OUGD504- Further Layout Experimentation

Adaptation of Massimo Vignelli's grid for bookmaking. Still relatively simple in structure but more concisely designed for the cover- as well as the inside and how to implement type onto the cover. (if landscape A4). At the moment, landscape is the most appropriate way of displaying the images properly, allowing the photo book route to go ahead. 

How the grid system could be used in the book

Possible typeface for the front cover. Custom typeface inspired by the images inside and contextual research into Harley Davidson. I created this on Adobe Illustrator, inspired by an older H.D Typeface

I reduced the stroke of the typeface, making it more gender neutral in its appearance and structure, including all sub-catergories of the target audience, including Ladies of Harley. Throughout the 21st century H.D have tried to bring a neutral aesthetic and typeface to the brand, not being overtly male all of the time (take Image V, H.D Chester tent in Helvetica Bold). Helvetica by nature is suppose to be universally legible and inclusive to all- the fact Harley are using it is definitely a step in the right direction in terms of equality amongst the culture. However, this publication is not looking at modern typefaces- really, the more unique the better. A small serif still remains, hinting to the traditional routes of Harley, whilst not looking too different from some typefaces found on patches and t-shirts.

Implementing the Grid

A consistent flow is achieved by a smaller grid, rather than a four column structure, giving me (the designer), more freedom when positioning images on the page. This is also a consistent link between the inside and outside of the book, meaning when it comes round to producing the cover, everything will maintain the same flow.

Experimenting with an A4 Portrait layout and alternative grid systems. Despite knowing I will conclude on landscape for the image scale benefits, Portrait has its benefits for informative design and lots of copy. It also sits better on the shelf. (see below)

Despite this, the benefits of landscape still outweigh the benefits of portrait. Now its just a matter of scale to consider and concluding on a grid system/ layout. 

After further consideration, the layout of the book is most effective landscape, this slight hangover the edge proves this book is 'special', not like the rest, and hopefully will encourage the consumer to treat it like a collectable (which it is). 


Colour schemes

I found the Harley Davidson packaging standards guide online, complete with CMYK reference codes. As the colour was on screen, it was easy to colour pick from the document and match it to a Pantone reference code.

Colour picking key colours to fit the theme

 

Unable to reproduce HDMA Orange through an accessible digital print process. The best way around this would be screen printing and mixing inks, but even then thats no guarantee of precision, and may take more time than it's worth (?).

OUGD504- Final Stock Selection

GF Smith Order:

Colourplan Vellum White, 175gsm (1)
Strathmore Cambric, Midnight Black- 216gsm (2)
Colourplan Embossing- Wire, 175gsm (3)
Accent Smooth, Natural, 160gsm  (1)
Crane's Lettra, Pearl White, 120gsm (3)

<Images>

Rationalle:

When looking at the cost of stock there was a balance between what was desired- and what was affordable. When considering the benefits of each test print, I wanted to place emphasis on the purpose of the publication. This is intended as a collectors edition, marked at a higher value (with the intention of) a beautifully crafted finish. Double sided Satin 150gsm is the preferable option for this, yet when considering the cost of A3 vs A4- a decision had to be made. Either, I change the stock finish to gloss or matte- compromising the user experience achieved from the sheen of satin.

After creating a few prototypes, I realised if I scaled down the publication by 1" diameter, it was possible to print on A4 stock to save heavily on cost.

After investing in a mid-grade home printer, I decided to do this brief within budget, with the intention of contacting professional printers later. I have already made contact with Precession Print and Hollingworth & Moss Ltd who have both said they would be able to print it, also Hollingworth seemed really excited about the binding so that could be a further route to experiment once the brief is over and I can assess demand. Both printers said it would be a smaller costing job as only Key ink is used, reducing the need for the other colours to be 'turned on'.

A3 Double Sided Photo-paper

Another alternative when considering stock was the college library. Their range of tones allowed for further comparison. As it was stated that pages should never be bright white, I oped for a slightly off shade to take off the vivid glare.

For the inside lining, to contrast from the darkness of the black, a vivid Colourplan Mandarin stock is intended to lighten the overall tone of the publication. As the exact Harley colour wasn't really attainable, this GF Smith alternative with a subtle grain is a close alternative. I also investigated a slightly more textured stock, almost mimicking the effect of leather. I thought this may be slightly too much with the outer grain as well.

As Satin was not a possible option, I opted for matte stock over gloss to further relate to the images. It would be preferable to have a slight sheen on the images but perhaps this could be generate through a thicker level of black ink being transferred when printing. If the publication was to be manufactured on a larger level, discussions and stock optimisations would be made to highlight the photographic elements, yet never full gloss. The target audience, book content and concept of the publication is the opposite to gloss, period. However, if an off white stock was incorporated, the overall effect may heighten in terms of an aged aesthetic and darkness.

OUGD504- InDesign Workshop

Setting up InDesign documents

Work at 300ppi (pixels per inch) to preserve image quality, and show at 'actual size'. Avoid JPEG and work as .PSD or .TIFF files to further preserve quality.

InDesign is the primary method of producing publications. It allows you to package the document, taking it anywhere for editing as all of the linked files are contained within the package. By having linked files, the image quality can be preserved and printed high resolution. 

Setting up the InDesign document for my brief will alter from these specifications depending on binding methods to include guttering, bleed marks and page size. 

OUGD504- Bookbinding Experimentation

Prior to committing to a cover theme or design, I wanted to experiment with binding methods to see if this

could help inform the decision.

Perfect binding was the least successful out of the three. No matter how many attempts I tried, the finish

was always sloppy and not up the the standard I want to achieve from the publication. I learn't that the

best way to keep the pages together was by incorporating a mesh. Sadly, I could not get hold of

bookbinding mesh but experimented with thin pieces of paper- hoping to act in the same way and trap the

glue together. Despite this outcome not working as well as I would of liked, I had never tried perfect

binding before so this is all a learning curve. I will persist and try and make it up to the sleek standard of

the others.

Exposed Binding:

Taking on feedback from Luke, I wanted to see how exposed binding could work as a design feature and

element to highlight from the black. I found some of these bolts which are generally used for plumbing

and mechanics, whilst looking for motoring claps I could bend or alter in metalwork to create a unique,

Harley relevant way of binding. Sadly I couldn't find anything to fit that requirement- but this. The copper

contrasts the silver bolts, which again contrasts the gold washers allowing for a tight fit. If this was to be

implemented, a much larger gutter would be needed to accommodate for the current hole we see

extending from the page. In practical terms, this would get in the way- especially as it constantly gets

moved from passing to passing. For this reason, this is now ruled out.

Explored binding methods of Chicago-Skrew binding, perfect binding and signiture binding. The
screw could also be achieved with Harley Davidson bolts, yet this could infringe copyright if the book is to be sold (which it hopefully is), as Harley are known for being very particular what their official

logo/merchandise features on. For this reason, I have also not included the official bar and shield within

the publication, nor used official Harley Davidson typefaces. The use of H.D bolts also increases costs

per print run. I considered experimenting with spark plugs, seeing how these could work as a binding

method (see sketch), yet sourcing reasonably priced second hand spark plugs (or other small bike parts)

were very tricky to find.

Perfect binding is the most cost effective way of binding, allowing A4 paper to be used (and purchased)

rather than A3. Over the whole book development process, this design decision could save £72 from

purchasing A4 double sided stock, rather than A3. Signature binding is another commercial option with

more emphasis on quality, still allowing the page to be fully inspected without an excessively large gutter.

To execute signature binding properly, I will need to invest in a nice quality thread which is discreet

enough to go relatively un-noticed, yet still live up to the quality I ideally want to preserve throughout all

design decisions- further relating to the quality of the motorbikes and longevity of the company itself.

Quality has been proven to sell, and quality is proven to be collected- especially within the target

audience I am focusing on.

As I am still indecisive about binding methods, I plan to create two mock-up books with relatively similar layouts- working off the composed grid system. This will take into considerations gutter proportions, alongside the area of paper hidden by screw binding. In my intentions I stated that the pleasure and satisfaction the viewer receives from books is a contributing factor to why they are there- an area I want to maximise, not hinder. With this in mind, perfect binding or signature binding are ways to allow the viewer to turn and inspect the full page with ease- rather than trying to ply open a tight book- that experience negatively impacts the reader, so whats the motivation to carry on?

OUGD504- Developments 01 + Feedback

As my documenting images are quite high quality, generally with busy composition in a B&W documentary style. I feel these images are what will attract the target audience more than the insights and specifics to do with HD Type. Harley Davidson has easily the largest social aspect alongside the motoring, and through talking to these people at social events one thing resinates- they love pictures of their bike. It seems all bikers are vain. After spending thousands of pounds, consistently every year (Harley’s are notorious for breakdowns), Harley is a commitment only for the obsessive and the love of their bikes. 

With this in mind, the emphasis needs to be on the photographs. As most photographs are shot landscape on 35mm film, a landscape layout will be the most appropriate for showing the images at a larger scale (which is top of the hirachy when considering what the audience wants).

Research into Binding Methods

Investigating possible bookbinding options on LuxPrint, Shordich's website - http://luxprint.co.uk/bespoke-bookbinding/ . Their innovative approach to bookbinding incorporates traditional processes attainable within the college environment, yet executes them to the highest professional standard. Despite exploring all manors of complicated binding techniques, the final outcomes appear simple and designed fully fit for purpose.

As I know I want to include some sort of metal work in my binding method, I plan to explore different techniques in relation to stock choices, allowing myself time to find the right method.

At this early stage, it seems clear the final publication should be hard back and fully bound. Quality is imperative within this brief and within the H.D motoring culture as a whole, something I need to keep at the front of my design decisions.

I also need to consider how many pages my publication will contain so as to choose a practical and durable method. At the moment, 26 letters + aprox 4 complementary images + roughly 10 blank/information pages = 40 pages*.

*This is a forecasted page count, saying I only allocate 1 page for both image and text rather than exploring double page spreads.

Even at this early stage, Japanese binding style does not reflect the robust, masculine subject content featured. This delicate nature is overall inappropriate and not fit for purpose within this target audience. I intend for this book to stand the test of time (well at least appear strong enough to do so), with the thin style of thread possibly failing/coming loose somewhere down the line.

 

Robust binding methods:-

 

Case binding provides a sleek, professional finish to a publication. This means it can be bound on the inside- making the binding method relatively invisible. This could be a benefit if I choose to have a busy cover, but from the research I have concluded so far- preserving the sense of ambiguity could be quite effective with a case bound.

On the other hand, Skrew binding is a simple and effective way of binding allowing a feature to be made out of the practical stuff. Screw binding could be an interesting one to explore- especially if the screws give off a mechanical quality, further emphasising the biker scene. It may be interesting to avoid a fully commercial route and preserve some ambiguity (similar to Pentagram), hinting at the content but not giving it all away. With this in mind, Screw binding is an area I shall explore.

Leather allows for a quality finish and feel, giving a luxury production method to a publication. It is very rare you come across a leather book in every day daily life, suggesting this would be more appropriate for something like a collectable. However, when considering bookmaking out of leather cost and time are two decisive factors. The finish could be impaired drastically by shoddy gluing etc, so it would be wise to test this idea out first prior to committing to real leather.

Furthermore, the use of leather then raises questions about how to get type onto the front myself. As I will have to make the book myself, I need to be considering ways of getting type onto any leather cover I may experiment with.

Slip cases are popular within the graphic design book community, yet less so within Harley Davidson. Slip casing is used to preserve the cover and add an extra emotive quality to the production. The anticipation when you slide the finished product out of a case would be interesting to create- just with time restrictions, I need to priorities an actual cover over to encase the book rather than a outer box. However, by having a slip case multiple components can go into the book- maybe taking an emphasis off the binding quality (if say, perfect bound?), as all content will remain trapped within this one box.

Two rugged and masculine takes on traditional book covers. The weight and tactile qualities connote strongly to the mechanics of the bike, possibly inspiring a wider target audience through this unique design decision most Harley publications have not yet explored. By introducing a cover as weighty as this, distribution points are limited as it would not be ideal to carry a heavy book on the back of a bike back from Rallys or shows. Instead, distribution would have to be  in places where transportation was easy. This would also effect the size of the publication and subsequently the grid systems as the larger the book- the heavier. There needs to be a compromise between thickness and weight, but I don't feel that is really necessary (or the most appropriate) cover resolution.

Chicago Screw

Gives a rugged, mechanical look (especially with the chrome on black leather being common and popular

within H.D culture). Allows the book to lay flat, acting as a coffee-table book. 

However, either paper size will need to be increased to cater for the proportion of gutter hidden by screw

binding, or a reduction of page content and image size (i.e.: not full bleed), so the pages can still be

turned with ease and not impair the readers experience.

A larger gutter is needed, along with a re-designed cover ratio as the visible element of the pages will no

longer be perfectly A4. The cased cover will need to cater for the fold in the page, swell as the area taken

up by the binding itself (approx. 1”/ 2.54cm).

Perfect Binding - Commercially viable and allows A4 paper to be used and fully utilised. As the pages are

finely held together at the short-edge with glue and mesh, fewer layout considerations (with reference to

gutters and margins) need to be taken into account as the majority of the page will be visible to the

reader- unlike Chicago Screw binding which still hinders viewer experience.

Perfect binding is not a permanent solution, especially when executed on ‘student’/‘budget’ level, so the

quality of finish could be impaired with heavier use. Fortunately, as the book is positioned as a collectable

item, heavy use isn’t too much of an issue. The likely hood is, it will be put on a shelf and pulled out on

the odd special occasion, either to indulge in imagery to provide escapism- or to show to fellow

enthusiasts and collectors when they come to visit. On the other hand, this does mean that if the

publication was pitched to a publishing house or distributor at this level, its possible pages could fall out

and therefore jeopardise the success of it getting picked up.

By the full page being visible through perfect binding, full bleeds could become more effective (or

ineffective), depending on how it comes out. As I have not had much experience nor practice with perfect

binding, further experimentation is needed prior to any final resolution.

Signature Binding- Commercially viable and solid when executed properly. As I have practiced stitched

binding before, I am confident this can be executed well to allow the pages to remain intact over time.

However, this does mean the pages will need to be double sided printed on A3 stock, rather than A4, to

allow the folding action. This means that content cannot be positioned too close to the edge of the page

incase it needs to be cropped off in the post-production process, especially if (for whatever reason),

pages do not line up. 

This method allows a sturdy finish, whilst encompassing full-bleeds and double full-bleed pages,

maximising the overall effect of the content. When considering how this can fit within the sleeve cover, it

allows a more fixed structure (un-reliant on glue which has the ability to fall apart- see test books).

__________________________________________________________

Stock Choices

I printed tests inside university to help choose the most appropriate stock. I do not want to commit to a binding method until I know the dimensions of the book, the thickness and can therefore make it all flow in harmony.

Feedback 02

In this mornings crit, I plan to ask the group's feedback on current binding, stock and sizing considerations. I have prepared a range of test prints, printed on Matte, Satin and Gloss- one on each, in A3 and A4. As the images are the highlight of the publication, I reproduced the same image to allow consistency, hopefully aiding the group in making a decision.

When previously asking Simon his opinion, he also felt that Satin stock was the most appropriate- yet this raised the issue of Satin not being double sided. This would cause issues later when considering layout. The use of one-sided satin stock would mean a single sided layout, doubling the costs (as double the stock). Simon raised the idea that I could experiment with alternative pages, possibly any text presented as a matte stock insert (?).. another idea I plan to raise to the group.

I asked the group:

Which stock do you feel is the most appropriate? 

Satin or Matte. The group concluded that it would be better for the stock to be more matte rather than more gloss- "the culture isn't squeaky and shiny so why should the pages be?"

I also made two small mock ups for size purposes and asked what people felt was better. Both was going off the 3:4 ratio

Jan Tschichold on Bookmaking (notes)

Could not conclude on a Q which was high enough quality, whilst still unfitting to the flow of the book. All of the Q's I had which came out right on film were relatively un-unique in comparison to some of the other letterforms featured.

Could not conclude on a T which was high enough quality, whilst still unfitting to the flow of the book. All of the T's I had which came out right on film were relatively un-unique in comparison to some of the other letterforms featured.

In two minds about featuring this image. I spoke to Nick and he advised me to avoid the plain typefaces (e.g.: Helvetica), in favour of the more unique types. He also advised that type/an explanation isn't always needed- swaying me towards the idea of a photo book with minimal text where needed.

Could not conclude on a Z which was high enough quality, whilst still unfitting to the flow of the book. All of the Q's I had which came out right on film were relatively un-unique in comparison to some of the other letterforms featured.

When considering the most appropriate way of executing the layout/content, peer feedback was very positive of illustrating the letterform, making it stand out from the image so the viewer knows exactly what letter the copy is discussing. However, again through feedback- Simon Jones said to be wary of this because people have done it before. Just to experiment, I created small illustrations to accompany a selection images for the second crit. This process hit a wall however, when I realised that there wasn't a quality image for every letter A-Z, negating the overall effect of having an alphabetical layout. Furthermore, when considering the target audience, they are not interested as much in typography as we are- possibly prompting a shift in primary target audience from bikers to design enthusiasts. This would make marketing and distribution much harder to put in place, as I have a based the bulk of my research on marketing to collectors- so feel it is only right to continue down that path.

Feedback 03:

Nicky: By illustrating the letterforms you are making the book really type specific, it links to the title much better but that means fewer documentary images.

Barney: Go with what the target audience want- if theres a chance you can market it and make some money then go with that. You can still incorporate information about typography in a preface or individual section, rather than like an illustrated report.

Beth: I really like it as the layout has a good flow, the letters all work in harmony on the page and I don't know if will be as interesting as a photo book. But at the same time, I don't know if its the most relevant outcome when considering the target audience.

Connor: You could always do it as a photo book for now, showing off the pictures of the scene that happen to have type in them, then extend it over the next summer to a more specific study.