Book sleeve

Taking influence from the original front cover design a backpage was mimiced within a simialr format. The type was placed at a flush left format as this is easier to read, and the typography itself is that used upon the front cover. This again creating consiatcny between the two. Hierarchy of text was dictated through the informations relivance. Italics were also used in order to highlight quotes. 

When thinking about the spine it was important that the type was to face the front cover, as when stacked this is the way in which the type will appear legible. This is also a common 'rule' within book design. A coloured spine was explored although this appeared weak, and uncontexual towards the rest of the books design. As a reuslt of this the illustation was brought across from the front page to the back, again making them appear consistant. Type size was altered so that the information could appear present. 

The extra details were then added to the book to allow for a real approach cover to be derived. This in turn highlighting the books consistant design, and complying to the regukations of the brief. 

tree approach

Thinking about the ways in which the branches may be used to frame the text a composition was developed in which focused upon developing negative space within the centre of the design. In order to emphasis the cut and paste nature of the ilustaion the colour of the background was altered, as well as the contrast of the branches in order to highlight the white outline. By completing this action the design appeared far more natural as if developed fully by hand. This cut and paste effect highlighting that the narrator of the novel as a playful young girl. 

The first approach used 'crooks' of the branches in order to contain the relivant infromation. When asking one of my peers what she thoughout about this she suggested that this made the design feel very seperate and that the text needed to be enlarged, she also suggested that the authors name is difficult to discoer and thus must be manipulated. 

After exploring with the two ideas, the above outcomes were developed. Again my peers were asked for feedback and it was suggested that the first design felt far more engaging, with the relivant information being postioned closely within a set frame. 

From this feedback it has been decided that the first cover will be used, and that a simialr approach should be used for the reverse cover. 

Feedback

Ten appraoches were developed in order to gather a wide varied depth of ideas. This being highly important as a competiton brief should be broad in order to to appeal to the subjective nature of design. In order to decide which deisgn to take further feedback was given in order to gain a greater stance upon which design would be most likely selected by the judges. 

When discusisng the initial approaches the legibility of the 1st design was questioned as the large 'I' made the deisgn somewhat difficult to read. It was also suggested that this concept may be far too ambigious and that an audience in which had not previously read the book would understand. It was also suggested that the solid white on black design appeared somewhat like the book's in whioch are given out in schools, suggesting that the deisgn is immature. The cover was also staed to not stand out upon the shelf, and thus this must be tackled further. 

The second design was said to have a strong conceptial basis although the minimal aspect lacked. It was suggested that the white cover would get easily dirty and that white is very rarely used within penguin book designs. The typography used was said to be strong with the composition relating well to the novel. It was also suggested that a foiling approach should appear strong in this case although as a digital submission this would not be effective. 

Again the typographical approach was questioned as the 'i' appeared too ambigious, although it was stated that the lower case 'i' appeared more appropriate to the deisgn. It was again suggested that the design appeared too similar to that of a book given out in school and that the red colour scheme was too generic. 

The clock design gained far more positive feedback with the design being complimeneted as 'minimal yet effective'. The clock face was said to have a strong conceptual meaning. It was also suggested that if this design was selected then a white back cover may be expressed in order to formulate the concept of racial segregation further. 

When discusisng the photographical approaches as a whole it was suggested that photography may not be the best aporoach as it appears too relaistic for a novel in which is based on fiction. It was also suggested that the designs felt very generic and didnt stand out as strong, independant deisgns. As these are also my least favourite designs it was decided that they should not be used for my final submission. 

The 60's themed deisgns were said to be strong aesthetically but the first was suggested to appear more pleasing than being contexual. I would suggest that this comment is unfair as it follows the basic design of the period, an element in which I was attempting to capture, although one participant suggested that the deisgn appeared like a mushroom. Once this thought was embodied within my mind I was unable to look at the design without seeing this, and thus I believe taht this deisgn should not be used. The second deisgn was commemded on its contexual presence, although it was staed that the deisgn itself isnt as enaging as previous designs and may not gain the attention span of the consumer. 

  

The final designs were said to be among that of the strongest, with the design appearing both conceptually and aesthetically strong. It was suggested that the 1st deisgn appeared more proffesional than the second, although it was stated that the design would have to be manipulaed further if it were to be selected. An example of this being more branches being involved in order to highlight key infomration. It was also suggested that the colour balance within the first deisgn was stronger than the second. 

Result

When asking my peers about which deisgn they would personally choose almost all selcted that of the 1st tree approahc and thus this design will be slected, as although design is somewhat subjective if the majority prefer the tree deisgn it is fair to suggest that the judges would also. Further alterations will now be added to the design in order to comply to the feedback given. 

Tree approach

Although I am not the strongest illustator I wanted to develop an approach in which felt personal, and expressed the commitment, effort and agravation of Tom's trial. By developing an illustation, this explores a method in which was highly popular for book cover design of the time, as well as highlighting a detailed approach. 

Initially really simple two second sketches were developed in order to dictate the movement within the trees, and whether to incorporate a full tree or just a section. From completing this task it was decided that the twisted tree branches apprearded the strongest. The sentiment behind this is that the twisted nature of the branches symbolise the biblical 'tree of knowledge of good and evil'. Within both christianity and judaism consuimg the fruit off the tree of knowledge was the original sin commited by eve. In refrence to this within modern day history it is evident that the passing of the sin through eve was that of unequality, as it suggests women are weaker and most likely to commit a sin. When relating this to the novel, Tom has been acused of the crime as a result of unbias and thus these themes relate although in diffrent contexts. It was also decided that tree branches should be used rather than an entire tree so that multiple details may be expressed, rather than a full tree in which is less detailed. From this further imagery was developed.

Illustations were then developed in which focus upon the twisted nature of branch leaves. Three mediums were explored with: charcol, fine liner and ink. The approach in which I deemed the strongest was that of the ink, as it allowed for a rough yet detailed approach. The running of the ink also allowed for extra details to appear apparent. From this the designs were then scanned and manipulated through CAD.

The first approach involved the cutting out of the tree from the surrounding paper, and placing within a book format alongside type. The colour balance was altered in order to give a red undertone, one in which was to resmble that of death within the novel. When asking my peers about this design they suggested that the typography needed to be altered alongside the undertone as it cheapened the design. It was also suggested that composition should be played with in order to force the tree's to surround the text, forcing it to appear 'segregated'.

Taking the feedback on board the typography was explored with. In order to add a clasical aspect to the books design the word mockingbird was kept all in lowercase, this refres back to the original novel but also the naviety/innocence of a mockingbird. The type was also altered in order to formulate further innocence, with a script exploring a hand rendered approach. 'A novel by' was also added into the books cover as this referes back to the original deisgn. 

Following on from the feedback the new typography was then positioned within multiple tree's in order to somewhat frame the text. The colour balance was also altered to a more 'earthy' approach in which relates back to the landscape of Alabama. This natural approach is far more suiting to the book as it allows for a stripped back, minimal design. This design will be taken to the critique along with the others in order to formulate an idea 

60's style approach (C)

In reference to the critique it had been decided to complete some designs in which follow the typical '60's' style design. As a result of this further drawings were developed in which focused upon the form of design trends in which may be followed. When looking back at previous research it was evident that penguin book's contained their own niche style of the time and thus this may be somehow incorporated within the design through that of a grid system. It also became apparent through research that patterns were trending throughout the 1960's and thus an approach has been derived in association to this . 

  

The style of the penguin books of the 1960's was explored in order to gain a greater stance of the grid systems in which were used. From this it was discovered that their were both horizontal and vertical approaches at the time. The main typeface used was Gill sans and thus this must remain consiatant throughout my own personal design. Colours must also be considered in order to maintain consiatncy.

The first approach attempted was that in which follows the most famous penguin book layout. The concept expressed follows that of a racial preduice of the time. The circles remble that of the charcaters throughout the novel, with the white dots expressing the white characters, and the black expressing the black characters. The composition has been determined by the individuals within the novel. Clear segregation has been put in place, with few white dots surrounding the black dots. This is to show the protective nature, and unracial bias of the finch family. 

Following on from the previous approach a dury based appraoch was devloped in which highlights the key charcater tom, and the biased court in which he faces. Multiple compositions were developed in order to explore the negative space, and to enage the consumer, as well as making an conceptual cover. 

The selected cover was that of the lower, centralised composition. This design was selected as my peers suggested that the information was not given initially to the consumer, and that they have to explore the books cover first. 

Refering back to the initial drawings, a pattern was developed in which focuses upon the 60's theme. Tree's were used as the basis, again refreing back to the classical cover. The usage of a repeat patten felt far more engaging to myself personally, although I belive this design to lack in conept and thus am unsure whether it may be used for a final cover. This may be discussed further within a critique. 

Photographic approaches (B)

From the feedback given within the critique it was decided that a photographic approach would be explored. The original tree imagery was edited on photoshop, with the contrast being increased in order to express a more dramatic theme.

Typefaces were largely explored, with helvetica being selected due to the connotations it drew from the period. Helvetica is also a typeface in which appears neural with no accents etc forming a national bias, and thus this typeface felt suiting towards the racial impediments throughout the novel. 

The positioning of type was explored in order to gain the cleanest most legible approach possible. The busy nature of the image means that a simplistic typeface must be used in order to balance the design. A banner was also applied to the design in order to express the balance further. 

Typography was again positioned upon the page through multiple locations in order to engage the consumer, and make them work for the information in which they wish to gain. 

The contrast in the image was explored so that vast negative space could be contained. The idea of using a more realistic tree approach than within my previous designs means that the consumer can connect more to the design and feel that the story is actually relatable. 

From completing this task, two mock up book covers were developed, exploring different concepts. The first focuses upon the mystery of the novel whereas the second explores a more reflective  approach. Although both contain the focus point of the tree, resembling a key aspect of the novels plot. One factor in which I would consider if taking this design further would be to manipulate the second covers banner, as I feel that it seperates the design, and cheapens the book's asethetic. The type arrangement on the first design must also be altered in order to express a more chilling atmosphere. The type setting also isnt currently strong and thus this must be altered. 

Photos from hyde park (A)

When thinking about a photographic approach, it was decided that a tree would be the most contextual photograph to use in relation to the brief. As a result of this, a mini photoshoot was conducted in which focuses upon the mystery aspect of the book. Composition was widely considered, alongside the images quality. 

Composition was applied to the images, alongside that of the rule of thirds. A theory in which captures the consumers attention. The photographs were taken a day in which was foggy in order to capture a sense of mystery within the images. I felt that this may also appear effective when displaying typography over the imagery. Multiple colours were captured, which may be altered during the photoshop process in order to exaggerate the fog/greenery present within the design.