My original aim was to compare and contrast two very different areas through the typographies, and perhaps to observe some rules about typographies according to their place.
Firstly, after taking a step back from my work, I am pleased with the overall design. As far as I am concerned, the three elements (illustration, pictures and texts) work well together. I would, however, maybe organise a place/a square to let the reader write his answer straight on the book. Besides, the materials I have chosen are compatible with my content. However, I would change the cover paper, ipotentially to a thicker one. Indeed, the engraving will be deeper and so will give a better look. In my opinion, the project won’t take too long to make because of the saddle stitch for binding, and it will be easy to set up a production line for the manufacturing. The book will also not be too expensive in order to match the target audience of mostly young art students.
Secondly, I have been interested in the views of other people regarding my design. With regard to the simple shapes, English people understood them all, even the Saint-Gilles-X-de-Vie ones, whereas French people didn’t recognise all the Leeds symbols. Of course, if they don’t know Leeds very well, they are unable to identify Trinity and Town hall. It could be a slight issue but it is possible to overcome. Naturally, it can make French people want to discover the city, to learn more about it. I then let them analyse the book without any explanation. They finally worked out how to read it and play with it after about 10 minutes which is quite long, but they at least understood the concept of the game. They succeeded because they read the ‘how to play’ page many times. I think it works well because otherwise they wouldn’t have found the way to read it, although I could still find another way to achieve a faster understanding. Maybe with a simple drawing or an effective example.
Finally, with regards to the game’s outcome and for solutions to my difficulties, people generally found clever tips to recognise each typography, with or without the presence of a French accent on the letter or with the different materials used (plastic, iron, stone) etc... The interesting thing is that it is clear for everyone that the typographies which show movement belong to Saint-Gilles-X-de-Vie. Does that not bring to mind the naturals elements specific to the coast? However some pages are hardly recognizable, because, on other side, SGXV’s pictures are traditional typographies too which have a link to the traditional side of fishing and the harbour. It makes it hard to tell the difference between Leeds and SGXV. In fact, the typographies are quite similar and there is not a simple way to find the right answer. That’s why, they used the story to help and guide them.
To conclude, I think my final book is a success and appropriate in relation to my original aim.
It compares typographies according to their place. Moreover, we are able to distinguish some typographie’s rules through the book.
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