OUGD603: AROUND THE WORLD IN 80 PAGES

Brief:

To create a considered publication from documenting a journey. Based on ideas of travelling as a designer, and the way creative see the world, the publication should focus on colour, layout, type and form in its relevant contexts, to compare and contrast the visual language of the journey. This project aims to take the audience on a visual journey from the designer’s perspective. The publication should visually present ideas of globalisation and urbanisation. As two designers stand on opposite sides of the world and experience similar scenes.

Considerations

·                Typography signage

·                Taking the audience on a journey

·                Appropriate binds and stock choices

·                Modes of production

Collaboration Project

Both embarking on exiting travels, documenting our trips was the key part to this project. My research begun as soon as I landed. We had discussed documenting the signage, typography and new environments on our travels. For the next 3 weeks I spent time in Queenlands, north eastern Australia and in Melbourne on the south east coast. Knowing photography was going to be a key part of this project I researched into street photographers, especially inspired by Hayley Warnham an image maker from London. Her collages using colour, shape and images are powerful, I wanted to shoot these new environments with that style in mind.

Going and experiencing these new places was a huge part of my research. During my time travelling I documented mainly through photography of signage. I found the majority of this in Melbourne. Australia is an interesting place, being a fairly new country, I found this that meant the signage, building and typography stems from a similar time periods and doesn’t date back far. This gives cities a contemporary and urbanised mood, contrasting with British cities which are built on history and reflected. 

Newsha taka

Knowing we were creating some kind of book using our photography, I heavily researched into photo books. Blank Pages by Newsha Takakolian made me consider the experience of opening the book. I gained inspiration from other more minimal books as well.

 

Future fantasy:

‘Future Fantasy’ is an arts publication purchased from VillageBookstore, and a copy of the National Geographic from1981, were annotated in depth to explore their varying design qualities.

Whilst visiting independent book shops I came across interesting and unique approaches to how a book sits, looks is opened. Looking at binds and stocks and how these could influence our publication. The book Stranger In Motherland by Maya Økland uses a thin transparent slip case, engaging the audience straight away.

I spent a long time investigating our library finding interesting photo books with unique layout and ways of presenting image and collage. 

Australian type inspiration

Going and experiencing these new places was a huge part of my research. During my time travelling I documented mainly through photography of signage. I found the majority of this in Melbourne. Australia is an interesting place, being a fairly new country, I found this that meant the signage, building and typography stems from a similar time periods and doesn’t date back far. This gives cities a contemporary and urbanised mood, contrasting with British cities which are built on history and reflected.

I spent a long time grouping images together and finding similarities in images so they could work as one. Using different texture and grid formats in the imagery brought a fresh way to see a new environment. I took quite an abstract approach of playing with colour, shape and composition. Layering images, cutting parts out and visualising how I saw the scenes originally.

We had already begun to have long discussions regarding how we were going to lay the book out. Would it be all part of one book? How would we split the work up? Should it be two interconnected books? What exciting way can we engage the audience? 

photogrpahs- unedited/ experiments

When taking the photographs I tried carefully to consider composition and lighting. I prefer to allow the images to breathe a bit more. When developing my imagery, I tried a variation of approaches. When collaging it can be easy to make it look messy. Composition should be either be full and busy or simple and minimal. I tried to run this concept through my layouts, taking a simpler approach with the majority. In terms of photography; I prefer to allow the images to breathe a bit more. I matched this with splashes of colour in various forms. Some mirroring the shape of the photos, others taking inspiration from a certain a section of a photo.     

grids and textures for collage

 

 

 

Chosen 20 layouts:

We both decided on choosing 20 of our favourites each. Initially we had planned to have a book with two sides that you would have to physically flip half way through the see the other person’s section. This is where the name around the world in 80 days originated from. (each composition covering a 2 page spread). This idea of seeing two polar opposites sides of the world, and having to flip the book I felt was a strong way of showing this. Although so far from one and other are so similar. This was emphasised when we saw the similarities between our photos. This also played on the idea of same same but different.  Of course both the US and Australia differ culturally and climate wise but walking through the streets; traffic lights, signage, buildings, environment and the design aspects of the places were so similar.

With an original plan of making 1 book with 2 sections. After much discussion we decided on binding or books differently and at different sizes. Deciding that the books should be just as much about the experience of opening the books and not just the content. Just like we were experiencing new places, we wanted the audience to feel they were also experiencing something completely new.

sections of the book

We both felt that we wanted the audience to be able clearly see the difference in our imagery. To do this we decided on creating two books. Both using a very similar aesthetic but bound differently with different content. Knowing we were going to creating 2 books, there was then the problem of how these two would sit together. We both felt that the books would feel disconnected if they weren’t packaged together. Again we talked through multiple ways of doing this. I was enthused by the idea of making a slip case for both the books to go in as I have made them before and they create a beautiful professional finish to a project. 

Experiencing the work:
After much discussion we decided on binding or books differently and at different sizes. We decided that the books should be just as much about the experience of opening the books and not just the content. Just like we were experiencing new places, we wanted the audience to feel they were also experiencing something completely new. The book being bound differently and at different sizes would mean that we could make a slipcase for both books to slide into neatly. To make the book look consistent even with different binds we decided on making the covers of our books both acetate with similar style typography so the book looked to be part of the same family.

Extra bits- artwork/ postcards
To expand on this concept of unwrapping and experiencing the work, we decided to create a net to keep our books in. This would then go inside an acetate slip cover, creating a mysterious box with our publications inside. To support this package also included some postcards of neon lighting my partner created from extra pictures. This was accompanied by and artwork inspired by signage across both our trips that I initially sketched up. Initially intended to be the cover we felt it would be a nice touch printed onto the net so when you take out all the books u see 'around the world in 80 days'. As well as this a small slip was made for an information card explaining the project.

My book: 
Having recently done a saddle stitch and perfect bind I wanted something that would challenge my book binding skills more. I knew I wanted to experiment with binding different stocks together. I did this using the kettle stitch, printing on a range of stocks to see what worked best and whether different stocks would bind well together. I also got a chance to experiment with create an acetate slipcase for my book to go in. this worked really well giving the publication a finesse.

practise/ test run kettle stitch and acetate slip cover

Not only this but I had planned for my publication to print onto a complete range of paper types and textures representing weather, terrain and environment. Not only this but I felt this would take the publication down a new route and something that your average audience doesn’t get to experience. Once again playing on the concept of experiencing something new as a theme throughout this project. I ended up using 9 different stocks which although looked good, I don’t feel was defiantly necessary. It also made my life a lot harder when it came to printing and that much harder when it came to binding. This was especially the case with binding, it massively limited me as printing on so many stocks meant I couldn’t print double sided. When printing a publication this is usually a problem. As a solution I decided on using a kettle stitch. This normally requires printing double sided but I felt the book could easily have a plain spread between each collage. Not only would this surprise the audience, but I would hope that it would make them slow down, enjoy and take in the book at a slower pace. This bind highlights the use of different stocks and some images would show through to the plain spreads, i.e. acetate and tracing stocks. 

When it came to the bind I did a practise version, only half the size but testing print quality on all the stocks. This was successful and allowed me a chance to familiarise myself with the kettle stitch before starting. The bind went well, although frustrating at times. I have found with book binding it is all about patience and taking a step back if necessary. Another problem I faced was the finishing of the book. Normally I use the electric guillotine to ensure the book has a flat edge. Using nine stocks defiantly did not make this process easier. Unfortunately the canvas stock I used for a print couldn't be cut by the machinery. Luckily for me I had done a practise run so cut this specifically to size. This meant the bind had to be even more precise so that layout didn't effect the end cut. 

scans of my publication

Green paper:

To add another dimension to my book I added a short piece of text at the beginning of the book as well as key words that describe the project and process. I placed these throughout the book adding another element of surprise. This worked really well as these bits of text could be placed on the blank spreads in-between imagery. I printed these onto a mint green. This bright colour pooped against the plain white background of the cover and creates a fresh eye catching aesthetic.

typography artwork:

Originally with the intention for a cover, we wanted to create a custom typographic poster inspired by signage we saw on our travels. It was a case of taking inspiration from examples and experimenting, playing with the composition of the letterforms as well as decorative features. I spent a lot of time changing the layout and moving the layout around. I then passed this onto my partner who was keen to expand on it and vectorise the piece ready to print. Although I really liked the vector drawing, there was something about the original which I felt worked, I think this was due to the loose and less conservative and solid aesthetic it created.

Collab partner developing as vector: 

Slip for my book:

To cover my book, I created a wrap around slipcase.  This thin acetate slip cover worked really well creating a clean professional look. Printed onto this acetate cover is AUS, a shortened version of Australia. My collaboration partner did the same but used the acetate as a cover for their publication. She printed USA, this worked nicely using the same letters, it was another aspect of the two linking together. Using Domaine display bold for my type worked well creating a sophisticated and contemporary aesthetic due to the shape of the letterforms. With simple cutting skills I created the way in which the acetate slip cover gets locked together, this was inspired buy how you re close a cereal box.

Casing for the publications

After creating both sections of the project we moved onto creating the net for the larger slipcase to hold both our publications. We then came up with a fold out system that holds the two sections AUS and USA, as well as the postcard stack. The left fold out would hold the introduction message, and the right side the index. We practised this twice before printing ensuring measurments were correct. The typographic title piece was printed onto middle section to be exposed when the contents of case is removed.

Acetate slipcase

The acetate slipcase was printed on using a traditional typeface that wouldn't give much away yet held a powerful tone. Baskerville was our chosen type. We played around with layouts but kept in minimal, placing it on the central left. The slipcase creates shine to the publication and the minimal exterior hopes to attract through mystery.

taking images of publications:

Same card stock used for information card and slipcase for postcards

Evaluation:

I was really pleased with the outcome of the project. The final product looked professional and interesting. I really like the mysterious element of when the audience first sees the casing. The minimal approach using a white net and acetate to cover it with simple type creates mysterious mood I think all the assets inside are to an industry standard and me and my collaboration partner did a good job of keeping consistency throughout the project with the aesthetic we created. This content of the book works well hopefully taking the audience through our journeys. If I had could do the project again I would consider doing the project over a shorter period of time, instead of small amounts every weeks over a 3 month period. I say this as in the end the project became less enjoyable the longer it went on. Me and Danni worked really well when collaborating and evenly distributed tasks between us. Being friends as well as colleagues allowed us to be brutally honest when it came to critiquing work and making decisions.