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.
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