Researching current Harley Davidson books, they all seem to be targeted at the 'machine' side, rather than photography/art books. This makes me question how this subtle influence could increase interest in photographic publications. Furthermore, portrait or square is definitely favourable over landscape, possibly for shelving reasons. All of these books poses the same flat, dull, dated tone. The type, colour pallets and some photography has (and has the potential to) look dated rapidly. 'The Harley Davidson Motor Co' by Randy Leffingwell incorporated beautiful photography and insightful Harley knowledge into a successful art/photography book, yet it was only released in paperback. One can image the experience of handling the book as flimsy and weak will change your impression of the publication's quality, or even how you 'read' imagery.
All of the best selling Harley books are to do with the mechanics of Harley, not anything to do with design. One could question why that is? So I did. I asked three people within the Harley scene why design is so over looked.
I found out they have given a lot of books away. “Once it goes in and you’ve read it a few times it just takes up space”… this book needs to be more of a collectable than an artefact purely to provide factual knowledge. It should be an experience, a utopia rather than a conclusive narrative.
I found out they have given a lot of books away. “Once it goes in and you’ve read it a few times it just takes up space”… this book needs to be more of a collectable than an artefact purely to provide factual knowledge. It should be an experience, a utopia rather than a conclusive narrative.
This sways away from my initial reaction to the brief, yet after further research and client feedback I concluded that was not the most appropriate idea when considering the longevity or ‘shelf life’ of the publication.
As a practitioner, I am trying not to put too much emphasis on the content at this stage- but considering the layout is still needed throughout.
For the cover I wanted to stay away from the shiny, over the top Harley covers (as seen above). They all follow the same kind of flow, straight to the point and busy in composition- always featuring a photograph of the motorbike, in a very clinical and factual way. Instead, I investigated other collectables produced by Harley to see if this could bring any inspiration.
As I am intending my publication to be more of a collectable, I intend to utilise a quality approach and reflect the culture, more than the actual bikes themselves. Looking back on previous research into binding and cover consideration, the use of leather was an interesting cross over between practicality and subconscious meaning.
Black leather in Harley is everywhere. Seats, jackets, trousers- everywhere. The use of leather also relates to the timelessness Harley. It wears with age (if real leather), and if anything, looks better a bit broken in- much like the seats, leather jackets and saddle bags prominent within the culture.
Developed bookmaking:
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| Intended for Screw Binding |
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Using bulldog clips to achieve a flat corner edge. It was difficult to get the leather smooth enough at the edges due to the thickness of the PVC. |
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Seeing how the pages will have to be folded, and what paper size I will need to print on. If I follow the 3:4 ratio to the ideal dimensions, I will need to print on A3 rather than A4- increasing costs rapidly. |
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| Tatty edge- not appropriate or professional enough for this publication. |
Ideally use real leather for the cover. The finish of the test pieces were not up to the standard I would of liked, and it possesses more of a tacky feel rather than a soft luxurious feel. Also, when hands are quite sweaty the marks show up temporarily on the fake leather- hindering the robust nature I wanted to create. However, prior to moving to real leather I need experiment with false leather first before concluding on this decision and finalise a design- or else it could be a waste. Still in the process of sourcing leather with the best quality and grain, at the right price. However, if real leather is used and the print run did increase, the cost per unit would rapidly increase- unless I benefited from purchasing economies of scale and purchased the leather (and stock for that matter), on a large scale- rather than ‘made to order’.
Ethical considerations are also there with the use of real leather. As the population in 2016 is becoming more
ethically conscious, fair-trade conscious and even Vegan, I wouldn’t want to alienate aspects of the target
audience by using animal products. As the target audience is predominantly men aged 45+, the research I have
gathered (and the products they currently buy and use regularly) suggests this is not a concern for them.
Instead, quality of production is more important in this instance over animal consciousness where the primary
audience is concerned. To combat this problem, I will need to distribute to like-minded retailers and in no way
market as a ‘cruelty-free’ product. Despite possibly loosing a part of the target audience (wether primary or
secondary, secondary being the wives of the bikers who may buy them the books. Other enthusiasts into Harley
Davidson or even just curious into the Design/Photographic elements featured within the subculture), if the book
is to be bound in real leather, I can naturally charge a premium to those who do purchase the book. This means
increased expenses, but the possibility of a higher return also.
Options to get text on:
Emboss / Deboss - Effective and cheap to produce on any scale, but does not allow alternative colour considerations (e.g.: introducing Orange for example)
Screen Print (?) - Possible option, yet many test prints would be needed to ensure the ink would even stay on the leather. After speaking to some peers on Printed Textiles and Linden in the traditional print room, I was advised not to pursue this route as the likely hood is, the finish wouldn't be that good- nor would it last as a collectable item.
Lino print with thicker ink, then sprayed to preserve finish. - Same problems as above after consulting with professionals.
Feedback:
I asked their opinion on binding considerations, layout and how to get text/an artwork onto the front/back of the publication. The consensus of feedback is to roll with the idea of leather as it is (so far) the most appropriate resolution so far linking to many aspects of the culture.
- Explore a 3 colour system to avoid monochrome being becoming boring
- Experiment with thinner stock for a hardback rather than grey board to perpetuate the idea of soft leather. This would only really work with real leather- so I will save this for a later stage in the experimentation process.
-Experiment with how embroidery could work or alternative ways of getting type onto the leather
- Get some real leather
Embossing Workshop
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| Emboss & De-boss |
When considering ways of how to get type onto the front cover, printing onto leather is something else to consider. After speaking to Linden in the print room, Screen print, lino print and other ink based traditional print methods will not work- unless heavily coated in setting spray (which will loose the soft quality of the cover in the first place). Instead, i looked at other artefacts made out of black leather to see how this works in the real world. The Harley travel book is the best example, featuring a very structured emboss of the HOG logo, accompanied by the Orange Harley stitching. As I have never done embossing before, I attended a workshop to see how the process works and could be tailored to leather. Firstly, you immerse the stock in water until completely covered. You then take a rolling pin, and roller out any excessive water until the stock is pretty much drip free. Next, select the letters/cut outs you want and lay them down BACKWARDS. As this is a resist process, the outcome will be flipped when printing so be aware of that. To emboss into Somerset paper (aprox 210gsm), I used plastic letters laser-cut out of very thin plastic. For my own publication, the letters would also need to be laser cut to preserve their shape, but ideally a much thicker plastic to give maximum impact. After this, place a few sheets of news print above the letters on the damp stock, acting as a clean protective cover. Next you simply place the heavy duty mat on top of this, rolling through on the traditional printing press. The results are really subtle and quite effective- i am excited to experiment with laser cut and embossing as a possible direction for my own publication. This process is not limited to the cover. I could also emboss information/logo's/original artwork into GF Smith Stock, again reducing the need for ink.
Sourcing Leather
Fake leather, Ebay 1/2 meter £6.99 + Free Shipping. So far I have got through 1m, totalling £14.
After researching quality leather smiths, talking to people in the know and reading reviews, Guest Leather in Horwich, Lancashire provides the best quality out there. However, 1/2 a meter is quite a steep £25, yet this price can be negotiated if buying in bulk. As each piece of leather has a different grain, texture and playability to it, finish can differ book to book increasing individuality, personality and hopefully collectability. I have learn’t first hand from the target audience that quality sells, with these unique touches further contribute to the sale.
Ginger, the Managing Director of Guest Leather has had a long relationship with my family and is willing to provide care, varnishing and leather manipulation within the price- meaning the best possible quality finish for the money. Ginger also offers leather smith workshops, something I am keen to embark on in the future for personal development and interest.
After speaking to Ginger, I thought it best to leave the real leather aspect until a more affordable option becomes available, especially when considering travel expenses too and from outer Horwich. Once the design comes successful I will purchase some online from the link below.
Alternative to Leather
I experimented using black brushed cotton to cover the design with- prior to exploring digitally printed hardbacks or using bookrum. After talking to John, he mentioned it may be nice to explore a softer cover to show a different side, as well as having the option to screen print on. The effect of the cotton was nowhere near up to standard due to its thin-nes. Despite having a very closed thread count, the amount of glue I applied ruined the outcome. To improve this in any future experiments a thinner layer of adhesive needs to be applied, or even a reliable double sided tape to preserve a flat, clean finish. Overall this was not a successful experiment, and comparing it to the suggested quality of the leather casing.
I experimented using black brushed cotton to cover the design with- prior to exploring digitally printed hardbacks or using bookrum. After talking to John, he mentioned it may be nice to explore a softer cover to show a different side, as well as having the option to screen print on. The effect of the cotton was nowhere near up to standard due to its thin-nes. Despite having a very closed thread count, the amount of glue I applied ruined the outcome. To improve this in any future experiments a thinner layer of adhesive needs to be applied, or even a reliable double sided tape to preserve a flat, clean finish. Overall this was not a successful experiment, and comparing it to the suggested quality of the leather casing.
Contacting Embroiderers
First port of call after receiving feedback and concluding on this idea, I went to the Fashion and Textiles departments, asking for their advice on how to approach this project. I was advised that the college did not have an embroidery machine and current students just did everything by hand.
Despite coming from a Textile background, I am not confident or skilled enough to accurately produce a typeface through the machine- especially into a leather substitute. If I did it myself I would apparently need to purchase a ‘leather foot’, costing £12, as well as my own threads (Good quality = £6+ per spool). This would also mean battling it out with the fashion students for a sewing machine- something that time restrictions did now allow. Instead, I tried to put myself into the shoes of a professional and decided to outsource this to a professional. This will also allow me to gain further knowledge into lateral practices within the creative industries, and hopefully make some contacts along the way!.
Whittikers Embroidery, Otley, West Yorkshire
Conducted a good quality finish yet it was not right for the purpose of this brief. As a designer I had little control over the typeface, kerning or even tone of thread used. There was also a long time delay from submitting the materials to receiving the outcome, as well as little communication making it an overly stressful experience.
Galexy Embroidery, Croston, Lancashire
I contacted an embroiderers I have used in the past near to home- hoping to get it done while i’m visiting back as I know they work on a quick time frame. I rang to see wether they could embroider into either fake or real leather for me, sadly, the answer was no to both.
PECO Ltd, Pudsey, West Yorkshire
At first I was reluctant to contact PECO as I got the impression a large order would be needed to make the costs fiesbale. As PECO is a Limited Company based on an Industrial Estate with many online business reviews, this suggests that they only really cater for Business to Business (B2B) and would not accept my order. After ringing and speaking to Andy, he provided great advice and offered me a tour of the embroidery workshop and explained how the process worked.
The pricing is based on how many threads needed, so the more complicated the design- the higher the cost. Andy and I sat down to go through the design, reducing some of the serifs to reduce thread count and subsequently cost. When implementing a spine or blurb detail, letter count needs to remain small- but not too small its unreadable.
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