Sketch Book

Connor Bryant
Connor Bryant
Graphic Design&Illustration
Sketch Book
Design&Publishing
Graphic Design & Illustration
Classes of 2012/2015
Connor Bryant
Idea
For my idea i want to infuse new stuf. My frst initial idea was a book of
my own work, a book that could display what i have done and what i have
achieved. I then went onto thinking what if i created a book that was based
on graphic design in whole.
So i want to create a book that is based on the work of Graphic design &
Illustration classes of 2012 - 2015. In order to do this im going to need to
get permission from every student on my course and illustration’s course and
collect as much work as i can.
Plan of Action
So in order to creat this book im going to need to:
• Collect peoples work
• Get permission from my course tutors
• Look into possibility of taking it to new designers
• Find a online/local printer (to publish my book)
• Look into possible book binding techniques
• Explore diferent mediums in which i can publish the book
Historical Binding
Techniques
Coptic Binding
Book binding process
Coptic binding are characterized by one or more pieces of parchment, Papy-
rus, or even paper sewn through their folds. It is then attached together with
chain like stitching links across the body of the spine. Rather than applying
it to the thongs or cords running across the spine itself. In phrase the word
“Coptic Bind” means multi section binding .
Te diferent forms of Coptic binding:
Nag Hammadi bindings
Tese Bindings where generally constructed of a few papyrus sheets. All
assembled into a single section and then trimmed along the fore edge after
folding, to prevent the inner sheets from extending outwards.
Multi-section Coptic bindings
Tey consisted of hard cover boards that were composed of diferent layers
of papyrus, also throughout the 4th century wooden boards were also used
frequently.
Modern Coptic bindings
Tese can now be made with or without covering leather. If left uncovered it
can open up to 360. Te leather could possibly be omitted which does not
require any glue in its construction.
Ethiopian binding
Book binding process
Ethiopian binding is a technique of chain stitch sewing that looks very similar
to Coptic binding. Tese books had paired sewing stations, sewn using two
needles (so if there are 2 holes, use 2 needles…or 6 holes, 6 needles etc.).
Te covers were wooden and attached by sewing through holes in the corners
of the board. Most of these books were left uncovered without end bands
which in there way was a very unique way of binding.
I fnd this technique very interesting and it give a book a very natural and
lovely look to its spine. Not to mention that the material looks very smooth
and well placed. I think if i had to bind a book by hand, i would look further
into trying out this unique technique.
Long-stitch bookbinding
Book binding process
Long stitch book binding is a technique used mainly for sewing together the
sections of a book. Tere are a few forms of long stitch that are diferent from
the other. Tis binding does not require glue or any other substance, yet there
are other ways which glue can be used in diferent ways.
Te sewing method creates an amazing staggering line pattern only visible on
the spine, most of the time. Another binding technique is the chain stitch,
this technique was enveloped in early times of Germany nearly as early as the
medieval period.
Te sections are sewed directly through holes that appear to be in the cover.
Tere are also many other ways in which a long stitch book can be made,
some long stitch books can be bound book covers that are just trimmed to
the edge of the book . Buttons can be stitched on in order to hold the book
together.
I fnd this book binding technique very odd, but its also at the same time a
beautiful way to bind your book. Especially with the staggering line efect
down the center of the spine.
Limp vellum
Book binding process
Commonly known as Limp Binding, it requires the use of fexible cloth,
Leather or Vellum. When the sides of the book are made of vellum it is then
known as Limp Vellum.
Te cover is made with either vellum or some other material of your choice.
It is then folded around the text block, then the front and back covers are
folded (Double). Te quires are then sewed onto the cords and the sewing
then supports the vellum cover .
Te cords would also often be used at the fore edge on the cover. In limp
binding the covering material is not stifened by thick boards, there provide
some stifness; some limp bindings are only.
Some limp vellum bindings had yapp edges that fop over to protect the text-
block. Limp vellum bindings for commonplace books were being produced at
least as early as the 14th century
Calf Binding
Book binding process
Bindings that are made from calf hide and are the most frequently seen leath-
er coverings. Tese bindings have a smooth surface with no identifable grain.
Te natural tone of a calf binding is light brown, but can be dyed almost any
color of your own choosing.
Te following terms are often associated with calf bindings:
Diced: a decorative design of diamonds or squares that has been scored onto
the leather.
Marbled: stained with a diluted acid to produce the efect of swirling hues.
Mottled: a random design on calfskin produced by sponging it with acid or
dyes.
Paneled: a rectangular space on a cover or spine, often framed by gilt or plain
ruled lines tooled into the leather.
Polished: calfskin polished to a smooth, refective fnish.
Paper Case Hard Back
Book binding process
Hardback book printing or hardbound is a book bound with rigid protective
covers. Tey may have fexible sewn spines which allow the book to lie fat on
a surface when opened, although most modern commercial hardcover books
have glued spines.
Hardcover books are usually more expensive then their paperback counter-
parts. Hardcover books are much more durable than paperbacks, which have
fexible, easily damaged covers.
Hardcover books are also marginally more expensive to manufacture and are
usually much pricier mainly because of its sturdiness. Hardcover frequently
come with artistic dust jackets in order to protect the book fro damage.
Chinese Stab Binding
Book binding process
Te paper that was usually used in this technique was Xuan paper . Tis was
an absorbant paper used in the traditional chinese calligraphy. Stronger and
more stable papers would be used to things such as woodblock printing for a
more detailed fnish.
Tere covers would be a stronger form of paper and dyed a dark blue colour.
Although you can use any colour you want they often used thi sdark blue
dye. Harcovers were very rare to be made by this technique unless a book of
great importance.
Te way this book was made consisited of several stages. Stage one was to fold
the paper into sheets , then they had to gather all the folded leaves into order
and assemble the back and frontcovers together.
Tey had to then punch holes into the spine edge around 1cm away from
the spine itself. 4 holes were the standard mark, but 6 holes were for more
important books. Ten fnally they had to sticth the whole book together
using a thin double silk cord.
Cased cloth binding
Book binding process
Cased cloth binding is used for hardcover or casebound books, and comes in
three diferent types of book. Edition binding is the use of automated equip-
ment to bind relatively large print runs. Ten there’s job binding which is the
binding of small quantities of books which require special bindings.
Tese often including some degree of hand-work, such as leather-bound Bi-
bles. Last of all library binding, like job binding this is used for small quanti-
ties and usually involves some hand-work.
Library binding is used to create specially-reinforced bindings for library us-
age, and library binding services also repair and rebind damaged books. Tere
are three steps to making a case binded book.
Bradel Binding
Book binding process
A Bradel binding (also called a bonnet or bristol board binding) is a style of
book binding with a hollow back.
It mostly resembles a case binding which in that it has a hollow back and vis-
ible joint, but its not compltly like a case binding. It is built up on the book,
the characteristic of the binding is the material covering the outside boards is
separate from the material covering the spine.
Many bookbinders consider the Bradel binding to be stronger than a case
binding mainly because it holds it together so well. Te binding may be
traced to 18th century Germany.
Secret Belgian Binding
Book binding process
Te Secret Belgian Binding is a method of book binding that uses a primary
and a secondary sewing, which results in a distinct thread pattern on the cov-
er and spine of the book. Te primary sewing is used to create the textblock
for the center of the book.
Te secondary sewing is used to bind the textblock to the cover boards.Te
book cover is made using three separate pieces of material, front cover, back
cover, and spine piece. Te covers are then attached by sewing through holes
on the cover boards and passing over and under the spine piece.
Te previously sewn textblock is then attached. Te spine piece is held in
place only by these threads passing over and under it, which is used to hold
together the text block.
It creates a distinct thread pattern on the cover and it is a very sturdy binding
that allows the book to open completely fat, as you can see on the right there
are some very good examples of this type of book bind.
Girdle Binding
Book binding process
Girdle books were books carried around mainly by monks, clergymen and aris-
tocratic nobles. It was a very popular accessory to medieval clothing, between
the 12th and 13th century.
Girdle books were a variant on other forms of medieval book-binding in which
the leather or cloth continued loose beyond the edges of the hard cover.
Te bag itself could act as a book reader, instead of the person moving the
pages himself with dirty hands he was able to use the leather to move the pages.
Te knot used for the handle was a Turk’s head knot, so named for similar
appearance to the turbans worn by medieval Muslims of the Turkish Empire.
Sometimes the girdle book could be attached to the belt of a person in order
to walk around with it.
Many girdle books were unadorned, however, there are also many that have
brass corner pieces, carvings, awl punctures, artisan clasps, and possibly a fam-
ily crest or other mark on the front.
Modern Commercial
Binding
Hardcover Binding
Book binding process
A hardcover book has rigid covers and is stitched in the spine. If you look from
the top of the spine you can see a number of signatures that have been bound
together. Until the mid 20th century covers of mass produce would be laid
with cloth.
But after that period most book makers adopted the use of clothette a textured
paper which vastly looked like cloth but can be noticed at close look. Te
method to this bind was:
Case binding
Tis is the most common form of Hardcover binding. Te pages are arranged
into signatures and then glued together into a text block. Te text block is then
attached to the cover and back.
Oversewing
Tis is where the signatures of the book start of loose. Tey are then clamped
together, Small vertical holes are punched through the far left-hand edge of
each signature, and then the signatures are sewn together with lock-stitches to
form the text block.
Sewing through the fold
Te signatures are folded and stitched through the fold. Te signatures are
then sewed of glued.
Double-fan adhesive binding
Starts of with two signatures of loose pages. Ten the two signatures are per-
fectly aligned to form a text block, and glue edges of the text block are attached
to a piece of cloth lining to form the spine.
Punch and Bind
Book binding process
Tere are many diferent types of punch and bind, that include:
Double Wire, Twin Loop
Its a type of binding that is used for books that will be viewed or read in an
ofce type enviroment. Te binding involves the use of a C shaped wire spine
that is squeezed into a round shape using a wire closing device.
Comb Binding
Using a rectengualr hole that is punched from the bound edge. A curled plastic
comb is then passed through the punched holes in order to keep the doumc-
nets together.
Velo Bind
Its a permanant process that is used by riveting pages together with a plastic
strip. A series of pins attached to a plastic strip called a Comb feeds through
the holes to the other side and then goes through another plastic strip called
the receiving strip. Te excess portion of the pins is cut of and the plastic heat-
sealed to create a relatively fat bind method.
Pro Click
Is a very new style of binding that has been designed for use with a 3:1 punch
hole pattern. Tis process can make your doumcnet binded but when needed
to unbinded in order to edit it.
Termally activated binding
Book binding process
Tere are many diferent types of punch and bind, that include:
Perfect Binding
Is used alot and it gives the same efect as a paper pack book. Paper back or soft
bind books usually use perfect bind to be put together. Tey usually consist of
various sections with a cover made from heavier paper, glued together at the
spine with a strong glue. Te other three sides are then face trimmed. Tis is
what allows the magazine or paperback book to be opened.
Termal Binding
It is used as a one pieced cover, with glue down so it can be quickly binded.
Te paper is placed in the cover, heated in a machine, and when the glue cools,
itattaches the paper to the spine.
Tape Binding
It is a system that wraps and glues a piece of tape around the base of the docu-
ment. Machines such as the Powis Parker Fastback can do these types of bind.
Uni Bind
is a variety of thermal binding that uses a special steel channel with resin
rather than glue inside of it to give it a more sturdy bind to hold the pages
in place.
Publishing Platforms
Issuu
Online Platform
Issuu is a free publishing platform. It simulates your work that you send through as a pdf format and makes
it look like a book publication (But digital quality). Issuu features leading and emerging titles in fashion,
culture, arts, and hyperlocal content, all of which are accessible on any device. Issuu software is used by many
online publications. Some that are very famous.
Above is an image of the issuu home page. When you go online this is the page that you see frst, Its basically
all of the top featured publications. Top right is the navigation bar.
When you load up a chosen magazine/publication. Tis is what comes up, its the front page along
with a few options below were you can download share of like. Ten above on the right is the arrow in
which you press to navigate the publication. Below is your publication page, which holds your articles.
Akute Magazine
Issuu
I thought that I would pick out some magazines on issuu, that stood out to
me. Now looking at grid and layout design this publication took my eye, I love
how the person has used such good imagery and along with that found a good
way to display it, along with some really nice typography. Like for example
the cover photo below, I like how he has centered the title/logo and used such
beautiful photography to give it that real natural afect. I feel that I don’t un-
derstand why he has used a natural setting for his photo, but overall I like the
concept and I like the whole idea of the layout.
Here, out of the book are two of my favorite spreads. Above is a few pages in and its basically iden-
tical to the front cover but a double page spread. I love the imagery he/her has used, and the font
yet again stands out to me and I feel it works with the whole natural feel. Below is just a spread of
Te Pallette Magazine
Issuu
Now I thought I would pick a publication that I was a little unsure of. I really
like this cover, nice black and white image along with a good logo positioned
in the centre. Te red works with the white and the background image, along
with a nice professional description in the bottom right hand corner. Overall I
really like it, but there is something that is bothering me. Everytime I see this
design layout I always feel that its been repeated way to much by people and
mainly designers. I feel that maybe the use of a diferent centre image might
have served them better.
Now for starters I feel that these spreads are nicely done. Te one thing that I want to talk about is
the layout. I don’t no why they have used this layout choice but I feel that the red and the images
next to it does not go. In a book you need a link something that makes it fow. But I feel that this
was randomly placed and not much thought has gone into it. But overall I do like the layout and
Magazine
Print Platform
Magazine is a form of publication. Usually made for shops and stores, printed
digitally and at mass production. Depending on the subject matter, every issue
difers from the next. Which in turn makes the content unique to us readers.
Magazine fnance comes from shop prices, Pre paid subscriptions and adver-
tisement.
Here are some examples of magazine covers. Tis is the magazine company
Empire, who make magazines purley for entertainment purposes. On the right
is xbox magazine made for the gamers who play xbox and more.
Here are just two examples of double page spreads. In which the content for the magazine lays upon.
I will be talking about layouts and investigating further into what makes good and bad layout design,
Magazine
Empire Magazine
Here I’m looking at one of my favorite magazines Empire. Empire has always
been one of my favorite magazines, mainly because of its layout and choice
of grid. From the covers below I chose three out of my hundred magazines I
had. I like the positioning of the person as you can see he is in the centre and
overlaying the title. Now what I like so much about empire is that no matter
how much you cancel out the title name you will always recognize the brand
and company. I also love the typeface they use, very bold and strong indicates
to the reader that they want you to be intrigued.
Two layouts I really like from empires magazine. Its not only these spreads that I like, throughout
the whole generation of empire they’ve always stuck to the same routine layout. It looks profes-
sional, good placement of type and images. Along with some really nice neutral colors to balance
out the spread.
Interactive
Digital Platform
Interactive platforms, such as tablet devices or phones. Since technology has
advanced more possibility’s into the world of publishing have been fourishing.
Outgrowing current print industry’s is the means to publish directly online.
Devices such as tablets allow you to buy and download magazines straight to
your device. Such as phones, you can also do this.
Here is just an example of a magazine marketplace on a tablet device. To the
right is a simple function into how you can read your favourite magazines.
Above and below are two examples of magazines on tablets. Its basically the same as a
magazine in print formatt just you dont have the auntentic feel, its more on a device.
I personally think that tablet versions of magazines are very smooth, profesional and
good looking. Whereas i also like having a hard copy of a magazine its just that feel of
sitting down and actually holding a magazine. But saying that on a device you could
hold thousands of magazines without carrying them.
Print Processes
Lithographic
Process
Lithography is a method of printing originally based on the principle that oil
and water do not match. It can be used to print onto anything such as papers
or any suitable materials. Originally lithography was used as an image drawn
by oil, fat or wax onto a smooth surface. Te stone then went through the pro-
cess of a mixture of acid and gum arabic.
Which eroded away the parts of the artowrk that were not protected. But
modern time lithography, the image is made of a polymer coating applied to a
fexible aluminum plate. Te image can then be transfered from the metal plate
to the publications surface.
Gravure
Process
Gravure is a type of intaglio process. Which involves engraving your chosen
image onto a image carrier. Gravure printing, the image would be engraved
onto a cylinder mainly because like ofset printing and fexography, it uses a
rotary printing press. Once used for mass production of publications needs, it
now still plays a large role in newspapers, business cards and post cards.
While the press is in operation, the engraved cylinder is partially immersed in
the ink tray, flling the cells. As the cylinder rotates, it then draws ink out of the
fountain with it. Acting as a squeegee,it then makes the doctor blade scrape the
cylinder before it makes contact with the paper, removing excess ink from the
non-printing areas and leaving in the cells the right amount of ink required.
Next, the substrate gets sandwiched between the impression roller and the
gravure cylinder: this is where the ink gets transferred from the recessed cells
to the web.
Letter Press
Process
Is a technique based on relief printing, which in turn uses a printing press. A
worker will compose and lock together whole forms of text with little sinlg
eletter metal pieces (Like on the right). It also includes other forms which may
be simliar to wood engravings. Letter press printing was used alot during the
15th to mid 19th century, until technology advanced. Letter press involves
three diferent stages.
First the designer or print worker would have to arrange and lock all of the
chosen type that the client would want. they would then have to make it stable
and lock it together in a series of metal peices in a vice like object. then they
would have to print although hand presses generally required two people to
operate them: one to ink the type, the other to work the press. Later mecha-
nized jobbing presses require a single operator to feed and remove the paper, as
the inking and pressing are done automatically.
Print Finishing
Spot UV
fnish
Spot Varnishing is a technique where you can choose a particular item on the
page to cover in UV varnish. It’s done to add vibrancy to the coated item and
can really add impact on your chosen surface; the contrast of the spot UV’d
element to the rest of the page can be particularly eye-catching. Tis contrast
is heightened by adding spot UV on top of matt laminated printing.
Spot UV is mainly used for business cards. Mainly to give them a nice var-
nished fnish that will look very shinny. Many designers use this fnish for
professional practices.
I really like this fnish, considering im doing a publication of over 160 pages,
i dont think using spot UV would be the right call its more of an buisness
card or self presentation fnish. I will take this into consideration for my self
promo project.
UV Varnish
fnish
UV Varnishes cover the page with a transparent coating that feels very
smooth and thick to the designer. Te UV part stands for ultra violet which is
the way the coating is dried, using ultra violet light. UV varnishes are usually
seen covering the page in a smooth glossy coating that really brings out the
colours in the page.
I feel as if this fnish is just the same as spot UV. Which it most probaly is but
it just covers more of the chosen substance with a smooth and thicker feel. I
dont tihnk i would use this for my buisness cards, and i dont think its sutable
for a book design.
Textured Varnish
fnish
Textured varnish is a glossy varnish that overlays a slightly rippled, tactile
fnish to the page, which most designers would fnd appealing. It can be used
as a spot varnish to enhance the impact of particular page elements and is an
interesting and eye-catching alternative to standard gloss varnishes mainly
because of its rippled and tactiled fnish to the design.
Now for a book this seems a little bit more appropriate. It could work very
well as a front cover title, maybe even certain major pages could be glossed
with this fnish. I personally think its a beautiful fnish and I would love
to see if I could try and get some sampling done for my book. If not I can
always use it for business cards or future book publications.
Embossing&debossing
fnish
Embossing or debossing is commonly known as a technique, that either raises
or recesses an image onto paper or any other suitable material. An embossed
pattern is raised against the background, while a debossed pattern is sunken
into the surface of the material. Tere are many embossing types, such as:
Blind emboss
Tis process does not require foil or ink to highlight the chosen area. Te
blind embossing provides a subtle image on paper.
Registered emboss
Tis technique is a process that places the embossed image in alignment with
another element created with ink of other substances.
Combination Emboss
Tis is the process of embossing and foil stamping the same image.
Pastelling
Tis is also known as tint leaf embossing. It gives it a more antique look,
which can result in some very good fnishes
Glazing
Tis technique refers to an area that can be made shinny or give it a polish
appearance.
Scorching
Scorching is nearly the same as glazing, but as you can tell its to do more with
heat rather than making the surface polished and shinny. Te heat generates
the design.
Font (For book)
Font's for book
Adobe Garamond Pro
My frst font that I wanted to test out was garamond. I looked up a few online
discussion into whether or not it makes a good book font and a lot of people
replied very positive saying that they themselves used this font for books in the
past.
Futura PT&Honey Script
I wanted to look into futura, mainly because its a clean looking font. I
thought about using it for sub headings or maybe even the placeholder text.
But in the end i chose Minion Pro. With Honey script i wanted to look into
the possibility of using it as my name signature. A hand written feel is what
it gives and i fnd that very efective.
Title&Sub Heading
Font's for book
Normal place holder text.
Minion Pro
So for my base text i looked into minon pro. Clean, profesional and efective.
I feel that this is the font i am going to use, mainly because its not to thick and
its not so much in your face. I feel it will work as my base text and will serve its
purpose very well.
Myriad Pro&Garamond Pro
Both thick and strong fonts. As you can tell by myriad its font has alot more
strength to its characteristics over minion pro. I dont want that, i just want
something that will sit on the page and do its job well. Garamond Pro isa
really nice font i think i will use this as my sub heading font. Mainly because
its regular font is like minion pros just alot more profesional looking.
Layout Design's
Front Cover
Layouts
Graphic&Illustraion
Classes of 2012 -2015
Connor Bryant
Graphic&Illustraion
Classes of 2012 -2015
Connor Bryant
Here are some front cover layouts that i designed. Tere bascailly standard layouts, but im trying to ex-
periment where abouts on the page i would like to put my title and name. So far i think the frst one on
the left is the most appealing to me. Te one on the left i feel that the title looks to out of place up in the
middle of the page.
Graphic&Illus-
traion
Classes of 2012 -2015
Connor
Graphic&Illus-
traion
Classes of 2012 -2015
Connor
Graphic&Illus-
Connor
Graphic&Illus-
Connor
Here are a few more positions. I got to be honest I don’t really like any of the following covers.
Tey all seem to out of place. I feel that a middle centered layout would suit my style of book
Spread's
Layouts
Name (Here)
Here are a few of my double page spreads. I decided that i wanted to go for a very clean but profe-
sional look. So i chose to make the artisit page (left) as simple as i could but with a real nice layout.
As you can see ive put a line coming in from the left which then in turn the type will sit ontop and
underneath the line will be the biography of the student. Te right page will hold the persons imag-
es.
Name
Name
A few more layouts, but with the same artist page. Each layout i want to make as qunique
as i can, witch will also compliment the person that is displaying there work in my book.
Final Layout
Final Layout's
First few pages
Classes of 2012 - 2015
Graphic Design&Illustration
Plymouth College of Art
Connor Bryant
Graphic Design&Illustraion/Connor Bryant
Now above this is my fnal front and back cover design. I chose to go with my frst layout design
and make the title centered with additional information underneath. I chose the color grey as I
thought it made my book feel clean and professional like I wanted it to. Overall I’m very happy with
my fnal layout and I feel that this could be the start of something great. I also chose the font Adobe
Garamond Pro. Very professional font, works well with book design. To the right is my inside pages.
First of is a page dedicated to my project brief name, then on the next further two pages are infor-
mation on my current course leaders.
Design&Publishing
Classes of 2012/2015
Connor Bryant
Connor Bryant
Above is my issuu adress page, and my contents page directing the reader to whatever
page they desire. Below is a sort of introduction to the section of the book that you will
Trough the rest if these layouts they are all the same. Just with slight modifcations to
the layout of the persons set images they have sent me.
I decided to stop here mainly because I have over 160 pages in my book and the layout is a recurring
thing that only has slight adjustments throughout the read.
Final Book
So here it is my fnal book. Below I quickly wiped up a mock up of what my book looks like printed it
looks exactly the same as my real printed version. As you can see I stuck with everything I chose the layout,
the typeface etc. Te only thing I changed was the size of the book itself, I made it a little smaller and wider
than a4. I am very happy with the fnal outcome, and overall I’m very impressed with myself. I didn’t think
id achieve this high of a standard book.
Final Book
Mock up
Here is just an image of the book being opened up. As you can see on the inside of the book is my
design&publishing title.
Here is the contents page, and the downlaod issuu part. Overall it looks clean, profesional just as i hoped it
would. Te positioning of the type and page aswell i feel worked to my advantage.
Final Book
Mock up
Here is one of my double page spreads, on Ross o’neill. I bassically experimented with the layout of the
images and tried to create whole page spreads. It worked so well that i put a few throughout the book.
Issuu Publication
Published on issuu
After researching into issuu earlier in my sketchbook, I decided to publish my book onto it. Tese are the
same pages from the previous page just uploaded onto the internet. From the statistics of my book, I can
tell it was quite successful in my eyes. After two days of the book being online I had 1180 impressions, 135
reads and 2 favorites. Below is my front cover I like how issuu has converted it into a fle, and then made it
look as if it is a book but online.
Here are my other spreads. Mostly my favorite ones, but as an example I wanted to use the one’s that I
made an example of earlier in the book. Te coloring and the lighting is almost perfect on this publication
and I’m very happy with the overall outcome.
Evaluation
Troughout this project i have looked into the print based side of publication. Tis has made me gain more of an
understanding towards how processes are done, and how certain fnishes and techniques can make your book unique.
I found that looking into the diferent kinds of binding and the diferent types of print fnishing very useful. At frst
i thought it was just a certain amount of techniques and no more. after looking into a few historical and modern
binding techniques, i fnally decided i wanted to try out perfect binding. Mainly because it ft the style of my book
perfectly and my local printers Breton side did this print type. I also looked into online digital publication and what
the benefts of that would arise. I soon found out its basically a good way to get people looking at your images on a
wide scale of interactivity.
Creating my book was the best part, i looked into a number of ways of printing it and i discussed with the print
maker what would be the best solution for me. In the end my fnal book has turn t out better than i could have ever
imagined. the colors came out perfect and the layout served me well in its fnal print. Nothing really went wrong,
apart from a few little mishaps here and there. I ended up getting the book reprinted and will be handing it in for my
fnal publication.
Overall i don’t like how i handled my time keeping. I spent so long messing around with my book design and so long
actually making the fnal piece from mind, that when it came to it i had no clue how to start my research journal.
But overall i got it done and i’m happy with the overall time keeping. If i had anything i had to say towards not
liking my book would have to be the print quality. Although my book looks great and its a massive achievement for
me i don’t feel as if Breton side have a very good quality of print and next time i will go to a diferent printers,maybe
online.
Next time if i had to change anything i would like to look into trying out a diferent print process and maybe see
if any other types of paper prints are available. For this project i got a standard photocopied print. Which i like but
would have preferred to have got a more Matt fnish. also i would like to try and get the whole college involved in the
making of my book.
Final Book Description
My book is a publication of Graphic Design and Illustra-
tion’s 2012 - 2015 work. It consists of some photograpy
also and contains alot of descriptive writing. Connor Bryant