Thursday 31 March 2011
Tuesday 29 March 2011
Fine Art Yearbook: Print Specification Boards
As the title of the post suggests, these are the specification boards that clarify our concept, direction and differing print requirements based on budget allowances.
At present, the only thing that hasn't been clarified is the final direction of the front/back cover. Everything else however is more than sufficient in terms of costing up a final spec and visualing what the complete publication will look like once complete.
Most important to note is the finalised design direction/grid system specification that has been put into place; this is in addition to our print specifications that I think have developed significantly since our last meeting with Lorenzo.
Although available to view on the boards, see below for details:
Grid Specifcation
Margins
08mm - Top
08mm - Bottom
12mm - Left
08mm - Right
03mm - Bleed
Columns and Modules
12 with 3mm gutters
Body Copy
7.5pt on 13.5pt Courier New Regular
Headers
22.5pt Uppercase Quicksand
(christian names in book, surnames in light)
-
Low Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 120gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
No special finishes
-
Mid Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 120gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
Clear foil on cover
-
High Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 90gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
Clear foil on cover
-
I am hopeful that we can at least afford our mid print spec given how important the print finish on the cover is to the Fine Art Committee... to be able to have the light stock also would be the icing on the cake.
At present, the only thing that hasn't been clarified is the final direction of the front/back cover. Everything else however is more than sufficient in terms of costing up a final spec and visualing what the complete publication will look like once complete.
Most important to note is the finalised design direction/grid system specification that has been put into place; this is in addition to our print specifications that I think have developed significantly since our last meeting with Lorenzo.
Although available to view on the boards, see below for details:
Grid Specifcation
Margins
08mm - Top
08mm - Bottom
12mm - Left
08mm - Right
03mm - Bleed
Columns and Modules
12 with 3mm gutters
Body Copy
7.5pt on 13.5pt Courier New Regular
Headers
22.5pt Uppercase Quicksand
(christian names in book, surnames in light)
-
Low Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 120gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
No special finishes
-
Mid Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 120gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
Clear foil on cover
-
High Print Specification
210 x 210mm
Cover 4 pages, text 108 pages
Four colour process
Text: 90gsm Challenger Edixion [uncoated]
Cover: 300gsm Challenger Edixion [uncoated]
1000 units
Clear foil on cover
-
I am hopeful that we can at least afford our mid print spec given how important the print finish on the cover is to the Fine Art Committee... to be able to have the light stock also would be the icing on the cake.
Fine Art Yearbook: Cover Mocks
As mentioned, these are the final 5 cover mock-ups selected to take down to the next meeting with the Fine Art Committee.
The selected range is intended to gauge the specifics of a direction that the committee can see the cover resolved with.
One feature that the design team and I really like is the way the layout repeats across multiple publications when they are positioned next to each other.
Although thinking about this now it seems quite logical, at the time of designing this wasn't a specific feature we intended to create... however, it works great to enhance the appeal of the book (especially whilst thinking ahead towards when the yearbooks may be stacked in piles at shows such as Free Range).
The one thing I would suggest is that the spine on the text should drop to title case to match the inside pages of the book...
Lastly, I much prefer the use of Quicksand on these covers (the lighter and rounder typeface), but I have quite a strong feeling that the designs utilising this won't stand out as much as the committee would like. It would be a shame to not use a cover typeface that matched the inside of the publication in my opinion, but we will have to see what the client prefers.
The selected range is intended to gauge the specifics of a direction that the committee can see the cover resolved with.
One feature that the design team and I really like is the way the layout repeats across multiple publications when they are positioned next to each other.
Although thinking about this now it seems quite logical, at the time of designing this wasn't a specific feature we intended to create... however, it works great to enhance the appeal of the book (especially whilst thinking ahead towards when the yearbooks may be stacked in piles at shows such as Free Range).
The one thing I would suggest is that the spine on the text should drop to title case to match the inside pages of the book...
Lastly, I much prefer the use of Quicksand on these covers (the lighter and rounder typeface), but I have quite a strong feeling that the designs utilising this won't stand out as much as the committee would like. It would be a shame to not use a cover typeface that matched the inside of the publication in my opinion, but we will have to see what the client prefers.
Fine Art Yearbook: Cover Development 02
Following our meeting with the Fine Art team, it was discussed that Tim and I should again work on developing the covers in order to focus our approach and refine the direction that our ideas have been going in.
The main goal here was to try and push the design elements that the committee have expressed an interest in. This was in order to produce a more comprehensive cover design that would answer their needs and be to their liking.
Despite earlier developments proving difficult in terms of using Quicksand, Tim and I both felt that we should try and press for a working design for both typefaces (Quicksand and Akkurat). This way we could get a clear idea of what the Fine Art Committee really had in mind, as well as being able to visualise how using a typeface detatched from the inside design direction may look.
Besides this, other aspects we explored were as follows:
01. Running text flowing off of the bottom and back on at the top.
02. Chopped up titles alternated in column widths.
03. Dividing hierarchy across front/back covers.
04. Combining title text with floating navigation style text.
...all of the above were really about creating unity with the concept of the book through interfering with the clarity of the delivered message.
In the end, we settled on 5 suitably different final covers to take down to the next meeting... (see above post for mock ups).
The main goal here was to try and push the design elements that the committee have expressed an interest in. This was in order to produce a more comprehensive cover design that would answer their needs and be to their liking.
Despite earlier developments proving difficult in terms of using Quicksand, Tim and I both felt that we should try and press for a working design for both typefaces (Quicksand and Akkurat). This way we could get a clear idea of what the Fine Art Committee really had in mind, as well as being able to visualise how using a typeface detatched from the inside design direction may look.
Besides this, other aspects we explored were as follows:
01. Running text flowing off of the bottom and back on at the top.
02. Chopped up titles alternated in column widths.
03. Dividing hierarchy across front/back covers.
04. Combining title text with floating navigation style text.
...all of the above were really about creating unity with the concept of the book through interfering with the clarity of the delivered message.
In the end, we settled on 5 suitably different final covers to take down to the next meeting... (see above post for mock ups).
Fine Art Yearbook: Client Meeting 04
Meeting 04 with the Fine Art committee today as planned; the main purpose being to present/discuss cover designs and print quotations - as well as going over some fine detailing on the spreads and inside layouts.
To summarise concisely, the discussion resolved as follows:
General
01. Layouts of the inside spreads are looking great. Excellent to see how the colour is working... remember that you don't have to stick to alphabetical order if you do not need to.
02. It would be preferable to have one solid block of text for the introduction. Not two separate columns. (I agree here. This would be more professional and coherent with the rest of the copy throughout the document).
03. 108 pages is preferred by a country mile. Feature spreads would work well to break up the pacing of the publication instead of having an onslaught of 44 students work
Cover
01. The way it makes you think whilst trying to read it is conceptually strong, keep developing this.
02. Text off the edges is great as per first comment.
03. Text on spine should be in Courier New.
04. Definitely don't want images.
-
From here then, we need to complete the following in order to ultimately supply an inital final mock up ready for proofing:
01. Develop spreads for all students
02. Work towards a final cover resolve
03. Acquire studio photography for feature spreads that have now been signed off*
*Date confirmed and agreed as w/c 2nd May; aka. immediately after Easter.
To summarise concisely, the discussion resolved as follows:
General
01. Layouts of the inside spreads are looking great. Excellent to see how the colour is working... remember that you don't have to stick to alphabetical order if you do not need to.
02. It would be preferable to have one solid block of text for the introduction. Not two separate columns. (I agree here. This would be more professional and coherent with the rest of the copy throughout the document).
03. 108 pages is preferred by a country mile. Feature spreads would work well to break up the pacing of the publication instead of having an onslaught of 44 students work
Cover
01. The way it makes you think whilst trying to read it is conceptually strong, keep developing this.
02. Text off the edges is great as per first comment.
03. Text on spine should be in Courier New.
04. Definitely don't want images.
-
From here then, we need to complete the following in order to ultimately supply an inital final mock up ready for proofing:
01. Develop spreads for all students
02. Work towards a final cover resolve
03. Acquire studio photography for feature spreads that have now been signed off*
*Date confirmed and agreed as w/c 2nd May; aka. immediately after Easter.
Monday 28 March 2011
Fine Art Yearbook: Cover Development 01 (Revised)
With a meeting scheduled for 3.30pm tomorrow, it was discussed that we really needed to make progress with the cover of the yearbook in order to show the committee our development outside of the student spreads.
As Tim had been allocated to develop the cover designs originally, it was suitable that he continued to make inroads into what he already had from before.
Having discussed the designs as they progressed over Skype (oh, the wonders of screen sharing technology), multiple ideas were explored; primarily the notion of disecting the type in columns and shifting it in alternating ways.
Personally, I prefer this approach (as does Tim) as it makes the cover visually more appealing whilst also linking in to our concept through making it more difficult to communicate the message.
A couple of aspects I am not certain on is the use of colour and haphazard line work. I also think it's a shame that neither of the typefaces used on the inside of the publication really work as a cover heading... they simply aren't bold enough for what Fine Art have suggested they would like. (See 10th Feb Creamier Publication post for reference).
As Tim had been allocated to develop the cover designs originally, it was suitable that he continued to make inroads into what he already had from before.
Having discussed the designs as they progressed over Skype (oh, the wonders of screen sharing technology), multiple ideas were explored; primarily the notion of disecting the type in columns and shifting it in alternating ways.
Personally, I prefer this approach (as does Tim) as it makes the cover visually more appealing whilst also linking in to our concept through making it more difficult to communicate the message.
A couple of aspects I am not certain on is the use of colour and haphazard line work. I also think it's a shame that neither of the typefaces used on the inside of the publication really work as a cover heading... they simply aren't bold enough for what Fine Art have suggested they would like. (See 10th Feb Creamier Publication post for reference).
Friday 25 March 2011
Thursday 24 March 2011
Fine Art Yearbook: Meeting w/ Lorenzo
This afternoon the group and I sat down with Lorenzo to have a quick discussion over the quote for the Yearbook.
Overall, the meeting was very useful and quite positive with Lorenzo doing some behind the scenes leg-work over the course of the week. Hero.
The main points that were discussed included:
01. Reduction of required units to 500 (with a view to top-up)
02. Paper stock to fall in line with standard 120gsm, however...
03. 90gsm is a possibility should the overarching budget balance out
04. Foil cover should stay as it is a primary 'requirement'
05. Out of budget costs could be covered by fund raising
06. Due to the way Duffield set up, 96pp would be cheaper or...
07. 108pp is currently possible without any additional cost
In the grand scheme of things, this should bring the job within budget although if Fine Art require more than they can afford then top up costs can be part funded by student fund raising.
All in all, this seems like a very logical step forward and I am happy with the progress that is being made.
Overall, the meeting was very useful and quite positive with Lorenzo doing some behind the scenes leg-work over the course of the week. Hero.
The main points that were discussed included:
01. Reduction of required units to 500 (with a view to top-up)
02. Paper stock to fall in line with standard 120gsm, however...
03. 90gsm is a possibility should the overarching budget balance out
04. Foil cover should stay as it is a primary 'requirement'
05. Out of budget costs could be covered by fund raising
06. Due to the way Duffield set up, 96pp would be cheaper or...
07. 108pp is currently possible without any additional cost
In the grand scheme of things, this should bring the job within budget although if Fine Art require more than they can afford then top up costs can be part funded by student fund raising.
All in all, this seems like a very logical step forward and I am happy with the progress that is being made.
Tuesday 22 March 2011
Friday 18 March 2011
Thursday 17 March 2011
End of Year Show: Printed Pitch Materials
Promo Poster:
Private View Invitation:
Exhibition Guide:
Range:
Private View Invitation:
Exhibition Guide:
Range:
Wednesday 16 March 2011
Tuesday 15 March 2011
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