Blurb
Looked at some previous covers again, focusing on the structure of the typesetting and how the themes from the front cover are transferred onto the back.
50th Anniversary Edition:
The illustration continues from the front and back cover creating consistency and familiarity. The text is structured so that the rag follows the contours of the illustration, however the text could be broken up more in order not to over phase the reader so that they can digest the information easier.
Instead of just a typographic response, I intend to include a visual element to break the text up and add a focal point. One of the main themes and concerns that has informed my concept is injustice.
Traditional Response:
Continuing the black down the spine creates contrast and increased legibility of the small type. Inverting the colours from the ARROW logo allows it to sit cleanly on the spine. Keeping the colour scheme and font the same creates consistency from the front cover to the back. As the front cover is so busy, I aim to keep the back cover as simple as I can in order not to overwhelm the audience. The brief states the barcode and ARROW branding along with the required text needs to be presented. Typically books have the barcode on the bottom, however having freedom to set the type myself allowed me to work objectively.
Centring the type focuses the audiences attention on the content. It can be problematic because the rag is inconsistent on both sides, however Vignelli states 'we use centred for lapidary text, invitations, or any rhetorical composition where it may be more appropriate' which gives me confidence in the centred type however I aim to develop more responses.
Aligned text to the left to make it easier to read and create order. I also enlarged the quote from the book to give it hierarchy and immediately engage:
Decided to experiment more to reflect a signature scene from Lee's story. Tom Robinson could not have beaten up Mayella Ewell because he is crippled on his left side. Early in the trial, Atticus establishes that Mayella was attacked by a left handed person, and that Bob Ewell is indeed left handed.
I used this to inspire alternate layouts by placing the sections of text from left to right. My previous concepts were ordered and objective, however my subjective approach will be visually engaging so the audience has is drawn to the reasoning:
Simplified the previous composition because I want the scales to be placed in the centre therefor I moved it to the top of the page. Only justified the quote to the right so that it stands out and creates a subtle imbalance to the composition.
Grid system allowed me fine tune the design, making sure that the proportions of the half drop and typography is relative from back to front. The top of the scales is in line with the top of the title 'To Kill a Mockingbird' which demonstrates my technical ability to the judges.
MISTAKE
I have misinterpreted Penguin's explanation for the size of the publication as I thought 'B format, 198mm high x 129mm wide, spine width 20 mm' meant adding a further 20mm to the width to accommodate the spine. Realising this I input the current design into a correctly sized document where it became apparent that the design was too narrow. This meant that I lost a considerable amount of the design.
To overcome this, I layered a section of the screen print over the 20mm spine allowance so that it becomes an extension of the original design. Thankfully this was an easy solution to the problem which hasn't set me back.
The half dropped sections of type leads the audiences eye around the page, whilst the enlarged quote acts as a focus point. Having the scales at the top of the composition reflects the injustice that becomes apparent throughout the story which I have translated into the half drop sections of type.
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