colour selection can determine the price of a
print job in regards to the amount of inks being used. A full colour job will
cost more than a black and white print due to the amount of inks being used. If
colour is necessary, using one spot colour only can be a cheap alternative
whereas using a full colour print with an additional spot colour can be
expensive.
History:
Origins:
The
origins of Print can be traced back as far as the Stone Age, where caveman
would draw crude pictures on the walls as a way of representing time, where
they are and what they were doing. This primitive method of producing a
photographic impression introduced the idea of recording of the world around
them.
"The Diamond Sutra"
Wood, F. (2010) "Restoring the World's Oldest Book, The Diamond Sutra" [Internet] 5th December Available from http://www.bbc.co.uk/news/uk-11912738 (Accessed 14th October 2013)
The first
earliest, recorded form of evidenced typography was a traditional Chinese
fabric print using woodcut typography from 200AD. This form of block printing
became common under the influence of the Buddist religion as it was regarded as
important to spread the teachings of the religion and would circulate texts and
writings over a wide range of this region. An example of this is the Diamond
Sutra, notably the first printed book produced, which gives the teachings on
the 4 ways to achieving Enlightment. The influence from the Buddist religion
and their emphasis on text preservation and copying meant that the importance
of print soon spread throughout Eastern Asia.
However, the method used by the Chinese and Koreans involved just a one-off production of a book with woodblock and cast bronze type.
Europe: The next big breakthrough of Print came in the form of the invention of the Guttenberg press by Johannes Guttenberg in 1450 where he approached typesetting and printing as two separate entities.
Engraving of Early Printers at work (1568)
Garfield, S (2011) "Just My Type" 2nd ed., London: Profile Books, p35
As a smithy, he would have had prior
knowledge on metals and producing marks into metals. For his typesetting, he
would carve the letter in reverse into metal, which would then be ‘punched’
into a softer metal, forming an indentation called a matrix. This matrix would
be fitted into a wooden mould and he would pour hot metal into the mould, which
would quickly dry. He would do this with every form, soon producing a typeface.
The first font that was produced in this way was Textura, a hand-written script
style font that was reminiscent of the handwriting used by scribes to produce
books at the time. This was made on the basis that this was the style of
writing that everyone was use to and Guttenberg wanted to achieve the same
market. The first book that was produced in this way was The Bible, which was
printed onto 2 different stocks, paper and velum parchment and Guttenberg had
to produce a range of 300 different letterforms for the 1,282 page 1454-55
edition of the Bible. The invention of the Guttenberg Press not only advanced
the methods of communication available but it brought about the use of
oil-based ink, as water-based oil didn’t adhere to the metal. The first Bible is
available to view at the British Library in London. Advancement:
This
development by Guttenberg went onto advancing the amount of Prints that would
be produced and therefore became high in demand. From this, people set up
‘print houses’, which would print manuscripts for profit which raised the
amount of printed works in circulation and distributed them far and wide. This
demand for a high turnover in a quick amount of time influenced the development
of faster printing machines, such as the Litho press, the Iron Press and Rotary
Press.
Environmental Factors:
Paper consumption has increased sixth-fold and wood use has doubled over the last century according to the WorldWatch Institute and global demand for paper is expected to double again within the next 15 years. This expands the economy but the environmental ecosystem is being taxed so what can we do about it as designers?
Recycled Paper:
Paper mills recycle their own waste and trimmings called post-industrial waste but this doesn't close the loop in regards to the consumer. By consumers putting unwanted paper into recycling systems, the paper can be put back into the pulp for paper-making and reused.
As a Graphic Design Studio, we should request specifying 100% recycled paper with at least 30% post-consumer waste. The higher the post-consumer waste, the better for an environmentally-based economy. Recycled paper will take ink differently and range in brightness and price depending on the quality and finish wanted.
Chlorine Free Paper:
Chlorine Bleaching of Paper bleaches the fibres within paper white but the by-product created is very toxic because they don't break down so the chemicals cause an adverse effect on our health. There are 3 types of chlorine- free papers:
Totally Chlorine Free
Processed Chlorine Free
Elemental Chlorine Free
Totally Chlorine Free is made by 100% virgin fibre woods made without any of the chlorine compounds so its not toxic. If it is Totally Chlorine Free, it is a pure virgin grade paper and contains no post-consumer waste.
Processed Chlorine Free recycled paper is made without adding chlorine, however, because in its first used it was originally made with chlorine, when it is recycled, it cannot be guaranteed to be chlorine free. This is similar to Non-Deinked Post Consumer Waste where the paper doesn't go through the bleaching process second time around and the chemicals are minimised so the ink is left in a slurry, creating a peppered appearance in the physical final product.
Elemental Chlorine Free paper is made without chlorine acting as a whitening bleach, however, they are made with a Chlorine Dioxide, which is suppose to be less harmful but still causes dioxins and fumes and uses 20 times more water and energy than other Chlorine-free processes.
Oxygen Delignification and Ozone Bleaching is totally chlorine free and separates lignin from fibres. This process usually uses Hydrogen Peroxide as a preferred agent as it has no harmful byproducts. Although it is stigmatised for producing a dull paper colour, thereby making it a great choice for newsprint, the brightness needed for fine writing papers is improving.
Alternative (Non-Wood) Fibres:
Trees produce consistent fibres but they take a long time to grow, require a large amount of bleaching and need to be harvested by non-environmentally sustainable ways.
A way of improving this is conserving and preserving the world's forests by developing tree- free paper which are made from crops like Kenaf and Hemp, agricultural waste and industrial waste. Kenaf can be yielded to produce 11 tons of reusable fibre a year whereas normal forests only produce 4-5 tons a year.
The drawback to recycled paper is its availability as there isn't much of it being produced so it isn't properly distributed on a large, commercial scale meaning that it can be quite expensive.
Printing Inks:
Pigments contain heavy metals, a high volatile organic compound (VOC) solvent used to carry pigments to enhance drying, hazard waste generated in manufacturing and colourless coatings on top to improve the gloss and resistance. All of these can effect the impact of inks on the environment.
Heavy Metals in pigments can contaminate soil when put into landfills having not being recycled and when de-inked, can be classed as hazardous waste. It is estimated that over 60 million pounds of ink sludge is left over every year in America alone by the US Environmental Protection Agency by 44,000 sheetfed offset printers. In manufacturing ink, it can generate 120 million pounds of waste a year which is then burned, releasing chemicals into the air.
When coating, especially with UV, printers can be exposed to radiation but using liquid-based coatings can prevent this. These days you can use low level VOC's and liquid coatings are easier to process than UV coatings.
You can stop this by using inks without colour pigments with compounds. This would include warm reds, fluorescents and metallics.
Use inks with Solvents that are argri-based oils like corn and linseed. They are non-toxic, clean up easily, break down easily, can be source from renewable sources and can also produce bright colours when printed which can mean a better print run making it more efficient.
So far the only recyclable ink colour is Black but the intention is to make the 4 Process Colours recyclable as well.
Source: Johansson, K., Lundberg, P. & Ryberg. R., (2003) " A Guide to Graphic Print Production" New Jersey: John Wiley & Sons
Design Inspirations:
I started looking at Design Inspirations in regards to how people have produced and presented this information before:
" Graphic Design: A Manual for New Designers" (2011) by Julie Do
This book does exactly what it says on the tin, giving a detailed yet understandable and easy to follow introduction to the world of graphic design, making it accessible for new designers. The colour choice of red and white is used throughout, cutting down the printing costs and is bound in both a hard and soft cover, catering to different customers and different budgets.
"The Process of Printing" (2004) by Design Project for Team Impression
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 26-27
The publication includes information within the first 16 pages of the book whilst the rest of the book houses working methods and philosophies as well as demonstrations of techniques and examples shown through the choice of substrates and processes throughout.
"Unusual Printing Surfaces" by Design Project for Arjowiggins
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 88-89 This book takes the different paper stocks available to print on from the Arjowiggins Collection, however, the page is laid out in such a way that the user can tell between the unprinted and printed areas creating a physical, hands on experience for the customer as they can witness for themselves the colour and surface properties of the substrates so they know what stock would be best for a particular production, technique or aesthetic.
"Graphic Design is a Process" (2012) by Lilth Louise Lysgaard Hasbeck
Taking a more interactive approach to showcasing her interpretation of the Design Process, Hasbeck shows her thought process behind the ideas, production and finishing of design pieces. It is interesting to show a visual of how her mind works and how she responds to Graphic Design. The dot-to-dot element keeps the audience on their toes and is a great visual metaphor for the Design Process and how you make decisions along the way, include that of the production, aesthetic and making of a product.
"The Conscious Consumer Color Swatch Book" (2005) by Kris Delaney at EGG
Hampshire, M and Stephenson, K. ( 2007) "Choosing and Using Paper for Great Graphic Design" Switzerland: Rotovision SA, pages 88-89
This swatch book provides information of green (environmentally friendly) design production reaching out to a customer who would invest in their message. The swatch uses highly recycled stock content and soy inks to show that work can still be produced at a high quality whilst being friendly to the environment.
This Print Manual is very specific in its contents, designed in a way which is engaging and colourful so as to hold the attention of the reader on a dry subject. As part of my research for my newspaper, I decided that it would be a good idea to see what it would be like to work for a printer by sending my newspaper to a printers website to print on called The Newspaper Club. This had been recommended by someone in my Crit for this brief and felt like this was a good idea. In order to see for myself the size, format and stock type which would be more appropriate, I ordered some sample sheets to see for myself.
Ordering Samples
Size comparison between Tabloid and Broadsheet
I order one of each size so as to see what would be most appropriate. There is a considerable difference in size but I feel that then tabloid might be more appropriate to the information that I am presenting.
Digital Tabloid
Digital Broadsheet
The samples themselves come printed with different sized fonts, colour schemes and image resolutions actings as a visual interpretation of the print production process so that you can see what it would be like in the physical format and understand the reasons for particular design decisions, e.g., image resolution. By ordering the samples, it gave me something to work from and a physical example of the reasons why we have to follow specific design decisions in order to get the best quality work.
