2/2/20 – COMPLETING THE BOOK
Today I finally finished the publication! Earlier this week I had a couple more trials and disasters of getting it printed, but eventually, I did get it done. It isn’t perfect though, but I’ve probably spent about £100 now on these couple of pieces of paper and at the end of the day I have no experience bookbinding so I’m not going to stress about it. I really wanted to get my pages foiled, but after the printers at King’s Cross told me I needed to leave to areas without ink, I redesigned my cover and purchased a significant amount of gold foil, I was informed that they can’t actually foil and an A2 sized piece of paper. So I went to a private print shop and they told me it would cost me £200… So no foiling for me! I also decided to use double-sided tape instead of PVA to stick my sections together and this has a really nice clean and flat look. I think if I were to do this project again, I would choose a more simple form of booking binding and really focus on the impact of the content, I complicated things for myself without even creating something that strong in my opinion.
23/1/20 – CRIT
After going around and looking at each other’s work, we had to leave a couple of questions for people to respond to. I asked questions about things that I am genuinely concerned about in terms of my design. When it came to a crit from Michelle, it was challenging to get proper feedback because we agreed it was still in prototype stage, due to the printing issues that I had. One thing she did recommend was to score my folds so that they appear much clearer. Here are the responses to my questions:
- Could I have selected a more effective font?
- I think the font is well chosen for your context and suits the look, however maybe if there were more pages with less writing on each.
- I think the font matches well with your context.
- I think the font you use is suitable for your context. It looks really beautiful.
- Are the pages with text too simple? Should I make them more visually interesting?
- I really like the small illustrations you have that accompany the text. I think they’re really effective.
- I think you can try separating the texts into different paragraphs, so it’s easier to read. I really like your illustration!
22/1/20 – REPRINTING THE BOOK
So today I went to ABC Imagery to get my designs re-printed but lain out correctly, however, I faced more problems. So, I managed to get the inside of the book printed once again perfectly fine, and then for the outer shell, I fixed the problem with the ink on the border and left it blank, however, I realised that ABC Imagery doesn’t do foiling! I also realised that I brought along the wrong files for the attribution pages. I’m now at the point where I’ve spent so much money, I don’t want to put these new pages until they are all done, I have a chance to go back to King’s Cross and get the cover foiled and I am completely happy with the elements as I am wasting money and I need to wait for my next paycheck! Tomorrow, for my crit I am going to bring in the one I made yesterday, and simply explain that I want to take my time and construct it when I can focus and have all the elements ready. In the meantime, I am going to think about a better way to glue the pages because the PVA was a little bit lumpy.
21/1/20 – PRINTING THE BOOK
I went to King’s Cross today to get my book printed… and was there for 6 hours! There were loads of complications that the technician and I had to deal with, whether it was my pages printing in the wrong order or the printer crashing or ruining my ink. I didn’t manage to foil my pages because I didn’t leave the space blank, and in my inner booklet there are some ink streaks. I also realised when I got home that the front cover has been printed the wrong way around, so I had to do some clever cutting and glueing to fake a spine to the book. Overall it was a stressful day and my book is technically complete but looks incredibly shabby. It was also really expensive to print so I’m cringing at the idea of going and re-doing the whole thing… but I might go to ABC Imagining tomorrow and see if I can finally get it right. I do see the potential for the book looking really pretty but right now all I see are the flaws.
20/1/20 – DEVELOPING THE CONSTRUCTION
Today I practised making some tests for the construction of my book using card and mounting board. This was really helpful in being able to visualise my design and develop the placement of images and text, as well as make sure that my Indesign files are sized correctly. In my first test, the cardstock is a bit too thick, as it makes folding over the mounting board quite difficult. However, maybe I should just find a better way to fold, as I still want it to feel solid and high quality. For the interior, there should be 3 individually cut pages over the folds, stuck with a PVA glue perhaps for a smooth finish, otherwise, the creases will get messy. It will be nice in a thick card to level out the folds. I also need to c crease the folds more accurately for a cleaner finish. In terms of my second test; the left spine needs to be even larger and the front cover page needs to be slightly wider to fit. I need to make sure that there are large enough flaps on the exterior pages in order for them to stick flatly.
17/1/20 – 19/1/20 – WORKING ON MY DESIGN
This weekend I continued to work on my book design through Indesign. I finished all of the illustrations by digitally altering them on Procreate, so that they all have the same look and feel. I really like the idea of having foiled edges to my pages, I’m still unsure however how that process is done so I need to do some further research. For now, I left black borders in place. I struggled with adding colour to some of my backgrounds, however in reflection, I like that some of the pages are left colourless, it gives the reader a break to take in the next page of visual information. My next step is to figure how to get it printed properly and how to make the box that the booklet is held in. I still need to figure how I get the design for the box properly formed together because right now it consists of individual pages, as well as properly measure it out to make sure my dimensions are correct.
16/1/20 - Indesign
Today we had an Indesign workshop, where we started to design the digital formats of our publications. Initially, I really struggled with figuring out all of the tools of Indesign, however eventually I got the hang of it. In selecting my font, I decided to go for a handwritten, script looking font. For the project, the content of the book isn’t the main concern, especially as the transcription really doesn’t make sense because it is someone speaking, therefore I’m n not concerned if the font isn’t super easily readable. The swirls also fit really well with the aesthetic of the illustration and colour scheme. My next step is to finish my illustrations and add colour to my pages.
15/1/20 - TYPE AND IMAGE
Today we had a talk by Clare Skeats, who is a book designer and art direction. She started by introducing us to the quotation “Maximum meaning, minimum means,” by Abram Games, and gave us the example that having an image of an apple is successful, having the word ‘apple’ is successful, however, having the image and the word is not and that design is often more successful when you get rid of what you don’t need. She gave us the example of Lucia Berlin’s ‘A Manual for Cleaning Women’ as not one pixel doesn’t communicate the content of the book.
One of the key points that she made was that before designing something with a specific topic, you should start looking at visual references, immersing yourself in the typefaces and imagery of the setting/tone of the narrative. She made the point that being able to talk about design is incredibly important for a useful and motivating brief. We also learnt about semiotics, which is the study of signs and symbols which are used to communicate meaning eg. visual metaphor and symbolism and thinking of a sign as something that transmits a message.
We then got into groups and thought about what messages were conveyed by the imagery and texts of various book designs, and responded in note form:
Book 1:
Red, bold and straight up travel journal that has been well loved.
Seems very seedy, and adult. It seems rundown and like it is scuffed up. It feels very worn but also sinister and like it is a book about bad hotels rather than high class or luxury hotels.
The type is very intense. The format in general is unconventional and a little bit sloppy. We imagine the type being on a cheap billboard that is changed daily outside a restaurant or bar.
Yes the type and imagery are similar. They hold the same mood.
Book 2:
A conceptual graphic cover depicting smoke coming out of a bin, giving a fairly political message but contrasted with the light-hearted pink background.
Imagery suggests dark, political and environmental themes in a comical and lighthearted way. The bin reminds us of a chimney from a factory giving off a smoke or gas. Like an incinerator.
The type is very uniform and organised. It isn't particularly noticeable and is secondary to the image. It is very serious but also doesn't have a huge amount of personality it is almost bringing the imagery down to earth and making it more serious.
We think the image and text contrast with the fun colours and imagery in a way that makes you take it more seriously.
Book 3:
Broken 60's family. Reminds us of 50's illustration and memories. Trying to hold your family together. Bright colours to try and make a sad situation seems nice. Textural with tape and paper tares. A divided family.
Interesting fonts as they are hand written, almost quite journal like or scrap book aesthetic.
Imagery reminds us of a happy family torn apart. A change of family circumstances.
We think the image and type hold similar feelings of common materials and homely vibes. They are pasting together family photos. There isn't much contrast between the text and images.
Book 4:
A anarchist mask layout with bright strong colours and bold print. With the important words though the eye holes. Pink feels very feminine.
Anarchy, rebelion, female vibes.
Very bold lettering that is in your face but feels almost stealthy as it is covered up by the mask.
Yes! The type and imagery work very well together and the type tones down the femininity and makes it feel bolder.
Book 5:
A hand drawn glass, half full/half empty with hand drawn lettering as well. Looks like a doodle.
The noise of the hand written text helps to fill empty space left by the illustration. It is very simple, using a lot of white space around the text creating a sense of emptiness.
Simple doodle style, quickly drawn, lots of white space representing emptiness
Placement of text draws eye to MIDLIFE, hand drawn, quick style reminiscent of scribbling notes, fleeting moments
Text and Illustration work well together
Book 6:
Folded up German and American Flags, briefly hinting at the Nazi flag and confederalist flag. It reminds us of school textbooks.
Very easy to read and matter of fact font that is very appropriate for the subject matter.
The imagery is very clear as to what it is but is hidden in a way that is respectful and non violent.
We think the text and imagery have the same educational and matter of fact feeling.
Book 7:
A tongue and cheek birthday cake with cigarettes as candles on a baby pink background with a handwritten pencil font.
The imagery is comical and almost sweet but juxtaposed with themes of aging and adulthood. It is celebratory but also depressing with sinister undertones.
The hand written quickly written font reminds us of diaries. It looks rushed and unimportant.
14/1/20 - TRANSCRIBING
Today I listened more closely to my chosen audio, and transcribed the first half of it - making note of key events within the timeline. I then experimented with different book structures and foldouts to decide on the layout of my publication. I realised that I need to measure this more carefully, as the precise length of a page is what will impact how much book folds and flows as a narrative. I decided on a structure that opens up, with a bundle of paper inside that is attached at the top and folds upwards. The story reads as a travel journal, so I wanted to make it look like a glamorous notebook. I then started doing the illustrations for the book, based on key locations such as St Tropez, Paris, the Bond Street hat shop and the Hotel Sphinx. I kept a neutral yet bright colour scheme with lots of beiges and Prussian blues, I also kept the style of drawing the same, so that there is a flow within the book. I think the illustrations however still need some refining to have that point of interest detail that interrupts the text.
13/1/20 - FINDING SOURCE MATERIAL
Starting off this project, we got into pairs and interviewed each other about our interests, in order to find a potential starting point for our research into the British Library archive. I came up with some promising responses, however, when it came to finding good source material in the archive, I found it incredibly challenging. When I searched any of my interests, concerned, or even words remotely linked to me all that I found was 2 hours of old English people drawling on about their upbringing. Eventually, however, I came across an interview by Fredrick Fox, the hat designer, as he told a story about going on adventures around Europe in the 50s, penniless, yet somehow enjoying the company of Princesses, Ambassadors and haute couture designers. There is something about how the fashion industry started to develop around that time that really fascinates me, therefore I think that I will begin to go in this direction. In terms of publication, for the story by Fox (which also describes the moment he walked past a topless Brigitte Bardot in St Tropez) I immediately thought of the book ‘Camp: Notes on Fashion’ by Andrew Bolton, for its whimsical glamour.