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Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a cheap method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable materials.

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prepare a printout or a live hand-drawn drawing ahead of time.
Printing patterns onto film sheets or drawing on acid paper

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THE PROMISE OF ANIMAL-FREE DAIRY

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Scrub it quickly with developer, it's blue after scrubbing, and dry it with a water blower.

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Facing environmental challenges/why does it need to reverse that?

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Facing environmental challenges/why does it need to reverse that?

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We live on Earth at a time known as the Holocene. It’s a time when atmospheric conditions have created the most beautiful balance of biodiversity and fertility ever known. Right now though, we consume far beyond the planetary boundaries necessary to keep this place stable and liveable.Food is in the middle of it all.It gives us life, vitalises and enriches us. The problem is however, the food system smells like cowshit: it causes 1/3 of global emissions, ravages sweet biodiversity, chugs away 70% of our annual freshwater, and has simply zero respect for momma nature.The system needs rebooting.

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There are some descriptions of taste and touch that are particularly good and make people very appetizing.

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There are some descriptions of taste and touch that are particularly good and make people very appetizing.

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High-altitude creaminess and pillowy softness, Le Kreuzberg reclines on grilled potatoes, crusty bread, quiches or is added to the washing machine for extra snugness.

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By swapping livestock for microorganisms we want to massively reduce the impact of protein consumption on our home and those we share it with. We do this without challenging people to compromise on the foods and traditions they adore.

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We are committed to the sustainable production and flavourful heritage of organic soybeans

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Reduce waste with electronic menus, projection screens

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Reduce waste with electronic menus, projection screens

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Every dish is exquisite and delicious, most of them vegetarian.

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 Brush the ink onto the glass table top, using a roller to roll it on the table top


Roll it on the tabletop and on the plate (before each application).


Wipe the plate with a sponge before applying ink.

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 Put it on the embossing machine and press it once.

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Since I wanted to do a project related to soya, I drew some soya products in various forms, soya seeds, soya milk, tofu (serving utensils), soya skins, as well as soya sprouts, soil, sunlight and other natural environments in which they grow. I didn't do much thinking with these images, but it might give me direction for my next step. For example, the environment in which the soya beans are grown I will relate to nature, the original ecology. The various forms of soya products could be considered in terms of what I am selling.

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Use newsprint and a paper cutter to cut the graphic you want. Then piece it together.

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Spread the ink on the workbench and keep rolling with a roller

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Push the machine so that the artwork passes through the machine. Be careful that the paper underneath the artwork is firmly compacted during this process, otherwise it will follow the artwork into the machine.

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I find that I really like mono print because it's all unique. And it is very free and creative. And the images that emerge are translucent and natural and have some noise-textured textures. I might consider using this technique for posters.

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I failed when covering the second layer of printing because the paper under the artwork was not secured properly and got caught in the machine causing it to not turn.

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Create Patterns: Use a variety of tools, such as a paintbrush, bamboo skewer, eraser, etc., to create patterns on the gel surface. Because gel is soft, you can use your fingers or other tools to carve various textures and shapes into the gel.

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INKING AND PRINTING: Apply ink or paint evenly to the gel surface. The ink will penetrate the texture of the gel, creating an interesting effect. The roller then lightly presses the paper onto the gel surface to transfer the ink to the paper.

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PRINT RESULTS: When the paper is removed, the pattern is transferred to the paper, creating the finished gel print. Each print may vary slightly, depending on the texture of the gel and the technique used by the artist.

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I think gel printmaking is a very quick and easy, economical and very creative printmaking technique. At the same time I can experiment with different tools, paints and techniques to create unique visual effects. So this method is perfect for experimenting and creating some quick sketches for inspiration in the early stages

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Place the paper on top of the remaining paint and draw on the paper with a pencil to create interesting effects; this operation is similar to copying paper. Due to time constraints, the teacher did not explore too much on this technique. But I have a strong hunch that there are many different approaches to monoprint waiting to be explored.

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Gel Prints Experimenting with Water-Based Inks

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Gel Prints Experimenting with Water-Based Inks

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I did an experiment with oil-based ink gel prints in my school studio, so I'm going to try experimenting with water-based inks. I found that water-based inks don't print a completely even image, the adhesion isn't as strong, and the texture of the water marks will appear when I take alcohol to dilute it.

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Comparison of water-based ink and oil-based ink

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Comparison of water-based ink and oil-based ink

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Water-based inks use water as the solvent, are environmentally friendly and quick drying, and are easy to clean, but may have poor adhesion and are suitable for absorbent surfaces. In contrast, oil-based inks use oil-based solvents, have a long drying time and better adhesion, and are suitable for a wide range of surfaces, but require the use of organic solvents for cleaning, which may have an impact on health and the environment.

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Again a piece from a classmate that I thought was very wearable, a sustainable invitation from the earth.

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I found this piece of artwork by a classmate very interesting. It is a colour block drawn in pencil, but the edges of the block are very clean. I'm guessing he used a knife blade to carve out the shape and then scribbled it in pencil to make a negative shape. Finally some linear stuff was used to make the additions.

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They have a library CMF stands for Colours, Materials and Finishes.
Materials, textures, anything tactile belongs in this room. It all belongs in this room.
They might do what they call a "material mood board." A brand feel that they understand in the preliminary stages, or generally what their space will look like.

Reference: Smile Plastics' recycled plastics company space material

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Thinking about identity.
The colour palette, the typography, how the typography feels, the way it's laid out posters and things like that, and so on.
Things like iconography, we look at how we can make the icon speak to the brand
Thinking about how it's going to come across on the website
Photography style, how were the images taken?
What feels right for the brand?

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The personality of the brand.
What do all the different touchpoints look like?
What does it look like? What does the packaging design look like?
What does the invitation look like?
Consider the spatial design.
If you were thinking about the structure of a pop-up advert, what would it look like?

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What's the difference?
What are the flavours? What is the food?
Think about the story behind it.
Think about your target audience.
Experience, like what it really feels like as a consumer.
Is there a flavour? Maybe there's a scent? You know, maybe there's a feeling and then you also sell candles.

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A judgement as to why you chose one as opposed to
the other. Explaining ideas and reasons would be good.
Think back to the story when you demonstrate
You can even show some of the initial sketches

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I find photolithographic printing a bit exhausting, a precise and laborious process which requires a high degree of precision and patience. Especially brushing the ink on the glass table plate, not only do you have to roll it on the plate but you also need to sponge the plate all over again. i even think it takes two people to work together to do all these at the same time. So I don't really want to consider using this technique for my follow-up work!

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Through this interview, I was inspired to see the innovation and efforts of a restaurant in sustainability. Not only do they focus on creativity in their design, but they also incorporate sustainable concepts into every aspect of the restaurant.

The restaurant's bar is made from recycled yoghurt pots, which not only shows creativity but also effective reuse of waste products. Their partner company, Smile Plastics, uses a similar concept for their furniture, turning waste into something useful. This recycling not only reduces waste, but also gives new life to used items.

The restaurant lamps, on the other hand, are made from discarded wine bottles, transforming waste items into unique decorations. The director's quest for zero waste drove him to seek out partners who could make this happen, such as sourcing sustainable produce. They don't even use packaging when all items are delivered, reducing packaging waste. This practice not only reduces the environmental burden, but also echoes the restaurant's commitment to sustainability.

In addition, the restaurant gets its ingredients directly from the source of production, rather than through intermediaries such as shops, a practice that not only reduces energy consumption during transport, but also better supports local farmers and producers. This type of sustainable sourcing not only guarantees the freshness of the ingredients, but also promotes the development of the regional economy.

Overall, this interview made me realise that sustainable development is not only an environmental concept, but also an expression of innovation and wisdom.
The restaurant staff said I could get more inspiration by following their ins.

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I have a big problem when developing my projects, I can easily come up with all sorts of thoughts and ideas but it's harder for me to focus on one and refine it. You could say that I am a divergent thinker, my ideas stretch out like branches and I can't help myself to stop thinking and overthinking. In the early stages I wanted to incorporate into my project a story about my grandmother growing soya beans, a story from the perspective of a seed, the origin of life, conception, feminism and a whole host of other ideas. But this made too much information unfocused and Rachel gave me some advice on how I could focus on one of my favourite ideas and I chose my initial story of my grandmother growing soya beans to continue to develop. I could do an interview with my grandmother and ask about the experience behind this vegetable garden, which I think made the project very warm. I drew a lot of images of my grandmother that could be simplified for the logo, and I also drew a logo based on the history of soybeans in China. i will think about how to combine them nicely. Also the research I did at SILO restaurant should be used to think about how I can apply it to my own brand, zero waste has inspired me to maximise the use of soya beans!

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To be the world's leading brand in the sustainable organic soya catering industry

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Natural Organic

sustainable

warmth

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"We are a restaurant dedicated to sustainable organic soya catering with natural and organic, creative and sustainable core values. We offer a unique dining experience that blends deliciousness with health, providing an unrivalled choice for customers seeking a high quality, sustainable lifestyle.

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Brand personality is natural simplicity, warmth, environmental protection

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Small beans, high value. From seed to table！
Food knows its source.

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Friendly and approachable, full of warmth and human touch

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Like other paintings from the 1880s, Carracci used a plain and limited palette of browns, greens and greys in The Bean Eaters, in keeping with the colours of the food. I wondered if this could be a colour version of my branding

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KEVIN MCNAMEE-TWEED's works are mostly in brown, red, green and blue in the clay colour scheme, and in the process of painting, he does not strive for an absolute image of form, but carefully expresses the fusion of lines and glaze colours together. In the showroom, his works are three-dimensional, and you can touch the undulating texture of the picture with your hands. It is the clay carved out a concise line, and then prepared glaze colour, and then to be fired into ceramic paintings, I like his style has a kind of naive relaxation, natural and simple feeling. The texture is like clay. I hope to apply it to my work.

I prefer this palette to"The Beaneater" palette:
From reddish brown to beige-brown, it brings an ambient impression of mellow gentleness, woodsy vintage and earthiness.
The colour palette: different shades of reddish brown and beige are as subtle as the earth and the brick house, creating a strong natural atmosphere.
Beige with the right combination can highlight the brightness and warmth, creating a gentle and harmonious atmosphere.
The relationship between browns, beiges and greens is reminiscent of leaves and branches, giving a natural and organic impression.
These characteristics are a perfect match for my brand!

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The reason why Grandma started to grow vegetables was probably because her children started to be busy with their work and had their own families, and gradually it was difficult for the family to be together again. After Grandpa died, Grandma became more and more lonely, and this is when she started to grow vegetables. She remembers that she started with soya beans, cucumbers and tomatoes. Then came broccoli, potatoes, and onions. Grandma fell in love with gardening, and instead of buying vegetables from outside, she started to be self-sufficient. The size of the garden grew bigger and bigger, and what she couldn't finish she would give to her children and neighbours. In fact, there was a time when Grandma's gardening was opposed by her family, who didn't want her to work so hard at her age. But Grandma said it had become her hobby, and her life was becoming more and more promising. She looked forward to a seed being sown in the soil and eventually being turned into a delicious dish on the table. She had a deep conviction that "you reap what you sow". Every morning, she got up early and walked to her field, ploughing it with her hands and caring for it with her heart, believing that as long as she put in sincere efforts, nature would give her the most generous rewards. When there was a big harvest, Grandma would joyfully call on all of us to enjoy the joy of the harvest on a sunny day. With her efforts, Grandma brought us delicacies and happiness, and the reunion dinner became a precious moment for our family!

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Every seed that grows in the soil is a sincere piece of ploughing, and every harvest is life's best return to the industrious.
It is more of an attitude towards life. Every bite of the dish is a respect for nature and life

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Some tips from my peers
1. Mimic the rough texture of KEVIN MCNAMEE-TWEED's ceramics with a paper collage of mulberry paper.
Coffee or tea or something similar would also work!
2 Sustainable packaging https://www.chinatimes.com/realtimenews/20230703005019-260408?chdtv
3 Try handwriting with brushes for fonts

Some advice from Rachel
Seeds will have an impact in my project after my interview with my grandmother.
Do some paper experiments like the seed paper one
The story is about life and growth and love and it's very meaningful

Rachel said she liked the slogan Seeds to the Table, and from that I wanted to set the restaurant's menu to be Grandma's Home Cooking based on soya products, as it ties in with my brand story. Until this point I had been thinking about how to do it internationally, which now seems unnecessary

Next I scan and start and then start thinking about my colour combinations , keeping the watercolour or do I want to recreate it digitally to think about it just to see what happens and see what feels right. What other textures can be made
Once I start making more images, I'm inspired and then like the next iteration, I can
start applying it to all these materials and see what feels right. It sounds like taking my creations and recombining them to see what amazing reactions they'll find.

Rachel showed me the packaging design
She put everything in a box that contained a tablecloth or napkins.
Hung all of these on the wall and took a photo of them together.
Because they give the impression of being posters. See them all together instead of folded and hung on the wall.
And take this picture and enlarge it to three times its size. It's kind of like a curtain hanging over a door.
It's inspired me a lot, and I think I can do something different with the pieces I've put together, thinking about different placements, how they can be used.

Rachel suggested that I take some photographs that she thought were very cosy.
I think the setting is also important as it usually creates an atmosphere that is evocative of the photograph. Maybe I'll consider shooting my work in a grassy field or in a natural environment.

Poster Design
Put the image in the middle of a lot of hand-drawn text, or around it maybe I'll try both and consider which is better .
Logo
Also consider my logo, as it can often be underestimated. The black and white grey scale, so they can be used for all content. So I might convert it to a line drawing or a greyscale image.

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How to make seed paper

https://www.naturesseed.com/blog/how-to-make-plantable-seed-paper/

Step 1: Collect the paper, tear it and put it in a blender

After collecting the paper, tear it into very small pieces. Grab a blender jar and fill it half full with freshly torn pieces of paper.

Step 2: Pour in warm water and blend to a smooth pulp

Pour some warm water over the pieces of paper in the blender jar. Continue pouring water into the blender jar until you have filled the blender to the top line. You will now turn the pasty mess into a fine paste by turning the blender on at low speed for about ten seconds. After ten seconds on the low setting, increase the speed for about thirty more seconds. After this, there should be no visible paper residue.

Step 3: Mix in Seeds and Strain

After adding the seeds, pour the mixture into a strainer and remove as much water as possible. You can use a spoon or spatula to press the mixture against the filter to squeeze as much water out of the pulp as possible.

Step 4: Spreading the pulp, flattening and drying

You will now need to lay a terry cloth, microfibre towel or flannel on a flat surface. Pour the pulp onto the fabric and then use a spoon or spatula to spread the pulp onto the fabric. You can apply it in any shape you want, just make sure to spread it as thinly as possible to ensure it dries faster. After applying the pulp, use a sponge to flatten the mixture and absorb more water. Once one side of the pulp is dry, flip it over and allow the other side to dry completely. Once both sides are dry, your seed paper is ready to use.

Seed paper makes great note paper, invitations, postcards!

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	How to make environmentally friendly biomaterials Central Saint Martins 中央圣马丁

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	How to make environmentally friendly biomaterials Central Saint Martins 中央圣马丁

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Course 课程 BA (Hons) Product and Industrial Design BA （Hons） Product and Industrial Design Course 课程 BA

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### Working with clients: finding the balance between their vision and yours
## Key thoughts
- Put in the work to find out what the clients vision really is.
- Ask what they DON'T want - this might make it easier for them.
- Be true to what you can offer - think about past projects and skills you have in your backpocket, you may need to draw on them!

### Concept: Importance of research & knowledge of what you’re communicating.
## Key thoughts
- If you can, try to work as much as possible with people who have lived experience of the subject. Listen carefully to their ideas and be prepared to adapt your designs.
- Always remain aware and clear about the project's scope. Check budgets can stretch. Don't go overpromising!
- Spend proper time researching and developing your own knowledge and ideas as well - it's a big part of what you're being employed to do.

### Audience: Who is the work aimed at and how does that impact your process?
## Key thoughts
- Always think about your audience. Who do you want to speak to with this work?
- Always think about the tone of your visual communication. This could involve language, colour, process, shape, materials - everything speaks!

### MAKING &EXPERIMENTING!
### With lots of different media/techniques/skills
## Key thoughts
- Take risks where you can! It'll keep you growing as a creative.
- Figure out how much experimentation the client project will allow for. Communicate clearly about what you plan to do.
- Collaboration can be a great way to boost experimentation. Learn from each other is what it's all about!

### How to keep working with the (right) clients, any advice?
1. Communicate as much as possible
2. Get your prices right
3. Research out and initiate projects

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Sight: Using colours and shapes to tell a brand story


Hearing: using sound to evoke emotional resonance


Smell: Creating a brand atmosphere with aroma


Taste: Use taste to move consumers' minds


Touch: Enhance brand value with texture

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Looseness
A sense of originality
Sense of Being
Sense of socialisation
Sense of atmosphere