Informed by recent research and a format change these images show the finalised spreads, an emphasis on white space and bolder typography places the publication more within the art book category. This appeals more towards the target audience and further highlighting the images as pieces of art and all together an object of intrigue. The previous designs had more of an emphasis on the boards being shocking and dangerous. This remains yet the beauty of the borders has been highlighted. Instead of using the Timmons NY typeface designed by Matt Willey for The New York Times a more simplistic Univers has been used. This ensured more subtlety in the work and emphasises the imagery and content. Inspired by the work by OK-RM studio as well as Experimental Jetset the large use of Helvetica horizontally ensures clarity in the communication of each border. The size has been informed by the Nambia & Zambia & Zimbabwe & Botswana, this is the largest the type could be too try and emphasis these interesting borders.
The cover has been designed again to emphasis clarity, the description has been wrapped around to act as a border in itself. This is a simple design decision that clearly relates to the content. The communication of the cover was as inline with the contents possible.
Overall the change in layout reflects the content on show. I felt I should approach the designs as if I had not put the images of copy together and tried to act as a fresh pair of eyes. This shows how experimentation is so key in the design process before I was satisfied but I knew it could be extended so this is what I aimed to do.
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