OUGD504 - Type in Context - Coptic Stitch Mock Up

 

As the coptic stitch is complex and takes a higher level of time and concentration than other binding techniques it seemed important to test it out. This would hopefully help me gain an understanding how the publication would read, of what might go wrong, how the pages would lie flat, how the inserts are read, any issues with finishing and the overall effect of the binding in relation to the concept and target audience. 

The first thing to point out with the cover is my idea of using a half page, this would keep the cover consistent with my publications descriptions as well as showing the first image of the A letterform. As part of the stitch the cover has to be made of its own signature like every other page this means that the are two pages instead of one, the design then would have to fit into this. 

Using the middle of the spread for an introduction into the book, including a overview of the concept, this could include as an idea a map of the islands. 

This idea of using a double half page for this introduction allows the reader if needed to gain an understanding of the context of the images and hopefully set the scene. This image also gives me a chance to show the tying off for the binding, this technique will have the tired off thread on this double insert and the double insert at the back of the publication. 

On the next page of this cover  will feature a description of A this would allow the reader to straight away get a feel for the project. At the moment with this A the text is not centralised so when the time comes to design this needs to be considered.
Due to the binding each page lays flat this was a design feature that needed to be included. 

With the double image spreads the insert allows a range of forms of reading the information and looking at the images. The images above show these different forms. In terms of how practical the book reads this mock up has shown me that the communication of the type is clear and the inserts make for a more interesting read. The four different images show how the B for example can be looked at with and without description as well as being able to look at both B and C together. This extra level of interaction for the viewer will hopefully keep the book entertaining. 

Every double page of letterforms would be followed by this double blank page but would have the backs of the embossings on show, in convocation with Simon Jones we spoke of the importance of a interesting paper stock and the use definitely of off white paper to make sure the reader remains engaged and doesn't loose interest. Testing paper stocks for embossing, printing and paper quality will be key for these pages. Subsequently the paper for the insert pages will need to be a effective contrast from the full page stocks. Thin paper is key as when using many inserts the binding side of the publication would be much larger than the opposite side. 

With the binding when threading the book making sure each thread is in the same direction will allow each stitch in the chain to look consistent and neat. Pictured here is a missed out a stitch, this mistake is a good thing as learning to check every time signature is finished, this will ensure the correct quality stitches each time. The image above shows how the lack of a stitch means one part of the binding is incomplete. 

Much like the cover the back page would include a double cover with the final page description of Z, a conclusion to the book and then a back cover. This paper stock needs to match the cover to remain consistent. 

In relation to the target market and making the designs appealing many times in the research into projects relating to the typographic community there has been production features that make the work individual. This binding fits into that category. The Orkney target market may not understand the binding but the design community will and this is whats key. 

Overall the binding works with the concept and my content. This did take a extra level of time and effort but its worth it as the book looks different and intriguing. This binding has many useful features as well as limitations that have to be considered and used as part of my designs. Experimenting again will be important with this technique after designs have been thought out a more. This will give an even further level of understanding. The key for this design technique is taking your time and not being worried about having to start again and backtrack in the stitching.