Lino Printing is a printing technique very much like woodcut where you carve a design into the material using a sharp knife or V-shaped chisel. The carved out section of the Lino, won’t be shown on the final print as no ink will have reached the lower surface after having been rolled.
The material carved into for Lino Printing called Linoleum was invented and used as a floor covering in the late 1800s. Before Lino, artists used to carve designs into a piece of wood which was a lot more expensive than Lino, when Lino was introduced people described as the poor engravers wood.
How to create Lino Prints.
First of all, you will want to draw your design out onto a sheet of Linoleum and begin to carve away the parts you don’t want to be visible in the final print.
Once done you should have something that looks like this. On the left Lino, I created some interesting scratch mark textures, which I would later lay over some Brusho experiments.
Next, you need to ink ready. The ink we use for Lino Printing are called blocking inks and you will want to put a small blob of ink on your pain of glass. Then you will need to evenly roll the ink all over the face of the roller and roll it over the
Here are some of the interesting results I got from using green and black inks.
Here is my favourite result using the textured print over the top of the Brusho.
- Ask tutor about Adobe Illustrator layers messing up. DONE
- Finish watercolour experiments.
- Create new simple logo mood board.
- Try using wax with Brusho.
- Finish narrowing ideas blog post.
- Read through all blog posts and ask for help if I think it needs more work.
- Experiment with lino. DONE
- Bring in or get measurements of labels that Cornish Country Cordials use so I can cut paper to size and experiment with watercolour on them. DONE
I am wanting to have completed these list of things to do by next Wednesdays (10th May).
Things to gradually do.
- Create making stage time plan. This is a separate time plan to my action plan is it just for the making process and will help to manage my time so I don’t fall behind.
Brusho is a powder paint, that when mixed with water and sprayed using a bottle with a spray head on top, over a piece of paper, creates these amazing wet in wet style images. Different colours of Brusho can be mixed together to get more accurate colours – just like watercolour.
I was introduced to this medium by my friend and wanted to try it as I love the free flowing effect wet in wet watercolour gives you, so I wanted to see how it would look with Brusho. One thing I didn’t realise before starting my experiments was you could adjust the spray pressure on the head to get different effects. If you have the pressure really low like I had, sometimes the Brusho just drips out creating really dark horrible blobs on the paper which I don’t like.
With Brusho, just like watercolours, you want to choose colours that when merged together create a colour that compliments the other two.
This is an example of the low-pressure nozzle, where the Brusho has just dripped out onto the paper creating a really wet bold patch, that I don’t particularly like.
This is my favourite experiment as blue, yellow and the blended green work nicely together. With the right colours, I think you could make Brusho look like the juices from the freshly squeezed fruits in the cordial.
One of the items inside the new branding packaging for Cornish Country Cordials I am creating is a logo. I am wanting to create a logomark and/or a logotype that connote the country, healthy wellbeing and possibly the middle-class market.
Here are my initial ideas for possible logos.
I really like all three of the finished designs on this page of ideas. My favourite is the tree with leaves made from the three c shapes. Through the whole design, I want to convey CCC’s ethos of using locally and naturally grown fruit and veg and how the cordials are healthier than those that have added flavourings and preservatives. I will do this by incorporating an aspect of nature in the logo.
When I showed these initial logo design ideas to Sally the owner of Cornish Country Cordials, she said her favourite design was the top-left one. She said she really liked the idea of having the three c’s arranged to look like foliage. At first, she liked the version with the solid rectangle background but I advised her that the block behind the logo wouldn’t look good on the labels with the watercolour idea we had, I also mentioned that the ridged shape doesn’t work with our handmade ethos as it might look to industrial – see agreed with all these points agreed that the three c-shaped arcs with the text underneath was her favourite.
Here are some vectorized versions of the logos and below are 3 of my favourite initial designs.
I am a fan of this design as it has everything I want below to feel when the see the cordials – that they’re good enough for animals to drink. Although it still needs tweaking I like the idea behind it.
With this logo, I like the hand written type as it gives the sense that everything is handmade and good for you. I would like to rework the hand drawn part as the weight isn’t the same all the way through.
This third logo I like, as it had a hidden meaning. The 3 arcs that make up the leaves are supposed to be the 3 c’s for Cornish Country Cordials. The only problem that I have with this logo, is that when I should it to my lecturer he said the logo looked like Adolf Hitler’s nose and moustache and obviously we don’t want customers thinking the same thing when seeing the logo.
More logo sketching.
Here are some more ideas I had one afternoon, some keeping with the natural theme but others like the champagne glass that go for the more middle to upper-class feel.
I was originally using the serif font Minion Pro but had a look to see what a san serif font like Futura Light would look like. After looking at them both for a while, my lecturer and I came to the conclusion that the san serif font Futura Light worked better the contrast between the thick hand lettering and the Futura Light felt more natural.
As I wasn’t 100% set on the first hand-lettering draft I did, I decided to try again and see if I could do it better. The top attempt was created in my own hand written style whereas the bottom version was created in the way most people do hand lettering with a brush pen. The brush pen way should have a heavier weight on the downstroke than the upstroke. To help me vectorize the images in Illustrator, I watched a few Youtube videos to get tips. One of the main tips I got, to make the vector version look more professional, was to use the anchor points in a horizontal, vertical, horizontal, vertical pattern and this way you get nice curves.
The top logo was the original handwritten logo, with the following two being the second draft versions of which the top one is the one in the correct handwritten style, although I do prefer the second of the two. I had the idea of having a bird sat on top of the C and liked how it looked when I draw it out on paper but wasn’t a fan of how it looked digitally. I really like the bottom design of the four with the leaf growing out of the C of Country as it has everything I want from the logo – to show the nature and handmade sides of Cornish Country Cordials. If I was to use this as the finished logo, I would use the new hand lettering as the example above is using the first draft of my hand lettering.
The idea of the logo being a bird drinking out of a wine/champagne glass was one I really liked as it shows that Sally’s cordials are almost good enough for animals to drink.
If I was to use this as the final logo, I would like to rework the tail feathers, as I am not sure whether to have them pointy or flat. As the image needed to be recognisable in black and white, I tried just using one single colour as seen below and it worked nicely.
After looking at the design with just a solid colour, I noticed that it actually looks more sophisticated, which is somewhat what I want the logo to connote.
After looking at the design again, I noticed that I didn’t like the bottom of the wine glass, as it was just to round. So I flattened the bottom of and now I like the design a whole lot more.
I draw an initial logo design with a bunch of others, that featured two champagne glass ‘tinging’. I came up with the design when thinking about how women aged 20-40 will be drinking the cordials. When speaking to Sally, she said that women often buy the drinks to mix with prosecco and other alcoholic berverages and when drinking them, they would most probably be with friends having fun. I think all three of the logos work well as they feature the semeotic of having fun. Overall, I like the design but I don’t think it’s the strongest idea I have.
This logo design I created in a spare moment and it incorporates the idea that nature is inside the cordial you buy. I personally have mixed feelings about the design, as it works in some ways; such as the idea that nature is inside the cordial, although myself and other people have thought people might not get the idea and think that the cordials have flower water inside.
This was the client’s favourite logo and also one of the logos which I really liked even though my lecturer told me he thought it looked like Adolf Hilter’s moustache and nose. To get around this, I decided to see what it might look like with a single C shape of foliage but I wasn’t too happy with the outcomes, so I kept with the initial design.
I still wasn’t happy that people might think it was Hitler’s moustache and nose, so I sat down with my lecturer and we decided to move the c shape arc’s closer together and move them down the trunk a bit and I feel it looks a whole lot better.
It when suggested to me that I experimented with using more than just the three c shape arcs. At first, I wasn’t too sure about the idea but gave it ago anyway. The first design I liked at first but somehow went off it so changed the orientation of two of the arcs which made me like the logo a lot more.
I was advised to go even further and change the size and orientation of some of the arcs. A few of these I like but still personally feel having just the three arcs as the whole bassist of the ideas as the three together symbolised the three c’s of Cornish Country Cordials – but at the end of the day, it’s all up to the client!
I will now send all the versions of the three arc tree logo to the client so she can choose the final version or give final ways to change one.
These are my personal favourite designs as I feel they all fit the target audience of women aged 20-40, have connotations of nature and goodness and would be liked by people from middle to upper-class backgrounds.
Here are some of the finished designs displayed on aprons, which is one of the places they will be seen, so I need to make sure they work.
Clients Final Decision.
I emailed the client Sally, with a bunch of subversions of the logo she liked. Her reply was…
The font she was talking about was Futura which I featured of some other logos I sent her. So I changed the font and sent it back to her again.
This time her reply was…
followed shortly by…
I had wondered this question throughout the whole logo design process, so made sure that there was nothing too small on any design. To give her another option, I changed the Futura weight from Light to Book.
I have always really liked the looks of flowing watercolour artwork, so for this project, I am thinking of creating packaging artwork that visually describes the taste of each cordial and I feel this medium could really work in this situation. One of the great things about watercolour is that every outcome can be different as you don’t have full control of the medium which can make for some great experiments.
Here is a mood board featuring a bunch of packaging designs that use watercolour in the design.
Over the next few days, I want to experiment with watercolour and see what designs I can create.
Watercolour is such an interesting medium as there are so many ways it can be used. As I want each flavour’s packaging to visually describe the taste of each cordial, having so many ways of making different designs, it’s really exciting and will allow me to create visually interesting designs. As with all mediums, I can apply the watercolour with different materials to create cool textures and marks.
Here are a list of techniques. I might like to use these in my experiments
A flat wash is the most simple watercolour technique. A wash can be created by wetting the area of the paper you want the wash to be and then applying the right amount of pigment to cover the whole area.
A Glaze is again a straightforward technique that involves layering a second thin coat of pigment over the top of the dry existing wash. This technique can be used to add depth to an image by making the background image look out of focus or lighter – it can also be used to adjust the colour of the underlying watercolour.
Wet in wet is quite simply applying wet pigment onto wet paper. The resulting effect varies as you can’t have any control over how the pigment spreads – you may find you get soft undefined shapes or slightly blurred marks. Wet in wet can be applied on top of other watercolour provided it is completely dry.
Dry Brush is pretty much the opposite of wet in wet and is used to create clear and sharp lines. To produce the dry brush effect, you simply load a brush with pigment with not a huge amount of water and paint it over a completely dry page.
The Lifting Off effect is exactly what is says; lifting paint off the paper. Once your watercolour work is dried, you can lift the paint off by wetting the area you want to lift and then dabbing a dry brush or tissue over the are you can begin to remove the paint.
Dropping In Colour is as simple as applying pigment to a wet area of paper. By placing pigment onto a wet area, the pigment will bleed and feather out into unpredictable forms.
This video demostrates using watercolours to create interesting flowing designs that look incredible but might be too over the top for my project. I really like how she uses really wet pigment as the finished texture, I feel, almost looks like its been painted with delicious cordials.
The video above will be really useful to see new techniques and tips for creating colourful watercolour designs. Most of the tips are very basic but as my watercolour skills aren’t great this will be perfect to help me improve.
Currently, my head is full of ideas for this project but now we are almost half way through the project, so it’s time to decide on a final path which I can then develop from.
Put Mood Boards and Mind Maps here.
Monday 15th May
At the beginning of the project, when I first met with Sally the owner of Cornish Country Cordials, we sat down and came up with a list of elements of the new branding packaging I could create for this project. At the time, people in my class mentioned that I was taking on a lot in the project and questioned if I had enough time to complete the whole list of branding packaging elements – I thought I did! Now that we have only 4 weeks left, I can see that I definitely don’t have time to complete all the
Now that we have only 4 weeks left, I can see that I definitely don’t have time to complete all the elements I set out to create, so I am going to have to decide on the most important ones which Sally agrees is best, as we want an excellent quality project to display at the final end of year show.
I am currently finalising the logo design stage and have lots of logos, some which I really like and feel fit the target market well. With only 4 weeks left, my main priority is to ensure I have the new logo, packaging, uniforms, leaflet and possibly the website designs completed. At the start of the project, the new trade-stand designs and short “food-porn” film were somewhat extras anyway that we could create if we had time.
So here is a list of things I need to do in the next 4 weeks on the making side
- Finish the logo designs and choose the final design.
- Finish packaging for the five main cordials.
- Create new website mockups. Could design the real thing if I get around to taking the photographs of the cordials with new labels.
- Screen printing the new logo onto chosen apron or t-shirt.