Alphabet

I created this alphabet for Three Blind Mice - Jelly London's sister studio who specialise in pre-production. They are going to attempt to make it into a useable typeface. They have also said that they are going to keep me on their books in the hope of having some freelance work for me in the future.

Granimator Jelly Launch night

While I was on my placement with Jelly, I was lucky enough to help set up the launch party/exhibition for the Jelly Granimator pack. I went down in the afternoon and helped out with hanging prints and general tasks and then got to enjoy the even in the evening which was a great networking event as well as having a great time with the Jelly team!

Some snaps from my two week placement in London

Gorgeous view of thames on my way to Southbank Centre....

Sculpture at David Shrigley exhibition at the Southbank centre.

Weird cast iron sculptures including skull rings at Shrigley exhibition.

Pancake day!

Flowers from my lovely boss at end of placement!

Spanish breakfast..... disappointing actually.

Work Hard & Be Nice To People

I remembering Anthony Burrils talk at Leeds Print Fair where he mentioned how the slogan 'work hard and be nice to people' from his woodblock prints had become widely used and in the strangest of places, I found if funny to find this poster on the notice board outside Effra Road Chapel in Brixton when I was on  my placement.

I tweeted it at him this morning...

Visit to Pressision Printers, Kirkstall

Yesterday Ailsa, Amy, Robyn, Sai and I went to visit Pressision printers in Leeds. It was a fantastic trip as they were so friendly and accommodating and allowed us to ask so many questions both general and specific to our individual projects. I feel like second time around (following the Team print visit last year) I really understand the processes, and perhaps more importantly, the costing.

Photos from the trip :

• First off we saw how the plates are set up using the artwork provided by the designer.
• A proof is printed, and then this is the last time any alterations can be made before the plates are made.
• Plates are created using laser drums that essentially cook the designs on.
• A scratch on the plate will affect the design when printed.
• Best files are made in indesign with 3mm standard bleed, sent as pdf.
• Generally don't need to paginate a multi page document as most printers will do this for you. 
• Publications should be sent as SINGLE page spreads.
• Types of printing: 'Working tumble' - (double sided) & 'Sheet work'
• 170gsm average thickness for a leaflet
• Always ask printer for their professional opinion
• CMYK plates cost around £20 each for the designer/client
• Ink costs the printer only £10 a tub (cmyk) and £15 for a metalic
• Pantone - 'C' = coated. 'U' = uncoated
• Their litho printers are 6 colour (allows for two spot colours with 4 cmyk)
• if designer wanted more than 2 spot colours, their would be added costs factored in for cleaning the plates.
• is cheaper to use one spot colour than cmyk, but not cheaper to use two spot colours instead of cmyk.
• FSC/PEFC - Forestry stewardship councils - v. strict. (Designer can't even have access to the logo- printer has to apply it once the stock has been verified)
• Duplexing - can do it but they get it done by the paper manufacturers as it's cheaper
• Thermography : they dont do it - outsource it - where a layer is printed which is then passed through heat making it expand - you can tell because it is slightly rough to the feel. 
• Below is a business card that they have foil blocked on both sides. The black text has been thermographically printed (outsourced).

• Thermography is an alternative to foiling as it gives a different finish - foiling impresses slightly, while thermographic printing is raised slightly.
• I have been researching into how I could achieve metalic/foiled effects for the stationary for my Kit Cat's brief, that would also allow it to be run through a laser printer, as I understand from my research that this can affect the inks and they can melt.
• One of the printers explained to me that it is now possible to get 'Laser compatible foil' which is printer friendly - on request from the printer.
• We looked at some letterpress examples and the press itself. Below is an example of some letter press that they have been doing for a wedding invitation :

• Letter press more expensive - e.g. this invite and rsvp card cost £420 for the plates - two colours, four sides in total.
• Plates can be ordered from Hallmark, or Premier Legue Graphics (locally) which is cheaper  and faster turn around than Hallmark. 
• The cheaper plates are made using acid bath.
• Best paper companies in their opinion - Fedrigoni and GF Smith.
• sample books called 'paper colour selector'
• Colourplan v.nice colours
• Most of the standard stocks they use - silk stocks etc - from R&B on Armley Road as its a good price.
• Printers tend to order stock as its a better deal cost wise.
• Folding machine - up to 24 pages can be folded in one run
• They don't do colour reging as they only get asked to do it once or twice a year and its too expensive.
• Exciting paper - GF smith 'Tapestry' - has a floral pattern laminated onto it (looks like wallpaper)
• Pressision are able to print car raps, wallpaper and canvas as well as regular stocks.
• Digital printer - can print basically on any stock -  much cheaper.
• 1000 A3 size maximum run on digital
• 250 business cards would cost around £50
• Freebies - including a piece of Fedrigoni pink pearlescent stock

Tutorial with Fred feedback

Jelly internship

For the last two weeks I have been on an internship with Jelly London, an illustration agency in central London. My practice has always had a strong illustrative aesthetic, and I knew that this placement opportunity would help me to decide my path for the next few months and post-uni. Jelly were particularly interested in my illustrative type work, as they explained that this is a style very much in commercial demand at the moment, however while they have a vast pool of illustrators that they represent and work with, they only represent three that work with illustrated type; Alison Carmichael, Steven Bonner and Matt Lyon (Three of my favourite lettering designers). For this reason they got me working on dead type briefs that had been completed in the past or not at all by those three designers. 

They treated me like I was actually working for them, giving me formal briefs, deadlines, regular critiques (every few hours) and feedback, essentially the rep would art direct me through the brief until we reached a solution that she was happy with. I think I coped well with this style of working as it is one I am familiar with on the course. The feedback was good for each brief and they commented on how quickly I work which was good. I was able to ask them so many questions about how the industry works, how their agency works, pricing for each job etc. 

Two of my briefs were sent around the studio and to the owner who gave me some really positive and constructive feedback. Three Blind Mice, the sister studio to Jelly have kept me on their books so that I can potentially do some freelance work with them over the next few months.

I was advised that my work is commercially viable and I have decided to try and go freelance as an lettering illustrator when I finish rather than apply directly for studio jobs. I have received a lot of advice from this placement on how to approach this, in terms of contacting agencies as well as publishing houses. advertising agencies and graphic design studios. 

They showed me Alison Carmichael's illustration portfolio which has helped me determine the way I need to start presenting myself.

I have been invited back in the summer and am currently arranging the exact dates. I think that this will be a great kickstart to my freelance career as this will help me get into the professional mind set when I have finished uni.

These are some images of the work I completed whilst on my placement :