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.