Update 1: 17.01.17
Update 2: 01.02.17
Update 3: 15.02.17
Update 4: 20.02.17

I had the idea of turning my images into a portfolio book, hence I started out researching the various options I could work with. The objective about me having my portfolio in the form of a bound book was that I wanted to curate them into all the images I have taken during my University period, from 2015-2017. Now that BA3b has started and we only have to focus on producing “great Images”, I want to produce such books, but I’m not sure if I will have the time to complete them on time. We will see how it goes.

Substrates

A substrate is any stock or material that receives a printed image, ranging from a standard sheet of paper to more elaborate and tactile papers and boards, even extends to promotional items such as coffee mugs, t-shirts, etc. The substrate selected for a particular print job will be determined by its ability to ‘take’ a printed design and the overall aims and intention of the piece of work. For instance, excellent image reproduction in colour magazines requires a different substrate than that used for newspapers, where low cost is more of a priority. In addition to printability, substrates are often selected for the other qualities that they can lend a design such as tactile stimulus. Substrate selection id a vital consideration at the start of the design process. the variety of substrates to print upon is now greater than ever before, giving wider creative possibilities for designers.; as colour, weights, and textures all have a bearing on the effectiveness of a piece. identity design schemes, for example, can be strengthened through the consistent use of stocks, which generates an element of individuality.

Types of 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 formats. the different binding methods available allow a designer to make choices about the functionality of a publication in addition to its visual qualities, permanence 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.

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Perfect Binding
A binding method commonly used for paperback books where the signatures are held together with a flexible adhesive that also attaches a paper cover to the spine. the fore edge is trimmed flat.

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Saddle-stitch
a binding method used for booklets, programmes and small catalogues. Signatures are nested and wire stitches are applied to the spine along the centrefold. when opened, saddle-stitch books lay flat.

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Japanese or Stab binding
A binding method whereby the pages are sewn together with one continual thread. pages do not open flat. this is a very decorative binding method, not commonly used, but very luxurious.

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Case Binding
Case or edition binding is a durable method often used in the production of hardback books. Vellum is a translucent paper that is sometimes used to protect colour plates in a book. it is available in different patterns or textured effects such as linen. Buckram is a coarse linen or cotton fabric, sized with glue or gum, which is used for covering a hardcover binding. Headbands and tail bands are pieces of cloth tape that cover the top and bottom of the spine for both decorative and protective purposes.

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Wiro/comb binding
A spine of metal (wiro) or plastic (comb) rings that binds and allows a document to open flat. used for reports, office publications, manuals and so on. Usually with Hardcover stock.

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French fold
A sheet of paper that has two right-angle fold to form a four-page, uncut section. The section is sewn through the fold while the top edges remain folded and untrimmed. It is common for the inner reveals to be printed with a flood colour.

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Canadian/ Half Canadian binding
A spiral-bound volume with a wraparound cover that gives the benefits of spiral binding (lays flat, pages can be folded around) with the professional look of perfect binding. Half-Canadian has an exposed spine, a full Canadian has a covered spine.

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Slipcases
A slipcase is generally a box structure made from a hard and durable substrate to contain nd protect a book, or group several books together in one package. In addition to protection, a slipcase adds another element to the presentation of the product. It is open at one end so that the book’s spine is visible and will naturally have slightly bigger dimensions than the items(s) it is to contain. However, it is not so big that the contents do not fit snugly inside.

Gatefold
A gatefold has extra panels that fold into the central spine of the publication with parallel folds so that they meet in the middle od the page. the extended pages are folded and cut shorter than the standard publication pages so that they can nest correctly. Gatefolds are commonly found in magazines for pullout posters or in books for large scale illustrations, photographs or graphics.

Throw
The throw is a sheet of paper that is folded into a publication, typically with larger dimensions than the work that contains it, and possibly of a different stock. it can be used to showcase a particular image, example or other visual elements by allowing a larger scale to be used, and better printability if a better stock is used.

Spot Varnish
Spot Varnishing is the application of varnish to a specific area of a printed piece, usually full coverage of an image. In-line or ‘wet’ varnishing as a fifth or sixth colour during printing adds a wet layer of varnish on a wet layer of ink. As they dry they absorb into the stock together which diminishes the impact. Off-line varnishing applies the varnish as a separate pass once the inks have dried and resulted in extra glossiness as less is absorbed by the stock. A UV spot varnish is a high-gloss varnish applied to selected areas to enhance impact or form part of the graphic design. A raised texture can be achieved using UV spot varnish.

Die Cut
A die cut is a process that uses a steel die to cut away a section of a page. It is mainly used for decorative purposes to enhance the visual performance of a design rather than serving a physical function.

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The Poster
Posters surround us through we are not always conscious that they are there. On billboards, buses and taxis posters are endemic throughout the urban environment. however, not all posters are pasted on to walls. posters must catch our attention in a short space of time; this can be achieved in many ways, through principally through visual devices. however, posters are sometimes designed for specific hand-held products giving a designer more leeway to work with the format aspects such as stock, size and dimensions. A poster that is part of a hand-held product may be used as a means to organise information, provide a larger format with which to display an image or serve other purposes.

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Printed Stationary
Printed stationary is a niche market stationary printing company that emphasises the importance of craftsmanship in its works. Radley Yeldar was able to use printed Stationery’s abilities in the production of its design. The production is a pack of 17 postcards produced as an accordion-folded strip, each one with a found image of a letter that together spells out ‘Printed Stationery’. Each letter is also produced with a specific printing or print finishing technique. For example, the ‘R’ of Rolls-Royce is printed with a varnish. Other techniques used include thermography, duotone, embossing, letterpress, die stamping, metallic halftone and mirror board.

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Peter Thorpe Photography
This mailer for Peter Thorpe Photography by Thirteen uses two elastic bands to hold together facing embossed boards. Flipping over the board with the address label reveals the photographer’s name debossed into the substrate. The boards also protect the photographic samples they contain.

The Brochure
A brochure is able to combine the best elements of all the different categories. A designer can revert to the security of traditional paper sizes or embraces the full flexibility. Although often in similar formats as books or magazines, the intention behind a brochure is quite different as their aim is to solicit positive responses to their contents. Thus it is common to see the creative use of die cuts, fold-outs, and different kinds of inserts on a variety of paper stocks. The arrangement and separation of different types of information are frequently accomplished by the use of different formatting tools. As many brochures are one-off pieces, designers are free to select the most appropriate format for the job, unlike book and magazines that may have to stick with established formats.

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Bill Brandt Exhibition Catalogue
For this catalogue for a Bill Brandt exhibition at the Focus Gallery in London, MadeThought specified that the central pages should be cut with a shorter width than the multi-panel wrap cover that encloses the work. the front cover contains information about selected works in the exhibition and folds out so that the reader can see information as they leaf through the content pages. the exhibition brochure was produced with three different bellybands featuring key images from the exhibition. A bellyband is a paper substrate that wraps around the ‘belly’ of a publication. the substrate may be a full loop or a strip. Commonly used on magazines, they serve to produce an eye-catching piece of information

Texture

Texture can be given to a publication in several ways; these include substrate choice, printing processes and the finishing techniques used. Textures add a tactile quality to a piece of printed matter and, if used effectively, can make for distinctive graphic executions.

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Added Value
Printing and finishing techniques provide both the designer and the client with the opportunity to add value to a print publication. While the use of such techniques will undoubtedly add to the cost of a print job, they can help the piece communicate more effectively and in more dimensions. For example, adding a spot varnish to a cover design will give a publication a tactile element that may translate into a higher perceived quality. The reader may associate this higher quality with the product or organisation the publication is from.

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This brochure was created by George & Vera design studio for the Spring/Summer 2006 collection of London-based menswear designer Oliver Spencer. The brochure’s clean and simple page layout is contained within a four-panel wrap cover to enhance the quality feel of the publication. The brochure is printed on a luxurious uncoated paper stock, and again this alludes to the quality of both the publication and, by association, the clothing line.

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Grid Layouts

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References

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Ambrose, G. (2006) Print & finish. Lausanne: AVA.

Ambrose, G. and Harris, P. (2012) Format. [E-book + book] 2nd edn. Lausanne; Worthing: AVA Academia. (Basics design, 1).

Ambrose, G. and Harris, P. (2012) Grids. 2nd edn. Lausanne; Worthing: AVA Academia. (Basics design, 07).

http://marenne.deviantart.com/journal/A-reference-guide-on-bookbinding-types-454645325

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