Sunday, 17 November 2013

PRINT PROCESS BOOKLET DEVELOPMENT

Layout Mock-Up:

Below is the layout for the print process booklet. it is to be A5, portrait format. The basic layout has been taken from the typography booklet previously designed, however more pages and additional elements have been added.



Development:

As seen on the type booklet, a similar title has been placed on the cover for this booklet, in the same typeface and point size, and in the same position for continuity which since my design ideas and title changed for the print pack, has become very important. 

Each element is being designed at a 'handbag size', so no element will be bigger than A5.


Abril Fat Face, Typeface used again for headers throughout the publication. All headers are to be printed and foiled afterwards for a luxurious, femininity and feel.


With an extensive contents list, I placed this to the left, as in the type booklet, following the same layout. Page numbers need to be added to the contents page and each each individual page once the booklet has been completely designed and finalised with content and order.


Close-up showing placement of headers per print process. An 8x8 grid was used to form this structure, with each element being carefully placed within the right rulers and guides placed.

I placed an introductory sentence in italics under the header, in 10pt Baskerville. I felt this kept the header as a focus and enabled the reader to recognise the italicised text as important statements.


I added additional important information below the italicised introduction. The main body, was initially a large chunk of text which I felt was too hard on the eyes to take in and focus on. I decided to break this information up into different sections, 'how it works', 'half tones' and 'screen angles' allowing the information to be more digestible and focused if looking for a particular section within Lithography. I really liked this idea and wanted to imply this to the following pages also.


Italic text was also used on the left of a text column to point out additional information on a key point raised within the body copy.


As the booklets and pack in general is aimed at a female audience who potentially have no previous knowledge on design for print, and processes, so I tried to simplify each section as much as possible and explain any unusual or illusive words, which are very specific to a print process such as a moire pattern.

 


Lithography layout for 2nd page - body copy.


I used the same processes within indesign, keeping to the same grids, guides and dimensions for the following sections of the booklet. Again, a statement at the beginning is italicised for importance and the main section is regarding 'how' wash printing works. 


Here I did the same but added a gripping fact after the intro in regards to the process which is about to be explained. I wanted the pack to be informative and factual containing interesting and rememberable information, laid out in a very simplistic, modern and feminine aesthetic.


Whilst I was designing the layout and researching additional content, I was constantly being made aware of more print processes I had not previously mentioned, but perhaps which were relevant. (See design context blog.) I decided to include these in the booklet, so the contents page became slightly overflowed in one column aligned to the left. Initially designed as part 1 and part 2, I noticed I had roughly an equal number of digital processes and more hands on processes, and decided to categorise the booklet in this respect instead.

The updated contents and layout composition can be seen above.


I decided to continue with the layout throughout the next page, and applied a specific hands on print contents page after, dividing it from the digital print section shown previously.


Screen printing I found, like Litho printing contained a lot of information, so was broken down into different sections. These also included sections on preparing a screen to the actual print process.


Close up of type and layout composition of each page.



As the following pages would be formed of the same layout, I copied the layout to each of the following 4 pages as shown above, and used that as a template for the information to be placed. I found this also speeded up the design process and allowed for better accuracy between pages.



I rearramged pages at this stage, and moved some processes which I felt were in the wrong section around, leaving the contents shown above. These were also changed on the individual contents pages for each section within the booklet.



At this stage of the design process I am happy with the design and layout, however feel it needs more colour or imagery as it looks rather clinical and structured. I experimented with duotone imagery but felt this didn't work aesthetically when placed.

Instead I used hand rendered illustrations showing the workings of the printing process, which will be foiled in silver. 


I still feel the need for photographic images to be included within this booklet to add clarity for the reader. I experimented with greyscale imagery to add a balance of tone whilst adding a contrast to the silver and gold foils used.



Close up of an illustration drawn. Baskerville Italic has also been used here.


For wash printing I struggled to think of a suitable illustration, so decided to use this by applying the print process to that specific page. The flood fill is 20% tint of CMYK creating a solid pastel colour when printed digitally.


I included another double page spread photograph in greyscale. I really like how this add depth, context and break up the body copy and illustrations shown throughout.



I wanted to continue the use of illustrations with the other print processes, so created similar images using illustrator and placed these on pages adding to the layout aesthetically and adding context.

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