OUGD504 - Studio Brief 1 - RGB/CMYK Spot Colour Experimentation & Considerations

Due to some of the inner page yellows not matching the florissant colour of my book cover, I decided to look through the pantone colour books for a more accurate reference for a neon yellow colour. However, the colour #ccff00 on screen did not look the same as the printed version. After receiving feedback from an online forum, it was pointed out that this is due to the RGB colour space being significantly different to the CMYK colour space. The solution would be adding a fifth spot colour to the commercial print which would in turn raise the price however, the print results would be more impactful. This issue would have to be taken into consideration when printing at a commercial level and decided upon wether it would be worth the extra money.

RGB #ccff00

CMYK #ccff00

OUGD504 - Studio Brief 1 - Written Content Inside the Publication

SECTION 63, THE 1994 CRIMINAL JUSTICE ACT,  GIVING POLICE THE POWER TO SHUT DOWN EVENTS AND GATHERINGS INVOLVING MUSIC CATEGORISED AS ‘A SUCCESSION OF REPETITIVE BEATS’. BEFORE THE PHENOMENA OF SO CALLED ‘REPETITIVE BEATS’ WAS COMMERCIALISED, THE SHORTAGE OF PLACES TO HEAR THE UNDERGROUND MUSIC MEANT THAT DIVERSE FOLLOWERS FROM ALL DIFFERENT BACKGROUNDS WOULD GATHER TOGETHER IN ECSTASY UNTIL THE EARLY MORNING HOURS. THIS CONTROVERSIAL RAVE MOVEMENT STEMMED FROM THE EXPLOSION OF YOUTH CULTURE AT THE TIME, BUILT AROUND REBELLING AGAINST SOCIETY AND POLITICIANS. PIRATE RADIO STATIONS, D.I.Y WAREHOUSE PARTIES AND THE EMERGENCE OF ‘PARTY DRUGS’ BROUGHT ON A SENSE OF UNITY WITHIN THIS UNORTHODOX UNDERGROUND SOCIETY. FOOTBALL HOOLIGANS WHO WOULD HAVE FOUGHT FOR FUN FIVE YEARS PREVIOUSLY WOULD COME TOGETHER TO DANCE SIDE BY SIDE UNTIL THE EARLY HOURS OF THE MORNING. THESE ANTI SOCIALIST IDEOLOGIES ARE WHAT BROUGHT ON A SENSE OF PEACE AND LOVE THROUGHOUT THE 80’S AND 90’S.


THIS BOOK INTENDS TO DISPLAY THE ARTWORK, TYPOGRAPHY, SOCIAL INDIVIDUALITY, AND ANTI CONFORMIST YOUTH CULTURE THAT AROSE WITHIN THE RAVE MOVEMENT. THESE  IDEOLOGIES ARE REPRESENTED THROUGHOUT THE HAND RENDERED TYPE AND POST MODERNIST DESIGN ELEMENTS DESIGNED ON FLYERS AND POSTERS FROM THIS ERA. THE SOCIAL INDIVIDUALITY OF THE RAVER IS REPRESENTED BY EACH UNIQUE BOOK COVER BEING PRODUCED USING UNCONVENTIONAL AND BESPOKE PRINTING METHODS. EACH PRINT HAS BEEN APPLIED BY HAND USING RUBBER STAMPS IDENTICAL TO THOSE OF THE HAND STAMPS USED IN EXCHANGE FOR RAVERS TICKETS. INK USED FOR EACH DESIGN IS THE SAME INK WHICH RAVERS WOULD HAVE HAD IMPRINTED ON THEIR HAND AT THE START OF EACH RAVE, AND WHICH WOULD HAVE BEEN SMUDGED AWAY IN A COCKTAIL OF SWEAT AND ALCOHOL AS 9AM CALLED.

OUGD504 - Studio Brief 1 - Typesetting Experimentation

Multiple versions of the page layout have been created, mainly focusing on the orientation, font, size and alignment of the block text within the publication. 

The first concept below used vertical orientation in order to allow the reader to find the page they were looking for without using page numbers. This is demonstrated in the experimentation below.

By having the text set parallel with the edge of the page, it can be easily flicked through whilst all of the text and memorabilia names still being available to view. However, after much consideration and peer feedback, it was decided that when reeding the book upright, the block text is not legible and creates an uncomfortable read for the viewer, constantly having to flip the book on its side to read details about each piece of memorabilia. It was also noted that by using this concept on the date/chapter pages such as the designs below, this was a effective way of navigating throughout the pages without the need for page numbers. Due to this, page numbers have been removed from the layout entirely in order to keep the design as minimalist as possible whilst also having another navigating method in place.

Another important design decision is wether to use left or right alignment on the each side of the double page spreads. As can be seen on the spread below, there is a clear consistency and symmetry in the design which had to be accounted for when inputting the block text. The consistent grid system helped when making each page consistent and factors such as creep and distance from the inner spine were taken into consideration when attempting to display the content on (what appears to be) the centre of each page from the readers point of view. As can be seen on the design below the vinyl cover content has been shifted away from the vertical centre line of the double page spread in order to appear central to the viewer.

Due to tutor feedback, it was advised to keep away from right alignment due to visual aesthetics and the readability of the block text. Legibility within the text was prioritised above attempting to keep the page designs symmetrical, as can be seen on the alignment experimentation below, it is an extremely uncomfortable read for any audience.

On the pages with large areas of block text, typographer theorists such as Massimo Vignelli were taken into account. In particular, his legible line length of between 8-12 words was adopted to keep the writing as clear and concise as possible. Other typesetting integrations were taken from his rules on orphans and widows which heavily informed the large block text. Keeping a neat edge on the right of each block of text was also important to create as comfortable a read as possible, this was achieved using subtle kerning methods along with decisions in line length.

OUGD503 - ING Creative Competition - Peer Feedback & Development

After showcasing the variations and mock ups to various students in the university, I have taken influence from the points noted below.

Spoken Feedback

• The monotone blue image takes away the impact and clarity of the bee
• The bottom image has soft colours whilst the middle image is slightly too harsh

Written Feedback

The graphics added to the photography have attempted to represent that we are a piece of a bigger puzzle as a practitioner within the creative industries. When networked together with each other, we can create amazing things.

OUGD504 - Studio Brief 1 - Further Artist Research

Yann Tschichold 

Tschichold's work has possibly been the single most influential set of principles which have informed the design decisions of the project, in particular, his book 'The Form of the book'. Many of his ideologies have been adopted and challenged throughout the design process, distinctly his laws on ivory page colour and curves spines have been identified and ignored due to contrasting research on modern photographic books and their production methods which suggest that this is quite an outdated approach. However, his rules of writing on horizontal type on the spine for noticeability have been applied to all designs up to date due to the importance of successfully identifying a book on a shelf.

Other quotes from Tschichold's other books and academic texts were also distinguished during the layout design process, for instance, in the book 'The New Typography' (1928) he talks about the aesthetics of asymmetry. 

'Asymmetry is the rhythmic expression of funtional design. In addition to being more logical, asymmetry has the advantage that its complete appearance is far more optically effective than symmetry.'

This logical approach to asymmetry has heavily informed the project, particularly the pages which display Vinyl Record Sleeves. It has been a quandary for a while wether to use right alignment on the double page spreads right side in order to create a symmetrical alignment with the left alignment of the pages on the left. The project has been striving towards a symmetrical composition for a while due to Gestalts design principles of symmetrical design however, Yann's concept of asymmetrical design has given the project a new outlook and has informed the page design prioritise legibility over a symmetrical layout.

White space, along with a minimalist design is also alluded within Yann's quote 'White space is to be regarded as an active element, not a passive background.' this has had a large impact how much content is positioned on each page. This practice is not the most eco-friendly process as the amount of paper used increases however, it is crucial in order to isolate each piece of content on a bed of negative space. This gives each photograph more exclusivity and impact instead of being buried within an overstimulating design heavy layout including a variety of images.

Irma Boom

Irma has not had a large impact on the overall design however, this quote has been increasingly influential as the project has advanced.

'No restrictions make it very difficult, we have to create our own framework. If the commissioner does not do it, then we have to do it. It has to be comprehensive, otherwise it does not work.'

It created a frame work which the project has revolved around, without restrictions the project could have spun out of control. Focusing heavily on production price and available printing methods has made the publication more restraining and interesting to tackle, much like an architect figuring out how to build on a small unusually shaped piece of land.


Piet Mondrian

Piet Mondrian, a highly regarded minimalist painter and artist, also has many structural and compositional laws which can be transferred across into a modern graphical practice. For instance, the quote below regarding a balance of vertical and horizontal linear structure can be interpreted into modern editorial grid systems.

“showing the dynamic balance of vertical and horizontal linear structure and simple, fundamental colour.”

These philosophies are transferable across any creative practice.

Ernst Keller & Josef Muller-Brockmann

Ernst Keller had the principles of creating an extremely organised layout and clean grid system which structured layout and type throughout his work to create a very modernist consistency. These rules and ideologies are laid out in Josef Muller-Brockmann's book, 'Grid Systems in Graphic Design'. Taking the book out from the library helped to learn the principles of grid system design to create consistency within my own publication. 


External Secondary Source Influential Blog Quotes

Other quotes which have been gathered from various blog posts across the internet which help inform my practice within this project,

'the medieval English philosopher and Franciscan monk William of Occam (1285-1349)  "Pluralitas non est ponenda sine neccesitate" or "plurality should not be posited without necessity.""Einstein's razor", agrees with Occam, but warns about too much simplicity. It says "Everything should be made as simple as possible, but no simpler." This has become known as the "KISS principle": Keep It Simple, Stupid — but never oversimplify.' 

Quote taken from:
http://guity-novin.blogspot.co.uk/2010/03/history-of-graphic-design-minamalism.html

OUGD503 - ING Creative Competition - Location Macro Photoshoot

A photoshoot was conducted focusing on insect behaviour utilising a macro lens. On this occasion, I could not find any ants and therefore I am debating conducting another photoshoot in a different location. Possibly visiting a nature reserve or an insect house at a zoo could be a way to locate the other insects.

OUGD504 - Studio Brief 1 - Florissant Marbling Ink Experimentation

Experimentation was conducted with the marbling inks bought from Fred Aldus. Unlike acrylic paint, the inks can be bent and wrapped around the book with more durability. Every book would also be unique with the marbling method which would add to collectability and uniqueness. This does however effect consistency within commercial print, when products are produced on a mass scale, the consumer generally wants to know exactly what they are buying.

OUGD504 - Studio Brief 1 - Neverwet on Material Experimentation

Experimentation on a variety of materials was completed using the 'Neverwet' product. When applied to the material or fabric, the never wet increases durability exponentially however, with the high price per can, it was determined to not viable for commercial print.

OUGD504 - Studio Brief 1 - Further Bookbinding Experimentation

The bookbinding process displayed below has been informed by, and based around the multi-section cased-in binding method researched in a previous blog post. This method has been applied due to the large number of pages in the publication to enhance its durability and lifetime. A scrim was also applied as an extra level of security within the strength of the pages.

Problems which occurred within the final mock up were to do with the creep when using the electric guillotine. When the final book is being produced, there needs to be options explored to attempt to solve this issue.