Type decisions at this point in the project: Headers - Chuck Noon free typeface: Inspired by Victorian signage lettering, this typeface is highly appropriate in my opinion and integrates well with the overall theme and aesthetic of my current design treatment. It's block like characteristics are great for headings and really remind me of some of the bespoke hand crafted letter forms that I came across at the cemetery.
Body copy - Mongolian Baiti free font - perfect for the body copy content. It is a sophisticated serif font that is a great alternative to the obvious contenders such as Bodoni or Times. I really like its varying stroke weights and its classical appearance.
Below are exported versions of my layout developments. I have decided to include an image on the front of the publication rather than pure type to create an element of mystery and intrigue. The bottom of the crucifix actually contains the title of the publication, a subtle way of introducing the content from the very beginning. I am planning on possibly screen printing the title of the book over the top of the front cover using spot varnishing techniques (achieving a transparent effect). This print finishing technique really interests me, I have never actually used it before so it will be good experimentation/practice attempting to pull it off.
Here I have included a quote by Harold Wilson, who was a British Labour Party politician who served as the Prime Minister of the United Kingdom from 1964 to 1970 and 1974 to 1976. I wanted to include a famous quote at the beginning of the publication because I feel this is a nice way to ease the audience into the content. Kensal Green Cemetery is home to a number of famous graves, so I saw it fitting to include this quote from one of the UK's past prime ministers.
I have decided to format the layouts with full bleed imagery and overlay copy content and align it to the right. I took inspiration from the Van De Graaff canon whilst laying out the body copy. I am not going to be including very large amounts of text, so I feel this grid system will serve me well in the development of my spreads.
Instead of formatting information about each and every individual letter form next to the photograph, I have devised a table of information in the form of this double page spread below. This for me is an effective and efficient way of providing the reader with enough information about the typography in context. I have listed all of the documented photographs and then put a very brief description of the key characteristics of each typeface.
In these layouts, the photographs dominate the page more. I have reduced the amount of white space so that the reader gets to have a closer look at the high resolution photography. I am unsure whether or not I am going to stick with this rather strict grid for displaying the visual content. I may change my mind and make the layouts more playful, abstract and perhaps a little more appealing to an audience who appreciate contemporary editorial design.