1.The questions that I think that I would need to ask are: What style would you like for your booklet? Are there any colour themes you would like me to incorporate?
What information would you like in your booklet? What paper thickness and type would you like the document? What photography would you like in the document? Are there any pieces of your work you would not like to exhibit? Is there any scale of size you would like your pieces at? Do you have an high-resolution large photographs of your work. What is your budget? I think that the more guided you are to completing your task.
2.It is vitally important that you meet and clarify your design regularly with your client. After all it is for the client, what the client wants is the most important thing. To avoid designing what the client doesn’t want you must meet with your client to direct them to what they want and therefore direct you.
3.The research that I have done before and while continuing on the project was to primarily research Geoginas work and get a style for her work. The main objective was to promote Georgina Harts work through an artist booklet. The best way possible would be to first Surround yourself with her work and get a feel for her style, then design for her. It is also important to see what others have done for your client. In this case, Georgina has had only one-person design for her through a website. We need to look at the Aesthetics of this medium and assess any aspects that need to considered when designing the booklet. E.g. what things the website excels at and what things need to be improved on. It is also important to see what others have done for artist booklets. It is vitally important that you know what other people have done and get a feel for what artist booklets look like and how they are set up, not just what get a feel for the artist work itself.
4.As far as the brief is concerned I would just ask Georgina to be as specific as she possibly can be about what she wants and not just leave it up to the designer. If she can be precise on what she wants and clarify as much as possible what she doesn’t want, an end result will be achieved as a lot more quickly then if she was to give just a basic overview.
5. Though talking about limitation of design. The document is set up as an a4 booklet, which also limits us to our design rather then making up a custom size. Through having a size it confines us. We also may face limitations in the final product when concerning what the client’s budget is. This will affect what stock will be used.
6.There are many different options you have when setting up your document in Indesign rather than in Photoshop. For instance you have the option to include bleed, slug and gutter and margins just in the start menu, which is vital to designing an artist booklet. Indesign is also superior when designing this booklet through such tools as paragraph styles, character styles and object styles just to name a few.
7.The document needs to be set up as a pdf in process colour. If the document is not set up in process colour and instead set up in RGB the colour will not be the same as your document. It is also important that make sure that your document is set up to the correct size. You should also check for grammatical and spelling errors. After you have checked this before the document goes to print make sure you get a printers copy just to double check that the document is perfect.
Printers Quotes
From wirlwind.com a standard art paper booklet with full colour on matt art paper will cost the client $2867.40. For my client I think that this will be sufficient assuming the clients budget. I think that matt paper will help the booklet fell more refined and professional. The booklet itself should be well suited to Georgina’s work. However this website did not say that it included delivery.
On CMYK online for a saddle stitched booklet on paper thickness 150 gsm for a 1000 copies it costed $1146 delivery included. I decided to choose the thicker paper because I think that it will compliment Georginas work more.
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