STATIONERY PIN UP ON MONDAY MARCH 2ND

Don't forget that we are having a pin up on Monday March 2nd in class.

You should have mock ups of your letterhead, business card and envelope.
Front and Back if you have any design on either side.

Remember this:

A Business Card has it's own hierarchy regarding text and information.
I made a quick example below. The information/text can go wherever you wish it to go
but make sure it's all there in some form.  Again. You are designing information
so make sure it's legible and creative.   have fun with this.

Stationery Specs for Business Cards, Letterhead, Envelopes

Please consider using the following on your client stationery. 
This list of pertinent information will assist you in insuring these stationery items are current by today's standards.

Business Cards: Front and Back
Size: 2 x3.5 (standard) Can also be a gate-fold, 3D pop up, shaped, die cut, etc.

Client Logo 
Client Name (Name of Owner and/or Employer (or your name)
Client Title/Position (Owner, Head Chef, Designer, President, etc)
Client Address and Phone Number(s)
Client FAX (optional)
Client Website (www)
Client Color Palette use
*optional: slogan
 
Letterhead: Front and Back
Size: 8.5 x 11 (standard)
Client Logo
Client Name
Client Address and Phone numbers
Client FAX
Client Website
Client Color Palette
 
Envelope: Front and Back
Size: 4 1/8 x 9 1/2 (standard)
* Large Flat 10 x 13
* Folded Flat


INSPIRATION:
http://vectorchameleon.com/2014/06/10-incredible-business-cards/
http://cargocollective.com/search/business-card
http://cargocollective.com/gregeckler/Business-Cards 
http://cargocollective.com/leland/Communal-Restaurant-Letterpress-Business-Cards
http://cargocollective.com/MVDAdesign/business-card

Part III: The 3 Printed Advertisements

Client Logos and stationery sets should be completed as we head into doing a set of print advertisements for your client. As you begin this important part of the branding process, think about the strengths of your client and their participation to the community in which they thrive.
Advertisements for your client should represent the client by use of continuity throughout the three various print sizes.

You should be prepared to discuss this AD campaign and it's intent.
You should also be prepared to discuss what magazine these ADs would appear.

One AD should be 8.5" x 11" Vertical
This full page AD must have:
-Logo/Mark
-Image/Visual (Photo, Illustration, etc.)
-Contact information (address, web address, phone number, etc)
-Text or copy (minimum of 1 paragraph)
-Headline

Second AD should be 3.5" x 11" (Vertical or Horizontal)
This AD must have:
-Logo/Mark
-Image/Visual (Photo, Illustration, etc.)
-Contact information (address, web address, phone number, etc)
-Headline
-Optional Text area

Third AD should be 5.5" x 5.5"
This AD must have:
-Logo/Mark
-Image/Visual (Photo, Illustration, etc.)
-Contact information (address, web address, phone number, etc)
-Headline

Thanks to Nathan Linkous for allowing me to use his exceptionally creative ADs for the purpose of this course blog.

Client Logo Critique: We're off and running

The Gap

THE GAP by Ira Glass from frohlocke on Vimeo.

Color and B/W Client Critique is Wednesday February 11th

I've decided NOT to ask you to put the PMS, CMYK or RGN color swatches on your client logo boards that you will turn in on Wednesday.
I don't feel like it's relevant right now to what you are doing. Keep it simple.

Just turn in a printed/boarded 12 x18 client logo with Black/white version and Color Version.
If you use Portrait Format: B/W version should be at the top and the Color version below it.
or If you use Landscape Format: B/W version should be on the left and the Color version on the right.
(see example of Graham Robson from last spring)

Check to make sure the logo isn't pixelated but instead a clean pristine version.
Make sure it's large enough on the page but without it being too big. Scale is important.
Look at the white space around the logos as well. Positioning is important.
Clean print on white paper.

*you can always do multiple printed boards with other variations of your logo on them especially if you are still trying to decide your logo.

Name on the reverse side of the board.

Start thinking about your stationery set now too.
I'll post examples on the blog today to show what others have done in the past.
Stationery/Letterhead sets use additional type/fonts for additional information (addresses/phone/websites, etc.)

Also be thinking about how you might also advertise your client through illustration, photography, any media you desire.
There will be 3 various sized printed advertisements forthcoming.

Let's look at color versions of your client logos on Monday!

Stationery Specs and Examples of Specialty or Mailers

Letterhead stationery and second sheet 8.5 x 11
Business Cards (these sizes can certainly vary according to your client and design concept. Standard business cards are usually 2 x 3.5

A2 envelope 4.37 x 5.75
A6 envelope 4.75 x 6.5
A7 envelope 5.25 x 7. 25
#10 envelope 4.12 x 9.5

#10 Business Envelope 9 x 12
Presentation Folders 11 x 14 (various sizes)







A few other printed/web materials to be considered:
Rack Cards
Post Cards
Stickers
Rubber Stamps
Handmade Books
Stamps
Billboards and outdoor advertising
Train/Bus interior print
Subway station print kiosk
Bus Kiosk
Outdoor Phone Poll Banners
Trade Show & Pavilion Decorations
Brochures
Catalogs
Pop Out/ 3D Relief
Sales receipts
Shopping Bags
Wrapping Paper
Take Out Boxes
Tshirts
Hats
Uniforms
Vehicle Graphics
Bus/Car Wraps
Projection Graphics
Interior/Exterior Signage
Napkins
Hang Tags
In-store promotional material (SALE,MarkDowns,etc.)
Promotional giveaways and contest materials
Menus
Table Easels
Websites & E-Catalogs
Web Ads online
Photography
Direct Mail pieces

Printing techniques to consider:
Die cuts
letterpress
watermark
embossing/debossing
thermal and wax transfer
Offset
Digital
inkjet
woodcut
linoleum
Foil application
Screen Printing

Pantone Color Matching (PMS)

Think about the colors (hopefully limited) for your clients logos.
You should have a pure b/w logo and then a color version.
Please check out the PMS Colors in Photoshop or on the website (www.pantone.com) to choose your colors.
You can also choose colors on http://kuler.adobe.com/ for color combinations.

Limit yourself to colors you want to use.
Be smart. The color choices should correspond to your client and their ideal marketing and advertising identity. (You wouldn't have a rainbow of colors for a funeral parlor.)

You want longevity in the color choices you make so they will ADD to your overall identity.

Courtesy Pantone.com

The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another.

One such use is standardizing colors in the CMYK process. The CMYK process is a method of printing color by using four inks—cyan, magenta, yellow, and black. A majority of the world's printed material is produced using the CMYK process, and there is a special subset of Pantone colors that can be reproduced using CMYK[citation needed]. Those that are possible to simulate through the CMYK process are labeled as such within the company's guides.

However, most of the Pantone system's 1,114 spot colors cannot be simulated with CMYK but with 13 base pigments (15 including white and black) mixed in specified amounts.

The Pantone system also allows for many 'special' colors to be produced such as metallics and fluorescents. While most of the Pantone system colors are beyond the printed CMYK gamut, it was only in 2001 that Pantone began providing translations of their existing system with screen-based colors. (Screen-based colors use the RGB—red, green, blue—system to create various colors.) The Goe system has RGB and LAB values with each color.

Pantone colors are described by their allocated number (typically referred to as, for example, 'PMS 130').



PANTONE numbering systems explained

Each PANTONE Color System uses a unique coding scheme. This key will help you find which System a particular PANTONE Color number or name is associated with:

Solid Color System
PANTONE MATCHING SYSTEM® coated, uncoated or matte
(examples: PANTONE 185 C, PANTONE Cool Gray 1 M)
PANTONE FORMULA GUIDES and SOLID CHIPS contain 1,114 solid (spot) PANTONE MATCHING SYSTEM Colors for printing ink on paper. The majority of these colors are referred to using a three- or four-digit number followed by a C, M or U. A small selection are named colors, such as the 14 base colors like PANTONE Reflex Blue C or PANTONE Orange 021 M.

The letter suffix refers to the paper stock on which it is printed: a "C" for coated or gloss paper, "U" for uncoated paper and an "M" for matte or dull paper.

PANTONE Goe System coated or uncoated
(examples: PANTONE 105-5-3 C, PANTONE 31-4-6 U)
All Goe Colors found in the GoeGuides and GoeSticks are identified by a three-part hyphenated numbering system. The first number ranges from one to 165 indicating the color family it belongs to. The middle number will be from one to five, signifying the page within the color family. The last number ranges from one to seven and identifies a color's position on the page. The "C" suffix indicates coated stock and the "U" uncoated stock.

Four–color process
PANTONE 4–COLOR PROCESS guides coated, uncoated
(examples: PANTONE DS 1-4 C, PANTONE DE 250-1 U)
These guides offer a collection of over 3,000 CMYK color choices. The Process Color System is an independent system and color numbers bear no relationship to either the Goe or PANTONE MATCHING SYSTEM.

PANTONE Process Color references start with either DS or DE followed by a one- to three-digit number, a dash, and a single digit number). The DE designation is used in the European version. The "C" suffix indicates coated stock and the "U" uncoated.

Process simulations of solid PANTONE Colors
COLOR BRIDGE® coated or uncoated (example: PANTONE 185 PC)
This guide provides side-by-side printed comparisons of solid PANTONE MATCHING SYSTEM Colors and their closest four-color process equivalent. The process simulation is identified by using the solid color's name or number, followed by "PC" for coated, "UP" for uncoated or "EC" for Euro coated.

GoeBridge™ coated (example: PANTONE 11-2-7 CP)
GoeBridge provides side-by-side comparisons of solid PANTONE Goe Colors and their closest four-color process equivalent. A "CP" suffix added to the color name indicates that it is a process simulation printed on coated stock.
SOLID IN HEXACHROME® coated (example: PANTONE 185 HC)
This guide provides printed simulations of PANTONE MATCHING SYSTEM Colors using the six-color Hexachrome process (CMYKOG). The six-color process equivalent is referenced using its PANTONE MATCHING SYSTEM name followed by "HC" for Hexachrome Coated.

FASHION + HOME
(examples PANTONE 14–4510 TPX or Aquatic, PANTONE 15–1247 TC or Tangerine):
Color reference numbers in this system contain two digits followed by a dash and four digits with either a TPX or TC suffix. TPX indicates that that the reference was printed on paper, the TC indicates that it’s a dyed cotton reference. Each color also has an alpha name reference as a secondary identifier.

PAINTS + INTERIORS
(examples PANTONE 14–4510 TPX or Aquatic, PANTONE 15–1247 TC or Tangerine):
Color reference numbers in this system contain two digits followed by a dash and four digits with either a TPX or TC suffix. TPX indicates that that the reference was printed on paper, the TC indicates that it’s a dyed cotton reference. Each color also has an alpha name reference as a secondary identifier.

Plastics
(examples PANTONE Q270–2–4, PANTONE T925–5–5):
PANTONE Plastics Color references are denoted by a Q or a T followed by a three–digit number, a dash and two single digits separated by a dash. The Q and T signify opaque and transparent colors, respectively.


Kuler
www.kuler.adobe.com

Adobe Kuler is an internet application from Adobe Systems that lets individuals try out, create and save various color schemes. It is available in browser-hosted variants running on Adobe Flash, and in desktop versions using the Adobe AIR runtime. After downloading Switchboard from Adobe Labs, users using the desktop version of Kuler can export a color scheme straight into Photoshop, Illustrator and InDesign. The word 'Kuler' is of Mauritian_Creole origin which means color.

Stationery Critique Coming Up

Example of the FRONT a stationery board (Landscape format)
Contains the front of the Letterhead with typed letter (optional) and the front of two variations of the business card and the reverse of the same business cards along with the front of the envelope at 100% scale.

There are various compositions you can choose to display your stationery sets:

1. Front and Back of Letterhead (if you choose to create an image on the back and the letterhead can be blank if you wish or you can show a version with text and/or no text)
2. Front and Back of Business Cards (if you choose to create an image on the back)
3. Front and Back of Envelope (if you choose to create an image on the back)

You are only required to show the front of the Letterhead without text (but you should have done a version with text to see what it looks like for future reference); the front and back of one business card (front only if you don't have an image on the back); and finally the front of the envelope (unless you are doing something to the back or inside flap, etc.) Remember if you need additional space to display your stationery then go to a second page. Mock ups and board examples are to be color-matched and original size.

Example Below of the Reverse of the Stationery Board with Individually printed sets on paper:

Last Year's B/W and Color Logo Critique Pics

I like to document class critiques from time to time so here are a few pics of you in action discussing your work. These are only for this class and if you wish for me to remove a pic I'll be more than glad. Just ask. More to come throughout the semester.

What 2015 Sophomore Portfolio Review Might Look Like

Sophomore Portfolio Review to major in Graphic Design:

Each of you who plan to apply to major in Graphic Design will be given some paperwork to fill out prior to turning in your portfolios.It will be explained to you in detail what you'll need to turn in along with your work from GrD3000, GrD3150 and GrD3200. If you choose you can also turn in a small selection of work that might include some drawings/illustrations/photography/printmaking. 

There should be around 15-18 pieces of work (give or take.)

Those faculty who have taught any of the introductory graphic design classes will be a part of the selection process. Those include: Jason Snape, Ricky Warren, Carrie Brown, Paige Taylor, Liz Throop, Jeff Boortz and Stan Anderson.

You leave your work.
Individual Instructors will come in during the next few days to individually review your work.
Then Instructors will gather again to compare notes.
Instructors will discuss the work you left for review and also how each of you were as students during the classes. Things that come up during that conversation might be absences, leadership, critique participation, experimentation, and even personality.

Each portfolio must have the majority of votes of the faculty to be chosen.






















Think about this as you prepare your work:
Keep it simple and clean presentation from start to finish regarding how you present your work.

Design really is nothing more than problem-solving, Improvising, experimenting, being resourceful and finally enjoying what you do.It all comes through. You should also be kind to your fellow classmates as you speak of them.

You never know perhaps one day you'll be interviewing for a job at a place you really want to work and there is the person you might have spoken badly about in your class so many years earlier. They might forgive you but they seldom forget. Choose what you have to say about your fellow classmates wisely. 
The Design world is small and it's a very interconnected discipline so don't burn your bridges.