0UGD504 - Researching Industry Production

The publication was aimed to target a younger demographic between the ages of 15-35. This meant the book had to be cheap to produce and subsequently have a cheap shelf price. I wanted to keep the sales price down to below £10 per copy as personally I would not spend more than that amount on this book. 

I looked into the cost of print runs online on the website 'Blurb', which outlines costs of dofferent print runs in different publication formats including photobooks, trade books and magazines. 

Selecting the photobook option and choosing the dimensions which were closest to my publication I selected softcover format as the book will be a perfect bound and I wanted the design to be flexible and lightweight. 

Discounts are applied to the prices below depending on the size of each print run. For  50+ books it would be a 25% discount. With my publication being part of a 200 copy print run, slightly more discount may be available. 

On standard semi matt 118gsm paper (similar to the matte 120gsm in the college's print room) The cost would be £13.99 per publication. With the 25% discount it goes to £10.50 with possibly more discount available for bigger numbers. 

On premium, matte or lustre paper at 145gm the price is £16.65 wihtout the discount and £13.32 with. 

Neither of these prices would be viable if I was producing the actual book for the actual price I wanted to retail it at as I would make a loss on both quotes. 

This is where I then looked into whether or not the book should be offset printed or digitally printed. 

The differences between digital and offset printing are quality, quantity, and printing costs. Offset printing has a different printing method, offering higher quality ink for both color and black-and-white interiors. It can also offer a wider range of book spec options, from spot finishes, to fold-out pages, to unusual trim sizes, and a wider range of paper weights. Offset printing costs more to set up, but typically has a better per-book cost when you print in large quantities (500 books or more).

Which is ideal if you: 

• need inventory for events like book signings
• sell books through public speaking or trade shows
• financed your project through crowdfunding platforms like Kickstarter
• are publishing a children’s book and you’d like the opportunity to have it in a bookstores

On the other hand, if you:

• want to start with a small inventory of books
• don’t want to invest as much upfront
• don’t use many images or require special features

Then digital printing may be better for you. 

After reading this it was hard to decide which form of printing would be more suitble for my publication as I wanted it to be a 200 copy run to be in keeping with the limited edition selling point, however at the same time the publication contained lots of high quality images and vibrant colours. 

I then research into 'limited edition' print runs and soon realised that 500 books still constituted as a limited print run, so would still make the book appealing as a first edition. 

Foiling is also cheap to produce on a larger scale so would not effect the price of the finished book too much when done in bulk. 

https://www.millcitypress.net/author-learning-center/what-type-of-printing-is-right-for-me

OUGd504 - Designing the Publication - Typeface and fonts

There were a range of fonts that could be potentially used for the information in the publication, each with their different merits. Serif fonts are more legible as a body copy due to the serif helping readers guide their eyes across the lines of text, however it could make the design on the publication look dated and old fashioned. Sans serif fonts look more modern however they can be difficult to read at body copy level. These are the typefaces that were tested out for the publication:

Below are examples of each font used in the body copy of the introduction page for the publication.

Georgia:

Advantages - good legibility, somewhat modern for a serif typeface, used in the book 'How to be Parisian'. Would work at a smaller point size. 

Disadvantages - Quite dated and old fashioned.

Big Caslon:

Advantages - Serif creates easy legibility in body copy.

Disadvantages - Old Fashioned / very traditional. 

Andale Mono: 

Advantages: Unusual typeface, gives the publication a quirky retro typewriter feel.

Disadvantages: Detracts from the images, readability difficult in larger bodies of text, fairly illegible. 

Helvetica:

Advantages: Classic typeface, large x height, easy to read in smaller font size.

Disadvantages: Overused, common, could make the publication look a bit boring. 

Kohinoor Devangari:

Advantages: Less widely used than helvetica but similar appearance and not as wide. 

Disadvantages: Doesn't have serif so may be harder to read at small point size.

Oriya Sangam MN: 

Advantages: Modern appearance with large x height meaning it would be legible on smaller scale, modern.

The final typeface that was chosen to be used for the body copy of the publication was Oriya Sangam MN as it is a modern sans-serif typeface with a large x height making it legible at a smaller sizer when used in a body copy. As the publication is for a younger target audience of typically 15-35 year olds it means a smaller font size could be used for the publication. 

The text used for the body copy is 8pt. with 10pt spacing and the titles used are 11pt. Keeping the text small allows for the images to remain the centre of attention meaning even on the double spreads with text the image is still the main focal point. 

Jan Tshischold states in 'The form of the book' that point sizes for text should differ between the title size and the size of the body copy font, making them distinct from one another. However they should be no more that a few point sizes different. 

Using a sans serif font rather than serif keeps the publication modern and appeals to a younger demographic. 

The line widths for the body copy were kept between 50 - 60 characters as that is the optimum line length for reading. 

'The optimal line length for your body text is considered to be 50-60 characters per line, including spaces (“Typographie”, E. Ruder). ' http://baymard.com/blog/line-length-readability

Seeing as the type is quite small anyway it was crucial to make the text as legible as possible in other ways. Keeping the line lengths within these dimensions allowed the reader’s eyes to focus on the text and easily gauge where the lines began and ended.

OUGD504 - Designing the Publication - Layout and Content

For the layout of there were a variety of possible directions the publication could go down, however the main structure of the book is as follows: 

• Introduction
• Photographs and content ordered street by street
• Postcodes of the publications incorporated into design 

The design also showcases a mixture of full bleed images, double spreads, single spreads and off balanced spreads. This allows the content to flow and the reader to be drawn to the next page, keeping the design interesting and engaging. When images and text are placed in the same space on each page it makes the design stagnant and readers start to look for and expect the pattern in which the images are structured, rather than being immersed by the images themselves. 

At the beginning of the book there is an introduction explaining a bit about the location of the book and the purpose of the publication. This was an element that had mixed feedback. Some of my peers beleived that it would be 'stating the obvious' to have an introcudtion explaining the book and that a more ambiguous approach would be better, leaving the reader to figure it out for themselves.

However when buying a book I always read the blurb first as it entices me to read the book in the first place. Without an explanation I wouldn't know what the book was about and I wouldn't fully understand it's purpose or enjoy it. Once you know what's in a book you can casually flick through and enjoy the content. 

For the content and the individual images one of the uncertainties was whether on not to write an explanation for each establishment and review it etc. However the publication is not a guide book for 'the best place to eat in the devonshire quarter'..etc. nor is it a review / description of each place. It is a celebration of the hidden gems in the area for people who already know the Devonshire Quarter well and visit it regularly. Therefore they already know the ins and outs of each place and wouldn't require a description. Additionally, the lack of information but use of visually stimulating imagery encourages exploration for anyone who may not know the area as well or for people who had never been to a certain cafe or shop.

Therefore, keeping it simple, another idea was to use a key for each image stating the name of the place, its postcode and a symbol. This however proved problematic when it came to the full bleed images which were a crucial part of the layout, as there was no room abover or below the image to place the key. It also detracted from the images themselves, creating a cluttered and busy layout meaning the content became less high impact. 

The design needed to be simple, eye-catching and consistent however the context of each image had to be somewhere in the design to give the publication a purpose. I conducted more research to find a way in which I could do this without detracting from the design in any way. 

This is where I came across the idea of a visual index. In the book 'Layout' by Ambrose/Harris there is an example of a photography book by the London based fashion photographer Rankin, which uses a thumbnail index. The graphic designers behind the book 'SEA' created a monotone thumbnail index detailing who the models were in the front pages order to leave the spreads free from typographic intervention, allowing the viewer to focus soley on the images. The index typography was subtle and passive giving dominance to the thumbnail photographs. 

Inspired, I tried this approach in my own publication. At first I used full colour images for the thumbnails and although it created a vibrant look, it didn't have the same impact I had felt when viewing Rankin's book. It also looked quite chaotic especially when situated alongside the text detailing the name and location of each image.  

For the monotone colour I was inspired by the red brick used in the architecture of the buildings across the Devonshire Quarter. Because the page was monotone I considered screen printing the page to add another element of interest to the publication, yet after talking to the print room technician he advised against it as 1) only the darker shades would show up when exposed on the screen meaning the lighter parts of the images wouldn't print and 2) due to the size of the images any finer details would be lost from the thumbnails as well.  

On this page the design included a thumbnail of each establishment, the postcode to make hunting down the typography easier and the name of each location. 

As an after thought the addition of a tick box was incorporated into the design as I wanted the readers to actively go and seek the examples of typography and the establishments featured in the book and without this element readers may not feel inspired to do so. Having an interactive and engaging element that people can physically cross off is a further indication of the purpose of the book and makes going to find the typography more fun and engaging. 

Page numbers were added sparingly into the design on pages which already featured text rather than having a postcode on every page as some of my peers had suggested. The thumbnail index now covered that aspect of the content on it's own, allowing the images to speak for themselves.

OUG504 - Designing the Publication - Size

Once I was happy with what I wanted the publication to contain including content, page layouts, images and text I began designing the layout and dimensions of the publication.

SIZE

When starting the design process the first thing to consider was the size of the publication. The book needed to be portable and lightweight but also encourage being handled and flicked through. 

A list of books and publications I had studied in my research and at village bookstore were good examples of this so made good templates for designing a book of similar proportions. 

NOTEBOOK: 140mm x 120mm

READ THIS IF YOU WANT TO TAKE GREAT PHOTOGRAPHS: 200mm x 140mm

BADLY REPAIRED CARS: 179mm x 141mm

The first size I experimented with was that of a notebook I had studied from village bookstore at a dimension of 140 x 120 mm. This size was easier to flick through than the others and also felt like a nice size to handle, while lending itself to being easily tucked away into your bag, or lightweight enough to carry in your hand if you were zipping around trying to find the content of the book. 

I made the entire layout like this however when I did a test print and cut out the pages, folding it into a mini booklet, the size seemed much too small. What I hadn't taken into account was that on the example of the notebook there were a lot more pages than my publication contained meaning it was chunkier to hold and flick through, creating substance, yet with my publication having a quarter of the pages the design turned out to be really fiddly to hold and flick through. The notebook also had a larger thicker cover with a border that ran around the outside of the pages, making the surface area of the part you hold larger and therefore easier to read. 

I decided to go back to the drawing board and look at bigger dimensions, referring back to my research. 

The paperback book 'Read this if you want to take great photographs' by Henry Carroll has dimensions of143mm x 200mm. I showed my peers the size of the smaller print run I had done and they all agreed that it was too small saying that the images I had taken would look better in a bigger book as they are really interesting and vibrant. This made me realise that one of my initial concepts was that I didn't want it just to be a guide book, but a limited edition book that people would want to keep and look back at time and time again. For this reason a smaller book such as the first one I tried would not be appropriate for the type of book I was wanting to design. 

Therefore I changed the dimensions in my publication to 140mm x 200mm as 'Read this if you want to take great photographs' as it is still a nice portable size and easy to carry and flick through. 

It also complies with Jan Tschishold's first rule in 'The form of the book' that a book should be no larger than 250mm wide. 

0UGD504 - Researching Industry Production

The publication was aimed to target a younger demographic between the ages of 15-35. This meant the book had to be cheap to produce and subsequently have a cheap shelf price. I wanted to keep the sales price down to below £10 per copy as personally I would not spend more than that amount on this book. 

I looked into the cost of print runs online on the website 'Blurb', which outlines costs of dofferent print runs in different publication formats including photobooks, trade books and magazines. 

Selecting the photobook option and choosing the dimensions which were closest to my publication I selected softcover format as the book will be a perfect bound and I wanted the design to be flexible and lightweight. 

Discounts are applied to the prices below depending on the size of each print run. For  50+ books it would be a 25% discount. With my publication being part of a 200 copy print run, slightly more discount may be available. 

On standard semi matt 118gsm paper (similar to the matte 120gsm in the college's print room) The cost would be £13.99 per publication. With the 25% discount it goes to £10.50 with possibly more discount available for bigger numbers. 

On premium, matte or lustre paper at 145gm the price is £16.65 wihtout the discount and £13.32 with. 

Neither of these prices would be viable if I was producing the actual book for the actual price I wanted to retail it at as I would make a loss on both quotes. 

This is where I then looked into whether or not the book should be offset printed or digitally printed. 

The differences between digital and offset printing are quality, quantity, and printing costs. Offset printing has a different printing method, offering higher quality ink for both color and black-and-white interiors. It can also offer a wider range of book spec options, from spot finishes, to fold-out pages, to unusual trim sizes, and a wider range of paper weights. Offset printing costs more to set up, but typically has a better per-book cost when you print in large quantities (500 books or more).

Which is ideal if you: 

• need inventory for events like book signings
• sell books through public speaking or trade shows
• financed your project through crowdfunding platforms like Kickstarter
• are publishing a children’s book and you’d like the opportunity to have it in a bookstores

On the other hand, if you:

• want to start with a small inventory of books
• don’t want to invest as much upfront
• don’t use many images or require special features

Then digital printing may be better for you. 

After reading this it was hard to decide which form of printing would be more suitble for my publication as I wanted it to be a 200 copy run to be in keeping with the limited edition selling point, however at the same time the publication contained lots of high quality images and vibrant colours. 

I then research into 'limited edition' print runs and soon realised that 500 books still constituted as a limited print run, so would still make the book appealing as a first edition. 

Foiling is also cheap to produce on a larger scale so would not effect the price of the finished book too much when done in bulk. 

https://www.millcitypress.net/author-learning-center/what-type-of-printing-is-right-for-me

OUGD504 - Studio Brief 01 - Layout

In previous crits potential layouts for the publication were discussed with my peers and the following elements were decided upon: 

- Minimal text, only include what is needed
- Photographs organised into Street Names as 'Categories' / 'Chapters'

One of the main aspects of any publication are how the images are laid out in the book. 

In the book Layout by Ambrose / Harris they discuss how: 'a key function of layout is to let the elements, especially the image elements, perform the tasks that they have been selected for. Images add drama and emotion to a work, but how they communicate with the recipient depends upon how they are presented. Images can be used to enhance or instill a certain feeling or attitude to the material.' 

Josef Müller-Brockmann states that 'The fewer the differences in the size of the illustrations, the quieter the impression created by the design. '  

As the publication will be a picture book it is important that the images within have as much visual impact as possible.

The street system that was decided upon in the crits gives the publication a sense of order rather than randomly having the pictures stuck in anywhere and also makes it easier for readers to go and seek the elements of typography they find in the book for themselves if they so wished. Having the text information divided into streets also creates distinctly marked out chapters so readers can clearly see the beginning and end of a new chapter, which is one of Jan Tschichold's golden rules in designing a successful book.  

The 'route' for the book was then chosen to determine how the book would flow:

West Street > Eldon Street > Devonshire Street > Rockingham Street > Division Street

There were 2 reasons behind this decision. The first was that it was a natural route of walking for visitors and residents of Sheffield with each street leading onto the next in a kind of snaking motion, rather than participants having to backtrack along streets to get to the next 'chapter' in the book.


The second reason was that a lot of the Streets, due to the nature of them, were very grafitti orientated, whilst the main Streets such as West Street and Division Street contained a lot more signage. Splitting them up made the publication more fluent and engaging, spreading out the mixture of content between Street Art, Signage and other forms of typography. 

Content and layout was then merged by making extremely rough thumbnails of various layouts to see which pictures should go where in the format. 

'Choices relating to scale affect the way in which we view an image. An image with a large scale dominates the page and is the focus of attention, yet making a graphic too large can result in suffocation. At a smaller scale however, the information contained within the image may be missed or ignored. ' - Ambrose / Harris

The first attempt at making a layout was visually similar to that of 'Bubblegum' and 'Badly Repaired Cars' by Ronni Campana, which I had seen in Village book Store and analysed in a previous blog post. 

Although the minimalist look of this layout gave a clean and structured finish, it potentially used too much white space and ran the risk of becoming a bit stale and disengaging to the reader after a while. It was neat but didn't give off a sense of energy that the book needed to communicate, therefore not accurately representing the personality of the devonshire Quarter. 

Experimenting with a different layout, a second image was added to each double page spread. This looked better but again seemed to become quite monotonous after a while, making the book seem claustrophobic with the many colours and shapes being boxed into the same layout on each page. 

The design didn't breath or flow fluently. It did make the book seem more energetic and lively but it still seemed to be lacking a certain element. 

The third layout began to look more interesting and fluent, incorporating a mix of the two previous ones as well as some full bleed images and double page spreads. At first glance the design appears more chaotic however this represents the 'urban village' feel of the devonshire quarter, where independent shops and cafés come and go every year, popping up as one thing and then morphing into something new. The same way the stickers and graffiti get worn down by the weather and new ones are just slapped back over. 

The unpredictable nature of this layout breathes life into the publication and makes it more engaging to the reader, encouraging to turn over the next page and see what will be next. 

After getting feedback on the above layouts my peers agreed that the bottom layout was the most appropriate however it needed some uniformity to stop it from looking too cluttered and confusing. They suggested that to keep the book looking energetic, yet legible it would be advisable to stick to 4 different page layouts throughout the book to keep it fluent. 

For example the layout must consist of either full bleed double spread,  1 x image on 1 x page of a double spread, 2 x off balanced images in a double spread and 1 x full bleed page in a double spread. 

OUGD504 - Peer Feedback - 14/10/16

After the crit today I feel I am ready to start the production of my publication. 

• My publication will be a limited edition, numbered print showcasing both the typography and the independent shops that can be found in the devonshire quarter in sheffield.

• It will be aimed at the residents, students and regular visitors of the area so that they may own an ephemeral part of sheffield which is constantly evolving, at the time in which they lived, worked and played there

• It will only be distributed in Sheffield / the independent shops found in the area so that you have to visit / live in sheffield to get your hands on a copy.

• It will talk briefly about the events and famous places that can be found here at the front of the book, leaving the rest of the pages to be left fairly minimal with just a postcode and a symbol.

• The book will either be perfect or glue bound with a thicker stock on the cover, or bound cheaply with cable ties.

• The front of the book will be foiled to give a subtle nod to the steel works of sheffield and the cutlery works that the area was famous for producing.

• The book will have a unique appeal with a limited edition print on the end pages that forms a whole image when seen collectively with the other books in the series. 

• Photos accompanied by postcode of location and symbol.

• Photos would be varied sizes spanning across double page spreads, full bleed images and asymmetrically placed. Similar to the book 'Scars' and 'badly repaired cars.'

• lithography printed. 500 books. Each numbered and signed with unique screen print. 

• Interactive sticker sheet on the back to peel off and stick to one of the lamp posts of sheffield to make your mark there and add to the typography. You start to interact with your environment. 

• Book arranged into groups so either street names like 'Division Street', 'West Street' or into sections like cafe, pubs, shops, graffiti etc. 

REVISED

After talking to Nick the tutor he questioned whether it needed to have a description at the start explaining about the devonshire quarter and what the book is about?

Readers will feel more involved if they work out what the book is about for themselves.

Can have a key at the back saying what each page is showing.

Keep pages to a minimal with just the use of pictures. 

OUGD504 - Studio Brief 01 - Embossing and Foiling workshop

On Tuesday I attended an embossing, flocking and foiling workshop in the print studio as these are some of the processes that I want to incorporate into my publication.

It made me realise some of the limitations these processes had and that it wouldn't be easy to do some of the things that I had envisioned. 

For one I would have to ensure that any foiling is done before screen printing so that the ink does not stick to the paper when put under the heat press for foiling if done the other way round.

Smaller pieces of type would also be too small to foil so metallic ink screen printing would work better than foiled lettering for elements such as the spine. 

OUGD504 - Studio Brief 01 - Grid

'A grid is the foundation upon which a design is constructed. It allows the designer to effectively organise various elements on a page. In essence it is the skeletal structure of a piece of work.

A designer can choose from several different grid types to create a project. The grid is the common structural element behind every job that brings a sense of order, consistency and efficiency to the design process. Various grids serve different purposes. Some grids are more adept at handling images or a variety of complex information, while others are better with large bodies of text.' - Grids Ambrose / Harris

Symmetrical Grid

A symmetrical grid has the facing pages mirroring each other. The grid shares the same sized inner and outer margin to create a sense of balance and harmony which results in an attractive and coherent appearance. 

This classic layout, pioneered by German typographer Jan Tschichold (1902-1974), is based on a page size with proportions of 2:3. 

Symmetrical grids aim to organise information and provide a sense of balance across a double-page spread. The structure of the recto page is reflected on the verso page in terms of column placement and widths. 

This publication will experiment with a variety of proportions to create a dynamic between the different elements within the design, by changing the size of my pictures on the different pages. 

After considering both a modular grid and a compound grid for the publication, a compound grid seemed more appropriate as it combined many of the ideas and concepts behind a symmetrical grid, asymmetrical grid and modules together. 

This creates a practical and versatile template, allowing a higher degree of flexibility while maintaining the ability to produce consistent designs. 

The design also incorporates elements of the horizontal movement, which is used to lead the eye across the spread or page. This is achieved by dividing the grid into sections and placing blocks that are bigger on the horizontal plane. 

OUGD504 - Studio Brief 01 - Binding

'Binding is the collective term for the range of processes that are used to hold together the pages or sections of a publication to form a book, magazine, brochure or other format. The different binding methods available allow designers to make choices about the functionality of a publication in addition to it's visual qualities, performance and cost. Used creatively, binding can provide a simple means of differentiating a publication and adding a special touch. 

Binding choices have a direct influence on the durability of a publication; sewn or burst binding are more durable methods than perfect binding, for example. Consumer magazines have a short shelf life and so saddle stitching or perfect binding is typically used as these methods are cheaper and their durability for the format is of less importance. If a publication needs to lie flat, which is often the case for manuals, wiro or Canadian binding is more appropriate.' - Ambrose / Harris, ' Print and Finish' 

The publication will either use case binding, perfect binding or an alternate form of binding such as open stitch or cable tie. 

Case or edition binding is a durable method used in the production of hard back books. 
It protects the book and makes it more durable, meaning it can withstand a lot more wear and tear from the reader. 

The hardback can be covered with book cloth or buckram, a coarse linen or cotton fabric which can then be screen-printed onto, foiled, flocked or embossed. 

Headbands and tailbands are also commonly found in hardbound books. They are pieces of cloth tape that cover the top and bottom of the spine for both decorative and protective purposes. 

This type of binding would be suitable for my book as it would make it look more upmarket and longer lasting than a paperback book, however would make the production costs more expensive, raising the price of the book which could potentially put my target market off purchasing. It would however make the book more durable if the user were to take it around with them to hunt down the content within. 

Perfect or unsewn, binding is a method that is commonly used for magazines and paperback books.

To perfect bind a publication, the sections are formed into a block and the binding edge is glued with a flexible adhesive, which holds them together without the use of stitches and also attaches the cover. 

The binding edge may sometimes be cut to allow the adhesive to have greater purchase, which is why the method is sometimes called cut-back binding. The fore-edge is then trimmed to give a clean, straight finish. The quality of the adhesive will determine how durable this binding is. 

The bonuses of perfect binding is that it is cheaper to produce and can still be made to be durable. a variety or different materials can be used for the cover including rubber, cardboard and leather. 

Alternative forms of binding include: 

Open bind. An open bind has visible forms of stitching; like this example for New Hall art collection. This adds an element of interest to the publication, showcasing the craftmanship that has gone into producing it and is also fairly cheap to reproduce. 

Clips. Clips or bolts and other hardware can also be used for binding purposes. This method is extremely cost effective and can be extremely eye catching and interesting when done well. 

I did a workshop on Coptic Binding today which involves leaving a chain of visible thread at the spine. 

OUGD504 - Studio Brief 01 - Book Size

The publication I am designing has to be easily portable and encourage being handled as it is a cross between a typographic trail, like a field guide but also celebrates the vibrant area of the Devonshire Quarter in Sheffield.  

Jan Tchisholds states in 'The form of the book', that 'Books have to be handy. Books wider than the ratio 3:4 (quarto), especially square ones, are ugly and impractical; the most important good proportions for books were and are 2:3, Golden Section and 3:4. The inner book, or book block, of books that are too wide - square books in particular - will drop at the face. It is not easy to shelve or otherwise store books that are wider than 25 cm; 97/8 in.' I partially agree with Tchishold in his statement, as personally I dislike reading books that are too pig and awkward to handle. In bookshops I am naturally drawn to the smaller ones which I can easily pick up and flick through, rather than the big clunky ones on the shelves. This is the kind of feel I want to encapsulate when people see my book. I don't want them to be afraid to handle it and read through. 

In the village book store I found the books 'badly repaired cars', 'bubblegum' and similar books the nicest size to read at 141 x 179 mm. They're light, easy to flick through and encourage being handled and read. 

This size would also fit comfortably into your bag, lending itself to being carried around and used to explore with. 

This is the size book I'm going to go for with my publication. 

OUGD504 - Studio Brief 01 - Update on progress and formative feedback

2 weeks into the project this is a summary and overview of where I am in the project and how I got here.

After the crit on Friday 7/10/16 and talking to my tutors, the peer feedback that I gathered was conclusive that I should create a book that focusses on the Devonshire Quarter in Sheffield and acts as both a field guide and appreciation of the typography found in the area.

Type in Context: The Devonshire Quarter, Sheffield 

CONTEXT - Images of bright, colourful, engaging typography found in the lively and culturally diverse areas of the Devonshire Quarter in Sheffield. 

Limited amounts of type only highlighting the information about each street, not going into unnecessary detail about each piece of typography. 

Some form of interactive sticker sheet or checklist at the end. 

The Book would be a small field guide / book similar to 'Badly repaired cars' that breifly explores different attractions of the devonshire quarter, while simultaneously studying in detail the typography that can be found there. 

TARGET AUDIENCE - Geographical demographic - People that can be commonly found in the Devonshire Quarter. Young professionals, students, artists, hipsters. The book naturally would appeal to this demographic as not only are these the kind of people who inhabit the devonshire quarter on a daily basis, but these are also the people who would be interested in stopping to look and appreciate the finer details of the typography found in the area, and actively hunt to seek it out. 

PRICE POINT - No more than £10. As it is a younger demographic I would not want the price range to put off the target audience from purchacing it. As the devonshire quarter is contantly evolving I would make the print run a limited addition of around 100/200 copies to 1) encourage people to buy the book as they can own a limited edition piece. 2) Justify buying a copy. Sheffield people are extremely proud of their heritage and this book would give a younger generation a chance to own something that represents their city at a time when they live there. 

The Devonshire Quarter has evolved greatly in the last 10 years alone, with the independant shops found on the highstreet contasntly changning hand. In another 5 years the content found in the book will be outdated and compltelty changed. Making this an ephemeral snapshot into the current look of the area will be make a selling point of the book. Creating appeal for young people to buy it. Each book will also contain a unique selling point to it, perhaps on the inside cover, a different screen printed pattern. 

APPEAL - Due to the endless number of independent shops, cafés and restaurants found in the area, the book lends itself to being sold purely in the devonshire quarter and a few other places in sheffield such as Ecclesaul road, the S1 Art Gallery and Sheffield Institute of Art. This is where the geographical demographic of the book commonly shop and also lends itself to being a limited edition one off print when being bought from these places. 

They would even be sold in less conventional places where you would usually buy books such as coffee shops and tattoo parlours 

PRINT AND DISTRIBUTION - Limited print run of around 100, full colour print, limited edition elements which make each book unique.