You will then need to design and produce a small publication (booklet, leaflet, etc.) that collates material which, in turn, can communicate key design principles to a reader. This should be submitted physically. You should also document and evaluate your practical research thoroughly on your Studio Practice Blog while using this online space to reflect on your creative process.
The Content:
Following the research and practise into Design Principles and Colour Theory, my publication will look at:
Colour Swatches
Josef Albers
Pantone
Klein Blue
CMYK
RGB
And the representation of colour used around all countries.
The Colour Swatches:
I was rather indecisive when choosing one colour scheme between the two that I had chosen (below), however after looking at both colours, I thought I would look at producing both swatches as a booklet as the ways in which they contrasted were rather interesting at forming identifiable differences of the two swatches taken in two different countries; which further represented the climates of each location, Goa warm and sunny, and Leeds cold and rainy.
Goa-
When creating several colour swatches to find the best, this colour swatch offered both bright and warming tones, on sentimental reasons and a majority vote from my peers, this colour swatch was chosen for its earthy and inviting tones.
Leeds-
This colour scheme was taken from a photo taken in Leeds, the colours were very interesting in the ways it contrasted and produced rich velvety tones.
The Grid:
The grid I decided to go for was a normal squared grid inspired from Grid Paper. I chose this grid as I thought the grid system derives from the connotation of the building blocks of a fundamental grid system, linking to the fundamentality of colour being the building blocks of the content found inside of the book. The images and text will be placed parallel to lines and at some points have images or text fitted to a complete square, or a shape the squares make. The book itself will be square making the use of the grid more easy to follow and fill, and overall add an evenly balanced look to the outcome and make the content of each page more focal (when/if placed centrally).
My First Outcome:
Originally I was quite unclear of the meaning for this brief, and focussed on producing an outcome which I thought was meant to be based on the contents of the book and how it was presented, and not the actual book itself. This resulted in an outcome which was merely printed double sided and joined with a stapler (outcomes shown above).
My Second/Final Outcome:
After attending a Book Binding workshop I was heavily inspired by a sample piece shown. This sample was a more advanced from of concertina which involved pages which were square size. I chose this style of book tas it would allow me to easily transfer my originally laid out work into the book format without changing the layout to the grid system I chose. This outcome involved folding the book into quarters and layering pages on top of each other making it a double sided booklet; when opened the pages will form a slinky like structure, making the overall outcome rather intriguing and unique.
I took advantage of the overlapping pages layout, by using it to display the colour scheme as well as offer information on the back of the page, this made the layout more interesting and linked: and created a rainbow like effect on the pages when the book is closed.
Overall, I was really pleased with the outcome, and learnt how to make a new book format in the process. The size however is rather small, but a pocket size, it also adds intrigue into why its so small and what's inside. If I were to improve one thing about this outcome if revisited again, would be to use other materials to print the pages on, this would probably be expensive, however it will reduced the colour fade and raise where the folds have been made on the pages.
Final Analysis:
TYPE
The
Colour Theory book was mainly designed to focus on the colour aspect of the
book, however with this in mind, it meant that the type chosen had to be
neutral, allowing the main focus to be on the colour swatches and theory. This
led to the typeface Helvetica being used, for it’s simple neutral look. It also
supplied structure to the composition and layout of each page.
Being
a book about Colour Theory, the book made had to execute the use colour in the
ways newfound knowledge of colour was taught. For example for the front page,
the composition of the colours as squares were heavily inspired by Josef Albers
and then ways he taught relations of colour. The colours taken from the imagery
from Goa were rather vibrant, with energetic warmth, and the use of this swatch
shown throughout the book ties all the information together consistently.
LAYOUT
For
the Colour Theory Book, Josef Albers ways of communicating the relation of
colour was the inspiration for the layout. The square layout helped create a
strong structure to place all written information and quadrilateral shapes and
images placed in the book. The square theme helped allow text and images to be
positioned centrally, and the use of gutters helped to identify if the negative
space was too vast. After developing the final book outcome, having the book in
a squared layout made the concertina inspired outcome to become more
interesting and intricate.
FORMAT
The
Colour Theory book format was inspired by the square layout, to further develop
the outcome from the first submission, creating the book into a concertina
would showcase new skills learnt from Book Binding and push the deliverable
outcome further. The book is designed in a double-sided format, where squared paper
is placed on top of each to form a long structure. The pages are then folded to
create a functioning concertina book. The format was further developed so that
whilst looking at the information on the pages, the page behind would reveal
the colour swatch, the colours would then show through when the book is close.
Ways to improve this outcome would be too look at an alternative paper to print
on, that doesn’t cause the ink to crease.
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