OUGD504 - Studio Brief 01 - Binding and Production

Once the layout had been digitally formatted, the first stage in binding all content together was printing. This involved a specific process related to the coptic stitch method of binding I intended to use. Within this process, the pages had to be printed in ranges known as signatures and printed double-sided using the short edge binding option. The most suitable signature size for use with standard printing paper is 8 and this is what was used in order to help hold all content together more structurally and soundly. Once each page had been trimmed to size, the next stage involved collating all signatures and each cover, and piercing holes along the spine where thread would be pushed through. For the coptic stitch method, the number of these stitches can be altered dependent on the desired aesthetic of the book. In this instance a neat row of chain stitches was used along the spine of the publication.

It was decided to use this method of binding since the stitch is visible on the outside of the publication itself, which adds to the aesthetic of the publication. This was thought to communicate a more handmade nature and give the final publication a more personal touch which the author had stated in their hand-off of information, also particularly based on the idea that the number of stitches can be personalised depending on your desired aesthetic.

A neutral 'sandy' coloured thread was used in the production of this publication since it was thought to work consistently with the slight 'burnt orange' theme running through the publication, seen in imagery of traditional street signs and much of Gaudi's architecture. The 'sandy' tone of this thread has connections to nature, and is therefore also reflective of themes of nature which were of much inspiration for Gaudi and can be seen in many design elements of the architecture around Barcelona.

A hardback cover was chosen for this publication, an idea based on the requirements of the target audience. In this instance, the target audience had been defined as travelling designers who would use the publication to not only guide their travels, but also their future design work. A hardback cover was therefore used and bound along with the main content which allowed for the publication to be more robust, limiting the chances of damage when being travelled with. In addition, rather than using the typical buckram material for this hardback cover, one of the maps collected by the author on their own trip had been used, again giving the final design a more personal touch, all of which strengthen the travel journal aesthetic.