Graphic Production – Final Projects

In the subject of Graphic Production taught by Lluc Massaguer the students learn about the supports, the processes and printing techniques in graphic arts, as well as the correct preparation of final arts in order to be reproduced. They work with the basic techniques to be able to self-manage the design and printing process. Some of the final works of the subject are presented below.

 

Natural Screen Print Stencils – Cecelia Wood

The objective of this project was to explore the graphic possibilities of natural stencils in screen printing, to discover what effects can be created using non-paper stencils: leaves, plants and natural fabrics such as cotton and jute, and to investigate the different effects created when these same stencils are used both with and without emulsion, in order to multiply the number of graphic possibilities. This theme was chosen because outside of creating designs in Photoshop or Illustrator to be reproduced in screen printing, there is a wealth of manual image-creation possibilities. Almost anything flat can be exposed or used as a stencil, and these more manual methods allow for more unexpected outcomes, which is one of the principal strengths of screen printing.

 

Zer dio suak? – Ander Zanguitu

This project was based on the production of inks from burned materials and the experimentation with these inks through screen printing. The reason why the burned materials were chosen was the situation that was lived in Barcelona the days after the judgment of catalan political prisoners (“El Procés”). ¿What does the fire mean? ¿What is the message implied behind it? ¿Is it possible to talk about the metaphoric, social or historical strength of fire through the resulting ink from the ashes? The title of the project, “Zer dio suak?” (“¿What does the fire say?”) aims to throw into the air all these questions, implying the critical aspects of fire through graphic design.

 

Eco-publishing – Nele Kempenaers

How can the decisions made by graphic designers influence the environmental impact of their design? That was the question behind this final work about eco-publishing. The work explains what graphic designers should know about eco-publishing and how they can find the right printer and paper to work with. It also contains an analysis of the ecological practices of the printers Cevagraf and Vanguard Grafic. Although sustainability can be very complex, it is the responsibility of the designer to overcome the challenges and to always remain critical.

An introduction to the prototypes workshop

The students of Graphic applications projects, a subject run by Martí Ferré, had the opportunity to learn first-hand how the prototypes workshop of the school work. The workshop’s teachers, Abel Vallhonesta and Verónica González, sculptor and designer, showed them which materials can be used and how to work with each of them to create a project, whether that’s molding, sanding or generating textures. The students learned how to work with molds and how to use the machines that are available at the workshop, such as the laser cutting machine or the thermoforming machine.
Once introduced to the materials, each student must work on their personal project, which consists of choosing a city and portraying its personality using materials and form.

“Convex. Sobre drogues”, en of year project by Paula Terra

Convex is an editorial publication centered around the world of drugs. This publication is characterized by the approach and perspective from which it communicates content; always treating tabu subjects with absolute transparency. Each publication addresses a different drug and presents information openly and without judgement. Convex’s aim is to develop a bold graphic treatment that will trigger an emotional response from its readers and invite them to reflect on the consumption of drugs and its negative effects.

In addition to the series of publications, a series of graphic material for «En la nada» workshops has been conceptualized and executed. These workshops also treat the subject with an informative yet reflective tone like the publications.

“Unplugged”, Treball Final de Màster de Rosa María De los Heros

Unplugged is a series of weekend retreats where analog and creativity-inducing activities take place. The Unplugged community strongly believes that in a digitally powered world, analog breaks are absolutely necessary and essential to our well-being as humans.

Taking this in consideration, the main objective for this project was to write a ten point manifesto for Unplugged and, subsequently, design a series of publications that thoroughly illustrate and communicate these statements.

Since manifestos are known to be a strong call to action, it was fundamental to incorporate interaction in the conception of the design in order to provide a platform for a potential response or intervention. Furthermore, it was key to directly come in contact with these analog approaches and transmit them daringly and inventively through a potent graphic design treatment.

Duedate, end of year project by Paula Lavergne

“Duedate” is the end of year project by Paula Lavergne tutored by Diego Fernández and consist of an application which connects users and supermarkets in order to avoid massive food waste. It arises from the urgency to revise our role as consumers, the way we have to buy and consume food and to be aware of our responsibility as individuals in the face of this huge problem which is hunger in the world.

Presentacions Treballs finals de màster 2018-19

Master in Graphic Design TFMs presentations and exhibition for the 2018/2019 academic year

On September 9, 10 and 12, a total of 19 Final Projects of the Master in Graphic Design were presented in front of the evaluating commission constituted by Xavier Alamany, Raimon Botey, Anna Fuster, Lluc Massaguer, Carles Murillo and Núria Vila.

In the current edition, presentations were held in the Cultural Space EINA Barra de Ferro, where also took place an exhibition with all the works.

Núria Saban de Llos& a Eina

Núria Saban webdeveloper from Llos&

Núria Saban visited us the 28th of May. Ex-student of Eina, “Web developer, Frontendpadawan, html, css, js”, as she defines herself at his web. she explained us his steps until attaining what she had dreamed: being member at Llos&. At the end her studies, she entered an architecture studio during five years, working on modelling. After, she spend two years freelance for several customers, like the Mies van der Rohe Foundation in Barcelona. Tired of little multitasking, she decided to launch to the programming and the world wide web. That was what she liked more and this is how she entered at Llos&.

Her talk begins with the troubles that arise with graphic designers. She tells us a list of the basic aspects a designer would have to detail from his work to programmers could start correctly without generating a lot of changes after. For the development of a website, the format thr ptoject arrives to the programmer is very important.

She shows us the advantages of the Sketch app for her work. Also she comments that designers never think about the different measures of screen for each device (the media queries, the height and width of screens, very different in each device). “If you know what you can have with media queries and start to play with, you’ll have a very cool website”, says Núria. She explains also that she designs according to the criterion “mobile first”, that is to say, the design is based on the version for mobile. From this point, media queries has to append meanwhile the width of the screen grows.

She explains us that accessibility is very important, no only for those who need it, but for everybody: navigating the web would be much more comfortable for all. She also talks us about typography and she advises that we cannot use typography less of 16 px on a website. If we, it has to be for very secondary things. Also she comments another thing that designers never take into account: there is a lot of units of measure on the web to define the size of the typography: ems, rems, pixels, and point view-port (% of the screen). This one enables typography grow concurrently with the screen width in a much more fluid way. So the design will be much finer.

She reviews mistakes that we have to eschew when designing a web. She talks about contrast, when the links cannot be distinguished, gives us tools to check if our web would pass a test of contrast, like: https://colorable.jxnblk.com. She insists that the outline focus, although we would’t like it, is very important to not be deleted: the navigation with tab or screen readers must be available always. If not, it will be a navigation problem for persons that need these systems. This page explains its importance: http://www.outlinenone.com

Before ending, she talks of colour on the web. she recommends a page: https://www.colorhexa.com. She comments also the interactions and his sense: when a button is active, deactivated, what about the hover function, and she complaints that many of these are never defined by the designer.

We have now a few lessons to learn and take into account to carry out a website design and which are the needs for a programmer