Professional Practice Assignment Printing Processes: Yesterday’s techniques for today’s craftsmen Yu-Hao Huang MA Book Design 2019-20 Department of Typography & Graphic Communication University of Reading
Brief Project description The intention of this project is to design some examples inside spreads and for a ‘Reference’, responding to the requirements and preferences of people who are interested in different printing techniques, especially the audience who want or had already participated in some printing techniques workshops. Because traditional printing technology is mainly divided into four processes, I will use ‘Printing processes’ as my book title.
The aim • To understand the process of transforming the information into a visualised page (through text, illustration, photographs, and diagrams) • To understand the appropriate ‘reference manual’ interior design for specific audiences • To explore the double-page spread as a unit of meaning • To understand the role and selling market of different publishers • To understand how readers process the page • To understand what considerations should bear in mind for publishing the book in a co-edition.
Project scope and deliverables The final project will be shown as photographs of a physically made item and a written reflection of how you would intend this item to be made. 1. Front and back cover design 2. The title spread 3. The contents spread 4. Chapter opening spread 5. The information spread 6. The technical spread
Discovery
Research
Discovery The topic of this reference book is going to surround the process and introduction of different printing techniques. The current revival of different hand-craft printing techniques has created a crop of hobby press studios that drove the workshop in order to promote related technologies for the public. Plus, a lot of art or design universities also re-activated programs of traditional printing in fully equipped facilities. This indirectly enhances the significance of manual printing. Before starting to research, I learned the process of infographic design from Amy Balliett on the Lynda learning website and understood how to utilise the analytical schema proposed by Bateman to visualise the information structure of the double-page spread.
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Discovery
Research
The research starts with researching the existing Books in the printing and design genre such as printmaking or letterpress reference. This gives me insight into recognising the diverse style of design convention in this area.
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The book ‘Printmaking: A Complete Guide to Materials & Process: A Complete Guide to Materials & Processes’ shows the image of artwork can be a key role in distinguishing different printing techniques and even show the layering process.
Discovery
Research
The book ‘Printmaking: Letterpress Now’ shows the illustration can effectively demonstrate the concept of the printing process and the importance of callouts surrounded the main image. This gives me a good idea of illustrating the plain cutaway and flat drawing.
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Discovery
Layout analysis
A range of Dorling Kindersley(DK) spread examples shows the various structure according to the subject matter and their purpose. For the topic ‘Printing processes’, I decided to design the double-page spread which not only has an appealing image to attract readers but also provides diverse relevant information. This kind of spread design generally is used in encyclopedias or reference which allows readers to access the document in each part randomly as none of the information is more important than others. By applying different features and levels of the hierarchy to differentiate information.
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Discovery
Layout analysis
To distinguish distinct levels, the two-column grid is used for the description and overview text below the main heading. For a three-column grid, it is the area for placing the main body text. And finally, a six-column grid is basically the space provided to control callouts and captions.
2 columns
3 columns
6 columns
1. Contents spread 2. Chapter opening spread 3. Information spread 4. Technical spread 1
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Discovery
Layout analysis
Through applying the analytical framework I learned during the seminar, the layout structure of this spread can be explored and classified into a tree diagram. By doing this, the hierarchies of different layout units and how their grouping relationship can be shown graphically.
Page spread
Navigation
Page number
Chapter header
Page name
Title
Supportive text fragment
Description
Overview text
Perspective image
Motorbike
Motorbike description
Green frame
Fluid resistance Air resistance Helpful and unhelpful friction
Image detail
Captions
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Image detail
Exploded image
Text paragraph
Image detail
Cutaway image
Captions
Image detail
Text paragraph
Cutaway image
Captions Text paragraph
Discovery
Layout analysis
Except some non-fiction books such as travel guides and atlas, most of the reference are produced in square or square-like rectangular format. I decided to follow the format proportion explored in some DK reference, with 1:1.2. Experiment with different sizes according to this proportion.
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Around 1.2
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Discovery
Analysis
Reference book: 1. the artwork image 2. the combination of inside pages’ illustration 3. the inside pages’ photograph
Printing genre book: 4. the effect of embossed book cover to reflect the topic ‘letterpress’ 5. the combination of inside pages’ photograph and some ink genre illustration 6. printing texture genre background
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Discovery
Analysis
In order to reflect the book idea ‘Yesterday’s techniques for today’s craftsmen’, I researched a lot of illustration and graphics related to modern printing technology and digital printing. Experimenting the possibility of placing these kinds of elements into the spread.
Printer manual moodboard
Technical drawing moodboard
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Discovery
Analysis
The concept of CMYK and trimming be treated as an important role in colour printing. Adding these elements in a spread can also convey the feeling of printing.
CMYK moodboard
Trimming moodboard
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Transformation
Front cover Spine Back cover Endpage
Flat plan
Contents page
Transformation A content structure was developed continually as the design evolved. However, after the feedback from Bryn, I realised that the number of pages for this reference book isn’t enough content to carry this amount of detailed design and commissioned imagery for the price point 64 pages can carry. He suggested 180/200 pages which can meet the price I supposed £16.99. The feedback really gives me a good view of thinking like a publisher and what should I be aware of before publishing.
Interior pages
Glossary Index Acknowledgements
Chapter opening Information spread Technical spread Technical spread Technical spread Technical spread Introduction Tools and techniques Relief printing Screen printing Mezzotint Etching Intaglio printing Planographic printing Chapter opening Introduction spread Technical spread Technical spread Technical spread Technical spread
Themes
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Transformation
Collect information
After collecting the information from distinct books and websites, and then edited them into the diagram. To visualise this diagram can avoid forgetting some information while designing. Meanwhile, I have to make sure of the role and target market of my book for collecting specific information. In my case, targeting students (15+) and adults, who are graphic designers wanting
Before trialing the layout composition, I will put the reference resources and address in order according to the level of the hierarchy. In the script document, the use of a bolded headline represents the different titles in the double-age spread.
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to learn more about printing processes. I mainly want to put the information about the comparison of various printing techniques and their printing results in the book. For me, I thought it is difficult to distinguish different techniques, especially for students who want to experience another way to design but do not have a clue.
Transformation
Initial idea
In the initial stage, I focused more on understanding the design and editorial process that goes into making a reference book. Exploring the amount of relevant information whether enough to constitute a book title such as ‘Printing processes’. The first several feedback sessions give me the insight that in addition to the printing process-related information, extra information such as famous artworks or current initiatives also can be placed in spread.
On the other hand, I trialled the combination of three-columns and four-columns grid in design and working with dummy text and images to explore the overall feeling.
Margin: Top: 10mm Bottom: 12mm Outside: 15mm Inside: 28mm
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Transformation
Initial idea
The size 254 x 308 mm, which is the book ‘Knowledge Encyclopedia Science!’ format, is too big for my initial dummy design because this book’s audience are student to adult. Comparing to children, they will not carry the big book with them whenever they need it. I proportionally reduced to 186 x 222 mm so that the size will not smaller than the standard Square books (180×180 mm), but also will not bigger than the portrait photo book (200×250 mm). Moreover, 186 x 222 mm format means the double-page spread can be produced in A3 paper size 297 x 420mm.
Margin: Top: 17mm Bottom: 16mm Outside: 18mm Inside: 14mm
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Shrinking the margin inwards to give the folio and running header more space. As the format decreased, I altered to employ the combination of two-columns, three-columns, and five-columns to complement the amount of information in the spread.
Transformation
Initial idea
In this stage, I experimented with the layout arrangement based on the data currently collected. To avoid finding the low-quality picture of the artwork on the Internet, I chose artworks’ images from the collection archive on the website of the V & A museum. If the picture is not available, at least I can go there for taking photos.
To achieve a printing-like genre, I decided to use the CMYK saturated colours to represent the navigation colour of four major printing processes. For the relief printing pages, I chose magenta.
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Transformation
Initial idea
Considering that most printing machines have similar colors appearance, I experimented to place the picture which looks like a technical drawing. This may not only make the spread more attractive and modern but also can overlay the translucent colour on the significant part of the printing press for emphasising.
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Transformation
Initial idea
To prevent the chaotic spread, I utilised the same style with the information spread such as body text and captions. Since the genre of the whole book has a feeling of craftsmanship and modern, I believed slab serif and sans-serif more suitable for this theme.
Font family: • Adelle PE • Avenir
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Transformation
Typeface
I went through a few variations of the typeface size. The slightly bigger size of the typeface is more suitable for print out in the book size. Here, I mainly adjusted the part of the description, overview text, and body text.
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Adelle PE
Adelle PE
7/10pt, Semibold 7/9.75pt, Thin 6.75/9.25pt, Thin
7.25/10pt, Semibold 7.25/9.75pt, Thin 6.85/9.4pt, Thin
Transformation
Typeface
After the next feedback, I start to think about how can the readers distinguish the information spread and technical spread if both of them used the same level of the hierarchy? The distinctive heading of each spread could be an important clue.
1. Haboro serif 2. Chaparral Pro 3. Sommet Slab 4. Copperplate 5. Superclarendon
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I considered ‘Haboro serif’ is the most suitable typeface for the heading of information spread. Some letters are designed as more dynamic which can convey handcraft feeling but not too tedious.
RELIEF PRINTING Relief printing includes woodcuts, linocuts, and letterpress printing. The ink sits on the surface of the reversed image or letter and is transferred to the paper laid on top of it through the press applying pressure. It is a family of printing methods where a printing block, plate or matrix that has had ink applied to its surface, but not to any recessed areas, is brought into contact with paper. The areas of the printing plate with ink will leave ink on the paper, whereas the recessed areas of the printing plate will leave the paper ink-free. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller.
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RELIEF PRINTING
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RELIEF PRINTING
Relief printing includes woodcuts, linocuts, and letterpress printing. The ink sits on the surface of the reversed image or letter and is transferred to the paper laid on top of it through the press applying pressure.
Relief printing includes woodcuts, linocuts, and letterpress printing. The ink sits on the surface of the reversed image or letter and is transferred to the paper laid on top of it through the press applying pressure.
It is a family of printing methods where a printing block, plate or matrix that has had ink applied to its surface, but not to any recessed areas, is brought into contact with paper. The areas of the printing plate with ink will leave ink on the paper, whereas the recessed areas of the printing plate will leave the paper ink-free. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller.
It is a family of printing methods where a printing block, plate or matrix that has had ink applied to its surface, but not to any recessed areas, is brought into contact with paper. The areas of the printing plate with ink will leave ink on the paper, whereas the recessed areas of the printing plate will leave the paper ink-free. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller.
RELIEF PRINTING Relief printing includes woodcuts, linocuts, and letterpress printing. The ink sits on the surface of the reversed image or letter and is transferred to the paper laid on top of it through the press applying pressure. It is a family of printing methods where a printing block, plate or matrix that has had ink applied to its surface, but not to any recessed areas, is brought into contact with paper. The areas of the printing plate with ink will leave ink on the paper, whereas the recessed areas of the printing plate will leave the paper ink-free. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller.
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RELIEF PRINTING Relief printing includes woodcuts, linocuts, and letterpress printing. The ink sits on the surface of the reversed image or letter and is transferred to the paper laid on top of it through the press applying pressure. It is a family of printing methods where a printing block, plate or matrix that has had ink applied to its surface, but not to any recessed areas, is brought into contact with paper. The areas of the printing plate with ink will leave ink on the paper, whereas the recessed areas of the printing plate will leave the paper ink-free. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller.
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Transformation Main picture Transformation
In the case of relief printing information spread, there is no any of them is more important them other techniques. Hence, the choice of image can depend on picture itself. I chose the woodcut picture as the biggest here because this picture can make the whole spread more vivid. Then find out the letterpress and linocut’s photos which have a better matching with the main woodcut pictures.
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Transformation Main picture Transformation
By experimenting with different images’ sizes, positions, and colors, I chose the artworks named ‘Crying girl’ and ‘Tev’e the Milkman’ as the base of the spread. Then place diverse elements according to the approximate position of the images. Making sue the double-page spread is a unit of the canvas.
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Transformation Look closer Transformation
I hope to make the images’ callout more meaningful not just a line with a detailed circle. Linking to the previous research trimming mood board, I experimented to combine the graphics idea of the print dialog box and callouts.
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Transformation Diagram Transformation
Considering that it is inappropriate to place a chunk of text in a comparison diagram, I trialed to place the half-ton effect circle instead. According to the degree of optical to compare different techniques. However, after the discussion with Paul, the problem may exist in showing a com-
parison in this way. Take price, for example, the darker circle can be explained as both cheaper or more expensive. This make me rethink about how to design this information in a more explicit way without confusion. After several experiments, I considered explaining through text could be more direct and clear.
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Transformation Spread design Transformation
During the development progress, I asked myself repeatedly with the function of different elements on the spread; different elements cannot be placed for no reason. Therefore, I experimented to combine visual presentation with the objects or pictures which can link to the word ‘printing’.
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Transformation Spread design Transformation
1. Folio (check background experiment) 2. Printing process circle 3. Captions 4. body text 5. Workshop 6. Running header
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Transformation Spread design Transformation
Through continually arranging the body text, image, and illustration in a spread, I start to criticise myself by questioning whether I satisfy this layout or not. It is clear that the dot line body text is more suitable to be placed on the right side of the spread. The extra information box can be an obstacle if I placed on the left side.
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Transformation Spread design Transformation
I spent a lot of time on callouts experiment as I did not satisfy any callouts design. I believe the role of callouts are important in the technical spread as it interacts with the central image. I combined the frame that used to see in the printer manual with the callouts’ content.
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Transformation Illustration Transformation
I used the grayscale as the diverse rollers and cylinders’ colour because of iron material. Using magenta to represent the way of paper and to emphasise the difference between other components.
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Transformation Main picture Transformation
Original idea was to place the technical drawing-like picture in the centre. However, this will also lead to another problem which is no contrast between the background and the main picture. Thus, I decided to alter photograph as the main picture to experiment more colour choice.
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Transformation Main picture Transformation
For the lithography technical spread, the decision of main picture could be more difficult than letterpress spread as the whole process of stone lithography is basically progress on the limestone. However, I still chose the printing press as main picture because the vivid red colour working better in this spread.
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Transformation Main picture Transformation
I cropped the printing press’s legs which I thought is not necessary to place in the spread and start to experiment with the layout arrangement.
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Transformation Illustration Transformation
I only used the outlines for edges and fill with two to four similar colours in order to display shadow.
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Transformation Illustration Transformation
To find the appropriate harmony in the spread, I trialed various ways to reference. Looking at the whole, lithography spread is suitable for colours which similar to the original printing press, and then letterpress spread is more suitable for iron colours.
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Transformation Spread design Transformation
For the technical spread step, the order is unintuitive – the spread reads to the left to bottom right but both technical spreads are going in a completely the opposite direction. After some experiments, I feel that deleting step-by-step directly is better. Although it has a certain order, it can also be designed in such a way that readers can randomly access information.
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Transformation Spread design Transformation
The content structure and how a reader will progress through it, page by page.
Planographic printing description Planographic printing overview
History
Stone lithography description Stone lithography overview Printing press Limestone
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Transformation Contents spread Transformation
The experiment of contents spread
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Transformation Contents Spread Transformation
I deleted the line that links the text and colour wheel and add the barely black background. By doing this, the imagery showing a colour wheel within an ink roller will only be a decoration.
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Transformation
Book cover
Based on previous research, I realised some reference books will place the image, photograph, or illustration which appears inside the pages on the front cover. I utilised the image which is the intaglio printing of Johannes Gutenberg portrait
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at the cover considering this picture will be used in whether the chapter of ‘intaglio printing’ or ‘what is printing?’. As my book title is ‘yesterday techniques for today’s craftsmen’, I experiment to combine the CMTK concept in this picture.
Transformation
Book cover
Back cover experiments
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Transformation
Further development
Originally, I did not do enough research on understanding the role and selling market of various publishers. This not only leads me to have no clear understanding of the target audience of the relevant publishers, but it may also limit my vision of layout design. Through the discussion with Bryn, I realised Dorling Kindersley will not publish niche topics like printing processes or craft. Their target audience used to focus on a large area of topics such as animals, space, or philosophy.
Laurence King are recognised as one of the world’s leading publishers of books and gifts on the creative arts. They not only published books but produced gifts by cooperating with various illustrators, designers, artists, and photographers.
Phaidon focuses on different reference topics related to lifestyle include art, photography, design, architecture, fashion, food, and travel.
The main aim of Thames & Hudson is to create a ‘museum without walls’ and to make accessible to a large reading public the world of art and the research of top scholars.
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After doing more research on the art and craft related publishing that Bryn recommends, I decided to look in more detail on these three publishers include Phaidon, Thames and Hudson, and Laurence King. Their design style and the target audience are more similar to what I aimed to do. Finally, I decided to change the publisher to Laurence King’s design styles often combine text, images, and graphics illustrations used for explanation. These are more similar to the genre and style I am looking forward to.
Transformation
Further development
After the formative feedback, there are three significant points that I should keep in mind in the future. Firstly, the idea of co-edition. In order to reduce production costs, the co-edition publisher typically provides their translations in a single colour. All their text and images that are specific to their language, must be in one black colour. If I want to spend more money on the interior spreads, this should always be considered before starting to design. Secondly, the number of pages are particularly important when designing the spread which includes a lot of commissioned photograph and illustration. Most of the time the
pages should around 200 for this kind of manual or visual encyclopedia so that the book will be feasible to publish. Finally, as the layout development continues, my original target audience students (15+) and adults may have to alter to focusing on adult audiences instead of students. For the graphics students, perhaps learning about the completed step-by-step manual is more suitable for them because more and more universities start to activate the related programs or workshops for students.
Colour adjustment
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Making
Final design
Making
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Making
Final design
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Making
Specification
4mm
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4mm
5mm
Making
Specification
Trim Size: 186 x 222mm 2-column Grid, 3-column Grid, and 5-column Grid Margin: Top 17mm / Bottom 16mm / Outside 18mm / Inside 14mm
17mm
14mm
18mm
16mm
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Making
Specification
Spine title Avenir Next Condens 24pt, Demi Bold
Price Adelle PE 9/13pt, Semibold 48
Back cover text Adelle PE 9/13pt, Light
Author name Adelle PE 16pt, Regular
Making
Specification
Main title Avenir Next Condens 48pt, Demi Bold
Sub-title Adelle PE 20pt, Regular 49
Making
Specification
Contents page title Avenir Next Condens 42pt, Demi Bold
Page number Adelle PE 7.5/16pt, Regular
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Bold page number Avenir Next Condens 14pt, Bold
Making
Specification
Chapter opening Main title Avenir Next Condens 48pt, Bold
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Making
Information spread Main heading Haboro Serif 36pt, Norm light
Specification
Description Adelle PE 7.25/10.25pt, Semibold
Captions body text Adelle PE 6/8.4pt, Thin
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Overview text Adelle PE 7.25/10pt, Light
Workshop title Workshop description Avenir Next Condens Adelle PE 18pt, Demi Bold 6/8.1pt, Semibold
Captions title Adelle PE 7.5/8.5pt, Bold
Workshop body text Avenir 7/8.1pt, Light
Making
Specification
Body text title Adelle PE 10pt, Bold
Body text Adelle PE 6.85/9.75pt, Thin
Diagram Avenir 7pt, Heavy
Running header Avenir 6.7/7.85pt, Black
Look closer Avenir Next Condens 9pt, Demibold
Folio Adelle PE 8pt, Regular
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Making
Specification
Technical spread Main heading Sommet Slab 24pt, Black
Extra information heading Avenir Next Condens 10pt, Demi Bold
Callouts Avenir 6.7/7.85pt, Light
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Extra information Adelle PE 6/8.4pt, Thin
Making
Specification
Single callout Avenir 6/6.9pt, Light
Body text Adelle PE 8.75pt, Bold
Body text Adelle PE 6.85/9.75pt, Thin
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Making
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Making book
Making
Making book
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Making
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Making book
Making
Making book
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