Barcelona Guidebook Design Boards

HOW DO YOU READ?

Colour theory The first study task in this project we have been given the asked to communicate some movie genre's using two sets of Pantone colours. One pair being fairly typical of the genre and the other something quite adventurous and different.

This task allowed me to understand that the conventions of colour can be played on, picking the most obvious colours can sometimes communicate less effectively.

Design that doesn’t conform to the standard is a great way of making the design more interesting and engaging.

Colour is an amazing tool for expression, especially in graphic design it can be used to totally change an aesthetic, this is additionally something that takes a lot of consideration and can be the pivotal factor in whether the design works well or not. Due to this there is a lot of different avenues to look into in colour theory, how this informs graphic design is something would like to look at closely with this brief.

How do you read? Design and produce a small publication (booklet, leaflet, etc.) that collates material which, in turn, can communicate key design principles to a reader.

Within this project my initial ambitions are to attempt further my understanding of the key principles of graphic design then communicate this in the form of a printed leaflet.

Publication design is an area of graphics that fascinates me, always trying to look for design that pushes the conventions of how the information is communicated, this is important it keeps the design engaging and original. This project being such an open brief their is a opportunity to try and show who I am as a designer, creating a publication that reflects my interests and ambitions within art and design.

Grid systems is an area of graphics I knew very little on, I wasn’t fully aware of the power of the grid to add a consistency to the designs and create a template that makes designing much quicker. This is an area of design I have looked to try and implement into all of my work since, there as some many different kind of grids that create very different outcomes of the same information.

Using this knowledge of grids will make my designs more considered and engaging.

Grids This study task looks at grid systems within newspapers, trying to identify the use of the grid within their design, how it is constant throughout the newspaper, what this does in terms of consistency and clarity of communication.

Informed by the various study tasks in this brief my workings should hopefully express my new found knowledge on type, grids, colour and composition.

Samuel Harpin

feature sets them apart from the rest and makes The Guardian identifiable amongst other newspapers. The consistency from page to page of this grid means the information is communicated with ease and the reader doesn’t have to think about navigating around the page. Within this grid system photos can be spread over two columns and remain readable.

Looking at this page from The Guardian it is clear the use of a five columned grid design is seen throughout, this is a fairly uncommon grid especially for a news paper. This design –

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Studio Brief 01 –

Design Principles

Ground & Figure Ground and figure is the relationship between background and content.

Most commonly show as the background or white space of a page being the background and the figure being a form, silhouette or a shape.

Understanding composition and a appreciation of space is key to being a great designer.

How type and image fits along side this is something that can be experimented with and changed to create very different designs. Analysing two different magazines to see how they compare considering target market and content withing ground and figure will give me an idea of the structure of a publication relative to its content.

The small university magazine NEST’s layout is very simplistic the is a large amount of white space throughout the magazine allows each image to really breath and become the focus of the design, as the magazine sets out to celebrate the work of the students this relationship of ground and figure is very appropriate.

There is great consistency between each double page spread, the text and images seem to correspond with one another. Similarities of line, shape and margins that line up allow the magazine to flow from page to page.

this. This is shown with the black background of the Tokyo in Transition double page, The use of lots of images feels much more direct and a more expressive kind of communication.

Mundial magazine is a alternative football magazine with a more creative art and design based theme. The layout is not what is typically seen in football magazine designs. The spacing and layout is simplistic and clear each page is on one subject and every article is in depth and not over crowding the page is key to this. This is very different to a football magazine like FourFourTwo, that is more information directed.

Like the Nest magazine the layout of spreads correspond with each other clearly this lets the magazine flow from page to page.

These two magazines show a simplistic approach to ground and figure that communicates the information directly, this can be experimented with to change the expression of the design, as I want to look at colour theory in my designs thinking about how I could use ground and figure in its most appropriate form will best communicate my ideas on colour theory.

The content of the pages seems to vary throughout the magazine and when the subject is a little more informal the design reflects Samuel Harpin

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Studio Brief 01 –

Design Principles

Derrière le miroir is a french art magazine founded in 1946.

Published around seven a year till 1982 the magazine showcased work of the leading artists from around the world that had displayed work at the Maeght gallery where the magazine was founded.

Each issue would ask the artist to design a specific cover for the magazine, this created some extremely vivid, changing and complex cover designs that really emulated the radical modern art of the time.

Looking at 'Derrière le miroir' and the collaboration of art and graphics is an area of graphics find very interesting and would like to try and work towards in the future, art infulencing graphics can be an extremely powerful tool in making the work expressive and engaging and use colour within this is the key element in what sets apart art and design.

The title typography for 'Derrière le miroir' remains very consistent over the years it was published. The weight size, colour and position on the page of the type has been changed from issue to issue to allow the art to breath and be the focal point of the cover. The serif typeface allows the designs to work along side the modern artworks, and gives the designs a elegant feel this is key in setting the magazine apart as a piece of art rather than an art magazine.

The variation of different colours, styles and techniques makes each different magazine as individual as the next.

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This task is to typeset the poem 'The Mouse's Tale' from 'Alice in Wonderland' by Lewis Carrol twice once in a modernist style and the other a more contemporary and expressive post modernist style. For the modernist design using Akidenz Grotesk typeface felt appropriate as it reflected the san serif use of type typically seen in modernist work. In modernism their is an emphasis on form over function this is reflected in the layout of type in a formal and geometric stack, it is not overly expressive.

Colour theory within this design principles project and how colour can be used is what I plan to focus on. There are many examples throughout the 'Derrière le miroir' magazine that show how colour can be used to great effect if the composition and size is well thought out and considered.

For me looking at the different covers what strikes me is the way in which the art has become the main focus of the magazine, it is seen then as more as a piece of artwork rather than a magazine. This has been achieved by not being afraid of make the title a secondary part of the cover and let the art speak for itself.

Using black and red as the only two colours as they are very muted and show the authors name as a important part of the design but not the focal point. The spacing is generous around the poem especially at the top and sides allowing it to be clear and legible.

This second design uses the same idea as the original poems design using typesetting to reflect an image of the mouse but with the mouse's head, ears and whiskers instead of the tail.

This design successfully expresses the content of the poem in a expressive and inventive design. This style is the completely different from the modernist design and shows how different forms of communicating the same information can totally change how it perceived.

Using a theme or a style within publication design can define how the work is communicated.

Picking up on existing principles and techniques allows me to analyse what it is they do to change the way the content is communicated.

These images show the difference in each and every issue of the magazine. For these artists colour is something paramount to their overall designs and can make or break each piece, the relationship between colours is something that can completely change a piece of art or design.

These designs one by Henri Matisse and the other Pablo Picasso both use free hand drawn lettering, the lose and free style keeps this theme of an artistic form of communication. The variety of stroke and choice of colour shown in the lettering along side the drawings makes the design type and illustration feel connected.

Both these piece’s of art can be seen as more graphic design as well as art. Picking up on elements within art as and how they can influence graphic design is what I want to highlight in my publication.

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Studio Brief 01 –

Design Principles

I decided to look into colour theory as my theme for studio brief 01 in this module, art influencing graphics is something i’m passionate about so this module being so open I would love to create something I personally will enjoy designing. Exploring how the design features between art and graphics can influence one another and colour as the focus within this.

Looking at famous paintings and then applying the same compositions, colours and styles to the corresponding page’s design. Choosing ‘Colour In Art’ as the title of the publication in response to this idea. The work is showcases the use of large expressive typography, due to this I felt a bold and graphic typeface for the cover would be appropriate.

The colours of the six letters in ‘COLOUR’ have all been taken from the various colours seen throughout the publication this would them reinforce the design techniques the publication is aims to promote.

Using the serif Didot typeface allowed me to show a more sophisticated style in the designs and related more effectively to some of the older paintings featured. This typeface is not dissimilar to the type seen in the ‘Derrière le miroir’ magazine. The cover I remaining quite simple to try and make the reader want to know more and invite them to picking up the publication. This use of large type signified what design style would been seen inside the publication. Using a six by six grid in these designs Samuel Harpin

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allowed me to keep each page as consistent as possible but as the type was large and used a varied composition on each page it was only a guide line that the work could move out of.

This basic structure of painting on the left and then text on the right has been continued throughout the publication, this would insure clarity of communication and keep the work as consistent as possible.

Cropping each of the paintings to the same size rectangle shown above this would again keep the consistency throughout and pick up elements of the painting that were being highlighted rather than the whole painting.

The typeface I selected was the same as the cover, Didot this would then be recognisable from the cover and allow the publication to flow better when being read.

Using Bodoni type for the small bits of text and the CMYK numbers for each of the pages worked alongside the Didot type and remained appropriate with the rest of the publication.

Taking the colours directly from the paintings and applying them to the type would show this direct correlation to the artwork and the design on the right. For me it was important publication could be used so including each of the CMYK numbers would mean if the reader wanted to they could use the colours for themselves.

This was key for me as creating something that I could refer back to if needed.

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Studio Brief 01 –

Design Principles

Each typeface had emulate the artists work. With Cezanne the striking and bold application of paint is a distinctive characteristic of his work and therefore should be reflected in the choice of type.

Using Mfred typeface large filling the space of the page would be appropriate and an engaging way of expressing the principles of the artists work. The Mfred typeface was completely different from the Didot used in the first page and visually created a engaging change this is something to continue from page to page.

The artwork by the Japanese artist Katsushika Hokusai is very detailed and beautifully composed this then had to be reflected in the typeface and compostion. The CCArtSans typeface designed by Eichi Kono a Japanese type designer works in conjunction with the painting, the colours translated on the type effectively. Out of all the pages this best shows the idea of the leaflet due to the subtle nature of the image and the type they feel connected and show effectively how art can influence graphics.

Mark Rothko being a famous American artist the obvious choice of typeface that felt really worked with the painting was the slab serif type Rockwell. Even the name of the type connected to the artists name and the large R’s and circular O’s feel reminiscent of a Rothko painting. Picking the colours for each continuing the hierarchy of colours seen in many of Rothko’s paintings was key. This spread the colours relating to the paintings are the most clearly expressed.

Samuel Harpin

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Throughout the publication showing a variety of different kind of modern artists styles was important, Ellsworth Kelly being a much more conceptual artist that looks mainly at flat colour his work would lend itself nicely to this publication.

Using Futura as the typeface in simple consistent stack reflected painting itself. The choice of colour had to be clear as this related to the paintings simple nature. Initially looking at using a blue and green in the designs but due to the large amounts of red and black on the right hand side of the painting this would translate better into the type.

As Picasso is such an influential and recognisable artist featuring one of his paintings in the publication would be an interesting addition to the design. However I found this to be a real challenge to get right. The artists uses such a range of contrasting colours that translating this to the type proved difficult. At first using some paintings of the Blue period seemed the right choice but it generally didn’t represent enough the Cubist style the artist later became so famous for. Choosing the painting titled ‘The Weeping Woman’ due to its recognisably would better represent Picasso as an artist. Using the typeface Aachen as the letter size and shapes were very different form typefaces I previously used. The large curves and bold shapes reflected the artists iconic expressive style.

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that didn’t appear so different looking at the painting but was very prominent when applying them to the type. Experimented with a number of combinations until the design reflected the painting accurately as shown.

With the final spread choosing the artist Joan Miro, his surrealist style would be a refreshing change at the end of the publication. Using the typeface Modern216 felt appropriate to the distinctive flicks and curves on the serifs loosely represented the painting. Again keeping the design simple using the blacks of the image but just changing the ‘I’ and the ‘O’ this would keep the type subtle and reflect the painting. The use of the accent was enough of a change to keep the composition of the type simplistic then putting the emphasis on the beautiful shapes of the type.

graphics. Overall I’m pleased with this publication as it relates to all the covered in design principles – colour, type, layout, grids and composition. Hopefully I have created something of real use and that I can refer back to when picking colours in other projects.

The back page used each of the paintings features and the name of the artist. This would again make the reader want to know more about how the paintings could relate to Studio Brief 01 –

Design Principles

During this design process printing out my designs to better understand which size felt more appropriate. The smaller leaflet was more pocket sized and would be easier to carry around if needed.

The type size however for the various CMYK information was a little small and difficult to read. The larger designs type was much more appropriate but the publication didn’t translate as effectively in the large format.

Using the photography lighting equipment photographing my publication shows the work in a more professional way. This is something that can really make a piece of work much more effective and communicate the design more clearly.

Samuel Harpin

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Studio Brief 01 –

Design Principles

WHAT IS A BOOK?

As this project needing to be at least a 10 double page publication, for me create something interesting, would enjoy designing and could genuinely be used and interacted with was very important.

able to manipulate the images with no problem. These photos are a great starting point for me in my work and could lend themselves into a number of outcomes.

After thinking hard about what kind of work could possibly formulate the content of the book there was a real opportunity to use some of my own photography. As this something I’m passionate about this will naturally lead itself to better and more personal and in depth outcomes. Within this architectural photography makes up the main part of my photos, looking at minimal and somewhat graphic compositions.

Barcelona is somewhere I have visited over the summer holidays and managed to photograph some galleries, museums and interesting pieces of modern architecture.

Art galleries and museums identity design is as aspect of graphics i’m interested in and would like to work towards in the future, creating a publication looking at galleries and museums of Barcelona is a subject I have some knowledge on but would be able to find a large amount of informative research from different sources.

These are just a few examples of the photographs I have taken, there are two hundred and ten in total all on 35mm film. All of the various galleries, museums, beaches, and other tourist attractions in Barcelona.

As all these photos are mine there is great freedom to be

Samuel Harpin

– What is a book? –

typeface, image and colour is fundamental to any publication design, this must be implemented into my workings with great consideration.

Speaking with my tutor on this project we discussed how there was a lot of possible outcomes, of the photographs being graphic and simple with a focus on shapes and structures in architecture and that photos would lend themselves nicely to a fairly minimal publication.

I decided to use the photos from Barcelona to create a ‘Guide to Barcelona’ exploring art and architecture.

This allows me to narrow my research, look at existing guides and brochures to identify what it is that makes them engaging, how I can possibly make my work stand out different and how it can be designed for use in the real world. Collecting leaflets and printed material from exhibitions is something I try to do if ever I get the chance, this will formulate a great starting point in my research primary sources are key to creating the most in depth designs.

Additionally looking at some Barcelona based design studios work to see what kind of publications are out there in creative industry that are distinctive to Barcelona and whether it could be translated into my workings.

Hopefully following on from Studio brief 01 implementing my new found design skills.

Considering grids, layout, composition, choice of

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Studio Brief 02 –

Design Principles

The leaflet shown to the right is from the Fundacio Joan Miro in Barcelona, as a starting point in my research I want to try to identify what contemporary design typically looks like from Barcelona.

This design is overall pretty simplistic with an emphasis on clear communication, this allows the images to be the focus. The composition of the photography in my work should be more inventive than seen in this leaflet as this would better present the elegant details of the building.

The way the leaflet has been designed closely represents the kind style I would like to replicate in my publication.

The museum is situated in a incredible building and the modernist style of the architecture is just what I’m looking for.

As part of the Joan Miro Foundation they were celebrating their 40th anniversary, the design studio Mucho based in Barcelona created this beautiful publication informing the visitors to the Foundation on the various events, exhibitions and other activities that were going on as part of this anniversary.

The first thing that struck me was the lettering for 40 years using the distinctive slopes of the building to show the numbers is clever way of connecting the type to the building itself.

Looking at the main features of the design the large images throughout is an aspect that allows the unique nature of the building to be shown clearly.

All the type has a real emphasis on clarity and straight forward communication. The use type communicates the different kinds of information clearly to the reader. For example the headings ‘Experiencing art, in an open, dynamic interactive space’ is read completely separately from the rest of the text and stands out distinctively.

Another aspect of the design that really stood was the very consistent and appropriate use of typography. Implementing again the red subheadings. The typeface is clear and readable yet feels connected to the general modernist design of the building.

The use of red type alongside the black creates an interesting hierarchy of information.

The use red type on white background reflects the white walls of the museum and the frequent use of red in art on show. Red as a colour is reflected many times imagery of Barcelona and Spain, it is seen on the national flag, in the spanish coat of arms and in the bullfighting red capes. This is design feature I looked to implement in my own designs to give them a distinctively Spanish and Catalan feel.

Samuel Harpin

The page on the 'Lesson 0' uses a much more expressive typography using only parts of the letters. This is something it seems that the designer wanted to experiment with to creates an change from the rest of the fairly formal publication.

The 40 years logo has been used again he in the top left hand corners of the publication, consistency is something – What is a book? –

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to consider in my own work how consistent the design will reflect on the overall communication of the guide to.

Using grid systems will help emphasis this.

This contents page is clear, simple and communicates the information really effectively.

The use of small images signifying each section add another level of clarity to the designs.

As part of the brief is to have a considered contents page looking closely at this and any other contents pages to understand of what works well.

In this contents page design each section is represented with the page number at the top of the collum and a subheading just bellow, this allows for easy navigation throughout the publication.

A design feature I thought was clever is the small illustration taken from one of Miro’s paintings next to the page numbers, though small this adds a personal feel to the designs. That further adds to publication representing the artistic nature of the foundation.

The publication additionally features a fully red page, the only one in the publication.

Creating a single red page in my work as it relates brilliantly to this Spanish theme in the designs.

This 40 year anniversary publication has shown me that the designs to not need to be too extravagant to be engaging.

Studio Brief 02 –

Design Principles

The Articket BCN is a ticket that allows entry into six of the most popular galleries in Barcelona for a much smaller price.

Barcelona Guide by CITIx60.

This guide looks art a number of buildings, museums, shops, and restaurants around Barcelona. All with an emphasis on places directed to the art and design audience. In terms of leaflets design the stand out feature is the map shown above. Showing the amazing grid system of the buildings and roads of the city creating a elaborate but readable map that is unlike any other map of Barcelona I have seen.

The map raps around the front cover of the publication and makes up the cover illustration this fold is a feature used throughout the CITIx60’s different books and is unique and very inventive.

The use of colours from the map have been continued into Samuel Harpin

the rest of the pages of the guide. This consistency adds to readability.

The opening page uses a bright yellow coloured background, relating to the Catalan flag being red, yellow and blue. The background change breaks up the publication, similar to the red page in the Joan Miro 40th year anniversary leaflet.

The layout of the pages about each thing to visit is straight forward and simple, this makes it easy to read and communicates the information clearly. There is plenty of information crammed onto one page. Visually is a bit overwhelming but is understandable considering the book is small.

The book is very new media orientated using QR codes on

The design is laid out like a passport with each of the museums having its own section. The publication includes map, double page on opening times and section for the museum stamps. The stamp section in particular is something different in museum tickets and encourages the viewer to collect all the stamps from each different places. The map itself is very simple but remains clear and understandable and could be a feature I could bring into my own guide. It is nice to see a map that is not over complicated that can still be understood.

each page and social media links throughout connected the guide to websites and maps, this isn’t something I plan to include in my designs as it will take away from the quality of the content.

The contents page uses inviting illustrations and the different sections are organised. The large numbers are pivotal in this clear communication. The use of a different paper stock choice it creates a needed visual change and is something a little different.

For pages on each museum the information in different languages are laid out in a clear concise format that emphasises clarity. There are illustrations in the background of each of these pages. Using simple lines and shapes to create a very detailed and

There are a few elements of this design I may look to use in my own work. A map was a something I want to see if I could emulate effectively though I know it will be a challenge.

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intricate illustrations of the architecture. This is a really interesting design aspect in the Articket that felt I could translate nicely into my own publication.

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Studio Brief 02 –

Design Principles

Spanish Design and Architecture by Emma Dent Coad looks at examples of 20th century design in Spain, first published in 1990.

As the designs are from the old Spanish design its interesting to see how the design has changed and highlighting some of the key elements of typically 'Spanish' design.

As the book looks art design and architecture it is interesting in this project as these are the main themes of my own book.

The book speaks about the 1992 Olympics having a large roll in promoting a new kind of culture, this being underlined by the Catalan spirt seen in the art work of , Joan miro, Juan Gris and Salvador Dali. The work of Gaudi of also being a major influence, this more expressive style of Gothic architecture that was extremely detailed and complicated. This design some ways ignored by the 1970's, the focus was more on a more modernist and moderate, simple deign solutions. Seen in the Mies van der Rohe pavilion and the Joan Miro Foundation.

Samuel Harpin

The more modernist style was then translated into the graphic design of the country. The beautiful design for the cover of the 'El Sueno Interrumpido de Miro; exhibition shows how design can be minimal yet feels exciting and interesting, the use of the flat blue colour alongside the simple white type lets the main piece of art work be the focus. This very bright use of colour is something quite typically Spanish and would be appropriate to include in my book design.

The 'El Periodic de Catalunya' masthead for the Barcelona based magazine again shows this simplistic by exciting use of type that is pretty large but doesn't feel overbearing.

The use of the red colour background feels Spanish in its nature and stands out on the page. Though the style is a little old fashioned the same principles of simplistic yet colourful design is once again on shown.

The Wallpaper* City Guide

This poster for the 1986 'Las Espanolas del Ano' event is very simple but keeps with this simple but eye catching design.

The use of the simple shapes and the two red and yellow colours that reflect the Spanish flag and the work of Picasso and Miro in there abstract nature. The type is clear but not over powering.

The book’s design is beautifully put together and shows how engaging a guide to can be. The cover uses a great grid system with the white banner at the top, using a different colour for each of the cities in for the books by Wallpaper in the series. The use of simplistic typography that doesn't need to be too expressive communicates the information efficiently and is not over complicated. The page including a map and various sections of the cities design remains consistent throughout and keeps up colour scheme seen throughout.

It is useful looking at some older examples of Spanish design to see where it is the design has come from and what elements underpin the aesthetics of Spanish design.

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Studio Brief 02 –

The different colours for the various sections is clear and makes the book easy to use. My publication only being small this may not be appropriate.

The layout for each of the features sections like most of the design I have looked at uses very simple pictures consistently then text below.

The use of different cut out sections on the side making the various area of the book easy to navigate is a clever design feature. Overall there is some great examples of how design can be simplistic at communicate just as effectively seen in the Wallpaper Rome guide.

Design Principles

Starting my designs I began by simply picking some of the best photos from a variety of places and seeing how I could compose them on the page keeping the design simple allow letting the photos be the focus, the text would then work with the photos. Using Futura typeface as it featured a few time in the Mies van der Rohe pavilion leaflet and the Foundation Joan Miro leaflet the choice of type may change as the book developed and too shape.

For the cover I used my image of the Catalan flat to reflect the city best and be as eye catching as possible. I wanted to think about the photographic compositions first then later think about how it would work with the text. As you can see this was more of a starting point for the book but I was pleased initially with the relationships between the images and the overall aesthetics of the book so far.

Samuel Harpin

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Studio Brief 02 –

Design Principles

This is a more finalised design of the book. Using Didot typography as it had more connection to the 'Spanish and Architecture' book I looked at previously, additionally Didot had a more classical feel to the designs, something a bit

The buildings I want to feature being, the Mies van der Rohe pavilion, Museu Picasso, CCCB & MACBA, Montjuic Castle and Foundation Joan Miro.

Each is very different but great examples of beautiful architecture in the city. All

Samuel Harpin

– What is a book? –

different that I hadn’t seen in the other guide to publications.

This idea of more classical type along side modern and contemporary architecture.

Using placeholder text for each section helped me grasp and idea of what the images would look like accompanied with text. These white text boxes to show the text on the full bleed images when placed right it doesn’t take away from the

images too much and is really readable. The Museu Picasso there was a real lack of good quality photos so these are the only two included. As it is a location I really wanted to include working the designs to these limitations was important.

For the MACBA and CCCB pages I used very large type next to each other on the top and bottom of the double page spread the way it communicates the two galleries being in connected is very effective and clear. The two

names of the galleries seem to lend themselves to large dynamic use of type. At this point the designs looked like a quite classy and elegant photographic journal. I felt however that there was room for expressive design features.

these buildings and galleries have a common connection of all being memorable, iconic and representing different eras of modern Spanish architecture.

The design should then emphasis this in its layout and composition.

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Studio Brief 02 –

Design Principles

The two images of the MACBA on the left had similar angles and shapes and together would have a nice contrast between black and white.

Using some images full bleed displayed details of the gallery in a positive light. Showing small details and interesting elements of a building can be very interesting especially with the MACBA being such a iconic looking building with some tremendous subtle details.

This page for Montjuic Castle has a fully red background with white type on top, this is something I picked up on in the 40 year anniversary design for the Joan Miro Foundation as it creates a engaging visual change and reflects the traditionally Spanish colours.

Again implementing the use of a white box for the type when I have used a full bleed image.

Again looking at using a red page for certain pages was a design feature I knew I should include in the final designs but picking which page and why is very important. As Montjuic Castle along side Museu Picasso was another building I only had a few interesting images of that using this large full read page would help the page feel less empty.

With the Foundation Joan Miro design I knew it was a really important part of the book, as would be the last pages of content it really needed to stand out and reflect the brilliantly designed gallery.

This red page didn’t feel very appropriate and took away too much from the photos. The use of ‘Fundacio Joan Miro’ as a heading was used twice was not needed.

Samuel Harpin

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Studio Brief 02 –

Design Principles

This page the two photos really lend themselves to being next to each other as the colours were complimentary and had a similar light to them.

Picking photos that combined together is sometimes a more instinctive thing as its hard to put reasoning behind it and this is the case on a few occasions in this book design.

I have used a 6 by 6 grid thorough out this design to keep the images headings and type as consistent as possible.

The designs at this point have really progressed but still need work as I wanted to try and make the book a bit more distinct and reflect Barcelona as best I can.

Samuel Harpin

Something I experimented with to make the designs more inventive was using the letters of the word "BARCELONA" and seeing if this could be implemented onto the right hand page of each spread.

This could work as type or even as the grid system. I felt though that it could be an over complication and may distract from the photographs.

As well as being difficult to make sure each letter worked with the images and type to communicate the information as clearly as possible. This idea was a interesting feature to experiment with and got me thinking further about how the design can be more engaging and exciting.

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The use of an illustration next to the page numbers is an design element seen in the Joan Miro Foundation's leaflet. It created something more personal and was an excellent way of making the designs more interesting in a simplistic way. I looked at including my own page number illustration. The image had to naturally relate to Barcelona and Spain. The image of a Bull being something very

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Studio Brief 02 –

traditionally Spanish. Picasso also looked at using this image many times in his work looking at a large range of his drawings of the bull I came up with this small image above for each of the page numbers. It was something subtle but would be continued throughout the designs, not taking anything away from the photographs and would look very appropriate for the Spanish theme.

Design Principles

These images are all the spreads of the final book I decided to rework the book in a square format for a number of reasons. Firstly it allow me more space on the edges for more information and photos were needed. As well as this I wanted to make the book feel more personal to Barcelona I came across the photograph of the city shown to the right, the grid system of the city would lend itself very well to a new grid system for my book. So the image to the right shows the new four by four grid system I went on to use for my book. The grid is like the Karl Gerstner 1962 grid shown above, using squares creates a distinctive design that feels somewhat different. This grid is something a subtle change that is can make kind of simple publication design much more informed.

more in line with the rest of the publication design. The type in the contents page is fairly large but as discussed with my tutor this is something different and works in the context of this publication.

This page best shows the kind of new space that I have allowed myself when changing to the square format. The type stays within this grid system and the images are now cropped square, this all emphasis this Barcelona

square grid and is reads more consistently.

a much better light. This right hand side white box for the writing has been kept from the perviuos design to show the buildings enlongated shapes as best as possible.

The cover is another aspect that I looked at changing, the one shown before didn't for me fully represent expressive and exciting content on the inside and the cover now with the large type better presented this, this also connected to my first outcome for design principles. This consistency makes for a more recognisable design that is visible over the two briefs.

For the contents page I have used the tab tool to keep all the headings in line and give the page numbers more space This adds to the clarity of the information and is defiantly easier to read. I moved away from using the centred type as it was not consistent with the rest of the publication design.

This design now looks much Samuel Harpin

The square format again lends itself to showing large double spread images, here the full width of the image is shown and the building is shown in – What is a book? –

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Studio Brief 02 –

Design Principles

more clear and separated from the rest. I still kept the two white and black images that worked well in the previous designs but placing them on one page gives more space for other images and leaves them as a separate piece of work all together. The images being so strong on its own their is no need for any additional text that might have over crowded the designs.

I have additionally decided to use the red page twice in the publication, this creates more of a unified style and the design remains more consistent.

This was useful for the Museu Picasso as I only had around two quality images that put the museum in an interesting light, this full coloured page then doesn't feel to empty and is more connected to the rest of the publication. Also changing the page numbers and illustration on the pages to be more clear in white. This is again another nice small detail of the work that is subtle yet makes all the difference. This design proccess is a feature of the Joan Miro Foundation designs I looked a previously

This second MACBA page has been kept similar but moved onto the four by four grid, the images of the MACBA's building details have then been highlighted in a narrow composition, this was something I was unsure of before but now I think the photos lend themselves more to this format and relate to the Mies van der Rohe page in the front of the book.

With this page for the CCCB (which I have spelt wrong throughout my designs up to this point, spelling it CCBB) I have split up the pages and given the CCCB its own double spread this separates up the information and allows me to use another of my photographs.

I have also implemented a fully yellow page into the designs to represent the Catalan flag being the region Barcelona is in in Spain. The stripes are represented on each colour page on the corresponding left and right hand side.

This page for Montjuic Castle has been kept fairly similar but the square shape allows the designs to have an additional column of type on the right hand side. Again I have kept the singular red page on the left hand side to keep with the Catalan flag theme.

For the first page on the Foundation Joan Miro the square shape this has allowed me to show almost all of the photograph and new space on the left for the heading and the information on the building.

The heading placed over the middle of image and the white space is not something I would usually do, and would try and keep all the text consistent but I think the type is very clear and creates a interesting junction between the text and image.

The MACBA spreads have been changed to two double spreads this makes the information Samuel Harpin

– What is a book? –

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Studio Brief 02 –

Design Principles

The next spread continues the information on the Joan Miro foundation I have kept the design very simple displaying two of my favourite images on the left in the same minimal composition as seen before in the MACBA spread to keep the flow of the compositions in the publication. Including the yellow background on the right to keep with the Catalan flag theme. The image on this page has a bright blue sky and creates a nice contrast of primary colours from the back ground.

This final page I have kept the two images of the Joan Miro foundation but also featuring some information on one of my favourite sculptures of the museum, the Alexander Calder 'Mercury Fountain' as the photos seem to work nicely in tangent together I didn't want to split them up too much.

The written text in each section features information on the building, museum and gallery and then information on the opening times, location, and website all are real and accurate information then making the guide functioning and have a purpose.

For the back page I felt it appropriate I create my own map, drawing it flat then converting it using the rotation angle in Indesign, this allowed me to show these captions and give further information on the general locations of each of the museums, the Articket BCN showed how the map design could be simple but show the locations effectively.

Samuel Harpin

Overall the outcome for this project reflects my emerging practice as a designer and my new appreciation of type and form in graphics. This book successful shows my evolving knowledge of type, composition, layout and the effect of using grids in design.

I hope I have made something with real use that reflects the city of Barcelona and invites the reader to visit these locations.

With the smaller sized publication the Didot typeface on the red background was a little too hard to read and wasn’t as clear as it needed to be. When printing out my publication in the digital print resource at college I have decided to use the larger format as it will best represent the small intricate details of the publication.

Throughout the process of designing I printed out my booklet, this allowed me to understand better how the book read from page to page. As shown in the image to the left the design has been changed to be more centralised, this communicated better the title of the book. You can also see here how I have used staples to bind the book, this would take away from the designs and I knew I wanted to improve the finish with a saddle stitch.

For my binding I have used two pieces of red and yellow thread this again reflects the Catalan flag, this highlights the intricate details of this publication and the over arching theme of a typically Spanish looking design.

These images to the right are the finished printed book, using a matt 160 paper stock meant the texture of each of the photographs was really emphasised. Again using the red and yellow thread for the binding adds a more personal touch, the overall finish works well but the trimming on the top and bottom could be improved. If I was to change the designs in any way experimenting further with stock would be a interesting avenue to look into, additionally experimenting with paper sizes and creating two books in different sizes one a pocket version and the other a larger coffee table book.

This image shows the print finish using a standard printer the black sections of the photograph didn’t come out as it should have, this is another design process that I highlighted as something I need to improve and printing out in the digital print at college will help improve this.

Additionally I have experimented with printing different sizes designs, one printed on A4 and the other A3.

The A4 design was much more pocket sized and could be taken around if on holiday, the type though is a little too small in this format and the large A3 design shows detail of the photos much more effectively.

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Hopefully in this project my publications have a real purpose to them and can be used in the real world. I am overall pleased with the quality of the designs and how they have been informed through my reaseach and feedback.

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Studio Brief 02 –

Design Principles

The Design principles module comprises of two briefs one to create a leaflet exploring the grids, colour, type, layout and composition, the second a publication on a chosen topic comprising of ten double page spreads. The module promotes the exploration of the process of publication design. Colour theory as a theme lends itself to a range of different outcomes. The application of colour in graphic design can be an feature of design that can be really limited and badly considered. Due to this largely open brief there was a real opportunity to try and should my own personal interests and ambitions within the field of publication design.

The first brief I decided to look into the theme of colour in art and how this could go about informing graphic design work. Within the art works the selection of colour and appreciation of space and tone is often much more considered and that graphics could learn a lot from this artistic process.

Informed by the study tasks on typesetting, grids, ground and figure, white space, colour and form, I tried to use all my new found design skills and implement them as best I could into this publication. Type as a tool for communicating is an area of design I feel I have improved greatly upon in this project, not only the application of appropriate typefaces but why they are important and what the different typefaces communicate. The range of typefaces and compositions of the first brief demonstrates how far my knowledge of typography has improved.

Samuel Harpin

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This first brief really raised my awareness of grids and why they are important, previously in my designs the grid would be more of a guide line but I now much more accurately position my images and text within this, the clarity this gives the designs may seen like nothing but makes reading from page to page much easier.

I tried to take these design principles with into the second brief. Photography is a real passion of mine and this brief presented me with the opportunity to use some of my own photos as the content of this book. Using my photographs from Barcelona I began to comprise an initial publication, I wanted to really improve upon this the designs felt interesting and the photos engaging but I felt I should push my designs further to try and best represent the content and create something of use.

In terms of publication design in the creative industry the area of interest for me looks at this combination of art, architecture and graphics. Exhibition publication design is another area I am really interested in.

Within my research I looked at many examples of beautiful leaflet design I collected from Barcelona, identifying design that feels typical of Barcelona was key for this project and using examples of primary resources helped inform my design decisions. Additionally looking into the book Spanish Art and Architecture looking back at some 20th century design typical of Spain was crucial in finding aspects of iconic design that is distinctive

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of Spain. My research in this project is an area I was really pleased with, finding a large range of different resources with very different approaches helped me understand how subtle and minimal design can be just as engaging. The designs for the Joan Miro’s 40th anniversary is a great example of this. Subtlety in my designs became an integral theme in this design, the use of a serif type for example gave the designs a more elegant feel.

A major revelation for me in this second brief was using the square grid system reflecting the grid of the city of Barcelona this gave the designs unique feel and allowed me to have much more space to work with.

As well as this grid system I tired to make my designs feel typically Spanish, using the red and yellow pages in the publication reflected the Catalan flag the region Barcelona is situated. This is continued into the thread of the binding again using red and yellow. These design elements are subtle but for those who notice are really engaging.

Another design feature I’m proud of in this design is the illustrations by the page numbers this again adds to the personal feel to the book design.

Overall the finish of the book is an aspect that needed a lot of consideration printing on in A3 on matt paper in the print room in college showed the texture of the photography and the type size was much more appropriate to read. This project has really improved my knowledge of layout

Studio Brief 02 –

design, what works well, how the pages flow, thinking about consistency in each of the pages. Publication design is an area of graphic design I would like to try and work towards and this module has really helped my understand how a publication is put together.

Printing out my publication many times throughout the design process helped chose paper sizes, typefaces and colour. I decided to print my publication out in a higher quality because of this.

Some other improvements I could make in my designs for this project would be experimenting more with paper stock especially for the first publication the standard white stock could have been improved upon. Type consistency is another thing I thought I had done correctly but it wasn’t until I had printed my final design I noticed this.

Within both these briefs my ambitions were to make publications with some purpose that can be used and interacted with, the first brief the design quality is something that emphasised this usability, and for me personally something to refer back to when picking colour.

The second brief as I created a guide to the whole idea is to create something that can be used, picking images that best represented the buildings and including, a map, opening times and links to the websites would make my designs much more interactive and useful.

All in all this brief is has been very enjoyable looking into the publication design process.

Design Principles