OUGD504 - Type In Context - Final Mock Up?

After finalising all of the designs, creating another mock-up to see how it was all coming together seemed a useful thing to do. Printing the front and back covers white a grey coloured background would allow me to see how it would look when printed on grey stock. The first consideration straight away was the space between the A of Alphabet and the spine of the book, making sure the type is centralised is important to keep up clarity. In a Indesign workshop I asked the technician about how I should go about printing my book as the use of A5 sheets became very complex and hard to get your head around. He showed me how I would set up my document for proffesional printing production. 

This gave me another opportunity to test out my binding technique in order to make sure when it comes to the final book it is done right, and to a high level. As the paper stock for this mock-up was rather thin that the stitches sometimes ripped the paper, for the final booklet the paper would be thicker and this would be less of an issue. 

This tester also gave the opportunity to see how the introduction read and if the images quality would be able to be seen. Overall the communication and levels of quality remained to the level needed. The choice of typeface for the copy is Doves Type, this typeface is an example of found typography in itself. The intricate serif's fit with the Orkney target audience as well as the unique nature of the type relating to the typographic demographic. 

Readability is key for this page and the type size is appropriate to the page size and is considered and appropriate.

The mock-up gave me another opportunity to see how the binding would read and lay flat, this is similar to the previous mock-ups but is important to see the overall effect on the publication with the use of the custom typeface. The communication has been improved but the type doesn't take away from the images instead works alongside them.

The map page also seemed a great success it broke up the information of the publication nicely and related to the context of the rest of the content. This also allowed for less blank pages, printing this on the right hand side page meant that the embossing of the A letter on the right would still be clear and readable. 

This double page with my B and C photographs as well as my descriptions showed my new use of type and how it reads across a double. The slug of the text on the right-hand type didn't seem to be in line but this wasn't so much of an issue. This is another great example of how the neatness of thread can really help the publication look much more clear and appropriate.  

The opposite page in my publication to the map (the back of the Z photo). This page much like the map page needed some kind of content to break up the information. Speaking with my tutor he suggested creating a brief summary of, who has designed and written the book (me), the typefaces used and so on. This is a design feature seen in many type and design books so the reader can gain further information on the publication. 

The final photograph of my Z letterform along with the description. This page initially was not printed correctly and the Z description was on the back rather than on the page shown here. This is a key example of how creating mock-ups identifies problems that are unclear on screen.

This final spread for my back cover features the Orkney pangram, printing and binding this is key as it is unclear on screen how it is going to look. The thread of the binding runs along the middle of the page, the clarity of the type was key I was worried that this would be unclear when bound but the type is still clear and the communication is the same.

Once again printing and binding a mock-up identified problems when putting together the book some of these problems were only apparent after the book was printed. 

OUGD504 - Type In Context - Finalising designs.

As part of the front cover the Coptic stitch binding means that the over must be a folded signature. In the double page it seemed appropriate to give the reader some introduction into the context of Orkney and to some of the inspiring and fascinating things on offer on the islands. These illustrations above shown some of the most iconic things from Orkney. Using the same brush strokes as my type and maps too keep the consistency throughout. These would then formulate an introduction into the book.  

The image above shows the final double page, the illustrations work in the context of the book and give the publication a different and more playful dimension. 

As this is the front pages double-page the back pages double-page is something else to consider. Speaking to my tutor on what could feature there he suggested using it to show of the custom typeface and create a small type specimen. Creating an Orkney specific pangram would allow this page to appeal to both the typographic demographic as well as people connected to Orkney or just visiting. 

Using a puffin and a seal instead of a fox and a dog connects the pangram perfectly to Orkney. The layout of the typography is key as it needed to engage people with interests in typography. The illustration adds to the playful aspect of the book, hopefully making the book more engaging to a younger auidence. 

OUGD504 - Type In Context - Finalising Designs

Using my own typeface for the descriptions seemed to transform my descriptions, the type shown not too large as it would take away from my photographs, using a consistent size and grid throughout to keep up high clarity of communication. The book seemed in a way to design itself, all that was needed was to keep the designs in line with the rest of the publication and to remain engaging to the target audience. 

OUGD504 - Type In Context - Finalising designs and descriptions.

After creating some mock-up testers my understanding of how the book read was much more considered. An area that was highlighted through feedback was the double page after my A letter. Me and Nick spoke about how creating a map of the islands for this section would break up the publication somewhat and make a more complete reading experience. Using the same brushes as the custom typeface to keep the work consistent. 

The map with each of the appropriate locations. Using the custom typeface and drawing a compass.

Using a smaller map of Britan better showed for people that don't know were Orkney is. Reshuffling the different components of this page to make sure everything was clear readable and enaging. 

OUGD504 - Type in Context - Cover ideas and typeface

At this point in the project it seemed okay to begin designing, started simply using a typeface that is engaging and typographically interesting, the NW01 typeface designed by Matt Willey. Experimenting with colour and the layout of type. The composition worked for the context and the information was clear but it seemed to take away from my A letter form and didn't work together with the images. 

With the description pages the typeface choice would be key to the communication and not taking too much away from the photographs as they are the key feature of the publication. Using a different type for each letter gave me an overview of what might work and what definitely didn't work. Although some of these type choices felt appropriate to the context of the book it didn't feel right and an alternate option was needed. 

An area of this project that could really raise the levels of engagement was creating a custom typeface. This seemed an impossible task but after a lot of thinking about what each of the letterforms would look like the drawing began. 

As there was no typeface that fit my target audience of type enthusiasts and people visiting/interested with Orkney, creating an original typeface felt appropriate. Thinking about each letter starting with the A then imagining what each of the rest of the letterforms would look like alongside this A. Drawing three sets of A-Z's meant I could try and make each letter different then pick the best of the three when drawing the type out. The concept of the type is a modern ruin, that would relate to the Viking culture of the island but work in conjunction with my letterforms. Making sure the typeface didn't overpower the rest of the work as it didn't need to be the focus. 

Using a more complex brush in Illustrator added an extra level of detail to the type. Drawing carefully each of the letterforms to make sure they communicate exactly what was originally intended. This process seemed as if it was going to be really time-consuming but it wasn't the case. When in the swing of things the typeface seemed to be made in no time. 

Experimenting with the various length of strokes by stretching out the type showed the type as more traditional Viking-like runes. This however took away from the detail in the type so was not as effective.

As the title was the main communication to the viewer seeing how the type would work as this was key. Making some minor adjustments to the stroke size and composition increased the readability and clarity of the information. All in all this type worked perfectly for the target audience and added another level of engagement and invention to the project.

The name 'Orkney Alphabet' was another part of the book that worked excellently, the word Orkney is key as this straight away shows the context of the book and alphabet shows what part of Orkney that will be explored. 

Experimenting with the type on the cover in context with the cover image allowed me to see what the final design would look like. The green colour I selected as it realted to the naturalistic theme in the book felt much less appropriate. As printing white is not possible in the print room to use the white colour for type that was originally planned didn't seem appropriate. Using a simple off white grey with black type seemed to communicated the name of the book much more effectively. 

OUGD504 - Emailing about Behind the Zines

After emailing Gestaltens press team about the production of their book I was forwarded to the Production Manger - Vincent Illner. Unfortunatly he too couldn't awnser my question on the binding method as the book was printed not in there printers but in Asia. Overall this emailling has been somewhat disapointing but it has been great to contact outside proffesionals and see that the coptic stitch is possible for large scale production. 

OUGD504 - Type In Context - Behind the Zines: Self-Publishing Culture

In convocation with Simon Harrison I showed my recent mock up using the Coptic stitch binding and spoke about how my work was going so far, I explained that as I wanted to Coptic stitch my book that this wouldn't be able to be done in commercial print. Simon said that this isn't necessarily true and pointed me in the direction of this book in the Library and how it had been bound in a mass produced system. 

The coptic stitch binding has been done to an amazingly high level, each thread is incredibly tight and seems as if it is has been done by machine, hand Coptic stitching would take a ridiculous amount of time, effort and more importantly money. 

What this coptic stitch allows is the images to lay flat, this is very useful for the reader and designer as nothing is lost in the margin which is often a problem in the way books are made. These images above show the way this book can lay flat. 

The cover has been cloth bound and foiled and embossed, there are many limitations with Coptic stitch and creating hard back books is included in this. This publication has stuck on the cloth bound cover to the original cover.

As this binding technique is central to my production finding out how it has been done here for my project is useful. Emailing Gestalten (company that has printed the book) about how they have gone about this process and the limitations of time and cost will be useful research.