OUGD404: End of Module Evaluation

When beginning the design principles module, I thought my knowledge on design principles was already quite well established and while I did have prior knowledge concerning some of the elements of this module — the new principles I have been introduced to have indefinitely impacted the way I view visual language. My understanding of the principles of design before the course was primarily informed by the preliminary course as taught at the Bauhaus, which I was fortunate enough to learn and explore during my A-Levels. 

The design principles module has unquestionably had a significant impact on my emerging practice, with the new knowledge I have gaining shaping my thoughts on who I want to be as a designer, with a strong fondness for editorial design having emerged rapidly since starting the module. I have discovered through the module that it is the possibilities supplied by editorial design  that have captured my interest, with stock, binding methods and finishes interesting me most. A book provides so much potential for these to be explored and investigated, which fascinates me greatly. This has been my favourite module on the course so far, having enjoyed the learning almost as much as the making. 

Design principles provided me with the opportunity to explore two very different projects, that each allowed me to develop and progress my creative practice and also expand my knowledge on design as an industry. The first publication allowed me to develop and extend my knowledge in visual language, whilst the second has allowed me to explore the 

physical aspects of editorial production.

Though I have struggled with the self pressure I have put on myself to produce two ambitious books, I strongly believe design principles will continue to be my most favoured module during my time at Leeds College of Art, and I am excited by the prospects of learning more, doing more and hopefully specialising in such a sector of the industry. 

OUGD404: Content Production - Embroidery

As a designer, it is very easy to become comfortable with the tools we use most commonly and to forget about other potential approaches and methods of production. So next time you go to reach for a pen or pencil - how about picking up a needle and some thread instead?

Embroidering is an ancient hani-craft that is typically reserved for use in the production of garments and soft furnishings, but why limit the craft?A needle and thread can be used to achieve a multitude of works, including typography and lettering.

Make use of this craft to produce hand-crafted pieces with texture, character and artisanship.


What you will need:

• Cotton thread.
• Sewing needle.
• Scissors.
• Fabric.
• Pencil.


Step One

Begin by very lightly outlining your design with a pencil onto a piece of fabric at your desired size.

Step Two

Select your thread colour before cutting a length around 90cm (180cm should you wish to double thread for a thicker stroke).Thread the end in to the eye of the needle pulling around 12cm through to ensure the thread is not easily pulled out.

Step Three

Tie a knot at the very end of the thread to stop it from being pulled through the fabric during the process and secure the starting point. Follow the pencil outline weaving in and out of the fabric with as even-spacing as possible (around half a cm intervals).

Step Four

When you have reached the other end of your outline, weave back through using the same holes, filling the gaps to achieve a continuous stitched line.

Step Five

Once back at the very start, finish with the needle and thread going through the front of the design so that the excess is at the back. Tie a knot in the thread as close to the fabric as possible to ensure the thread is not loose and cannot be pulled out.

Step Six

With both ends secured, the embroidery is complete! Carefully iron the fabric if required and there you have your own handi-crafted piece.

OUGD404: Content Production - Pin-Prick Embossing

Embossing is the process of creating a raised relief image or designs on paper stock and other eligible materials. An embossed pattern is raised against the background, providing select areas with a subtle three-dimensional effect.

The commercial procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them, the raised die forces the stock into the recessed die and creates the embossed impression. Although this process sounds relatively, it is not a finish easily achieved by persons at home, however there are alternatives...

Pin-prick embossing uses the sharp point of a pin, needle or awl to pierce numerous tiny holes in to paper within a close proximity to create a raised pattern of dots. This process, though time consuming and meticulous, creates a contemporary, stylised finish that allows for uniquely understated designs to be made.

What you will need:

• Black design printed on A4 grid/graph  
  paper.
• Selected heavy paper stock.
• A pin, needle or awl.
• Scissors/scalpel.
• Masking tape.
• Cutting mat.
• Metal ruler.


Step One

Begin by printing your chosen design onto an A4 sheet of grid/graph paper, making sure to print your information in black. Once printed, cut around the design so that it is less than A4 in size.

Step Two

Now, turn over your design so that it is facing down on top of a plain A4 sheet of heavy paper/card. Apply two pieces of masking tape to secure the design and stop it from moving during the process. This will help to maintain precision throughout.

Step Three

With your design now secured, place the sheets of paper on top of a cutting mat. This ensures uniform holes are made by creating a barrier that a sharp point can only go so far in to.

Step Four

Next take either an awl, pin or needle - whichever you find easiest to use - and begin to push the point through the paper into the surface of the mat. Force a hole through each milli-meter square.

Step Five

Once you have finished you may turn the paper over before cutting the design to size should you so require. This should be done with a metal ruler for safety and a sharp scalpel to ensure a clean, straight cut.

Step Six

There you have it! Embossing with a difference, supplying a structured, unique and understated aesthetic effective in its simplicity.

OUGD404: Content Production - Paper Marbling

With marble being a very current trend in almost all aspects of contemporary design, who wouldn’t want to supply the look to their own paper?

This D.I.Y marbling process requires little more than a few everyday kitchen and bathroom finds to achieve effective one of a kind bespoke prints that are transferrable to stationery and beyond.

What you will need:

• Large container or wipable-surface.
• Heavy A4 white card.
• Food colouring.
• Mixing untensil.
• Masking tape.
• Shaving foam.
• Paper towels.
• 30cm ruler.

Step One

Firstly prepare the heavy A4 white card  for the process. Do this by backing the edges of the back of the sheet with masking tape as to protect the immediate sides from potential exposure to the shaving foam during the printing process.

Step Two

With the card prepared, next you need to put out a relatively thick layer of shaving foam covering a surface area just larger than your A4 sheets.This can be within a container or simply on an expanse of a wipable surface.

Step Three

Food colouring should then be quickly and sparingly dropped into the shaving foam, which should then be folded / swirled delicately into the foam. Be careful not to over-mix to maintain the marbling and not simply colour the foam. 

Step Four

The earlier-prepared card should now be placed tape-side-up onto the foam, pressing down gently to ensure even contact is made between the foam and paper. The paper shouldn't be left in the medium for too long as this will result in the paper becoming too wet.

Step Five

Gently lift the paper from on top of the foam from one corner. This can now be placed tape side down on to a clean surface. Using a ruler, remove the excess foam through one large sweeping motion across the sheet to achieve best results.

Step Six

With the print now produced, wipe away any traces of foam left before setting aside to dry. To produce further prints, re-fold the foam gently before repeating the process, adding morecolouring if required. And that’s it!

OUGD404: Content Production - Gold Foiling

Foiling is the process by which a metallic finish is applied to a solid surface by a heated die stamp. Though a typically commercial printing process, this exquisite finish can be achieved at home both quickly and easily.

The finish guarentees a sense of luxury is instilled within any design that makes use of it, though works most effectively when used minimally for purposes of embellishment and fine detailing.

This particular method of foiling works as a result of the reaction of the gold foil and printed toner-pigment when introduced to a source of heat.

Remember, less is more with this process!

What you will need:

• Selected paper stock.
• Black A4 laser-printed design.
• Gold heat transfer toner foil.
• 2 sheets of plain A4 paper.
• Laminator.
• Scissors.


Step One

Start by sourcing the visual you wish to foil. It should be a solid black shape, silhouette or line. Once selected, scale to your desired size on an A4 sheet of paper before printing. The design must be laser printed for the foil transfer to be successful.

Step Two

With your design printed, you may now choose to cut down your paper if required. Following this, place your design facing upwards on to another sheet of A4 paper.

Step Three

Cut out a piece of foil large enough to entirely cover the black information you have printed. Place it metallic-side up on top of your design.

Step Four

Ensuring not to move the gold foil underneath, another piece of plain A4 paper should be carefully laid on top - sandwiching the design and foil between this and the bottom sheet of paper.

Step Five

The layers of paper should now be fed through a pre-heated laminator. Here, the foil will be transferred via heat on to the black laser-printed information. Repeat this step to ensure maximum
coverage is achieved.

Step Six

Wait a short period of time for the papers to cool before delicately peeling away the gold foil...and voila! You should now have your very own D.I.Y gold-foiled design. 

OUGD404: Publication 02 Binding and Grid Planning

As I would like to use a Japanese Stab Stitch binding method, I will need to determine the required margins for this prior to designing the content.

I will need to leave a 1" margin down the left hand side of the designs where the book will be bound. From here I will need an inside margin of 0.75" followed by 0.5" for the outside, top and bottom margins.

As I will need to deliver instructions accompanied by images, two columns per page will be required, with an even 0.5" spacing in between these also.

Below is a grid I have Constructed considering these dimensions that should allow me to produce a well balanced and ordered set of page layouts that work consistently and cohesively together:

Due to double sided printing being necessary also, I will need a reverse of this grid which too can be seen below:

OUGD404: Publication 02 Page and Format Planning

In order to achieve a more hand-made/crafted aesthetic, I have decided to produce the book in a 20x20cm square format, as this is not the most typical sizing or format used.

I will need to produce 10 double page layouts, and therefore have planned these below: