It has been highlighted that designers are feeling nostalgic about the process of Letraset with Unit Editions, Adrian Shaughnessy and Michael C Place all showing an interest which is great timing for me. These would be great professionals to contact in order to gain further advice and exposure.
The most problematic area of the calendar is where the tonal variation is too dark so the user is unable to write on it. After trialling other production methods such as tracing paper and stickers (even Rizla) to overcome this, it became apparent that maybe my calendar was fulfilling a different purpose.
The original objective was to create a functional calendar, however listening to feedback and experiences whilst testing the calendar, it seems my calendar is serving an aesthetic function which is tailored towards a design conscious audience.
Speaking to Alec made me realise that offices and studios always have a calendar however they rarely use it. Although the calendar may not be used, it still has an aesthetic purpose to look good on the wall. If the digital calendar is so relied upon their isn't much point in trying to fight it, instead I am fulfilling everything digital can't through print.
The title section still needs professional consideration -
Used the brackets to illustrate the moon's gibbous and crescent containing the year 2018. This unites the title and creates a clear focal point for the audience. I created a key for the user to translate the tonal variations using terminology of the moon and specifying the half toning values. A design conscious audience will (should) understand this jargon.
To progress:
Start thinking about colour and stock
It is important that I get the completed calendar out into the world before the end of the year.
Now time to think about the process and production
Stock
Screen print
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