From my developments, I selected the design that I felt appeared the most professional and balanced. I felt that the stolen 'a' was a strong idea so I added this to the most balanced composition. I felt that this added more interest to the design. I changed the title to lowercase as in uppercase, the composition had felt too busy and the eye was not easily guided around the page. I left the authors names in uppercase as this type was smaller so the attention was not drawn away - I also wanted to emphasise the importance and reputation of the authors.
When designing my cover, I used a grid system to ensure all the elements of the design were correctly lined up in order to produce a professional composition.
I then moved on to developing my full book jacket. My aim was to keep the design crisp and modern but interesting. I continued the A letterforms across the jacket, repeating this similarly to my previous designs on the back cover to represent the repetition of copied ideas. I placed the blurb over the letter forms so there was a depth to the layout, making it interesting to read. I typeset the blurb to ensure the rag was as straight as possible by adjusting the tracking and moving the text from line to line to avoid orphans and widows. I feel that I could have made the back, spine and front cover more connected but as the front cover was my primary focus for the exhibition, I did not consider this.
I continued the grid system I used for the front cover across the whole jacket. The elements fit nicely into this grid.
I later realised that I had not created the book jacket to the size of the original book. So I created a new document that this time featured flaps for the inside of the cover. This new design was far more accurate. I continued the larger 'a's on the inside of the jacket to tie the cover in together more. I also added a section of the back cover on to the inside of the jacket which described both authors. I had previously eliminated this to keep the back cover simple, but the full jacket allowed me to add this new element.
After brightening up a couple of the letterforms and adjusting the type size I was pleased with my new jacket.
SCREEN PRINT PLAN
My next step is to plan how I will screen print my design in time for wednesday. Due to the dark colour of my design combined with the bright yellow this could cause problems as a yellow ink will not print brightly on a dark stock.
OPTION 1
My first option is to use the darker stock, but print the whole design in white first. My second layer would then consist of the yellow areas. Over laid over the white, these will appear much brighter. This technique was advised by most.
 |
| Stock colour - Black, Dark Grey, Dark Brown |
 |
| Layer one - white ink |
 |
| Layer two - yellow ink |
OPTION 2
I was originally going to print this way, however new advice suggests that this is not the best option. It consisted of using white stock, but printing the darkest colour first. I would then line the next yellow layer up as accurately as possible and hope that the yellow slot nicely into the white space.
 |
| White stock |
 |
| Layer one - white ink |
 |
| Layer two - yellow ink |
After speaking to a printed textiles student, I was advised to purchase a special binding ink which ensures white ink would print brightly on a dark stock. I plan to use this technique.
No comments:
Post a Comment