Research into photography magazine and how they combine text and images. I plan on using Japanese stab binding for my final outcome which makes this magazine an especially useful piece of research as it is also Japanese stab bound so their spread designs are accommodating of this factor, for example they have avoided placing an text next to the spine so that none of the text becomes lost within it.
Single sheet binding has been used yet they have also used full bleed images across the spine of the book, meaning that some of the images becomes lost. They have also used tipped in pages, which I am considering using as they can easily be included within a single sheet bound book.
During the art of the accident project I attended an etching workshop, further information can be found here, and as part of that workshop I produced a variety of hard and soft ground etching prints. These prints were based off my photography done at Brighton Beach as part of the art of the accident project. My prints were inspired by my close up photography of rusted and eroded metal, and the mark making within the etchings aims to convey the textured surface of those forms.
For assessments I made my collection of etchings into a book. All of the etchings within the book are the original prints. The book is hand bound using Japanese stab binding and has two covers made of copper pearlescent card. I choose to use copper pearlescent card as it is similar to colour and metallic appearance of rusted metal, furthermore I used this card for the covers of my art of the accident book, therefore by using the same material for the covers it links the two books together.
Above is a photograph my final perfect bound book’s front cover. The book is split into 3 sections of 4 pages/16 sides which are perfect bound together. The spine is then covered in slate grey book cloth, then 300gsm copper pearlescent card is attached to the front and back to become the cover. Below is a video of my final bound book, there are also photographs of the book spreads once bound, some of the spreads are made of paper, whilst others are acetate allowing layers of imagery to be built up.
LinoType fonts research into professional black letter fonts inspired by the font used in ‘OF LOVE’ by Saxon Campbell. These fonts all need to be purchased, however I used this initial research to inform my search for free fonts.
Above is a range of research I did into books exploring the themes of love and flirtation, this was to look at how the topic was aesthetically conveyed. From my research it was very apparent that close up photography and closely cropped images helped to clearly convey intimacy and make the images appear more personal. Earlier in my project I began exploring proxemics through photography, I will now revisit photography to explore flirtation, however instead of using street photography I will be doing close up portraits.
After creating my 10 thumbnails sketches on both the Muller Brockman grid and the Karl Gerstner’s 58 unit grid I decided that the grid I preferred using was the one created by Karl Gernster as the grid allows for alot of creativity and freedom. From my 10 drawn thumbnails for this grid, I began to develop these designs digitally within the grid template.
For my layout designs I used content based around an article I found on It’s Nice That, the article is about a new series of work being produced by the photographer Catherine Hyland. From this article I took the main body text as well as the information on the author of the article and when the article was wrote.
‘Photographer Catherine Hyland has been travelling the mountainous landscapes of China and Mongolia to capture its vast, yet eerily empty tourist destinations. In her ongoing series Universal Experience, which she will continue to add to, she explores scenes of epic beauty that have been developed to become tourist destinations. Tackling themes of nostalgia and abandonment, she hopes to capture the intertwining of natural beauty and the artificially engineered viewpoints from which people choose to remember it by.
“The aim is to shine a light on both the strange and sublime nature of these spaces,” Catherine says. “Giant Buddhas that exist in small desolate villages in rural China, and expansive mountainscapes with barely any visitors. Whether it’s sites of historical importance or natural splendour each is approached with a heightened awareness of its significance as a place of beauty and grandeur. Landscape is seen primarily as a cultural construct and only secondarily as a natural phenomenon.”
Catherine’s large-format photographs, shot on film, show the awesome landscapes together with their barren tourist-targeting additions, contrasting the natural and man-made elements. The dusty mountainous shots are particularly striking, with their gradated colours and uniformly dusty tones.
Words by Jenny Brewer,
I then went on to the photographers own website and saved all of the photographs from the series mentioned in the article, this gave me a wide range of imagery to work with in my layout designs. When deciding upon what content to use for my layout designs I specifically choose to focus on photography, this is because the final spreads will be printed at A3, therefore I wanted access to high resolution imagery that would still maintain their quality when increased in size.
For our layout designs we had to produce 3 final outcomes each with different specifications:
- Text (body copy) with: 1 – 2 large images including captions
- Text (body copy) with: 3 – 5 medium sized images including captions
- Text (body copy) with: 3 – 5 small sized images including captions
The text must also include a major title to the spread plus main headings and subheadings, as well as page numbers. Graphic devices such as typographic rules, shapes and symbols could also be included.
Below are my 12 digital developed designs (4 per specification)
Despite me basing my layout designs on the article wrote by It’s Nice That, in some of my designs I did choose to use dummy text. In some of my layouts I wanted to include larger amounts of body text however the original article is quite short, therefore I replaced the article text with placeholder text generated by Adobe InDesign.
From my 4 developed designs for each specification I believe that the most successful was design 1 for the large sized images, design 1 for the medium sized images and design 3 for the small sized images, however I do believe further refinements could be made. Design 1 for the large sized images the right side of the spread is too empty, therefore the addition of another image, graphic devices or altering the layout on the right could aid the design.
The feedback that I received during the group critique for my book was very positive, the tutors and the other students enjoyed the work that I produced and the feedback given was to help move the work on.
It was suggested that the book should be more monumental and could be printed A3 or A2, however due to printing costs the largest I could print the book for a reasonable price would be A3 spreads with A4 pages.
Another suggestion was that for the cover of the book I should consider using iron filings to actually rust the cover, however this process would be quite time consuming. I could also choose to screenprint with metallic ink or use metallic card and laser cut into it. There was also the option to laser cut into a metal cover, however attaching covers to the book may put too much strain on the binding and tear the book apart. I chose to use metallic card for the cover, online I purchased 300gsm pearlescent card in a copper colour resembling rust, this card is also dyed all the way through therefore when trimmed the edges would remain a copper colour and not go white. I decided to not laser cut into the card a gaining access to the laser cutter during this busy period leading up to deadlines across all courses and years was difficult.
For the final presentation of the book it was suggested that I contain the book within a thin metal box that needs to be cut into to access the book, however once again gaining access to the facilities needed to create the box is too tricky during this busy period, I would also need to be inducted into the workshops as previously I am not.
Finally it was suggested that I add text to the book, this could be scientific information about rust or a timeline of rust. I chose to include scientific information on rust as this book includes photographs from both Brighton and Portslade, therefore two very different kinds of rust are documented meaning two separate timelines would be required which could cause confusion if documented throughout the book.
Introduction to book layout and introduction to preparing for print are two separate inductions that are both based in Adobe InDesign and both work hand in hand. Introduction to book layout covers how to set up and create a document for a book in InDesign, then introduction to preparing for print covers how to save and export the document correctly for printing as well as imposition.
When creating a document for print it is important to keep in mind the following:
- Format (book size)
- Construction (binding)
- Extent (number of pages)
- Elements to include (special features, pop ups, flaps, gate folds)
- Printing needs (colour or black white?)
- How is it being printed (digital, litho, screen printing, letterpress)
- Book cover (soft or hard?)
- Do I have everything I need? (Photos, illustrations, 300dpi scans?)
Before creating the document it is important to create a flat plan detailing what will be included in the front matter, content and the end matter. Once this is done you can go onto creating your document. In this induction we looked at how to create a new document with facing pages, then how to create a grid and determine the font size and baseline grid. We then went on to learn how to create master pages, one for our grid to go onto and one for our numbering system. Finally we looked at type and how to create paragraph styles, frames and adding columns to a frame.
After setting up our documents we moved onto introduction to preparing for print. We began by learning how to find information on the images within the document in order to check their actual and effective PPI, as well as the colour settings for the document. Once all of those settings had been checked we started to look at how to export the document as a PDF for print, this included making sure the correct version of PDF was chosen, making sure the document was exported as spreads instead of pages, including marks and bleeds, and checking the correct colour conversion setting is selected.
Once the document has been exported as a PDF it can be opened in Acrobat Pro where you can use the colour output preview settings to make sure the document is exported correctly, as this is how the printing company will view your document when you send it to them.
Finally we looked at doing our own imposition for our documents, despite the fact most printing companies will do this for you it is handy to know in case they request you do your own or for printing your own mock ups before going to print. This stage included a lot of technical information as Adobe InDesign is not designed well for doing imposition, in order to correctly impose our documents we had to add a postscript file to our software. Once this had been done we went through the process of creating imposition preset using this postscript file as the printer. Using this preset we selected print booklet, chose the booklet type we wanted and the signature sizes and printed the file. This file when printed had to be saved with a .ps extension instead of an .indd extension, the .ps file could be opened once saved and then exported as a PDF which is the file type most printing companies will request.
This induction was incredibly helpful, especially preparing for print. Previously I had been afraid to produce books as final outcomes for my projects as I was unsure on how to correctly set up a document and how to do the imposition for my pages, although I could easily find information online on how to set up a document I was unable to on how to impose my pages therefore this information was invaluable to me. Since doing this induction I plan on creating many more as part of my coursework as I can now confidently and efficiently create the documents and print them, therefore allowing me to focus more time on creating high quality content.
For my final outcome I have decided to produce a book juxtaposing the bright and vibrant photography of erosion and weathering at Brighton Beach with the industrial erosion found at Portslade. Within this book I want to include sections of acetate with imagery printed onto the sheets, this was inspired by the book o.T. designed by Unica T and featured in Experimental Formats.
“The ‘o.T.’ book was created by silkscreening abstract collages onto large sheets of rigid perspex, which were then cut down to the final page size. The resulting book forms a series of fragmented images that when bound together build up into a deep and complex whole, broken only by three divider or chapter pages printed in solid yellow.”
The idea of building up layers of imagery suits my concept well as when objects erode and weather rust can build up layers on top, but also paint and materials can chip away revealing layers beneath, therefore the build up of imagery through a transparent material seems fitting.
Above I have begun to experiment with printing onto acetate. As acetate can only be printed on one side if I printed both pages of the spread normally the image on the right page of spread would be the wrong way round when the acetate was folded, therefore I discovered that before printing I had to horizontally flip the image on the right side of each spread. I also found that the acetate I was using was not transparent when folded and was instead foggy and misty, therefore higher quality acetate would need to be purchased for my final book.
As well as experimenting with printing onto acetate I also experimented with how acetate could be integrated into a book. The easiest way would be to bind single sheets together which could be done Japanese stab sewing, however in my book I want to include paper sheets with double page spreads containing full bleed images, therefore a perfect bound book would be more appropriate. A problem with this however is working out how to include both acetate and paper sheets in my book and how to order my content. As I also want to include full bleed images across spreads some of the pages within the book have to paper, therefore working out how to include both paper and acetate in a bound book was a difficult task.
After creating many mock ups I decided upon the structure above for my book. The plan above represents one section within my perfect bound book which consists of 2 sheets of paper with 2 sheets of acetate on top which is then folded in half, this equals 16 pages. The pale yellow in the plan represents pages made of paper and the pale blue represents pages made of acetate. The dark grey represents the back of the acetate which can’t be printed on due to the material being transparent. The bright yellow represents a page of paper that can’t have any imagery on, this is because that piece of paper would be visible through the acetate and would therefore interfere with the imagery printed onto the acetate. As I begin to organise my book content I can simply duplicate this plan to create more sections, therefore allowing more content to easily be added to my book.