2019 Journal

TAGA 2019 California Polytechnic State University

JUDGE’S NAME

California Polytechnic State University Technical Association of the Graphic Arts Volume 36

© Copyright 2019 by California Polytechnic State University, San Luis Obispo Technical Association of the Graphic Arts Student Chapter Published in the United States of America

by Cal Poly, San Luis Obispo TAGA Student Chapter 1 Grand Avenue San Luis Obispo, CA 93407-0381 USA Printed in the Graphic Communication Department at California Polytechnic State University, San Luis Obispo

HP Link Technology Our journal uses HP Link digital watermarking technology, provided by Hewlett Packard, to create an interactive publication that links printed media with digital content.

Scan the QR code below to download the HP LinkReader app and scan selected images on indicated pages to access additional content. Pages with scannable images will have the application icon in the bottom corner.

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This year, the Cal Poly TAGA student chapter wanted to emphasize the university’s “Learn By Doing” motto. Students who participate in TAGA get a hands-on experience through creating a workflow and running production equipment. Members also learn how to connect with companies in the industry to familiarize themselves with emerging technologies.

Scan the hand lettered type above with the HP LinkReader app to watch how we implemented Learn By Doing in the production of our journal.

Contents President’s Letter

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Cal Poly Mobile App UX Case Study

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Analysis of Farnsworth-Munsell Color Discrimination Test Scores

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Rebranding Local Company, Whalebird Kombucha

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The Effect of Ultraviolet Light on Cal Poly Identification Card Ink Color

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Creating Rouge, a Modern Sans Serif Font

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Meet the Team

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Colophon

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Acknowledgements

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President’s Letter Dear Reader, It is my honor to present to you the 2019 Helmut Kipphan Cup journal competition entry of California Polytechnic State University’s TAGA student chapter. This journal represents months of teamwork by our dedicated students to provide you with innovative research, technical design, and modern production technologies.

The theme we chose for our journal this year is “Technological Synergy.” We wanted to showcase how relevant printed publications still are in our ever changing digital world. Specifically, we wanted to show how printed publications and electronic publications do not necessarily have to be two separate entities, but rather features of each can work together to complement one another.

This year we want to emphasize how our chapter encompasses Cal Poly’s “Learn By Doing” motto. In contrast with past years, this year we chose to include primary research, which involved our students gathering data and conducting their own experiments.

We are also very grateful for our faculty advisors who made it possible for us to design and produce our entire journal by ourselves within our department.

Another one of our main focuses this year was to expand our chapter more than ever before. We spent many hours accumulating new members and made it imperative to our mission this year that each and every member felt like they contributed to our final product. We were also fortunate enough to be able to bring an extra member to the conference.

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We would like to give a special thanks to our dedicated faculty advisors, Brian Lawler and Peter Schlosser, the Cal Poly Graphic Communication Department faculty and staff, and our generous sponsors. We would also like to thank all of you for giving us the opportunity to be a part of an association of industry professionals who help foster our educational growth.

Thank you,

Lauren Helms

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Cal Poly Mobile App UX Case Study JULIANNE GOMBOTZ Abstract

This project is a user experience case study of the Cal Poly mobile application. It includes research to find out how the app can be improved to best fit Cal Poly students’ needs, creation of low fidelity prototypes, usability testing of these low-fi prototypes, and the creation of high fidelity prototypes. The main functionality of these prototypes is focused on the map and portal features of the Cal Poly mobile application.

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Introduction

The Cal Poly mobile application is one that is on the majority of Cal Poly students’ phones, but is infrequently used. The aim of this project is to first figure out why the app is not being used as it should, and then to find how best to improve it to make it more useful for students. To do this, Gombotz conducted a UX case study on the Cal Poly app. Through this case study, research was conducted to find overarching problems with the app, then prototypes were made of a new version of the app aimed to solve these problems. The prototypes were then tested by users to find out if they performed the way they were designed to.

Project Methodology

The follow steps were completed in this UX case study: 1. Research through student surveys 2. Creation of a problem statement and hypothesis 3. Identifying tasks for users to complete through prototypes 4. Creation of paper prototypes based on the tasks made 5. Creation of low fidelity wireframes 6. Usability testing with wireframes 7. Creation of high fidelity prototypes

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Research

In order to find how best to improve the interface of the Cal Poly app, research was conducted in the form of surveys and interviews to find overarching themes that were limiting students use of it.

Though this research was a systematic investigation that attempts to answer the research question, “How best do we improve the Cal Poly app for students?� It did not need to be submitted to the Institutional Review Board because it does not contribute to generalizable knowledge. The surveys, interviews, and tests created were conducted on only Cal Poly students and were meant to serve Cal Poly students.

What year are you in school?

5th+ 4th 3rd 2nd 1st

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How often do you use the Cal Poly app?

Less than once a week 1-3 times per week 3-6 times per week

What features do you use on the Cal Poly App? MAP - 36 (90%) PORTAL - 25 (62.5%) POLY CARD - 0 (0%) ESCORT VAN - 1 (2.5%) DINING - 4 (10%) RECREATION - 9 (22.5%) SAFETY - 0 (0%) NEWS - 0 (0%) BIKE RACKS - 1 (2.5%) EVENTS - 0 (0%) ADMISSIONS - 0 (0%) ATHLETICS - 1 (2.5%) DIRECTORY - 3 (7.5%) LIBRARY - 0 (0%) MUSTANG JOBS - 0 (0%) INFORMATION - 4 (10%)

0

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Survey

The survey was given to forty Cal Poly students and consisted of seven questions all related to if students use the Cal Poly app, what they use the app for, what they like about the app, what they dislike about the app, and any features they feel it lacks. All students’ information that was collected was kept confidential, and is not tied to any name, race, gender, religion or major. The information collected was solely tied to the year they were in school in order to see if this affected the way students used the Cal Poly app.

Summary of Survey Results 1.

2.

3.

4.

5.

Most common reasons students use the Cal Poly app: Finding buildings and classes with the map Accessing class information through the portal Viewing and signing up for recreation classes Viewing dining information

Features of the app students had the most issues with: 1. Glitches in the functionality of the app 2. Inability to easily find buildings and room numbers through the map 3. Inability to access Polylearn through the app

Design Process

After completing initial research, it was time to begin the front end development of a revised Cal Poly application. It was important to define a problem statement and hypothesis reflecting the information gathered in my research to ensure a consistent direction and goal of this app.

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Problem Statement

The Cal Poly mobile app is currently underutilized by students because it does not offer any connection to Polylearn (a source that most students use daily), and because the map feature lacks information and detail.

Hypothesis

Creating an interactive map feature in the Cal Poly mobile app that allows students to view floor and room numbers in buildings and adding direct connections to Polylearn through the Cal Poly app, student satisfaction with and usage of the app will increase.

Prototypes

While constructing prototypes the following tasks were used as a basis of design:

Find Building 26, Room 204 View the first floor of building 26 Find your EmplID View your grades for the current quarter

Usability Testing

To test the lo-fi wireframes, six different users were given the series of four tasks to complete using them. The usability test revealed that users generally liked the system however some users had trouble identifying where their EmplID and their grades were right away. Confusion also arose from expected interactivity with the map, though this was not possible to program with the limitations of the prototyping software.

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Revisions to Hi-Fidelity Prototype

After reviewing the results of the usability test, there were necessary changes that had to be made before creating a hi-fidelity prototype.

First, the user info (username, EmplID) needed to be made more visible to the user. The floor and room number options also needed to be moved to appear directly below the main search bar to make them more visible. Lastly, the buttons for class list, calendar view, and grades needed to be easier for the user to find.

Limitations

One of the major limitations faced during this project was time.

The first few weeks of the quarter were spent trying to get in contact with faculty at Cal Poly who actually worked on the mobile app to find out what progress they have already made on improving it, but contact could not be made with them until over halfway through the quarter. Because of this, the project had to continue without their insight, but started later than originally planned. Additionally, ten weeks was not enough time to further develop and fully test the high fidelity prototypes, so only the low fidelity prototype was able to be tested and completed.

Another limitation was the functionality capabilities of the prototypes tested by users. Adobe XD and other prototyping tools allow for limited interactivity. For example, features like typing and zooming are not possible, so users found the map feature somewhat confusing.

The third limitation was the conclusiveness of the survey results. To get responses, the survey was posted on Facebook and other social media outlets, but this most likely attracted a limited diversity of Cal Poly students. This can be seen in the academic year of respondents, with the majority of them being seniors and only one being a freshman.

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Conclusion

By creating an interactive map feature in the Cal Poly app that allows students to view floor and room numbers in buildings, as well as by adding direct connections to Polylearn through the Cal Poly app, students’ satisfaction with and usage of the app will increase. Looking forward, it would be great to see the map feature prototyped in the study used by Cal Poly. Floor plans of every building on campus are available to the public, so taking these and overlaying them on the current map is something that could be easily implemented.

References McKenna, E. (2017, July 6). UX Case Study: How to Put One Together. Retrieved from https://blog.prototypr.io Moule, J. (2012). Killer UX Design. Victoria, Australia: SitePoint

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Julianne Gombotz

Julianne Gombotz graduated from Cal Poly in June 2018. She was born and raised in Seattle, Washington and has had a passion for art and design since she was young. She chose to go to Cal Poly because she thought Graphic Communication would allow her to explore her creative side in a practical way. After graduating, she traveled through Southeast Asia and India for a couple of months before returning to Seattle. She is now a designer and user experience researcher for Likewise, an app that gives users recommendations based on people they know, rather than from random reviewers like Yelp or Trip Advisor.

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Analysis of Farnsworth-Munsell Color Discrimination Test Scores MACKENZI NOTO Abstract

This paper expands on previous research done to determine the color discrimination abilities of students in the Graphic Communication (GrC) major. Color discrimination abilities are measured by the scores of the students on the Farnsworth-Munsell Color Discrimination Test. This analysis explores how these abilities have changed over time and any differences in the abilities of males and females. Also of interest is how the gender distribution of GrC majors is changing over time and how the difference in male-female

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performance on this task has changed over time. Results of each of the analyses showed that there did not seem to be a change over time in the average score of the females but there did seem to be a change over time in the average score for the males and that females typically had poorer scores than males.

Introduction

Color discrimination is the ability to tell different colors (or rather different shades of a color) apart from each other. The ability to distinguish colors is a skill that could be useful for anyone in an industry where a key component involves color discrimination.

There are numerous different shades of colors that most people do not even know exist or even care to treat as a new color. For people who work in the design and production of products that are meant to be appealing for the consumer, being able to tell these colors apart and picking the shade that best fits the product is very important in the process. For Graphic Communication majors, having better color discrimination could be useful in the design phase of a product, whether it be print or web based.

Background

Is there a gender difference in the ability to discriminate between different colors? In a study by Brian Lawler (2018), data were gathered over 19 years on students in a Graphic Communication class. Lawler found that the average score for males (16.0) on the Farnsworth-Munsell Color Discrimination Test was better than the average score for females (25.09). This indicated that males were better at distinguishing between the different hues in the test and therefore could be seen as having superior color discrimination.

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However, the sample sizes Gender for males and females were YEAR Female Make Total different with only 12 males to the 43 females tested that year.

2005 32 32 64 There is a trend that is seen in 2007 28 22 50 the more recent years where 2008 51 63 114 the number of males tested has been declining (Lawler, 2009 26 14 40 2018). As seen in Figure 1, 2010 33 15 48 there were a total of 263 male 2011 2 0 2 student participants and 470 2012 79 35 114 female student participants who took the test across 19 2013 35 22 57 years. The number of males 2014 0 1 1 and female students who 2015 69 30 99 took the test each year it was administered can also be seen 2016 29 11 40 in this table. Figure 2 shows 2017 35 13 48 a plot of the proportions of 2018 51 5 56 males and females throughout Total 470 263 733 the years with the width of the columns representing how Figure 1: Contingency table many participants took the of number of students tested test that year and the colors by year and gender representing gender (red for males and blue for females).

Figure 3 shows box plots of the distribution of scores for males and females by the different grouping of years. These plots show that there are an overwhelming number of female students compared to male students in more recent years.

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Methods

Gender vs. Year

100%

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60% 50% 40% 30% 20% 10% 0

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2010 2011

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Figure 2: Gender vs. Year Bar Graph

Score vs. Gender YEAR

160 140 120 100 80 60 40 20 0 160

2005-2009

2009-2011

2011-2014

2014-2016

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Score

120 100 80 60 40 20 0 160 140 120 100 80 60 40 20 0

Female

2016-2018

Male

Figure 3: Score vs. Gender Box Plot

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Gender

Female

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In the study by Lawler, students were tasked with putting colored caps back in hue-order by taking the Farnsworth-Munsell Color Discrimination Test. There were four boxes of colored caps that were scrambled by a tester and reordered by the students to the best of their abilities. After the four boxes were each reordered, the number of transposed or incorrectly placed caps were counted and a score for the test was calculated. The scores were calculated by adding up all the scores for each of the caps. An individual cap score was calculated by adding together the differences between that cap’s number with the number of the cap that was placed before and the number of the cap that was placed after it.

Analysis

Because of the increasing unequal sample sizes of males and females, additional analyses were performed to try to account for variation in scores due to gender. For this analysis, the data were analyzed as a whole but with caution. This allowed comparisons within the gender groups to be made throughout the years that data was collected. Analysis of the differences in the scores for males and females over time was done for additional analysis on the differences in the color discrimination abilities of males and females. Time differences show that if there is a difference in the average scores on the Farnsworth-Munsell Color Discrimination Test how the color discrimination abilities of males and females is changing over time.

Results

Analysis was done in JMP 12 to compare the differences in the average scores on the Farnsworth-Munsell Color Discrimination Test over time for male and female participants. The graph of the scores for each year, shown in Figure 4, is colored by the gender

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and shows the general trend line of the average scores by year. There seemed to be more changes in the average scores of males over time than in the average score of females as seen by the wavier trend line for males. To explore this, a model was fit to predict the score of the Score vs. Year 140 120

Female

100 80 60 40

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Figure 4: Farnsworth-Munsell Test over time for male and female participants

participant given the gender of the participants and the year of the test. This model also included the interaction between the year the test was taken and gender, which tells us how the gender “effect� is changing over time. Figure 5 shows the results from an analysis of variance that assesses the significance of the overall model using these three terms. Because the test was significant (p=0.0158), we have evidence that there could be differences between the genders and between the years. As seen in Figure 6, the interaction between gender and year is not significant. We also see that gender is statistically significant after adjusting for year, but a linear trend is not significant (seen in Figure 7). From Figure 8, the estimate for the gender variable tells us that females on average are predicted to score about five points lower on the color discrimination test than males in any given year.

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Analysis of Variance Source Model Error C. Total

DF 3 729 732

Sum of Squares Mean Square F Ratio 3630.65 1210.22 3.4715 254135.90 348.61 Prob > F 257766.55 0.0158*

Figure 5: Analysis of Variance for model with Year, Gender, and interaction between Year and Gender

Effect Tests Source Nparm Year 1 Gender 1 Year*Gender 1

Sum of DF Squares 1 6.3445 1 3431.0461 1 109.5798

F Ratio Prob > F 0.0182 0.8927 9.8421 0.0018* 0.3143 0.5752

Figure 6: Effect tests for Year, Gender, and interaction between Year and Gender

Lack of Fit Source DF Lack of Fit 20 Pure Error 709 Total Error 729

Sum of Squares Mean Square F Ratio 12755.31 637.766 1.8733 241380.59 340.452 Prob > F 254135.90 0.0118* Max RSq 0.0636

Figure 7: Lack of Fit test of linearity of data

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Indicator Function Parameterization Term Estimate Std. Error t Ratio Prob > |t| Intercept -239.216 620.0245 -0.39 0.6997 Year 0.131604101 -0.308399 0.43 0.6697 Gender[Female] -4.669015 1.488268 -3.14 0.0018 * (Year-2011.62)*Gender[Female] -0.212159 0.378412 -0.56 0.5752 Figure 8: Estimates for Year, Gender, and interaction in model

Discussion

The results showed evidence of larger year to year influence for males but not for females as seen in the graph of both distributions of scores (Figure 4). This could be due to the fact that there have been irregular numbers of males taking the test over the years, with recent years especially favoring females.

When comparing the scores of males and females overall, there is evidence that females tend to score lower on the test than males (Figure 6), and that this discrepancy does not appear to be changing significantly over time. Further analysis could treat year as a categorical variable to explore this potential interaction further.

Because the year the test was taken is not an important factor in predicting the score of an individual on the color discrimination test, the fact that there are drastically different samples sizes may not be as big of a factor. In the beginning of the data collection, the sample sizes for males and females were very similar and since the effect of the year does not seem to be an important factor, the effect of having the same number of males and females seems to be the same.

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Conclusion

Color discrimination, the ability to distinguish between different colors and also between all the hues of a specific color, can be used in different design industries. The Farnsworth-Munsell Color Discrimination Test is often used to determine a person’s color discrimination ability. This test was administered to students in a Graphic Communication class and analysis was done to explore the data collected over 19 years. During this time period, there seemed to be a general drop in the number of male students who took the test. Data on this test were examined to see whether there were any time trends and differences between male and female scores over time. The results showed that there appears to be more fluctuation in the scores over time for males than for females, but it is unclear whether that is an artifact of the smaller sample sizes. Comparing males and females, after adjusting for year, we find about a five point increase for average male performance compared to female performance.

References Farnsworth, D. (1957). THE FARNSWORTH 100-HUE TEST for the examination of Color Discrimination.

Keif, M. (2018). An Excel Implementation of the Farnsworth-Munsell 100-HUE Scoring Software Lawler, B.P. (2018). Farnsworth-Munsell Color Discrimination Test results.

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Mackenzi Noto

Mackenzi Noto is a fourth-year Statistics major at Cal Poly from San Jose, California. Her goal is to someday become a statistician for a professional sports team, like the Golden State Warriors.

Although she has a passion for sports and wishes to become a sports statistician, her major has made her interested in other fields. She feels that one of the best aspects of statistics is that it is very versatile. She likes that she is able to apply her degree in many different areas of work. Some of the work that she has done on research projects include; analysis consulting or studies in collaboration with professors and students in the Graphic Communication Department and the Kinesiology and Public Health Department. Some of Mackenzi’s hobbies include playing sports, baking, and crocheting.

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Rebranding Local Company, Whalebird Kombucha PHOENIX CHALLENGE Abstract

The branding of a company is crucial in a competitive and often cutthroat business market. How a company is viewed by customers through their brand identity, carefully engineered packaging, and quality of their products, as well as many other factors can be what makes a company’s success skyrocket over their competitors.

This past year, a team of Cal Poly Graphic Communication students competed in the Phoenix Challenge. They were given the opportunity to redesign the logo, marketing scheme, and packaging

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for the local San Luis Obispo business, Whalebird Kombucha.

The students’ goal was to increase the functionality of Whalebird Kombucha’s packaging, as well as create a more cohesive brand identity. The team investigated competitor market trends and fully designed and produced a new innovative packaging design to give the company a competitive edge. They applied their design and flexographic print knowledge to create eye-catching graphics that follow design principles and flexo standards. They also collaborated with industry professionals to execute products that meet production standards.

Introduction

After receiving the Phoenix Challenge prompt to rebrand and repackage for a small business of fewer than a hundred employees, the team unanimously agreed that they wanted to help a local company in an up and coming market that upheld similar values to their own. Their team initially began the Phoenix Challenge process in June 2017 by contacting several small businesses in the San Luis Obispo County, looking for a company that would have the greatest impact in the community. After receiving interest from multiple local businesses, they all agreed to move forward with Whalebird Kombucha, a company that was eager and excited to work with the team. After establishing its roots in 2012, Whalebird Kombucha made their presence throughout the California Central Coast known.

Their primary marketing strategy has been through their presence at the local Thursday night San Luis Obispo Farmer’s Markets as well as the local grocery and coffee shops throughout the Central Coast of California. This exposure has expanded Whalebird Kombucha’s

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market to include a never done before concept, kombucha in cans available in selected grocery stores.

The Whalebird aesthetic, customer service, and handcrafted recipes make the company one of a kind. They have spent the year expanding, repackaging, and developing a new marketing initiative to help them successfully gain a competitive edge.

Research and Methodology

When they first started working with Whalebird Kombucha, it was apparent that they used little to no packaging for their glass growlers and aluminum cans. Whalebird Kombucha had a lot of secondary packaging for shipping, but no consumer packaging. This was a clear issue to the team because they felt consumer packaging was needed for Whalebird Kombucha’s customers so they could better transport their kombucha from Whalebird Kombucha’s warehouse, the Downtown San Luis Obispo Farmers’ Market, or any local vendor to their home.

GROWLER CARRIER Description

One of the team’s solutions for the lack of packaging was to produce a growler carrier, a product that would hold one growler and interlock to another when carrying multiple growlers.

The shape of the growler carrier holds the growler tight to prevent the growler from falling out or breaking if dropped. The package highlights the diecut of the Whalebird, as well as the wave pattern that is found consistently throughout their brand. Once the growler is placed inside of the carrier, the die cut reveals the logo. They were

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informed by their client that their main customers commonly buy two growlers at a time, therefore they solved this issue of carrying two growlers at the same time with an interlocking mechanism.

They designed the growler carriers to be able to attach, or not, depending on how many growlers were purchased. It was important to them to make sure that only one die was being used to reduce consumer confusion when trying to interlock the carriers together.

In the end, they accomplished this by using only one die that could allow the growlers to be carried independently or interlocked.

Substrates

Whalebird Kombucha is highly concerned about their company’s environmental impact. The team made it their goal to create a sustainable package that could easily be recycled by not incorporating any plastics or adhesives. To avoid using adhesives on a glue tab, they designed the growler carrier with tuck and fold tab closures.

They were fortunate enough to consult with Nicole Herman, a Cal Poly graduate from the Industrial Technology and Packaging Department, who now works for Fitbit as a packaging engineer.

After consulting with Nicole Herman, they decided to use unbleached E-Flute corrugated board. The E-flute had the strength to support a glass growler filled with kombucha, approximately five pounds. E-flute corrugated board offers enough rigidity to ensure the growler will be structurally sound during transportation. With all corrugated, the strength of the board comes from the flute size and pitch as well as the types of fibers used in the two liner boards combined with the corrugated medium (the grade is referred to in “ECT” or “Mullen” values). ECT stands for edge crush test and

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refers to the compression value that a board can withstand along it’s edge (vertical flutes). Even though E flute is a smaller flute, if the right basis weight of paper is used for each ply of the finished board, an appropriate strength can be reached. For this growler carrier, a 44ECT E flute with an upgraded 33# medium was the best fit.

Corrugate board is also commonly printed on flexographic presses, which was a great fit for Whalebird Kombucha’s brand and for the practicality of the competition. The department’s Mark Andy 2200 narrow web flexographic press allows for a maximum substrate width of seven inches to run through the press, however the width needed for the growler carrier was larger. In order to print all of their products in house within the limitations of their press, they decided to imitate a corrugate texture to replicate what the growler carrier would look like if it was printed on a press with the correct capabilities. To mimic the texture of corrugate the team chose Classic Linen WS FSC®/S100R/1.2 Mil PET that would adhere to the growler carrier itself. Classic Linen is recyclable and is FSC certified.

This yields to Whalebird Kombucha’s satisfaction because this certification “ensures that products come from well managed forests that provide environmental, social, and economic benefits” (Fasson® 60# Classic® Linen WS FSC®/S100R/1.2 Mil PET . (n.d.). By using this substrate, no harm is done to the environment and for every tree that is taken down Comparison of printed corrugated a new one is planted. texture to corrugated

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Prepress

For the prepress of the growler carrier, they imposed the file one up due to the size limitation of their press. The kraft imitation process involved taking a photograph of corrugate to capture the navy dots to be used for the dark specks seen in corrugated. Using the levels adjustment in Photoshop, a navy separation was made of only the densest shadow areas in the photograph. After a series of trials, it was determined that a solid of the kraft color, combined with the shadow detail of the navy, and the overprint gloss varnish over the waves, provided an attractive look. Since the kraft used a 1.73 BCM anilox, no choke was applied for the reverses.

Finally, since for the growler carrier they were applying a label to the corrugated, they had to incorporate i-cut registration marks into the print design. A minimum of three marks is required. Two of the three marks were positioned to trim off when cut while the third mark was hidden inside a joined set of carriers.

Graphics

Before teaming up with Whalebird Kombucha, the company designed new brand guidelines, helping to establish brand recognition and imagery. Whalebird chose three primary colors and their secondary colors. After research into their branding impact, they all agreed that the branding was well established and Whalebird Kombucha would prefer not to alter it again.

Keeping their client’s concerns in mind, they went to a few Graphic Communication classes and surveyed 164 students to choose the perfect color palette out of their seven colors. The poll revealed that students preferred the combination of Sky White, Ocean Blue,

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Nautical Navy, and Sunrise Gold. After some design variations, they decided on spot white, Pantone 281 C, Pantone 3265 C, and Pantone 1245 C. They decided to add a matte coating or UV varnish to the products they designed to add tactile experience, as well as to compliment Whalebird Kombucha’s current packaging of their cans.

For the growler carrier, they decided that white graphics on an imitated kraft substrate would best communicate the aesthetic of Whalebird.

To create the illusion of white ink, the graphics were knocked out of the imitated kraft color to reveal the white substrate. They also wanted to take advantage of the opportunity to create a billboard effect when the two carriers were attached. To achieve this, the team decided to create their own wave pattern, similar to Whalebird’s cans, and modified it so that it would continue onto the adjacent carrier. Finally, they decided to apply a gradient effect to the waves as well as a UV gloss varnish to add more dimension to the design.

In an ideal production setting, their design for the growler would have the graphics printed directly onto the corrugated material, but due to press limitations and because they could not acquire a kraft pressure sensitive label, they decided to recreate kraft on a white pressure sensitive label. Another option for prototyping would have been to print the graphics on a clear label to apply to the growler carrier, however this would have compromised the ease of recyclability that was a priority of their client.

Due to equipment malfunctions within the Graphic Communication department, the team was unable to make their own plates for the growler carrier label, so this was outsourced to

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WS Packaging. The students were not able to acquire kraft PS label stock, so they decided to recreate a kraft effect on white PS label stock instead. Their goal was to mimic the look of kraft on the label to match the carrier. Whalebird’s logo is featured on the front panel with a die-cut reveal of the whale on the growler. The right panel consists of Whalebird’s motto “Dive Deeper Fly Higher” and the history of Whalebird is displayed on the left panel. When the carriers are attached, both the motto and the history of Whalebird’s brand is communicated on one side. The bottom of this panel contains a note to users to “love the ocean, recycle the carrier” as they wanted to support Whalebird’s goal of producing as little waste as possible.

STATIC CLINGS Concept

Another product developed for Whalebird was the static cling flavor labels.

They decided to create and develop removable and reusable clings that Whalebird Kombucha could place on the growlers to indicate the flavor purchased. Most customers purchase two growlers at a time and since all of the growlers look identical, they wanted to ensure they addressed this issue. All of the clings were printed on static cling and the corners are rounded to secure attachment during transportation.

Research indicated that they should design two types of clings: one that allows a Whalebird Kombucha employee to write the flavor’s name on the cling, and another group of clings that already have flavors printed on them. They decided to create one write-your-

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own cling, and flavor-specific clings for their of Whalebird’s most popular flavors: Jasmine Bliss, Ginger Sasparilla, Manguava and Dry Hopped Pamplemousse.

The team ended up having enough room on their PS label plate to impose additional labels, which would function in a similar way as the clings . Instead, this additional flavor labeling material was to be placed on top of their growler caps. These labels feature the name of Whalebird’s most popular kombucha flavors and a stylized version of the Whalebird logo. They provide a more permanent solution than the removable growler clings, for customers who would prefer to refill their growler with the same flavor every time.

To ensure static cling was the correct substrate to use they produced some tests. To test the durability of a cling they placed the static cling onto a wet growler, a cold growler from the fridge, car windows, and home windows. The overall results showed them that the cling adhered to the growler well under various conditions. This lead them to believe that static cling would be a great candidate to use as a label because it can withstand different temperatures and environments.

The finished Whalebird static cling

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Production

When preparing the clings, they had to make sure all of the thin lines fit within FIRST specifications, as well as the small type that was on the clings.

While designing their clings, they needed to take into consideration challenges with filling in their reverse areas due to white ink gain.

Since they used a 6.53 BCM anilox, ink gain is greater with white than the other colors. They choked the images by 0.002�, opening up the reverses a bit, which proved highly beneficial.

The glass growler label was printed using a water-based spot white ink and UV coating. The plate was designed so that the final printed roll could be rewound into five ribbons and rewound into individual rolls with specific flavor labels. Since the press used to print did not have the capacity to slit and rewind into five separate rolls, this part of the job was outsourced to WS Packaging, a San Luis Obispo packaging company.

The finished Whalebird growler packaging

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On the Mark Andy 2200 the press the cling was printed, die cut, and rewound. Due to the static cling material, they were unable to strip the matrix ourselves and went to industry expert WS Packaging. During their press run, the die cut was too deep and ended up cutting slightly through the static cling. To avoid potential web breaks when stripping and slitting their rolls, WS Packaging laminated the rewound rolls to avoid potential web breaks when stripping and slitting the rolls.

By creating these flavor identifying materials, Whalebird Kombucha will be able to label the growler carrier and increase client exposure.

Conclusion

This year-long project gave the students hands-on experience making the inner workings of producing packaging for Whalebird Kombucha, a local business in the need of creating a new, more vibrant, marketing scheme. Through this project, the team created a corrugated E-flute interlocking growler carrier to aid in the interactivity of the product. These carriers exhibit a die cut over the logo of Whalebird, and have a UV varnish to add to the tactile experience. They also created labels that would stick on the growlers to make each flavor easily identifiable to customers. The clings were created on the Mark Andy flexo press and also have a UV varnish. All of the packaging materials were designed to limit waste and volatile organic compounds, in an act to follow with Whalebird’s mission to prevent Die cut reveal of Whalebird logo

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harming the environment with their products. In addition to these materials, the team also redesigned the logo and color scheme to amp up the company’s marketing appeal. They are honored to have been awarded for their work with Whalebird in the Phoenix Challenge competition, and the opportunity was an amazing experience that they will use in their future careers.

References 2Thrive (n.d.). Whalebird Kombucha [Digital image].

8 Evidence-Based Health Benefits of Kombucha Tea. (n.d.). Retrieved September 26, 2017, from https://www.healthline.com/nutrition/8-benefits-of-kombuchatea#section2 An Initial Study into the Impact of High-Visibility Enhancements on Shelf Presence(Rep.). (2013) Retrieved January 4, 2018, from Foil & Specialty Effects Association website: http://static1.squarespace.com/static/533368a4e4b0429a548a9e4d/t/5453e1d2e 4b02ab539906359/1422472827497/FSEA-Study.pdf Corcoran, B. (2017, April 27). Foil Stamping Can Help Your Product Packaging and Other Materials Stand Out. Retrieved January 4, 2018, from http:// corcoranprinting.com/2015/04/27/foil-stamping-can-help-your-productpackaging-and-other-materials-stand-out/ Demographics. (n.d.). Retrieved Septemeber 26, 2017, from https://slochamber. org/supporting-businessdata-center/demographics

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Troitino, C. (2017, February 17). Kombucha 101: Demystifying The Past, Present And Future Of The Fermented Tea Drink. Retrieved December 12, 2017, from https://www.forbes.com/sites/christinatroitino/2017/02/01/ kombucha-101-demystifying-the-past-present-and-future-of-the-fermented-teadrink/#2321d99c4ae2 Tuck, L. (2015, August 18). Stickers on Your Laptop: The Status Symbol of Choice on College Campuses. Retrieved February 11, 2018, from https:// www.yahoo.com/lifestyle/stickers-on-your-laptop-the-status-symbolof-125765866038.html Werner, A. (2018, January 17). Printing Kraft Color [Personal interview].

What is UV or Ultraviolet Coating? (n.d.). Retrieved February 2, 2018, from https://cedargraphicsinccom/Green-Printing/UV-Coatings

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Phoenix Challenge Team

Pictured from left to right: Professor Malcolm Keif, Michaela Purcilly, Jillian Keplinger, Sonal Mecwan, Yasmeen Eid, Hana Zarea, Hope Mosely, and Alan Nguyen were all members of Cal Poly’s winning Phoenix Challenge team. The 2018 Phoenix Challenge Competition took place in St. Louis, Missouri in 2018.

The team competed against seven other schools. The Phoenix Challenge is a yearlong project in which students help a local company rebrand and market its business with materials using the flexographic print process and packaging technology.

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The Effect of Ultraviolet Light on Cal Poly Identification Card Ink Color ERICA TAYLOR Abstract

Every student at California Polytechnic State University is given an identification card, called a Polycard. In addition to serving as the student’s identification card, these cards allow students to purchase food, use printing services, and ride the bus. However, these cards have a tendency for the image to fade over time making it impossible to identify the portrait of the student. Assuming students eat three meals a day, every day of the thirty-three weeks

California Polytechnic State University

in a typical school year, that means that the cards are being swiped at least 693 times a year. The number jumps if students use bus transportation or printing services. These cards are expected to last students four years, but are not produced to withstand that amount of time. One of the suspected causes of the fade is the card use, as part of the student image comes in contact with card readers when swiped. The other suspected cause is exposure to ultraviolet light, as over time the ink could be bleached from sunlight. This experiment tested Cal Poly’s Polycard ink L*a*b* color while being exposed to light over time to determine if light was the cause of the fade.

Polycard Materials

Before the experiment could be set up, some background information was needed on the Polycards. David Bullaro, who prints the Polycards at Cal Poly’s Information Technology Services office, was able to provide a better understanding of how the Polycards are created. He also provided six sample Polycards with an identical stock portrait to be used to conduct the experiment. The Polycards are first made with a stock template that is mass produced by offset lithography, and later the Polycard service employees use a Datacard SD360 ID Card dye sublimation printer to customize ID cards for each individual student. According to Bullaro, “These ID printers do not use liquid ink; the colorant comes from a panel-style printer ribbon. Each ribbon panel is about the size of an ID card and we use a ribbon for two-sided printing. For printing the front of the PolyCard we use five panels: black, magenta, cyan, yellow and a topcoat. The back uses a black and a topcoat panel only. The ribbon type is YMCKT-KT.” The cards can be customized one at a time, or batch printed for freshmen to receive at orientation.

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From his experience, the customized areas, which include the student’s identification photo and name, are not as durable as those areas that are part of the original mass-produced offset printed stock.

Lining up the Polycards in the Cyrel exposure unit for the first twelve-hour cycle

Experiment Setup

In order to simulate ultraviolet light from the sun, the Polycards were placed under a Dupont Cyrel Fast exposure unit using Philips TL 80W/10R bulbs. This unit is typically used in flexographic platemaking to polymerize the plate’s surface before being run on the press. Plates not exposed with these short ultraviolet wavelengths are also more prone to pick up lint or dust particles due to the increased tack. Extreme care was taken while performing the experiment, as the plate exposure unit typically is used in sixminute increments. However, in order to test the long-term ink color of the cards, the Cyrel was used in increments of twelve hours.

Six Polycards were tested, each with an identical default picture printed by dye sublimation on Cal Poly base template cards that are mass produced by offset lithography. Three of the cards were laminated and three were not in order to test if lamination had any impact on the amount of fade. These cards each had a strip of

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ultraviolet resistant tape placed across the card, centered as a stripe through both offset and dye sublimation printed parts of the cards.

The idea was that this would measure the difference in the ink L*a*b* color with a spectrodensitometer from an area with tape compared to that without.

The Experiment

The Cyrel ran through two complete twelve-hour cycles and started a third cycle before the machine started making noises and the use with it had to be stopped to prevent damage to the exposure unit.

While the spectrodensitometer measured no correlating changes to the ink L*a*b* color measurement done on the base template printed with offset lithography, the dye sublimation area however, or the identification image custom for each individual student, was visibly altered from its initial condition.

No Laminate Exposed

Under Tape

-5.71

72.22

67.47

-4.75

-7.64

-4.6

-4.63

-7.61

-2.98

-14.8

-26.98

-12.18

-19.47

-23.25

-3.78

75.86

70.07

-5.79

72.75

63.77

-8.98

-2.7

-7.62

-4.92

-4.17

-5.32

-1.15

b*

-17.23

-26.67

-9.44

-18.35

-23.27

-5.4

L*

75.58

70.09

-5.49

69.79

66.27

-3.52

Card 3 a*

-1.85

-6.42

-4.57

-3.56

-5.71

-2.15

b*

-16.94

-25.4

-8.46

-19.89

-23.68

-3.79

Card 1

Exposed

Under Tape

L*

75.75

70.04

a*

-3.04

b* L*

Card 2 a*

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The spectrodensitometer calculated L*a*b* color, a threedimensional color space that measures lightness and darkness (L*), green–red (a*), and blue–yellow (b*). When L*=0, the color is the darkest black, while when L*=100, the color is the brightest white. For a* and b*, green and blue represent negative values while red and yellow represent positive values. In both the green– red and blue–yellow spectrum, a score of zero represents neutral grey. This definition can help understand the data above, as the exposed areas of the Polycard were clearly bleached and thus have a corresponding higher L* measurement, or a color closer to white.

Additionally, it was observed that the exposed areas also had a higher measurement of the colors green and blue, represented by the fact that the difference in the two measured color values a* and b* was consistently negative.

The numbers measured by the densitometer, particularly those changes between L* measurements, prove that the dye sublimation ink in the Polycards has a high tendency for fade from ultraviolet rays. Being located in sunny Central California, it makes sense that Cal Poly cards are more prone to bleaching during usage outside of the wallet. The ultraviolet rays definitely are a cause of fading in the ID picture. These numbers also show that there is relatively no difference between the laminated cards and those left unlaminated, which unfortunately means that lamination is not a quick and easy fix for Polycard Services to extend the life of the cards.

Problem Solving

When originally drafting the idea for this experiment, it was ideal for the Polycards to be left outside over a period of days to test real exposure to sunlight. Unfortunately, weather did not agree, as

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while being home in rainy Philadelphia for two weeks, the cards were tested outside with no visible changes. Additionally, another problem that arose was that the placement of the densitometer was done purely by sight and was not an exact placement every time. The same color would have to be measured from underneath the tape, in an area with no exposure, as well as measured in an area exposed to ultraviolet light in order to compare the two.

The area measured was the blue background of the identification image picture, as that was the same color in both the exposed and unexposed areas.

The Polycard fade is shown as a clear stripe through the sample stock photo

Future Changes

If this experiment were to be conducted again, it would be ideal to use a more accurate way to measure the same spot on the card for every measurement. Additionally, measuring after every six hours to see a more gradual change of the card fade would be beneficial.

Six hours is also less machine usage at one time and would put less stress on the lights.

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Another idea would be to print one color on the dye sublimation identification area, instead of an image of a person. Using one color instead of many would make it easier to measure changes in ink density over time and different cards could be printed with different colored squares to measure if certain colors fade more over time.

For this experiment, ink measurements were restricted to a light blue background only. In the future, measuring additional colors for fade would provide more useful data that could offer more of a solution. The changes in the measured a* and b* values make one suspect that red and yellow colors are more subject to fade, but further tests would have to be performed to support this statement further.

It would also be advantageous to test the durability of the cards to determine if usage and swiping has any additional contribution to the fade of the cards. However, after observing multiple cards, it is clear that the entire image fades together, not just the bottom portion of the pictures which comes in contact with card readers.

Unfortunately, due to the malfunctioning lights conducting further trials at this time is not possible to retest an improved approach.

Conclusion

This experiment tests if ultraviolet light has an effect on the fade of images and text on Cal Poly’s student identification cards. While usage and wear may also contribute to the noticeable fade, it is true that the sun is a cause to the bleaching effect, as shown through measuring the L*a*b* changes between areas exposed to light compared to those not. The reason that the green stripe on the card does not fade is because it is printed with offset lithography in bulk, while the customized areas like the identification image are printed with dye sublimation ink that are more subject to fade.

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Image fade on multiple Polycards due to UV exposure

References Bullaro D. (2019, January 2) Interview Regarding Additional Polycard Information [Personal Interview].

Keif M. (2019, January 17) Cyrel Light Exposure Unit Setup Consultation [Personal Interview].

Lawler B. (2019, January 24) Polycard Experiment Result Consultation [Personal Interview].

X-Rite Inc. “Expressing Colors Numerically.� A Guide to Understanding Color.

Pantone, 2016. PDF.

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Erica Taylor

Erica is a second year student at Cal Poly from Philadelphia, Pennsylvania. She first got the idea for this experiment in examining students’ polycards her freshman year, and she questioned why they were subject to fade after only being used for a few short months.

She did not get an exact answer, and her professors as well Cal Poly’s Information Technology Services office encouraged her to run tests to gather more knowledge on the issue. This project gave her the opportunity to gain hands-on experience with equipment in the department that is often discussed in her class lectures. Erica enjoys pursuing an active role in the Graphic Communication Department, and currently serves as TAGA Research Coordinator.

She hopes to double minor in Packaging and Media Arts in addition to her Graphic Communication degree.

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Creating Rouge, A Modern Sans Serif Font LEAH GILCHRIST Abstract

The purpose of this paper is to showcase the process of creating a typeface from conception to final product and the challenges that arise along the way. There are many technical details that need to be accounted for when creating a typeface and that are key components to the overall legibility of the characters and the readability of words and phrases. Some of the details of typeface design explored include overshoot and kerning. The typeface created is called Rouge. It is a modern sans serif font featuring small

California Polytechnic State University

swashes and low crossbars. Rouge was designed from start to finish in the span of ten weeks using Adobe Illustrator and FontLab VI.

Inspiration

Before beginning to sketch, information was gathered from websites like Pinterest, Behance, Creative Market, Linotype, and other typography websites. It was important to look at sans serif fonts that were similar to the idea of Rouge. When trying to differentiate between typefaces, it was clear that what really sets them apart is low crossbars vs. high crossbars, geometric shapes vs. condensed shapes, and stroke thickness contrast. It was also essential to look to see if the typefaces offered different alternate characters. A typeface sells much better when it has alternate characters and well thought out punctuation marks. An ampersand is a character of particular significance because it can either be rather simple or extremely complex. The ampersand ended up being one of the challenges of creating Rouge because it needed to be swashy but still a sans serif style. Creating an elegant ampersand is what inspired all of the swash details at the ends of some characters of the alphabet as well.

Process

As it turned out, the process of creating a typeface is not as simple as drawing letters and image tracing them in Illustrator. Creating a geometric sans serif requires extreme accuracy and cleanliness.

Illustrator’s pen tool was the only way to achieve this. After meeting with Cal Poly Professor Brian Lawler, the process of making the typeface correctly could begin. The first step was to get any ideas and visions onto paper. After developing the basis of what the font needed to look like, it was time to begin drawing in Illustrator. The

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majority of the the ten week project was spent drawing all of the glyphs and perfecting their final height and weight and the overall unity of the typeface. Once all of the glyphs were finalized, they were put into a program called Font Lab, which made them into a working font.

Preliminary Sketches

These are the original sketches made during brainstorming. The items of particular importance were clean lines and fun swash details on some characters. The hardest part of the sketching was making everything symmetrical and aligned. Looking back on the sketches, they evolved a lot once the ideas were taken into the computer.

Preliminary sketches of Leah’s typeface.

Drawing in Illustrator

The pen tool was used to create each individual glyph in Illustrator.

The glyphs were drawn with a 9-point stroke (0.01242 in. or 3.155 mm.) and then outlined once they were the ideal shape. After outlining, the curves and shapes of the edge were refined using the direct selection tool. The Offset Path tool was then used if a glyph

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needed to be thicker or thinner. One of the biggest challenges of designing in Illustrator was not having a lot of previous experience using the pen tool, so it took a while to figure out and get used to. The curves were the most difficult part to perfect and make seamless. To make sure the letters were the same size, rulers were used as guides for the cap height, x-height (the height of the lowercase x), baseline, and descender line. Overshoot was also accounted for while designing, which is the extra height given to round letters in order to make them look optically equal to rectangular shapes. cap height

x-height

baseline

Building the Font

Once all of the individual glyphs were drawn in Illustrator, they were transferred to a program called FontLab VI. FontLab has tools that are similar to Illustrator, but they are geared specifically toward typeface design. In FontLab, each glyph was assigned a proper name, had side bearings set, and kerning (the adjustment of spacing between pairs of glyphs) applied. Side bearings are the amount of space on either side of the glyph. They are important to allow space for the letters to breathe. However, some shapes do

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not sit well together and create too much whitespace, for example the uppercase “T” and lowercase “o”. In cases like this, kerning is required as it nestles the shapes of specific adjacent letters into each other. Kerning an entire font of glyphs is time-consuming and complex, as it requires the analysis of every possible combination of letters – no matter how unlikely their pairing might be. The result of this work is a kerning table embedded in the finished font that makes individual adjustments on hundreds or sometimes thousands of potential glyph pairs.

The font also has a number of ligatures – characters drawn together like fi, fl, ffi, and others. These had to be drawn, and then added to the font using a Python script that activates the ligatures automatically when they are used. Then the alternate letters were added with another Python script that will substitute them in context (when that feature is selected by the user).

Type fonts are extraordinary things. In addition to over 200 individual glyphs, they carry internal programming, ligatures for professional users, automatic character substitution, automatic

An example of kerning the uppercase T and the lowercase o

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character kerning, and optional Alternate glyphs that are available to the designer.

After going through all the glyphs, setting their metrics, and testing out typing words, the font was exported as an OpenType font format (.otf ) and installed.

Challenges

The primary challenge was the actual design decisions made during the process. In order to create a font with visual appeal, all of the design decisions had to be considered. From the x-height to the slant on the lowercase t, there are many details that were challenging to make a decision on. Issues also arose when creating curved shapes. Drawing symmetrical curved shapes with the pen tool was extremely challenging. After testing different methods, the best results came from beginning with an already symmetric circle and using Illustrator’s Pathfinder tool to create the glyph from there. Pathfinder allows vector objects to be merged or divided, to remove parts using cookie-cutter-like elements, and similar tasks.

Another challenge was the ten week timeline. The decision to design and build an entire working typeface in the span of ten weeks was quite ambitious. It was important to set a strict timeline and stick to it in order to completely finish the project in ten weeks.

Learning Outcomes

Throughout the ten weeks, I discovered how the skills I learned over the last four years at Cal Poly could be applied to typeface design. The lessons I learned from an Advanced Digital Typography

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class were the most applicable. I also learned there were small typographic details I was not already familiar when starting the process, such as the placement of the colon or that the lowercase “t� is not as tall as your ascender height. I am grateful to have had Professor Brian Lawler coach me throughout this process. I am pleased with my advancement of my typographical knowledge, as well as my technical skills in Adobe Illustrator. FontLab was a completely new program for me to learn as well and I loved working with it. Overall, I exceeded my own expectations for this project and I cannot wait to create another typeface.

References Designing Type, Karen Cheng, Yale University Press, 2005; ISBN 978-0-3001150-7 Donegan, L., Graphic Communication Department Professor at California Polytechnic State University San Luis Obispo, and Professor of Digital Typography, GrC 318.

Lawler, B., Graphic Communication Department Professor at California Polytechnic State University San Luis Obispo, and Professor of Advanced Digital Typography, GrC 322.

The Modification of Letterforms, Stanley Hess, Art Direction Book Company, 1972; ISBN 0-910158-03-7

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Leah Gilchrist

Leah Gilchrist graduated in December 2018 from Cal Poly.

She was a Graphic Communication major concentrating in Design Reproduction Technology and minoring in Integrated Marketing Communications. She now works at Behr Paint as a Graphic Artist in Orange County, California. In her free time, Leah enjoys learning new skills such as cooking, hand lettering, and embroidering.

She also loves taking on freelance projects to express her creativity outside the parameters of school projects or office settings. Since she was young, Leah has always loved expressing her creativity in many different ways. Typography has always been an area of design that has resonated with her. As a designer, her favorite thing to experiment with is type and color. Leah’s fascination for typography inspired her to create her own typeface as her senior project.

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Meet the Team

California Polytechnic State University

Lauren Helms President

Lauren Helms is from Santa Cruz, California and is a fourth year Graphic Communication (GrC) major at Cal Poly San Luis Obispo. She chose to major in GrC because of her passion for graphic design, packaging design, and brand development.

She is concentrating in Graphic Communication Management and minoring in Packaging as she hopes to work in a project management role within the packaging or printing industry.

In her free time, she enjoys going to the beach and hiking with friends. She also loves traveling internationally and is looking forward to going to South East Asia for the first time this coming summer. In her role as President, Lauren has learned valuable leadership, responsibility, and time management skills. Above all, she has learned what it means to be accountable to others and to have people relying on her actions. She is proud of her team’s accomplishments and how cohesively they were able to work together this past year to create their journal. She knows that their time in TAGA has helped prepare them for any future endeavours.

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Nicole Cullop Vice President/Treasurer

Nicole Cullop is a fourth year Graphic Communication major from Denver, Colorado. Since moving to California’s Central Coast to attend Cal Poly, she has taken advantage of the year round warm weather by staying outdoors, either hiking or going to the beach. Nicole chose to attend Cal Poly for its prestigious Graphic Communication program where she concentrates in Graphic Communication management. Nicole hopes to pursue a career in product management, sales or marketing. As Vice President of Cal Poly’s TAGA chapter, her role includes handling internal affairs, managing both funds and student coordinators, as well as overseeing the journal from ideation to output. Nicole is excited to debut the final journal at the 2019 conference after seeing the amount of effort put in this year.

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Kayleigh Macdonald Production Coordinator

Kayleigh Macdonald is from San Jose, California. She is a Graphic Communication Major with a concentration in Graphics for Packaging and is minoring in English. For fun, Kayleigh enjoys writing, singing, and spending time with friends and family. After graduating, Kayleigh hopes to pursue a career in file preparation and project management. On the TAGA Executive Board, Kayleigh served as the Production Project Manager and was responsible for scheduling all production runs as well as coordinated donation and outsourcing options with service and product vendors. Kayleigh’s favorite takeaway from being involved with TAGA was the opportunity to meet the club and executive board team as well as developing real-world experience in the print industry.

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Ana Gonzalez Marketing Coordinator

Ana Gonzalez is a third year Graphic Communication student from Lompoc, California and is concentrating in Graphic Communication Management. She loves learning about management and the printing technologies as she continues her education at California Polytechnic State University. In her free time, Ana enjoys reading articles about flexographic, offset, and packaging innovations emerging in today’s market, as she hopes to pursue a career in management for the printing and packaging industry. As Marketing Coordinator in TAGA, she leads a team responsible for fundraising and maintaining the club’s social media platforms. Ana’s favorite part of TAGA is being able to work in teams and seeing club members develop their skills, from design to leadership and decision making.

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Jessica Rose Digital Coordinator

Jessica is a fourth year Graphic Communication major, concentrating in Web and Digital Media and minoring in Integrated Marketing Communications from San Diego, California.

Over the course of her time at Cal Poly, she has become passionate about web and mobile design. She hopes to pursue a career as a UX Designer after graduation. In Jessica’s free time she likes hiking, going to the beach, traveling, and photography. As a second year, Jessica was involved in TAGA as a digital team member. However, as the Digital Interaction Director, she has gained valuable leadership skills from working with this year’s digital team to create our TAGA website and videos. Jessica is appreciative of all she has learned through TAGA, and for the hard work from her teammates.

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Erica Taylor Research Coordinator

Erica Taylor is a second year Graphic Communication major with a concentration in Design Reproduction Technology. As the Research Coordinator for this year’s journal, she worked with professors and students within the Graphic Communication Department to gather student research papers. She is from just outside of Philadelphia, Pennsylvania and has been a member of Cal Poly TAGA for two years. Her hobbies outside of working on the TAGA journal include painting, exploring San Luis Obispo and the California coast, and flying her drone. Erica aspires to eventually work designing marketing or promotional materials for products. She especially enjoyed working with the other TAGA members, increasing her knowledge of the different equipment in Cal Poly’s Graphic Communication Department, and taking advantage of the “Learn

by Doing” motto.

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California Polytechnic State University

Hannah Nguyen Design Coordinator

Hannah Nguyen is a third year at Cal Poly and is from Sacramento, California. She is majoring in Graphic Communication with a concentration in Design Reproduction Technology. When she is not busy working on projects for school, Hannah enjoys spending her free time with friends, enjoying the outdoors, and going to live music shows. As design coordinator, her responsibilities included leading a team through the ideation, creation, and refinement of the technical journal. Her favorite part of this project was being able to apply design principles to a very technical and educational project.

In the future, Hannah hopes to pursue a career in graphic design or brand identity development. TAGA has given her the practical tools needed to take something from an idea to a finished product, something that will definitely assist her in her future professional endeavors.

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Abigail Wilkins

Aileen Vasquez

Cindy Do

Keagan Scott

Luis Correas

Ava Chen

Claire Sum

Maya Jain

Bruce Benjamin

Jason Foster

Michaela Kwan

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Colophon Design

This journal was designed using Adobe InDesign and graphics were made using Adobe Illustrator. The text face is set in Adobe Garamond Pro. Captions and headers are set in Brandon Grotesque.

Production

All work was comepleted under the guidance of Cal Poly Graphic Communication Department faculty Brian Lawler and Peter Schlosser.

The cover stock used was New Leaf Matte White 270 gsm Cover. The text stock used was Verso Futura 118 gsm Matte Text. The divider stock used was Neenah Astroking Plum Tree 352 gsm Satin Cover.

Files were printed using EFI’s Fiery Command Workstation and the Konica-Minolta C1100 digital press. The cover and divider pages were digitally enhanced on the MGI Jet Varnish 3DS with iFoil. The divider pages were debossed using the Heidelberg Windmill. The deboss dies were cut on the Kongsberg X24 iCut Table then adhered to maple wooden blocks. Counter-dies were made on soft illustration board.

Finishing

Substrates were cut to size using the Polar 92X Cutter, and the journal was perfect bound using the Duplo Binder 280.

Electronic Publishing

The Cal Poly TAGA website (calpolytaga.com) was published using Wix.

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Technical Association of Graphic Arts 2019

Acknowledgments The 2018–2019 Cal Poly TAGA Student Chapter would like to thank the following people for their help and generous contributions:

The Cal Poly San Luis Obispo Graphic Communication Department, specifically: Professor Brian Lawler, Chapter Co-Advisor Professor Peter Schlosser, Chapter Co-Advisor Dr. Ken Macro, Department Chair Eric Johnson Robyn Burns

Sponsors and Supporters:

Cal Poly Alumni Association Sponsors and Supporters Brian Lawler, Cal Poly GrC Malcolm Keif, Cal Poly GrC Kevin Cooper, Cal Poly GrC Paul Cousineau, Dow Jones and Company Trevor Schroeder, Hewlett Packard, Inc. Kristen Minlschmidt, Hewlett Packard, Inc. Eric Wiesner, Hewlett Packard, Inc. James Sidhu, Hewlett Packard, Inc. Pacific Printing Industries Association Printing Industries Association, Inc. of Southern California Konica Minolta MGI

Thank you

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California Polytechnic State University

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