Research-front cover design

As the imagery is to be the key focus of the front cover (similar to how it is the key focus of the content), research was undergone into front cover in which promote imagery. 

This type and image combination highlights the relevant imagery. The contrast of colour, makes the imagery appear less important than the type, a factor in which would not promote Erin's photography within my design. 

The above design uses a sleeve in order to promote the text. This leaves the publication itself having a full page of imagery, undisturbed by any text. Although this would work well with my design, the sleeve may be disregarded, leaving the publication without a name. This also makes the design appear confined and trapped, this, in turn, going against the context. 

Although not being the key focus of the above design, the imagery used works effectively with the type. Vast white space has been used in order to promote the effectiveness of the imagery. 

Overlapping type has been used in order to embed the type and imagery coincide well together. This also adds recent design trends towards the pieces. 

Developing an introduction page

Following the same format as the previous grid systems, a range of introduction formats was explored. As no imagery was to be presented in this spread, other decorative formats were explored.

Embedding the colour scheme within the spread, the design follows a similar format to the rest of the publication. Flush left has been used in order to ensure the type is legible. The design appears very simple and lacks the effectiveness of the other spreads. The arrangement as well as shapes may resolve this.

A block shape has been used in the above design in order to create a more visually pleasing aesthetic. This also makes the type stand out. 

An arrangement of type and shape layouts were outlined,  with overlapment being a key feature. 

In the above spread, the design micks that of a grid system present within the publication. The text appeared somewhat illegible and thus this is an element in which needed to be altered.  

A square shape was used in order to embed a theme within the design. This also promoted legibility a key factor within the design. 

Discussing my designs with Erin

Erin stated that she preferred the final design, as it felt clean, clear and consistent. 

Peer feedback 

Feedback given suggested that the final design promoted the best legibility. It was also suggested that this may be a good place to include editors details etc.

Changes made & peer feedback

After completing the alterations, feedback was gained from my peers surrounding these and the general design of the publication. 

Relating to changes 

• They suggested that as the kerning was now larger within the crease, the type should not be effected by the fold. 
• It was also outlined that the type size did not distract from the relivant imagery. 

General

• The general reception was strong, with my peers suggesting that the design was bold and impactive. 
• Unfortunetly they also told me during the crit that the double sided printer within digital print was not working properly, and that I should test it in due time as this may reuslt in the publication having to be printed elsewhere. 
• In terms of ethical deisgn, they said that the loud and proud nature of the design supported the protagonists, ensuring that they are precieved in a strong manner. 

Increasing the page count

Including the not yet designed front cover and reverse cover, two spreads are needed in order to make the publication a multiple of four.

Suggestions made by myself: 

• That a contents page would allow the magazine to appear proffesional 
• an introduction page, outling why the publication has been devised
• a page highlighting all the participants and their social media hadnle (so that others can reach out and discuss their sexuality)
• large spreads containing key imagery. 

Erins response 

Erin suggested that she would complete an introduction page, to inform the consumer about the publication. And that the final spread should promote further imagery. 

Whilst I waited for Erin to develop the written element (the only waiting part in which I have had to do so far with Erin), I decided to fix the previous errors, as well as gain reserach surrounding the front cover design. 

Outlined spreads

In order to highlight any errors in the design, it was essential that the design was to be seen as a whole. 

Error: kerning must be altered between the U and E, in order to ensure the letters are not lost in the crease.

Error: part of the Y would be lost in the crease. The text also takes away from the imagery as a result of its size.

Error: cropped image (Erin stated when showing her the current design that she did not like how this image had been cropped and that she would like the whole image to be present). 

Error: Patterned backgrounds do not coincide with the rest of the design. This was discussed with Erin whereby she stated that she still wanted them to be included. 

Error: as publications have to be devised in sets of 4 (for saddle stitch etc) the page number is down.


Resolving errors 

In order to resolve the outlined errors, key steps must be taken. 

• Kerning must be adjusted where type runs into the crease. 
• The overly large type must be reduced in size so that it does not take attention away from the imagery unless this is intentional. 
• Cropping in which Erin does not like must be dealt with. 
• The page numbers must be increased (this will be discussed with Erin). 

Promoting continuity

As the publication is to express Erin's work in the best format, it was initially decided that continuity was to be developed throughout the design in order to ensure the consumer could easily gain the relevant information.

Continuity, meaning for this publication, that similar design spreads are repeated throughout (not mocked on each page), this ensuring that each spread is impactive but follows a similar formatting.

When developing Adams spreads a square shape was used to define a specific question, an element that had not been embedded within the rest of the spreads. As a result of this mimicry of shapes was embedded within the rest of the publication, this being within interviews and outlined through by text.

Issues when designing

Re-using photography

As Erin had selected her strongest imagery to be placed within the publication, this left some of the protagonists with fewer images. An example of this is that Murphy only had one image by herself, but two with Sophie. As a result of this, I had to explore with densely cropping images to ensure that Murphy was the key focal point. As a result of this some images were used twice, although different sections became the focal point. This was further disguised with different spreads being used between.


Cropping imagery

In order to fit imagery into a defined grid system, some images were cropped. This limited some of the images aesthetic and thus I decided to break the system, and push the boundaries. This relating to the content of the magazine.



Type setting 

Typesetting is one of the key factors of design in which I personally find difficult, and therefore when typesetting further research had to be undergone. Feedback was also given by my peers, as to how I can effectively practice this.

Design considerations

Variety

A variety of text sizes was explored in order to ensure that each spread although expressing continuity, still explored individual uniqueness. This highlighting that each person is an individual, and there stories are different. 

Crease 

The placement of the text (over the crease) may result in the text appearing unbalanced/illegible. As a result of this the kerning will be altered, ensuring that the letters will be evenly spaced over the crease. 

CMYK

As the magazine is going to be digitally printed, CMYK, was formatted. This ensuring that all the correct colours are used. 

More examples of type within the crease can be seen above. 

Type

The body copy used throughout remains at 12pt, this is to ensure that all type is legible. Flush left has been used in order to promote readability, as people within Western culture read left to right. In accordance with Vignelli, each line contains between 8 and 12 words. 

Italics have been used within the question section in order to create division, this highlighting difference within the text. In turn promoting legibility and making the design more interesting for the consumer. 

Shape divisions have also been used within the design to make the interview more interesting. 

Spread designs

Typography was largely explored with, in an attempt to promote the relevant photography. As previous spreads explored the overlapping of text and image, this was also mimicked, promoting continuity. 

Breaking the rules of typesetting was a key element when designing, as I wanted to express that you are able to break the rules, and it can look and feel amazing. 

Type highlighted the protagonist's outline, this drawing attention towards the image, specifically the creative direction present. 

Although a range of colours was explored further, it was decided that the yellow would be most effective, as Erin had previously stated this as her preference. The last two variations were that of my favourite as I felt they added to the image rather than drawing attention away from it. The final design was selected as it does not intrude the protagonists, but rather highlights her.