Saturday, 31 December 2016
OUGD601 COP Practical - Protecting the design
Once I had completed my design it is important to protect the gold leaf from damage in a commercial setting it would be very important to apply a lacquer the back of the gold, For purposes of removing the design from the glass easily I refrained from protecting the gold, but if this were for real purposes It would be essential to apply a layer of either clear or black lacquer to protect it. Here below are some examples of this.
OUGD601 COP Practical - Burnishing
Once the gold is completely covering the size after just a few minutes you can remove the excess gold using special burnishing wool this gently clings to the gold not attached by size and can be easily removed with a circular motion.
Unfortunately on my first attempt the gold had left odd cracks and lines, this meant I needed to do a second layer of gold to cover up and mis errors and patches, to do this you reapply this size as per and repeat the process until the glass is completely opaque.
This took merely an hour to do and was by far the quickest and fun part of the process.
Unfortunately on my first attempt the gold had left odd cracks and lines, this meant I needed to do a second layer of gold to cover up and mis errors and patches, to do this you reapply this size as per and repeat the process until the glass is completely opaque.
This took merely an hour to do and was by far the quickest and fun part of the process.
OUGD601 COP Practical - Applying the Gold Leaf
Day 4, At this point my enamel was completely dry and would not wipe away with ease this meant I needed to re treat the glass with cleaner ready for the gold leaf to be applied, it is very important that the glass has no dirt on as gold leaf is incredibly delicate you can see all the marks on the glass through it.
Once the glass was clean I applied something which is called 'Size' this is a traditional term for a sign painters adhesive - this special glue is made from a plant and drys very quick, once the size has been mixed and opened you will only have a 24 hour time window to use it - this means once started it must be done quickly!
To apply the Size you must use a brush that will not leave any brush strokes on the glass, the glue type adhesive will the take around 15 mins to dry clear, once 15 mins is up you must use your knuckle and gently test to see if the glue has become tacky - if you use any other part of your hand the gold leaf will create a mark where your hand was. Once tacky you must quickly apply the gold leaf.
To apply the gold leaf you must cover all the areas which are covered in size, it doesnt matter if there are any excess pieces. Because the gold is very delicate it is important you use something called a gilders brush this is a static brush which clings to the gold just enough to apply to the glass - if you are on a budget and wish to save gold using a knife and gilders cushion you can cut to size the area you need to cover.
OUGD601 COP Practical - Outlining the text
On day 2 I began to proceed to apply enamel to my design, I started off with a brush way too thick which would of created a line too dense meaning little of the leaf would show. The reason the enamel is applied first is the reverse image (outside) will look glossy and sophisticated you can however do this the other way round but the results can be both messy and further time consuming if gone wrong.
Before getting in to the swing i experimented with the different brushes to make sure which was going to work out best for me. Once deciding on a brush I proceeded to trace over my existing line, unfortunately the first glass was not opaque and was still letting light through it was then that I realised that the outlining process was going to the longest part of the gilding, it took around 6 hours for each layer to dry and in this case it took 3 layers to complete meaning this added a considerable amount of time to my intended finishing aim.
Before getting in to the swing i experimented with the different brushes to make sure which was going to work out best for me. Once deciding on a brush I proceeded to trace over my existing line, unfortunately the first glass was not opaque and was still letting light through it was then that I realised that the outlining process was going to the longest part of the gilding, it took around 6 hours for each layer to dry and in this case it took 3 layers to complete meaning this added a considerable amount of time to my intended finishing aim.
OUGD601 COP Practical - Stencils / Glass Preperation
In order to start the application of my sign the glass I am using most be spotless and free from dirt and chemicals, to do this i used smear free alcohol wipes this left the glass completely clean and ready for me to apply ink/paint to the glass.
The first step was to print out at actual size the design/sign for the glass - this must be printed backwards in order for the sign to be read correctly this is because I am gilding inside, for the purpose of the weather being unfavourable for gold leaf this could mean that the wind would take away when applying.
After printing out the guidelines and stencils this needed to be placed at height and foremost straight on the glass in order to do this I had someone assist me with a spirit level and ruler while I outside applied that text to the window. This had to be done for each window - they both needed to be at a consistent height to fit in amongst each other. This approximately took 2.5 hours to do this was because getting the text to the exact height was incredibly difficult and a challenge before I had even begun.
Once the stencil was firmly attached to the glass I needed to again clean the glass for the preparation of my paint pen. To outline the text ready to be enamelled I used a posca paint pen these pens can write on almost any non porous surface and can be wiped clean this was a timely process as this would be my guideline for the rest of the process's.
This entire process took around 1 full 8 hour day. This meant I was prepared for the next step which is using a specialised paintbrush to apply enamel - Enamel is a specific paint which can attach to surfaces such as glass's and metal it can be easily removed by scrapping or the likes of turps.
The first step was to print out at actual size the design/sign for the glass - this must be printed backwards in order for the sign to be read correctly this is because I am gilding inside, for the purpose of the weather being unfavourable for gold leaf this could mean that the wind would take away when applying.
After printing out the guidelines and stencils this needed to be placed at height and foremost straight on the glass in order to do this I had someone assist me with a spirit level and ruler while I outside applied that text to the window. This had to be done for each window - they both needed to be at a consistent height to fit in amongst each other. This approximately took 2.5 hours to do this was because getting the text to the exact height was incredibly difficult and a challenge before I had even begun.
Once the stencil was firmly attached to the glass I needed to again clean the glass for the preparation of my paint pen. To outline the text ready to be enamelled I used a posca paint pen these pens can write on almost any non porous surface and can be wiped clean this was a timely process as this would be my guideline for the rest of the process's.
This entire process took around 1 full 8 hour day. This meant I was prepared for the next step which is using a specialised paintbrush to apply enamel - Enamel is a specific paint which can attach to surfaces such as glass's and metal it can be easily removed by scrapping or the likes of turps.
Friday, 30 December 2016
OUGD603 Flora & Fauna - Final Outcome
Greaseproof Wraps
For my greaseproof wraps (applied to the inner layer of packging to stop the soap from damaging the outer layer) I used hand drawn botanical repetitive patterns to fully push the soaps scents. These would be black and white on translucent stock this would keep cost down but also not cut on quality as this will allow the artisan soaps to show through the wraps.
For my greaseproof wraps (applied to the inner layer of packging to stop the soap from damaging the outer layer) I used hand drawn botanical repetitive patterns to fully push the soaps scents. These would be black and white on translucent stock this would keep cost down but also not cut on quality as this will allow the artisan soaps to show through the wraps.
Soap Packaging
The soap packaging itself is colour appropriate marbling this is inspired the process of soap making. The packaging’s colours would adhere to the scent, for example cocoa butter - whites and creams. The natural ow of the marbling looks sophisticated and unique. The logo is placed central on all the soaps this will apply to the likes of shampoo and other products. The type is placed at all angles to really help with visibility in the shop when stacked you are still able to know what product you are buying this will prove useful for the consumer and staff. The type layout is both practical and aesthetically fun.
The soap packaging itself is colour appropriate marbling this is inspired the process of soap making. The packaging’s colours would adhere to the scent, for example cocoa butter - whites and creams. The natural ow of the marbling looks sophisticated and unique. The logo is placed central on all the soaps this will apply to the likes of shampoo and other products. The type is placed at all angles to really help with visibility in the shop when stacked you are still able to know what product you are buying this will prove useful for the consumer and staff. The type layout is both practical and aesthetically fun.
Branding
The logo is kept black and white, because the logo is strong in these colours, it should theoretically work in other colours too. The branding for the most part should stay black and white on all products,
the packaging is allowed to change in colour when appropriate for example in the case of differentiating different products. The branding is intended to look strong, independent and high end. Because of its modern look a younger audience is likely to engage with the brand.
The logo is kept black and white, because the logo is strong in these colours, it should theoretically work in other colours too. The branding for the most part should stay black and white on all products,
the packaging is allowed to change in colour when appropriate for example in the case of differentiating different products. The branding is intended to look strong, independent and high end. Because of its modern look a younger audience is likely to engage with the brand.
Labels
The reverse of the packaging has a label containing the most important information, ingredients, description and guidelines. The layout is set in the same frame as the logo this keeps the branding consistent, also making information clean and easy accessible.
The reverse of the packaging has a label containing the most important information, ingredients, description and guidelines. The layout is set in the same frame as the logo this keeps the branding consistent, also making information clean and easy accessible.
Thursday, 29 December 2016
OUGD603 Flora & Fauna - Development
At this stage I worked on the development of my
chosen logo (determined by feedback). I worked on
numerous positions and layouts before nalising my
logo. I opted for a simple logo design allowing me
freedom on the packaging this is also important to
increase the idea of the brand being luxury and high
end.
I also began to learn how to create label, folds and packaging for the products required in the brief. I chose to use my marbel-ling experiments from my research and initial idea stage to begin creating
I also began to learn how to create label, folds and packaging for the products required in the brief. I chose to use my marbel-ling experiments from my research and initial idea stage to begin creating
packaging. To create my packaging I bought
pre made soap bars this helped me gauge the measurements for the labels and wraps. I began by creating basic mock ups and expanding from there.
To really show how the brand can be pushed across. I chose to make up 4 iconic soap scents native to Greece. This will allow me to show how the brand works on different products.
I also worked on the inner sleeves of my soap packaging, using the scents and avours as inspiration for example lavander scent - lavender illustrations? this is because the brief asks for the use
pre made soap bars this helped me gauge the measurements for the labels and wraps. I began by creating basic mock ups and expanding from there.
To really show how the brand can be pushed across. I chose to make up 4 iconic soap scents native to Greece. This will allow me to show how the brand works on different products.
I also worked on the inner sleeves of my soap packaging, using the scents and avours as inspiration for example lavander scent - lavender illustrations? this is because the brief asks for the use
of botanical illustrations.
Sunday, 18 December 2016
OUGD602 Iceland Visit
For my 21st birthday I decided to treat myself over the chrisoms period to visit iceland. I was keen to learn about a new culture and see some natural phenomena, and I did just that. The city was crawling with character and least of all expected design.
Before heading to Iceland, John informed me that a student in illustration lives there and put me in touch with her! Sol, gave me some great places to visit and even gave me some local tips such as were to eat and where to drink, Sol was fab it really made me get the most from my time in Iceland as i was only there a few days.
I saw some amazing street art and architecture - this trip made me think about how important it is to breathe fresh air and be inspired by whats outside. Travelling is one of my many passions aside from design, but I have to say this is one trip I think will help me develop as stronger designer now I can fully be inspired by what is around me.
Friday, 9 December 2016
Monday, 5 December 2016
OUGD602 DR ME Zine Workshop
Ironically the day after my Kristyna Baczynski workshop, DR ME came in to do a similar workshop, they asked us to use vintage and preloved newspapers and pictures to create a interesting zine, because I was still feeling inspired by yesterdays zine workshop I was very exited to express and explore and really push zine making to the max.
I really enjoyed getting involved in making this Zine and think it came out really well. Although I am not wanting to do publication design this was something that helped me unwind. Sometimes therapeutic creativity is really helpful when your stressed writing an essay! Ill definitely be doing some more of these in my own time.
I really enjoyed getting involved in making this Zine and think it came out really well. Although I am not wanting to do publication design this was something that helped me unwind. Sometimes therapeutic creativity is really helpful when your stressed writing an essay! Ill definitely be doing some more of these in my own time.
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