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Final Major Project
Madelene King
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1 FMP 2 Contents 3 Brief 4 Research Questions 5 Contextual Positioning 6 Where would it fit 7 Print isn’t dead 8 Finishing 9 Finishing 10 Finishing 11 Week one 12 Content 13 Hannah Hoch 14 Week two 15 Power of making 16 Binding 17 Publications 18 Publication design 19 Week three 20 Expert week 21 Binding 22 Quentin Jones 23 Imagery 24 Feedback
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25 Fount 26 Foiling 27 Foiling 28 Riso 29 Content issues 30 Week four 31 Epiphany 32 Typography 33 Prototype 34 Narrative 35 Week Five 36 Back to Dada 37 David Carson 38 Typograhic experiments 39 Typographic experiments 40 Week six 41 Designing the outcome 42 Title and cover 43 Final prototype 44 Week seven 45 Production 46 Production 47 Final outcome 48 Conclusion 49 Bibliography
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Getting positve feedback from my proposal meant I could get on with more research and experiments straight away, I didn’t have to completely rethink my idea. On the following few pages are the elements of the project that I thought about within my proposal and have gone on to expand.
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From the initial research stages I layed out my set of aims and intentions, culminating in a one sentence brief, which I have since revised, making it slight;y shorter. One Sentence Brief
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Goal
What?
Motivate a cognitive shift in how people perceive irrational behaviour and thoughts
A publication that highlights the irrational in the everyday and examples of how it can be beneficial
How?
Why?
Shining a positive light on irrrational behaviour and celebrating human eccentricities
Irrationality is widely perceived to be a negative insult How?
Who?
Motivate a cognitive shift in how people perceive irrational beliefs by shining a positive light on the subject, using design and print processes to create an engaging publication.
People who perceive irrationality to be a negative insult People interested in human behaviour and cognitive activity People interested in publication design
Using sourced content as well as generating my own. Implementing design processes throughout to make the content as visually engaging as possible. The higher the level of engagement the more convincing the message.
How?
Outcome
For people to be able to get on board with the idea it needs to be entertaining and engaging
A visually stimulating publication around the specified topic that offers people an alternate perspective
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“Today’s publication designers must work harder than ever to captivate and connect with the reader on both an aesthetic and an emotional level� Lakshmi Bhaskaran
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Publication design is like marriage
Key areas that can affect the finished design: format grid typography colour cover use of imagery
Part of the appeal of a publication is what it feels like to hold. Designers are often limited in choice of format by factors such as size, shape and cost but there is still a wide scope for variety.
It is the combination of these elements that allows designers to seamlessly fuse together a publications content while at the same time endowing it with a unique identity. The importance of each of these elemets will, of course, vary with the type of publication being designed however a good design should never override the content or vise versa rather the two should work together to support and bring out the best in each other.
Research questions to begin to explore Is type text as an image? What is its function? Is there an illustrative element to be considered? Aesthetic vs legibility? How might the final format, in itself reflect the message?
Over-arching research questions for the entire project:
How can selection and curation of content communicate a particular message? How can levels of interaction and engagement impact upon how receptive the reader is? How can print and finishing processes contribute this overall level of engagement?
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Being aware of how a publication will be read, by whom, under what conditons, is crucial to the successful design of any publicaiton, for example a telepone directory will be read under very different conditions to that of a novel
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Fact
Fiction
The main content will be have substantial research behind it. Not completely made up. I suppose the imagery cold be seen as fiction as it may not always be photography or real life
-I imagine my publication to be read at leisure and for pleasure -Perhaps on a journey or as an evening activity before bed
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-Able to read in one sitting, should time allow for it Literature Heavy
-If not, easy to pick up where it was left -Chapter system where there are various articles and images, not long lengths of prose
Picture Book
It would have a relatively even balance of text and imagery
-This would also allow people who are just browsing to read parts as to what interested them. For instance if the book is on a table somewhere and curiosity draws them to it. Silly
Serious
In a bid to make it more positive and engaging I would like to include an element of humour but not to an extent that the whole publication is a joke
It is not a self help book I am not a therapist, or a psychologist or a scientist I cannot cure people of their irrational behaviour, that is outside my realm of influence and knowledge Only attempt to frame it differently
Coffee Table Style
Zine
This would definitely not be a zine, it is far more informative and insightful than a zine. Although it would aim to have elemnts of a light-hearted feel to it.
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http://now-here-this.timeout.com/wp-content/uploads/2012/01/The-SelfridgesLibrary-part-of-Words-Words-Words-2-photo-by-Andrew-Meredith.jpg
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Where can I see the publication being shelved? In larger book shops such a Foyles and smaller niche independent shops that sell books and magazines. Selfridges also has a wide selection of magazines and books on offer, incluing those that are slightly more eclectic. Selfridges plays host to quite unique pop up shops and libraries where there is also space for people to sit and read the books as as they look around. The displays are also arranged to show off as much of the books as possibe, they are not cramped into small spaces, like some bookshops can be.
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http://www.itsnicethat.com/ http://www.theguardian.com/media/gallery/2014/feb/16/beautiful-magazines-proveprint-isnt-dead-in-pictures http://thebookdesignblog.com/
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- Their take on traditional genres is oblique and angular, but always visually seductive -They’re beautiful objects, whose arrangement of content, photography and paper stocks convey a different view of the world -The design and textures are an invitation to be touched, flicked, handled. -The content is visually driven -The curated storytelling, often around a single theme, is closer to the storytelling of novels -They’re narrative journeys of ideas, pictures and activities
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What’s already on the shelves? What is the content? What makes them appealing? What would I aspire for my book to sit amongst?
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How can I make the content visceral? Overlapping Halftone colours Scale and size Macro Proximity Distortion Image manipulation Focus and Blur Multiples Cut aways Hidden parts - use the publication itself to hide the content. Paper choice can be quite fibrous - GF SMith has a ‘Twist’ which was coated in fibres Handrawn element would add human touch Drawing over the top of images Projection onto things Use of Colour Emphasize texture
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Scale, Stock, Binding -Semi translucent can create a disappearing effect -French folds allows for things to be hidden, printed on the inside -Playing with scale within the publication can switch things up, change the feel/ atmosphere of that particular section -Loose with elastic allows for freedom to separate spreads -Hand stitched gives a less sterile finish, compliments the hand written font -It’s something that needs to be thought about from the start as a poor finish that has been done in a rush at the end can let the whole project down -Need to know what the possibilities are from the start so that they can be trialled and implemented throughout -Is possible to bind other things into the book, to hide things for example, envelopes, peep holes, angles -Can enhance the emotional level of the publication especially with paper stock -Gives the imagery and overall feel of the publicaiton more depth and atmosphere -Gives a more tactile feel and makes the publication more interesting and in turn the audience engage with it more, even if it’s on a sub concious level -Can have different bulks for the same weight so can make fewer pages look like mor and vice versa to achieve the density desired -To fold you need uncoated or it will crack -Consider grain direction so the pages flare are out correctly -Coated stock is good for detailed photography -Can print using litho, riso, digital, screenprint, letterpress -A dust jacket can allow for more options being utilised
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Multi level and blind embossing Creates subtle heightCreates textureAllows for no ink to be printed-
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Foiling -Can add glamour -Can coat edges -Doesn’t have to be metallic -Can create texture -Looks good on top of embossed material
Embossed Patterns -Over whole page -E.g matrix dots -Adds texture
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Double Page Spreads -Break up text and content -Can create impact
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Coloured Stock GF Smith’s samples come in various booklets where you can easily choose between size weight colour. The sample package is a great example of publication design within itself
Colourplan range is consistent, so you are not trying to match colours through print which can be tricky and lower the quality of presentation
Varnishing -Can go all over a page -UV coating -Can create type effects
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Many books are self help guides which is not what I’m looking to produce. Irrationality seems to be widely perceived as a negative aspect of our behaviour. No one in a serious profession will admit to being irrational as it has negative connotations. To be labelled as irrational has become an insult. I wanted to see if there were ways in which this could actually be seen as a positive attribute. For example intuition, it is not rational by typical standards. Eg: The guy seems totally nice. He opens doors, smiles, asks questions, remembers your birthday. Something just feels off. It’s irrational. When he starts stalking you a week later, you realize that the irrational thought was the right one. For example, In science fiction literature, the progress of pure rationality is valued as that may lead civilisation ultimately toward a scientific future dependent on technology. Irrationality in this case is a positive factor that helps balance excessive reason.
I wanted to make it more of a visual experience than these books, as they are very text heavy and not much else. I wanted to use particular articles and arguments used within them as content for my own publication and to help communicate my message. I had spent the time since the proposal hand-in delving into some of the reading list that I had given myself. However I hadn’t had much success by the time it came to the first lesson back for fmp. It was hard to find content within these books that said want I wanted it to, or you didn’t have to read the whole book to understand. I was armed with a couple of articles but that was all.
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Hannach Hoch Exhibiton Having been aware that Hannah Hoch was one of the leading artists during the Dada movement I paid a visit to an exhibiton of her work at the Whitechapel gallery. It was great to experience the work close up and see the detail and tactility of her collages that I feel gets lost when it is in a digital image, it seems to flatten them. I want to create a publication that was highly tactile in order for the reader to engage with it on a deeper level than just seeing it with their eyes. The combination of images were arranged in a surreal manner which could be considered irrational so there was also the potential for using these as imagery within my publication.
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Week Two
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For this workshop I wanted to experiment with the format of the book and page sizes etc. It was fun to make and I felt the freedom to keep adding elements as I went along as I decided to not adhere to any particular rules. The result was interesting and there are parts which I would want to experiment with further, but overall I think the added height would make the publication hard to handle.
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Tests and expeiments with binding -Format can be irrational in itself -For instance a very large book, no uniformity in page size, stock etc
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I had already done some experiments with various binding techniques for my proposal. I found that stitching or bolted methods worked better than perfect bound for me personally. I have hand stitched books in the past but wanted to practice more so that I would be confident to apply it to my final outcome. To do this I bound a selfinitiated book using the coptic stitch which winds it’s way up through the spine of each of the segments indiviually. I really admired the effect it gave with the lines up the edge of the book. It was also more practical because it allows for the book to lay open flat whereas with some binds content gets lost down the valley in the centre of the book as it does not easily bend open that far.
Stitched and glued signatures -Feels the most sturdy -Most time consuming
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Bolted + French folds -Allows for a thicker book with half the content -Can hide content in between pages -Can insert pages and take them out again -Can get creative with images folded round edges of pages
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Perfect Binding -Really difficult to get right -Seems quite messy -Can look incredibly smart and neat when done properly -Different colour spines make them stand out
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Throughout the whole project I have used an extensive amount of pot it notes to keep track of designs that have inspired me. There are some examples on the next couple of pages that I found particularly inspiring due to their ability to represent the content in the form of the publications and their extensive use of printing and finishing techniques in which to do so.
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Irregular Notebook: Aaron Nieh, Yung-Chen A collection of discarded sheets of paper amount to this idiosyncratic booklet. stapled together in various sizes and shapes, with alternate angles and edge, it defies the monotony of ordinary notebooks.
Fakery: Cosmetic Graphic Surgery: Tuesday Stevenson The style, format and typography are all clean and clinical, such that the medical them is conveyed. Special material features and finishing techniques are used to suggest fakery and surgery.
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Week Three
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For Expert week I got in touch with Michelle Bradbeer, who is currently studying for a phd in Cognitive Science. It was a fairly informal chat in which I explained my aims and she relayed to me what she knew about the subject I was investigating. This was followed up by an email exchange in which she gave me sites and links to which I could refer to for content and imagery. These were really useful and gave me a broader knowledge of the subject I was investigating. As well as helping me out, she was really interested in my project and asked a lot of questions, and keen for me to let her know how I got on.
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Create your own version of happiness: Artworklove
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A vivid combination of papers, textures, formats, and colours creates a tailored object that reflects the craft based nature of the artistic collaboration.
Hyrid Novels A new way of reading narative fiction: Alberto Hernandez What is differetn about physical books is having one in your hands, the feeling of leafing through it backwrads and forwards, the feel and smaell of the paper, the colour of the illustrations and even the sound of the leafing. Maria Fusco suggested that the physicality of books is another one of their distinguishign social features.
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http://www.quentinjones.info/work/
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Quentin Jones is an illustrator and art director who mainly works in fashion edtorial. She creates abstract collages that usually feature human beings at the centre of them whilst crazy shapes and sometimes type swirling around their heads and bodies. I thought this represented the irrational and unconscious in all of us so thought these could be included as imagery for the final outcome.
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Other found imagery which I could include in the final outcome
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I started to experiment with the materials that I had and created my first, short mock up of what a few pages of the publication might look like.
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- It lacked what I had created during the power of making workshop, the disorder, the folding, the lifting up to look what’s underneath - The design of the articles could reflect the content more than it currently does. - Like the use of different stock
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According to Jackson Lam, Fount should be considered as a series of suggestions, an incomplete, guide to St bride library and to the making of things. The publications content has been directly sourced from St Bride’s bookshelves, which are home to both widely familiar and very rare volumes. In addition to the compilation of copyright free and orginal material, Lam and his team have added their own annotatins and instructions. As a whole, Fount presents an inconclusive introduction to topics that anyone could face when making a book; from letter-spacing to binding, from paper to grain layout, and from reproduction to type design, it aims at mapping the knowledge and skills at work within the field of book making. This publication uses vary scale, stocks and colours to create a tactile book that requires the handler to engage with the content by flicking and unfolding through the pages to find out what lies beyond.
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The foiling created a really nice effect whereby you had to shine the page in the light to be able to see the outlines of the words, this communicated the content of the article perfectly, as it was about being afraid of the dark.
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For imagery I like the idea of using macro images of brain cells as this is the region of the brain that dictates behaviours and beliefs. They can be quite abstract and not immediately recognisble. I decided to riso them to create a slightly textured look to them.
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These could be used as a background for my text or form double page spreads to break up the chunks of words,
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Hannah Hoch ‘Cut with the Kitchen Knife Through the First Epoch of the Weimar Beer-Belly Culture” (1919)
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I had wanted to find some of my content within the poetry, literature and graphic design of the Dada movement. I researched and read through many chapters of many books trying to find snippets of information that I could use. Perhaps I was looking at the wrong books but I found that a lot of the content was actually hard to fully grasp and understand and it completely went over my head. It made me realise what a complex topic I had chosen to look into and if I couldn’t even understand it then how was I supposed to design something that a reader was able to?
Raoul Hausmann ‘Elasticum’ 1920 Theo van Doesburg. ‘Poster Kleine Dadasoirée Haagsche ‘ December 1922 Scene from ‘The Gas Heart’ by Tristan Tzara. Costumes designed by Sonia Delaunay, Theatre Michel, Paris, July 6-7, 1923
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This was when I really took action when it cam eto finding content for my publication. With very few pieces of information to work with my production and experimentation had almost ground to a holt. I think was taking the message of the positive effects of irratonal behaviour too literally and discarded anything that didn’t seem to say exactly what I want to. I decided to widen the loop and find information that was tied to my topic in any way, albeit loosely at times, I looked further into the psychopatholgy of irrational behaviour and found more purely informative texts as well as continuing my search for it and searched for more specific behaviours that could be considered irrational, for example procrastination and lying. I could work with the content I found to try and show the positive side by how I design and combine the content as a whole.
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Having seen my small mock up of the content I had designed so far it was mentioned by more than one person that for the publication to work I need to nail the typography. If I’m honest this really scared me as I do not consider myself to be a typographer and would not say I have always used the most appropriate fonts.
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Scala Scala Sans Rockwell
I decided to use just 3 fonts that I would use as well as stock, colour and binding to distinguish between the different sections of content.
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It was mentioned that because my outcome was likely to look quite modern and abstract it would be a nice contrast if I used some classic, editorial fonts. I did have long lengths of text to now think about and there needed to be consideration for the readability.
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- For my second mock up I had toned down the fonts, and made them a lot smaller. - Taken out the images completely, I felt like I was adding them for the sake of it as opposed to them having a specific reason to be included -This was well recieved with peers agreeing that if they had no reason to be then they shouldn’t and at times it was distracting.
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I needed to somehow arrange the content I had to form some sort of narrative. I didn’t want it to be too linear, organised or rational, but at the same time didn’t want it to be completely random. My aim was to make the content appear non-sensical when it can actually be made perfect sense of when the reader started to engage with the content.
The chapters I have arranged my content into goes as follows: Rational/Irrational Intuition Unconscious Fear Hysteria Creativity Nonsense Kies Procrastination Fortune
In the film Memento the narrative is played from the end to the beginning to only at the end of the film you know what is going on.
I want the chapter to be in an order but have the individual articles interrupt each other and cut into one another to create an element of chaos, but if the reader gets lost they can easily just refer back to the contents.
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Week Five
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At th end of the week I spoke to Paul about my project as I had never had his input on it before. He really liked the idea of it lovedthe fact that the reader could pick nd choose what they wanted to read or what to read next but it all seemed to neat and orderly still. Without the images everything was quite linear and lacked an element of irrationality. He made me think about how far I could push the typography in this project and use it to my advantage instead of being afraid if I was using it correctly or not. How far could I push the legibility to get the message of irrationality across to the reader. He gave me more references to go back to, including artists from the Dada and Postmodern movement. Like I said before I found it hard to grasp the subject as a whole so focussed especially on the typography elements and how experimental they were at the time because no one had doen it before.
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An example of a more contemporary exprimental typographer is David Carson who famously converted a whole interview in Wingdings because he didn’t like it.
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The experimental typography I would be doing wouldn’t be experimental if I was just imitating it, I needed to do it with particular intent for it to actually be a success.
Is it really the case that a text that is typographically demanding to read is more memorable once deciphered? Typography Now Two
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I really wanted to try and push the legibility of the text and content I was using to try andmake it far more interesting that it currently was. I used a photocopier to begin with to try and get a fluid type of motion that would represent the unconscious mind, a topic of which a whole chapter of my book is dedicated to.
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The typography treatments were a good thing to do because a lot of my content had been photocopied from books and there was no way I had to the time to re-write chapter upon chapter of text. This way I could make them more visually stimulating by scanning them in and manipulting them. It was it really great way of doing hands on design and I found that accients happened that turned out to be successful and I have gone on to use the same methods in my final outcome.
In terms of legibilty it was never my intention to create an illegible book that people couldn’t read even if they tried. I think it’s fine to push the boundaries slightly though, it’s about trying to find a balance. What has come out of these experiments is actually some quite striking imagery which has been created by using nothing but typography. I’ve really liked some of the effects that I have created and think they would lend themselves to the narrative of the publication as well as the written content.
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Week Six BA DGC
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When it comes to designing a publication, preparing files for print, chapters, binding, stocks, finishing methods, logistics, I actually screw my logical thinking cap on and really think about things rationally, which was a real challenge. Certain processes needed to be done before others could be completed and the fact that there wasn’t a particular uniformity to how many pages were bound into each signature meant that files had to be created and printed separately. This is because they were also bound in different ways.
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I didn’t want it to just be irrational for the sake of it, I had to do it with intent, so that each treatment I gave to the content was in some way reflecting the message within that content. It would be quite easy to have just plonked stuff any old place, making it messy and think that I could get away with it, ‘oh, but it’s irrational, so it doesn’t matter’’. It is not a scrapbook, at the end of the day it has to be a piece of designed work. Some are quite abstarct some are fairly literal although things may look as if they are illegible they are actually not, just put tsome effort into reading it it, or it is in anothe rpage of the book completely legibale format How could I design each page to create some sort of engagement from the reader whether it be having to read around onto the next page, ripping it, rotating it or just running their fingers along it to feel the surface. How could I incorporate the techniques and experiments that I have created so far. How could my research inform the final outcome whilst taking into consideration all the feedback I have been given up unitl this point.
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I was struggling to think of a title foy my publications as I didn’t exactly know how to summarise what was inside without it getting too long winded. Was it a dossier? An anthology? A document? A compilation? As I had eliminated any imagery from the book itself I had already planned on having a typographic cover of some sort.
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Title Ideas Unbounded Irrationality - as a play on the ‘Bounded Rationality’ expression (can be found on page 5 of my bok), as it was exactly the opposite. Bounded Irrationality - A play on the fact that I have actually bound irrationality into a book by sewing it all together. Irrationology - A nonsense made up word made from the words “anthology’ and ‘irrational’. i wanted the cover to grab people, even when the title didn’t necessarily , as it is an unfamiliar term. In this way the cover I thought about from more of an aesthetic angle, it’s the first thing you see so needed to be striking.
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I show my final mock up of the book to a few different people
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- Very tactile object - Great textures and use of differing stocks - Nice experimentation with typography - Professional looking -Need to pay attention to the details - Widows and Orphans
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Making the publication was actually the most fun part of this project although it has require the most logical thought and caused the most amount of stress.
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Yr 3
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Yr 3
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Madelene King
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With this project I found it a challenge to find content produced by other people to try and convey the particular message that I wanted to get across. In that respect it may have been easier to produce my own as it did end up stalling my progress quite early on. It was good experience having to prototype my outcomes as they were ideas that did not come across purely by trying to describe them to people. To give feedback they needed to be able to actually hold something and understand it. It was also good because it meant that I was always in the process of making something no matter how good or bad the quality was. I wanted to come away with an outcome that was irrational in it’s nature, something considered to be a negative thing, but that actually turn out to be a beautifully tailored object, that people want to hold, touch and flick though. I think I managed to find a good balance between imagery and type and that in a lot of places compliment one another. There are parts where it looks like it could be illegible and it is, and the reader may feel like they have missed out on reaing something, when in fact it will be printed elsewhere in the book, in a totally legibel format. I would say that this final outcome in a way seeks it’s own audience because different aspects could appeal to completely different people. There could be many pulling factors such as people interested in publication design, human behviours and those who just like shiny objects. As a fairly labour intensive publication in terms of production I only created one single copy but there would be no reason why it cannot be reproduced even though it is quite a unique publication. I can hopefully use it as a strong portfolio piece in the future as I certainly have a growing interest in publication/magazine/editiorial design and would love to get some work experience in the field.
BA DGC
Yr 3
Madelene King
KIN10307102
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The Mind Map Book Tony Buzan
The Invisible Gorilla: And Other Ways Our Intuition Deceives Us Christopher
Experimental Formats & Packaging Roger Fawcett-Tang
Chabris
Design Diaries: Creative Process in Graphic Design Lucienne Roberts
Predictably Irrational: The Hidden Forces that Shape Our Decisions Dan Ariely
What is publication design? Lakshmi Bhaskaran
The (Honest) Truth About Dishonesty Dan Ariely
Publication design workbook: A real-world design guide Timothy Samara
Sway: The Irresistible Pull of Irrational Behaviour Ori & Rom Brafman
Society of Publication Designers 2010 : 45th publication design annual
The Upside of Irrationality: The Unexpected Benefits of Defying Logic at Work
Thinking Visually Mark Wigan
and at Home Dan Ariely
3D Typography Jeanette Abbink & Emily CM Anderson
The anxiety and phobia workbook Edmund J. Bourne
Print and Production Finishes for Brochures and Catalogues Roger Fawcett-Tang
Manifesto of Surrealism Andre Breton
100 Habits of Successful Publication Designers Laurel Saville
No more rules Graphic Design and Post Modernism Rick Poynor
Turning Pages Robert Klanten
Typography Now Rick Poynor
Visual Research Ian Noble & Russell Bestley
The liberated page Herbert Spencer
The Layout Book Amrose & Harris
Typography Today Helmut Schmidt
The Art Diretors Handbook of Professional Magazine Design Horst Moser
Fully Booked Gestalten
Sagmeister: Made You Look Peter Hall Book Design Andrew Haslam
BA DGC
Yr 3