garry Barker : Layout Development

Garry Barker : Format Testing

This rough test of the format shows how it functions, the main feature being the book in 1/2s with extra space either side for whatever additional printed material Garry requires.

The Images of his work will go on the top, therefore putting an emphasis on them, so that the critial writings on his work can be written underneath to support it. 

Garry Barker : Format Planning

I sketched up a few format / packaging ideas.  This first idea was quite experamental, and in some ways inspired by Barry Tullet's talk.  His book that was able to be read in four seperate sections made for an interesting and dynamic design.  Spreads working with eachother to push a meaning or simply enhance the aesthetic and tone.

My proposed idea is for a book that is boun int the pack, but can be read as two seperate sections.  One the essays and critical analysis of Garry Work / the other the work itself.

Ben had a more phsical idea, to contain a collection of 3 books together into one large bulk, bound together by elastic.  This might not work so well as a mailer however.

Our idea is to create a pack that holds all of the relavant elements that Garry requires in a neat format.  It should be functional first of all, wihle conceptually refelcting Garry work and is vision of creating of openeing a new etching workshop through a tradidional stlye.

Garry Barker : Traditional Ornaments

Garry Barker : Traditional Aesthetic

I was glad to learn that Garry is an appreciator of the traditional 'style.' I have been wanting to use ornaments and decorative features for a project for a while, and now it seems we will have the chance, if it works.  So I scanned some designes from some good old books to find some examples of decorative ornamental design.  Both for features and also potentially book overs.

Also the paragraph spacing and justification of the type makes for a tidy and rigid form on each page.  This structure will act well as a contrast to the loose sketched style of Garry work.  It will also be neatly help togethet by any ornamental rulers should we choose to use them

Justin Van Genderen

TV Quotes

While these are very pretty typographic solutions the readability of them is not clear.

One of my briefs is to typographically use quotes from films, interpreting the pace and tone of the spoken word into typography. This is a far more 1D project that looks lovely, but conceptually is lacking.

It relies of style over context to be recognised making it a nice personal project, but thin on context.

'Never Use More Than Two Different Typefaces'

This is the fifth book in the Ridiculous Design Rules series by Anneloes van Gaalen. This new publication is about ridiculous (or not…) rules in typography, a joy for graphic designers and everyone who has anything to do
with designing texts. Like no other, this is a world that is held together by rules, which designers, of course,
 often take great delight in breaking.

In this series, ‘ridiculous’ is a relative term, because what is nonsense for one can be an important guideline for another.

In these pleasing and educational books, it is not about laying down the law. For each of the 51 rules covered
 in each book, Van Gaalen refers to quotes by famous fellow designers, who either think there is something to the rule or have made a personal variation of it. Whether you agree with them or not, the Ridiculous Design books sharpen your own thoughts about the rules and the assumed truths of design, advertising, fashion, photography and the Internet. Each rule is convincingly illustrated, with the illustrations either confirming or disproving the rule in question.

(this is not my writing, but the writing of a reviewer)

Greg Richards

Creative Process

This fun publication by Greg Richards is a literal Vs ambiguous walk through of his creative process. While on spread deals with the literal through typography and easily accessible photography, the other has no context, an ambiguous page that has no visual connotations. It is a great conceptual idea of the unclear becoming clear through his creative process. It is a well considered and executed concept.

However I think the format is a bit dull, it looks to be a standard format for a magazine. Perhaps a slightly smaller resolution would have enhanced the concept of control and containment of the process. While a larger publication may have equally suggested the handling of a large job in a controlled manner. The benefit of a large publication is the use of white space. This strikes me a quite a corporate publication.

Studio Newwork

Studio Newwork is a studio I recently stumbled across when searching for some Swiss influenced design. They showcase a stunning array of high end promotional material as well as personal a personal showcase in their quarterly newspaper publication.

They cover the influences of;

Type, layout, colour, stock, folding, finishing, identity and mixed influences.

For these promotional pieces they have dissected type in different ways to aid the delivery of the message as well as creating a visually powerful identity for each event.

Bold sans-serif really is 'in' at the moment, part of me wants to follow, the other me want to use nothing but serif typefaces until this trend it through. I want to see a return to traditional design, more scruffy and weathered and imperfect, but all-together more human. But! I need to learn the rules more thoroughly otherwise the shift will just fail on discipline.

Now a barrage of Promotional material that they have designed. Besides the fantastic stocks that they use, I really appreciate their approach to each brief. While all being very neatly executed, each with their own visual identity, they have considered more than just the current trend of a return to Modernist minimalism.

Yes there is the contrast between large and small tpye and minimal use of colour. But with specific reference to the Robert Geller spring / summer collection with its throw back to the by-gone period of New Wave texture and type. It remind me of April Greiman's late 80s work.

Also the use of an interesting typeface (that I want!) on the silver coated stock project. I didn't source which particular brief it was but it is visually so appealing it just has to be appropriate does it.

Studio Newwork really understand the importance of promotion. While these are high end budget projects, they can be done similarly using the same principles but through a much cheaper process.