Design for Food: From Plate to Print
A 5-day intensive hands-on workshop: Food Photography, Editorial Design (focusing on menu and brochure), and Pre-Press Essentials.
Editorial Design (1st and 4th day)
The process of creation is essentially messy, and with the disorder and chaos on hand, the graphic designer is always the casualty. How can you tell if an editorial design is eﬀective? Is it how the designer utilizes color, type, and composition? Or is it the target audience's verdict on the final printed product?
What constitutes editorial design? Editorial design includes magazine, newsletter, and other printed communication materials of varying sizes and uses. Its purpose is to promote, support, and supplement a marketing program or advocacy. But one thing is common with all of them, they possess a very specific goal: It must generate positive response.
What will be covered
This course will investigate the key elements in achieving a successful editorial design by utilizing two fundamental approaches: aesthetic and strategic. • Aesthetic: type, color and composition; • Strategic: workflow, resources and timetable.
It also focuses on the creative approach: • first, by determining what the communication objectives are; • second, deciding on how to arrive at the creative solution.
- By the end of this course, the participant will be able to learn how to conceptualize, organize, and execute an effective, smart and eye-catching design project based on the editorial brief provided by the instructor and the market forces that determine its direction.
- The participant will be able to design and create a publication from concept to press-ready material.
- This course is also a capacity building workshop where the participants can bring their own works to class for discussion and critique.
- Real-life publication success and failures are also discussed, that will surely initiate a lively discussion among attendees.
- It will enable the participant to possess and control the right tools for every creative challenge they are confronted with.
- The participants will eventually discover the elements behind a conceptually rich, yet simple editorial design against a weak, complicated and haphazardly designed material.
Food Photography (2nd and 3rd day)
The way to a person's stomach is through their eyes, which is why there is so much demand nowadays for mouth-watering food photography among food establishments and food products. Whether you shoot food for a living or for your Mom and Pop chop-and-chew shop, you will benefit from this workshop, where renowned food photographer Mark Floro cooks up a generous serving of professional techniques and trade secrets for making pictures look good enough to eat. Even the finest cuisine is like a beautiful model: it, too, must be made up, prepped, and lit properly to look good in a photo.
What will be covered
- Equipment needed, from camera and lenses, lights, to inexpensive widgets
- Start with the ingredients: Why food photography is only as good as the food stylist
- Go from rare: Different styles of photographing food
- To medium: Sculpting food with light, and bringing out color and texture
- To well done: professional tricks for making food positively appetizing and irresistible
- Problems, solutions, and workarounds
Prepress Essentials and Critique (last day)
Graphic artists are experts at editing images, but don’t know how the highlights and shadows will survive on press. Some graphic artists don’t know about halftones, much less how to deal with them. Most don’t know, and don’t care, about ink limits. Some swear by their Pantone swatch book, not knowing its limitations. Some know only coated and uncoated paper. Many can’t tell an ICC profile from another.
Knowing little about print production processes is just half the problem. The other half is not knowing how all these variables impact the printed output, sometimes with unwanted results.
The more skilled we become in graphic programs, the more we overlook the first law of print production: The tail wags the dog. Meaning the output process at the end dictates the workflow methods at the beginning. No artist should pick up the mouse without knowing where and how the file is going to be printed.
What will be covered
- What to ask suppliers besides “how much”
- The critical processes involved in print production, with emphasis on how they can become problems or solutions
- Eight proofing methods, and the one method you should never accept
- What you don’t know about Pantone colors that will haunt you at press time
- Why we should control the amount of ink in our files, not on press
- Four common margin errors that can spoil the best layout
- Overview of the different printing processes
- Finishing processes from binding to varnish
- Setting up color management in Adobe CS3+ and CorelDRAW X5+
- Paper types and paper properties
- Folds and binding, imposition, crop and registration marks, target (striker) bars
- Mistaking bitmaps for vectors
- Overprinting and knockout, and when to override the settings
- Color separation essentials
- Prepress checklist before handing off to your printing press
Basic knowledge in photography, working knowledge in using Adobe Photoshop and either Adobe InDesign, Adobe Illustrator or CorelDraw.
- Feb 3–5 (Fri to Sun) and Feb 11–12 (Sat to Sun)
9 AM to 5 PM
PhP 13,500 (USD 338)
Includes materials, lunch and snacks.
Be sure to read the Registration Info before registering.