Binding, layout: surface simplicity

[This is both relevant to my ISTD & Elements briefs.]

Yet another one from Graphic Thought Facility. 

- including the 2003 - 2006 season leaflets.

The juxtaposition of old and new in the photography is 

reflected in the colour scheme of the type.  

GTF have followed the concept of old and new by adopting 

a contemporary colour scheme alongside traditional type.  

The imagery is also designed with a traditional hint, but had 

overriding contemporary processes.

For this season, a more bold and simplistic approach 

has been adopted.  

This whole run has confirmed what I already know.  

If you're going to use imagery (more importantly

photography) within a publication, - it has to 

communicate just as much as the rest of the design.

For example, in all of these publications, the 

imagery heightens and reinforces the concept 

behind the design.

In short, you cannot polish a turd.  

  - if you use crappy imagery, the whole publication 

     will take a hit and you cannot escape it.

  

Elements: Riso Riso Riso

RISO RISO RISO

Such an obvious and surprising solution to our financial 
problem.  We need it to be as cheap as possible.  It is 
decided, we will now explore our resolution through
experimental use of riso printing.  

It is the process of print that will drive our design 
decisions, moreso than client or subject matter that 
have been the main focus in past briefs.  The reason
for choosing this print process is thatwe will now have 
to come up with an appropriate resolution that also 
forces us to get creative with what initially seems to have 
limited printed outcomes. 

Our initial decision to work with riso printing was of a
necessary financial one.  So out of this we aim to solve
the problem of communicating as effectively as possible
through innovative use of riso printing.


It's time for a quote maybee?
Yes.         - I have it on excellent authority that 'Footprint -
workers co operative' Leeds, are essentially the only choice 
for local economical riso printing.

In-house collator

Contemporary publication design

'Inventario is not a magazine, Inventario is not a book.  
Inventario is a new editorial initiative, casting a free- 
thinking eye over the design- scene.'

Gig posters: Categorisation

w

d

Hip - Hop. The weighting of visual culture

This is a good book.

One aspect I found particularly revealing was 
the chapter on 'Beat Biters', style takers.

"Hip Hop isn't alone in borrowing from other musical genres and popular culture, but it does do it exceptionally well.  No rap album is complete without a bunch of references to breakfast cereal, TV, fashionable drinks, music, cars, and couture designers, because it's a music that was born in the real world, and it continues to exist there, feeding off it constantly.  The introduction of sampling to Hip Hop in the 1980s took the plunder to a step further, as producers dug in their parents' record crates for soul, funk and blues songs to rework.  It was inevitable that copying style and cover artwork would follow."

Sometimes a political stance, sometimes a satirical one.
The reason it can be respected is because, much like 
the design process, there is always a reason behind
everything done.  Which makes it a worthy cause to 
adopt this approach.  
                                                - or at least experiment with it.

TPHB : visual direction

Todd Eberle

Web Design: Type & Layout

Peter Bil'ak
   - as of late I have come to realise that he 
      is extremely amazing.

Born in Czechoslovakia, lives in the Netherlands; 
worked at Studio Dumbar, before started a design 
studio in The Hague, Netherlands, where he works 
in the field of editorial, graphic and type design, 
combined with part time teaching at the Royal Academy 
of Arts in the Hague; in 1999 started Typotheque type 
foundry, in 2000 founded, edited and designed art & 
design journal DOT DOT DOT; in 2009 co-founded Indian 
Type Foundry, now writing for various design related 
magazines; and collaborating on creation of modern 
dance performances.

As a typographer, it is important for Bil'ak to effectively 
promote his own work.  At the top right of the web page 
You are given an option to change the type set to different 
typefaces that Bil'ak himself has designed.  The type on the 
whole page changes to the one the viewer has chosen- not
forgetting the obvious like the change in leading and 
pointsize in relation to x-height.  This is a truly beautiful 
interface, and a graphic designers self- promotion at its
best.  Well Bluddy done Peter!

TPHB : visual direction

Traditional publication design

The ISTD brief I have chosen - 'Books still?' - requires 
a solid, informed approach that means I need to research
a hell of a lot.  Which is good because that was my plan
for this year anyway.

The process of publishing

Book and magazine publishers spend a lot of their time buying or commissioning copy; newspaper publishers, by contrast, usually hire their own staff to produce copy, although they may also employ freelance journalists, called stringers. At a small press, it is possible to survive by relying entirely on commissioned material. But as activity increases, the need for works may outstrip the publisher's established circle of writers.

For works written independently of the publisher, writers often first submit a query letter or proposal directly to a literary agent or to a publisher. Submissions sent directly to a publisher are referred to as unsolicited submissions, and the majority come from previously unpublished authors. If the publisher accepts unsolicited manuscripts, then the manuscript is placed in the slush pile, which publisher's readers sift through to identify manuscripts of sufficient quality or revenue potential to be referred to acquisitions editors for review. The acquisitions editors send their choices to the editorial staff. The time and number of people involved in the process is dependent on the size of the publishing company, with larger companies having more degrees of assessment between unsolicited submission and publication. Unsolicited submissions have a very low rate of acceptance, with some sources estimating that publishers ultimately choose about three out of every ten thousand unsolicited manuscripts they receive.^[1]

Established authors are often represented by a literary agent to market their work to publishers and negotiate contracts. Literary agents take a percentage of author earnings (varying between 10 to 15 per cent) to pay for their services.

Some writers follow a non-standard route to publication. For example, this may include bloggers who have attracted large readerships producing a book based on their websites, books based on Internet memes, instant "celebrities" such as Joe the Plumber, retiring sports figures and in general anyone whom a publisher feels could produce a marketable book. Such books often employ the services of a ghostwriter.

For a submission to reach publication it must be championed by an editor or publisher who must work to convince other staff of the need to publish a particular title. An editor who discovers or champions a book that subsequently becomes a best-seller may find their own reputation enhanced as a result of their success.

[edit]Acceptance and negotiation

Once a work is accepted, commissioning editors negotiate the purchase of intellectual property rights and agree on royalty rates.

The authors of traditional printed materials typically sell exclusive territorial intellectual property rights that match the list of countries in which distribution is proposed (i.e. the rights match the legal systems under which copyright protections can be enforced). In the case of books, the publisher and writer must also agree on the intended formats of publication — mass-market paperback, "trade" paperback and hardback are the most common options.

The situation is slightly more complex, if electronic formatting is to be used. Where distribution is to be by CD-ROM or other physical media, there is no reason to treat this form differently from a paper format, and a national copyright is an acceptable approach. But the possibility of Internet download without the ability to restrict physical distribution within national boundaries presents legal problems that are usually solved by selling language or translation rights rather than national rights. Thus, Internet access across the European Union is relatively open because of the laws forbidding discrimination based on nationality, but the fact of publication in, say, France, limits the target market to those who read French.

Having agreed on the scope of the publication and the formats, the parties in a book agreement must then agree on royalty rates, the percentage of the gross retail price that will be paid to the author, and the advance payment. This is difficult because the publisher must estimate the potential sales in each market and balance projected revenue against production costs. Royalties usually range between 10-12% of recommended retail price. An advance is usually 1/3 of first print run total royalties. For example, if a book has a print run of 5000 copies and will be sold at $14.95 and the author is to receive 10% royalties, the total sum payable to the author if all copies are sold is $7475 (10% x $14.95 x 5000). The advance in this instance would roughly be $2490. Advances vary greatly between books, with established authors commanding large advances.

[edit]Pre-production stages

Although listed as distinct stages, parts of these occur concurrently. As editing of text progresses, front cover design and initial layout takes place and sales and marketing of the book begins.

Editorial stage

Design stage

Sales and marketing stage

[edit]Printing

That's the Wiki version.

Here's a book with a little more insight:

Publishing, Principles & Practice by Richard Guthrie

Modus Operandi, Banziger Hug.

Modus Operandi

The book called «Modus operandi» for Barão Hutter 

Atelier is separated into three different chapters 

(requirements, create and a picture part). From a pile 

of pictures, they can complement an individual book 

for each client.

The Modus operandi is a Latin phrase, approximately 

translated as «method of operation». The term is used 

to describe someone's habits or manner of working, 

their method of operating or functioning.