Week 5: Cover Design, Binding & Typographical Hierarchy

The placement of typography within my grid varies. For many pages I have worked within grid frames and for some pages, where the characters were being affected, I exploded the typography outside of the grid. The typography works with the image placement on most pages and I’m refining the ones where it doesn’t. The typography now prints and reads well at actual size, I adjusted my smallest size typeface to be 10pt and body text to be 12pt across the book (apart from highlighted and featured text). I’ve avoided black type on dark colours and have used a lot of inversion to add interest and contrast.

Here are some examples of typographical development across my storybook spreads:

td1

td2

td3

I refined all my layouts, but here’s some successful ones so far:

l3l1l2

Here’s the development of my title page and end papers:

t1

td4

and here’s my result:

printscreen19

Binding is expected to be single Singer sewn in black thread with end tails left on, 5mm in from the fold.

I got my ink colours sorted out with liason with the printer and now it’s much blacker…here’s Spread 6:

s6

Spread 7:

s7

Spread 8:

s8

Photos of a test bound book:

As you can see, there was room for edits, especially on improving ink drawings with a colour overlay of 0/0/0/100 so there were no mixed CMYK percentages placed with 100% black text.

Reflection

Having the body copy worked from the same size (where normalised) has increased readability and consistency across the book. Leading has been improved as I’ve refined spreads and I have worked in nearly all short line lengths.

The feature text adds the right amount of gritty interest to the simple sans serif typeface I have chosen and the colour is minimal for maximum contrast. Flow across spreads was improved by the use of backgrounds, varying light/dark spreads and using typography as an element of illustration within the spreads. I’ve added interest by mixing up the backgrounds and typographical layouts.

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