I laser cut numerous principle designs so that if I made a mistake I had backup pieces and also to experiment with stock. As I was experimenting with the composition of my book, I realised the backup pieces had potential to make my publication rich in visuals inside the publication and for the cover.
Layering navy cut out over white background creates Gestalt's principles of figure/ground due to the contrasting colour scheme:
Using the negative space created by the circle, I used another one of my cutouts to fill the space. The circle crops a sections out of the design:
I realised that if I centred some of my compositions it would create a harmonious and balanced outcome due to the geometric shapes and patterns.
There's potential to add information onto the middle section of the second page. This creates another dimension for the audience as they are able to read through the top page and the square creates a focal point.
COVER
The cover is an important feature of a publication because it can entice the audience and set a tone for the book. I created some title pages that I could use along with my laser cut geometric shapes.
Enlarged the text so that it filled the circle and again I tried to keep it as balanced and simple as I could. I would like to take advantage of the space inside the circle.
I chose G and P as initial for 'Gestalt's Principles' because I wanted to create negative space between the characters and also inside the circle. The serif's from Times allows the audience to recognise it's a letter but the negative space is intriguing.
INFORMATION
In order to produce informed design decisions about layout, I decided to use influence from my previous research into publications. I noticed that the majority of pages were predominantly visual with no typography at all.
Looking back at Müeller-Brockmann's grid systems book, I became inspired by the use of grids to create an accurate and uniform page layout for my text. I placed my page into InDesign so that I could accurately create outcomes using different layouts.
I made sure I added my own guide line on the right hand side to remind me that I need to stay 2cm away from the edge to almost act as a bleed so that when the page is turned it is always visible:
Used Times Bold for the title and Times for the rest of the copy because it is a traditional serif typeface that relates to the early 1900s when Gestalt first began his studies into our ability to acquire and maintain meaningful perceptions in an apparently chaotic world.
I limited the amount of words on each line to keep the text in blocks. This is called measure. Reading text that has been set in small blocks makes the information easier to read and process because the eye doesn't have to go from one side of the page to the other.
Example of measure:
I placed an explanation to accompany the image on the right hand side of the page so that the audience can relate to the image quicker and also learn more about each principle. I kept the text simple and concise.
Setting the type here makes the audiences eye read from the top right to the top left but I'm not sure that the overhanging title is balanced enough.
I kept the information friendly and personal for the audience by using lexis such as 'you' and 'our' to create uniform and build a relationship with the reader. They're more likely to remember the information if it is related to them.
From previous experimentation with my cutouts, I realised I needed to use coloured stock for the laser cutter because it creates contrast with the white page beneath and also makes the publication visually stimulating. I went back to the laser cutter with a range of primary coloured stocks and experimented with layering the templates over each other exploring the relationship between shape and colour:
Layering different compositions over each other and changing the colour of the stock can create abstract or balanced outcomes. I can use this to add more imagery to my publication so that the audience can flick through and see demonstrations of what Gestalt's principles can do in design.
TYPE
I also put some type through the laser cutter because it has potential to work as a front cover.
However, I realised the type needed to be on a large scale due to the thickness and intensity of the laser beam.
Due to the narrow kerning, especially for 'PRINCIPLES', the I and the P had a very fragile gap between which was easily broken and wouldn't be appropriate to handle to wear and tear of a publication.
To overcome this, I reduced the type to say 'GESTALT' because that is the theory the book is about and it also allows me to make the type bigger and therefor reduce the risk of making the type too fragile:
Red and white contrast really well as red is a powerful colour. I tried the composition in positive and negative which created different connotations: The red cover is powerful as it is rich in deep red and the type looks classy below it due to the contrast. The white cover is subtle and friendlier. I could potentially use both of these for the front and back cover.
Times looks very smart and professional when it is cut using the laser cutter which creates a professional finish. There are a lot of burn marks on the white paper which can be reduced if I change to a thicker stock.
I will need to reduce the size of the type to leave space for the binding process. This could cause issues for the stock as the laser may cause a lot of burn marks and the type may be too tight and fragile. I could manipulate the kerning of the word in order to reduce this risk.
I revisited the concept of using the initials (G,P) of the book to create interesting negative space and shapes. I joined the two letters using the serifs to create a smooth transition between each letter that would translate well using the laser cutter.
Placing the circular layer over the type creates interesting negative space:
The red and the blue work well together, especially when they contrast with the white card. However, I feel there may be too much white space.
I took this concept further by removing the white circle and placing the type over the top. This created three layers of shapes and colour that was visible through the type. I like this concept because it introduces the content of the book which will entice the audience. I like how the type is set in the centre of the page, however I would need to reduce the size of the type to allow room for the binding stitches on the left hand side.
I created a similar outcome using different templates:
A similar outcome but the two layers of red make the white negative space stand out a lot more. I like this because not all of the letter(s) are revealed. When the page is turned it then reveals the GP which will influence the reader and set the tone for the rest of the publication:
More concepts for the cover:
I centred the cut out so that the page was balanced and harmonious. The blue contrasts well with the white stock. I didn't include any type because I think this stencil creates a good opportunity to hide text behind it:
Need to centre the text better but as a first attempt there is a lot of scope for using this for the cover or inside the book. This concept will make my publication more interactive and responsive because it could surprise the audience. The publication forces the reader to find the information which pushes the boundaries of what a book can do and its purpose.
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