Design for Print - Layout Research - Output Layouts

Setting output options

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You can select and preview a variety of page marks and other output options using the Print with Preview command.

Page marks A. Gradient tint bar B. Label C. Registration marks D. Progressive color bar E.Corner crop mark F. Center crop mark G. Caption H. Star target

To set output options:

1. Choose File > Print with Preview.
2. Select Show More Options, and choose Output from the pop-up menu.
Note: Options not supported by the designated printer are dimmed.
3. Set one or more of the following options:
Background
Lets you select a background color to be printed on the page outside the image area. For example, a black or colored background may be desirable for slides printed to a film recorder. To use this option, click Background, and then select a color from the Color Picker dialog box. This is a printing option only; it does not affect the image itself.
Border
Lets you print a black border around an image. Type in a number and choose a unit value to specify the width of the border.
Bleed
Lets you print crop marks inside rather than outside the image. Use this option when you want to trim the image within the graphic. Type a number and choose a unit value to specify the width of the bleed.
Screen
Lets you set the screen frequency and dot shape for each screen used in the printing process. (See Selecting halftone screen attributes.)
Transfer
Lets you adjust the transfer functions, traditionally used to compensate for dot gain or dot loss that may occur when an image is transferred to film. This option is recognized only when you print directly from Photoshop, or when you save the file in EPS format and print to a PostScript printer. Generally, it's best to adjust for dot gain using the settings in the CMYK Setup dialog box. Transfer functions are useful, however, when compensating for a poorly calibrated output device. (See Compensating for dot gain in film using transfer functions.)
Interpolation
Reduces the jagged appearance of a low-resolution image by automatically resampling up while printing. However, resampling may reduce the sharpness of the image quality. (See About resampling.) Some PostScript Level 2 (or higher) printers have interpolation capability. If your printer doesn't, this option has no effect.
Calibration Bars
Prints an 11-step grayscale, a transition in density from 0 to 100% in 10% increments. With a CMYK color separation, a gradient tint bar is printed to the left of each CMY plate, and a progressive color bar to the right.
Note: Calibration bars, registration marks, crop marks, and labels will print only if the paper size is larger than the printed image dimensions.
Registration Marks
Prints registration marks on the image (including bull's-eyes and star targets). These marks are used primarily for aligning color separations.
Corner Crop Marks
Prints crop marks where the page is to be trimmed. You can print crop marks at the corners.
Center Crop Marks
Prints crop marks where the page is to be trimmed. You can print crop marks at the center of each edge.
Caption
Prints any caption text entered in the File Info dialog box. (See Adding file information (Photoshop).) Caption text always prints as 9-point Helvetica plain type.
Labels
Prints the filename above the image

Lecture 7 - Celebrity Culture

Celebrity Culture:

Jewish husband and agreed to spy on the Nazis using her position / access to important people internationally

She helped mount a production in Marseille to give herself and her like-minded friends a reason for being there. She helped quite a lot of people who were in danger from the Nazis get visas and passports to leave France. Later in 1941, she and her entourage went to the French colonies in North Africa; the stated reason was Baker's health (since she really was recovering from another case of pneumonia) but the real reason was to continue helping the Resistance. From a base in Morocco, she made tours of Spain and pinned notes with the information she gathered inside her underwear (counting on her celebrity to avoid a strip search) 

Beyoncé Knowles has portrayed Baker on various accounts throughout her career. During the 2006 Fashion Rocks show, Knowles performed "Dejá Vu" in a revised version of the Danse banane costume. In Knowles's video for "Naughty Girl", she is seen dancing in a huge champagne glass á La Baker. In I Am... Yours: An Intimate Performance at Wynn Las Vegas, Beyonce lists Baker as an influence of a section of her live show.

Reclaiming of racial stereotyping/terms of abuse?

operated at 1451 Cahuenga Boulevard in Hollywood, California between October 3, 1942 and November 22, 1945 (Thanksgiving Day) as a club offering food, dancing and entertainment for servicemen, usually on their way overseas. Even though the majority of visitors were U.S servicemen, the Canteen was open to servicemen of allied countries as well as women in all branches of service. The serviceman's ticket for admission was his uniform and everything at the Canteen was free of charge.

Glamorous stars volunteered to wait on tables, cook in the kitchen and clean up. One of the highlights of a serviceman was to dance with one of the many female celebrities volunteering

She starred as herself in the movie about the canteen. at the Canteen.

Warhol s work on celebrities looks at them as products of consumer culture like his cambells soup tins- celebrities are there to be consumed.

Hollywood seen as churning out stars= money

World of music and the visual collide- good looking, he’s an actor, he can dance he signs up for national service- he’s a superhero

Larger than life existence which seems to anticipate his early death cf Jackson.

Factory churns out products

Collection of outsiders or subcultural characters whom he ‘makes’ into stars by filming, photographing and being ‘seen’ on the NY art scene in 19 62- 68. Parties drugs and sex.

Celebration of alternative/art/bohemian lifestyle which becomes rock and roll.

Opposite of clean cut image of Elvis.

Beckham/Camilla parker Bowles lookalikes

Many images of sexual/comic nature

Uses the tropes of paparazzi long lens photography

Out of focus foreground suggests spied moments

Grainy b&W codes signify press intrusion (no use of flash)

vJohn Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings. 

How do we ‘keep in touch with celebrities lives?

Whereas untill recently we might have had to wait for the magazine to come out now we have  direct unmediated link to the stars-

This lack of mediation means that stars often make their own PR disasters

President Kennedy's last seconds traveling through Dealey Plaza were recorded on silent 8 mm film for the 26.6 seconds before, during, and immediately following the assassination. This famous film footage was taken by garment manufacturer and amateur cameraman Abraham Zapruder, in what became known as the Zapruder film. Frame enlargements from the Zapruder film were published by Life magazine shortly after the assassination. The footage was first shown publicly as a film at the trial of Clay Shaw in 1969, and on television in 1975.[88] According to the Guinness Book of World Records, an arbitration panel ordered the US government to pay $615,384 per second of film to Zapruder's heirs for giving the film to the National Archives. The complete film, which lasts for 26 seconds, was valued at $16 million.

Handout:

This lecture provides a short history of celebrity through photography, film and television of the 20th and 21st Century.. It maps the shift from the Victorian celebrity, who were men and women of the arts; to the Hollywood Era; through Andy Warhols Factory and into the contemporary celebrity where the line between Joe public and star, between fan and idol is easily crossed, or even erased.
In doing so it aims to lead into an examination of contemporary ‘liquid’ identity as Zygmunt Bauman describes it, which is facilitated by technology and social media.
The lecture also touches on the entry of the politician into the celebrity market and aims to present this as a side effect of our increasingly ‘spectacular’ society.
The camera and the eye are always trained on the famous. Their movements are mapped. Papparazzi will stalk celebrities with telephoto zoom lenses to capture their private moments and with flashes to memorialise their public displays and promotions. Perhaps celebrities represent the vanguard of the surveillance society , where ones anonymity is surrendered to the benefits of the cybernetic consumer culture. Our desires are mapped , recorded and thereby become the material for more precise and directed appeals than mass advertising could ever achieve.
Despite their regular protests about the invasion of privacy, celebrities are complicit in being surveilled and monitored: it is part of their job. The camera thus becomes their mirror and the celebrity’s cultural reflection via the camera is internalised into celebrity culture itself. It is a form of narcissism, an obsession with image and the body, and concern over presentation and representation that pervades a city such as Los Angeles. The ripples of this reflecting pool widen outwards to the audiences themselves into a much more expansive internalisation of the look and the desire to be looked at. In the era of new media where blogs and webcams spar for our affections with film and television, the reflections of the private self sometimes become the material for the individuals desire to be recognised in the public world- to be famous.
(Marshall: 2006:549)

Further Research

• Lady Gagas meat dress http://www.bbc.co.uk/news/magazine-11297832
  
• Bordo, Susan (1990) Material Girl: the Effacements of Postmodern Culture
  
• Rahman, M () Is straight the new Queer? David Beckham and the dialectics of Celebrity
  
• Street, J () The Celebrity Politician: Political Style and Popular Culture
  
• Johnson, R () Exemplary Differences: Mourning and not mourning a Princess
  
• Hinerman,S () ‘I’ll be there with you’: Fans, Fantasy and the figure of Elvis
  
• Debord, Guy (1967) Society of the Spectacle
  
• Baumann, Zygmunt (2004) Identity
  Those in bold can be found in The Celebrity Culture Reader (2006) edited by P. David Marshall, Routledge
  Below Baron Wolman Groupies
  

Design for Print : Experimention with Type Research

TYPE RESEARCH > FONTS

Stiff Staff

Venera

Nexa

Sahara

Maven Pro

Corki

Bitter

Bira

Vezus

COCO

Signika

Manteka

Metropolis

ZnikomitNo25

Echinos Park Script

Locksmith Display

Silverfake

Bemio

Flex Display

Valentina

Study Task 1 - Context of Practice 2 -

TASK:

List the ten most important points raised in Adam Curtis’s documentary ‘Century of the Self’

Relate these points to a critical analysis of one image from the mass media which, in particular, focuses on the nature of consumerism, desire and the unconscious. 

http://www.youtube.com/watch?v=OmUzwRCyTSo >>>>

Top 10 Points:

- The torches of freedom : Bern ays gave the suffragettes cigarettes amongst a protests which allowed him to promote cigarets to the female people.
- Propaganda
- Breaking the Taboo of Smoking
- Consumerism 
- Appealing to the masses
- Stopping Revolution 
- President (Re-vamp) 
- Public Relations
- Appealing to peoples wants, not needs, through selective mediums. 


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EXTRA INFO / CONTENT INFORMATION:

Ideas from New York Times: / Exact Narration for 'Century of the Self' - 

What Bernays had created was the idea that if a women smoked it made her more powerful and independent. An idea that still persists today. It made him realize that it was possible to persuade people to behave irrationally if you link products to their emotional desires and feelings. The idea that smoking actually made women freer, was completely irrational. But it made them feel more independent. It meant that irrelevant objects could become powerful emotional symbols of how you want to be seen by others.hat Bernays was doing fascinated Americas corporations. They had come out of the war rich and powerful, but they had a growing worry. The system of mass production had flourished during the war and now millions of goods were pouring off production lines. What they were frightened of was the danger of overproduction, that there would come a point when people had enough goods and would simply stop buying. Up until that point the majority of products were still sold to the masses on the basis of need. While the rich had long been used to luxury goods for the millions of working class Americans most products were still advertised as necessities. Goods like shoes stockings even cars were promoted in functional terms for their durability. The aim of the advertisements were simply to show people the products practical virtues, nothing more.

Commercial spot from 1920s featuring Mrs. Stillman, 1920s Celebrity Aviator:

There's a psychology of dress, have you ever thought about it? How it can express your character? You all have interesting characters but some of them are all hidden. I wonder why you all want to dress always the same, with the same hats and the same coats. I'm sure all of you are interesting and have wonderful things about you, but looking at you in the street you all look so much the same. And that's why I'm talking to you about the psychology of dress. Try and express yourselves better in your dress. Bring out certain things that you think are hidden. I wonder if you've thought about this angle of your personality. In 1927 an American journalist wrote: A change has come over our democracy, it is called consumptionism. The American citizens first importance to his country is now no longer that of citizen, but that of consumer.

The growing wave of consumerism helped in turn to create a stock market boom. And yet again Edward Bernays became involved. Promoting the idea that ordinary people should buy shares borrowing money from banks that he also represented. And yet again, millions followed his advice.

Peter Strauss - Employee of Bernays 1948-1952: He was uniquely knowledgeable about how people in large numbers are going to react to products and ideas, but in political terms if he were to go out I can't imagine he could get three people to stand and listen. He wasn't particularly articulate, he was kind of funny looking, and didn't have any sense of reaching out for people one on one. None at all. He didn't talk about, didn't think about people in groups of one, he thought about people in groups of thousands.

Bernays soon became famous as the man who understood the mind of the crowd, and in 1924 the President contacted him. President Coolidge was a quiet taciturn man and had become a national joke. The press portrayed him as a dull humorless figure. Bernays' solution was to do exactly the same as he had done with products. He persuaded 34 famous film stars to visit the White House, and for the first time politics became involved with public relations.

You appeal to their desires and unrecognized longings, that sort of thing. That you can tap into their deepest desires or their deepest fears and use that to your own purposes.

in 1991: And I lined up these 34 people and I'd say what's your name, and he'd say Al Jolson, and I'd say Mr. President, Al Jolson. The next day every newspaper in the United States had a front page story President Coolidge Entertains Actors at White House. And the Times had a headline which said President Nearly Laughed, and everybody was happy.






The image i have chosen to de-pic is one that is used quite predominately within media / mass media. The use 

Study Task 2 :

Using the text Coward, R. 'The Look' as a starting point, write a 400word critical analysis of one image from the media (TV advert, magazine advert, newspaper story, website, magazine cover etc.) that reflects the issues raised within the text itself, and also the lecture 'The Gaze in the Media' (18/10/12) and the accompanying seminar. Use at least 5 quotes from the Coward text to support your analysis.

-The spectators gaze

-The ultra-diegetic gaze

-The direct address (extra-diegetic) to the viewer

-The look of the camera

-The gaze of the bystander

-The gaze of an audience with a text

Calvin Klein underwear model- EVA MENDEZ

-Not looking at the camera

-Really long legs, wearing suspenders.

-Lips; parted, sexy?

-Hair; wet, sweaty, (sex)?

-On tip toes aswell as wearing heels.

-Stance; legs open, ready? (sex) powerful stance, shows she's in control, sexual.

-Eyes closed, gritting her teeth, orgasm face?

-Feminist views...

is she in pain?

looking away- dissapointed (not good in bed etc)

looks confident in herself, doesn't care about what others think.

I feel that the male gaze is focused and assosociated with this image. First of all, I have chosen to focus on the face of teh model, Eva Mendez. Her face is slanted and her eyes are cloed, with slight teeth showing through. Choosing to keep her eyes shit, is a point to avoid eye contact with the audience, user, and if her eyes were open it could look like she was smiling, and would of portaryed a sense of innocence. But isnsetad, the image portarys a controlling and possessive, sexy vibe. The smile is slighlty 'cheeky' and sesuaal which adds to elements of mystery and attention to the poster, therefore to teh product. 

Eva Mendez' looks particulary stirking in the image. She is taking on quite a fierece stands, which is prodominatky more masculine then femine. This is representative of domincane. Her armas are pointing downwards which alsmost orders the audience to focus there attention to when she is pointing. There is no ring on her finger, which suggests that she is available and this could lead the audience to think they could be 'sexual' active with the model. 

The actual underwear she is modelling is Calvin Klien. Prodementaly sexy underwear. The suspenders are though to be extrmely attractive to men and the use of wearing heels makes the model seems taller and smaller waist to exhanetate longer legs and slimmer figure.The vra is quite mascuiline features. Plain black, and 'sports like', the knickers however are stereotypical feminie and use lace. The use of Eva Mendez looking 'oiled' up is effective also. It implys the look of being 'wet' which could implu sexual experiences or showering as it is effectily appealing and attractive to the opesite sex.

In conclusion I feel this advert is aimed at both women and men however, I do feel their are different purposes aimed at each gender. For example, to women, I feel this picture is aimed to aspire to;as most women are looking at other women to compare themselves to (relating back to Laura Mulvey's male gave theory) I think by looking at this advert women can understand how men could find it appealing and aspire to look like this, they also get the impression wearing this brand gives  them a more sexy and powerful look. However it could also be slightly intimidating and make women feel bad about them selves as the majority of women do not give this overall impression when wearing this type of underwear.