City Park Hotel

RE: Proposed DL Brochure

Mrs Tanya Greentree

Dear Tanya
I have some concerns about the quality of the information you have provided for the use in the brochure that you are getting designed.

• Their is an excessive amount of information that you are requiring to be added to the brochure, and the information has numerous spelling errors in it. Would you like me to edit the copy and also reduce the amount of information that it contains.
• The quality of the photos and images will impede the overall appearance once printed. To alleviate this new images can be taken to ensure a better quality.
• How many images do you require in the brochure as too many will make the brochure look to busy and detract from the information that needs to be on the brochure.
• Is the map to be included in this brochure, once again the quality of the map will need to addressed prior to use.
• I also need to discuss copyright requirements with regards to the use of the photos that you are providing and whether they meet all the requirements for usuage.

If you could get back to me regarding these concerns, it would be greatly appreciated.

Michelle

William Caslon

Career:

In 1716 he built his own type foundary in London, which produced some 16 years later his most famous typeface Caslon. He first started out in his business as an engraver of gunlocks and barrels and as a bookbinders tool cutter. He later established contact and encouragement through the printers William Bowyer and John Watts that lead to cutting type punches for various presses London.

In 1720 he designed an “English Arabic” typeface used in the New Testament. Soon after in 1722 he released his first typefaces, which were based on seventeenth century Dutch old style designs and were used extensively in England because of their practicality. 1726 was when the typeface Caslon was first used and soon after it’s release he received loans and sufficient trade, which enabled him to complete the setup of his foundary. Up until the 1780’s there were few books that weren’t printed in one of his typefaces.

In 1735 his typefaces spread all over Europe and American colonies that lead to the font being used to print the American Declaration of Independence. His son William Caslon II soon joined the company and in 1745 became partner and took over the family business after his death.

Achievements:

William Caslon designed a number of serif typefaces in his lifetime, some of which are still used today. The first three fonts by William Caslon were Arabic, Hebrew and Koptic. He also designed typefaces such as Caslon 540, Caslon Bold, Caslon Old Face, Big Caslon, Caslon Open Face, Williams Caslon Text and most likely in any other that has the name ‘Caslon’ on it.

The United States Declaration of Independence was set in Caslon type, which would have to be one of William Caslon’s greatest accomplishments.

The name ‘Caslon’ comes from the 18^th Century typeface that was designed by William Caslon. This serif typeface was printed in the earliest English language texts and is also know to the typeface used for the New Yorker Magazine.

William Caslon’s typefaces immediately became popular and were used for many important printed works. Caslon’s type became so popular that the expression about the typeface choice, ‘when in doubt, use Caslon,’ came about.After William Caslon’s death in 1766, his typefaces fell out of favour but were revived in the 1840s, some of which are widely used today.

Biography:

William Caslon was born in 1692 in cradley, Worcestershire, England. In 1706 at the age of 13 he began a seven-year apprenticeship as an engraver with a London harness marker. In 1716 he became a self-employed engraver of gunlocks and barrels, and as a bookbinders tool cutter. In 1721 the society for promoting Christian knowledge commissioned Caslon to cast Arabic alphabets where his font became an instant success. In around 1720 William Caslon founded a typeface foundry called the Caslon Foundry. That foundry became the leading English typeface foundry of the 18^th and early 19^th centuries. He died in 1766. Caslon is cited as the first original typeface of English origin.

Caslon’s font is characterized by its short ascenders and decenders, bracketed serifs, moderately high contrast, robust texture and moderate modulation of stroke. The Caslon’s typeface has become one of the most famous typefaces in the world today. The first copy of the declaration of independence was printed in Caslon. There are many typefaces that have been derived from Caslon’s font in existence. Caslon’s type is now considered a good, readable typeface for text.

Soap Creative

Soap Creative

Soap Creative is one of Australia's leading Digital Agencies. Soap Creative were named number Digital Agency by AdNews Magazine in 2010.

Soap started out with three guys sharing an office in 2002, and have since grown to company with over 50 staff members spread across offices in Sydney and Los Angeles.

Soap describe themselves as specializing in delivery innovative, hight creative ad strategy-focused campaigns across websites, games, content, social media, widgets, electronic direct mail, standard and rich media, viral and metrics and reporting.

Soap creative have clients that include Unilever brands LYNX, Streets, Bushells, Impulse as well as 3 Mobile, FOXTEL, 20th Century Fox, Activision and Marvel.

You could say that soap has a work hard play hard culture, their claim to fame is that they host weekly BBQs, take their entire team to remote locations for Skiing lessons. Each ember has a soap-o-hero alter ego which they get to choose and illustrate them and place on their business card. They say this is great for client meetings and pitches as it sets them apart from other agencies, it also creates a 'tribe" and creates unity among the staff. The culture of the soap-o-hero is extended through the office where they have different meeting rooms " the hall of justice", emergency meeting room " the scape pod" and mystery room "x".

Big gamers and at the moment have three active gaming clients activision, unilever and naughty dog.

This agency is absolutely amazing!

Soap Creative has had many clients over their nine years of business, including a vast collection of widely recognised companies such as 20^th Century Fox, ABC New Media, Activision, Ben & Jerry’s, Dick Smith, Foxtel, KFC, Lynx and Marvel.

Soap Creative offer services in screen-based media such as websites, mobile phone applications, tools and games (including online and CD-Rom). This agency has also created tshirt prints for Bubble-O Bill, and a card game called the Meeting Game.

Their work is very clean and professional its very groovy and all the content that I have viewed has all been very awesome, I never felt negative when interacting or viewing the content it was very attention catching and fun.

The lynx content was a bit sexist however it is targeted towards men and sex does sell as there statistics show, I wasn’t offended it just didn’t hold my attention as the rest did.

They have many notorious clients and deal with a broad medium from games to videos and websites that are all targeted towards a variety of audiences.

Giambattista Bodoni

Giabattista Bodoni was born on the 16th February 1740 in Saluzzo, Piedmont Italy. He was the son of a printer. Bodoni had done his first studies at the Regio Collegio Saluzzese. He died on the 29 of November 1813 at the age of 73 in Parma, Italy.

Giabattista was known as an engraver, type designer, typographer, printer and publisher. By 1780s Giabattista designed a typeface called BODONI and it has been regarded as to be one of the first modern typefaces. He moved on to making another 2 main innovations in type design: he gave a vertical alignment to the sloped swellings in the bowls of the letters that derive from the down strokes in handwriting; he made all the horizontal serifs on the upper and lower parts of the letters very thin and uniform; and he increased the contrast between stems and serifs (Quoted-Art Encyclopedia- Grove Art, Oxford University Press). According to the Columbia Electronic encyclopedia Giabattista was regarded as one of the leaders in originating pseudoclassical typefaces.

At the age of 18, Giabattista moved to Rome and was employed as a typesetter at the Vatican's Propaganda Fide printing works; Giabattista had worked for the Vatican for almost 10 years. After battling Malaria, Bodoni was hired by the Duke Ferdinand of Bourbon - Parma to organise a printing house. This is where Bodoni got to work on a range of specimen books, which were very well received. Eventually Bodoni opened his own printing house called Officina Bodoni.

http://www.linotype.com/683/giambattistabodoni.html
http://www.media5live.com/Bodoni/bodonibio.htm#art
http://www.typeculture.com/academic_resource/articles_eassays/

From 1768 Bodoni ran a printing house called Stamperia Reale, in Parma, Italy. After a while doing this he opened his own printing house called Officina Bodoni.

Bodoni's Internet presence is minimal. There is not a lot of extensive information about his life: some can be found on wikipedia.com, linotype.com and other typography websites. His fonts can be downloaded from sites such as myfonts.com, fontshop.com, itcfonts.com and adobe.com.

Why and what made Bodoni famous
Whilst working in the Vatican's Propaganda Fide printing house in Rome, Bodoni impressed his superiors with a willingness to learn, he had a mastery of ancient languages and types.

Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce letterforms with very thin "hairlines".

Bodoni designed and personally engraved 298 typefaces.

Bodoni did away with old style letters and introduced a new clear simple type - the modern typeface. In his influential Manuale Tipografico of 1818, he laid down the four principles of type design, which were: regularity of chracters, cleanness, good taste and charm.

His master piece was Homer's Iliad.

Bodoni was the most successful early proponent of what is referred to as the "modern" typeface, distinguished by a strong contrast between thin and thick strokes.

His coldly elegant books where made to be admired for the typeface and layout and not to be studied or read. (Proof reading was not his strong point).

• In his manuale tipografico (two volume works) contains about 142 roman alphabets, numerous script and exotic typefaces and a striking collection of flowers and ornaments.
• Bodoni emphasized the use of good paper and strong ink.

Our opinions of Bodoni
Although Bodoni is regarded as a "modern typeface", I feel that Bodoni would be more suited to that of a display font and used sparingly. Although in saying this a combination of his typeface and ornaments would create a very clean piece of artwork.

I admire the use of thin and thick strokes throughout his type as I feel that this gives the type a unique definition.

Formal yet fun with thick and thin strokes.

Bodoni has created a classic type face with letters very thin and uniform; and he increased the contrast between stems and serifs.

HTML - Exercise

At last here is my attempt at learning HTML>

Bottle Poster Review

Skye: Poster makes a statement. Needs to focus on the difference between the authors message and the end users message. Make sure its legible from a distance and that all aspects can be seen. think about the overall concept and plan it. Be aware of plagiarism. Work out form vs function and have a good understanding of what you want to achieve. 60% form 40% function.

Ani: The right message comes across really well. The use of colour is done very creatively. Great use of type and the treatment that was used on it. It gives the message a strong feel and the important part of the message is really loud and strong. Footnote will draw you into the message if you want to read it. The hierachy is very well done and the overall balance is wonderful. 50% form 50% function.

Lea: Form and function are very strong, it has a strong aesthetic appearance. This poster addresses all the issues that the client would want in their poster. The use of green in the poster really leads us to think about the environment. Modifying the message so it looks right. 60% function 40% form.

Michelle: More function than form. The type used made the message loud and clear and maybe the use of a different font would change this aspect. Making a poster safe sometimes doesn't always work. 70% function 30% form.

Mitchell: Research and inspiration, its great to have your own style and maybe incorporating your style with other peoples. Balance and aesthetics need to play an important part. Over complicating a poster so that the message is getting lost (rethink the actual message).

Chris: Background is too strong, tafe logo is drawing the eye and taking away from the message. Type needs a different treatment and needs to be pulled away from the earth. Keep the art work simple, maybe using more vector type art instead of photographic art. 60% aesthetic 40% function.

Jules: Lost in an idea, the artwork is strong but the message is being lost. What are you saying to people, is the message really what you wanted to say. What can you do, how do you go about doing it, work within your limits and have other options open to you.

Nic: Size and characteristics of type also makes or breaks the message. It was a strong message and the poster had a bold look and feel to it. Execution of it needs work. 60% function 40% aesthetics.

Neville Brody - Designer

Neville Brody was born 23 April 1957 in London. At school, he studied A-level Art, very much from a fine art viewpoint. In 1975 Brody went on to do a Fine Art foundation course at Hornsey College of Art.

In autumn 1976, Brody started a three-year B.A. course in Graphics at the London College of Printing.

• Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981-1986) and Arena magazine (1987-1990), as well as designing record covers for artists such as Cabaret Voltaire and Depeche Mode.
• He created the company Research Studios in 1994 and is a founding member of Fontworks.
• Neville Brody has been announced to be the new head of Communication Art & Design department at the Royal College of Art which he commenced in January 2011.