SB1 Design for Print : Evaluation

The final production of the publication was produced digitally. Saddle stitch binding using black staples relates well to the high contrast aesthetic of the publication. The final publication experimented with different stock and colour to see which variation visualised the brief most appropriately. The first example used black stock and white ink. This revealed how contrast could be visualised against darker stock with a white stock contrasting the rest of the publication as a cover page.

However, the white stock was more appropriate to the digital element associated with a ‘phone screen’, therefore more fitting of the brief. The foil finish on the cover and cover page added a visual element for the reader to engage with, by highlighting the legibility of the typeface. The layout and page order works well to visualise the drunk concept through the varying scale of type. Considerations to print included scale and crop marks to make the content scale fit to existing phone dimensions of an iPhone 8 plus. This was enhanced visually by adding a larger cover to add greater focus to the scale of the content.

With knowledge of Pantone referencing and CMYK the other aim of the brief included keeping costs fairly low to make the book affordable to all members of the wider target audience, 18-30 year olds. Using a monochrome colour scheme kept production costs low, meeting the cost efficiency requirement set out by the brief. As black and white printing is cheaper to produce than a coloured print. The black and white colour scheme visualises contrast appropriately and creates a fairly neutral element to the publication. Meaning the publication can equally target the target audience of both genders with no hinderance of obvious visual preference regarding colour. For example pink is commonly associated with female and blue with male. 

Overall the publications simplistic aesthetic with high contrast works well to create and impact. The publication mainly uses a varied scale to engage and focus the reader, reflecting on emotive responses around the reader and theme of the publication the ‘Morning After.’ 

Final Production

Contrast variation 

Final Publication

Refinements & Preparing for Print

Refinements include the finishing and preparing the document for print in relation to format and stock. Last refinements were made to the layout of type on the cover and opening page. This was initially an experiment to make type more consistent with the varied typesettings used to engage the reader in the hangover cures.This also worked better to visualise the context of the book, by using placement to visualise the context. 

The G.F Smith paper will be used as a cover depending on which method and stock is most appropriate. Each page of the stock will be tested using the same methods. The first method will use digital print to laser print the cover before adding black foil and putting this through a laminator. This process will be used to add a foiled finish to the type. 

The second method will experiment with debossing the type. The paper will initially be soaked and the lasercut wooden characters will be used to deboss the title. However, after testing this process already on black stock and card I am unsure how well the paper will react to being soaked. 

Cover mock up 

Format for print 

Final Crit Feedback

Receiving feedback against the learning outcomes was useful to ensure production considerations meet the requirements of the brief. The feedback received has since helped me to appropriately refine the publication. Feedback also highlighted different approaches and production methods to consider and test within the production process for my final publication. 

Presenting the mock up also helped to establish whether other student understood the context and design decisions made so far, for example layout. Layout, type and scale was clearly justified by both research and context however stock, colour and the binding methods needed to be more carefully considered. 

This was due to certain limitations with the current method. However, the solution was using an alternative method, saddle stitch binding using staples. Which resolved all issues surrounding perfect binding the publication, such as the page being unable to open flat. Feedback received established the high contrast single colour was an interesting way to challenge legibility. However, a black cover with white stock and a monochrome colour scheme creates greater high contrast. This would be more effective in visualising the legibility a reader needs more clarity the morning after. 

This contrast could be challenged by digitally printing white ink on black stock for the texts and the hangover cures could in reverse be printed on white stock with black ink. The cover will be high gsm black stock and debossed or laser printed with type so black foil can be added to create a foiled finish.  

Design Development

Receiving feedback highlighted if all production decisions were justified and also established where possible room was for refinement and improvements. Feedback highlighted a good amount of research justified my decisions but there was room for further improvements and possible solutions to production issues or hinderances.

Perfect binding highlighted some issues so a more appropriate method would be a concertina glued format or pamphlet stitching using staples. As any handmade stitch bound method contradicts the digital aesthetic or theme of the publication. It was also highlighted attention to detail is essential, this provoked thought into personalising small details. 

I looked into purchasing black staples, but they were expensive for only needing a few. So instead I made black staples myself using black acrylic and regular staples. This worked out alright for a cheap alternative. Black staples will look well against the black cover on the final publication. Whilst this also shows more careful consideration to a simpler approach to binding. 

Pamphlet stitch binding with staples & belly band

This mock up shows a more appropriate method of binding fitting of the concept. This method also resolves the restrictions and limitations of perfect binding the publication. The pages can now open flat and be flicked through quickly to reveal the animated aesthetic created through scaling the type from large to small. 

The stock used for this mock up will not be used in the final outcome. The stock was purely used to test the feedback relating to white stock creating higher contrast and fitting better with how the reader will see and read a publication the morning after. The white stock has greater consideration in relation to the reader and concept.

Challenging the legibility through stock and colour proved this theory. However, a black cover or belly band creates the high contrast aesthetic the publication aims to achieve. High contrast between the cover and content evokes more of a response and therefore again relates better to the concept. 

Hardback concertina format 

To challenge layout and the format of the book. I experimented with an alternative glue bound concertina format. Whilst this publication also experiments with different stock. The hardback cover is made from grey-board and black buckram. 

The title is debossed from laser cut wooden letterforms of the Helvetica typeface. The hard cover gave a nice finish but I found the debossing did not appear as dominant on the buckram. Thicker paper stock and card worked better. 

The concertina layout was interesting but less appropriate for the reader to flick through. This is not how a concertina is read so the saddle stitch method using staples was much more fitting of the context. Considerations also reflected how the reader engages with the book and how it is read. However this mock up also reveals how well the black cover works in contrast to the white stock used for the content. 

Colour Management

CMYK for print - a subtractive colour mode, ink on paper

RGB for screen - additive colour mode, light of monitor 

All colour modes can only display a limited gamut. RGB has a wider gamut than CMYK (not all colours on screen can be reproduced in printed ink).

How can we work with colour consistently for both screen and print?

Gamut warning 

Colour appears duller in CMYK colour mode 

RGB is photoshop’s default mode

Colours outside CMYK colour mode are bright vivid and highly saturated 

Or select proof colours 

Using swatches keeps colour choices consistent throughout a document 

CMYK - four process inks are used to create colour

Spot - one spot ink is used to create colour 

PMS (Pantone matching system) 

Reasons for spot colour:

• accurate reproduction of colour
• it can be cheaper, fewer inks makes production less expensive.
• spot inks are used to print colour that it is not reproducible using CMYK 

Pantone Reference System 

• Each swatch indicates base colour mixture 
• 14 base inks & transparent white 
• Some swatches are reproducible in CMYK  

Using spot colour:

• Open swatch menu select menu bar top left of swatch panel
• Click open swatch library 
• Select colour books 
• Select Pantone option 

Further Experimentation

As the publication developed I experimented further with perfect binding, scale and layout. The layout was experimented with by altering the placement of type. The scale of type was was altered as it decreases throughout the publication. Whilst scale was further challenged in an attempt to emphasise the scale of the stock being scaled to the dimensions of the phone the cover was made slightly larger. 

What worked well:
The central layout and increased to decreased scale of type. This engages the reader as flicking through the publication can appear animated 


What didn't work well:
Could a hardback improve the quality of the book? 

POS : Urban Outfitters

In Newcastle Urban Outfitters, I found similar marketed books relating to my context. There were also other books that belonged as part of the series. This confirms the point of sale and market for my own publication can be larger than just a bookshop, as similar books can be seen and successfully sold in a large chain retail store. The books were also perfect bound and printed on a matt finished stock so cost of production is not too high.

Village : Ben Holmes

villagebooks.co

"is an independent bookshop and gallery based in Leeds, UK. We offer a curated selection of contemporary art, design, fashion and photography books and magazines. We also source self-published and small press zines from artists around the world."

- Started Village 6 years ago just after finishing Uni
- Make independent publishing accessible 
- Wanted to offer an engaging inspirational business 
- Contribute giving a space for artist's and designer's to gain experience, recognition and inspiration.
- Provides space for artist or designer exposure
- Works collaboratively with an artist idea 
- Versatile space open to anyone with an idea
- Contribute and help young creatives get their work out there 
- Also do work externally, such as for the Picture House

Why Self Publish?
A good book is a combination of all of these. 

- The Book as Promotion
In this age it's so easy to put your work online, but no control over how work is seen. A book captures attention that seeing work on a screen doesn't do. Works as active participation. A book adds value by getting people to see and appreciate only your work at the time. 

- The Book as an Artefact 
A physical manifestation of your work. A way of showcasing your work in a different way that makes your work as a designer stand out such as, Nourished journal. Creating an object to showcase a style and aesthetic. Offers an opportunity to build relationships.

- The Book as Art 
Working with the form of a book to tell an idea or story.

- The Book as Collaboration
The opportunity of enhancing a publication. A designer designs how a book can be perceived. A collaborative process through sharing ideas and feedback.

- The Book as Product 
 A way of making money. Producing something that people buy and share with other people. This adds true value to a book whilst also being a form of promotion.  

What Village look for in a book?
The concept of the idea behind it. This forms the foundation of the book, it should be clear and book should communicate this. The right idea and concept creates a publication truly unique.

Thinking about the physical elements such as type and stock. Considering how you as designer think work should and is perceived. Think about a focus on an idea, such as reading backwards, image or type getting larger on each page. Ideas should come together to convey context. Physicality enhances and conveys the concept of the book. How something is printed can alter perception. Consider the nature of the work to format a cohesive artefact. 

How to sell your book?
Consider large or smaller print run i.e. print just 5 copies or will multiple copies be printed. Price drives print run, shops and distributors will take a cut of the costs. There are print, production and often distribution costs. Think about how to enhance value of the book without adding to the cost. Working with a good distributor can really add value and understanding to self-publishing. Production costs roughly equal to a third of the book. Promotion is also an important part of selling a book this can be done in many ways from online, book launches or exhibitions. Nothing sells a book better than interacting with the person who made it. Aim to promote yourself and engage collaboratively with other designers. 

Advice 
Edit - be self critical does every element of the book contribute to the idea 
Start small - do something simple well, does it say what it needs to say 
Make mistakes - experiment with print 
Support others - best way to get inspiration and develop a style is to learn from other people. Also get involved talk to people, consider opportunities for collaboration.

Experimentation : Colour

After receiving feedback from peers I experimented with different ways I could incorporate colour into the publication. The first method I tried was using a tip on of different stock. the stock being coloured acetate gave a nice aesthetic to the publication in contrast to the dark matt paper. This stock also worked well to reflect the context and the element of a screen. This publication also experiments with perfect binding, which worked well and as I thought is the most appropriate binding for the publication. 

The second experiment is based on creating a coloured version of the publication. I based the concept of this publication closely to the context of a smartphone. The colour scheme was selected from an iPhones nightshift mode. This gave the publication aesthetic an interesting gradient effect through colour. This also worked well to reflect night and day that can relate to the morning after. 

Experiment 1

What worked well:

- The choice and contrast of stock

- The altered grid so all type content is contained within the screen

- Perfect binding as the bound method 

What didn't work well:

-The cover should be higher gsm such as black card 

- The glue binding could be done to a higher standard 

Experiment 2

What worked well:

- The use of colour in the form of a gradient 

- Colour relates well to the concept of a smartphone

- Could the text go from large to small on each page 

- Could stock go from glossy to matt?

What didn't work well:

- Choice of stock - justified as only a mock up

G.F Smith Talk

-       Imported and distributed stock worldwide – Italy, Japan etc

-       All stock mainly uncoated

-       Split into collections

-       One collection manufactured from recycled coffee cups

-       Certain stock works better for different processes i.e. foiling, embossing.

-       Coloured stock dyed the entire way through meaning when the stock is folded there is no white revealed

-       Duplex is a finishing method to make the stock thicker (effectively gluing stock together works best using the same stock and gsm)

-       Textured paper contains traces of fabric in the making process to provide the ‘texture’