OUGD603 - Brief 2 - Competition Brief - Starpack Awards (Street Art Planning Kit) - Research - General Tin Designs / Shapes?

OUGD603 - Brief 2 - Competition Brief - Starpack Awards (Street Art Planning Kit) - Research - Street Art Related Packaging

Street Art Related Packaging 

- The K in Ironlak changes with each of the designs to create an ever changing brand 

- most of the designs use a single colour scheme within the design with black or white as an outline e.g. all yellow, all red

- the black section contrasts well against the intricate graffiti style design  

- allowing the metallic effect of the tin to show through creates depth within the design despite only using one applied colour

- block shapes create impact within the design, whilst reinforcing the simplicity of the colour scheme, allowing the design to work effectively 

- Spray drips from the process of spraypainting, the contrasting colours work well in creating a bold and bright aesthetic

- using the same design across both the product and outside package creates consistency 

- the same design is used but looks slightly different because of the use of a wrap around design on the outer package which shows a more scaled version of the design abstracting it further  

- having a jumbled tag design all over the can creates the impression of a wall covered in graffiti which is where the product would be used

Things found :

- the use of bright colours or a combination of bright colours best reflects a sense of graffiti 

- outlining things in black or another colour helps define areas and makes them stand out

- all over colour designs seem to be popular to represent this style of artwork, however perhaps more of the metal can be shown within the design

- using a minimal colour pallette either with either one colour and black works well in creating a simple but vibrant and bold design

- sans serif typefaces work well in balancing the busyness of some of the imagery used within the designs and allows the type to stand out alongside this. 

OUGD603 - Brief 1 - Souvenir Penny Designs - Research - Tourist Destinations

Tourist Destinations in Leeds 

Penny Machines are for the tourist market as souvenirs of their visit to a city or place. They are usually found in Tourist attractions with lots of footfall and are appropriate for a family audience such as Landmarks, Galleries, Museums, Wildlife Parks and Experiences.

Tourist Destinations were researched from various websites. Only places within the city centre or easy access through buses were considered, as tourists are most likely to stay within the city and visit places within walking distance as a city break.

After looking at a variety of travel websites and tourist sites a list of tourist destinations within Leeds was compiled.

Tourist Destination in Leeds:

The Royal Armouries (existing Penny Press Machine)
Tropical World
Leeds City Museum* (previously had a Penny Press Machine)
Kirkstall Abbey
The Tetley
Emmerdale Studio Experience (existing Penny Press Machine)
Roundhay Park
Leeds Town Hall*
Abbey House Museum*
Elland Road (previously had a Penny Press Machine)
Leeds Industrial Museum
Kirkgate Market*
Leeds City Gallery*
Henry Moore Institute*
Leeds Grand Theatre*
The Corn Exchange*
The Arcades*
Hyde Park Picture House
The Thackray Medical Museum*
Leeds and Liverpool Canal
Millennium Square*
Leeds Minster*
Thorntons Arcade*
Meanwood Valley Urban Farm
Leeds Dock

*City Centre attractions or easy access bus routes

It was considered that a machine would need to have four designs for one location so the places the machines would be in would have to provide enough distinctive features to supply four different designs.

Along the Headrow there are a number of tourist attractions / arts places / landmarks, including the Town Hall, Leeds Art Gallery, The Henry Moore Institute, The Craft Centre and Design Gallery so it was considered that doing a set of four designs for a machine in the area would provide plenty of visual references for designs whether this be for an individual place or a combination of designs for places within the area.

It was decided a machine could be positioned in either the Tourist Information in Visit Leeds or in Leeds Art Gallery as these are easily accessible from the Headrow, are popular with tourists and would allow for multiple places to be represented that are close by and easily seen from the machines possible location.

https://leeds-list.com/culture/50-must-visit-landmarks-and-attractions-in-leeds/
https://www.leeds-live.co.uk/best-in-leeds/whats-on-news/27-brilliant-things-leeds-13902838
https://www.timeout.com/leeds/things-to-do/best-things-to-do-in-leeds
https://www.tripadvisor.co.uk/Attractions-g186411-Activities-c47-Leeds_West_Yorkshire_England.html

OUGD603 - Brief 1 - Souvenir Penny Designs - Research - Information about Pressed Pennies

Information about Pressed Pennies

History 

- Generally considered that first designs were created for the 1892 - 1893 Worlds columbian Exposition in Chicago to commemorate the discovery of America by Columbus

What is an elongated coin?

- They are made using a coin, token or metal blank which is forced between metal rollers which elongates the metal. The engraved design on the roller is then impressed onto the penny.
- Pennies are create by rolling a coin through a hand cranked machine
- Elongated Pennies were originally collected as souvenirs at world fairs and expositions, they are also collected as momento's of events or after visiting a place / activity. They can also be used for promotional purposes
- In the UK a one pound and a penny is needed to run a penny press machine 
- More and more designs are available making it difficult to collect them all
- Collectors of elongated pennies often specialise in a particular theme or designs from certain rollers
- It is legal to elongate pennies 

Process of Pressing a Penny 

Step One:
Penny and £1 are put into the slots at the top of the machine
Step 2
The wheel is turned so that the arrow aligns to the chosen design out of the four available
Step 3
Penny and £1 are pushed into the machine 
Step 4
The wheel of the machine is turned
Step 5
The pressed penny then falls out of the machine 


https://www.pennycollector.com/faq.html
https://www.pennycollector.com/history.html
https://tecnews.org/coins/history/

OUGD603 - Brief 1 - Souvenir Penny Designs - Research - Production Methods

Production Methods

To gain a better understanding of how to create a realistic finished penny design the metal work technician told me about possible solutions and techniques that could be used.

Key Points:

- Pennies pressed in machines are created by using a cast metal stamp. The penny is forced through two rollers with the design imprinted into one. The metal stamp design is then imprinted onto the penny through pressure as the penny is pushed into the stamp. To simulate this effect a stamp could be made then hammered into an already flattened penny. However a problem with this technique is getting a stamp made is expensive so this wouldn't be very practical for four designs and a small run of pennies.
- It was suggested that the design could be etched onto a piece of copper sheet then cut out in the shape of an elongated penny and curled slightly to simulate the effect of a pressed penny. The etching process uses photo sensitive paper which is applied to the copper. A black and white negative of a design is created with any areas that are white hardening the blue in these areas. When washed these areas remain raised whilst the black areas on the negative are not exposed to light and wash away leaving an etched section. To create raised text and imagery in a similar way to designs looked at it was said that text and imagery / lines would have to be in white on the negative to be raised and the rest in black to etch these sections away.
- The etching process would create a similar effect to a pressed penny design and the copper would simulate the colour of the pennies well. The design would then be sawn out to create the elongated penny shape.

OUGD603 - Brief 2 - Competition Brief - Starpack Awards (Street Art Planning Kit) - Brief Analysis

Starpack Awards - Street Art Planning Kit (Brief D) - Brief Analysis 

Brief:

- create the tin for a street art planning kit
- create a street art brand (this would include logo/logotype, secondary typefaces, colour scheme any related graphics)
- target audience is young and arty  
- design should be consistent across metal components and storage pack
- innovative and creative design 
- Shelf impact and consumer appeal 
- outer pack needs to be more than just a box for the contents of the pack
- consider metal finishes, shaping, windows 

Outcomes:

Create a model of the design 
Design can be made using any material to represent metal
The materials that would be used in reality to create the paint tins and aerosols would be tinplate / aluminium and the storage pack would be mainly tinplate

Deadline: 
March 29th Register entries 
May 10th Designs sent in 

Specifications / Technical Elements: 

- the tin shouldn't be bigger than 22 x 35 x 14cm
- the tin should hold 2 aerosol cans (D 52mm, H 105mm), 2 paint cans (D 57mm Volume 100 or 125ml, Brushes, Marker Pens, Stencils, Cutter, Sketch Book 
- consider finishes (print finishes) for metal
- consider shaping and metal form effects (embossing and debossing)
- can use windows, perforations etc in the design

About Street Art:

- displayed in the community in public places such as buildings and streets 
- street art has moved on from negative connotations of graffiti and is more accepted
- considered as a form of art with beauty and message
- profile raised of street art by artists such as Banksy 
- more opportunities in cities for legal street art 
- planning kits are used by artists to create work

OUGD603 - Brief 1 - Souvenir Penny Designs - Key aspects of the gallery and considerations

Key Aspects of the Gallery and Considerations 

Elements of Interest / focal points within Leeds Art Gallery 

- 130 years since opening 

- logo

- steps going up to gallery 

- Henry Moore Sculpture outside building

- Signs outside

- Chess set outside

- Ziff Gallery - Painting Frames

- Ziff Gallery - Busts

- Arrangements of paintings on the walls throughout the gallery 

- Henry Moore Institute Logo

- Tiles in Cafe 

- Individual stairs on Staircase

- Design on wall of Staircase

- Circular Sculpture in Henry Moore Institute

Consider reflecting:

- key aspects of place

- key features of the building 

- key features of the collection 

- elements from different areas within the building

- aspects of history 

Using key parts of the collection or building within the designs will allow people to find and see these things in person and therefore have more association with them, with the pennies then acting as momentos of the highlights of what they saw at the gallery.

Using elements of the collection or the building that do not change over time will allow the designs to be reflective of Leeds Art Gallery over a longer period of time rather than being outdated once an exhibition has finished. 

OUGD603 - Brief 2 - Competition Brief - Starpack Awards (Street Art Planning Kit) - Research - Street Art Supply Packaging Design

Art Supply Packaging Design 

Molotow

- all black with white text creates high contrast 

- urban and fine art use bold and light typefaces reflecting the different qualities of the types of work that could be created with the product 

- the logo is used as a watermark on the design reflecting the brand in a subtle way 

- orange used as a basic background with the black logo applied on top which creates a clean and simple design, which is less cluttered than some of the other designs and contrasts well against the background

- the lid of the can reflects the colour of the product 

- Colour of the product is shown on the cap.

- An orange gradient is used on the main body of the design with the branding / logo applied across the background making the design different from other brands. However perhaps this makes the colour of the product less obvious, but the design as a whole would stand out on the shelf  compared with other designs.

- Black areas on the design are are used to create contrast against the branding and colours, whilst highlighting key words e.g. premium and how many colours available which draws the eye to these bits of information 

- The background for the design uses the branding in orange and yellow which is perhaps a little distracting within the design, however the black does stand out against the colours behind it

Liquitex

- The colour of the marker is reflected in the background through the use of clear plastic which allows the product to be seen within

- A scribble is used behind the text which reflects the effect the product would create when used. Making this black creates high contrast between this and the white of the logo and sans serif type

- Top and spray paint mark on the cans use the same colour to reinforce the colour of the product.

- The colour on the can looks like its been sprayed on reflecting the process of using the product, what it is used for and the effect the product will create when used. The textural edge to the line of spray paint and small to larger sized stroke reflects how the application of spray paint to a surface.

- The use of the large black section contrasts highly against the colour of the spray paint line on the can making it stand out and allows the colour of the product to be the main focus of the design.

- Making the logo white means it stand out on the black of the can and doesn't clash with the use of colour on the rest of the design creating a bold design.

- The metal of the tin is visible perhaps suggesting how the product can be applied to metal as well

- 'Spray Paint' is set in a stencil type, which is a technique used in street art

- Other info is set in a small point size emphasising the brand and name of the product within the hierarchy

Pebeo

 

- the can allows the tin / metallic effect / brushed metal to show through with the colour of the design matching the colour of the spray paint 

- the colour on the design is applied like it had been sprayed on with spray paint creating a textural and splattered design 

- white spray mark highlights key information 

- white text on black background shows the type of paint e.g. matt, which is lower hierarchy than the logo. This stands out well against the surface / tin and the colour however would be perhaps clearer if it was made a little larger   

- There is a playful use of spray paint texture within the background design however perhaps the text gets a little lost within the design 

- The markers have a black background with white text creating contrast with the colour of the cap reflecting the colour of the product 

- contrasting text weights reflects the different effects the marker can create. The M reflects a more calligraphic / realistic representation of the effect a marker creates.

Montana

- The effect the spray paint creates is reflected on the background with the texture applied as a feature reflecting the product quality in a subtle but contemporary way.  

- the use of the square slab serif typeface with some flicks and rounded edges creates more gestural elements whilst also reflecting elements of graffiti style lettering in a cleaner way 

- the design is typography heavy with the type orientated both vertically and horizontally 

- the hierarchy within the design makes the name of the spray paint the boldest with the logo being smaller within the hierarchy, placing more focus on the type of product rather than the brand  

- 94 uses a stencil typeface reflecting the use of stencils within street art, with the edges of the type slightly textured further emphasising the idea it had been sprayed onto the bottle

- the use of a white background creates contrast against the typography and the colour of spray paint 

- the design has a minimalist aesthetic that create high impact 

- different tag lines are used across the range but repeated across multiple different colours within the range. Tag lines include 'the most versatile spray paint'  'smooth valve control' 'because colour is life' 'shake well and spray'. These highlight the key qualities of the product in a clear way. Having one tag line per bottle allows the design to be minimalist whilst also showing all the products qualities across the range

- contrasting colours to the product colour are sometimes used within the type to create a bright and playful design 

- the markers have a similar aesthetic to the spray paints with whole background colours, with a similar text layout

- The use of white and orange on different coloured backgrounds works more effectively on some of the darker background colours as this creates more contrast and allows the text to stand out more. 

- The can designs are perhaps bolder than the markers however the marker designs are brighter and more colourful.

Key things found from packaging designs:

- colours are used to reflect the colour of the product whether this be on a spray paint or marker. Large areas of background colour show product colours, whilst clear bottles are also used to show the actual product within

- black and white text are used effectively to contrast against the variety of colours used within ranges allowing the product colour to be the most prominent  

- caps often show the colour of the product within 

- reflecting the effect the products create is used often e.g. texture of the spray mark or line quality of the marker

- typography is often bold and impactful reflecting aspects of lettering created in street art. Stencil typefaces reflect the use of them as a technique within street art, whilst slab serif typefaces reflect the blocky angular effect of graffiti in a more refined way, contrasting light and bold typefaces reflect the different weights that can be created with the product whilst letters created using the product reflect the effects created by the use of the product. 

- Sans serif typefaces work well in reflecting a more refined, premium and contemporary feel to the product, with more illustrative effects kept to a minimum, moving street art products away from the negative perception of graffitti and creating a more refined feel to the designs suggesting a sense of quality and portraying street art as art rather than vandalism