A2 Double-Sided Poster
Unfortunately the digital print facilities at the college don't print double sided A2, therefor I won't be able to print the poster on the other side. I could print it on A3, however the type would be too small and confined making it uncomfortable to read.
Feedback and reflection:
The crit group suggested that the poster concept would be more appropriate as it is Kuhne's main practice. A poster will also allow me to create a composition inspired by Kuhne's practice.
Due to the fact the print facilities don't provide double sided A2, I intend to resort back to the booklet concept
Booklet:
Poster
As Dafi is renowned for his poster work, I feel this would accompany the zine nicely and can even be embedded into the posterzine concept if I decide to take that forward.
Took one of the quotes highlighted within the text, 'It takes more than just a press' which is an umbrella statement for the whole of the interview.
Throughout the interview I asked Kuhne about his design process and I was really intrigued by how he starts a project. Kuhne said that he works digitally with Helvetica Bold Condensed in order to plan out each typographical element, therefore I used this typeface throughout my experimentation.
Experimented with typesetting inspired by Kuhne as he often sets the type at angles to create movement and take advantage of all the available space. As Kuhne is known for working autonomously, I set the type as if it was still in the process of being composed on the print bed.
Production Methods:
Decided against screen printing the outcome because the finish is almost too perfect, especially when printing large typography. I aim for the poster to be reminiscent of the hands on, raw printing processes that Kuhne explores so I looked at other options such as letter press and monoprint. Unfortunately I couldn't get hold of any large point Helvetica woodtype so I resorted to monoprinting the outcome because it is a process that encourages one to work autonomously as there are so many adaptions to the process.
Process:
Using a scalpel and a ruler allowed me to cut the straight lines accurately however the curves were cut free-hand. I made sure that I kept the counter cut out from the a, o, p and r to add to the printing plate just before printing. Laser cutting the text would have allowed me to be more consistent and accurate, however I have enough time to manually cut the type. In the future, I would like to explore laser cutting type from wood/card because it will provide me with more opportunity to manually print and take control of a variety of type styles.
My experience with monoprinting reminded me to lay the stencil backwards so that the relief print would be the correct way.
Outcome:
I ran the printing plate back through the press to get a negative of the composition:
Using the letters cutout from the original composition, I organised them randomly over the composition. The fact that I had to set the type backwards was hard to get my head around, however the autonomous approach creates a playful and naive composition.
Positive and negative:
Rolled the printing plate with ink and blanched it with a piece of scrunched up tissue paper. I then sent the type through the press with the inked up plate:
Black on black:
The naivety of the typesetting contrasts nicely with the statement.
Final Decision:
Decided against the pure white composition because I want to pick up the imperfections of print to reflect Kuhne's raw, physical and tangible method of working.
Whilst I gained a lot of positive feedback for the negative compositions, I felt like the outcome needed to be clear and succinct in order to gain high impact.
It was unfortunate that I was unable to print the poster using Kuhne's traditional printing methods, however I didn't have the facilities.
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