Final Crit Book Covers

For the final critique I presented two of my final ideas to see which one got the best response. The main areas of inquiry were whether to include the extra black splodges, which I felt aided the representations of destruction through splatter, however at the same time could detract from the simplicity of the message, seeking to fill negative space.

Presented these possible spreads:

Response:

- strong use of type choice - clean choice in contrast with the sketchy illustration approach 

- however some felt a strong serif font would flow better

- well positioned type

- use of white space adds great composition

- experiment with positioning of the barcode

- splodges are aggressive and work with the amount of negative space 

There was mixed feedback with some favouring the more minimalistic approach and others liking the bold use of colour in the more illustrative spread. Although there were certain elements I liked from each, I found the first to be less crowded and more bold its in compositional decisions. 

Final cover in response to critique:

- Repositioned back cover image to exactly mirror the front, to accentuate the purpose of the same by different

- The spine was re-thought out in positioning of author name and title 

- Removed splodges from the front as to not take away from the impact of the image, however made them larger and repositioned on the back to mirror the ink medium and tie the two pages together to enable a flowing overall design. 

Typographic Treatments

Using a simple 3 column by 4 row grid, I experimented with just typography to see how various layouts and typefaces give different outcomes. For me it was evident that the title should hold hierarchy over the author's name in the design, and I wanted to see the comparison in using a serif typeface to a san-serif one. Both bring with different connotations to the work, and reflect varying ideas. For instance, Minion Pro holds a more traditional look, and mirrors the aesthetic of the older book covers, whereas Futura gives a more contemporary clean and simplistic aesthetic. 

The first typographic treatment looked at a centred text that dominates the page. Using all uppercase, it presents a bold and hefty design. The serif font choice of Minion Pro aids the gothic aesthetic of which is thematic within the book  

The next treatments focus on Futura, a typeface which is often used in modern Penguin book covers. These experiments play with kerning in order to establish a sense of placement within the page. The title is again a lot bigger than the authors name, but this time spreads the entire width of the page and rests on the left rather than being centred. As such, it was important to play around with the placing of Lee's name as to tie in the page and ensure the viewer is taken on a journey around the page not just one side. 

I did find that using entirely uppercase with this typeface seems to not work as well, as it shouts too much and feels a bit too tense.

To solve this, the next treatment focused on calming down the page. Keeping the type centred allowed for the entire page to be incorporated into one, and changing the author's name to lowercase worked better both aesthetically and emotionally. Moreover, this design kept the kerning for the title however did not apply it with the author's name as to enable an easier differentiation, as the title is a lot smaller here. Additionally, I found keeping the title on one line seemed to work best aesthetically, creating a coherent and clear layout. 

The final treatment looks at taking kerning the other direction - keeping with Futura - and moving the letters for the title closer together instead of further apart. As a result, despite using the same font, there is a clear distinction and variation between the title and author's name, which works well together despite seeming very different. 

I then looked into apply my imagery to this possible layout. The images focus on the notion of the destruction of childhood innocence.

West Indina Culture

West Indian Culture

'Out of many people, One Culture’ – West Indian Culture - A way of life.

“Out of many, one people” - the motto of the Jamaican national flag, sums up the diversity of cultures which over the centuries have come together to make up what defines West Indian culture.

This motto can be seen to be symbolic of the philosophy of the wider West Indies. West Indian culture tells the story of a dynamic cultural situation which is the continuation of a meeting – or clashing of, cultures that has been going on for hundreds of years.

This began in the 15th century when African and European people came together to trade. Later this trade manufactured goods for slaves and raw materials to work on the plantations in the New World – West Indies, home of the Arawak and Carib peoples. Since then, the West Indies have been home to other communities brought together by the Colonial masters to toil the land for the benefit of ‘The Motherland’.

These communities include, poor white indentured labourers, Malay Chinese, Indians and European plantation owners. From this milieu has emerged a rich, vibrant, resilient and creative culture.

Food 

Seafood, chicken with rice, jerk, roast pork and pepperpot are all traditional popular foods in caribbean culture. It is important to note the food within the carnival's celebrations to have a greater idea of colour and culture. The aromas are a strong part of the vibe of the gathering and is a strong attraction for the thousands that turn out. 

Music

Obviously being a huge aspect of the festival, West Indian Music is an infusion of instruments and harmonies that combine to create this elaborate display of community, which has powered the success of this carnival. 

Caribbean music genres are diverse. They are each syntheses of African, Europbean and Indian and Indigenous influences, largely created by descendants of African slaves (Afro-Caribbean). It holds strong international influence resulting Caribbean music that reflects the culture of the people. Although there are musical commonalities among Caribbean nations and territories, the variation in immigration patterns and colonial hegemony tend to parallel the variations in musical influence. 

Existing Carnival typography

Looking into the array of existing carnival's branding and advertising, to see the style that is associated with the colourful celebrations. The type is very stylistic, fun and bold, incorporating image and text together to create a celebratory feel to the aesthetic. It is fun and rather colloquial/informal in nature, which is something to note when developing the style of my print. 

Research into Leeds Carnival

About:
"Leeds West Indian Carnival is Europe’s longest running authentic Caribbean carnival parade. What started in the 1960’s as one man’s remedy for West Indian homesickness is now the perfect blend of jaw-dropping costumes, infectious tropical rhythms, mouth watering food and entertainment for everyone."

'stunning display of colour and sheer joy that winds its way through the streets of Leeds, builds with events that present the best of carnival culture.'

- Takes place annually on the last monday of August (bank holiday)
- 'Sensory delight'
- 'Probably Yorkshire's brightest day' 
- Original sounds of the West Indies
- Costume art
- Caribbean 
- Represents the cultural and artistic legacy of Leeds
- Workshops run to share the artforms with communities, collages, schools and companies

History:
http://maxfarrar.org.uk/docs/CarnivalHistoryWYAS.pdf

Origins 1966-7

The Leeds West Indian Carnival was created by Arthur France, MBE, who arrived in Leeds from St Kitts-Nevis in 1957. In 1966, his friends Frankie Davis from Trinidad, and Tony Lewis from Jamaica, all students at the University of Leeds, organised a carnival fete at Kitson College (now Leeds City Collage - Technology). Arthur France then decided they should be a carnival parade along the streets of Leeds, as well as an indoor festival of music and costume. 
"People said I was crazy" - nonetheless with the help of other, the Carnival was on the road for the first time in 1967. Arthur remains the chair or the committee. 

Leeds or London?

British Caribbean-carnival events first appeared in London in 1959, initiated by Claudia Jones, at St Pancras Town Hall. Cabaret including Trinidad All Stars and Hi-Fi Steel Bands took place too. 
A Caribbean carnival presence was included in the 1966 Notting Hill street fair, along with people from all over Europe in their national costumes. 
However - the first ever West Indian carnival parade, organised by British Caribbeans and composed largely of black people in carnival costumes with their steel bands took place in Leeds in 1967. 
It was only in the early 1970s  that the Notting Hill street fair was turned into a Caribbean-style carnival, following the trend that Leeds had set. 

Notting Hill's carnival now attracts up to 2 million people, and Leeds (the next largest) 100,000. 
Its origins among the formally free, but still impoverished and angry Africans in the British Caribbean islands were shrouded in violence, amongst the participants, and against the colonial authorities.

1990s Carnivals 

'Although the Leeds West Indian Carnival has deliberately avoided the professionalisation that has overtaken the Notting Hill Carnival, following the massive corporate sponsorship it has obtained, the Leeds Carnival grew in size and stature during the 1990s. This was largely due to the increased expertise of committee members, several of whom had been on the committee since the start; to the increased involvement of Carnival organisers in other towns in the north and the midlands; to the extra sponsorship obtained; and to extra activity by Hughbon Condor as a consultant to groups who wished to produce a Queen or a troupe but who lacked some of the expertise required.'

People's accounts:

Arthur France said when he tried to involve the Leeds black community in carnival in 1966, the vast majority were opposed, claiming that carnival was a degrading, low-class activity. Now that it has consistently proved its worth, it is not only the Leeds Caribbean community that eagerly looks forward to the festivities each August, with hundreds of people parading in their costumes and thousands attending the events. 
Thousands more people of all cultures from all over the UK, Europe, America and the Caribbean, come to Chapeltown and Harehills to watch the parade from all over Leeds and the north of England. 

• Since the early 1970s I have taken an active part in the Leeds West Indian Carnival, which I regard as the most important cultural festival in Leeds.  - Max Farrar

Location and route: