Food…but Fancy.


I really liked the way I worked during this project. What made a huge difference was using the transferring technique and working with type on transparency sheets. It was like composing on the computer, but in real life.  I learned a bunch of new tricks and techniques with this project.

For example:

Top: transfer using blending marker. Bottom: Transfer using nail polish remover plus marker on edges. Using a combination of both got me a well saturated image (polish remover) as well as with crisp details (marker)


I also experimented with scanning, and how different options when scanning can result in very different results. I ended using the regular 24-bit scans, because of the details and richness in colors:

24-bit color (what I used)

color smoothing

24-bit color

color smoothing

24-bit color

color smoothing

grayscale – halftone

black and white

Not only did this project help me practise working with my hands again, but my choice of topic was very fun for me. Creating a persona that I related to helped make a lot of my design choices. It also opened me up to shifting my topic, by thinking about what someone like me would be interested in seeing and doing. I tried out making jelly spheres/strawberry and banana caviar/ as a side experiment:

They were surprisingly successful, but ended up not making it into my zine. The reasoning behind this was also related to my persona. I thought about students like me, and how making simple foods for us/me is difficult or took time. That made my zine shift from an information book, to a mixture of entertaining foods, as well as the useful recipes part.

printed on transparency

transferred type

Finally, the composition of the final piece was very similar to working on inDesign. I had to test different typefaces and effects as always. What I found hard/inconvenient was having to keep on print different sizes of images, to test how it would look on the page. While working, resizing the image would be faster, easier on screen. But this way, it was better to be able to see the actual way the images would look, instead of having to test print.

This project didn’t really make me lean towards one way of working over the other. Both have their pros and cons. What I realised is that a balance of both would work for me better. Maybe collaging by hand, but resizing and composing on screen. Test prints are something that have to be done during both ways. It most likely would depend on project to project.

What was difficult was the alignment of crossovers by hand, since I really wanted to align some type across a spread. I ended up testing out registrations and stapling a certain way, to have the type be slightly off, but not so much that it’s illegible. What was also good to know—even though it was subconscious initially—was that I had kept a sense of narrative throughout the zine, despite it never being explicitly discussed (it should be obvious from the course’s name, but still).


Title Sequence: “Whatever Happened to Baby Jane?” Reflection

I was excited for this project as soon as we were introduced to it, remembering how I enjoyed working on the motion type project in Sophomore year. Having recently watched Shutter Island, I knew I wanted to do something with a similar feel. I remembered how messed up watching ‘Whatever Happened to Baby Jane?’ was, just psychologically, and after seeing the title sequence for it, felt like there was another style left to be explored.

After watching many title sequences to choose one to storyboard, I decided on storyboarding the title for “Mimic”. The style reminded me of the title for “Se7en”, it gave the same mood—really disturbing in a scary way.  These were my initial inspirations, but after a couple of tests and feedback I came to the conclusion that their style was too intense for “Whatever Happened to Baby Jane?” Its story was intense, but not in the same way as Mimic or Se7en, where there’s a lot of gore and murder. I got heavily inspired by the title sequence for “To Kill a Mockingbird”—although its mood was also very different—it was more calming like someone is telling a story. In hindsight, Saul Bass’s work on titles for “Psycho” and “Vertigo” were also major sources of inspiration. What really sealed the mood I wanted to create was finding the music I was going to use (Enigma from The Imitation Game, by Alexandre Desplat). I also wanted to tell a story but in an unnerving way.

Storyboarding was not an entirely new concept to me, but I never did it as thoroughly as I had to do it this time. It was difficult since working like this felt restrictive. Except it wasn’t. Just having to think in a pre-planned way was difficult. Typically, the shooting happens, and it helps with the thinking. The way I went around this was by shooting short, test clips of what I could possibly do, without a planned narrative. Based on the feedback on these tests, I was able to storyboard exactly what I wanted to do. I remembered the word ‘schematics’ being discussed and used that as my starting point. What helped was to write out what the story of the movie was about in a paragraph and list key elements of the film.

While shooting, I quickly learned how important storyboarding was. It gave me a focus, saved me time and created a focus for discussing and getting feedback from the professors. When I had a plan in front of me, I could talk about what part of the plan was working and what part needed changing.

img_6625 img_6626

Usually, what would take me many days to get, I got over  8ish hours broken across a couple of days, because I knew what I was doing. Usually, I would try things as I go (which I still did), but this time I had more of a purpose behind what I was trying—which resulted in me getting useful footage pretty early on. And then after getting feedback and making changes to the storyboard, I could reshoot exactly what I needed even faster.

I knew I wanted an old, Saul Bass kind of feel (similar to the already existing title sequence). Watching tutorials for creating that kind of look, and actually watching titles or movies with that feel also helped. By the time I got to incorporating the type in, I knew I wanted something big/bold and all-caps. But before that, I had to learn to get comfortable with what I wanted to achieve. I kept feeling like I was going overboard with the scratched or ‘old’ look. I would experiment with how it looked in colour, or at various brightnesses. After getting feedback from various people, I finally got that it only seemed cheesy because I wasn’t used to it, and I was taking it too seriously. I knew I wanted to create a Saul Bass-style look, but forgot that it seems cheesy to people my age, and thought I was doing something wrong. I ended up having to wholly accept the style to create the scratchy, dusty, dramatic video that recalled the style from the time of the movie.

title_sequence_process13  title_sequence_process16

It was the initial planning that  I mostly found difficult (and the sourcing of materials I needed)—and drafting emails that went, ‘Thank you for letting me borrow your wheelchair!’

What I know I want to improve is the incorporation of the type into the video. I got a lot of positive feedback on the shakiness of the type, yet something still felt not right. I want to experiment more with the different ways  I could incorporate the type, maybe a better tracking tool could be used, or I could experiment with different positionings. I’m comfortable with the shaking type, but I feel that the intensity needs to be taken down a bit.

What Ever Happened To Baby Jane? Car Accident Bette Davis Joan Crawford English

To Kill a Mockingbird

Various Titles (Vertigo, Psycho, Se7en, Mimic…)

Shutter Island Soundtrack – Symphony No.3 Passacaglia – Allegro Moderato

Shutter Island SoundTrack-Lizard Point.flv

The Imitation Game Soundtrack – Enigma

How to Fake the Super 8 Film Look

How to Make Old Film Effect in Premiere Pro

Premiere Tutorial: Old Movie Effect in Adobe Premiere

Final Outcome:

A title sequence I made for the movie ‘What Ever Happened to Baby Jane?’. The sequence was meant to evoke the style of films from the 50s and 60s, getting inspiration from Saul Bass, Stephen Frankfurt, and the movie itself. The music used is composed by Alexandre Desplat for the movie ‘The Imitation Game’.

Magazine Insert: How to…

Edit Compound Paths

The Slice_Logo file is a compound path
select layer > object > compound path > release > make

Adjust Brightness and Contrast

  • open – image
  • leave in RGB
  • cmd shift U – desaturate
  • check channels > will be in rgb
  • DO NOT use brightness/contrast
  • use levels and curves
  • cmd L cmd M
  • start with levels:


  • set darkest point and lightest point – mid to set the mid range


  • evenly distributes tone

Convert to CMYK

  • image – mode – grayscale NOT cmyk (for Black and White) 
  • grayscale is smaller than cmyk, tells machine only using 2 or 1 colors > black]

check changes in channels

Create Clipping Path

  • Use pen tool to make selection
  • select inverse
  • path:
  • make work path from selection
  • Save Path – name it
  • Paths:
  • clipping path – select path 
  • flatness [ 8 ] device pixels
  • word will get bold
  • white reveals, black conceals
  • delete background
  • Layer Flatten
  • save as tiff

check the scale X percentage in Indesign > in Photoshop

  • > Image > Image Size > units to percent > use exact percentage

check the new dimensions [width and height] in Indesign > in Photoshop

  • > Image > Canvas Size

check the rotation angle in Indesign > in Photoshop >

  • > Edit > Free Transform > Set Rotation >  use exact angle [if there is a path. rotate the path as well]


  • > Image > Image Rotation > Arbitrary > use exact angle

Screenshot a Window (for Disc Catalog)

  • Screen shot package folder (in second view) cmd shift 4 and spacebar, so >>>
  •  cmd shift 4 spacebar

Package an Indesign File

  • File
  • Package
  • Links and Images
  • Colors and Inks – should only have ONE colour = K if working in Black and White = White should be knocked out.
  • click package
  • FILL everything in the contact information
  • ok


Magazine Insert: Steps to Remember

Steps to Check through and keep in mind when working:

Document Setup

  • BLEED – MAXIMUM bleed can be is 5mm or .5cm or .25 inches [always ask print vendor what bleed setting they need]
  • color mode – design in rgb, convert to CMYK (for print)
  • raster effect – 300 ppi

In Illustrator artboards (individual files in one file, NOT pagination) are different from InDesign‘s pages

Working with Colors

  • Check in Label bar on top (color space)
    [in illustrator] once you FINISH working – go to COLOR, options and CHANGE to cmyk
  • CMYK – CHANGE the DECIMAL fractions – round to whole or .5
  • rounding decimals limits problems or potential problems by deleting unnecessary information


  • necessary when using color.
  • delete all colors.
  • [always start with empty swatch, only b/w]
  • leave swatch name as is. [cmyk form, e.g C=0 M=0 Y=0 K=100]
  • can save swatch library as ASE or Illustrator
  • check if it’s cmyk by looking at the small icon to the right of the names in swatches (4 triangle divisions means cmyk) (3 lines means rgb)
  • TEST with File>Document color mode>CMYK

[good for 1 color and 2 color jobs]

Registration[lining] – K black
Black –
CMYK (100) –

  • black is either dark blue or brown
  • cool black and warm black
  • not the same as rich black
  • Black on different paper makes it different from grey on white paper.

CHECK CMYK set up in several places:

  • +File > color mode > CMYK
  • +Colors window> grayscale
  • +swatches > new swatch > k 100 > process color > grayscale > make swatch > click swatch > Swatch options > check
  • +color space – grayscale

In Indesign

  • when working: color mode rgb 8 bit
  • in INDESIGN work with CMYK 
  • color setting – CMYK (REGION BASED) [ask vendor]
  • use european pre-press 3
  • blend space – CMYK
  • swatchesCMYK
  • remember to DELETE swatch

in INDESIGN work with CMYK  

  • bleeds [tab W a couple of times]
    image needs to go to the RED EDGE

In Photoshop

  • Color settings: europe prepress 3
  • RGB-adobe rgb 1998
  • cmyk -coated fogra39


  • delete everything (hold down alt key and click through all)
  • turn OFF show recent colors
  • EMPTY palette
  • make swatch – 100% k
  • make white – white
  • export > save as B+W




  • “these do not work well. Only place it can be used is PHOTOSHOP, and needs to be flattened. Can use transparency to test something.”
  • “ink is transparent. can’t translate transparency/light with printers”

“It’s like speaking potato…with ape”

do not put rasterized images into illustrator.”
use photoshop [compresses photos]
or InDesign

  • don’t drag and drop files in
  • File > place [links between folder and software file] << Do this
  • [don’t embed rasterized images in illustrator]

In Indesign

[indesign doesn’t keep anything native in the file. everything is linked to

  • always check link palette
  • refresh links


  • Always LABEL layers


In Indesign

  • Put all file types on their own layer

Have a NAMING SYSTEM for Files

Working Files:
Rgb, layers, mess
Naming Convention:

Finished Files:
CMYK, flattened
Naming Convention:


Document setup

  • gutter 5mm
  • margins (15)


  • minimum and maximum of bleed is 5mm or .25 inch
  • bleed of 5 all the way around (use if design going to edge)


  • shows in files, doesn’t print, for communication with printer. Notes to self and vendor
  • typically at the bottom of 15mm

Sizes Info

  • size – 10 mb
  • actual ppi – 300 <<<<<< should always be 300
  • effective ppi – should fall between 290-310
  • Use white arrow to check
  • Check at the top – scale of shrinkage (only down to 95 or up to 105%) (290 or 310)
  • ideally it should be 300 effective ppi and 100% scale


Document setup

  • document type – international paper
  • when working: color mode rgb 8 bit
  • resolution – 300 (or 72) pixels/inch dpi
  • color profile – adobe rgb 1998
  • square pixels [image]
  • [interpolation] > doesn’t work.
  • Color settings: europe prepress 3
  • RGB-adobe rgb 1998
  • cmyk -coated fogra39

Working mode:
working in RGB

Production mode:
flatten, convert to cmyk

File Save As:

  • TIFF – uncompressed
  • image compression – NONE
  • save image pyramid ON
  • interweaved
  • Macintosh
  • save


  • CHECK GREEN AT BOTTOM NO ERRORS. check preflight
  • LOCK layers when you send to the print vendor

Magazine Insert: Choosing the subject and Type system

First Project of Print class. The brief is to design a magazine insert using the PROPER methods of handling files. Everything we did so far was incorrect, because the way we made our files before had the potential to create problems in a professional setting with print vendors.

So. The goal is to design an A5 black and white insert for a new TV channel, for a new mini-series. The topic is my choice, and the design needs to appeal to a young audience. And the files need to be on point.

Ideas for the topic:
Social media, horror/supernatural, technology/inventions, young inventors, downloading/piracy/hacking.

The future of downloads
Defining downloads
Download for free
Download______for free 

How to Become a Hacker
Hackers by Profession < my chosen title and topic.
Professional Hackers

The following are some of the links I visited while researching my topic. It helped me get a grasp on the topic itself, the style of language used, and the style of visual language used:

This article was the most interesting:

To start with, I found relevant and thought-provoking quotes that I could place on the design. What was hard was ensuring that they’re reliable:


You can’t protect what you don’t know exists

Andy Orin

Next came looking at precedents. I found a few examples of interactive inserts, but as we were advised against experimenting with the production process, I stepped back and focused on type based inserts and advertisement inserts.
bank-a-new-life-for-piggy-bank-small-68578 nordea-bank-finland-a-new-life-for-piggy-bank-flowers-small-67401
tumblr_m4368iPjVH1rwnvoio1_500 herb_packaging

Reversed type or knockout text

^Looked up ways to make type interesting in grayscale.

And then I began to set-up my type and grid system:

Type considered:
Abadi MT Condensed
Gill Sans
Lucida Sans
Caecillia Lt Std
Consolas vs Corbel
Kohinoor Devanagri
Source code Pro. (bold used)


Little Broken Robots

Little Broken Robots is a really cute puzzle like game available as an app. It’s cute and is actually engaging, unlike some other games *cough* Neko *cough* Atsume *cough*.


I typically like this kind of typeface, that has rounded edges. This visual quality is what first caught my eye, since it reminded me of comic sans. Except I noticed that there was a difference between the two. It was playful but didn’t have the tacky look, for some reason. It was only until I directly started comparing the two that I noticed the differences.

^ from

The type in the game handles the weight of it’s unmodulated strokes better (more similiar to Helvetica). It also doesn’t have the random, curvy quality of the strokes in comic sans. Compare the ‘n’ of both the typefaces. The type in the game has straight vertical and horizontal. Even the arcs and shoulders of letters are mostly horizontal and curve very slightly.


I think these qualities of the typeface make it a good choice for the game. The rounded ends make it playful and ‘cute’. But the straightness of the strokes keep it looking minimal and professional. Apart from the looks, the straightness adds to the concept of the game. You have to repair robots by joining dots in straight lines (can’t be diagonal). The robots themselves are mostly box shaped. The theme of the game is based around hardwares and the equipments in a supposed robot making factory, the straightness adds to this factory setting.

Neko Atsume

Discovered this type when I got curious about the game ‘Neko Atsume’. At first I was distracted by the fact that I couldn’t understand the purpose of the game, but soon I noticed the conscious decisions that were made about the type.


The game was originally created in Japanese, this is important because the English version seems to have gotten directly inspired from it.  Now I don’t know much about legibility of Japanese type (katakana?), but the purpose of it is pretty obvious: it’s meant to be cute. If anything, the purpose of the game is to be cute, so the type is used to help that purpose.

Now even though the type helps the cuteness along, I can’t be sure, but I’m guessing that the colourful bubble letters are slightly illegible (in the Japanese version). It’s clearest in the green one, where the details of the letters are getting lost amongst the bubbles. This doesn’t happen as much in English since the type doesn’t have ligatures or any such crossing areas.

What I noted was that the Latin type was also meant to resemble the Japanese type, in the way the letters are formed and angled, it isn’t simply bubble lettering. From an aesthetic point of view, I like it, but I don’t think it’s good design. It makes the game look cute, but also a bit tacky.

What is a good design choice though, is that they chose to stay away from the colourful bubble lettering for the smaller type, where there are lists. It’s good since it makes sure legibility isn’t an issue. Although, it could be better by choosing a typeface that looked softer (more rounded), but also legible.