D-I-Y Leathercraft

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Surbhi J | PGDPD Graphic Design | Semester 2

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~ Publication Design D-I-Y Leathercraft Surbhi Jalan

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Surbhi Jalan S1401107 | PGDPD Graphic Design 2014-2015 Semester 2 surbhi_j@nid.edu Project Guide Immanuel Suresh imsuresh@nid.edu | 9427521547 Project Co-ordinator Tarun Deep Gridher tarundg@nid.edu | 9825024076

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Acknowlegement

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Every project big or small is successful largely due to the effort of a number of wonderful people who have always given their valuable advice or lent a helping hand. I sincerely appreciate the inspiration; support and guidance of all those people who have been instrumental in making this project a success.

At this juncture I feel deeply honored in expressing my sincere thanks to my guide Mr. Immaunal Suresh for making the resources available at right time and providing valuable insights leading to the successful completion of my project.

I express my gratitude to Mr. P. Rameshkumar, Instructor, Apparel Design at National Institute of Design, Gandhinagar for arranging the tools, materials and making the process of product for photo-shoot in good schedule.

I would also like to thank my batch mates for their critical advice and guidance without which this project would not have been possible.

Last but not the least I place a deep sense of gratitude to my family members who have been constant source of inspiration during the preparation of this project work.

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Time Line

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Phase 1: Understanding the scenario and collection of informationTo understand the communication need assement and the target audience.

Revision of What is Publication Design?

Revision of the Manuscript book which was made by client Mr. P. Rameshkumar, Instructor, Apparel Design at National Institute of Design, Gandhinagar.

Phase 2: Analyse and redefine the brief.

Revision of Layout Design.

Phase 3: Visualization and exploration of visual style/treatment/size and typographic layout, paper quality etc.

Phase 4/5: Finalise and refine the style of book, keeping in mind the choosen approach, along with the visual element.

Documentation of entire process.

Week 1

Week 2

Week 3

Week 4

Week 5

Phase 1 Phase 2

Phase 3

Phase 4

Phase 5

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The Process

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Reading the books on publication design, visual language, layouts and typography. Checking out the layout and design of other books in the library as well as online for inspiration.

Understanding the content – reading the text and going through the manuscript book, which was made by client Mr. P. Rameshkumar, organizing and structuring it to build a narrative.

According to the content, begin to plan the physical format of the publication: it’s dimensions and orientation, number of pages, paper selection, and binding. Simultaneously, determine the visual language of the publication: type selection, color palette, grids, layout and composition.

Visiting Gandhinagar, familiarizing myself with project activities and photo shoot the process of making a product with the help of Rameshkumar.

Come with possible design options, simultaneously working on the illustrations and images to be used and designing the cover page, back page and spine.

As a part of Do it Yourself I went to RTO Ahmedabad and Civil Hospital to get the Learners License to understand the process to get the license by myself that was suggested by my guide to learn any one of the activities i.e. driving or swimming, I chose driving.

Consulting my guide every twice in a week for design inputs and corrections. Discussing with my friends for feedback.

Picked out the best design options, execute the final work artwork and print a dummy publication. Work on documenting the design process of the project.

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Index

1.

Organisation of the Thesis

1.1.

Introduction

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1.2.

Report on the present investigation

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1.3.

Results and Discussions

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Target Audience

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2.

Thesis Format

2.1.

2.2. Benchmarking

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2.3.

Cover and Spine Design

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Production Details

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4.

Overall Learning and Experience

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5. References

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Introduction

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Organisation of the Thesis

Today we are surrounded and defined by the everyday things we use. These could be functional, purely aesthetic or both. Lifestyle Accessory Design complements and enhances a person’s lifestyle, right from the most basic, to high-end luxury. The products we use are made of a variety of material, including plastics, leather and textiles.

Leathercraft workshop at NID is nested within the Lifestyle Accessory Design discipline at PG Campus, Gandhinagar. Mr. P. Rameshkumar with over a decade of experience in leather craft has put together a book which explains the basic skills, tools and processes of working with leather as a material. The manuscript covers the basics as well as a few do-it-yourself projects.

The task was to design a publication in English and Hindi that effectively documents this design intervention initiative and its contribution. The target audience were primarily the Rural Indians who cannot read.

Surbhi J | PGDPD Graphic Design | Semester 2

The book, which is an introduction to leathercraft, is intended for those readers who have a desire to create in one of the most interesting materials. Leathercraft should appeal to all who have a love of natural materials. Nor should this craft be approached from the fabric angle.

The book, which is an introduction to leathercraft, is intended for those readers who have a desire to create in one of the most interesting materials. Leathercraft should appeal to all who have a love of natural materials. Nor should this craft be approached from the fabric angle.

D-I-Y is the multiple resources, including thousands of do-it-yourself home improvement projects, expert advice and user friendly reference guides with step by step instructions. The abbreviation D-I-Y is also widely used in the military as a way to teach commanders, so that they did be able to do things themselves just as a preparation for their own future. D-I-Y culture is an awesome mix of sharing things that work and fighting each other to prove the impossible. Everyone helps newcomers enter D-I-Y world, rifts of each other, and pushes each other to excel all at the same time.

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Report on Present Investigation

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Problem Statement

Brief and Target Audience

Most of the books have less visual and more text. One tends to lose his/her place two different ways: you can lose track of what word you are on at any point, or you can lose track of what line you are on when moving from one line to the next. Even though the words and sentences may make sense, you may not be able to put them together to get the meaning of it. You don’t have to memorize all of the facts does not mean that you can completely forget everything what you have read it. You still need to recall the main ideas.

The project entails designing the publication based on the manuscript, resolve the content structure (and sequence), develop visual language and information hierarchy.

Scope of Work Understanding the contents, both text and images.

Working on dummy layouts (grids, typefaces, hierarchy etc.)

Making the style sheets so that the final text can be added when it gets edited.

Developing the sequential narrative and style treatment of the visuals (photographs/ illustrations) and propose a template.

Cover design and final layout of the publication.

Preparing and submitting the print ready files.

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Target audience: Rural Indian such as craft person, artisans, students and housewife who can easily understand the process.

Two basic approaches: * Each pictures, each caption, each title, each block of copy falls into a consistent pattern to unify the publication. The look is orderly. The reader feels secure and knows what to expect. * It provides great variety, page after page.

The reader prepares for a series of surprise.

Using this approach you would worry about unity, but only within a given article or story. You would feel that the nature of the article or story should dictate the choice of typeface and illustration.

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Case Study 1: Book Design What design does for book?

“The general public’s reaction to book design is, in most cases, subconscious. Except where the visual aspect is spectacular, the nonprofessional browser is aware of only a general sense of pleasure or satisfaction in the presence of a well designed book and a vague feeling of irritation when confronted by a badly designed one.” Written by Marshall Lee, a book design and production specialist.

The book designer’s approach The typical book comes in a 6 x 9 size, centers its display-type lines, uses Arial for body type, and Baskerville semi bold for titles. Two basic approaches, as all graphic design does.

One is the transparent approach, where the design doesn’t intrude. The designer makes reading as effortless as possible. The other is mood approach, in which the designer sets a stage for the reader. The choice of typefaces and illustrations amplifies what is in the text.

The first approach is safer and the second approach – more fun. Communication through word, picture and design is, or should be, a simultaneous act of creation. Where it is, we get better education and better bookmaking.

Book Typography Design is almost wholly a matter of type selection and its careful, consistent spacing. But even that requires many agonizing decision. Type for the chapter headings usually matches the type for the title pages. The headings seldom go over 18 or 24 points, and often they are smaller. Small-size type displayed with plenty of white space has just as much impact as large-size type that is crowded.

All of these considerations add to the reader’s enjoyment of a book, but they are as nothing compared to the big three contributions the designers can make.

Picking a paper that doesn’t bounce the light back into the reader’s eye.

Picking a typeface big enough to be read without squinting.

Printing the text of the book far enough in from the gutter so the reader doesn’t have to fight the binding to keep the book open.

Readers don’t buy publications-books, magazines, newspaper, whatever-to admire the versatility of their art directors. They buy publications so that they can be informed; they buy them for guidance; they but them to relax with.

How far to carry the design * Trim size of pages, * Size of margins, * Size of copy area, * Size and style of type and amount of leading, * Amount of paragraph indentation, * Handling of footnotes, * Size and placement of page numbers, * Handling of chapter titles, subheads, running heads, and initial letters, * Amount of drop between chapter titles and beginnings of chapters, * Handling of front matter, including title page and table of contents, * Handling of back matter, including bibliography.

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Case Study 2: What is Publication Design?

The publication designer was created by the communications revolution and in some ways he/she has become it’s victim.

The communication of information to the public. It enables us to connect with likeminded individuals.

Part of the appeal of a publication is what it feels like to hold. Books can elicit a powerful response, transporating us to another time and place, simply through the power of words and images.

Principles of Design: Balance - It becomes more naturally enough as you add more elements around and pull white space into concentrated masses.

* How will your publication be printed? * What binding technique do you paln to use? * Does the publication need to open flat? * Will it be read up close? * Are you designing reference material or is the content fictional? {All of the points will lead to the designer towards different layout solutions.} Proportion - Equal space between the heading and the picture, between the picture and the copy, between the copy and edge of the page. Margins become monotonously the same.

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Sequence - The reader ordinarily starts at the top left of a page or spread and moves to the bottom right. You don’t leave to chance the order in which the reader perceives the items on a page or spread.

Contrast - Something on the page or spread should stand out from all else.

Unity - White space on the outside edges should be there in unequal concentrations, in conformance with the principle of pleasing proportion. It must fit the mood of the piece. The pieces, the pages belong together.

Legibility refers to the type form or individual character. Readability is concerned with the speed and ease with which a text can be read. An individual letter may be legible, but when letters are grouped together, the issue of readability comes into play.

The grid is one of the most important tools in publication design. Using single-column grid may create a minimal, clean design, but will be unsuitable for a text-heavy publication as the line lengths will be too long and the text difficult to read.

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Case Study 3: About Leather Leather is the skin of an animal, bird, reptile or fish which has been preserved from putrefaction. This preservation of skins used for the manufacture of leather goods generally means tanning with a vegetable extract. The leathers manufacture from the fully grown bovine animals are called hides and those from smaller animals are called skins.

Hides used in leather goods manufacture are sold either as whole or half hides, or are cut before tanning into butts, shoulders and bellies. The butt produces the best leather, the shoulders are coarse grained and cheaper, and the bellies loose and thinner. When hide is split, the grain layer is known as a split hide. This would be of uniform substance throughout. The lower layers are known as hide splits, flesh splits or middle splits.

Public demand has been for this uniform, smooth and uninteresting colouring of leather rather than for the honesty and sincerity of the natural grain.

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The following list gives some of the finishes of leather for leather goods manufacture: Bridle leather is impregnated with grease and only the backs are used for this purpose. They are used for good quality strap work and vary substance form 2.5 to 5mm.

Whole cowhides. Shoulder, butt and two bellies. Total area about 45sq.ft. extreme width approximately 7ft, extreme length 7ft 6in.

A butt is the hide less the shoulder and the bellies.

Usually cut into two half butts. About 10sq.ft each 24 x 60/66in.

A back is the whole hide with the bellies cut off.

Bellies vary in size but are approximately 12in. wide and 8 to 10sq.ft. a softer part of the hide.

A shoulder. Approximately 50in. wide, area 8 to 11sq. ft.

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Understanding the different varieties of leather materials.

Points from Manuscript

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Case Study 4: Anatomy of Book

What’s inside a published book?

End papers: Also called leaves, these are blank pages {perhaps with images} you find at the beginning and end of a book. They function to fill out the signatures.

Acknowledgement: Here the author thanks people helpful in someway relative to the book: perhaps a writing instructor, the editor at the publishing house, the author’s agent, a supportive spouse etc.

Table of Contents: It’s the lists the individual chapters and other elements found in the book plus the page where each begins.

Copyright notice Introduction: It gives the reader more details about the book in the optional section.

Body of the chapters: This refers to the text of the book, which is usually broken down into chronologically numbered and named elements called chapters.

Bibliography: List the references used in writing the book.

End of papers or leaves

What’s outside a published book?

Front cover: It is made of paper-covered cardboard rather than leather and linen.

Spine: This is the left side of the book {in the west} where the pages are bound. The spine contains the book’s title, atleast the last name of the author, and the publisher’s identity, usually by including their logo because there is not enough room for their company name or imprint.

Back cover: Further sales information about the book is found on the flip side of the book.

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Case Study 5: Visual Language

Segments and Sequences:

Line Art:

Providing a complex visual explanation in one spatial layout can result in a cultural composition of disorganized ideas. It lakes thoughtful restraint and controlled logic to pace an explanation or to organize it into a sequence with a beginning, middle, and end.

The simple line drawing that focuses on the outline of an object is a graceful way to achieve reduced realism. Often with minimal tonal value or depth, the line drawing describes the shape of an object and its essential details with a few strokes. It’s thought that early in the vision process, the brain quickly extracts liner features from a picture or scene. This includes line curvature, line orientation, and the ending point of a line.

Line drawings are excellent for technical and explanatory graphics that describe the inner workings of the body or a machine. These drawings typically provide all the necessary detail and omit anything superfluous.

Surprisingly, people identify the objects in line drawings as easily as the objects in photographs, and line drawings are superior to photographs in terms of making the information conveyed in the picture memorable.

Essentially, the amount of processing required to understand the information exceeds what the person can hold in working memory. One effective way designers can avoid creating cognitive overload is to segment information into digestible pieces.

Sequencing is a special type of segmenting that presents information in a chronological order, similar to how it would occur in the real world.

This is an effective approach for explaining a procedure, asset of steps, cause and effect, or a complex idea where one principle builds on the next. When creating a sequence, prioritize the information to determine its logical order and display it from left to right or top to bottom.

The designer or illustrator must analytically and intuitively seek the few elements that will convey the idea, emotion, or object. The order, sequence, and distance between elements also communicate meaning.

“ The progress of civilization can be read in the invention of visual artifcats from writing to mathematics, to maps, to printing, to diagrams, to visual computing. “ ~ Stuart Card ET AL

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Mind Map

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Result and Discussion

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Discussion and Dictation with my guide {Immanuel Suresh} User survey —> Language visual —> Image —> Text language —> Reading —> Demonstration.

Cognitive (Thinking Process) Discussed about the cost?

What are the structure of newspaper - how many columns? what are the leading points? display text?

What are the diversity and culture?

Based on attribute?

What is DIY? It is method of building, modifying or repairing without the aid of experts or professionals and how do DIY connects to leather product and user?

Explained about the User {Craftsmen, housewife, artisans and students - Rural Indian} divided into different categories: text, picture, seeing and understanding like for craftsmens need text and picture, housewife and artisans needs to see and understand and students can understand all above.

And what are the decision to be done?

To make the content? What it is to be added? Make the list of contents.

2 approaches - Safe and Fun (what are they for?

Safe from misinformation, wrong images, wrong spellings. Fun for creative, attractive, free flow of reading and easily to understand the process of making the product) Understanding the GSM of the paper and do the experiment of size explorations (avoid the wastage of paper before printing) What are the style of the book, font, layout, masthead, spine of the book? should be visible to the customer.

Neither to use photography or illustration? How do each of the images/illustrations communicates?

To design a book in vertical or horizontal?

To add 2 or more languages? Hindi, English and Gujarati?

What are the problems they are facing while reading the instruction book? nature of the book’s audience.

Dont use “dummy text” use Lorem Ipsum text.

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What did my guide suggest me to do?

He asked me to make a mind map of all the words which come to my mind and sort it down on A1 sheets. I asked him specifically which words to write on A1 sheets. He asked me to write any words related to publishing design, about leather and on how to guide, not instruct the people (user) to read the book in an easy way and find out about the user/target audience.

In addition to these things, he told me about the importance of communication, what is design about, and suggested me to read the books from KMC. Upon making the 3 sheets of mind map, he picked out the important words and divided into 2 objectives - design objective and communication objectives.

He suggested me to understand the structure/ anatomy of the book, structure of layout, font size, type anatomy, style, format, text as image, use of imagery, grid etc.

Suggested me to join swimming and driving class.

Met client P. Rameshkumar, Instructor, Apparel Design, National Institute of Design, Gandhinagar on 14th February 2015. He spoke how he made the manuscript book all by himself with no one’s help. It took around six months for him to complete the manuscript book. He explained the process and how to develop the product through visual languages using photographs or illustrations.

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Target Audience

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Thesis Format

You know that defining a target audience is a business best practice. But defining a target audience is a best practice for anyone that needs others to give them something. It might be a salary, an investment or money in exchange for a product or service. Whenever you need something from someone you go through at least some of the steps in defining a target audience.

We go through the target audience process even at an early age. Think back to when you were a kid. When you wanted a treat you went through the target audience process. You knew that your dad probably wouldn’t be the one to approve your request so you went to your mom and you made sure to catch her in the right mood.

That’s an example of defining your target audience.

It’s a basic example, but businesses go through that process so they have more success. It doesn’t make sense to try to please everyone. Your time, energy and money are better invested in a target audience.

And that goes for defining the target audience for your personal brand too. * I did first focus on establishing a crystal-clear empathy with the audience I was planning to serve, so I know what their problem is, how they feel about it and what they currently do to try and solve it. * Once I know my audience I would craft a clear offer based on the position I want to take within an industry and focus on making sales as soon as possible. * Assuming I’ve done these tests and I know I have a buying audience, then my focus is simple - improve traffic and conversion. I expand what is already working, add more traffic sources, make more offers and run split tests to improve results.

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I have created a chart of four users - Craftsmen, housewife, artisans and students. To understand whether will contents be helful for all four of them or not.

In this chart explains craftsmen need text and image, artisans and housewives needs seeing and understanding and students can understand all above. It’s based on the level of literacy and education. After coming up with four users I have decided to add three languages – English, Hindi and Gujarati. I tried to identify the person’s motivations, as I build the profile of target audience, get inside their head and figure out their motivations. When I know what this person’s motivations are I can help them achieve their goals as a way to achieve my own goals (I get what I give).

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B enchmarking

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Developing a visual language, style for the book and grid.

The foundational elements of print-based design—typography, grids, space, scale, color, and use of imagery—guide visual treatments. These elements do far more than please the eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge-to-edge imagery, large-scale typography, and intentional white space create a bold and graphic interface that immerses the user in the experience. An emphasis on user actions makes core functionality immediately apparent and provides waypoints for the user.

Why White Spaces are Good in Design?

To make it easier for visitors to find what they’re looking for. To create clear paths to completing tasks and highlight actions the visitor wants to take and that we want the visitor to take. To communicate messages that reinforces or adds to the copy. Visual hierarchy makes clear the primary, secondary, and supporting elements on the page.

What Aspects of Design Control Visual Hierarchy?

You create a hierarchy in design, by adjusting the visual weights of your element. More visual weight is seen as more important. Less visual weight is seen as less important.

It signifies space for more creativity.

White spaces attract the eyes.

There is always a positive response towards a white space.

Used to create a balanced and harmonious layout.

Increases your layout’s appeal.

Improves readability.

Creates professional, sophisticated and elegant designs.

Gives focus and emphasis to an object.

Directs a viewer’s eye.

Acts as a separator.

Signifies location, movement, importance and relationship between objects.

Additionally we might look to shape, prominence, and images to adjust visual weights.

Your own judgment can lead you here. Look at any two elements and think about which carries more weight. Ask yourself why, what is it about one element that makes it heavier than another.

Developing visual hierarchy

It’s important to remember that before actually designing a hierarchy we take the time to think about our content and what should be seen as more important on a page.

Just because you can make a piece of text stand out doesn’t mean you should.

We are visual beings and can quickly pick up on visual cues to better understand our environment.

Is what I’m looking for on this page?

Where is it?

How do I complete my task?

By creating visual hierarchies, designers enable pages to be scanned and make information easier to understand.

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Summary Hierarchies help give order. They prioritize items and aid in communication. Visual hierarchies organize, prioritize, and communicate visually by modifying the visual weights different elements carry.

Your hierarchy should begin with thoughtful consideration of the content and goals of the page. Only after you’ve decided intellectually the hierarchy of your page should you attempt to visually design that hierarchy.

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Prototype 1:

Decision Making: In the first prototype, it got corrupt when I began designing the structure of the book. I got stuck in between because I did not prepare the contents beforehand. I thought that using photographs of the process would be easier to understand, and hence I arranged them in a horizontal sequence.

However, after making the book, and on opening it, I saw that the middle picture and text got hidden. Moreover, the photographs looked untidy, which made me come to a conclusion that it is not necessary to use a cutting mat, which wouldn’t be affordable. One can cut with the help of a glass or floor.

Paper size: A5 (5.8” x 8.3”) Margins: Inside 15 mm, Outside 12 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Adobe Jenson Pro (English).

Font Size: First page main title-18pt, Title-14pt (Bold Italics), Leading space-13pt, Body-10pt (Regular).

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Prototype 2:

Decision Making: The second prototype was of making a book into a square. The layout and structure of the book looks better by using the Calvert MT STD font.

I used color illustration of the product process, filing the color in specific objects (images) and index (text) that connected each other. However, after some thought process, it struck my mind as to why waste the ink. Also, I thought that using photographs of the tools and materials is important because one needs to understand the real objects, while, in the product process illustration, I thought of using only black and white line art.

Paper size: 5.5� x 5.5�

Margins: Inside 15 mm, Outside 10 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Calvert MT STD (English).

Font Size: First page main title-12pt (Bold), Title12pt (Bold), Leading space-12pt, Body-8pt (Light).

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Prototype 3:

Decision Making: My guide asked me to add the columns, margins, and the measurement between the texts, columns and objects etc. He also asked me not to use dummy text everywhere since that caused distraction and one could make out the differences between the large and small font size. Instead, he asked me to use Lorem Ipsum, since it was a filler text commonly used to demonstrate the graphic elements of a document or a visual presentation. He added that replacing meaningful content, which could be distracting, with placeholder text, may allow viewers to focus on graphic aspects such as font, typography, and page layout while reducing the need for the designer to come up with meaningful text, as they can instead use quickly generated lorem ipsum text. A missing thing that I failed to add was bleeding mark. Created black and white line art illustrations for the product process.

Paper size: 5.8� x 7�

Margins: Inside 20 mm, Outside 12 mm, Top 10 mm, Bottom 10 mm.

Selecting Typeface: Title-Scotch Roman MT STD, Body-Helvetica Neue (English), Devanagari MT (Hindi) Font Size English: First page main title-18pt (Bold and Italics), Title-18pt (Italics), Leading space-12pt, Body-9pt (Regular).

Font Size Hindi: Title-18pt (Bold), Body-9pt (Regular), Leading space-12pt

Surbhi J | PGDPD Graphic Design | Semester 2

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Prototype 4:

Decision Making: The rest of three dummies are of small book sizes. However, in order to explore more I have increased the size of the book, and used more of the white space. In every section, the page following the starter page looks in same order.

It was a well-structured book but the margins were not added. To create a contrast look, I added few photographs related to the topic (leathercraft) in the content page. My guide asked me to make the tools into classification e.g.: There are three hammers and an iron loss; they should be together in a family and that the pattern communication should not be broken.

There was still a lot of white space remaining and hence, to explore more, I have added one more language i.e. Gujarati. I thought of adding South Indian languages but since majority of the people who are interested in doing this process are gujjus. I restricted myself.

Paper size: 11.7� x 15�

Margins: Inside 20 mm, Outside 12 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Title-Baskerville Semi bold, Body-Arial (English), Devanagari MT (Hindi) Font Size English: Title-24pt (Capital/Baskerville Semibold), Leading space-14pt, Body-12pt (Regular/Arial Regular).

Font Size Hindi: Title-24pt (Bold), Body-12pt (Regular), Leading space-18pt

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Prototype 5:

Decision Making: Improving the structure of the book layout by adding all the elements.

In two dummies I did not add the margins since I wasn’t familiar with the functioning of the InDesign software completely. After ‘YouTube’ing some videos, I finally learnt how to add grids, columns, and margins. Adding margins makes the book layout more beautiful.

Let the grid guide you, you cannot add it manually. I have placed the three languages (English, Hindi and Gujarati) in ascending order, so it would be easier for the reader to read the pages like flow of the water. The same thing goes for the product process.

Paper size: 11.7” x 15” Margins: Inside 20 mm, Outside 20 mm, Top 20 mm, Bottom 20 mm.

Selecting Typeface: Title- Scotch Roman MT Std, Body- Helvetica Neue (English), Devanagari MT (Hindi) Font Size English: Title-24pt (Italics), Leading space-18pt, Body-12pt (Regular/Arial Regular).

Font Size Hindi: Title-24pt (Regular), Body-12pt (Regular), Leading space-18pt

Surbhi J | PGDPD Graphic Design | Semester 2

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Prototype 6:

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Inside Leaflet Book

Chosen viewing order of images followed for the accurate numbering of captions.

Decision Making:

Paper size: 8.26” x 9.5”

This is to the redefine the prototype 5, to make the book more interesting by adding one color (brownish maroon) in all the titles. In the main title “D-I-Y Leathercraft” on first page I added three languages. I positioned the images that support the text. Added the page number after the contents and also attached the name of the product process along with the page number to avoid any confusion while reading the product process on right track.

Margins: Inside 20 mm, Outside 15 mm, Top 15 mm, Bottom 15 mm.

Selecting Typeface: Title- Scotch Roman MT Std, Body- Calvert MT STD (English), Devanagari MT (Hindi), Gujarati MT (Gujarati) Font Size English: Title-18pt (Italics), Leading space-14pt, Body-10pt (Light).

Font Size Hindi: Title-18pt (Regular), Body-10pt (Regular), Leading space-14pt Font Size Gujarati: Title-18pt (Regular), Body-10pt (Regular), Leading space-14pt

Surbhi J | PGDPD Graphic Design | Semester 2

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Font Family

the quick brown fox jumped over a dog the quick brown fox jumped over a dog THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG Scottish typefounders exerted a strong influence on the development of “transitional” typefaces, the bridge from “oldstyle” (Jenson, Garamond) to “modern” (Bodoni, Didot) designs. Scotch Roman designs were first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow.

Monotype Scotch Roman has wide proportions, short descenders, bracketed serifs, and large, strong capitals; its subtle charm makes it suitable for any text setting, particularly books and magazines.

the quick brown fox jumped over a dog the quick brown fox jumped over a dog the quick brown fox jumped over a dog THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG Margaret Calvert’s typeface is a contemporary interpretation of the slab serif style, less mechanistic than many, and owing more to humanist letterforms. Designed in 1980 for Monotype, Calvert is based on letters Margaret Calvert originally drew for the signage system of Britain’s Tyne and Wear Metro system.

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Font Family

एक भुरी फुर्तीली लोम कुत्ते के उपर से कूद के चली गयी एक भुरी फुर्तीली लोम कुत्ते के उपर से कूद के चली गयी The design was conceived by Tim Holloway and Fiona Ross. The construction of the letters is based on traditional penmanship but possesses less stroke contrast than many Devanagari types, in order to maintain strong, legible forms at smaller sizes. To achieve a dynamic, fluid style the design features a rounded treatment of distinguishing terminals and stroke reversals, open counters that also aid legibility at smaller sizes, and delicately flaring strokes. Together, these details reveal an original hand and provide a contemporary approach that is clean, clear and comfortable to read whether in short or long passages of text.

આ ઝડપી ભુરો શિયાળ એક કૂતરો પર ગયો આ ઝડપી ભુરો શિયાળ એક કૂતરો પર ગયો Designed by David Brezina of Rosetta Type. Fiona Ross consulted on the design and valuable feedback was provided by Kalapi Gajjar-Bordawekar and Hitesh Malaviya. The brief for the Gujarati was to follow the design language established by Devanagari. In fact, the Gujarati and Devanagari writing systems resemble each other in many ways with the notable feature of Gujarati being that it lacks the headline that is such a prominent component of Devanagari.

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Cover and Spine Design

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Surbhi J | PGDPD Graphic Design | Semester 2

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Four visual concepts for a book cover design that explores and elucidate the formal and compositional properties. The first three designs were done in hand typography, as rural people cannot read so I had to create in typeface. To make the cover page look contrast, I choose brown as a light background and peacock blue as a leather material, so that it stands out. In order to make the visual image to communicate easily for the rural people, scissor cutting over the leather material and hammer is added to give a simple message to the rural people.

Surbhi J | PGDPD Graphic Design | Semester 2

The spine design is the simplest, most dramatic, and most legible book spines that stands out. Using bright cobalt blue with black bold font helps to stand out. Clarity and simplicity tend to stand out and be effective.

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Production Details

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Printing Process: The print process used was digital and not offset.

Binding Method: Dilip Oza suggested me to go to the printer stores because some of the printers do not have all varieties of papers. The publication was large enough to be sewn and bound, infact it was not possible to complete the whole book, my guide told to pick one chapter and give out explorations. So I did the simple and basic process of Centre Stapling was convenient, suited our requirement well in first printing book with the help from Sachin Bhai.

After getting the print out of first book, it turned out to be baser. The color came out to be dark and it was not the color I expected. The font size looks unfinished and huge.

First printing paper used: Book cover ~ Ivory Paper, 250 gsm.

Inside pages ~ Fine Paper, 100 gsm.

Second printing paper used: Book cover ~ Puf paper, 280 gsm.

Inside pages ~ Puf Paper, 130 gsm.

To improve the level of errors, I decided to go for second print out. It turned out to be decent.

Using puf paper gave out the proper finishing and applicable color. To do more binding exploration, I decided to go for Perfect Binding, it is the easiest and least durable way to produce books, and is how most paperback books are bound.

Surbhi J | PGDPD Graphic Design | Semester 2

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The print out of first book

The print out of second book

Surbhi J | PGDPD Graphic Design | Semester 2

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Overall Le arning and Experience

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This project gave me an opportunity to apply my design skills set and understanding in a live time bound project.

The following practical helps me to work on habits that help me to stay focused on the aims I set. I remained stuck for a while because I was trying to force fit my content. This means identifying the learner’s needs, which include the additional skills and knowledge required to do something differently, and my goals, which is what I hope to accomplish by doing things differently. Overall visual language is the most important topic.

Conclusion: Anyone involved in learning should step outside the limiting boundaries of curriculum design in order to account for the learner’s entire experience. By only focusing on content, I was missing out and what actually makes up a person’s reality, including the environment in which I was learning in, and lives before and after the learning experience.

As a learning experience designer, one should focus the time and attention on identifying the gaps that exist between the learner and his/her desired outcome. Those gaps exist due to a lack of the following: ~ Knowledge. ~ Skill. ~ Confidence. ~ Motivation. ~ Access.

I discovered the baseline grid and its functions during this project. But I found it very limiting, as I was new to InDesign. I finally worked without it, a decision I regret.

“A new experience can be extremely pleasurable, or extremely irritating, or somewhere in between, and you never know until you try it out.” ~ Lemony Snicket, The Blank Book

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References

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Book References:

Web References:

What is Publication Design?

Lakshmi Bhaskaran

https://www.behance.net/search?field=32&cont ent=projects&sort=appreciations&time=week

Publication Design.

A Guide to Page Layout, Typography, Style and Format.

Allen Hurlburt

http://issuu.com/anupriyaarvind/docs/the_ puberty_project_document_issu

Publication Design. (3rd Edition) Roy Paul Nelson University of Oregon

http://www.writersdigest.com/online-editor/ what-are-the-guidelines-for-formating-amanuscript http://techwhirl.com/pictorial-instructionswhat-good/

The Technique of Leathercraft.

WA Attwater

http://www.dispositio.net/archives/150

Leathercraft.

WA Attwater

http://encyclopedia2.thefreedictionary.com/ Pictorial+drawing

The Leathercraft Book.

Pat Hills

https://books.google.co.in/books?id=dGMiL1C kGjQC&pg=PA6&lpg=PA6&dq=list+tools+and +equipment+-+leathercraft&source=bl&ots=_ BHq6aC2b6&sig=-cigDme8C7Z5lMo4pAoE2cg9P Ts&hl=en&sa=X&ei=1AveVOvoJcH2UO6PgJAH &ved=0CDoQ6AEwBw#v=onepage&q&f=false

The Complete Guide to Illustration and Design Technique and Materials.

Terence Dalley Designing with Illustartion.

Seymour Chwast Visual Language for Designers.

Connie Malamed

Surbhi J | PGDPD Graphic Design | Semester 2

http://www.india-exports.com/leather.html http://www.barbaradoyen.com/bookpublishing/anatomy-of-a-book-the-contents

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Surbhi J | PGDPD Graphic Design | Semester 2

Lorem ipsum dolor sit amet, ne mea unum electram explicari, ei alii commune perpetua duo, numquam consulatu cum ad. Ne quo convenire inciderint, magna concludaturque vis id, ei exerci sententiae eos. Quo no laudem essent reprehendunt. Pro eius quodsi cu, sit te amet euismod nominati, nam ad numquam dolorum assentior. Ut sint omittantur his, eu putant aliquando cum, an accommodare comprehensam mei.

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