Type Specimen By Amy Richards
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Con ten ts
Introduction 05 Grids 06 Margins 07 Type 08 Expressive Type 09 Colour 10 Shadows 11 Photography 12 Paper Stock 14 Binding 15 Cover 16
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In troduction
This type specimen explains the thoughts and decisions I made when creating my book project ‘Everything about one thing’. It includes controlled methods I used to help me produce my book, such as grids and margins and what choices I made and for what reason. My produced book features a lot of photography, the images are what make the book attractive and appealing I believe. There is limited use of colour because of this, with the photographs being enriched with different colours and tones, meant there was little room for type or shape colours. My type specimen reflects the design of my book.
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GRIDS I went for a basic layout of 4x4 columns, gutter 0, I wanted a structure when lining up image and text parallel to each other but also wanted some leniency for il ustrations and smaller text.
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MARGINS Using a 10 mm margin worked well for my images, as I had some that covered the whole page and some that stopped at the margins. Leaving space near the spine for the book to be perfect bound.
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TYPE I took me quite a while to choose which text font to use. I was looking for a fine sans serif font that portrays a soft, delicate effect. I also wanted the font to be rather condensed and tall, but clear and readable of course. I was searching fontsquirrel.com and came across the font Walkway. There is various styles in this typeface which is exactly what I was looking for – room for variation within the boundaries of one type face. I used Walkway Condensed for most of my text, Walkway Condensed Bold when highlighting a subheading and Walkway Rounded for titles. Walkway Black Walkway Black RevOblique Walkway Bold Walkway Bold RevOblique Walkway Condensed • Designer Graham Walkway Condensed Meade Walkway Condensed SemiBold Walkway Expand • Foundry GemFonts Walkway Expand Black • Published 2001 Walkway Expand Bold Walkway Expand RevOblique • Country of Origin Walkway Expand SemiBold Australia Walkway Expand UltraBold Walkway Oblique • Classification Sans Walkway Oblique Black Serif Walkway Oblique Bold Walkway Oblique Expand Walkway Oblique SemiBold Walkway Oblique UltraBold Walkway RevOblique Walkway Rounded Walkway SemiBold Walkway SemiBold RevOblique Walkway UltraBold Walkway UltraBold RevOblique Walkway UltraCondensed Walkway UltraCondensed Bold Walkway UltraCondensed Semi Walkway UltraExpand Walkway UltraExpand Bold Walkway UltraExpand SemiBold
WALKWAY
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EXPRESSIVE TYPE My expressive font didn’t take me long to find. I was looking for a handwritten script style type face for headings and the cover. I usually get my fonts from dafont.com, when browsing the script > handwritten section found the font Southpaw. It caught my eye straight away, the boldness and italics matched the look I was searching for. I chose to have a font in this style as it contrasts great against the Walkway font and portrays a slightly feminine, modern design feel which is relevant to my books subject.
SOU THPAW
• Designer Tyler Finck • Published December 17, 2013 • Classification Handwriting
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COLOURS Colour wise I wanted to use colours that were in-keeping with my subject. Neutral, dull colours seemed to suit the topic. With there being a lot of photography in the book, colours weren’t too important, I featured three different colours throughout the book a pale cream, a light beige and a mid grey. The cream and beige I used for backing heading and photos. The grey I used for il ustrations.
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SHADOWS Shadow is used on most pages, to shadow an image or heading. I like the modern contemporary effect it gives and makes the page not to flat and dull. I have used the same effect level throughout the book.
example
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PHOTOGRAPHY Photography is a important part of my book. It covers at least half the book with imagery on nearly every page. All the images I have taken myself on my Canon 1000D. I shot endless shoots to have enough varied imagery which was very time consuming. The photos portray my subject well and connect to the text making the readers experience more interesting and understandable. Size of the placed imagery depends on the page layout, varying from left to right alined, only ever being centred if the photo takes up the whole page. The photographs are rich with different colours and tones, I managed to get some shoots done on really clear, sunny days so when reviewing them and choosing my favourites, I even had to lower the brightness on a few. Below is an example of my Chapter heading pages.
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PAPER STOCK Colour wise I wanted to use colours that were in-keeping with my subject. Neutral, dull colours seemed to suit the topic. With there being a lot of photography in the book, colours weren’t too important, I featured three different colours throughout the book a pale cream, a light beige and a mid grey. The cream and beige I used for backing heading and photos. The grey I used for il ustrations.
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BINDING To give my book a quality finish, I have decided the binding style is to be prefect bound. I believe this style always looks the best finished. To do this you start with arranging your pages so they are in the correct order and placing them appropriately inside each other. Adhesive glue is then applied to the spine of the book and pages glued together.
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COVER I used a photograph to be the cover of my book. It’s an eye-catching image with a contrast of light and dark colours in it. For the heading colour I used white as it stood out the most effectively. I used my expressive font Southpaw for the title of the book, and to finish it I drew a line underneath with the pencil tool, edited it to make the edges clean and added a shadow to both.
Chickens Chickens
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Photographer & Designer Amy Richards 18
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