OUGD504 - Type In Context - Final book & Binding

The final printed and bound book! 

 After a wealth of research, experimentations and mock-ups at last my final book bound printed and embossed! 

As this project draws to an end analysing my final results will allow me to improve my design practice and production in the future. The first thing to point out is that it is had to see just from photos the overall quality of the publication especially the embossings and debossings. The A here for example to touch has a embossed cover, this communicates the image very differently and must be considered.

Something that is apparent on this image but is only really an issue on the cover, the image has been slightly obscured by the paper, especially on the corner of the stone where it has been embossed the paper has rubbed a way slightly. I am unsure whether this adds or takes away from the designs, it is as if the image has been discovered on a beach and the paper has been slightly eroded away by the water. Or it could be considered as taking away from the image.

Binding and Type on the Cover

This image shows my type on the cover and the consistency of my binding ( that took eight hours by the way!). On my mock up I found the type was too close to the edge and the communication of the title was off, this shows the use of making a mock up as often as possible and for my book to binding the mock up to ensure I was aware of any design considerations and limitations. 

Coptic stitching four other books before this one ensured that the stitches would be the same and that the book would hold together!

Type and copy

The use of Doves type for the copy and the type size and layout was vital in clear and concise communication of my content. The type relates to both my target audiences of Orkney visitors and Designers it is interesting and subtle in its detail but doesn't take away from the content of the publication. With the binding this page would have the knot to tie the book together, this has been cut neatly to ensure the communication is not interrupted.

Map and back of 'A' embossing.

This image shows the first example of my embossing from the back, the clarity of the letterform was something that initially didn't cross my mind, it is evident here that the blank pages were not at all a problem and that these clean and simple pages are some of my favorites in the book. It shows if the reader didn't notice the detail and effectiveness of the embossings.  The map as well has not been changed even though it has been soaked in water. The communication is clear. 

Picking a description stock and communication of letters.

When picking the stock for the descriptions the size of my book was considered as the embossed pages needed to be on a thick stock it came naturally that the stock needed to be light and thin. This 90 gsm paper is the thinnest on offer in the digital print room so therefore is the most appropriate. If this book was to be commercially printed using a slightly off white 90 gsm stock could be an effective solution. The communication of each letterform has been enhanced by the choice of stock, the use of the custom typeface, the quality of the copy and use of a simple typeface. 

It is not quite evident here but the way the embossings have made the images much more three dimensional really adds to the tactility of the publication. Ontop of this not taking away from the images and there quality and intrique as just photos.

These three images show the embossings back pages and how they have transformed the blank pages from something that takes away from the publication to something that can be enjoyed interacted with (touched) and make the book more engaging. This embossing without and image is a design feature that would appeal to the typographic demogrphic the book is part aimed at. 

As some of the images lent themselves to being debossed rather than embossed this image above shows the difference between them. This is another level of detail that could be overlooked but for more engaged readers is another way of making the book more interesting. 

As with any book there are some design elements that didn't really go to plan this image highlights almost all of them. 

• The type of this spread should be on the other page as it is in the way of the embossing. Takes away from the clarity of information.
• The borders of the embossing plate is on shown and is not consistent throughout the publication. 
• When binding there was a massive knot in the thread so it had to be cut and retied. This is something that is not uncommon with Coptic stitching. 

All these small details are things that could be changed easierly and just take away from the overall communication and quality of the publication. They are not however that bad and the book is still succesfull with them.

These two images show the final back cover and how this differs from the front cover, the type specimin is another interesting design feature and fits alongside the rest of the publication. However the centrally aligned type is not consistent with the rest of the book and could have been changed.

The final design feature to highlight with the finished publication is the size, in my mock-ups I was aware that the size was not really represented and the finished publication would have much more weight and depth to it. This is a feature that really puts the finishing touch on the book, it has much more presence about it and feels much more professional and substantial. Hopefully, in theory this book could be enjoyed as a coffee table like art book as well as taken to the Orkney's and read while in the landscape.