Studio Brief 01 - Form and feedback

A coffee table book need not be limited to its associated form. This came as a thought whilst looking over the details of the first concept. The idea was that marketing the publication as a coffee table book would be misleading. However there are other publications that do purpose as a coffee table book but don’t follow the associated forms. Take for example Experimental Jetset's 'Statement and Counter-Statement Notes on Experimental Jetset' and 'Just My Type' by Simon Garfield, these are publications are aimed at a design audience and because of the content and size, one would assume it would be just a normal reading book. However, it is the content that makes the publication versatile enough to become a coffee table book. Like most coffee table books, the content of these publications are niche and allow for casual reading. The content itself also draws esteemed writings by experts in the field, which in turn increases the appeal of the publications. This alternate forms can be evidenced by how people showcase it on social media.

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The way the photos are taken clearly intend to show off the publication, which are special enough to be photographed solely and to be put up on social media as a statement.

Craig Oldham's 'In Loving Memory of Work' is example of how the content of the publication is very specific but because of the way it is designed, it can appeal to a wider audience. The design of the bespoke typeface for the publication and engaging layout attracts the reader attention to an otherwise overlooked subject. In some ways the context of 'In Loving Memory of Work' can draw parallels with the shophouse publication. They both cover a very specific subject but showcases it in an open and accessible way. 

The choice to have the dust cover printed in coal dust shows an example of the content influencing the design, much in the same way that the book sleeve is going to be produced from wood, the same material as the shophouse windows.

Going above and beyond the publication design, a custom typeface was created for the publication. This signifies the author's consideration and effort to make the UK miners’ strike between 1984 and 1985 an important topic for the British public. Superimposing the type on strike posters back then also gives the reader a form of context for the type. If time permitted, a bespoke typeface could have been created for the shophouses, as a way capture the heritage and history that made them associated with Singapore's cultural side. 

12cm x 20cm

18cm x 30xm

Thus two rough iterations of what the publication's size were mocked up. They both follow a 3:5 size ratio which is similar to that of the shophouse dimensions. As of right now each booklet will consist of 16 spreads excluding the cover. These mockups were then brought to feedback and there were split opinions on which form the booklets could take. 
     A smaller form factor would allow for the reader to take the booklets along with them to the areas. However if this was the case the construction would have to be cheapened, the audience who would more likely bring the booklets along are most probably the type to not self indulge in expensive coffee table books. That means a less complicated assembly for the wooden sleeve and stock that is cheaper to source. The issue from this however is finding a balance to make the publication attractive and feel expensive but yet is still relatively affordable. 
     On the other hand there was feedback on how a larger form would be able to showcase the film photography in a better format. The audience are then able to appreciate the beauty of the shophouses in a way that they haven't seen before. But as shown above, the associated form of coffee table books need not render the publication to its purpose. It is the context of how the photographs are displayed that would change the way the audience views the photos on the page. So even though the booklets may be handheld, the way it is produced would alter the reading experience in way that aligns more to that of how images in photography books are received almost in an urban photography book. The smaller construction would also help in advertising the publication. As evidenced by the Instagram posts on Experimental Jetset's 'Statement and Counter-Statement Notes on Experimental Jetset', being able to carry the booklet to the area would offer the reader an opportunity to photograph the booklet in the shophouses, increasing the engagement between the reader and publication. This approach would also require a cheaper production process so that the publication appeals to a wider audience and thus increase the number of possible posts.
     Where the publication would be distributed also came under criticism, the initial idea was to have it being sold at places like Village Bookstore, however after explaining the concept it was clear that it would hard to see a publication like this in those kind of shops. What would be more appropriate would be to distribute these to shops in art galleries and museums. These shops are filled with books on art, history and culture that often take the 'coffee table' form. Furthermore, content of the publication would be more aligned to the works displayed in art galleries and museums. For example people who come out learning about the history of Singapore in the National Museum would then be able to purchase a unique perspective on a topic they may have learned about in the museum.
     Finally in terms of binding and type of cover, if the binding is simple purely there for function, there is no need to show it off. It would be better to have the soft cloth cover go over the binding.