OUGD504- Developed Layout

Unsure on how to layout portrait images- perhaps use this as an opportunity to have an informative section? Or include with an Introduction to Type at the beginning- or even acknowledgements at the end? Also unsure if the image of the Harley Davidson tent is really needed. Despite being a striking image with boldly contrasted text, the type featured is still very generic (perhaps Impact stock-font?). Recapping on feedback from Nick, unsure if this is needed?

Currently the final two images in the spread. Considering swapping the bunting for the back shot of the HOC Jacket, suggesting closure and the end of the publication. However, my concern is then needed to find a new high impact image to entice the viewer at the start. To solve this I could possibly swap around some more images, or swap over the Circus Maximus banner and bunting allowing it to stay within the content. Alternatively I could replace the tent image with the bunting, leaving a blank white page as its wake. This would make the final image, a highly detailed photograph of two motorbikes with the same tank typography. Both bikes are actually identical, yet have been customised in small ways to suit each individual rider. They also have a personal connection with me as they are actually my parents bikes- I have grown up on the back of the left one, so feel it is only fitting they play a role somewhere in this, my first Harley publication. However, the image of the two bikes also conveys a very strong message about what Harley Davidson have become- 'different', but all the same. Everyone strives for a sense of freedom, yet everyone dresses the same. Everyone wants to be 'unique' and perpetuate the 'rebel at heart' attitude- but 99% maintain their mundane day jobs and role within society. Everyone is the same- but everyone feels unique and feels different.

Having two bikes which are actually the same, complete with the same typeface and artwork on the tank suggests this 'sameness', also showing Harley to be above all- a tool to form relationships, families and union-ship. Yet, to the unknowing viewer they do look like two separate bikes due to the modifications.

Amended layout and photo sequence. I tried to capture a similarity within images, in terms of tonal quality, subject matter and emotive qualities. In coming to this sequential decision I was helped by two photographers who gave their own input.


The Cover

Taking from Jan Tshichold's, 'The Form of the Book: Essays on the Morality of Book Design', I need to consider a blurb and type on the spine. From my mock ups I have concluded the spine is aprox 10mm in thickness, meaning I have no excuse for not putting information on the spine. As I have no publishers or logo's accosiated at present, I am keeping the information simple- what it is? and who is it by?. At the moment, by including spine and blurb information increases the cost drastically, as cost is determined by thread count. With this in mind, for the moment I will only send the front cover to be embroidered to test the result and save on costs. If the publication was produced in industry, a blurb and spine feature would be prominent. 

Some alternatives to embroidering on the spine are:

- A thin band of material (perhaps orange), running down the soft edge of the spine, either digitally printed or screen printed with the required information. This burst of Orange could bring a brighter quality, yet difficulties are raised in the exact production of HDMA Orange, with the closest Pantone Reference no being P 021C. If screen printing was used, then the type would have to be no less than 8pt, which still runs the risk of an imperfect and time-consuming finish.

-Debossing, this would reduce the readability of the text, yet enhance the ambiguity of the cover as the information would only be really visible from certain angles, allowing natural light to catch onto the textual quality of the leather.

Implementing the horizontal grid system from before, aligning typography to match on the front and back. As I am proposing a Chicago Screw bind, I illustrated the grey board composition, including the gutter area. The area's of grey are parts where no greybeard/hardback will be present, meaning a fabric only zone. This gives me a good idea of where to place text, so when all of the guides are removed the embroiders would still be able to work to the exact measurements, allowing 'book harmony'. 

When including my own name, I thought back to the self branding I did last year. As my logo features a plant design, this would be far to large to fit into the 10mm spine, so reducing space to avoid a cluttered composition is paramount.

Final cover featuring the square cased JSL. I opted for this to distinguish my information from the identity and concept of the publication. This also gives a slightly more professional finish, as encasing publisher/ author information is very common within Harley publications. The thread will be HDMA Silver, emphasising the stereotypical biker who loves black and chrome- hopefully this way it can remain marketable.