Type Specimen Do Not Touch
II
Type Specimen Do Not Touch
III
1
Contents Grid System 3 Typography 9 Imagery 21 Colour 33 Binding and Paper Stock 39 Oversights 43 References 51
Grid system
4
Grid System The book primarily works on a three column grid system, with the addition of one central guide for flexibility. The inside margin is larger than the others to compensate for the inability to fully open pages associated with perfect binding.
Measurements Top margin 12mm Bottom margin 15mm Inside margin 18mm Outside margin 11mm Baseline 14 pt Columns 3 Gutter 5mm
5
150mm
150mm
6
Text layouts There are two alternating text layouts used within the chapters of the book. The fluctuating layouts of text represent the ever-changing nature of the Zone and help to create a varied aesthetic whilst maintaining a stylistic continuity.
7
Typography
10
Fonts Cyrillic font families provide subtle reference to Russia and Russian typography. Two of the typefaces used also have SIL Open Font Licences, which means they may be used, studied, modified and redistributed freely as long as they are not sold by themselves, making them suitable for this project. One of the typefaces is free, however I was unable to confirm exactly which license it has.
PT Serif PT Serif which was designed by Alexandra Korolkova, Olga Umpeleva & Vladimir Yefimov, and released in 2010 by Paratype. It was originally developed for the project “Public Types of the Russian Federation�. PT Serif is a clear and legible font and has six styles, making it suitable for expressing hierarchy.
Body text: PT Serif Regular 9 pt with 14 pt leading. Subheadings: PT Serif Italic 16pt.
11
Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
12
Cuprum Cuprum has a more contemporary aesthetic than PT Serif, making it suitable for eye-catching and expressive typography.
Pull quotes: Cuprum Bold Italic 14 pt with 19 pt leading. Contents: Cuprum Regular 21 pt with 45pt leading between chapters/25 pt leading applied to chapter running onto multiple lines. Page numbering: Cuprum Regular 9 pt. List numbering (pages 42-43) is set in Cupum Bold 40 pt. Chapter headings: Cuprum Bold Italic 38 pt with 45 pt leading. Introduction body text: Cuprum regular 24 pt with 28 pt leading. The introduction heading: Cuprum Bold 24 pt. Blurb: Cuprum Bold Italic 14 pt with 19 pt leading. Expressive typography: Cuprum Bold and Bold Italic with varied size and leading.
13
Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
14
Intro Intro is an all caps font designed by Miroslav Bekyarov for FontFabric and is built on principles of basic geometric forms. Within the first half of the film, Writer and the lady discuss the Bermuda triangle and triangles in the alphabet, making Intro a suitable font to use.
Front cover title: Cuprum 89 pt with 99 pt leading. Title page title: Cuprum Inline 27.6 pt.
Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Inline
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
15
Examples of typography Cuprum pull-quote & PT Serif Regular body text.
Inset spacing of 3mm seperates the pull quote from the body text for ease of legibility. Applying a text wrap around the bounding box allows it to be positioned partially over the body text box which visually connects it to the text without inturruption.
16
Cuprum creative typography/quotes
Moving the tittle from the ‘i’ and adding an illustration of a pinching hand visually emphasises the narrative of the text.
17
Running the text off the page into the inside margin on page 77 is in keeping with the theme of temptation and consequence, as it encourages the reader to prise the pages apart to read the quote. As a consequence, the book may be damaged.
18
List numbering
List numbering is emphasised to add visual interest to the page. Numbers are right-aligned and accentuated through application of size and colour.
19
Book title
Intro Inline was employed as a detailed, eyecatching typeface for the front cover of the book. On the title page, Intro Regular was used with a strikethrough to contradict the front cover title text by creating a double-negative, as the book is intentionally tactile and inviting to touch. The strikethrough also creates a symbol similar to a no-entry road sign where it crosses three circular ‘o’s, which symbolises the Zone in Stalker, which is guarded from the public.
Imagery
22
Photography Whilst choosing a film to watch, the first thing that caught my eye was the photography in Stalker. Many of the stills were low saturation, high contrast images beautifully framed. From this, I drew inspiration and chose to include monochrome images with strong blacks and bleached whites. Each image presents something that can be tempting but also has a potential negative conscequence (some more serious than others). I decided to avoid obvious temptations such as food and sex, and portray a varied range of temptations ranging from the frivolous to the morally wrong. I endeavored to take all photos myself, however I had to take one image from another source as I wanted to include a photograph of someone about to jump into a large pile of leaves, which would be extremely difficult to achieve in April. By editing the levels of each photograph, the images were given a uniform appearance, although the ‘Leaf Hopper’ image has a slightly different aesthetic because of lighting and composition. Within the book, each photograph is full-spread and situated between each chapter to seperate sections.
23
24
25
[1]
26
Illustration Each chapter begins with a title page, which features a vector illustration relevent to the content of the chapter. The illustrations are very simple and layered underneath the text so as not to inturrupt readability. Each illustration consists of black 2pt thick lines. The end papers feature a vector image of barbed wire. Barbed wire was chosen as it is in keeping with the book title and the Zone is surrounded by barbed wire fences.
27
28
29
30
31
Colour
34
Colour scheme Three colours are used throughout Do Not Touch; white, black and dark red. Black and white were chosen to represent the bleak visual style of the film through photography and typography. A dark red has been used to emphasise typographical heirarchy and as block colour pages to seperate sections of the book. Red was chosen because it is associated with passion, love, sex, excitement, enthusiasm and power. Red also stimulates heart rate, breathing and appetite [2]. All of these associations and effects can be associated with temptation, making red the perfect colour choice for the book. It is also the most visually dominant colour which, paired with white and black, creates a bold and consistent aesthetic throughout. Behind the title text, the front cover features a solid dark red rectangle which represents the door to the Room.
35
White
Black
Red C = 0 / M =100 / Y = 34 / K = 53
36
Colour examples These examples illustrate how colour was used to create and emphasise heirarchy within typography.
37
Binding and Paper Stock
40
Paper Stock Three paper stocks are used within Do Not Touch, to provide varied tactile qualities and to reflect the ever changing nature of the Zone in Stalker.
Tintoretto Gesso Used for the cover (250gsm) and main bulk of the book (140gsm), Tinteretto Gesso is a white matte paper, selected for it’s slightly embossed, tactile qualities.
Fedrigoni Freelife Gloss White Fedrigoni Freelife Gloss (150gsm) is used for the full-spread images which seperate sections within the book. A glossy paper was chosen for this purpose because it produces a brighter, sharper image, and provides a contrasting texture to the Tintoretto Gesso paper.
Bazzill Basics Dotted Swiss Textured Cardstock One dark red sheet of Bazill Basics embossed cardstock (250gsm) is situated after the title page. The stock has embossed dots, making it extremely tactile and tempting to touch, however it is unsuitable for printing
41
onto. The title page is a tip-in page, which reveals the embossed stock underneath, allowing the book title of Do Not Touch to sit alongside a material which is extremely tempting to touch. The dark red of the Bazzill Basics stock was colour matched as accurately as possible to create the CMYK values printed throughout the book.
Binding Perfect binding was chosen as the most suitable form of binding for Do Not Touch as it allows different paper stocks to be arranged throughout the book without positioning limitations. Perfect binding also prevents the pages from being laid flat; by running a peice of text into the inside margin, the reader is encouraged to interact with the book by holding the pages open further in an attempt to read the text. The tendency of perfect bound books to eventually fall apart also ties in with the theme and book title, as continued use of the book will eventually lead to the consequence of its distruction.
Oversights
44
Oversights Since sending the book to print, a few oversights have come to light. The document has since been corrected for the possibility of further prints.
Kerning Much of the kerning of headings throughout the book has been overlooked. The text below shows two examples of how text was kerned in the book, each followed by how they would be kerned if not overlooked.
Contents Contents The Myth of The Myth of
45
Page number colour The colour swatch applied to page numbers was not the same colour swatch applied to the red used throughout the rest of the publication, causing a noticable difference in colour when the main red swatch was amended to match the colour of the dark red embossed paper.
46
Vector illustration There is a slight overlap of lines within the vector image on page 23.
47
Dropped text The first paragraph on page 27 does not meet the top of the text box. Adjusting the kerning of preceeding paragraphs within the chapter caused a line break to shift from the bottom of page 26 to the top of page 27.
48
Text box placement On page 34, the text box is placed too high on the page for the text layout within that chapter.
49
Typos Within the blurb on the back cover of the book, I have noted the year Stalker was released as 1975 which is incorrect. The correct year of release is 1979.
Page numbering
Page number one is set to the front cover, when page numbering should start within the book.
References
52
References [1] Photograph courtesy OakleyOriginals (2008), Leaf Hopper [2] Morioka, A.; Stone, T. (2006). Colour Design Workbook. Beverly, Massachusetts: Rockport. 26-27
Unless otherwise stated, all images are courtesy Emma L Brown.
53
54
55
56