Format Amendments - Studio Brief 03 - OUGD504

As finding a layout that works well has been deemed as somewhat of an impossible task due to there being too much room on a standard size publication. The next logical step to take is to consider a smaller page size to make the content fit more appropriately, as a picture and block of text on a 2 page spread just leaves too much space across 9x6" pages.

180x115mm < Units taken from existing publication:

Classed as a Mini book, Alphabet Logo by Counter-Print is an excellent example of how much content can be utilised in such a small space, yet still have enough white on the page for the content to breath, instead of too much room around it (When in a 9x6" format).

Specs:

Canons of Page Construction - Studio Brief 03 - OUGD504

De Divina Proportione - 'The Golden Ratio'.

a to b = 1:1.618

a+b to a = 1:1.618


A harmonious mathematical proportion that is supposed to provide a 'pleasing visual effect'.




Specifications:
The golden section of 100cm / 1.618 = 61.80cm
100cm / 1.618cm = 61.80cm
100cm = 61.80 + 38.20
the ratio of 61.80cm to 38.20cm is 1:1.618

Within application:

As you can see from the very simple example, the effectiveness of the golden ratio is somewhat successful in providing a nice bit of white space for the text breathe on the page. However, the use of any grid which uses units and increments of 'x' will render a successful layout, it's the use of common sense and logic that creates a successful layout.

Van De Graaf Canon

Van De Graaf was formed on the basis that ancient texts had a tendency to follow the same rule in terms of border size and text block size.

It is a good way of establishing a grid using unusual diagonal lines to which intersect and where they collide, the text box/margins are made.

Print Finishes - Study Task 03 - OUGD504

Print finished is one of the most important design decisions you can make, it impacts every other decision you make so it is crucial you establish an idea of the finish you with to use before making choices on colour etc...

1. Foil Stamping

Foil stamping or simply foiling is a process that uses metallic or pigment which is placed over an element on the page to give it a reflective shine which cannot be achieved using standard printing techniques. This can be combined with embossing to create an even more effective result.
2. UV Varnishing

A UV varnish enables you to create a glossy/matte effect over the page. It can be applied to a certain part of the page or over the entire page for use as a coating without adding too much weight to the existing stock. This process is more commonly used for magazines.

3. Fluorescent Inks

Very similar to UV spot varnishing, this is a precess which uses a spot colour which is printed separately to the rest of the colours in the professional printing process. This is something which is commonly applied through the use of screen printing when the product that is being made is not mad produced.

4. Scratch'n'Sniff (Fragrance Burst)

More often used in magazines, the sue of a fragrance burst which is heat activated by using your finger nail to scratch is a clever way of engaging a consumer into receiving the communicated message through the use of another sense other than sight.

5. Thermochromic 

This involves the process of a special paint which is applied to the subject matter which, when heat is applied, leaves an imprint which disappears when it cools. This is an especially clever way of increasing interaction and gives that personal feel to whatever it is applied to.

6. CMYW

This is something which can be accomplished with a simple laser printer but instead of the traditional CMYK, the black is replaced with white. This enables the ability to print onto dark surfaces and allows you to achieve a pure white without having to print dark ink onto lighter stock/fabrics.

7. Laminate

Laminating is also similar to UV varnishing, except is allies more to the whole of the page rather than just a certain spot. This enables you to have one side of a piece of stock glossy or matte without the use of multiple stocks. Especially effective on business cards.
8. Embossing

Embossing is fairly commonplace in the printing process. It uses a plate which is pressed into he paper which causes it to rise creating a physical contour within the paper. Like in the above image, it can be combined with a UV spot varnish to enhance the raise in the paper.

Blogging Correctly - Study Task - OUGD50x

'Removing myself from blog posts' - To start writing in the third person, rather than the first person.


Task 1

Fixing blog post: "Product Box and Manual - Studio Brief 02 - OUGD504"

Before:
"To apply my designs to actual products I wanted to create packaging for the MIDI controller as well as a manual.

By using the same Pantone colour from the logo, I was able to match up using the palette I saved earlier. I wanted the box to be simple and reflect the design of the product, so I went for a single colour and a subtle gloss varnish for the type and logo.

The instruction manual is of similar finish, but rather than the type have a gloss finish, it is only the logo that does. The paper that would be used is of a matt finish to compliment the gloss varnish throughout the packaging."

After:
"To apply to final logo designs to actual products, choosing something that can be applied in industry was crucial. So packaging for the MIDI controller as well as a manual was a basic choice which is necessary for the product to become a consumer friendly, sellable piece of merchandise.

By using the same Pantone colour from the logo, which was recovered by using a palette saved for this specific brief to ensure consistency. The box needs to be simple and reflect the design of the product, so opting for a single colour and a subtle gloss varnish for the type and logo does just that.

The instruction manual is of similar finish, but rather than the type having a gloss finish, it is only the logo that does to ensure clarity for the consumer. The paper that would be used is of a matt finish to compliment the gloss varnish throughout the packaging."


Task 2

Identify a change that was made purely from personal preference and alter it to have an objective meaning.

Before:
"Expanding on the idea of the utilisation of the shape, I added text to see where it could go, but I find the logo too distracting from the text, in other words, too complex, I need a simpler shape."

After:
"To expanding on the idea of the utilisation of the shape, added text gives the consumer a clearer idea of what the product is, however the icon is too distractive from the text, in other words, too complex, a simpler shape will be required to represent the product more appropriately."



What is the difference between the following types of writing:

Describing
Analysing
Evaluating
Contextualising
Theorising
Narrating


Task 3

Summarising and evaluating:

"The use of Arial Rounded compliments the logo's soft edges. I was able to incorporate the overall aesthetic feel of all of the logo's elements by combining the rounded strokes within the type that was used. This is especially effective as I'd originally intended on representing the product and its circular elements which has been accomplished.

Finishing Research - Studio Brief 03 - OUGD504

I have researched on the internet what current publications use the technique of wooden casings. Additionally focusing on books with the use of laser etching into the wood and also the binding used to keep the wood attached to the text block, something of which I must establish before binding my own book.





The possibility of being able to bind the wood corner to corner like in the image to the left is greatly reduced by the size of my finished book. As I have 26 images, and plan on using a 2 page spread for each image and its annotation, I doubt that the thickness of my text block will allow me to do such a thing.







This is a prime example of what I would like my finished specimen to look similar to; it features the use of wood (without a spine) and laser etching.






The use of a this stained wood exudes a certain sense of exclusivity and quality. Something of which I would like my own publication to communicate through its aesthetic.



It's binding technique, something of which is unknown to me looks like a great way to bind my own as it will probably be about the same thickness, and will still encompass a sense of overall thickness whilst still having a slight amount of portability and convenience.



As you can also tell, the thickness of the wood used does not effect the way the book opens by any means. However, I am baffled as to how the author of this publication has binded the text block to the thick string which is wrapped around the wood and inserted onto the front and back of each side of the casing, but there is no hole on the other side of the front cover, so whether he has simply drilled a hole halfway through the wood and hot glued the string into place is somewhat of a mystery to me.



To answer my question on the binding technique used within the book I will have to go to the bookbinding workshop and ask someone with a bit more experience that will possibly know who it's done.






The following three examples are portfolios which have been blinded using piano hinges and three small screws. This could be something I could use for my own final publication to attach the thicker string (Shown above) to the wood using a shallow screw with a large head, rather than using any glue? or drilling any holes.



Using screws would give me the leeway of being able to fine tune the tightness of the bind, being able to adjust it will allow me to ensure that when the book is opened it wouldn't be putting too much strain on the stitch.



Notably focusing on the etch within this piece, I really like how the author has made the lighter wood contrast between the burned logo.



This book made on the Helly Hansen annual report is a fantastic example of using wood and maintaining that 'perfect bound' feel of a book.



I particularly like the staining of the wood on this one the etched logo really compliments the darkness of the wood and emphasises the important aspects of the front cover, that being, the logo.



The binding technique used looks to simply be perfect bound, the bind I used for my mockup, however, unlike all of the other examples in this post, it uses fabric to keep the case together. Something of which I could do to keep things as simple as possible yet still have the wood exposed. However, having said this, I feel a coptic stitch would look more relevant to the concept, that being industrial.








This notebook is to another extreme compared to the other examples, I hadn't really thought of using thicker wood before seeing this example. I think it really compliments the simplicity of the bind, which looks extremely complicated in the image below of the book opened were the spine is exposed.



I feel that this will only over-complicate it for me. As I am still fairly new to binding, I would rather not run the risk of my publication not working out the way I wanted it to purely for aesthetic reasons, and not try justifiable ones at that.


To sum up, I have discovered a new binding technique I wish to execute: The coptic stitch bind. I think this will be the best idea as it more forgiving on the wood. Although this is subject to change and development if I can eventually find out what stitch the 0.01% book used and go for that finish instead.

Binding Mock-up - Studio Brief 03 - OUGD504

To ensure that fully understand the case binding process, I am going to execute a few attempts at creating one using cheaper materials than what I plan to use during the process of completing my final publication.

This will involve creating a text block out of blank pages and then by using grey board as the 'case', I will create a 'perfect bound/case' book, just like the final thing. This will give me valuable experience in the binding process for this particular technique and will ensure I can iron out any mistakes now rather than later.

Specifications:
To keep material cost lower, I decided to do a simple notebook with the smaller size of 6x4.5" (1/3 smaller than what I want the final piece to be) I may try another attempt at this to eliminate any errors made this time and instead of covering the case with stock, use thread to stitch the whole thing together rather than PVA'ing the whole thing to simulate what making the final piece would be like (And also do it to scale).

Text Block:

Using cartridge paper that I cut down to size, I separated each page into sets of 3 with a total of 6 sets, this makes up 72 pages when either side of the paper is accounted for. To ensure they were folded firmly enough, I used a bone folder.

I then pierced holes in each signature in exactly the same place, I set the holes 1" apart.

These are all of the completed holes ready for stitching. 

For this part, I had to use a simple stitching tread. Not the strongest of material but it did the job. For the final book, I will ensure I have the proper wax thread that is used to make the book secure enough.

Here is the final stitch all complete for the text block. The finished pice isn;t as tight as I'd have original hoped, but this won't be an issue once I've used PVA to join each signature together.

This is where I measured up the greyboard for the outer casing. As you can see, the image shows a colossal error which I only realised when I was assembling the case, I didn't leave enough space for the join, affectively cutting the case slightly larger than the block making the case far to large for the block.

PVA'ing the block together, using thin but multiple layers of glue to ensure a tight finish.

Preparing the backing. I simply used 150gsm paper for this. I also added the 1/4" in-between the spine which I did not account for in the greybeard measurements.

Glueing the block in place is a simple process, however, another error I made was glueing the inner page too close to the spine which caused an issue, when the book was opened flat, it put extra tension on the text block spine. This can be avoided by simply not gluing too close to the edge of the greybeard and glueing the block instead of the case.

As you can see, the issue I stated above is obvious in this shot.

Just some images of the completed specimen:

Overall, I am extremely impressed with the outcome of my mock-up. Although some human errors were made, I can now be sure to avoid this when I'm in the final stages of completing the book. The process for the final piece will be slightly different, this being that I'd have to use wood instead of grey board, this meaning there is much less room for error as I will only be able to stitch the case together using heavy duty thread/string instead of using PVA, so the text block will be attached to the wooden case with thread and not PVA preserving the wood effect I want to have in my outcome.

Type Choice - Studio Brief 03 - OUGD504

Type is an extremely important aspect of this project, as I will be laser etching onto the wood for the cover, I will need to pick a relevant and effective typeface that won't need any other elements on the page for it to look complete and imply with the concept of the book.

Display:

To begin, I looked at industrial fonts that were created and actively used within the periods that my images were taken, for example Clarendon:

Clarendon was the first introduction of the slab serif (Known as Egyptian at the time) during the industrial revolution, it's relevancy, justified by it's place of origin; the United Kingdom.

This would be an excellent type to use for things that need emphasis, like headings and is a possibility for the front cover as a display typeface. However, this would be far too bold to use as a text font.










Not forgetting Times Extra Bold for use as a display font, and essentially, with its versatility, it could be used for a text font as well, however I do feel as this wouldn't be necessary. I am thinking a better idea would be to use a different typeface for body copy to compliment the slabs of the display fonts.

Below is a specimen from Sheffield that shows Clarendon alongside another typeface called Granby. Granby would be a more modern alternative to the slabs that were used in the early transition of the industrial revolution. This is purely a consideration, it is also possible I could use this for a copy font, but I have a feeling something like Helvetica will provide a really nice contrastive effect against the older typefaces to further emphasise the use of modern digital images of old authentic industrial signage.

Body copy:

As stated above, my choice of a body copy font needs to be contrastive to the slab display typefaces used in headings.

So to begin, I wanted to look at Helvetica:

To add a really nice twist to the industrial theme, I feel Helvetica will only compliment that of the rest of the publication. As long as I choose an effective display type that will set the tone of the book, then I can use this to my advantage and use a text font that would throw somewhat of a curveball into the book.

To provide something with a bit more authenticity and relevancy, I have chosen to also look at Baskerville, something which needs no introduction. It goes without saying, Baskerville was heavily used within the time of the industrial revolution, further validating the theme of the book. Using this typeface would provide me with a reason to use a more modern type as a display. However, I am more inclined to go with with the former to really solidify that idea of a pair of contrastive types.