National Trust print and motion graphics up on #Behance! #portfolio #motiongraphics #print #advertisement #graphicdesign (at Behance)
"The perfection of the construction" My first visual communication project posted up on @behance #behance #portfolio #editorialdesign #graphicdesign (at Behance)
The perfection of the construction, typeradio interview, final piece
Typeradio Process Evaluation
My chosen Typeradio visual communicator was Bruno Monguzzi. Having read through almost all of the different interviews provided, his was far the most interesting and sophisticated to understand. Having such a colourful childhood full of many areas of influences, this allowed my project to choose from a wide array of avenues to visualize when thinking of his interview in the editorial spread form.
Initial thoughts of the interview was the most obvious, thinking about his childhood, religious influences, and about the spider web theory - which changed Bruno’s outlook in design. However I wanted to go further than that, looking closely at his characteristics, and journey. My initial research of editorial spreads, lead me to look at multilingual design, mainly influenced by Japanese spreads, with how their sentences and characters can be written both in horizontal and vertical alignment. This made me look at different cultures and how they visualize their text in the editorial format. Having been influenced by graphic design studios such as Postdata, v-a studio, and Eps51 graphic design studio, by how they visualize multilingual text in one editorial format. I find this very exciting, and searched for a way to make this fit within my Typeradio project.
Amongst my other research, I was also deeply inspired by the International Typography Style, mainly looking at its history, as well as the book, Altitude: Contemporary Swiss Graphic Design, where I discovered a wide selection of beautiful designs where it questions the book format, whilst maintaining a clean and tidy visual aesthetic. In this book I found the work of Barbara Hahn, Christine Zimmermann, Von B Und C,where I discovered the idea of using a French Fold book format to hide information as a way to make the reader look for more information. And this is an important aspect in visualizing Bruno Monguzzi’s characteristic, as he is a skeptic, always wanting to question everything, and wanting to learn more about it. Another aspect I wanted to include was the idea of perforating the edges of the french fold, this would open up another spread so that the hidden information could be revealed.
In terms of constructing my final piece, I have maintained a heavily calculated book format, which uses a modernist / modular grid system. With this grid system, I was able to calculate the spacing I wanted to calibrate my spread design. To keep within the clean, universal, and well calculated editorial piece, I used the font Univers to tie things together. I found that the use of Univers was extremely beneficial, as Adrian Frutiger (designer of Univers) designed Univers to be a universal font. The extensive font family of different weights has been increasingly helpful in the design of my typographical hierarchy. Allowing my design to have consistency, whilst distinguishing its typographical structure.
In production of my actual final piece, the production of it was quick, and I thoroughly enjoyed it. There were issues with the registration of the printer, however there is nothing I could do about that, so I tried my best to minimize the issue with my design. The digital design of the spread was purely typographic, and so the visual system of the text had to be the strongest point. I maintained a strong guideline structure, keeping within the baseline grid, fixing my rags, and adjusting my typographic detailing so that it is somewhat perfect.
Also I found that the actual bookbinding nature of the work the weakest of my capability. Be it the misalignment of my cuts, and calculation of my folds, and the physical binding process. Although I have had tried multiple tests of the binding process, I could not create a flawless final piece.
Overall, I found the design of the whole Typeradio work really enjoyable, and possibly the best design I have come up with to date. I really learned a lot about paper stock, print jobs, visual hierarchy, and typographic detailing. These influences my work to be more of a professional standard, keeping in mind of my audience, and the context of my piece.
After finishing the design, I sent my work to be printed in the large format printer. Unfortunately, the printer has issues with printing on both sides. The print work is never perfect, at best it is only a few millimeters off. At worst, it is hugely wide apart, as shown in my pictures.
Another aspect that I did not pay enough attention was the paper stock, here I used newsprint which is thin and shows the print from both sides. This could interfere with the design and could look messy. Maybe a thicker paper stock would be appropriate, however the thicker the paper stock the more issues it will have with the French Fold format.
Bruno Monguzzi, Scaled Mock Up, Final Design
Print Specifications and Instructions
Typeradio, Ralf Renz Maniego 1
PDF and Indesign file
594mm x 279mm
297mm x 279mm
Epsom 180gsm enhanced matte
Duplex French fold book format, perforation marks on the centre, and perfect bound
Bruno Monguzzi, Typeradio Editorial, Print Ready
My editorial spread paginated in the form, ready to be printed, cut, and bound. This layout would be using the french fold, and would require the pages to be printed from both sides. The quotes will be kept inside the french fold, with the translation in German, Italian and French language. I have decided to use this to symbolize and celebrate the unity of the language, whilst keeping within the graphic system of the whole editorial spread.
I also left the perforation line marks to indicate where the cut will be left, this is helpful in post-printing process where the perforation marks are needed.
Bruno Monguzzi, Typeradio Interview, Spread Form Only
My final typeradio interview editorial spreads. I applied the footnote colour system into my design, as well as kept the symbol (of a square) consistent, instead of using both squares and triangles to connect the two interview together.
I reduced the size of the interview title drastically, I find it more elegant to look at, and is not begging for attention, unlike my initial design for the title. I also altered the design of the opening description, increasing the type size, and reducing the amount of columns it takes up in the grid system. I made the footnote space universal, and does not overlap with any of the bodytext space.