504 - Type in Context - Binding Research Developed

Following all of the different binding techniques I have researched I wanted to think about how I could apply the different techniques in unique and appropriate ways in relation to the chosen stocks, paper weights and dimensions of the publication. I gathered some of my secondary research inspiration images from my mood board to try and let the ideas branch out from there a bit.

I was attracted to this design initially because of the stock colour being so different to what would be on the shelves next to it, also because of he variation of paper sizes used but still being bound to the same spine. This is a style I have always appreciated aesthetically and briefly experimented with in my publication within 404 last year, but I would definitely like to push it further.
The larger cover page acting as a bit of a protective sleeve over the inner pages it leaves a border on the top and sides where consistent type (like the title/author/issue number/etc) can be experimented with. Keeps the aesthetic value of the pink consistent throughout the pages as well - easily recognisable from a spread view too. 

I began thinking about how I could combine various paper sizes to the same spine, so it has various layers of paper to flick through (making it more interactive at initial viewings), with the idea of using the cover page as a protective casing for the publication which wraps around the inner binding. - This would allow me to then experiment with a binding method such as pamphlet, coptic or secret Belgian binding within a protective hardback bound book.
The image on the right shows how I could have the inner bind ending with an endpage which would then stick straight onto the back facing hardback cover, but still leave the stitch along the spine revealed and free, allowing it to lie flat better and reducing manipulation and creasing along the spine.
Also, when flat, the extra cover space for the spine adds a coloured tab on the far left side (visible on pic) where again I can experiment with type for context and recognisability purposes. 
















A very nice cover example of how a varied colour and sized paper can break the cover up and make it appear more spontaneous, effectively drawing attention. Can actively split information and content up in a book, would perfectly apply to my publication specifying high-end thick glossy photo paper for the images, whereas a more matte coloured stock for the contextual background and rationale for the photobook.
Does display how with thick enough stocks, I may not need to over-complicate with a hardback cover to go around it..

Here are some perfect and quite complex examples of how the opening page can attract all the attention by revealing bits of each section and also allowing easy navigation to that section.
Shows how various stock colours can be used in harmony with eachother.

This example especially shows how frontal design can be overlaid and placed so perfectly it finishes changing words throughout the publication. Also the attention grabbing piece of coloured stock balances it out nicely.


















When opened, creates cool new full bleed, spreads which do make the use of book more interactive and drawing.

The bottom section of the image displays how I can experiment with layering up different separate signatures and then stitching the layers together securely - * Will speak to lady in bookbinding tutorial about what she suggests.


















I took all these possible visual directions to a mini crit with two coursemates to get a more in-depth and driven response to how it could work in relation to cutting out the hardback cover idea and having this frontal layout being the main attention grabber when against other picture books. This would be a completely different approach and isn't following suit with the books in Village Bookstore, but I need to decide whether I should combine this traditional hard back stye with then having this innovative layout hidden beneath the cover for when you open it up.
After discussing it in the crit, they raised the point to me of seeing how this feature could be what makes my photobook so different and attractive in comparison to the others on the shelf, and it may be a shame to cover it up. They suggested how by using slightly thicker stock for the glossy and matte pages would still be protected enough for a coffee-table book, but it would just be technically a softback - but alot of the photobooks in Village are modern softbacks, not big, tradition case bound styles. 
I will still experiment with the foiling and embossing finishes that I was initially very interested in, on both the book rim material and then also approaching how I could incorporate it without. 
I will aim to have a printed mockup of the rough book layout and dimensions in time for the crit on Friday to help build my concept practically.