Tag: book design

‘Destination’: travel journals book design

Background

Over the last thirty years in the label and packaging printing industry, Swiss-born Bernhard Grob has travelled across the world to promote and sell flexography printing presses for the company Edale Ltd. of which he was a co-owner and Managing Director. During these travels, Grob has written a series of annual travel journals, detailing his experiences, and the developments and issues in the printing industry that he came across, now collated into his book; ‘Destination: Travelling the world for the printing industry.’

Grob enlisted third-year student Ruth to design the inside pages of his book with the main aim of producing a consistent layout appropriate to the content. This would involve proofreading, editing and typesetting the text, and sorting, editing and arranging corresponding imagery. Clarity needed to be achieved, whilst also ensuring that the book remained engaging and interesting. The client stated that they were aiming for this project to be ‘something that is not the norm, something that is different to everything else on the bookshelf, something unique’ and hoped that, as a student designer, Ruth would be able to expand her knowledge of the subject matter whilst also bringing a more youthful and on-trend approach to the design.

 

Additional stakeholders

The book was originally intended to be printed as part of a live event at the international Drupa print exhibition in Dusseldorf, Germany, initially due to take place in April 2020, then pushed back until 2021, until it was eventually cancelled entirely until 2024, due to Covid-19. Belgium-based digital printers, Xeikon, agreed to produce and print the book, to demonstrate their leading technology and highlight their high-quality digital colour printing.

After printing, the sheets were sent to be bound by book manufacturers Mueller-Martini who produced the final outcomes ready to be distributed. Professional designer Richard Jones was also part of the project as the designer of the book cover.

Throughout the project it was important to consider the various factors and influences on the production of the final book, whilst also maintaining necessary contact with the relevant stakeholders. These industry professionals allowed me to gain valuable insights into the publishing sector, improving my communication skills and expanding my technical knowledge.

 

Target audience

The publication is aimed at professionals within the printing industry, specifically those producing self-adhesive labels and packaging. The book will help to inform their practice, provide technical knowledge, be a reference point on the development of printing processes and most importantly, detail the entertaining experiences of the author on his travels around the world. It also includes articles from prominent international figures within the industry, whose inclusion will help promote the publication. As the book features many technical aspects, it is unlikely to appeal to the general public who have little knowledge of printing processes, and is therefore not for sale, but rather distributed with financial donations to the department of Typography and Graphic Communication at the University of Reading being welcomed.

 

Deliverables

  • Proofreading and editing of all text and imagery
  • Design of inside pages for the entire book, specified to be in full CMYK throughout to highlight the high-quality colour printing of Xeikon
  • A loose bookmark that is printed separately and fits into the front of the book containing information regarding donations
  • Input on the design of the cover

 

Design process

 Research

Receiving and writing the brief was straight-forward in content yet complex in compiling as information was provided in small sections and by a number of stakeholders which I then had to combine into a succinct single brief. After clarifying the responsibilities of each party involved, I had a much clearer understanding of my role within the whole project and what each stakeholder was expecting of me.

Taking inspiration from the Swiss heritage of the client, I carried out research into interesting book layouts (figure 1), within the theme of travel (figure 2), and examples influenced by the famous Swiss style (figure 3), particularly editorial work by Jost Hochuli who is from the same town as the client, St Gallen (figure 4). Additionally, as the chapters of the book were organised by country, I had the idea of incorporating travel stamps into the chapter openers, inspiration of which can be seen in figure 5. Eventually these involved a mixture of illustrated stamps and photographs of the real stamps taken from the client’s various passports over his years of travelling.

Research into the client’s company, Edale Ltd, and the other stakeholders involved (Drupa, Xeikon and Mueller Martini), was also carried out to gain a better understanding of how the book would be produced and distributed, technical aspects involved in the project, and the motivations for each stakeholder in the project. I was also able to broaden my knowledge within the area of flexography and print exhibitions, having the opportunity to collaborate with international companies leading the sector.

Moodboards
Figure 1: mood boards demonstrating research into interesting book layouts
Mood boards on the theme of travel books
Figure 2: research into the design of travel books and journals
Figure 3: research into Swiss style book design
Figure 4: research into the work of Swiss designer Jost Hochuli
Travel stamps inspiration
Figure 5: inspiration for the concept of creating illustrated travel stamps for each country chapter
Content structure

The next step involved the client sending across all of the copy, which included a large text document and a series of photographs, sent both digitally and physically. I then organised these into their relevant country chapters, scanning in the physical photographs and ensuring all images were in CMYK and at least 300ppi, as requested by Xeikon to demonstrate their high-quality digital colour printing. The text was proof-read to ensure typographic consistency, such as capitalisation, the use of commas and correct use of hyphens, and to check for minor grammar errors given that English is the client’s second language.

Having read through the entire text, it was agreed with the client that the order of the content could be moved around slightly. Organised alphabetically by country, the book also contained additional articles written by friends and colleagues of the client, which originally interrupted the main text and disrupted the flow of reading and therefore the potential design and hierarchy. The client therefore allowed me to rearrange these articles to the end of each country chapter, with the addition of short descriptions of the external authors.

This initial stage of the project required great organisational skills, as there are around 60 chapters in the whole book, with a range in the number of images per chapter. This would later demand selective skills, ensuring that the best quality images were included next to the most relevant sections of the text. It also allowed me to fully experience the whole process of copy creation and editing alongside designing, a role I am now more familiar with and can build on in the future if I become a professional editorial designer (a career option I am currently considering).

 

Initial ideas

Using the content structure as a basis for the design, I created a number of initial layouts using a sample chapter from the text and accompanying images. Figures 6-10 demonstrate how these ideas progressed from initial sketches to digital iterations, experimenting with the grid system, number of columns, image placement, chapter openers, measure and typeface combinations. A key concept that was taken forward from this initial ideas stage was the inclusion of similar serif and sans serif typefaces for the different authors of the book, a serif typeface would be used for the main author (the client) which would be differentiated to the articles written by other authors with a sans serif typeface, ideally within the same type family.

Initial sketches
Figure 6: sketches exploring initial ideas of layout
Initial ideas
Figure 7: digital iterations of initial sketched ideas (ideas in same order as in figure 6)
Chapter opener idea
Figure 8: chapter opener design from idea four, which became the basis for development
General ideas mind map
Figure 9: mind map of general ideas to apply to the design of the book
Typeface exploration
figure 10: initial exploration of typeface combinations and hierarchy

 

Design development

Over the course of six months, the design progressed substantially. Frequent online meetings with the client proved extremely useful in the development of the design, as a wide range of options were shown and then narrowed down based on personal preference and effectiveness for the large amount of copy.

Taking into account the various levels of text and inspired by the ‘step’ approach often used in Swiss design and by Jost Hochuli, figures 11-14 shows how this typographic design was applied to the content.

After a design direction was established, I attempted to apply it to the copy of the entire book. This highlighted some challenging issues, mostly the unnecessary length of the book created by paragraph spacing (479 pages without images), which was resolved by using indents (figures 14). Additionally, the large number of images sometimes proved difficult to match up to the relevant paragraphs efficiently, however detailed notes from the client helped solve this. Further considerations were then also made, regarding the use of colour throughout the book, the chosen display typeface, spacing between headings and prelims design (figures 15 and 16).

At this point, I referred back to only making amendments to a smaller sample of the book, roughly the first 75 pages, to allow for quicker changes to be made whilst still designing enough of the varying types of content to understand how these would work throughout the rest of the book. After these issues were resolved, the new system was applied to the rest of the content, with only more minor alterations then being carried out afterwards (mainly moving some images around, some grammatical changes, addition of more images that better illustrated the content etc).

Throughout the design process, when it was realised that the book was going to be unnecessarily long, the dimensions of the pages were changed to a more effective size (from 160mm (w) x 200mm (h) to 170mm x 240mm), but all other aspects of the original print specification remained the same.

Design development
Figure 11: experimenting with different chapter opener layouts and text block placement
Design development
Figure 12: testing out using coloured pages to differentiate new chapters, which although bold and eye-catching would result in clashes with the coloured imagery, makes the first page of each chapter appear separate to the rest of its content and was turned down by Xeikon due to the cost of ink
Design development
Figure 13: comparing display typefaces and colour options for new chapters. Gastromond was eventually chosen for the display type, although at a smaller size than shown above, due to supervisor feedback that as a heavy font with only one weight, it should not overpower the rest of the text and should therefore have less prominence on the whole page.
Design development
Figure 14: the development of the design from using paragraph spacing (left) to indents (right) to reduce the overall length of the text. This was implemented after the full book had been formatted and was found to be far too long (479 pages without images) so indents were preferred to cut down on the number of unnecessary pages. The right image also demonstrates the ‘step’ approach used to create hierarchy within a Swiss style.
Design development
Figure 15: some example spreads that demonstrate developments in the use of colour in the text, image treatment, running heads/feet, measure, text placement, type size, display text spacing and the contrast in typefaces for different authors. At this stage, the main body typeface was also changed from Skolar Latin to the more consistent and ‘classic book’ typeface Georgia based on supervisor feedback, which was still paired with Skolar Sans Latin for external authors (compare the body type in figures 14 and 15).
Contents development
Figure 16: the development of the contents page matching developments to the overall design, with the last image being preferred for clarity, length and navigation
Bookmark design

In addition to the design of the inside pages, the client requested the design of a bookmark style slip that would be inserted into the front of the book informing the reader of the possible donations to the department rather than the book being for sale. This used text provided by the client which was then organised typographically to match the design of the inside pages, changing from a horizontal to vertical format to aid the reading experience. The developments of the bookmark can be seen in figure 17.

Figure 17: the different iterations of the bookmark donation slip design, with the final outcome on the right

 

Production

Professional designer Richard Jones created the cover of the book, combining the themes of travel and printing, through the use of reflected type representative of letterpress processes. I was able to offer some input on the design of the cover, and made some changes to the back and spine, changing the metallic effects to a more legible navy, as can be seen in figures 18 and 19.

The final books were printed in Belgium and France on Xeikon’s SIRIUS and CX500 digital presses, before being sent to Switzerland to be finished by Mueller Martini on their SigmaLine. 1000 copies of the book were produced, 500 for the client and 500 for Xeikon and Mueller Martini to use as technical demonstration pieces for their industry-leading machinery. The production of the book also featured in an international webinar by Xeikon Cafe TV, which can be viewed here: https://go.xeikon.com/l/61642/2021-03-30/3sp4lx2

Although I was not immediately involved in the actual printing and crafting of the final books, it was important that I understood the production processes used and that my files were well-organised and print-ready, to ensure understanding and clarity across the different nationalities involved. Receiving copies of the final book was a really satisfying experience, and it feels like a great achievement to have produced a physical item in a year where digital deliverables have been prioritised. The full book was larger (in depth) than I had expected, as this was the first time I was able to fully visualise all 355 pages, but this only added to the overall feeling of satisfaction in holding something so large that I had designed. I had been slightly worried about the inner margins, but the main text block was appropriately placed on the page, with only some headings reaching into the margin on right-hand pages. However, as these are headings and are therefore in larger coloured type, these are still very legible and do not hinder the reading experience. Some of the images printed quite dark, although these had already been edited to be brighter and was more due to the actual printing outcome rather than the images supplied.

Cover version one
Figure 18: the cover design by Richard Jones
Cover design two
Figure 19: the final cover design, edited by myself, changing the back and spine coloured blocks to navy for improved legibility. Additionally the author’s name was changed to white on the front and spine, and spine text was reduced in size. The text on the back was also edited for clarity and consistency.
Print ready page
Figure 20: an example page from the press ready PDF file, sent over in single pages and will all printers marks included, as requested by Xeikon
The final book
Figure 21: the final books

The final book

The finished book

The finished book

Destination book design

The finished book

The finished book

The finished book

The finished book

The finished book

The finished book

The finished book
Figures 22-32: spreads from the finished book
The finished book
Figure 33: the finished book

 

Promotion

The client’s extensive connections within the label and packaging printing industry provided the opportunity for an article in Labels & Labelling to discuss his career and promote the release of the book. Pages from this article can be seen in figures 34-36, in which I provided the images that were used. This article was later translated into Russian for their equivalent magazine, again with further images that I provided.

Spreads from Labels and Labelling

Spreads from Labels and Labelling

Spreads from Label and Labelling
Figures 34-36: spreads from the article featuring the client in ‘Labels and Labelling’, including images sent by myself

 

Reflection

Overall, although a long and sometimes challenging process, the actual designing of the book was interesting and fun, especially as the use of colour in the text was encouraged, something unexpected and different to other books I have designed. Organisational skills were a must-have for this project given the large quantity of copy provided, alongside effective editing and selection skills, which I was able to develop.

It was a pleasure working with the client, his own knowledge of design helped facilitate the process and his feedback was always constructive and honest yet friendly. It has also been a great experience for me to work with industry leading printers, gaining a better understanding of large-scale production processes and technical considerations. I am grateful to have had the opportunity to work on such an international project, with the production, promotion and distribution of the book involving many countries.

As an individual project, I have been able to greatly improve my ability to make critical design judgements, now having more confidence to work independently on such large deliverables and becoming more efficient in managing my workload. I have also developed my professional communication skills, having a great relationship with the client, feeling more authoritative in justifying my design decisions and ensuring effective communication between the various stakeholders involved. I am very pleased with how the final book turned out and feel grateful to have been part of this large-scale project, providing a valuable learning experience that I will be able to discuss in job interviews, something that many students will not have had the opportunity to experience.

If you are interested in receiving a copy of the book please contact bernhardgrob.destination@gmail.com.

Client reflection

“After a relatively short online introduction (as it was during the pandemic), Ruth grasped the ideas and intention of my book quickly, coming up with a detailed brief to ensure we both understood each other. The next step included her various design ideas which we talked through and again, quickly agreed on the chosen version. The real work started once I transferred the 140,000-word document, together with numerous photographs in electronic form, as well as some historic actual photographs and documents. It was a real minefield to put all this into the right order and sequence, but Ruth tackled it in a confident, efficient and prompt manner, with fewer queries than I had anticipated.

Dealing with Ruth throughout the lengthy process was a great pleasure and I much appreciated her professional punctuality, accuracy and attention to detail; something I considered rare in a final year student at university, eager to enter the real business world. Her keen creativity and understanding of the author’s mind-set played a key part in completing the design in such a short period of time, leading to the finished file, ready to go to the digital printing press manufacturer for printing. The only negative outcome is that the planned live book production during Drupa 2021 at the digital press manufacturer’s stand was unable to happen due to Covid.

In conclusion, I can highly commend Ruth as an excellent designer with an understanding for the bigger picture. A competent, driven young person with ambition who can lead from the front in the interests of the customer. I am sure she will go a long way in her future career making full use of her skills and entrepreneurial spirit.” — Bernhard Grob, BMGrob Consulting

Bernhard visiting the department
Figure 37: Bernhard visiting the department and Ruth receiving the finished book

Designing for an evolving publishing industry

The Department recently collaborated with Oxford University Press on an exciting digital publishing project. OUP’s brief gave final year students an opportunity to explore the challenges and possibilities of user-centred design for evolving digital platforms.

Read more

Join us for our February 2019 postgraduate open day

The Department of Typography & Graphic Communication warmly invites prospective MA applicants to visit us for a postgraduate open day. The open day will be held in the Department on Thursday 28 February 2019 from 10.15–14.00. It’s a fantastic opportunity to find out more about the specialist postgraduate study routes we offer through exploring the work of past and present students and talking to our subject experts in Book Design, Communication Design, Creative Enterprise, Information Design, and Typeface Design. We’re also planning some talks that incorporate highlights from our world-renowned Collections and give you a taste of teaching and research at Reading.

We look forward to sharing with you exciting developments about how we’ve refreshed our postgraduate taught programmes to build a stronger, integrated typographic foundation for research and practice across all programmes and specialist pathways. We’ve introduced a new general Communication Design pathway to complement our well-known established pathways in Book Design, Information Design and Typeface Design. These four specialist pathways are all offered as part of our newly renamed MA Communication Design – the ideal degree for anyone wishing to develop their professional practice within a world-class research environment.

Postgraduate student Darryl Lim looking at student displays of work including digital and printed projects

In addition to the practice-intensive pathways for the MA Communication Design programme, we also offer a multidisciplinary Creative Enterprise programme and two research-intensive programmes. Our MA Creative Enterprise is designed for individuals who wish to combine their study of research and practice in Communication Design with studies of management and law for the creative sector. Our MA Research Typography & Graphic Communication is the ideal route to prepare you for independent research and doctoral study and our MRes Typeface Design is a bespoke route for experienced, practicing typeface designers who want to develop a deeper understanding of the historical and theoretical aspects of their field.

To register your interest, please email Victoria Gifford – typography@reading.ac.uk.

Two postgraduate students looking at historic posters in our Collections

In the Top Twenty – John Morgan

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Lists and rankings are great fun, especially if you hit the upper reaches of the charts! That’s exactly what John Morgan, Reading alumnus and visiting teacher on our MA Book Design programme, has achieved in the Wallpaper* list of Top Twenty Graphic Designers. ‘Culture’s go-to art director’ is the way it describes John, picking up on his work for AAFiles, Tate Britain, the Venice Architecture Biennale, HMS Victory, and countless art-related publishing projects. Also cited by Wallpaper* as an ‘influential editorial designer’ is the external examiner for our BA programme, Simon Esterson.

Exhibiting Aspen

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Aspen, described in the 1960s as ‘the first three-dimensional magazine’, was produced in California and published in New York on an irregular schedule from 1965 to 1971. Many leading figures in contemporary North American and European art and cultural criticism were involved in its production as editors, designers or contributors and this, along with its unique format, has contributed to its art historical importance and continued relevance to contemporary art and design practices of today. Rather than bound printed pages, Aspen was issued in a customized box or folder containing a wide range of items including posters, postcards, tickets, booklets, reels of Super-8 movie film and ‘flexi disc’ phonographic recordings. These different published formats turned the magazine into a space where artists were able to move outside the gallery and engage with a broader social and political sphere. As the magazine’s editor Phyllis Johnson put it: ‘Aspen presents actual works of art! Exactly as the artist created them. In exactly the medium s/he created them for.’ Few complete sets of Aspen remain and this exhibition provides a rare opportunity to see items from across all ten issues as well as many important individual pieces which have acquired specific art historical and cultural significance.

Hosted by the Department of Typography & Graphic Communication from 18 June – 2 July 2013 (Monday–Friday / 9am– 5pm). This joint exhibition by the Department of Art and the Department of Typography has been curated and designed by MA Book Designer Lisa Stephanides. The exhibition is supported by the Arts Committee at the University of Reading. We would like to extend our thanks to Professor Alun Rowlands from the University of Reading’s Department of Art for his generosity and support in the loan of this collection.

Congratulations to John Morgan

To follow up on my earlier post:

We are delighted that the John Morgan Studio has won the graphics category in the Designs of the Year award.
 

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Reading Typography graduate, John Morgan, has been nominated for the 2013 Designs of the year competition run by the Design Museum for his work on the visual identity for the 13th Architecture Biennale in Venice.

Read about his work on the Eye blog: Common ground: a designer’s letter from Venice.

John is currently teaching students on our MA Book Design course.