The key to a good product is the amount of quality produced. It is a critical fact that the highest materials intrigue buyers, and also show that as a professional practitioner in the arts, you understand the importance of good materials as good visual communication, as well as the images and text itself.
I knew I wanted a thicker printing paper, something which screams…quality and purpose!
I looked at some editions that have been bought into the local universe studio, and ‘Does that clock work’ By NousVous’s Jay Cover, had the type of paper I wanted. I attempted to replicate the type of paper by going to an art shop and feeling different type of paper until I found a suitable paper.
This (left) is the paper I chose to use for the edition pages. It is acid free, unbleached paper, which has a creamy tint to it. It is 130gsm so it has a nice subtle thickness which feels pleasant to touch.
This paper (left) is what I chose for the cover. It is almost twice as thick as the pages paper, but this gives the cover a sense of purposeful being on its own. A definitive cover. It has beautiful grains on the paper, so the printing quality appears better. This paper also has a lovely weight, which adds a further quality to the book and feels heavy in the hand. When the book feels good, people start to think that the author has gone through a conscious decision to produce this book, adding on value.
The colour choice was an easy one. I knew my drawings were to be black and white, as it was the line work of my drawings I am trying to get across to my audience. Therefore the colour I wanted was o be a light, pastel, neutral colour to compliment the eye and my drawings. I had gone for a blue tone colour. with a grey shade. I used the colour as a block, to purposely, roughly, cover the main drawing, using straight edges around some curved lines to block out the drawing. almost mimicking a risograph printer, with inkjet layered printing. I went through a few colour print out tests to see the true appearance of the colour on paper, and then laid out variations of the chosen colour (seen in the below pictures).
The colour started from the blue shade in the red circle. The colour consists of; R120 G159 B191. From that colour I spread out to find a lighter shade which was the one at the top; R168 G205 B236.
The font choice was a difficult one. I looked into a font with had serifs, as I wanted to compliment my drawing style with the flicks of a serif. Following that I had found a font with looked as though it has pencil 3D approach, which I thought suited the underpinning of my drawings. I also chose a scratched bold font, to respond to the grittiness of the area I was investigating, which also complimented my sketchy drawing style. However I turned my attention to a block letter typeface, which responded to my drawing style in fact that it was the opposite. Two forces fighting on one page, drawing in the audience to the action on the cover.
My tests and variations are below:
I opted from the font entitled ‘BlackOut 2AM’. That is the block style negative space font type. After reading about this font, and its purpose for shouting out to the audience, to entice the viewer over to it, making it stand out from what it is standing next to, helped me make my choice. I wanted my book to scream to people, get them to notice it and pick it up. It also complimented my drawing style on the cover by contrasting itself against the line work, with its block font style. I felt positive about this font. I rearranged the text on the cover to fill in the negative space, and placed it evenly within the margin. Plus taking my name off the over and moving that to the inside. This gave the title more focus and gave the viewer all they needed to know from the beginning.
Putting all these important elements together, and bringing them together to create a visual response throughout my book, like setting a theme, made the book stand with purpose and true build quality.