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:

OUGD404: Publication 02 Rationale

Studio Brief 02 requires the production of a book made up of a set of 10 double-page layouts, including an introduction and contents page.

With the freedom to produce a book informed by personal interest, I have decided to create a book that provides it's readers with an introduction to a select range of processes/finishes that can all be achieved at home using tools that for the most part can be found their. The processes I will be showcasing are:

• Gold Foiling 
• Paper Marbling
• Pin Prick Embossing
• Embroidering

It is my aim for this book to have an evidence of being hand-crafted and personally-made, finding the balance between style and content to show the process clearly and its results honestly. The book will be called 'How I Made This Book' to reinforce these notions.

Initial Thoughts and Ideas

• Japanese Stab Stitch Binding
• Range of materials/stocks
• Combination of type and image

OUGD404: Publication 1 Final Resolution Evaluation

Visual Language: The Basics is a small A5 publication that focuses solely on what I believe are the absolute necessities of design principles that could supply a reader with a solid foundation of knowledge on Grids, Figure and Ground, The Gestalt Theories of Visual Perception and György Kepes' Language of vision. The book provides an overview of the basics of each of these subject areas communicated clearly, cohesively and effectively, providing a manual that introduces the principles in an engaging format. 

The format of the book bears a wrap around cover, as well as wrap/signature inserts through out - making for a consistent, reader friendly experience. This also creates a more engaging interactive feel that allows for the reader to feel as though they are uncovering these key principles.

A publication driven by monochromatic, high-contrast visuals, the book has a tonal energy that supplies a distinctive and clear aesthetic. All spreads have been designed considering compositional balance, equal spacing and set margins that are obeyed by every visual piece of information on every page. The book also makes use of a 2 column layout majoritvely. 

All typographic information within publication 01 is communicated and set in all lower-case Futura Medium. It is a typeface that holds the most significant value of the Bauhaus at its core: Form and Function - which is relevant to the book as much of the content was taught at the Bauhaus by the likes of Johannes Itten and György Kepes. Futura is a typeface that does as is required; it delivers type through a simple, geometrically-founded and well-balanced aesthetic free of complication and unnecessary additions. It has a slightly heavier weight of line creates a bolder, more prominent presence that still maintains strong legibility at even small point sizes. I decided to set it in all lower case as to emphasise the books focus on the absolute basics, as well as in representation of the fact people do not require capitals to read. Futura also has a modern aesthetic that is both well rounded and distinguishable.

Type size and alignment within the book is also consistent. Making use of Massimo Vignelli's modernist principles, the publication features predominantly only two type sizes. Headings are set at 22pt, whilst body is set at half this point size at 11. 62 point size also makes an appearance for sector specific titles and on the cover. These type sizes provide order and hierarchy to the pages. All type within the publication is flush left and has been typeset to ensure maximum readability is experienced by the reader due to a refined rag-line and distinct line-endings.

The publication is printed on 165gsm smooth white paper, and is bound using staples as a means to saddle stitch. This binding method is both relevant and appropriate to the publication in that it is a standard binding, adding to the form and function of the book with nothing done that is not necessary.

A standard 3mm bleed was added to the pages before being sent to print to ensure there was sufficient spread that can be cut down once the signature is put together. Margins were also considered alongside creep.

OUGD405: Print Specification and Binding

I have chosen to have my first publication printed by printed.com. The book will be printed on 165gsm smooth white paper in black and white before being Saddle stitched with staples. I feel this binding method is both relevant and appropriate to the publication in that it is a standard binding, adding to the form and function of the book with nothing done that is not necessary.

I added a standard 3mm bleed to the pages before sending the files to ensure there is sufficient spread that can be cut down once the signature is put together. When re-setting my margins after the critique I ensured there was also sufficient space accounting for creep.

OUGD404: Pagination Plan for Printing

With all pages of Publication 01 ready to be sent off for print, I wanted to create a reference for the pagination as to ensure the print process goes faultlessly. Below is how pages will need to be set up before being sent for print:

Page 32  | Page 1
Page 2    | Page 31
Page 30  | Page 3
Page 4    | Page 29
Page 28  | Page 5
Page 6    | Page 27

Page 26  | Page 7
Page 8    | Page 25
Page 24  | Page 9

Page 10  | Page 23
Page 22  | Page 11
Page 12  | Page 21
Page 20  | Page 13
Page 14  | Page 19
Page 18  | Page 15
Page 16  | Page 17

OUGD404: Publication 01 Amendments

Following the critique of the publication 01 draft, I identified from the feedback that the following changes needed to be made:

• Typography needs to be taken down from 12pt to 11pt.
• Margins need to be increased.
• Inserts and middle spread need to feature white type on black ground.

I have since made these amendments and the following are the updated page layouts:

OUGD404: Publication 01 Draft Critique

Rather than asking specific questions for this critique, I wanted instead to receive people's initial thoughts when seeing the publication, as it should speak for itself. I asked people to leave feedback on the book as a whole, from which I anticipated I would be able to consolidate and make an action plan from.

Critique Subject:

*please image the publication in 100% black and white*

Feedback:

• Really like the simplicity of this book. Its very clear and easy to read, type is quite big though.
• Black and white colour palette works well however I think the inserts should be black on both sides.
• Inserts and central page should have white writing on black ground.
• Margins are tight, need increasing.
• Love how visual it is, and the inserts make it feel like your discovering the information.
• Middle spread white on black. Same for inserts.
• Great how some of the images act as visual pointers. 
• Margins need to be bigger.
• Typeface seems quite big - maybe down a size?
• Type too big. Go smaller.
• Very smart looking, would like to see it when printed professionally.
• Format is engaging and different.
• White background on the inserts makes them blend in with the page. 

Feedback Findings:

• Typography needs to be taken down from 12pt to 11pt.
• Margins need to be increased.
• Inserts and middle spread need to feature white type on black ground.

OUGD404: Cover Visual, Contents and Central Spread

With all other page layouts designed, all that is left before I put the initial draft to critique is the cover visual, contents and central spread.

Cover Visual

The cover design I produced is an aesthetic amalgamation of visuals that can be found in the book alongside new visuals that demonstrate the theories informed on. Though this will be halved to wrap around the A5 page layouts and will also be half covered itself by the wrap around book title, the shapes, forms visual pointers all emphasise and represent the title both visually and conceptually, as well as reflecting the content within.


Contents Page








































Contents of the book are optically kerned and sit within 5mm margins. The layout uses Massimo Vignelli's type sizing rule in that the heading is set at a point size of 24, whilst the numbered content is set at a point size of 12. This enables clear distinction between the typographic information and provides visual hierarchy and structure. Type is flush left and has been typeset to ensure maximum readability is experienced by the reader due to a refined rag-line and distinct line-endings.

Central Spread




























Sitting centrally within the publication is the above quote, optically kerned and set at a point size of 24. Although the passage of text is central to the composition for purposes of spread balance, its alignment is still flush left in keeping with the cohesive quality of the rest of the book. The quote  perfectly captures the concept of the book in that its purpose is to help people learn the principles, vocabulary and grammar so that they can begin to understand the rules and laws of design.

OUGD405: Additional Information Pages

Having designed the subject sector visual representations, title inserts and informational inserts, my next aim was to produce the remaining informational pages. I was able to feature visual information previously created in study tasks and personal research to provide the further information to the remaining required page layouts.  These are documented below:

On each of these pages I attempted to achieve visual harmony and balance via use of the same 5mm margins, grid system, spacing and columns where needed. I compositionally constructed each page layout to clearly and distinctly deliver the information with ease and fluency. As with all typographic information in the book, the type featured on these pages are optically kerned, set at a point size of 12 and is flush left for maximum readability.

OUGD404: Information Inserts

On the other side of the publication 01 title inserts will be the information corresponding to that specific subject title. These information inserts are documented below:

All typographic information featured on these inserts is optically kerned and sit within 5mm margins from the rectangles edge. The layouts use Massimo Vignelli's type sizing rule in that the headings are set at a point size of 24, whilst the body type is set at a point size of 12. This enables clear distinction between the typographic informative and provides visual hierarchy and structure. All type is flush left and has been typeset to ensure maximum readability is experienced by the reader due to a refined rag-line and distinct line-endings. Even spacing is featured throughout the inserts to maintain consistency and reader familiarity.

OUGD404: Publication 01 Insert Titles

The format I have selected for publication 01 is that of book with a wrap around cover and inserts that create consistency and cohesion from the outside in. The title inserts will feature white type on black ground as to create visual distinction and differentiation from the other publication pages which I anticipate to be white.

To Follow are the publication 01 Title inserts:

For purposes of cohesion and consistency, each title is set at a point size of 62, is optically kerned and is sat within a rectangle that is the length of the A5 book and that has 10mm margins.This will allow the titles to be printed confidently with a full bleed.

OUGD404: Publication 01 Typography

I have decided that all typographic information within publication 01 will be communicated and set in all lower-case Futura Medium. It is a typeface that holds the most significant value of the Bauhaus at its core: Form and Function - which is relevant to the book as much of the content was taught at the Bauhaus by the likes of Johannes Itten and György Kepes. Futura is a typeface that does as is required; it delivers type through a simple, geometrically-founded and well-balanced aesthetic free of complication and unnecessary additions. It has a slightly heavier weight of line creates a bolder, more prominent presence that still maintains strong legibility at even small point sizes. I have decided to set it in all lower case as to emphasise the books focus on the absolute basics, as well as in representation of the fact people do not require capitals to read. Futura also has a modern aesthetic that is both well rounded and distinguishable.

OUGD404: Content Production - Subject Visuals

As it is my desire for publication 01 to be very much a visual exploration of the design principles, I wanted to create an A5 visual for each of the four subjects of the content - these are reminded below:

• Grids
• Figure and Ground
• Gestalt Theories 
• Kepes' Language of Vision

To follow are the visuals I have produced for each of the subject sectors and their relation to the content.

Grids

This simple square grid visual is aesthetically akin to many editorial grids in style. It cannot be recognised as anything other than a grid and there reflects the subject sector effectively.

Figure and Ground

Keeping it simple, the figure and ground visual is simply a large black circle sitting centrally in white ground. I did not believe there was any need to over-complicate this representation, which as is clearly provides an image representative of the circle taking on the role of the figure surrounded by white ground.

Gestalt Theories 

The Gestalt Theories subject visual representative is that of one of the gestalt principles, simplicity, which automatically and distinctly establishes what the theories are concerned with. This is a visual that is typically associated with the principles.

Kepes' Language of Vision

A balanced range of shapes including a square, circle and plus sign are to be the visual representative of Kepes' Language of Vision. They are featured in each of the exercises that explain the language, and therefore immediately foreshadow the content to come.