GFSmith Colorplan Archive - Finals, Rationale & Evaluation

GFSmith Colorplan Archive - Finals, Rationale & Evaluation

Concept
Create a series of prints based on the screen colour spectrum RGB, using a combination of digital print process and screen print process to transition between something digital to something traditional to take the screen based RGB into something physical and printed.

Each colour will be referenced by a precious gem looking into the qualities and grading of these gems to benefit the idea of showing the qualities of the Vermillion, Lockwood and Adriatic colour plan papers, the visuals delivery of these designs will be informed by ideas influenced by Ruby coding, Afghan Emeralds and the Idea of the Unknown for Bentonite gems all with a consistent hint towards the transition between digital process's through the use of iconography, pattern, shape and type too the physical qualities of print and paper based design deliveries.
Finals & Rationale
All the prints are recaptured in a digital aesthetic, a black background to represent the computer screen to bring the print back into the digital. A digital preservation if you like, to create my own digital archive of a series of prints that was aimed at been a physical archive based on heritage. 


This Ruby print uses Vermillion Colorplan and the base concept revolves around ruby code as a reference towards technology, sampling the Hex and RGB colour code of the paper brought the physical paper product into the digital while the combination of photographs of ruby's and digital repurposing through vector, half tone and patterned textures using ruby glyphs further supported this idea. 

A tonal range and contrast has been achieved through rough and smooth patterns, colour tones and opacity and shapes to show the grading transition of these gems and also showing the limitations and progressions of screen printing and digital printing process's. 

The deconstructed layout supports the idea of layering of 2 process's and sets the tone for a series of prints to follow within a modular grid that subtly represents pixilation to add a digital context to these print outcomes. 

Lockwood green was used as the base to emulate the quality and grading criteria of Afghan emeralds, the finest emeralds around. A quote from a jewel expert added context too the finesse and quality grading presented in the final artwork. The use of circular arabic supports the traditional calligraphic style often adopted in arabic lettering to maintain a feeling of heritage.  

RGB was referenced through the interpretation of screen & collaboration marks, made up of lines, + marks and squares to reference pixels, glyphs all digital elements that where then repurposed in a print based outcome while the physical grading of the gems was repurposed in a digital output using vector markings of a deconstructed gem to an almost complete gem to show a quality scale. 

Screen collaboration marks where used to frame up and lock the elements together with the collaboration bars and act as print registration marks to show a transition from the screen to print and encompass both process's to draw the 2 process in together to show the transition of traditional print to digital print. 

Adriatic colour plan paper was used to carry the print transition for Bentoite, the idea of the unknown was the secondary concept while still supporting the idea of screen based RGB values, the idea of the unknown was emulated by creating a sample profile of 1 of the only recorded samples of Bentoite, with visual connotations like the magnifying glass and the definition of the unknown adding context too this feeling of discovery. 

The texture comes from ideas of the river in which the gem was found, using halftone gradients to show screen print limitations and gradients to show digital possibilities with the zooming in of photographs turning the physical into digital halftones to further strengthen this idea. 

Evaluation
So far one of my strongest briefs concept wise, I created a really strong concept that suited the brief and also again allowed me to apply my COP methodology to the brief. So far I have managed to do this for most briefs in some way or another so I am happy with how I am delivering ideas at current. 

I answered the brief and managed to extend it, creating a print that celebrated the qualities of the colour plan range that can be used within an archive that promotes creative process's that transition from the traditional too the contemporary. 

It was good to get quite theory heavy and deep when it came to the concept and delivery and I feel I delivered it well, creating a base concept revolving around RGB then giving each colour value a secondary concept that still tied in to work and show the possibilities within screen-printing and digital printing process's while still showing the quality of the paper and maintaining a clear context and meaning revolving around precious gems and there origins. 

It has also started to bring other ideas to fruition that can be fed into my main brief that I plan on doing, the digital letterpress idea. Figuring out ways of transitioning and repurposing the old and the new theres elements from this brief to be taken forward and advanced in a more substantial project. 

If I was to do this brief again I would try out the lasercut lino idea as a method of bringing technology into a very traditional print process's but this can be tried out in another brief and I am happy with the outcome all the same. 

Boards

GFSmith Colorplan Archive - Digital Development & Production

GFSmith Colorplan Archive - Digital Development & Production

Digital Design

Emerald

Starting off using the colour bars/registration marks to make up a simple shape, using repeated lines, squares and + signs in different weights to create a tonal range, these vector marks would work perfect when screen printed to show a transition between the 2 process's. 

Then started to try using them as registration marks, to frame up the page and start to form a grid system based on a birds eye view layout with all the textual and visual content based on the idea of discovery and piecing different elements together from different process's.

The arabic type works really nice in context with the digital marks, creating a contrast of heritage and tradition which will work perfect when it comes to the print process.

Offset screen alignment marks will be repurposed through the 2 print process as mentioned offset to show the imperfections and beauty of print process's. The screen marks where further strengthened with a cursor and the addition of vector gems, going up in size and grade, with less complete shapes been of a lower grade building up to high grade gems. 

Testing out colour interactions, its clear using the full RGB scheme doesn't work, it just draws too much attention into these elements in these colours, the design needs to feel fixed and symbolise the coming together of 2 process's so white ink created this tonal balance and the use of white ink is a digital print limitation so shows the potential of screen printing. 

The white ink works really well when showing a fading tonal range to show the grading system.

The digital print process will print detailed elements like the smaller weight vector lines to show the accuracy and possibilities this process, the collaboration registration marks will use both process's as a means of bringing together the 2 process's. 

The idea behind putting the arabic in a circle references typical arabic calligraphic decorations to keep this feeling of heritage going, and the arabic type is quite calligraphic in its-self a very hands on type process that will benefit the digital and screen print process to show to limitations and potentials of both. 

Once the design was worked out it was important to have a format to follow for the other prints to make them feel as a set, the digitally printed black section is strong enough in impact and simple enough in structure to allow the other gem ideas and layouts to sit within but still feel like a set but still hold there own concepts and visual responses. 

Settled on a alternating horizontal split, as a set they feel like pixels next too each other. Further strengthening the digital to print transition.

Bentonite 

The block colour to texture as a mode of delivering an idea of conceal and reveal was played around with, creating a texture that would be screen printed using digital process's. Trying to achieve an element of tactility and quality. 

Experimenting with flat square stroked and soft stroked vectors.

Halftone gradient marks.

Gradient marks.

And a combination of the all. 

Settling on the combination of halftone and gradient, to show the limitations and potentials of both screenprint (halftone) and digital print (gradient) 

Working on the idea of a screen perspective as a form of looking into or revealing something, this created a certain depth but became a bit of an optical illusion, as these formats where a birds eye view of visual elements this idea just wouldn't work. 

Trying out the conceal and reveal with the type in an uppercase impact typeface, this suited been stretched quite nice, adding a certain engagement too the context of the text. 

Creating a sample profile, using the only limited information I could find on the gem with the definition of the word unknown to add context to this idea of discovery and the unknown profile of this gem.

The typeface is starting to suit been in a smaller point size in solid white as this will be using the negative space and make use of the paper stock colour. Adding the colour context & link to the word Bentoite.

Playing around with multi column grid for the content, but its starting to become the main focus of the design where its only meant to be an additional element that supports the whole idea. 

Taking out the synonyms allowed a much more structured 3 column grid and allowed the addition of lines and circle points that show a scale, that works with the idea of a grading system and idea of progression and discovery while framing up the type. 

Beginning to bring in physical imagery to add tactility to the print outcome, adding a noise effect to add a certain graininess to show the rawness and the initial discovery of these gems. 

This was then combined with a vector interpretation of the photograph to work with the print to digital transition, positioning random cut offs of the gem within the squiggles that reference the rivers shape these gems are found in. 

The addition of a magnifying glass adds connotations of discovery, playing around with using halftones as a method of zooming in to show the quality of the gem, but also zooming into the physical image/photograph and showing the detail in a digital repurposed outcome. Showing the potential of digital for clarity and quality. 

Playing around with adding a number to support the idea of this been a sample profile of a limited number of gems, but without the sample number it feels more exclusive and rare, giving a stronger feeling of the unknown.

Trying out adding texture to half of the word Bentoite, adding a certain context too it.

Adding the grid to emulate location grids and pixels but it didnt feel right, it didnt support the detailed imagery it just felt very out of place. 

Mockup of how it should look, using white ink again to keep things consistent and it contrasts well with the black in tone and the blue in hue. 

Ruby

Starting to work with the fixed structure, keeping consistency by adding a visual element at the top to frame the content bellow.

Adding the [brackets] common used in ruby coding as registration marks, offset to show the imperfections and the layering of 2 print process's. 

Playing around with Quire sans, a very contemporary sans serif that supports the digital vibe perfectly. Trying it out in lowercase and uppercase in outline and solid colours. Much preferring the outline as it had a certain delicacy too it that suited the detail and quality of the paper and the gems  

Starting to bring in basic ruby commands to add context too the concept using ruby code as the visual delivery of technology.

Starting to use the blocks from the scamps to show a grading of texture, playing with the negative and positive space where ink will be applied and where left blank to leave paper stock revealed. 

To add a further print & digital transition the RGB and hex colour code for the ruby paper has been converted.

The idea of creating a sample has been expanded here bringing in the details of a record ruby to add a feeling of value too the design and the paper itself. 

Playing around with more layouts within a modular grid system, bringing in glyphs and marks that reference ruby coding, these deconstructed elements are starting to create a consistent series of prints as the past prints share similar characteristics. 

The use of + and - connotes a grading system and resonates with the line of bars while the further use of brackets further brings in the idea of ruby coding and the idea of enclosing something between brackets and preserving something within a physical print outcome a glyph that connotes something so digital further supports the transition between digital and print.

The final developed layouts incorporating all key elements from the developed scamps with the addition of a repeated R using an outline to show delicacy, a gradient to show accuracy and a block screen print colour to show boldness, all qualities of the ruby and all qualities of screen print and digital printing. 

Now the layout has been established after a few changed bringing the ruby name and colour code down into the image to add further context too the physical to digital transition. Further supported by the vector repurposing of the physical image. 

Conceptually the repeated R works while also adding depth, but it just doesn't feel like it belongs within the whole composition. Everything else has some sort of accuracy about it and this just feels clumsy. 

A few more examples creating vector and digital repurposing of the ruby using block colour and gradients, they feel too heavy in terms of weight, they draw attention straight too them and the whole composition doesn't feel fixed and balanced anymore. 

Accuracy was maintained, something important when trying to show the potential of digital within a print transition. The pattern made up of + adds texture and a closer reinterpretation to its photographic counterpart while the use of a glyph used a lot in coding adds further context. 

  

Trying out ways of creating a very digital interpretation of the gem, the first was far too complex and abstract using halftone gradients with a plan to screen print it to bring something physical into a print outcome that incorporates digital edits. The use of a waved hyphen and a halftone gradient added this feel though while showing a grading system from rough to smooth through the different textures, supported by the vector shape that goes from a rough edge to a neat rectangle refined edge/gem. 

Adding the RGB colour code and hex code around the sides framed everything up nicely, and having everything fixed in with the colour code which was one of the main focus of the concept added more meaning too the whole concept and context delivery. 

  

Final mock up with the shapes that represent the gems using negative space and taking on the colour stock to add context and meaning, elements of type have been warped to add that glitched aesthetic further giving them that digital look and feel. 

Production

Digital print and screen print layers.

Screen print and digital print layers.

Using the laser printer allowed the ink to sit on the paper rather than embed into it like an inkjet, this would act as a nice surface for the screen print to adhere too. 

Using quite opaque white ink to give off a feeling of clarity to support the idea of a quality gems and allowing the 2 process's to merge together as one.