Notice for Tutors

This page is part of the main blog, to which I have posted regularly through out my 2.1 unit work. For the edited Visual Summary, please refer to the relevant page in the tabs above.

Please be aware that I have edited the summary down, and if you would like to see parts of my process in more detail, then please navigate through the posts in the 'Blog Archive' at the right of this page. The titles of the posts are more or less self explanatory, and are in chronological order from earliest to latest posts.

Many Thanks!

Abi

2.1: Final Zine

Here are some pictures of my final zine output. I am really pleased with the results and the overall aesthetic and mixture of mediums in the piece. There is definite room for improvement in terms of various type mistakes and perhaps the front covers (or covers in general) are too "busy", but I wanted to use RSC leaflet materials as it works as an element the zine is about, and also because the paper used by the RSC has this distinct smell, which just brings something more to the zine that I wanted :-)

 

2.1: My Final Zine Direction

I used the typology of RSC programme covers that I collected in my first workshop, to inspire the subject area of my zine design. The programme covers are visually rich and therefore still were interesting to work with, despite being a difficultly large collection from flat, digital images.

I wanted to angle the theme of the zine towards my parents, being personal towards my parents as it is their collection in the first place. I conducted another “interview” with them and discussed which programmes held most memories for them and talked about their experiences based on this, building up a list of some quaint small stories. I wanted to display these stories in the zine in a chronological way so that it makes up a type of narrated timeline. This makes the zine a Fan Zine, and is something that the RSC wouldn’t produce themselves and because of that, should have more interest for external readers. The title is “The RSC and Me, … well, my parents actually.” This hopefully sets the tone of the zine, being slightly humorous, and not taking it self too seriously.

 

The methods of printing I wish to use will be based on what I know I can easily achieve with also some speed but still achieving interesting aesthetics. I wish to mostly use photocopying to reproduce the quantity of zines needed. For points of colour, I found that printing over the photocopy of the programme cover images provided for interesting visuals. The effect is not precise, but I quite like it that way as it is different every time and kind of looks like a drop shadow. I also played around with perhaps using stencilling and coloured paper, but I think this might over complicate the process.

For the front cover, I plan to use segments of original RSC leaflets and flyers, as the paper used is very distinct and has a very distinct smell. I am not trying to replicate what the RSC already uses, rather just trying to install an existing physical (and smelly) part of what the zine is actually about! I will also try to print the image of Shakespeare on the front using a simple form of lino-print or surface printing, which will add texture and variety.

Hopefully the zine achieves its goal to be an informative catalogue of my parent’s interests, put in a very personal way.

2.1: Looking at Existing Examples

Mark Pawson's Work
We looked at various examples of zines which Mark Pawson, our tutor, has produced and successfully sold himself. It was good to see the variation in sizes and quality in each example, as well as the simplicity of some designs and content that was still effective. For example, his zine made completely from envelopes of letters he was sent.

  

  

  

Last Year's Work
Like Mark's zines, it was good to see the variety in production techniques and print methods and also the content. For example,  the stencilling in the zine on Cuban dance, including their use of screen-printing and tracing paper, and this zine called “A Hair in the Throat” that's really interesting as it seems to be simply saddle stitched with staples, and printed on an inkjet printer, mostly being about the stylistic illustrations.

  

                        

  

2.1: Production Methods

We discussed the various examples of materials and methods you could use to produce your own zine.


Paper
Newsprint
Sugar paper
Inkjet paper
Recycling paper
Newspaper
Carbon paper
Tracing paper


Basically something that's easy to print on, cut down, and consideration of the design is needed.


Printing
Screen printing
Letterpress
Silk printing
Linocut
Digital
Rizograph
Woodcut
Monocuts (Foam and Card)
Photocopy
Potato
Handcut stencils
Rubber stamps


Colour
Finger painting
Drawing
Painting
Colour printer


Binding
Saddle stitch
Thread
Tape on edge (as long as it is reasonably permanent)
Loose leaf
Ribbons
Wire
Japanese sewing
French
Staples

UNIT TWO POINT ONE - Workshop B

DIY ZINES


In this workshop, we are to look at existing examples and discuss ways of producing our own DIY Lo-Fi zines.


By the end of the workshop, we should have hand produced 15 copies of a zine we made designed, with at least three different printing methods, which will then be given out to each member of the group and also for hand in.

2.1: Editing the Category Hand-Ins

After having a tutorial, and showing the little category hand-ins I had made, it was stated that various aspects needed improving. The paper quality needed to be improved, and the front page quality improved as well. It was suggested that there should be less content and the text much simpler, keeping an eye of typographic qualities such as widow words and hyphenated words.


I tried the design again, keeping it much simpler. I used courier font and Optima font to try and give off a hand-made "book" vibe, I was trying to go for a look mimicking hand-out scripts that actors get. I also put a potato stamp of it saying "PTO" so people will know to invert the page. I thought it would aid the hand-out script look with a hand made print to make each one unique.

2.1: RSC Interview

I had an interview with the Graphic Designer, Clare Booth, and Michelle Morton, Programmes Editor from the RSC. It was really interesting to get some answers based on the research I conducted, and to know how their design process works with the programmes, and the restrictions they have and also what they are looking to achieve for the future. 


Click HERE for the PDF of the transcription of the interview.

2.1: Inside the Programmes

As noted from the analysis of my parents' interviews, my mum preferred the older programme covers, stating they were more inspiring and imaginative, particularly referenced the 1985 "Merry Wives of Windsor" programme, saying that the cover theme was a really strong, playful 50's illustration that developed through the content of the rest of the inside of the programme.

This made me wonder what the insider of some of the other programmes looked like, whether they represent their cover image as well, and the comparison of the newer ones with the older ones.

Merry Wives of Windsor (1985)

This is my Mum's favourite, and you can see how the inside looks like an old 50's women's magazine, with all the informative content within the structure and 'articles'.

All's Well That Ends Well (1980s)

As one of the earlier programmes, this was one of the most colourful. Most of the others are only two tone, and a few pages long. The illustrative style of the cover follows through quite effectively in the inside.

Twelfth Night (1990s)

This is another example of the earlier programmes. Again the cover illustrations are found throughout the programme and the colours are monotone.

Othello (1990s)

Another programme from the 90s, again with only monotone colours. The inside reflects the cover to some extent but it is not as obvious as the previous examples. It also reminds me of being quite 'retro' and seems to be a good example of the popular graphic style at the time!?

A Midsummer Night's Dream (2000s)

This is one of the first programme covers which started using the red logo block in the corner and the typical A4 (ish) size format. This one uses traditional artwork as the cover, which is used throughout the inside of the programme, but doesn't influence the complete look and feel of it like the 80's Merry Wives of Windsor one does. This is also when the RSC started using more colour, and when I think they discovered InDesign!!!

Macbeth (2000s)

Again, an example of the more modern programmes. Same format, richer use of colours and application of the photographic cover image, also heavily used inside, which is effectively displays the mood of the theme throughout the inside, with experimental type, but the images remain strictly formatted and separate from the text content. Rehearsal images are commonly used now instead of images from previous same plays done.

Anthony and Cleopatra (2010s)
The modern programme style, with a new form of type based on the cover theme of this 'series'. And again the images keep relatively separate from the text content, also still photographic.

King John (2012)

This is the most current programme my parents now have in their collection. It is still the modern style in the modern format, with the use of photos and stylised running typography. The different I found in this is that the colours and images are even more eclectic, and they have tried a more relaxed, collagey look and feel, starting to integrate the text and images slightly more. This style seems quite youth orientated. I saw the play and the theme of it had this 50's, casino, wedding party vibe, with balloons, and whilst that is 'young' and fun interpretation of it (I suppose), it doesn't quite match with the look of this programme, which I believe mainly just follows the guidelines of the theme of the World series they are doing.

SUMMARY AND ANALYSIS

The main differences that I've noticed are that the older programmes with a lot thinner (Less pages), with usual only a maximum of three colours used throughout the inside. The newer ones are more structured, formal and similar to each other, but they are also more colourful and eclectic, with more freedom of content, with more references and interesting facts relating to the content of the play and current issues in the world at the moment, such as political relations made. Perhaps the RSC has had an influx of funding and increased it's promotional output since the 2000's and the quality of the content and materials has increased.

However, my Mum liked the 1985 Merry Wives of Windsor programme because it literally looked like a 50's catalogue throughout the whole thing, really being playful and investing in the theme. I don't think any of the other programmes really achieve this same effect, even amongst the older ones. Maybe this programme is an example of how the themes of the programmes can really be taken far in mimicking and complementing the play rather than just being a series. Each programme could be a one off piece to go with the play. Maybe the RSC has lost the freedom to do this? As mentioned before, there is possibly an opportunity to really push the boat out with visual ideas for programme designs, in my opinion.

2.1: Survey and Interview Quotes

I've selected quotes from both sets of primary research and highlighted them into colour coded relevance, based on them as comments on the comparison of the newer programme covers against the older ones.

Positive comments

Negative comments

Neutral comments

Points for Future reference