Final layouts

With the final layouts the typography was type set the best to my ability, with the type following the basic flush left format. This was developed due to humans reading left to right. Word count per line was also amended with 8-12 words being placed upon each line, this then affecting readability.

The type size was reduced to that of 10pt, making the words far easier to read. This also ensured that the type size was not overpowering compared to the text.

The image quality was also altered to 300dpi a factor in which is highly important, especially when sending the book to industry.

The page numbers were also altered in order to express a purposefully random effect, a factor in which I belive to be highly successful.

Research into sleeves/plastic covers

Protective in nature, box's are a great way in which to store expensive books. This method also works extremely well when creating individual pints. 

A soft box has been used in this instance in order to protect the book and develop a sense of formality. This method is easy to use and can allow for writing to be present upon the spine, this therefore allowing it to be recognisable upon a bookshelf.

This approach explores a die cut approach, in which allows the logo to appear present. The box protects the book itself, as well as being a decorative item. 

Sleeves are another form of protection but can also appear decorative. They can maintain any image or text relating to the cover. The above sleeve explores that of a half sleeve. 

In this instance a plastic sleeve has been used in order to protect the book, and make it waterproof. This also ensures that it is not affected when stored.

This primary research was conducted whereby a half sleeve was used. I believe this to be effective and add a more decorative nature to the book rather than a full sleeve. This may also cause the book to be more interesting.

Which typography

After extensively researching into typefaces developed within the north, it was very difficult to find a serif font in which applied to the demand of the book. Serif typefaces being the main focus as they are far easier to read in mass due to the serifs themselves guiding the consumers eyes.

As typefaces from the north appeared very limited, a decision was taken to focus my efforts upon english typography. From this research was conducted into typefaces. One of my favourite typefaces is that of Caslon, purely due to its elegance and suiting to its time of manufacture. When looking more closely into the typeface it was discovered that a large commission was paid for the typeface, a factor in which completely goes against the free street art style. Due to this Baskerville became my next type of choice. "Where Caslon was born for profit, Baskerville was born out of love. John Baskerville was inspired by the Caslon typeface and sought to rationalise it. Baskerville is classified as a Transitional typeface as it sees a less humanist letterform than that of Caslon" -http://blog.fontdeck.com/post/5022549533/celebrating-british-type A clear connection can be made between the motifs of these typefaces, and that of street art. Where normal fine art pieces are often idolised and sold for a large sum, street art is not sold, as is there due to love of art and communication with social issues.

Group Feedback for mock up

When taking the mock up to the critique a brief introduction was made surrounding the book and comments already gained. As one of my main issues was that I was unsure on how to develop the books cover, this was a main focus. The mock ups from previous were shown, with a brief summary being made around each.

The idea of having no title was commended, with it relating widely to the concept. It was also stated that on the Village Bookstore website the method and reasoning behind the books production is stated, a factor in which would embed the concept further. Although no title was to be placed upon the outside, it was suggested that it should be placed inside the book.

In order to engage the consumer, there was a suggestion being made that a 'this book belongs to' page should be included, whereby the consumer is given the opportunity to graffiti their own book. Although I like this idea, I belive that the target audience become young adults would find this somewhat patronising and thus would not be intrigued by its nostalgic value.

Simon also suggested that the cover may be explored with every 100 copies containing a different sleeve, this in turn making the design a collectors item.

The wrapped up-disposable idea was highly liked and voted as the best concept in which to follow. One issue in which I had with is is that acetate cannot be folded and thus I do not think it could be produced with the university's facilities. Another issue is that the plastic goes against my ethos as a designer and developing environmentally friendly design, due to this material must be explored.

Feedback from different course students

As the book is to be aimed at young creatives, not just graphic designers, feedback was also gained from that of a student interested within graffiti from creative advertising. In order to contact him, I asked upon the LCA Collaborations facebook page whether anyone would be available to give me some feedback upon my project so far.

When asking for design advice he suggested that I graffiti the cover myself, using multiple mediums in which are iconically used with street art, ie spraypaint. We also discussed advertising as a form of graffiti with a city in south Mexico even banning advertisement.  Gorilla advertisement was discussed, alongside Exit through the gift shop, a film in which explores one graffiti artists road to success.

When discussing typefaces he suggested the usage of Helvetica in order to express corporate identity throughout the book, in turn developing a juxtaposition between the free street art. Thinking directly about the format of the book it was suggested that no blurb is needed, as graffiti does not have an explanation. It was also suggested that a contents and index were not needed as this is not an information book but rather one in which you may cast your own judgment.

Gathering feedback from someone outside of graphic design was really helpful, as I found that people from different creative sectors see aesthetics differently, and imply there own subjects knowledge upon the product.

First feedback from mock up

After completing the mock up feedback was gathered in order to alter the designs faults. When firstly developing the mock up no bone fold was used, a factor in which Simon suggested in order to protect the image quality. He also suggested that a softer stock would absorb ink, although he believed that using a bone fold would resolve this problem.  Simon also suggested that the type size of 12pt was too large, especially due to the size of the book, and suggested  a pt size of 8-10. He also suggested that the type was set efficiently and was easy to read. Although Simon liked the idea of the page numbers, he suggested that they should be completely random and explored across the whole page, this is a factor in which I will consider when designing further. Another suggestion made was that the titles should all be the same size, one in which is relatively small, as otherwise attention is drawn from the image. This is a factor in which I completely agree with.

REAL MOCK UP

19x17cm will be the basic size of the book with the bookrum being slightly bigger in order to incase the book. Black bookrum will be used in order to express a level of sophistication towards the book, and to also contrast against the vibrant imagery.

The first mock up consisted of using 12pt text, Times New Roman, and flush left all generic factors to which were used as a basis, and will be altered when developing the final piece. Although the image resolution was previously altered, the image was not packaged and thus the images appeared pixelated. No crop marks were made causing the pages to not be cut down properly causing page numbers to be lost. This also left problems with folding.

A coptic stitch was completed in order to secure the book together. As the first method appeared very messy, a second approach was made in which focused into stitching each book individually. This also resulted in the book becoming much stronger. 

When visiting Vernon street to get bookrum it became apparent that there was no black available, a factor in which would limit the future front cover design. As an alternative bookcloth was explored. When looking deeper into the pros and cons of bookcloth it became apparent that it gets easily dirty and isn't durable. Two factors in which didn't comply to the design ethic of the book. Due to this different colours of bookrum were explored. Two colours were selected in order to explore with, grey and red. Grey chosen because of its corporate feel, and red due to its connotations towards Manchester.

To develop the hardback cover, two pieces of grey board were used in order to form the protective sleeve of the book. A gap was left within the middle to create a spin. A hard spine may be used, but in this instance none was used. I felt this important as attaching a spine would make the book harder to open flat.

One issue in which arose was that of getting glue upon the bookrum. If this occurs then the book cover is permanently marked and thus cannot be used. To bind the cover and book, one insert page is connected to the cover either side. As my book already contained multiple protective inserts, this processes is acceptable.

RED/GREY SLEEVE?

As my initial mock up had glue upon the cover, another mock up was developed, this time using a red bookrum. Red was decided upon due to its connotations towards Manchester, and Man Utd.

As I was unsure upon which colour to use, the question in which was asked at a critique. It was stated that although the grey was recognisable to that of the formal corporate layout, it did not entice the audience. It was also stated that the red coincided more effectively  with the imagery, due to the locations present (walls etc).

Hard/ soft cover

Due to the bind being that of a signature, it leaves the cover appearing somewhat limited. If a soft cover was used it would have to be attached via a signature. As a result of this the stock must be folded (meaning a low gsm must be used), it also meant that as a result of the paper being folded, two extra pages would be present on the front and reverse. As insert pages have already been accounted for this may leave the book feeling very blank. One advantage of this book would be that you are able to see the string it in which binds the book together, relating to manchester's textile past.

To gather an idea upon how the book may be binded using a hard cover a discussion with a technician occurred. From this she discussed that the book is firstly bound with the cover then being attached to insert pages. The stem may also be glued down but this is not necessary.

When deciding upon which method to use, many factors came into play. With the durability of the book being a main factor. As the book is there to be read, and re-read a hard cover would be more appropriate as it would last the test of time. Using a hard cover would also make the book stand out against its competitors as street art books are generally softcover. This in turn adding a level of sophistication towards the book. Although stating these factors, bookcloths texture appears more natural than that of bookrum, engaging the audience further. As for durability bookcloth would protect the book but may not last as long as bookrum. This may also be applied to that of street art not standing the test of time against fine art. The textile piece also applies to that of manchesters industrial past and thus has been selected.  Although the binding method will not be seen it will still lay behind the cover, a factor in which suggests that Manchester although built upon its textile past has little to do with this industry past. But is built as a city upon it.

Exploring typefaces for text (hand written) attempts

As the book contains no hand written aspect it was decided to include hand written titles of the location of each image. Firstly handwritten types were explored, but none applied to the rusticated feel of my images. Due to this I began to develop typefaces in which I belive to be suiting. 

Multiple texts were firstly explored by hand with a focus upon manchester, as it contained the most letterforms. Industrial types were explored, alongside some in which followed a similar format to that of stenciling. In order to gather a greater sense of these types, they were scanned into the computer, in which they will be explored further. Some of the outcomes are explored below. 

This style explores the idea of industry, following that of an architectural feel. The constructive nature of the type follows that of Manchester and Leeds industrial pasts. Although I believe that this type is effective I do not think that it would be effective alongside the imagery. 

Exploring an approach in which appears similar to that of handwriting. This design appears far less restrictive to that of the previous. Capital letters form the basis of this type, relating towards the stand out nature of street art. Although far less restricted, movement appears somewhat limited and thus other attempts will be made.

The spray paint tool was used in order to explore the medium most associated with street art. Straight edges were used in order to format a type in which appears similar to that of the 'ABBZ' image.

The two following typefaces have been developed in the same style but with a slab pen, this then developing a rough aesthetic. This typeface may not appear legible upon a smaller scale. 

Capitals were again used in order to explore the large nature of the city. As the type is not joined it does not feel like quick drawn street art.

Although not joined the free nature of the type allows it to appear similar to street art. When asking my peers about which typeface they believe appears to relate most to my images, it was suggested that this type was most representative. Each letter is individual and does not explore a grid system, stem size or X/Y height, allowing it to follow the free nature of street art. 

Individual letterforms were explored, with the 'L' being the main focus as it appeared unbalanced. Weight was also explored with in order to ensure the word looked well balanced. Kerning was also explored, with a tighter approach feeling more natural. This may also be identified towards a cities packed nature. 

The two words were then compared, with the weight of 'Leeds' appearingly highly off balance. Although not appearing upon the same page, this would restrict the consistency of the book, in turn making it appear unprofessional. The stroke width was then decreased in order for the two to appear consistent. 

Specific locations were then added to the design in order to form contextuality. Composition was then explored with the Leeds not following the same structure to that of the Manchester.

The type was then placed over a double line in order to follow the same structure as the previous text.

A set of typographic pieces were then developed in order to form the titles for the book. Page numbers were also explored as I didn't want to apply a boring structured set of numbers to each page. The introduction was underlined in order to construct it as the initial starting point of the book. 

LAYOUT EXAMPLES

Multiple layouts may be used within the books design in order to make it as visually engaging as possible. The image often moves location with each pages design, this in turn forcing the audience to navigate the page for relevant information, rather than just being given it. 

Image editing

Due to RGB colours not being accurately printed, proof colours was applied to all the images before editing, this in turn allowing them to appear as if in CMYK, the colours in which are used when printing.

The image quality was also that of a low resolution mainly due to the images being taken using an iphone 6. As a result of this I edited the resolution and image size after placing the images within the Indesign format. When developing my mock up I forgot to package the file, a factor in which left my images at a low resolution. From this I have learnt that within future printing, the file must be firstly packaged.

Introduction

Developing a juxtaposition to that of large corporations digital type, this book explores the individuality expressed through typography, and the issues in which the individual faces. Stencils, paintings and tags decorate the urban landscape, catching our eyes and expressing beauty, humorous or abrupt comments on society. Focusing directly upon Leeds and Manchester, a niche insight into northern type is explored.

Hierarchy of information

Hierarchy of spreads allows for impactful design in which engages the audience. Exploring a composition in which highlights the strongest imagery against the weaker, the spreads coincide one another effectively. In some circumstances similar designs have been placed alongside one another, this is present with the tags. Although in some circumstances similar images in which do not share the same medium of production have been separated, this in turn creating a visually engaging piece.

It was also decided that the images from both Leeds and Manchester should be intermingled rather than segregated. Although my original concept was to separate the two it became apparent during the critique that they shouldn't be confined as this is not representative of graffiti, as street art is not confined.

One factor that also should be considered is that the binding method also appears present three times throughout the book, this meaning that if an image appears over a double page spread, it will be damaged. This therefore must be considered when developing layouts.

Aim for layout

In order to keep the images as the main focus, the layout will appear very minimal/modernist. This in turn embedding the sentiment of formality and communism within the book, again creating a juxtaposition between the two worlds within major cities. The usage of a grid system will explore cities attempts to control street art, and control the people within it.

Layouts (cad)

A grid system was decided upon in order to express the corporate ways in which graffiti is attempted to be confined, eg the selling of banksy's pieces. This also applies to that of graffiti walls, a way in which governments have attempted to confine street art to one area. An 8x5 grid was used alongside that of 3mm guttering in order to allow the images to still maintain a playful layout. Individual layouts may be explored on each spread in order to develop an innovative book design, that engages widely with the audience. 

Composition was then explored, with the text frequently attempting to balance the image, although in some scenarios the type to image ratio appears largely off balance and thus attempts to highlight the image as the main source of information on that page.  As the demographic often communicates with imagery, for example emojis, vines, and gifts, this may appeal to them more than a daunting spread of text. Another way in which to make the design appear less daunting was by breaking the next into smaller paragraphs, in turn making it appear as if there is less text present. As the original idea for the book was to be text heavy, I belive that a more balanced approach would appeal more to that of the audience, and hence why this decision has undergone. 

One of the main ideas gathered from research was to explore a layered background in order to make it easier for the consumer to read against the bright white paper. This was explored with the colour depending upon the corresponding image. Although making the text appear easier to read, it takes away largely from the image a factor in which dampens the aesthetic of the book. As vibrant colours are also used within the image a white background would create a large contrast, an element in which will engage the consumer.

Indesign was used in order to develop the layout for the book. As the book is built from that of three signatures, and thus three books must be developed. After working out each signature including insert pages, it became apparent within the indesign workshop that you are able to form the signatures from that of one layout, a factor in which would make the entire procedure far easier. 

Flush left was used in order to promote readability, a factor in which is important within book design. Referring back to Vignelli's cannon 8-12 words will be present upon each line, again promoting readability, as any smaller/bigger is difficult to read. The edges of the paragraphs were defined and left without a rugged edge, a factor in which makes the aesthetic appear clean and professional.

Layout drawings

From the research collected some interesting spreads were developed, focusing upon the text/image combination.  For these spreads to remain high quality full bleed must be used when developing the book.


Two ideas occurred when thinking about the way in which the book may be formatted. Firstly a generic book structure in which focuses upon that of a chronological format, reading left to right. And secondly, a book in which focuses upon an unconventional order. Starting from the middle of the book, the introduction is placed, with one side expressing manchester and the other leeds. To complete this book an index must be placed at the beginning in order to inform the consumer about the book's layout. On other key factor is that the binding method does not allow the book to initially open on the middle page initially, a factor in which some books maintain.

As I was unsure about the way in which the book was to be expressed feedback was gathered from a crit. From this it was suggested that the information may not appear as relevant when expressed within this format, and it may take away from the imagery. It was also suggested that graffiti may be expressed a different way throughout the book, for example the cover. Due to this a generic layout was decided upon.

The layouts themselves focus upon different sections of the page, not only does this make an engaging read for the consumer, but it also depicts the movement of graffiti throughout the cities, and how in some areas it covers every inch.

Image and text were not defined to one page each a factor in which makes the consumer work for the information, a factor in which both millennials and generation X can appreciate. This also applies to people within British culture reading from left to right.

Working closely with the images and spread layout it was determined that this would be the appropriate layout. The layout itself follows this format:

• 3 insert pages
• 2 spread contents
• 2 spread into
• 17 pages of main text and image combo
• the index 
• and inserts 

Using this format allowed me to develop a structure in which the book's layout will follow. Focusing upon six main layouts, a rotation has been developed in order to ensure every page is deemed engaging. In some instances the images bleed over two pages, a factor in which has been considered alongside the bind. Although this is the basis of my structure it may be explored generally using Indesign. 

Layout research

Multiple images have been used in order to create this interesting design layout. The use of multiple images allows them to be seen as a collective rather than that of individual images, thus if my images are to be focused upon it is important that they are contained individually. This allowing the consumer to study them extensively.  

Photomontage has been used to allow text and image to coincide and appear as if part of one image. Visually engaging, this piece would most certainly interest that of the target audience, although a similar approach may not be taken with my images, as the photo quality is not high enough, due to being taken on an iphone 6. 

Text heavy, this approach explores multiple ways in which to paragraph text, a factor in which is highly important when attempting to engage a young audience due to their short attention spans. Breaking large paragraphs up is definitely a skill in which may be expressed within the book. Paragraph indents have also been used in order to engage further with the audience. 

Minimal, this design approach allows for the consumer to gather relevant information themselves. Less text heavy than the previous piece, the text is able to be consistent without the user losing concentration. When developing the layouts for my book a similar approach may be taken, with each page containing a different amount of information, allowing the book to seem less daunting. 

Again minimal, this book appeals to those interested in aesthetics. The following pages hue is determined by that of the image, a factor in which allows the book to maintain consistency. If I were to place a coloured layer below the text a similar approach may be taken. 

Overlapping text and image is an effective way in which to fill negative space. This also allows for the attention to be constantly focused upon the imagery. This is also a format you rarely see in book design and thus its unorthodox nature expresses an interesting approach.

Full bleed imagery works extremely well, ensuring that the design is not compromised. This may be an approach in which I will consider as it appears extremely professional. This form of design is also common within books designed for that of a younger audience. 

Modernist in style, this clear layout is easy to navigate yet aesthetically pleasing. The grid system used allows for a playful yet restricted approach, one in which engages yet informs. As my deisgn is to inform I belive a grid system should be put in place. 

When imagery crosses over the double page spread it allows for a central viewing point. A factor in which allow beautiful imagery to be expressed. Although my image quality isn't that good, it would still be manageable up to an A4 scale and thus this approach may be taken within my book. When completing this I must ensure that the stitch is not upon that page. 

General layout structures were studied in order to gather a basis of the grid. As I have not worked fully with a grid before I believe that this project will give me the opportunity to do so. As I do not want each page to appear the same I may adopt different grid systems in order to keep my book thoroughly engaging.