The way that hardback books are bound, is that the cover is glued and folded round the grey-board. With this in mind, I made sure that extra room was left around the boarder of the front cover in order fir it to be glued and bound correctly by Katherine.
After speaking with Asia I found out that she wanted a very simple typographic cover which did not give me much room to experiment. I decided as I chose a concertina layout for the inside to represent the length of Cuba I would have the same representation on the front cover.
In order to pick the correct font for the cover I chose 7 different ones that could stand clearly by themselves. They needed to stand alone and be powerful yet subtle as Asia the photographer has asked for - she asked for it to be simple like the rest of the book so that the audience only focus on her images.
The first typeface selected was 'Arial Black' :
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| Arial Black had a wide spacious feel to it due to the kerning which can be seen to represent the layout of the images for the tourism side of the inner concertina layout with a bold presence. The sans- serif allows it to have that bold nature. |
The second typeface selected was 'Verdana' :
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| Verdana is also a sans- serif typeface where the pixel patterns have been careful hand crafted thus making it an easy typeface to read. It provides function and form to the page. |
The next typeface to be chosen was 'Silom' which was the typeface I will be pushing for to be on the front cover:
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| Silom is also a sans - serif typeface, ranging in thickness which really resinated with me when thinking of Cuba. Im not sure if it was from something I saw when I was there but it also reminded me of a few of Asia's photos below, the ranging in thickness of the wheels and the patterns on buildings (shown below). |
The next typeface I looked at was 'Helvetica Neue' :
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| Helvetica Neue is a reworking of the old Helvetic typeface, with a more structurally unified set of heights and widths. It is a timeless sans-serif font that will be used for many years. However in this sense I think it is too thin for the front cover, and is not striking enough. |
'Bradley Hand' was the next typeface looked at:
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| Bradley Hand was created as a calligraphy font making seem as if it is hand written. I thought this could portray the more cultural and personal side of the booklet as hand written is seen as more personal. |
'Impact' was another typeface that I thought was strong that I would be putting forward to Asia :
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| Impact is a sans-serif typeface with ultra-thick strokes, "compressed" look, and lack of white space are specifically aimed, as its name suggests, to "impact" and hold the viewer's attention immediately, which is an aspect which Asia wanted. |
The last typeface I looked at was 'Arial Black' :
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| This typeface is one of the most widely used typefaces in the twentieth century. it is a san-serif typeface with wide kerning making it more contemporary for this project. |
Crit
- sans-serif works well for this cover
- the title needs to be kept bold in order to grab attention
- could look bare with just that, consider adding another aspect like an image
Meeting with Asia - after holding a mini crit on my front cover designs I decided to go back to Asia to see her preference. I showed her my favourite two after my crit, which was 'Impact' and 'Silom' and asked her to pick her choice between the two.
I describes a little about each typeface to Asia and she said she wanted to make an impact on the audience which is why she thought that 'Impact' would be the best one for her booklet.
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